ATP

00:00:00 ◼   ► There is a thunderstorm happening outdoors.

00:00:03 ◼   ► John apparently lost power for several hours earlier today.

00:00:06 ◼   ► So this is going to be a little bit more of a stressful ATP recording for us than it normally is.

00:00:12 ◼   ► We'll see how it goes.

00:00:13 ◼   ► I feel great. I just live on a barrier island.

00:00:16 ◼   ► Yeah, I'm sure your house will still be there in 15 years.

00:00:18 ◼   ► [Music]

00:00:20 ◼   ► News, breaking news even.

00:00:22 ◼   ► There is not another holiday to celebrate, unfortunately.

00:00:25 ◼   ► I wish I could come up with one. I'm so sorry, John.

00:00:27 ◼   ► But I have different good news.

00:00:29 ◼   ► Don't worry. Give him time listeners. He will find more.

00:00:31 ◼   ► Anniversaries you were celebrating the holidays.

00:00:35 ◼   ► They're all holidays to me, John. But anyway, uh, we have some breaking news.

00:00:39 ◼   ► It turns out that we ordered a, another shipment of mugs,

00:00:44 ◼   ► I don't know, like a month or two back. It was a little while ago and in January,

00:00:48 ◼   ► thank you. And we used the little tool that, that, uh,

00:00:52 ◼   ► our friends at cotton Bureau put together to email those that have said, Hey,

00:00:56 ◼   ► Email me when this comes back, please.

00:00:58 ◼   ► And it turns out that, as expected,

00:01:00 ◼   ► not everyone who requested that email

00:01:02 ◼   ► has actually purchased a mug.

00:01:04 ◼   ► So if you're looking for a mug,

00:01:06 ◼   ► you can go to ATP.fm/store and get yourself a mug.

00:01:09 ◼   ► And John, these are the red interiors, is that correct?

00:01:12 ◼   ► - They're almost all red interiors.

00:01:14 ◼   ► There's a handful of gray interiors left,

00:01:16 ◼   ► if that's what you want.

00:01:17 ◼   ► - There's also a smattering of pint glasses.

00:01:19 ◼   ► There are not many.

00:01:20 ◼   ► So for both of these,

00:01:22 ◼   ► I would suggest acting sooner rather than later.

00:01:24 ◼   ► but particularly for the pint glasses,

00:01:26 ◼   ► there's very few of those remaining.

00:01:28 ◼   ► So if you're interested, go snatch those up at ATP.FM.

00:01:32 ◼   ► - Yeah, and this is not, to be clear,

00:01:33 ◼   ► this is not our pre-WWC merch sale.

00:01:36 ◼   ► We're still working on that.

00:01:37 ◼   ► This is just some leftover stock

00:01:38 ◼   ► that honestly we forgot that we even had.

00:01:40 ◼   ► So it's been there.

00:01:42 ◼   ► You could have come at any time

00:01:44 ◼   ► between the last sale and now and gotten a mug,

00:01:45 ◼   ► but occasionally we do get messages from people

00:01:48 ◼   ► like, "Oh, I had a mug and I dropped it and it broke.

00:01:50 ◼   ► "When are you gonna sell them again?"

00:01:51 ◼   ► And we're like, "Oh, I don't know."

00:01:52 ◼   ► Oh, anyway, they've been there the whole time.

00:01:53 ◼   ► Sorry about that.

00:01:54 ◼   ► So yeah, and same thing with pint glasses if you've broken one or just want some more.

00:02:01 ◼   ► When you go to adb.fm store, you will see the mug and the pint glass at the top of the

00:02:04 ◼   ► page.

00:02:05 ◼   ► You also see a whole bunch of shirts.

00:02:07 ◼   ► Do not buy those shirts.

00:02:08 ◼   ► Those shirts are for the suckers who desperately want a shirt now, now, now and can't wait

00:02:15 ◼   ► for the sale.

00:02:16 ◼   ► But you, you know the WWDC is coming and you can wait for the WWDC sale where you will

00:02:20 ◼   ► get the superior quality and more expensive shirts that we have for the WWDC sale.

00:02:27 ◼   ► So don't be distracted and think, "Oh, this must be all the shirts they have for WWDC."

00:02:31 ◼   ► It's not.

00:02:32 ◼   ► That's just our on-demand shirts.

00:02:33 ◼   ► Honestly, I like some of them because they're simpler and don't have stuff on the back or

00:02:36 ◼   ► whatever, but the printing process is not as fancy as the printing process that we use

00:02:41 ◼   ► for the time-limited sales.

00:02:43 ◼   ► So for all the people who listen to this show, you know not to buy the shirts until we tell

00:02:48 ◼   ► you, "Hey, it's a WWDC merch sale."

00:02:50 ◼   ► But the mugs and the pint glasses are exactly the same as they've always ever been, so that's

00:02:53 ◼   ► what we're telling you about now.

00:02:54 ◼   ► Oh, I have some other follow-up for members of the show.

00:02:59 ◼   ► This is possibly my favorite bug report I've ever gotten.

00:03:03 ◼   ► We've heard from actually a few members over the last few months, if you were still using

00:03:08 ◼   ► what used to be called iTunes, now it's called the music app on the Mac, to sync with an

00:03:13 ◼   ► iPod.

00:03:14 ◼   ► If you were syncing our podcast through either our bootleg or our member feeds to an iPod,

00:03:20 ◼   ► It wouldn't have worked when I changed the CMS a few months back for any episode past

00:03:25 ◼   ► when we started membership.

00:03:27 ◼   ► So whenever that was, like three years ago, two years ago.

00:03:30 ◼   ► The feed just didn't see those episodes.

00:03:32 ◼   ► Only if you were syncing to an iPod.

00:03:33 ◼   ► What?

00:03:34 ◼   ► I'm happy to report that I have fixed this bug this week.

00:03:38 ◼   ► How?

00:03:39 ◼   ► What was the bug?

00:03:42 ◼   ► So a special thanks to member Charlie who wrote in and was the latest person to report

00:03:47 ◼   ► this.

00:03:48 ◼   ► Earlier people had written in.

00:03:49 ◼   ► I don't have your names handy.

00:03:51 ◼   ► I had just let them fall on the floor

00:03:53 ◼   ► after a while of giving up.

00:03:54 ◼   ► So, Charlie pointed out exactly which episode

00:03:58 ◼   ► was when the cutoff was that it stopped syncing.

00:04:00 ◼   ► And I took a look in the feed and I realized

00:04:02 ◼   ► that was when I had changed the enclosure URLs,

00:04:06 ◼   ► like the audio file name URLs that are in the feed,

00:04:09 ◼   ► to just be like long hashes.

00:04:12 ◼   ► And they did not end in .mp3.

00:04:16 ◼   ► And I remember when I was looking at this,

00:04:18 ◼   ► I'm like, wait a minute, I remember a long time ago,

00:04:22 ◼   ► Apple used to require that podcast feeds,

00:04:25 ◼   ► they used to have to end the enclosure file names in .mp3.

00:04:30 ◼   ► And I think this was even undocumented.

