Sony Camera News and Rumors

Hello everyone and welcome back to PSC Photography, the podcast where we talk about imaging, images, photographs, videos, whatever image we fancy talking about, since it's amalgamation recently with all the other groups to do with imaging, including photos from phones. So watch out for that one as we um head into the gro into the into the show. Today's show is twenty one. It's Thursday the twenty first of May. Twenty first twenty-one on the twenty first . And our theme this evening is friction, constraints and obstacle obstacles to photography, which was n icely chosen by Charlie. Hello Charlie, Ian and Chris. Hello. Hello . Hello. Hello. Everyone all right? Well one of you one of you's not alright. Shall we have the tale of woe ? I have a broken foot and a a broken phone. So I'm just waiting for the third thing to come along. How have you broken your foot ? Um it was um pure stupidity of doing a a tourist park run off road. Um there was lots of dips, I went over on it. Um halfway through, had to finis ithed as you do , um and then A and E on Sunday and um apparently six weeks to recover and a boot, um but I need to be ready in two and a half weeks. So um that's my uh challenge for the next couple of weeks is getting out of this boot and being able to walk. There's a there's a picture of the boot in the shared album, uh everyone if you care to look. Um there's also a picture of the back of your No . Um so I had the the lovely and I must confess for two days of using it the Oppo Find X nine Ultra is very nice. Um it's great to take photos with um but it it was in my back pocket I sat on it and apparently that shattered the glass and I've had various conversations with Oppo uh to no avail. Um and now I'm currently waiting for the parts to come in for it to be repaired. And you're gonna have to pay for it? Yep. Uh do you know how much? Yes. So they've said that um it's two hundred pounds because they said the camera was damaged um as well as the the back glass. I'm not hundred percent convinced the camera was actually damaged, but I'm not a phone engineer so Underneath that um shattered bit that's one of the lenses isn't it underneath that yeah yeah right okay so I suppose it could be. Um yeah you gotta take that that's less than I thought it was going to be, two hundred quid. If that was an iPhone it would be sort of eight hundred, wouldn't it? Yeah, I th I I th I think so. Um but yeah, I I've I I've moaned it Oppo . I've I actually bought it through mobiles.co.uk because it was three hundred quid cheaper than buying it outright. Um and you still got all the pre order gifts. Um but I think there's probably karma coming back to me. Um or my fat bottom um that calls that. But uh again if anyone's thinking of buying one of these, I would definitely get a lens protector for it. Can you tell me, sorry, does the camera when you put it down flat, the Ultra Nine, does it wobble on the table? From memory, um of two days of use it no, I don't think it does. I mean it i i it is really good in the hand, the your finger at the back fits very n snug underneath it. Um I I I think it it is I had the the X9 normal, uh the next Time Pro and I really loved it and this is everything that that had really. It is central it is centralized the island, isn't it? It shouldn't wobble really. Yeah. No. But it is a real chunky monkey. It i it is going back to my on a magic eight pro , is this is like the the eight pro feels like um um an iPhone mini compared to to what that was. So um it is quite hefty but uh again it it is a a pleasure to use um but maybe fragile. Um and and i in terms of your um six weeks um off your feet as it were, Ian. Right. Um I I'm supposed to be in Mon leaving for Monaco uh Tuesday week . So um I yeah. So I've only just started walking on the boot with it but obviously not very far, but the nature of um shooting a race weekend , you do an awful lot of steps, so I'm just trying to take it as easy as possible. Um but um it it is what it is. Um I'm going no matter what, so you're gonna go anyway, yeah. Hang it. Yeah, yeah, yeah. Well, I I think it was um I think Chris mentioned a mobility scooter with a Ferrari logo on the front would be be cool. So um Oh dear. We mustn't um we mustn't take the piss. You i it was very sad for you, but I always said that exercise was no good for people and you proved it, I think. Um running around the place. It wouldn't have happened if you hadn't have been exercising. Um Joe, Joe's joined us. Um he's late on parade, but he's here. Um how are you doing, Joe? Yeah, I'm late, but still great. I'm not too bad, thank you. Good. Um yes, Joe had a late customer as I was saying earlier, so um he's now with us, which is cool. Um and I was just saying that the sh the the the the title of the show, but before we get to the um the rest of the the the the the theme bits was just um dec I just thought I'd let you know that I decided unilaterally um that I thought that the photo of the month competition now that we've reshuffled all of what we're doing, um I think that the photo of the month uh competition in PSE photos is probably more appropriate here. We can still do Jo and I can still do picture of the week and that sort of thing um over in PSC if we want to. But um it kind of fits better here I think. So I thought we would just um go head into that. Do you agree, Joe? Yeah, no, I can see where that makes sense. Um and I would be interested to hear what these chaps would say actually. So yeah, makes sense. Um uh opinions about the winners particularly, the the the the the the the apex of the the stuff going on. Phone show chat dot uk is our website these days for PSC photography as well. Um and there's a link there to the shared album. Everything we're going to talk about tonight, well most of it, is going to be in the shared album. So do head across there and um follow along if you would like to. Um now when I said to Chris earlier we were going to do this photo of the month thing here in the PSE um photos group. He said hang on a minute, you didn't even mention my winner for the March competition and now you're jumping to April's and that's not fair, he said. So we're gonna start by um having a look at his photograph, which did one win the uh photograph of the month for March twenty twenty sixth, which was taking in the view. Um uh as he's called it, with an Apple iPhone thirteen mini, which you hate Chris . I don't the phone or the photo. I'm not sure. You you I thought you meant the photo. Uh I I would say I hate the photo but um I was obviously I I don't concentrate on phone photos so much these days and um the pictures I got with my camera I was really, really happy with. We've spoke about one of them last time or the time before. Um but when I'm sort of out taking pictures of the camera I do sort of just chuck a a quick phone one in there just to just for fun, you know, just to just to capture it on the phone and put it in the group and this was the one I got. So it wasn't particularly m uh a lot of intent in the composition. It was just literally walking along, pick up the the phone and point and shoot and the edit was pretty much the same, just a a cheeky vignette and that was about it really, a bit of contrast. Uh but I think this the the colours were all all there for me, didn't really have to do much work. It was uh it certainly got the votes. I like the lady on the left with the cross legs. I think that's a really possible. Ian, any thoughts on that? Yeah, I mean it's it's it's it it just proves that you don't need to have the latest phone um and and what you can achieve and I guess you shot that as a JPEG as well, so you you don't need uh as stupid amounts of uh processing as well. So no it's it's it's it's a really good shot. Charlie Uh sorry I was,n't listening. Joe . I think it's a lovely shot. And I think a key point is here is what Chris said about point and shoot. And that's what a lot of people can do with their mobiles. Um which is great. Um which is why we can c encourage more people to get into photography and start with phones. Definitely. Yeah. Okay. Well perhaps Charlie will wake up when we head to the photo of the month winner for April, which is the uh lovely picture of a cat um looking at its own reflection, kind of. It's called um Cat Reflection by Ian Watson, and he took this with a Google Pixel 10 Pro. So around the panel once again, Chris Uh as the uh the cat hater, uh I actually really like this. This was my pig