00:04:32 ◼   ► But if you didn't do that, your feed wouldn't--

00:04:34 ◼   ► - Undocumented from Apple?

00:04:35 ◼   ► No. - I know, right?

00:04:36 ◼   ► But, and to be fair, the Apple podcast team

00:04:39 ◼   ► has always documented the feed format

00:04:40 ◼   ► they expect and work with, but,

00:04:43 ◼   ► and I don't know if this detail was documented,

00:04:44 ◼   ► but that was a detail back forever ago.

00:04:47 ◼   ► And for some reason, that was buried in my mind.

00:04:50 ◼   ► That's what sticks in there.

00:04:51 ◼   ► Not like birthdays, holidays, homework assignments,

00:04:54 ◼   ► but that sticks in there.

00:04:56 ◼   ► And I'm like, wait a minute.

00:04:58 ◼   ► I wonder, if I just add .mp3 to the end of these URLs,

00:05:03 ◼   ► I bet they'll start working.

00:05:05 ◼   ► And sure enough, they did.

00:05:07 ◼   ► So file extensions live on,

00:05:11 ◼   ► much to people like John's chagrin.

00:05:14 ◼   ► - File name extensions.

00:05:16 ◼   ► I hate when people shorten it to file extensions because it doesn't make any sense.

00:05:20 ◼   ► File name extensions, they're extensions on the file name, they're not extensions

00:05:23 ◼   ► on the file.

00:05:24 ◼   ► Next, Marco's going to tell you about his ATM machine.

00:05:27 ◼   ► Yeah, yeah, which I accessed with my personal PIN number.

00:05:29 ◼   ► No, that's the opposite.

00:05:30 ◼   ► That's adding too much information.

00:05:32 ◼   ► This is removing information.

00:05:34 ◼   ► File name extensions.

00:05:35 ◼   ► Yeah, that's terrible because the world is terrible and we can't have nice things

00:05:38 ◼   ► because the whole world decided that they wanted to use file name extensions.

00:05:42 ◼   ► We all suffer for it.

00:05:44 ◼   ► - For a brief time, I lived without them

00:05:45 ◼   ► and it was glorious.

00:05:47 ◼   ► I'll tell my grandchildren about it.

00:05:48 ◼   ► (laughing)

00:05:50 ◼   ► - Well, I'm glad to hear that.

00:05:51 ◼   ► Also, we have some news.

00:05:52 ◼   ► I genuinely, Marco did not tell us this

00:05:54 ◼   ► before he brought it up on the show,

00:05:55 ◼   ► so that was surprising and new for me.

00:05:57 ◼   ► And then you also have some news for members in India,

00:06:00 ◼   ► is that correct?

00:06:01 ◼   ► - That was another whole thing.

00:06:02 ◼   ► There was a very difficult to find bug in our CMS

00:06:07 ◼   ► or in our payment gateway in particular

00:06:09 ◼   ► that would affect cards that were verified

00:06:12 ◼   ► with a thing called 3D Secure,

00:06:14 ◼   ► which I think is pretty much universal in India

00:06:17 ◼   ► and doesn't exist in the US.

00:06:18 ◼   ► So I really didn't know about it.

00:06:20 ◼   ► And this is one of those many details that Stripe,

00:06:23 ◼   ► which is what we use to process our payments,

00:06:25 ◼   ► pretty much handles for you.

00:06:26 ◼   ► You don't really have to think about it.

00:06:28 ◼   ► Except when you start customizing crap behind the scenes,

00:06:31 ◼   ► which of course we can't help ourselves but do sometimes.

00:06:33 ◼   ► And I had customized things behind the scenes

00:06:35 ◼   ► in such a way that was breaking 3D Secure

00:06:37 ◼   ► in a really difficult to find way.

00:06:39 ◼   ► And some people, I don't know if it's everyone in India,

00:06:43 ◼   ► but certainly multiple members who tried to sign up

00:06:47 ◼   ► in India were getting an expired payment link error.

00:06:50 ◼   ► And it was very, very hard to diagnose,

00:06:51 ◼   ► but I eventually figured out it was,

00:06:52 ◼   ► there was something I was doing on the back end

00:06:54 ◼   ► to make failed payments suck less

00:06:57 ◼   ► in the way they're handled.

00:06:58 ◼   ► I was being too clever and it broke 3D Secure

00:07:00 ◼   ► and I unbroke it, so sorry.

00:07:02 ◼   ► - And then as a final note, speaking of members,

00:07:05 ◼   ► just a very heartfelt thank you to all of you

00:07:08 ◼   ► who have ever been a member,

00:07:09 ◼   ► and especially those who are currently members,

00:07:11 ◼   ► and double especially for those who just recently signed up

00:07:14 ◼   ► after us talking about it recently.

00:07:15 ◼   ► So thank you to all of you.

00:07:17 ◼   ► Our membership numbers are looking better than ever,

00:07:19 ◼   ► and I'm genuinely extremely pleased and humbled

00:07:21 ◼   ► and thankful for that.

00:07:22 ◼   ► So thank you, everyone. - Yeah, me too.

00:07:23 ◼   ► - We appreciate it.

00:07:24 ◼   ► All right, let's do some follow-up.

00:07:26 ◼   ► The WWDC lottery has come in.

00:07:28 ◼   ► I can tell you that I am not a big winner.

00:07:31 ◼   ► - I'm pretty sure we can safely say we all lost,

00:07:34 ◼   ► is that right? (laughs)

00:07:35 ◼   ► - Yep, I mean, the odds were against us,

00:07:36 ◼   ► so it is what it is.

00:07:37 ◼   ► - No, WWC lottery winners amongst the ATP hosts,

00:07:41 ◼   ► which is expected.

00:07:43 ◼   ► - Yeah.

00:07:44 ◼   ► - But congratulations to all the winners.

00:07:45 ◼   ► And honestly, we don't even wanna win the lottery.

00:07:47 ◼   ► We don't wanna take someone else's spot.

00:07:48 ◼   ► We want press passes.

00:07:50 ◼   ► Which we also probably won't get, but still.

00:07:52 ◼   ► - Yeah, that's what we want,

00:07:53 ◼   ► but I'm not sure that's what we're getting.

00:07:54 ◼   ► - That's a different lottery.

00:07:56 ◼   ► - That's not a lottery, that is not random.

00:07:58 ◼   ► It is the opposite of random.

00:08:00 ◼   ► - Well, from our point of view, it appears like a lottery.

00:08:02 ◼   ► We get press things sometimes,

00:08:04 ◼   ► and we are very thankful when that happens,

00:08:05 ◼   ► but we have no idea when they'll be offered

00:08:08 ◼   ► and most of the time they aren't.

00:08:10 ◼   ► - Or why, really honestly, or why at all.

00:08:13 ◼   ► 'Cause when we get them, you don't ask questions.

00:08:15 ◼   ► I mean, you don't get them, no one's gonna tell you why.

00:08:17 ◼   ► So it is what it is.

00:08:19 ◼   ► - I also wanted to, this is completely unrelated,

00:08:21 ◼   ► I wanted to make a brief correction

00:08:22 ◼   ► with regard to my beloved CalDigit TS-4.

00:08:25 ◼   ► This is the Thunderbolt 4 docking station

00:08:28 ◼   ► that I've been espousing for a year, year and a half now.

00:08:30 ◼   ► I think I had made mention many, many moons ago

00:08:33 ◼   ► that because of the particulars of the LG Ultra MAF 5K,

00:08:38 ◼   ► I was doing a two-cable solution for my laptop.

00:08:40 ◼   ► One of the cables was the CalDigit TS4.

00:08:43 ◼   ► The studio display is and always has been

00:08:46 ◼   ► hanging off of that.

00:08:47 ◼   ► I have a few other devices hanging off of it.

00:08:49 ◼   ► And then I would separately plug in the LG 5K

00:08:51 ◼   ► because I was under the impression

00:08:53 ◼   ► that you cannot have an LG 5K share with the CalDigit

00:08:57 ◼   ► because it doesn't use display stream compression,

00:09:00 ◼   ► if I remember correctly.

00:09:01 ◼   ► And so it just didn't work.

00:09:02 ◼   ► It had to be directly connected to the Mac.

00:09:04 ◼   ► Turns out that's not right.

00:09:05 ◼   ► Somebody on Maston, whose name I don't have in front of me,

00:09:07 ◼   ► was asking for clarification on this,

00:09:09 ◼   ► and I was like, "No, that doesn't work.

00:09:11 ◼   ► "Let me just try it again."

00:09:13 ◼   ► Oh, oh, so now I am in a one-cable solution

00:09:17 ◼   ► for both the Studio Display and the LG 5K,

00:09:20 ◼   ► so if you're one of the probably four people

00:09:22 ◼   ► that I scared away from the CalDigit TS4,

00:09:25 ◼   ► maybe not be so scared of it.

00:09:26 ◼   ► It actually does work when the dual monitor's set up

00:09:28 ◼   ► with the Studio Display and the 5K.

00:09:30 ◼   ► The only thing that does not work is two LG 5Ks.

00:09:33 ◼   ► That apparently is too much for one connection

00:09:36 ◼   ► and that I am 100% sure does not work,

00:09:39 ◼   ► but studio display in 5K is okay.

00:09:41 ◼   ► So--

00:09:42 ◼   ► - Did you double check that something hasn't changed

00:09:44 ◼   ► about the thing?

00:09:45 ◼   ► Like, is it not really 5K?

00:09:47 ◼   ► Is it like the, does the bit depth go down

00:09:49 ◼   ► or anything like that?

00:09:50 ◼   ► - Those are, that is a completely fair question.

00:09:51 ◼   ► I will say I did recently upgrade the firmware

00:09:53 ◼   ► on the CalDigit and I swear to your point

00:09:57 ◼   ► that I swear I tried this at some point and it didn't work,

00:10:00 ◼   ► But it very well could have been user error.

00:10:03 ◼   ► It very well could be a firmware update

00:10:04 ◼   ► and it very well could be that the display,

00:10:06 ◼   ► the 5K UltraMA is not showing as much as it could or should,

00:10:10 ◼   ► or maybe if I plug anything into the back of it,

00:10:13 ◼   ► 'cause if you recall, it has a couple of USB-C ports on it.

00:10:16 ◼   ► Maybe if I plug something in, it'll all come crumbling down.

00:10:18 ◼   ► But at least for now,

00:10:19 ◼   ► I'm living the one cable blissful lifestyle

00:10:22 ◼   ► where I don't plug in power, I don't plug in any monitors.

00:10:25 ◼   ► I literally just plug in the CalDigit

00:10:27 ◼   ► and everything else hangs off that and it is wonderful.

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00:12:32 ◼   ► (upbeat music)

00:12:36 ◼   ► - Jon, tell me about Apple Photos deduplication

00:12:38 ◼   ► in shared libraries, if you please.

00:12:41 ◼   ► - That was a feature Apple rolled out in iOS 16.4,

00:12:44 ◼   ► Mac OS 13.3, and whatever the hell iPad.

00:12:47 ◼   ► iPad OS is also on 16.4,

00:12:48 ◼   ► I don't remember if they're in sync on numbers.

00:12:50 ◼   ► Anyway, we talked about it last episode,

00:12:53 ◼   ► and I wanted to try it, so I did.

00:12:54 ◼   ► And I did it in my usual cautious way.

00:12:56 ◼   ► I remember my wife has the real photo library,

00:13:00 ◼   ► and I had my own private photo library,

00:13:02 ◼   ► but then I had also been manually taking everything

00:13:05 ◼   ► from my phone from my photo library

00:13:07 ◼   ► and manually importing it to hers,

00:13:08 ◼   ► but I had this whole backlog of stuff in my library,

00:13:10 ◼   ► some of which came from her library,

00:13:12 ◼   ► 'cause I'd take some pictures that were like the favorites

00:13:14 ◼   ► from her library and put them into my library.

00:13:16 ◼   ► And so when shared photo library came out,

00:13:18 ◼   ► If I had just taken my entire library and shoved it into the shared library, there'd

00:13:22 ◼   ► be tons of duplicates.

00:13:23 ◼   ► But there was no duplicate detection.

00:13:24 ◼   ► Well, now there is.

00:13:25 ◼   ► So I'm like, finally, I can essentially empty my personal library, because my wife's personal

00:13:29 ◼   ► library is empty.

00:13:30 ◼   ► All of her photos, essentially, are in the shared library.

00:13:33 ◼   ► I want that to be the same for me.

00:13:34 ◼   ► So we would have one big shared library and a very minimum of photos in our personal library.

00:13:39 ◼   ► And to give you an idea of the only photos that I wanted to keep in my personal library

00:13:43 ◼   ► were my Destiny photos.

00:13:45 ◼   ► And you may be wondering what that is.

00:13:48 ◼   ► screenshots of builds and maps and you know maps with call outs written on them and you know

00:13:54 ◼   ► raid mechanics and patterns. Anyway, it's stuff that she doesn't want. No one's ever gonna want to look at it.

00:14:01 ◼   ► Why?

00:14:01 ◼   ► Yeah, I don't know why she wouldn't want that. And the second thing is a long series of pictures of my toes

00:14:07 ◼   ► which if you want to know what that's about.

00:14:09 ◼   ► Listen to Reconcilable Differences.

00:14:11 ◼   ► I've been taking pictures of my toes during various medical situations. She did not want a shared library.

00:14:17 ◼   ► and honestly I do not blame her.

00:14:19 ◼   ► So those stayed in my personal life.

00:14:21 ◼   ► - You know there's someone out there who,

00:14:23 ◼   ► that went from the most sexy potential thing

00:14:26 ◼   ► you could have possibly said very quickly

00:14:28 ◼   ► to the least sexy potential thing.

00:14:29 ◼   ► - Wait, Destiny?

00:14:31 ◼   ► Destiny build screenshots?

00:14:33 ◼   ► - Yes, that's what I was doing.