as well. Uh um believe it or not. So yeah, definitely um uh the best one of the bunch for me. I really like the depth of field. I don't know whether he's done a lot of editing. Looks like there's a vignette there. I really like the shadow fall off on the left and there's a um complementary colour, colour grade. You got blue and orange with the ears of the cat and the chin on the reflection Um it's just a really pleasing image. Um I'm not sure, you know, whether it's everything was intended to be like that, but that's how it's come out and yeah, thumbs up. Very nice. Ian . Yeah, I I voted for it as well. But uh I I guess you uh you would say but not being negative, but uh for a phone photo it's it's great, but uh again if you were if you were planning something with a with a camera, you would probably be looking for maybe b something more on the reflection, that's all I would say. But from from an output from a phone it's it's really good. Joe? Yeah, I'm gonna repeat what I said on PSC actually um looks like the cat's deep in reflection as well thinking about its life and what's outside. So yeah double meaning on the reflection. I love this shot, it's brilliant. Cool. Charlie are you awake? Yeah I think it's really it's really good for a phone photo and for a photo in general. I also like the reflection. You can kind of see um almost like a third eye of the cat between its two main eyes in the reflection, which I think is good. Um it's a good photo and it's really sharp as well, the image. Well done. So thanks uh thanks gentlemen. Um Ian Watson uh took that with a a Pixel Ten Pro and that will go forward to the photo of the year competition taking in the fourth place for April and we'll be back here with the May one at some point in the coming week, so watch out for that one. One matter to chuck at the panel for an opinion was about Ahmed's picture. Actually, I was quite surprised that Ahmed's picture didn't it to be honest. Um he took a photograph of his iris and it was quite phenomen ally detailed and close and macroish. Anyway, the point was that he took this photograph with a um an old Nokia phone and then stuck the resulting image into his um new um uh Samsung phone and then edited it it in there. And the question that came up was is that okay? The rules of the group are you it's got to all be done on a phone. Uh well th those are the rules at the moment. It uh it should all be done on the phone, processed on the phone. Um is it okay if it's actually the the job is split between two um between two phones. Uh let's start with Ian. Uh I'm I I say I'd be happy to edit it on whatever, so yeah, I've no challenges from from that perspective. Um I th I think is say as long as it's shot on on a phone, uh it to me it doesn't really matter what what what what you edit it on but uh Okay. So perhaps perhaps um Charlie ? Yeah perfectly fine. I mean, you know, uh phones are like computers these days, so whether it's edited on a phone or a computer, it's all the same to me. Go . Yeah, I'm in agreement. I mean I'd even say I'd happily see people edit on a on a tablet. Um even a laptop even I I'd say. Um I know there's the argument that's uh stronger um software, but yeah, I'm I'm happy to see it edited on it. As long as they state Prizes. Um I know we've gone back and forth for years on this, haven't we, Ted? But uh no no problem, edit on a laptop, you know, phone, tablet, whatever. It's all the same. Lightroom's the same on every device now as well. So perhaps we should perhaps we should make that formal then and just say in that group it's okay, anything goes, edit it where you like and um let's uh let's move forward. Okay, thanks very much w for that. And we'll get to the theme. Charlie , you chose the theme which is friction and obstacles to photography and something else. Oh I missed that out. Uh what is it? Constraints. Friction, constraints and obstacles to photography. Um so do you want to Well I think I'm kind of a sufferer really of this. I mean I want to take pictures all the time and I always find there's a lot of friction not, only with my gear, but also the environment, the setting, uh, and really to you know just get off my ass and go out with my camera and take photos. I always find it difficult, which sounds strange to say ' obcauseviously we all have mobile phones. Um but a mobile phone doesn't always cut it for me, I think, when taking photos. So the theme today is obviously constraints, friction and obstacles. So I think we need to ask ourselves what do these words mean? Friction. What does that mean in the context of photography? Well, I think it's anything that basically takes away your motivation to actually go out the door and take photos. It could be something as simple as you know um charging the batteries for your for your camera to um just having like paralysis over what lens you want to use. Anything like that can be be friction. Even from what you know metering mode you want to use. Anything that you know makes a simple process more complicated, I would say, is friction . Then you've got constraints. Well what do I mean by that? So a constraint is like another form of friction, but it's like inverted friction. It's it's uh a friction you put on yourself so you can go out there with one go al to take a photo. In this case, it could be just shooting with like a prime lens, like a 50 millimeter lens, and you say for yourself, okay, I'm only going to use this lens for a day or a week or a year, but we'll get into that you know later down the line in the conversation. And then finally, obstacles. What do I mean when I say obstacles? Well, I think there's four main obstacles really. The first one is obviously environment. Within the environment, you have like people. Sometimes it's difficult when you put a camera to someone's face if you're doing street photography or with a flash. Uh, if you're in a hot country, mosquitoes, you know, you have to wear many layers of clothing and that makes you extra hot when you' ve got camera gear. So that's environment. That's an obstacle. Thin gear, as I've mentioned, that can cause paralysis. Also, another interesting one here, which you could probably lump in with environment, is terrain. So when I went to Hong ong K um in my naivety I think it would be you know really easy. I thought oh if it's only fourteen degrees it'd be nice and cool and I could walk around I won't have to worry about the heat. But of course I didn't factor in the hills. It's a very hilly terrain. Um and it was a nightmare on my knees. In the end I I just went out with one camera and one lens, which was good. I did well. So it was kind of like a obstacle coupled with constra ints. Um the terrain is very important, especially if you're going to a hilly area, Chongqing, Hong Kong. Very difficult to do photography with many lenses. I wouldn't recommend it. And finally, obviously, obstacle is um climate heat can be a massive role it could be a big hindrance and also rain as well I actually like rainy um photography but sometimes that's difficult and you have to you know, suit up with like a proper jacket and put a bag over your camera and look ridiculous in the rain with your you know, a shopping bag over your camera, which I've done a few times. Um so those are the obstacles . And uh constraints um obviously going out there uh limiting how you're going to shoot. So I've created this graph and hopefully other people here can chip in, which you'll see on the album, which is what I what I call the creative feedback loop and I used Chris my friend here in the uh in the podcast as kind of like a like a model really we can look at the framework around him. Um Chris in Morocco, yes he he's is a framework that it's built on. Because I went to Morocco uh a few months back with Chris and he had the ingenious idea of just going with one lens, which I did, but I took a zoom. He went with the thirty five millimeter. So this is a eight step process, it's creative feedback loop. It's essentially uh um he a heuristic device just so you can better understand the workflow of how to think um in terms of obstacles and using it to your advantage. So he went with one lens, a thirty five millimeter lens that then forced him to focus on certain things because you can only capture certain things with a 35mm lens, but it's a very uh versatile lens. Obviously, you can do environmental, you can do street, you can do many different things with a 35. And then you can see here step three, that really forced him to focus in, to hone his skills in on um obv ation. You know, so he took one fantastic photo of um uh a street vendor pushing a car. Obviously there was more to it than that. He had like dynamic light and and stuff and it was really good. And I think he did minimal editing. I I think he can probably tell us about this, but I think he just did masking, a bit of editing on that um um minimal editing on that photo and I thought it was really good uh because he was shooting early in the morning. Um and then I just you know put here for observation different things that you would find in the environment in Morocco, uh a cat in an alley or whatever. You know, different things you you're forced to focus on because the constraint is the 35mm lens. And then as you're doing that you're accumulating more and more images and then that finally creates like a reflection um a feedback process where you're posting the images on Behance or Instagram, Reddit, Vero , and that's really kind of feeding uh the images in your head of what constitutes um uh a good photo. Uh this goes into pattern recognition, which is hugely important for myself, I think, because I I see myself as a bad photographer. So I basically use um patterns to identify what people would say is a good photo. I cheat basically, I just copy other people's work. And that seems to work for me because in doing that I create my own photos. So you have the pattern recognition which really builds up your kind of identity of who you are as a photographer. That sounds a little bit a little bit uh uh bullshitty, but y you know, I think we all do build an identity when we are out there taking photos. And then finally this leads to the final point number eight which is the new constraint. So instead of using the thirty five millimeter lens, you're gonna say, Okay, now I'm only gonna shoot the colour orange, or I'm only going to shoot subjects wearing white or shadows, or I'm only going to shoot, you know, men wearing ties, or women and men wearing ties. Um and then you can couple that with uh the thirty five millimeter lens, you know, if you're crazy. You know. You you can just have like one constraint or you can marry constraints together. And it's just like this idea of breaking out of this rot, breaking out of this um this this cycle of uh friction and obstacles and I think this is a good process um you know to do that. Um what are your thoughts ? Well um who's gonna go first? Chris Uh okay. Well as it's as it's my name in the middle of this loop I guess. Um yeah I I just as the Morocco example, um it was a constraint forced upon me by uh Ryanair or EasyJet, I can't remember which one it was, but um I basically just had a children's backpack uh to take with me to keep the holiday within budget. Um so yeah, I just went for one lens and I did find it enjoyable and I did find it creatively fulfilling that you had this sort of for me a a big constraints. I only have Zooms, I had to borrow Charlie's Prime. So you have Ryanair to thank not Ryanair, EasyJet to thank. Easy Jet, yeah. Yeah. So yeah, and there's definitely some benefit to it. Um I got that one image, you know, which made the the trip worthwhile and there's an argument to be had that I might not have got that image or it might have been a very different image. If I had like my bag of zooms on me, it probably wouldn't have been a much wider shot. Maybe not as interesting. Yeah. So yeah, there's definitely um advantages to it. But I don't have your analytical mind, Charlie. So I um You can't end right there on the first step. There's eight steps. No, no. I'm I'm with you. I'm with you until uh I think I'm following you along and it kinda makes sense until we get to number five and that's where it kind of ends for me and then I don't really do this is where the analytical side of it comes in for you and I don't think I I do all this or not consciously anyway and and I've never sort of gone on gone in for this only shoot orange things. I I feel like that's something that people tell you to do when you're kind of fed up and you're trying to force yourself to take pictures, which um I haven't really had I have a list of creative constraints. It came up to about fifty, but I've narrowed it down. So there's about twenty. Three. Well I mean you can you can do it from a technical standpoint, okay. So creative constraints. You can say, okay, I'm only going to shoot um open wide, you know, F one point four. You know, that you can use any lens you want, any camera you want, shoot whatever you want, but you're shooting open wide. So that would be a bit weird for me because I usually do that obviously at night. So that kind of creates opportunities to get some unusual photos, I guess, if you're shooting wide. You can also shoot, you know, F eight, which is great mm, the majority of the time, I think most of us would agree. But again, that would also have some um constraints. Uh so I'd really have to think outside the box um shooting that way. If you were to go outside of shooting technically, you could uh you know shoot with no editing. You say, okay, I'm gonna shoot and just shoot raw unedited, or you might as well just shoot JPEG. Yeah, I was gonna say, I mean there's no no editing maybe it's probably too much for me, but just shooting JPEG maybe with a profile applied to camera like Yeah, like a foo a Fujifilm sim or a black and white um colour. Then for sure, but you know, if you're shooting raw, they're meant to be edited, they're deliberately kind of flat with the intention to edit them. So you would need some kind of preset on it, I think. I think the other thing is interesting here is we're talking about forced constraints and ones that are planned constraints as well. There's two different types of constraints here. Um but the thirty five mil constraint was actually forced Yeah. Yeah. Yeah, so you've got different types of constraints as well. Um I I I I uh struggle with friction. Ryanair . Yeah, Ryanair would never sort of tell me you can't edit your photos. I mean that's that's the No. Well if they did you you would tell them where to go but I would I'd say okay. You mean Joe as opposed to um uh constraining yourself for the exercise of a artistic um um uh attainment. So you say right today I'm only gonna shoot with my lens wide open, for example Exactly that, yeah. So that's a different type of constraint. Which is what it's interesting, um Charlie, with this route that you've got here, this cycle, like you've started off a constraint which is actually forced, and then your your planning constraints which is quite interesting um which maybe maybe that exercise because you're forced to do that you think do you know what I might do that next time I might put some constraints because it gave me focus, as you can see in number two. Um which is a good thing in photography, isn't it, to have some focus um planning your shots with the thirty five mil only. So constraints can be a good thing. It can be, but I think it's important to look at the wider the wider picture. It's kind of like a false narrative I'm putting on you here because if you apply this to me in Hong Kong, yeah, fantastic. I'm gonna get some banging photos using this constraint of uh thirty five mil or only shooting orange or whatever. But if you did it in uh I don't know the city of uh Hastings or Brighton, you know I'm gonna get limited output, I'm not gonna get so many photos. So although it can help you creatively , uh as a numbers game it it is still location dependent. It's a fact that I'm gonna get better photos in Bangkok or Hong Kong versus Hastings. You know, it's just a it's just a fact. So constraints can help you , but you still need to, maybe I'm biased. You still need to get on the plane and go to an exotic location to get cool photos. That's what I'm saying. This way the friction comes in. Yeah. You've got to make that time to to do that, haven't you? You've got to you've got to um have some belief in yourself as a photographer as well. Like that's something I struggle with 'cause um because if you really want to go out and you you f believe you're gonna go out and get good photos, you do it. But if you if you have the mindset like I often do is do I wanna waste my time? Um I can go out for a few hours, I'm probably not gonna get a good shot. Um so yeah. Uh the friction part is my issue more than anything. Constraints for me I think will be a good thing 'cause I'm still learning quite a a lot lot so um having