00:14:34 ◼   ► Definitely not the toes.

00:14:34 ◼   ► - Okay, all right.

00:14:35 ◼   ► Anyway.

00:14:36 ◼   ► (laughing)

00:14:37 ◼   ► So, but I, you know, this feature,

00:14:39 ◼   ► like I read a lot about it, but you know,

00:14:41 ◼   ► this is, you know, I had tens of thousands of photos.

00:14:44 ◼   ► Maybe, you know, 60, 70,000, I forgot how many it was, right?

00:14:47 ◼   ► most of those were going to be unique but there was going to be lots of

00:14:50 ◼   ► lots of duplicates right

00:14:53 ◼   ► i've checked a bunch in there just like a hundred so chuck them into the library

00:14:56 ◼   ► and then

00:14:57 ◼   ► and then you have to wait for like in typical apple fashion

00:15:00 ◼   ► is not like you could say now please detect duplicates no you have to wait

00:15:03 ◼   ► until it decides to detect duplicates and

00:15:06 ◼   ► the way you'll be able to tell that it has decided to detect duplicates is suddenly

00:15:09 ◼   ► a duplicate photos item will appear on the sidebar. I'm doing this on the Mac by the way

00:15:12 ◼   ► so it's a sidebar in mac photos. You could have done it on iOS as well but i wanted to do it on the big

00:15:15 ◼   ► screen and everything

00:15:16 ◼   ► And when it finds duplicates, you click on the duplicates and in the Mac version of photos,

00:15:21 ◼   ► it shows basically a linear list top to bottom and each row in the list is two photos.

00:15:27 ◼   ► It shows two photos and then underneath it two more, underneath it two more, which is

00:15:29 ◼   ► ridiculous on the Pro Display XDR because it's this huge expansive white space to the

00:15:33 ◼   ► right of it where there's nothing.

00:15:34 ◼   ► But whatever, it's two by two, right?

00:15:36 ◼   ► That was Zark.

00:15:38 ◼   ► And then there's a little blue link above each set of two that says merge these two

00:15:43 ◼   ► photos.

00:15:44 ◼   ► Why is it not a button?

00:15:45 ◼   ► Is it a blue web link?

00:15:47 ◼   ► Who freaking knows?

00:15:48 ◼   ► So I'm looking at it, and I click the merge on that one,

00:15:52 ◼   ► and it says--

00:15:54 ◼   ► I think the first one was like, merge these two exact

00:15:56 ◼   ► duplicates?

00:15:57 ◼   ► And it has some explanatory text that explains what it means.

00:16:01 ◼   ► And I said yes.

00:16:03 ◼   ► And then it takes the one that--

00:16:05 ◼   ► it throws away one, puts it in the recently deleted folder,

00:16:08 ◼   ► so it's not really immediately deleting it.

00:16:10 ◼   ► So it's still there, so you can look at it.

00:16:11 ◼   ► And then it takes the other one, and like we

00:16:13 ◼   ► episode, it puts it into the shared library and says,

00:16:16 ◼   ► this was added to the shared library by person x and person

00:16:20 ◼   ► y.

00:16:20 ◼   ► So it shows that it came from both of those places,

00:16:22 ◼   ► which is great.

00:16:23 ◼   ► And it's supposed to pick the highest quality

00:16:26 ◼   ► copy of the photo.

00:16:27 ◼   ► And so what I did before I looked at it, it's like, OK,

00:16:29 ◼   ► let me look at this.

00:16:30 ◼   ► And sometimes, when it says exact duplicate,

00:16:33 ◼   ► they would be the same file size, the same resolution,

00:16:36 ◼   ► like pretty exact duplicate.

00:16:38 ◼   ► Sometimes when you click the little merge these two photos

00:16:41 ◼   ► thing, it will say merge these two photos,

00:16:43 ◼   ► but it wouldn't say that they were exact duplicates.

00:16:45 ◼   ► In that case, one of them would be a different resolution,

00:16:48 ◼   ► much smaller than the other, so on and so forth.

00:16:51 ◼   ► And in that case, I would click the merge,

00:16:52 ◼   ► and then I would confirm, like, okay,

00:16:54 ◼   ► one is three and a half megs, and one is 174K.

00:16:58 ◼   ► I really want to take the three and a half meg one, please.

00:17:01 ◼   ► And so I'd click merge, and then I'd go and confirm,

00:17:03 ◼   ► you can like show photo in all photos,

00:17:05 ◼   ► and I would confirm, yes, it kept the 3.3 meg one,

00:17:07 ◼   ► and that would look and recently delete it.

00:17:08 ◼   ► Okay, there's the 174K one.

00:17:12 ◼   ► I did this manually spot checking many, many, many times as I scroll, merge these two photos,

00:17:20 ◼   ► look at the dialog, see what the options are, decide what I think it's supposed to do, let

00:17:24 ◼   ► it do its thing, confirm that it did what I thought it was supposed to do.

00:17:27 ◼   ► Sometimes it would have two RAW photos, a RAW versus a JPEG.

00:17:31 ◼   ► I couldn't quite tell why in some situations it would show me a RAW and a JPEG and consider

00:17:35 ◼   ► them duplicates.

00:17:36 ◼   ► In other cases it wouldn't.

00:17:38 ◼   ► So I just basically made sure that it always did what I wanted it to do.

00:17:41 ◼   ► And I did this for dozens of photos, manually.

00:17:44 ◼   ► And then I was like, all right, so I'm

00:17:47 ◼   ► pretty sure this is working the way Apple said it would.

00:17:49 ◼   ► It never made a mistake.

00:17:51 ◼   ► Every time I looked at two photos,

00:17:52 ◼   ► I would agree that we should only keep one of them,

00:17:54 ◼   ► and I would decide which one it should be,

00:17:56 ◼   ► and I would let Apple's thing do it,

00:17:57 ◼   ► and it would pick the one that I thought it should.

00:17:58 ◼   ► So good, thumbs up, it's working.

00:18:00 ◼   ► And it took me a little while to figure out, OK,

00:18:03 ◼   ► do I have to sit here and click the little merge these two,

00:18:05 ◼   ► merge these two, merge these-- it would be like,

00:18:06 ◼   ► merge these two, and then hit the Return key

00:18:08 ◼   ► to select the default button on the dialog that appears.

00:18:10 ◼   ► Merge, return, merge, return.

00:18:11 ◼   ► Like, do I have to do that for all of them?

00:18:13 ◼   ► So I glanced up to the duplicates thing and say,

00:18:15 ◼   ► how many duplicates are there?

00:18:16 ◼   ► And the answer was 30,000.

00:18:18 ◼   ► - Oh, goodness.

00:18:20 ◼   ► - So I was not going to sit there and click the blue link

00:18:22 ◼   ► and click return 30,000 times, right?

00:18:25 ◼   ► And so since it's a Mac, it works the way most Mac things

00:18:28 ◼   ► do, you can just select all or click one

00:18:30 ◼   ► and then scroll down to the end and shift click.

00:18:32 ◼   ► All sorts of things that I imagined I would have

00:18:35 ◼   ► a little bit more trouble doing on a phone

00:18:37 ◼   ► just because of how fidgety things are with the scroll bars

00:18:39 ◼   ► and the small screen and my big fat finger.

00:18:41 ◼   ► So I was glad I was doing it on a Mac.

00:18:43 ◼   ► But I didn't select them all first.

00:18:44 ◼   ► First I selected, you know, a thousand

00:18:47 ◼   ► and said, you know, merge these duplicates.

00:18:49 ◼   ► And it did, and then I, you know,

00:18:51 ◼   ► I tried to spot check the thousand that I picked

00:18:53 ◼   ► and they all looked good.

00:18:54 ◼   ► And then I did 2000 and then eventually I'm like, okay,

00:18:58 ◼   ► I am thoroughly satisfied that this thing is working.

00:19:00 ◼   ► Select all, merge all these things.

00:19:02 ◼   ► And it merged them all.

00:19:04 ◼   ► And it, as far as I can tell,

00:19:06 ◼   ► everything went off without a hitch.

00:19:08 ◼   ► No, as far as I can tell, I didn't lose any photos.

00:19:11 ◼   ► I went into the recently deleted thing

00:19:12 ◼   ► and looked through what it had deleted,

00:19:14 ◼   ► and I'm like, yeah, these look like the ones

00:19:15 ◼   ► that I would want deleted, and didn't do anything weird,

00:19:18 ◼   ► and I emptied my library,

00:19:19 ◼   ► except for Toe photos and Destiny photos.

00:19:22 ◼   ► Actually, what I did, I actually just merged them all,

00:19:27 ◼   ► and then I unmerged the Toe and the Destiny ones.

00:19:30 ◼   ► I probably unmerged them before

00:19:31 ◼   ► they even synced to anybody else,

00:19:33 ◼   ► so that was the easiest way to do it,

00:19:34 ◼   ► 'cause I had them in folders or whatever.

00:19:36 ◼   ► So thumbs up on this feature.

00:19:38 ◼   ► Just like the shared photo library,

00:19:39 ◼   ► I'm pretty sure it works exactly the way Apple said it would.

00:19:43 ◼   ► And my only complaints continue to be the lack of features

00:19:46 ◼   ► and not the features that they did add, right?

00:19:49 ◼   ► So I still want shared albums and so on and so forth,

00:19:50 ◼   ► but as they add the features, the features appear to work.

00:19:53 ◼   ► And I think I'm giving these things a pretty good workout

00:19:56 ◼   ► with my 150, 160,000 photo library

00:19:59 ◼   ► and merging 30,000 duplicates.

00:20:01 ◼   ► And there was a typical kind of like,

00:20:03 ◼   ► sometimes there was lag

00:20:05 ◼   ► and I went over to different computers

00:20:06 ◼   ► and I saw this one still thinks there's some duplicates.

00:20:08 ◼   ► There was like one day worth of me visiting each computer

00:20:11 ◼   ► and saying, do you think all the duplicates are gone?

00:20:13 ◼   ► Do you think all the duplicates are gone?

00:20:14 ◼   ► And occasionally a few more would pop up,

00:20:16 ◼   ► but now everything has settled down.

00:20:18 ◼   ► And during the whole time,

00:20:19 ◼   ► I don't think it did anything wrong.

00:20:20 ◼   ► So if you are afraid of this thing,

00:20:23 ◼   ► this duplicate feature,

00:20:24 ◼   ► know that at least one person has tried it

00:20:26 ◼   ► and it has not been disastrous.

00:20:27 ◼   ► (laughing)

00:20:28 ◼   ► - Yay. - Glowing recommendation.

00:20:30 ◼   ► - Right, right.

00:20:31 ◼   ► All right, so tell me about disasters

00:20:33 ◼   ► with regard to your bug reports.

00:20:35 ◼   ► - This is about my Anus Tracking Area bug.

00:20:37 ◼   ► And it said that it seemed like maybe the team

00:20:40 ◼   ► that made the change was hoping they could make a change

00:20:42 ◼   ► to a framework, but sort of not tell anybody about it

00:20:45 ◼   ► in the hopes that like, probably no one will notice this.

00:20:49 ◼   ► And so we can just make this change.

00:20:50 ◼   ► We don't have to put it in the release notes.

00:20:52 ◼   ► We don't have to, you know,

00:20:53 ◼   ► make a change to the documentation.

00:20:55 ◼   ► We could just, you know, no one is probably relying

00:20:57 ◼   ► on this existing behavior, right?

00:20:58 ◼   ► And it turns out I was relying on that existing behavior.

00:21:01 ◼   ► And so I, you know, wrote a bug about it.

00:21:02 ◼   ► And then they had to say, oh yeah, no, the new behavior is new behavior.

00:21:05 ◼   ► So here's some anonymous feedback regarding this phenomenon within Apple.

00:21:09 ◼   ► This person says, I was on a team at Apple 10 years ago.

00:21:13 ◼   ► This is the problem with these stories.

00:21:14 ◼   ► You get info from people who are willing to talk.

00:21:16 ◼   ► They're willing to talk when they were at Apple 10 years ago.

00:21:18 ◼   ► They're not really into talk right now or whatever.

00:21:20 ◼   ► But anyway, take it for what it's worth.

00:21:22 ◼   ► I was on a team at Apple 10 years ago that worked on a tool that would ingest all iOS

00:21:26 ◼   ► apps in the store nightly and run analysis to see what frameworks and methods they were

00:21:30 ◼   ► using.

00:21:31 ◼   ► frequently get asked by other teams to provide usage information of specific framework calls

00:21:35 ◼   ► to see if any of the top 100 apps use them. I assume this information will be used to

00:21:40 ◼   ► determine the effects of removing or changing frameworks. This was 10 years ago and I would

00:21:44 ◼   ► assume they have better methods for this now. This makes me think that Apple would definitely

00:21:47 ◼   ► know if Microsoft Office or Photoshop would be affected by these types of changes.

00:21:50 ◼   ► So a few things about this. First, there's lots of reasons why you would examine API

00:21:55 ◼   ► of apps in the App Store beyond letting teams know whether they can change an

00:21:59 ◼   ► API. Second, Photoshop is sold outside the App Store. I know there are versions of

00:22:05 ◼   ► Photoshop inside the App Store but like the real Photoshop is outside the App

00:22:08 ◼   ► Store. Microsoft Office I believe is sold both outside and inside the App Store so

00:22:12 ◼   ► I'm not entirely sure if this would let you know. But yes, Apple obviously does

00:22:19 ◼   ► lots of analysis of the apps in the App Store. That's one of the advantages of

00:22:23 ◼   ► of running the App Store and the advantage of it reviewing every application is any kind

00:22:27 ◼   ► of automated thing like this of just saying like, "What frameworks are popular?

00:22:31 ◼   ► Who's using them?

00:22:32 ◼   ► We introduced the new framework at WWDC.

00:22:35 ◼   ► How long does it take for that framework to start appearing in apps?

00:22:37 ◼   ► Who is using it?