constraints can can teach me new things. But it depends where where you are and where you and where your mentality is as well. Yeah . I I think also you can you can take a more logical approach, which is kind of pointless in this kind of pursuit 'cause it's obviously no photography is meant to be an art. But you could say, okay, well, opportunity cost, yes I can go out, wander around the streets of Brighton for three hours with with my camera and I might get a good photo. Or I could stay at home and look at images on Instagram, download them, draw over them on my iPad to better understand the context of the subject and the photo and the composition. It sounds sad, but I do this every time before I go abroad because it helps hone my my vision on what I'm gonna shoot. Now not everyone I can guarantee you that Chris doesn't do this. But this is what I do and it just kinda helps me formulate in my mind's eye what I'm gonna take a photo of as ridiculous as that sounds. So there is that opportunity cost element going out for three hours, getting one or zero photos, versus just staying at home, putting in the work, and then when you go abroad, like I do, then you're gonna get some good photos. So it's just being um it's being constructive with your time. You know, uh if you're measuring an hour pi hour per hour, there's only so many hours I can go to London and I'm not always guaranteed good photos versus just staying at home and studying photos. Ian. Ian, are you keeping up? Uh yeah, absolutely. Um he's fallen asleep. No, no, I I I I I get it. Um I'm I'm probably more on the the constraints of the biggest constraint is is getting the time to go out and and also the the commitment that if you're gonna go and shoot something it's planning things like the the light or tide times and things like that. So you're getting all of those things in place. For me personally , putting constraints in my photography would would be painful. I go all the way to Hong Kong and I'm taking one lens and I can shoot one c that that's not for me. I I'm not gonna put all that effort in to go and shoot and then put constraints to potentially miss a photo or something just to be creative. I again that's that's my perspective. Um but I I I think it it is that element that that Joe mentioned is is is getting that time and planning to do something and and it's to me it's all down to intention is that you intention to visualize what you would like to get, the the sort of area, the sort of the light, planning the time of day and and actually getting it because back to the the age old um saying that uh that the the more you do it, the luckier you get. Um because you go to London and w on a one off you might not get that photo. But again if you're planning it and you put so much work into it, you've got a lot more chance of getting the shot that you're you're looking to get. So you're Ian Ian, you're quite often constrained by event. Um Yeah, absolutely. And your constraint by time and shooting something live, but also the constraint of what you actually have to produce. So that that I I think that is that takes a lot of the creative work that that Charlie has been talking about is that if you're doing this for a job and you're doing this for an assignment and you need to generate um a hundred images, you you're 100% focused on getting those images and everything nothing else gets in the way. You may have some time to try and get a couple of creative e shots, but most of the time you're constrained on laser focused, I need to produce this, this and this, and I need to to get it up to the editor to be put online . So that does take a lot of the the fun out of it um of of being in a an epic location and shooting something like Formula One, it's probably only until afterwards you you look back and say, wow that was that was a great experience. But when you're actually shooting it, you're not sort of living it, which I my understanding is more of a Charlie thing is is really um living that moment to to get that shot and taking your time, whereas mine is very instant I just want to talk about the um feedback and reflection part. Um I think this is very important, especially um when you're learning, but even as a photographer that's more experienced, it's good to get feedback and reflect on your images. Um but this can also uh cause friction um if you get negative feedback of course um and if you're not open to negative feedback, which is important again, you need to be open to this type of thing if you want to improve. Feedback's a gift, as they say. But yeah, it can cause friction and then it stops that loop, stops you wanting to go out again and take pictures. Yeah, I think that's great. Um sorry, uh I was gonna say that AI, I think, has magnified perfection on social media these days. So when people are going online to post their images, I see this all the time. I think I've got such a great, fantastic image. And then there's someone else with something that looks just ten times better um and it's quite hard I think to compete with that. You know now everything is so perfect, so good online that when you do go out to shoot you just feel like what's the point? You know, you could just m make it at home on a computer like a fake image or something when you can it it the barrier to entry, even though anyone could take a photo, to take a good photo the barrier is quite high and you can just cheat by using AI if you were wanting to do that . But I I also think that the I'm a hundred percent with you on the feedback loop to to be able to get constructive feedback as as Joe said is is is a gift. But I there's also pleasure of actually going out and shooting and enjoying taking taking photographs. Even if you're not getting a great photo, you've gone out, you've been in that situation in London or something like that and you've you've you've had the the pleasure of trying to take shots, even if you don't get the end product, for me that that's also part and parcel of the enjoyment of having it as a hobby. Would you say, Ian, it's more a case of reps, reps in the game. Um that just the more you go out and shoot basically the better photos you y you get. I mean I know it sounds simple to say, but I think that could be the case, really, just going out there more and more. Even if your photos are let's say you're a beginner, just the more you do it the the better you're gonna get. But I wouldn't agree with that. I think um the environment plays a big role. You need to be in the right setting, I think, to take good photos. But you get that experience. I I also think that yes, th the the more you do it back to this Gary Player thing where he 's taking that shot and the guy said, Oh, you're so lucky and he said, Well the the more I d the more I practice the luckier I get and I think the more you're in that position y you will get those shots but I think there's also a really other piece is is shooting with other people and seeing what other because we see things in a certain way that maybe we're a little bit tunnel visioned and you see other people shooting or shoot ing something else. It's a bit like going to the Formula One and you can see where all the photographers are and you're standing at some c completely somewhere else on your own. You know you're in the wrong place. So it it's those things as well if, you can go out and shoot with other people, I think you get a different perspective. Yeah, that's interesting. I think um as you say, the more I practice the better I get. I mean you're essentially creating your own serendipity, aren't you? When you when you go out and shoot, you're creating your own luck the more you do it. Yeah. I think this is pattern recognition you're talking about here as well. Like um people standing in that uh particular place. Why are they standing there and thinking about that. Um I think the pattern recognition goes hand in hand with the feedback and reflection as well. And this could be the type of feedback you're getting from certain groups of people because they' s let's face it this it's an art form right um certain photography is not gonna appeal to everyone. Um let's take Ian's um photography of F one, not everyone's gonna like it. They might look it'd be an outstanding photo, but it's of a Formula One car and they're like, Oh, I'm not interested. Um so it's finding who's going to be interested in your photography as well and getting it out to the right people. Yeah, I think there's certain genres that people tap into, isn't there? Obviously, there's gonna be some genres that are very, very popular. Um, there are some genres that people are just gonna buy into quite literally, like wedding photography. Although I don't know how many people would actually go on Instagram and look up wedding photos unless they were gonna do their own wedding. There's a lot on there, surprisingly. Really? Yeah, because it it's really artistic now what you can what wedding photographers do now. It's not um traditional shots that you see. Um and I actually love looking at them what what they create. Um really yeah, it's really, really good stuff. Really difficult, I think, wedding photography because obviously the bride and the white dress, the white is gonna mess up your photo. It has to y you know, the editing, the um what am I trying to say? It has to be perfect to get the white balance. So everything looks correct. You've got a constraint there, haven't you? Um technically it has to be correct 'Cause it I see um wedding photographers often treat it like a bit like street if you like, um, the way they do some of their shots. That's fantastic. Yeah, you you should definitely check it out on Insta Wedding Photography is really fun now when you see it. I was just thinking about pattern recognition and you know there's this whole talk now with with uh tech with uh Ray Band glasses, meta glasses and all of that. Do you th do you think there'd be a market for augmented reality pattern recognition photography glasses? So you you can put them on when you when you go out to shoot. Shows you a good composition when you're going to hard work for you. And it's constantly doing it in real in real time with like uh lines and lasers and there's a sense in which cam um uh f um phones do that already, isn't there, Jo? With with some of the the clever the clever composition um stuff. You can turn some phones on and say, here flick a switch and it'll it'll sort out the best shop for you, won't it? Yeah. I mean in the basic terms, you've even got the rules of thirds and things like that and you can have the grid on your screen can't you um in basic terms. But yeah even, even now there's um lots of features now. I think Pixel's got a load of stuff, hasn't it? Mm-hmm. Yeah, I I think they're all it's all coming through to to all cameras. Uh sorry, all phones. I'm not sure about cameras. Or is that are they keeping away from that? The basic UI on cameras is terrible really. Um when it comes to phones, they've they've got much more sophisticated uh user interfaces that they're much more intuitive to use. Uh I think I think everyone would agree that if you have a Sony camera, the the software is just abysmal, it really is. I think where we're seeing more consumer sort of cameras now, you might see that type of thing coming coming feeding in. Um but yeah. Who knows? I think we had that a couple of years ago, didn't we? Remember the Galaxy camera that came out, which was basically a camera which had Android screen on the back and that was great. Yeah, I'd I'd love that to come back again because I'm with Charlie that the I think the interface on every single camera is atrocious. And I don't know if they're all all in leak together that they they have to do it because to create that barra barrier of entry for people to be able to use cameras they need to to get over that obstacle . Yeah I I think the phone UI is just superior in every every way. I just want my Samsung phone UI on my Sony full frame camera. That's all I want. I'd be so happy if that could happen. It's just so clunky. But when you have a new camera and you have to set it up and you say a new camera, it's such a pain and I'm sure it's similar for Nikon or for Canon. Um maybe not Canon, but the the Sony uh interface is just really bad and um as you were saying Ian with a Samsung camera it was just more more intuitive back then . But it never took off for some re I I don't know why, but uh again it it it seems logical, but but maybe with DGI maybe coming into the market and things like that that things may change at some stage. I think it was before its time it was just too early, wasn't it? I think. that no one wants to go first, you know, no one wants to be the one that upsets the bird watchers, you know, the the sixty year olds that gab around the corner at parts cameras. Um so we need DJI, they're my last hope uh to come in and they need to have something that set sets them apart from all the others if they come out with a full frame camera. Um it's gonna be a tough sell to get anyone to go to them um, you know, changing system chang,ing lenses. So they need to come in, they need to come in with a whole new modern UI and I think they will. And But they're they're part of the L mount alliance alliance, aren't they? So you can use the Oh they will get the lenses straight off the bat. That's true. That's true. So but you know, they're still gonna have the the issue of sort of converting people on onto their system and they're gonna have to have a differentiator and hopefully it's gonna be pushing the whole industry forward. Um I guess they'll try one target um some of the content creators that already use their like action cams and stuff like that. I think they'll have to, yeah. Yeah. But once they do it and if they do well then that they'll all do it, won't they? Yeah, they'll follow suit. Ye.ah Uh Chris, didn't um DJI invent their own their own market for um uh gimbal cameras, the the the Pocket Three, wasn't it? There was nothing else similar, was there? Not that I know of. Um and the the DJI Pocket 3 um has totally dominated the the market. And stuff like that, because as much as my full frame camera's great, um when I go to some of these events, having something small that goes in your pocket like that, um, that can shoot 4K and it's it's brilliant . Yeah, one in the sensor in there. Um , it does everything you need to. Yeah, yeah, for sure. Um and it I really hope they do come into market on full frame and and do something. So Charlie, um back to your notes and the a cycle of intentional practice and continuous evolution. Um was there more we needed to say about this Um no I I mean it's quite straightforward. It looks more complex than it is, but i it it's really it's just a cycle, Ted. That's all it is. It it's just really going from one process to the next in order to uh iterate your image taking abilities. That's what it is. And constraints I think are the best way to kind of get out of a rut if you're struggling. And all I would add to that is I noticed that I don't play video games, but there is a comparison there. I think if you're trying to create constraints to take more photos, there's an interesting um crossover with gaming. You're essentially trying to gamify photography, aren't you? By adding um constraints. If you look at video games, you know they have objectives, rules, um, progression systems. These are all things that photography lacks. So I think by integrating the these gaming concepts into uh not just street photography but any form of photography, you can really get out of, you know, what I suffer with, which is aimlessness in my photography, repetition of taking the same thing in photography I was taking for many years, uh street photography and I was getting a bit bored of it, overthinking uh the photographic process out of um the situation where you have uh friction and obstacles. Certainly um that made me think of what Chris had said quite recently about repetition. Um he was talking about his photographs of the beach and he was saying like well um I there's nothing else to unless I go unless I go to Morocco or something, um I it's gonna be the same as I've done before. Um Chris, you you am I quoting you pro pro properly there ? Pretty much, yeah. I mean if you if you don't go away every week, which obviously I don't, then you're kinda stuck with what's in front of you to a large degree and yeah. So I do just go down and take the same old photo of the pier, you know, maybe the light will be different, the tide will be different. Um but I still enjoy it and I still get images that in isolation I'd be really happy with but because you sort of done 'em a hundred times befor e. Um they don't wow me like they used to, but the process of getting down there and I'll hopefully we can do a a show and long exposures at some point. Um you know, I just find it really enjoyable and and rewarding Sure. Cool. Um friction, constraints, um or what was the