00:22:38 ◼   ► What APIs are they using?

00:22:39 ◼   ► If we made a framework, how much of the API service is being used and by what?"

00:22:43 ◼   ► And especially for the top 100 apps, the apps that we really care about, I don't know how

00:22:47 ◼   ► they even determine top 100 apps.

00:22:49 ◼   ► It's all casino games for children at this point, so I'm not sure how representative

00:22:53 ◼   ► that is of what APIs they should work on.

00:22:55 ◼   ► But yeah, I do think Apple has good visibility into that.

00:22:58 ◼   ► But of course, Apple being Apple, the team making changes to the framework has to ask

00:23:03 ◼   ► some other team, the API usage app store analysis team to find out.

00:23:09 ◼   ► And of course, my API in question was on the Mac, and so they have to ask about the Mac

00:23:12 ◼   ► App Store, and I think the top 10 apps in the Mac App Store are probably not representative

00:23:17 ◼   ► of the top 10 apps used by Mac users, and so there's a little bit more difficulty there.

00:23:21 ◼   ► But anyway, there's one take from the inside on Apple's unsurprising awareness and analysis

00:23:28 ◼   ► of the software that passes through their ecosystem.

00:23:31 ◼   ► We also got some feedback from another anonymous person, which indicates that maybe the radar

00:23:36 ◼   ► grass is not actually greener on the other side.

00:23:39 ◼   ► I'm going to read most of it.

00:23:41 ◼   ► "I work for a big developer in the games industry, and we definitely get a very different support

00:23:44 ◼   ► experience from Apple, though I'm not sure the outcomes are any different.

00:23:48 ◼   ► At the corporate level, which is way above my level,

00:23:50 ◼   ► we have whole teams of developer relationships,

00:23:52 ◼   ► people from Apple talking to our first-party relationships,

00:23:55 ◼   ► people about business deals or whatever.

00:23:58 ◼   ► I have only the tiniest insight into this,

00:23:59 ◼   ► and I can't share it.

00:24:00 ◼   ► My team is direct contact with someone

00:24:02 ◼   ► in Apple Developer Relations

00:24:03 ◼   ► and several engineers that work with them.

00:24:05 ◼   ► We have monthly meetings between our engineers and this team

00:24:07 ◼   ► in which we raise issues, ask for advice, et cetera.

00:24:09 ◼   ► We also have a private Slack channel

00:24:11 ◼   ► with that same DevRel team

00:24:12 ◼   ► where we can raise issues and get a response at any time.

00:24:15 ◼   ► It seems like this should be great, right?

00:24:17 ◼   ► Right? But we end up with broadly the same frustrations.

00:24:21 ◼   ► Da-da-da-da. Wow. Responses to our bug reports are slow. Granted, less slow because we have more

00:24:28 ◼   ► ability to nag them about it. We continually have to prod the Slack thread and ask, "What's happening

00:24:33 ◼   ► with this issue?" We see the "We think we've fixed it!" or "Try in the latest beta" responses from

00:24:39 ◼   ► Apple, but they haven't fixed it and it's still difficult to figure out which beta that will

00:24:43 ◼   ► will supposedly have the fix.

00:24:45 ◼   ► They still can't share any details

00:24:46 ◼   ► of how things work under the hood

00:24:47 ◼   ► to help us come up with viable workarounds,

00:24:49 ◼   ► which in some cases we would need

00:24:50 ◼   ► even if the bugs were fixed

00:24:51 ◼   ► because we want to support a broader range of OS versions.

00:24:54 ◼   ► They often can't answer straightforward questions

00:24:57 ◼   ► like what are the performance implications of X versus Y?

00:25:00 ◼   ► Either because they don't know, can't say, or it depends.

00:25:03 ◼   ► And they can't tell us on what.

00:25:05 ◼   ► I guess my point is it isn't just the feedback radar system

00:25:09 ◼   ► itself that's the problem.

00:25:11 ◼   ► Apple's organization seems to be set up

00:25:13 ◼   ► with such a focus on secrecy

00:25:15 ◼   ► that they just can't provide the transparency

00:25:16 ◼   ► that you need as an external developer

00:25:18 ◼   ► to really believe that they do actually care about

00:25:21 ◼   ► and are working on your problems.

00:25:23 ◼   ► I'm gonna read it again because I think it's that good.

00:25:26 ◼   ► Apple's organization seems to be set up

00:25:28 ◼   ► with such a focus on secrecy

00:25:29 ◼   ► that they just can't provide the transparency

00:25:31 ◼   ► that you need as an external developer

00:25:33 ◼   ► to really believe that they do actually care about

00:25:36 ◼   ► and are working on your problems.

00:25:39 ◼   ► Amen to that.

00:25:40 ◼   ► - I know this is framed as,

00:25:42 ◼   ► our deal for us is different when we're at a big company,

00:25:45 ◼   ► but the outcomes are the same.

00:25:46 ◼   ► But how much would you kill for a private Slack channel

00:25:48 ◼   ► with Apple engineers? - Oh gosh.

00:25:49 ◼   ► - So you could prod them in threads.

00:25:51 ◼   ► Like I know that it's still,

00:25:52 ◼   ► they are held back by being unresponsive

00:25:55 ◼   ► and like, oh, they can't tell you.

00:25:56 ◼   ► And like, yeah, it is frustrating, it is worse than,

00:25:58 ◼   ► I think what they'd be comparing it to is,

00:26:00 ◼   ► say you're a big important company.

00:26:02 ◼   ► Big important company would get better support

00:26:04 ◼   ► from say, Microsoft than they get from Apple, you know?

00:26:07 ◼   ► We're not expecting that tinky little developers

00:26:09 ◼   ► will get the same support as a big, giant company.

00:26:12 ◼   ► I think where they're coming from here

00:26:14 ◼   ► is we are a big, important company,

00:26:15 ◼   ► so we know how big and important companies get treated

00:26:18 ◼   ► by different platform owners.

00:26:20 ◼   ► And Apple is the worst, right?

00:26:21 ◼   ► Because of secrecy.

00:26:22 ◼   ► Because they can't tell us things,

00:26:24 ◼   ► and because they're unresponsive,

00:26:26 ◼   ► and because there's layers-- that the organization is not

00:26:29 ◼   ► set up to be responsive to demand.

00:26:32 ◼   ► So as jealous as we are as individual developers

00:26:35 ◼   ► of having these kind of touch points,

00:26:37 ◼   ► It's unrealistic to assume that any individual would have this.

00:26:41 ◼   ► But within each sort of cohort, within each strata

00:26:46 ◼   ► of developers, it seems like if you were to compare like to like,

00:26:49 ◼   ► big company, how do you get support from Apple versus how you get it

00:26:53 ◼   ► from Microsoft versus how you get it from Google, Apple is always in last place,

00:26:56 ◼   ► seemingly for structural and secrecy reasons.

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00:28:50 ◼   ► - All right, and thus we enter the camera portion

00:28:56 ◼   ► of the show which begins in follow-up,

00:28:58 ◼   ► but will continue into the main topic.