other one? Obstacles. For me, I would say it's definitely friction is the biggest problem 'cause that can actually stop you going out and taking pictures. Um what what's your opinions? For me it's um if we uh the definitions are are what I uh I think they are. I think obstacles, you know, uh location , um opportunity . Um you know if I was going to a different country every week. I'll be out taking photos, you know, every week and enthusiastically so, but when you're sort of at home, yeah, I think that's the big issue for me is is location and opportunity . That's interesting because I I think there's some friction there as well, but we'll get into that in a bit. Go on Ian. Yeah, I'm I I I think it but I I I think it it's sometimes all in your head that that there is always something you can shoot or something you can do um to do that. I know as say being in the same location is is a friction, but I think the the planning and and putting putting that effort in I think sometimes is is is the challenge for me. Um because uh do you plan it be ready to get up at a silly o'clock half three to get to a sunrise or something I think the um when I used to take photographs a lot, the biggest obstacle I imposed um or or I convinced myself was was the the obstacle was not having any money to get the gear I wanted. And I know that you touched on gear earlier on, uh Charlie, in your list. But for me that was the big one. I I convinced myself that I couldn't afford to get the stuff that I wanted. Um and to some degree I still do, 'cause I I you know, I'm quoted on this show as as as saying if only I had pots of money I would have the best gear and I'd it would rekindle my interest in in cameras and photography. But you know, to some degree that's probably an exc use. But but in the old days I would certainly go out with a um y uh TLR or something and um and uh one lens, which was usually fixed on a TL R and say, right, today I'm gonna do this square format and I'm gonna enjoy it and I don't take anything else out with me. So I I think obvious that obstacles are are largely self imp not largely but partially self imposed because of attitudes. Charlie Uh yeah, I think I'd I agree with all of that really. Um for me obstacles are really I guess it's more friction actually. Lens choice. I suffer from that all the time. I will I'm always debating whether to take the eighty five or or the 35. And it's silly, really, because I have a phone in my pocket which doubles as a second lens. And I've tried to break away from that process of always thinking about what lens to take, and just take one lens, mostly because of the weight if I'm without a car um and just my phone and just you know do it that way. But then if I if you take a tripod that's when it starts getting difficult because I do plan my shoots and sometimes the lens I have isn't wide enough or whatever and I have to take a second lens and that's when it the friction builds up. Um so yeah, I think you do need to be selective in your choice of weap Cool. Okay. Thanks very much everyone. Interesting discussion. And let's move on. Before we leap into um uh review of the kind of the the brief stuff that people have been going on uh um b have been doing in the last uh fortnight. I just wanted to highlight a couple of um photographs in the album um and also Chad Dixon has been put been putting some videos in there as well. Um now if you uh I'm no I'm looking up this on a desktop computer, if I run my mouse over the videos you can see them rolling and he's obviously having some fun um not only creating videos but also um putting music to it and making it all happen and some of that is really creative and and interesting ideas that he's got going on. Um he's also posted a picture of some shadows which if if you click on it you can see that um the shadows are on the ground which was paved in grey brick and I just flipped the photo ninety percent uh clockwise before So that was an interesting um almost optical illusion kind of photo and very interesting what he's done with that. So I think the the the the the few that in there that Chad's done. Any thoughts on that the videos or his shadows photograph ? I really like Chad's shadow one on the wall . I think that's great. It looks like a book cover. Um it it looks like someone's paid him to go out and actually shoot something specifically for a certain book. I think it's really good. Yeah. Sure. Okay. Anyone else? Uh yeah, I that was the one that stood out to me. It's probably my favourite image in the whole album today, to be honest. Um I always forget to try things like that to to flip the image. Um because I just assumed it was against the wall, not the ground and oh yeah it makes sense when you see it when you find out it was the floor. So it's kind of uh you know encouraged me to try and do things like that myself a bit more as well. Cool. Um Joe, any thoughts on the videos particular you're a video man ? Well, it's a bit different to the videos I do, but yeah, it's it's cool 'cause I like the slow motion. Um it's it's cool that phones can do that so easily. Um very colourful, it's very Samsung esque, isn't it? Um but maybe it is just colourful scene anyway. But yeah, it's really cool. Very colourful . Yeah, I mean both both things he's posted the video and and the image, both very creative and shows Chad's creative side. Yeah. Ian Yeah, I I like the black and white one. Um I I think uh as I think previously said it's um it's it's interesting um and having and and and flipping it I think is is good. Um I think it might work as maybe um as a portrait or something um like five by seven or something like that would be quite interesting back to the the sort of the book cover thing but um yeah I like that. Cool. Okay and we got four pictures in there from Ed House who couldn't join us today. Um and they are tending towards being insects and flowers and stuff like that. Um which he's uh taken um with uh various uh bits of equipment. One of the the the dragonfly or rather the Mayfly um was taken with uh a um GX7 um the um willow flea was taken with a um Olympus um E M ten I can't see the lens on that. I'm not sure what lens was taken that uh was uh attached to the device there. Um and and also the um the crane fly on the flower. Um uh again Olympus Olympus Giris he is there. And the first one which is the golden star of Bethlehem '.s That another uh Olympus one. I think he's using his thirty millimetre macro lens, isn't he? Um for these ones. So the certainly the the the willow flea is incredibly detailed. Um so yeah, any thoughts anyone on um Ez four pictures ? Should I go? Yeah I'll go. Um I really like the the Garden Star image just f just the flower. I just love the um the dark and light um it's obviously it's caught his eye as well um because even in the the leaf in the foreground um you can see the shadow of the flower it looks like uh on that leaf. It's yeah, it's really interesting image. Um I I really like it. Cool . Okay . Um thanks very much um for those people that have dumped some o photographs in the into the album, that's really helpful. Let's get back to the catch up then. Um our last two weeks in photography. Um Chris, you've been constrained and not have not been able to get out, I think ? Yeah, work's been mental for me the last few weeks uh and it will continue to be until I go away. I go away two weeks tomorrow, uh, to Thailand for six weeks. So um my thoughts are sort of photography wise are just sort of focused on that at the moment. And I'm just thinking, mmm, uh I enjoyed that thirty five mil prime I had the Morocco. I do I get one for Thailand? That's my main sort of quandary at the moment. So Yeah. Not sure whether uh that's a a community uh problem to have. I say yes, yeah. I know, I know. But my bag's heavy enough . Okay. But yeah, we'll see. But um yeah, not much going on. Who am I flying with? Yeah. Uh either air uh Taiwans. Oh no, I mean you you on your own or Oh sorry, sorry mate. Uh yeah, I'm going with my wife. I'll stick it in her bag. Yeah, I might have to smuggle a couple in there as it is. Okay. Um and someone else has written there no photos taken. Is that you, Charlie? That was me, yeah. I haven't been too busy at work. I haven't managed to take any photos this uh past two weeks. Okay, no problem. Ian, you have made up for everyone else and have ta have put quite a lot in. Do you wanna lead us through what you've been doing? Uh yeah, I went to w when my leg was working, I went to Sneterson just to to have a practice really. Um it was to do try and do some whip pans, uh where you you sort of flick up at the end of the the panning and try to get some um really slow shutter speed stuff down to sort of an eighth of a second and stuff like that to try and have a play around. I've uh again, nothing fantastic. Again, it's the location everything, but it's it was interesting. Um but also trying some different um sort of um zooming in as you as you're panning, the there was one shot in the group that um is is not brilliant. There's a picture of a car with Ian on it, which is which is obvious But I I did a z zoomed zoom ed in a as I was panning and shooting it, um, which had a interesting effect. It was just really to again to have a play with different um shooting technique. So I I was quite interested on that with everything else is sort of zoomed in and blurred sort of thing that you can maybe create in Photoshop but did it out of a camera. Um but yeah, did that again some some slope pans and things like that . Again it was really there just to practice back to the the Charlie comments of being there spending an hour uh morning lots of cars going round and and having the ability to test things when normally I I wouldn't be able to do that if I was at a a proper race weekend. Um I also did um an evening of um d lighting testing so the camera cover belonged to have uh some stage lights um and also they had some set up for some still life. Um so it was really interesting trying to get cameras set up for for lighting, for for portraits and and still life as well. So that was a good sort of evening of of learning. Yeah, I mean it it was something and nothing, but this was uh a a vase that had um a halo light behind it. So it had a b a red board and then the flash was behind the board to get the halo on the outside and then there was um a flash to the right as well. Um but again it it was more around practicing which was which was cool. And it was with sort of a a group of sort of fifteen , twenty um like minded people with their cameras playing by learning and things like that. So it it was it was good good good but again nothing of any note but as I I enjoyed doing it. Um and then the final thing is um there's uh panels competition um next week so I put some panels together so one that will be printed which I called only the brave, which is the uh Southwall Pier thing of the the the clothes on the side, the people going swimming and then on the beach huts to clothes. So ideally these triptish images are supposed to create one image out of out of three. So um I'll I'll print that one and then I put together the three images from Shanghai um into a triptish as well. So I think it works I think on this one I probably put the borders a little bit tight. But for the one I submitted I had sort of fifteen mil borders so the the images are a bit smaller but there's a a bit more breathing room around the the frame on that . Well I was gonna say I just think they're both wonderful. I can imagine them being canvases in different rooms in houses. Um like the Shanghai one. I wouldn't mind that in in my studio, um my I say studio it's my kids playroom, but I can make it more manly with these images. Yeah, the little corner I sit in is my my studio. Yeah, I can imagine them being on the wall. It looked really cool. Um, love it. Very good. It is a phone picture as well. So Magic Ape Pro. That's really good. Yeah, it's um it's it's cool. I'm just using the the same preset across the the images so there is a sort of a little bit of a very bluey consistent tinge across them so I was quite happy with that. Um so yeah that's that's what I've been doing. Uh put those together. I will be um wasting lots of ink tomorrow to print the the Southwalk one off um so printing that off and mounting it to put it in next week. Um the other good news is I sold my Z six I absolutely hated every moment of having it um and now I'm back to two Z eights and um a broken um phone that I was gonna be using as a um a street photography camera, but hey. Um and then the last uh thing to note, um I I constantly use the reflect lens filter, there's one in the the folder, w again creates quite a nice nice black hole effect um to images, it brings the colour out. Um I've ordered another one from them . Um the um gold mist filter. I thought that'd be pretty cool for the lights and the colours at Monaco. So I bought that filter but also a uh a holder for the filter so I won't have to screw it onto the lens. I could just hold it in front of it so I don't have to have the friction of having to take it on and off the my my camera so I can use if I'm using the seventy seven mil twenty uh seventy to two hundred or the twenty four seventy I don't have to screw it on I, can just hold it in front of it when I shoot. So they're they're quite fun to create effects within the actual camera itself. Very nice indeed. Okay, last one to you, Joe. Um you've been out with your Yeah, I mean I've got much to say, but obviously I'm testing the cameras a little on this. Um I think for a foldable device it's got a really lovely camera system. Uh it's the same camera system as the signature um which just shows you where phones are um this one I've put in there of about fly it's not it's not an amazing short, but I think when you consider it's from a ph one, it's got some really lovely detail there. Um the the flower's a bit uh oversaturated for my lilac I liking, a bit overexposed in places, but yeah, it's it's a nice im age I think. Um I've also just popped a video in there um which um is from my actual camera. Uh and I thought the that was with my hundred mil lens and it's coming out really well I think for um for product shot um to showcase this tiny tiny AI card um just sort of put a video in there for some videography. Yeah yeah so the the the um depth of field is is is um is chaotic isn't it? It's yeah it's so shallow. Yeah that's what I love about it. Um it's the reason I got this lens for for taking um product shots. I've been trying to my videos are a bit pants still where I need to stabilize the camera a bit better. I really should get a gimbal, whereas that shot's stationary, so that that's come out nice. Um but you'll see in a lot of my videos I I try and get in close and you can see my um shake of my hand on on on on a lot of the shots and have to edit some of it out. But I should maybe go a bit wider and then give myself that um room to to edit and post um perhaps. Prop prop into it. Yeah um but I'm still learning. Um but yeah it's good fun. It's videography is a bit different for me. It's not um I prefer the photography side if I'm honest. Mm-hmm. That's a good sh shot of the butterfly. I think it's I mean when you zoom in and to see the detail and everything again from a a folding phone is it's it's pretty epic, isn't it? So you can achieve. It is wonderful. It just shows you that n no matter if that is your constraint of only having a phone, it can't st it shouldn't stop you. Um go out and take shots, and it 's okay, let's um before we wrap things up, let's head to the news and ru and and rumours, if there are any rumours. Um I don't know that there is. Uh who's taking the news this time ? Um I'll quickly jump on there's no rumors, no, but uh following on from last time uh rumors, a Sony A seven R six uh finally got properly announced officially . Um so some of the rumors were right, some of them didn't come to fruition and the things that didn't come to fruition were the ones I really wanted. Um the rumors were brand new UI, brand new body, uh both of which we didn't get. Um so I was really hoping for a new UI as we mentioned earlier. We need one. Didn't get what we did get was the sixty-seven megapixel uh sensor, so slight upgrade over the sixty one and a massive uh boost in speed um thirty frames a second in electronic shutter. Um the the readout speed at nineteen milliseconds which is a massive step out of the ninety-nine of the A7 R5, but still four times I think uh slower than ENZ eight and the Canon R five. So it's not really competing with those, but you do get um a lot more resolution. I think both those cameras have forty-five megapixels. Um so um yeah, it's a decent camera, but it's not gonna tempt me away from my A7R5, not for the photos I take and um at four and a half thousand pounds also slightly just a tad out of my budget. Um alongside that we got the um one hundred to four hundred uh fixed aperture f four point