00:29:00 ◼   ► I believe this is all Marco, is that correct?

00:29:02 ◼   ► - It's certainly a lot, Ne.

00:29:05 ◼   ► Although I'm sure Jon will jump in, and I hope he does.

00:29:09 ◼   ► Because there's going to be a lot.

00:29:12 ◼   ► All right, so I've gone through my brief camera buying phase

00:29:17 ◼   ► of the five-year span that we're in, because it's about as often

00:29:20 ◼   ► as I buy cameras.

00:29:21 ◼   ► It's a pattern.

00:29:22 ◼   ► I recognize it at this point.

00:29:24 ◼   ► About every five years, I see what modern cameras can do.

00:29:27 ◼   ► It blows me away.

00:29:28 ◼   ► I buy one or two modern cameras.

00:29:30 ◼   ► And then over the next few years,

00:29:32 ◼   ► I stop using them because they're too much

00:29:34 ◼   ► to carry around.

00:29:35 ◼   ► iPhones get better and more convenient,

00:29:36 ◼   ► and I say, eh, I'm never gonna buy a camera again.

00:29:39 ◼   ► And then what inevitably happens is,

00:29:42 ◼   ► a few years later, the cycle repeats as cameras get better.

00:29:45 ◼   ► - Has the cycle repeated that much?

00:29:47 ◼   ► I think you may be on the first round

00:29:48 ◼   ► of this particular cycle, 'cause I think you,

00:29:50 ◼   ► basically you were like, big cameras are good,

00:29:52 ◼   ► I'm into big cameras, and then the iPhone camera got good,

00:29:55 ◼   ► and then you switched all iPhone,

00:29:56 ◼   ► I think this is your first backslide,

00:29:58 ◼   ► unless I'm remembering it different.

00:30:00 ◼   ► - No, that sounds right.

00:30:01 ◼   ► - I think this is the first loop.

00:30:02 ◼   ► I mean, I agree with you that it's probably gonna repeat.

00:30:05 ◼   ► Let history be a guide.

00:30:07 ◼   ► They're the cycles of Marco.

00:30:08 ◼   ► (laughing)

00:30:09 ◼   ► I think to be fair to you,

00:30:11 ◼   ► this is your first time through this.

00:30:14 ◼   ► - Maybe, yeah, maybe my first,

00:30:16 ◼   ► it's certainly my first time in a while,

00:30:17 ◼   ► in about five years.

00:30:19 ◼   ► I guess there was my brief flirtation

00:30:21 ◼   ► with being a video producer,

00:30:22 ◼   ► where I bought a couple of objects for video production,

00:30:25 ◼   ► never used them, and eventually mailed them to you.

00:30:27 ◼   ► - I mean, you made some videos.

00:30:29 ◼   ► You actually made videos with them, right?

00:30:31 ◼   ► - I think I made a video.

00:30:32 ◼   ► - No, you had like a Mac mini video and some other thing.

00:30:35 ◼   ► - And the iPad Pro 2018.

00:30:38 ◼   ► I think it was the same event.

00:30:40 ◼   ► - But in that one, I don't think you had a period

00:30:42 ◼   ► where you were like, big video cameras are crappy,

00:30:45 ◼   ► you should just use your iPhone for everything.

00:30:47 ◼   ► - Yeah, but anyway, as usual during this phase,

00:30:50 ◼   ► I was trying to figure out how do I make my new cool camera

00:30:54 ◼   ► as convenient as the iPhone.

00:30:55 ◼   ► And of course, that's impossible.

00:30:57 ◼   ► But I ran into a couple of issues.

00:30:59 ◼   ► Number one was I was torn between the physical size

00:31:04 ◼   ► of the Ricoh GR3X, which is awesome.

00:31:07 ◼   ► I was not super thrilled with the color of its pictures.

00:31:12 ◼   ► And then I was very impressed by the Fujifilm X100V,

00:31:17 ◼   ► but it was a little bit less technically easy to use

00:31:21 ◼   ► and technically sharp as the Ricoh GR3X.

00:31:25 ◼   ► But the Fuji produced pictures

00:31:27 ◼   ► that I just loved the colors from.

00:31:29 ◼   ► And so, got a bunch of feedback on this.

00:31:31 ◼   ► So first of all, a number of people sent in this website.

00:31:34 ◼   ► It's ricorecipes.com.

00:31:36 ◼   ► This is Richie's Rico Recipes.

00:31:38 ◼   ► And the Rico has these various customization options

00:31:42 ◼   ► where you can set, all right, for custom mode number two,

00:31:45 ◼   ► set color plus two, saturation minus one,

00:31:48 ◼   ► sharpness plus one, that kind of thing.

00:31:50 ◼   ► And so, what this person Richie has done

00:31:52 ◼   ► is made a whole bunch of presets for those settings

00:31:55 ◼   ► that you can enter into your camera

00:31:57 ◼   ► to achieve different looks.

00:31:58 ◼   ► and the idea is to get much of the same benefit

00:32:01 ◼   ► as Fuji's film emulation modes,

00:32:03 ◼   ► which are very appealing and very popular with Ricoh cameras.

00:32:08 ◼   ► I tried them, they are better than the Ricoh's defaults,

00:32:12 ◼   ► but I was not able to find one

00:32:15 ◼   ► that I really thought was comparable

00:32:17 ◼   ► to what I was getting out of the Fuji

00:32:18 ◼   ► with no effort whatsoever.

00:32:20 ◼   ► If what you want is really cool colors in the photos

00:32:23 ◼   ► and if you like the way Fuji's render color,

00:32:26 ◼   ► there is no direct substitution in camera hardware.

00:32:28 ◼   ► Now, you can get Lightroom presets and stuff

00:32:31 ◼   ► that people have made to try to emulate Fuji's modes,

00:32:33 ◼   ► and they might come closer,

00:32:35 ◼   ► but I have not yet found anything that offers

00:32:36 ◼   ► what Fuji does in in-camera JPEG processing,

00:32:39 ◼   ► so you can just dump it right onto something

00:32:41 ◼   ► and use it immediately.

00:32:42 ◼   ► On the Fuji itself, I talked about how crappy

00:32:46 ◼   ► all the camera apps are, about transferring photos

00:32:49 ◼   ► over Wi-Fi to your phone or whatever,

00:32:51 ◼   ► like all these different schemes everyone has,

00:32:52 ◼   ► and they're all crappy and terrible and slow.

00:32:54 ◼   ► Fuji has this feature called PC Auto Save,

00:32:59 ◼   ► and I assume it's how you pronounce it,

00:33:00 ◼   ► 'cause it's in all capitals.

00:33:01 ◼   ► - PC load letter, what the eff does that mean?

00:33:03 ◼   ► - Abort, retry, fail.

00:33:04 ◼   ► - There you go.

00:33:05 ◼   ► - Let's pull out all the old PC tropes

00:33:07 ◼   ► where everything was in caps.