five uh GM lens. So this is a huge upgrade over to the ancient uh ten year old previous one hundred four hundred which was um a variable four point five to five point six . Um that was um not really worthy of a GM badge, I think. Um I had two copies of that lens, wasn't happy with either. But this is a proper pro lens . It's twice the size of the old lens. Uh also best part of four and a half grand . Um so um optically perfect, you know it's it's a perfect lens really does exactly what you want it to do, but you've got to pay for it. I think it's one point three kilos, top my head. That's not too bad. Not too bad. It's definitely not as heavy as it looks. Yeah it but's not bad. What's interesting about this is you spoke about the new camera body, um which people might be tempted by but you could have this big boy instead for the same money and keep the body you've got. Yeah. Um which I'd say is a better move. Everyone's gonna go for the lens obviously. Yeah yeah. I think you you'll get a a better well, if you if you've got the old one hundred to five hundred yeah, then yeah, you'll you'll see better images and I don't think people with the A seven R five are gonna be doing uh sorts or action photography with a slow readout , so um but yeah this lens looks amazing o but obviously well out of my price range. But I do think because they've done this lens they'll do a G version of the lens with a a slower aperture and a lot smaller and a lot cheaper hopefully. So I'm hoping uh for for something like that will come along. But that's it. That's all the news. Um there was some phone news that someone had posted. No no there's a new camera from Lumix which I've put in there. Let's not go past that. Lumix celebrating twenty five years birthday as well, twenty fifth birthday. Um the new L ten . It's a premium compact camera. Um I know it doesn't appeal to you 'cause it's micro four thirds. It looks nice. Yeah it looks like a very nice camera. Um do you know what I do like about this one feature um and I and I think you'll you'll agree . When you um turn to portrait um mode, like turn the camera into portrait, um the UI turns with it , which not all cameras do, um which is quite interesting 'cause I do take a lot of cameras in like portrait mode . So rather than landscape portraits. So the UI orientates the Quite a nice feature. Doesn't okay, so phones do that, don't they, when you take a phone right. Which we discussed about we want that in our cameras. Yeah, yes. Sorry, our camera does that, but if you you we need to do the latest firmware up date uh that's one of the the updates that pain. But I I'm not updating mine. Yeah. It's it sounds like a nice to have, I'll be honest. Yeah. Yes, yeah. I mean I was gonna ask you Joey about this this Lumix. Do you know is this the same underneath as the Leica Deluxe eight ? I don't know. Uh I think I think it is. I think these same model is I think it's very similar to the LX one hundred. Yeah, which Yeah, it's very similar. Um the the LX one hundred is identical to the like a Deluxe eight, which me and Charlie have both had a little play with. It it looks identical, Chris I think the sensor's different though. Um 'cause it's got the G H seven sensor um in there . Hang on a minute. If you have a look at the back screen , it's got an um a pull out flip screen, whereas the Leica Deluxe eight doesn't have that, it just has a has a standard screen. It's certainly similar. Yeah, certain yeah, I think the lens is the same, yeah. I think you're right. I think the sensor and uh and certain aspects of it is slightly different. Um this is what I think the S9 should have been more like, um with a viewfinder on there um a mechanical shutter. Um I think I think it's gonna appeal to a lot of people. At least it's got a viewfinder. Many manufacturers now on the lower end uh budget not budget but mid range cameras they're removing the viewfinders aren't they? Yeah, exactly. It's got a lot going for it. A lot going for it. I think it's a a nice um I think it's one thousand four hundred, depending what uh uh depending what colour you get actually. I think for Yeah, I mean it's it's one of them it's it's it's a lighter weight camera. Um it's one that I can see myself using more. It's not full frame, that's right, yeah. But uh this is where I need Ed on here to to help me out here. Yeah, no, I I don't know because I'm looking at that price and I'm thinking that's the same price as a Fuji X one hundred six and I don't know what I would obviously that's not the biggest. Then we're as much as that's a constraint, it's a lands it's already game over, isn't it? Let's be real. But I don't think people are buying this cross shopping this with a Sony A seven C two, are they? I mean, No, no, I think yeah. This is a five hundred gram fixed lens camera sort of point and shoot. Different different customer, isn't it? Yeah, different person. I'd still go back to the S nine and go for that and do without the the view Well I think it's under a thousand. It's um I'm excited to see what the S nine two comes out with when that actually comes eventually. Um because if it has if it's similar more similar to this that that would be lovely camera, full frame version of this essentially. Yeah . Yeah. Moving on. Sony shows off new AI touched up sample photos taken on the Xperia one eight. And I don't know if you look at the link. They are terrible . The AI photos are significantly worse than the uh in camera photos. Um they're overexposed, they're blown out in some cases. Um highlights are just uh it's just all blown out and I just I'm amazed that they advertise this they put this out in their marketing material. Um we we we spoke about this on PSC um Charlie and it it turns out that um there's a a bit of a backstory to it really and and it's not terribly clear whether this was some marketing ploy or uh or or seeking attention. Uh Joe, what what did we Yeah, what did what did we conclude, Joe? I I think we concluded that we suspect it's um to bring attention because it has got people talking. 'Cause like Charlie said, in in most cases um the the AI image is not great. I mean the only one you could maybe argue is the um the one with the flower maybe. Um but even then but most points at a push, yeah. It I I think 'cause I mean Sony know a thing or two about taking images. Uh sensors, don't they? Exactly, yeah. So um it's a weird one. I think it probably is to to look at the one with the uh cross eye . Look at that. It's awful, yeah. It's really, really, really poor. Um and I think they must have known that. Um I I just can't believe they wouldn't have I dunno, unless it's like the intern has come in and done it. Thinking that it was a ploy, a purposeful ploy, in order to get people to talk about it like we are on this show and bring attention to the body. Yeah, but we're talking about them for the wrong reasons . We're still mentioned their new device. Yeah . It has a handy feature that you can actually turn off the AI to get realistic photographs. Yeah that's the selling point isn't it sold. When you look at the original images they're actually quite nice though. Um and you think oh is that the capability of the camera? So yeah I think it's a talking point. Um and they've they've nailed it. They have. They've nailed it because we're talking about it. Um so uh anyway, there you go. Um thanks very much everyone for joining me today. I think we're about done now. Um, and just a few reminders to say the um website is now phoneshowchhat.uk because we've amalgamated things. Uh there's two s's in the middle of that phoneshow chat.uk . And as I said earlier, we've got the PSE photography shared albums for album for you to click on to and follow along while you've been listening to this, there's also um the Mi Wee Group, which is still called PSC Camera Creations. Sorry, but um just follow your nose and you'll you'll get there. Um so we'll be back in two weeks ' time. Um Ian is gonna be missing on that one. Well he hopes he's gonna be missing . Um if he does make it in his in his in his um wheelchair um away from the UK. Um but uh hopefully everyone else will be here, is that okay ? That'll be the fourth of June and that'll be show twenty two and we'll see you then. So thank you very much again and um see you in the memory group. Let us uh see what you've been taking photographs of in all three of our groups, PSC photos, PSC videos and PSC camera creations. We'll catch you again in two weeks' time. Bye for now .