00:33:08 ◼   ► - Yeah, so anyway, PC Auto Save is on most Fuji cameras,

00:33:13 ◼   ► at least most reasonably modern ones,

00:33:16 ◼   ► although it's funny, I decided in the intervening time

00:33:20 ◼   ► to cancel my return for the XT5.

00:33:25 ◼   ► I kept the XT5 and I love it and shut up.

00:33:28 ◼   ► So anyway, PC autosave is on the X100V

00:33:32 ◼   ► and many other modern Fuji cameras.

00:33:34 ◼   ► It's on the XT3 and 4, I think.

00:33:36 ◼   ► For some reason, I don't think it's on the XT5.

00:33:39 ◼   ► I can't find it anywhere and it's not

00:33:41 ◼   ► on the compatibility list and it's not

00:33:43 ◼   ► in the instruction manual and I can't find it anywhere

00:33:44 ◼   ► in the menus, so.

00:33:45 ◼   ► - Did you do a firmware update?

00:33:47 ◼   ► - Yes I did, it's the modern version of everything,

00:33:48 ◼   ► thank you for.

00:33:49 ◼   ► John, you were the one who taught me

00:33:51 ◼   ► that camera firmware updates exist.

00:33:53 ◼   ► So that's the first thing I tried.

00:33:55 ◼   ► Oh, maybe I got an early version and it didn't help.

00:33:58 ◼   ► And it's listed nowhere, it's documented nowhere,

00:34:00 ◼   ► it's not in the instructions,

00:34:01 ◼   ► so I'm pretty sure it just doesn't have this feature

00:34:03 ◼   ► for some reason.

00:34:04 ◼   ► But anyway, what PC autosave is,

00:34:07 ◼   ► is you run this horrendous little Fuji app

00:34:10 ◼   ► on your Mac or PC or whatever,

00:34:12 ◼   ► you set up the camera, you kind of pair the camera

00:34:14 ◼   ► to this app on your computer

00:34:15 ◼   ► that's always running in your menu bar

00:34:16 ◼   ► with a hideous icon and an even more hideous interface.

00:34:19 ◼   ► and you can tell the camera,

00:34:21 ◼   ► you can go to the playback menu and select PC auto save

00:34:24 ◼   ► and it will then begin to very slowly

00:34:28 ◼   ► connect to your WiFi network, find your PC

00:34:31 ◼   ► and then very slowly automatically save the pictures to it

00:34:35 ◼   ► over your WiFi network.

00:34:37 ◼   ► And it is a comically slow process but it does work.

00:34:42 ◼   ► So if you happen to have your computer

00:34:45 ◼   ► on the same WiFi network as your camera,

00:34:48 ◼   ► this method is a little bit less horrible

00:34:51 ◼   ► than using the apps to transfer.

00:34:52 ◼   ► But ultimately, all of these methods

00:34:54 ◼   ► are so much more horrible than just plugging the camera

00:34:58 ◼   ► directly into your computer or popping the card out

00:35:00 ◼   ► and using a card reader.

00:35:02 ◼   ► You're better off just doing that.

00:35:03 ◼   ► And I think once the iPhone goes USB-C,

00:35:06 ◼   ► I would imagine you will probably be able

00:35:09 ◼   ► to just plug in any USB-C card reader to the iPhone

00:35:13 ◼   ► and I bet it'll import it directly.

00:35:15 ◼   ► 'Cause right now Apple has sold various camera connection

00:35:19 ◼   ► kit accessories over the years.

00:35:21 ◼   ► Some of which have USB ports,

00:35:22 ◼   ► some of which just have SD card slots.

00:35:25 ◼   ► I believe the ones of those that use the lightning port

00:35:28 ◼   ► I think do already work on the iPhone,

00:35:30 ◼   ► but I'm not positive about that.

00:35:31 ◼   ► I don't have one here to test,

00:35:32 ◼   ► and I wasn't gonna buy one a few months

00:35:33 ◼   ► before the USB-C iPhone comes out.

00:35:35 ◼   ► So I could be wrong on that, but anyway,

00:35:37 ◼   ► that's an option maybe to go directly to a phone.

00:35:40 ◼   ► I know it at least works on iPads,

00:35:41 ◼   ► and definitely works on Macs.

00:35:43 ◼   ► So that's the way to go if you wanna transfer photos

00:35:45 ◼   ► to your cool Apple hardware is just dump them onto the computer directly with the card or

00:35:50 ◼   ► the cable. Also got a wonderful tip, my complaint about the X100V was I was having trouble getting

00:35:59 ◼   ► the autofocus to really nail the focus, like especially on eyes, it was sometimes like

00:36:03 ◼   ► you know focus on the tip of the eyelashes instead of the actual eye surface, stuff like

00:36:09 ◼   ► that, it was like slightly missing focus a lot and I was having trouble getting sharp

00:36:13 ◼   ► So anonymous wrote in to say that the F100V ships with the

00:36:18 ◼   ► release/focus priority setting on shutter,

00:36:22 ◼   ► meaning it will prioritize taking a picture

00:36:25 ◼   ► over actually getting the right focus.

00:36:27 ◼   ► Changing it to focus improved my hit rate noticeably

00:36:30 ◼   ► and seems to have little impact on shutter lag

00:36:32 ◼   ► in most situations.

00:36:33 ◼   ► So to explain this, basically almost every modern camera,

00:36:36 ◼   ► at least in default mode, usually if you push the shutter

00:36:41 ◼   ► button but the lens has not focused yet,

00:36:43 ◼   ► usually it will wait until it locks on focus

00:36:47 ◼   ► and then take the picture, so that's shutter lag.

00:36:49 ◼   ► And sometimes it's really frustrating

00:36:51 ◼   ► if you're maybe in the dark

00:36:52 ◼   ► and the camera's having trouble focusing

00:36:54 ◼   ► and you're like, just push it, just take it,

00:36:55 ◼   ► and the camera's going, going back and forth

00:36:58 ◼   ► and can't really focus on something.

00:37:00 ◼   ► So oftentimes this feature, in more pro modes

00:37:04 ◼   ► or more pro models, will be set to shutter priority,

00:37:07 ◼   ► which means as soon as you hit the shutter button

00:37:09 ◼   ► all the way down, just take the picture,

00:37:12 ◼   ► regardless of whether the autofocus engine

00:37:13 ◼   ► thinks it has focus or not.

00:37:15 ◼   ► So the X100V ships in that mode by default,

00:37:17 ◼   ► where it just takes the picture,

00:37:19 ◼   ► even if it's not focused all the way.

00:37:21 ◼   ► So I changed this, the way Anonymous said,

00:37:23 ◼   ► to change it to focus priority,

00:37:25 ◼   ► so the former where it waits for focus,

00:37:27 ◼   ► even if it introduces some lag

00:37:29 ◼   ► before it actually takes the picture.

00:37:31 ◼   ► And I agree, it seems to have improved the hit rate,

00:37:35 ◼   ► and it does not seem to introduce noticeable lag

00:37:37 ◼   ► in any situation I've encountered so far.

00:37:39 ◼   ► - Are you not a fan of back button focusing,

00:37:44 ◼   ► which would also solve this problem for you?

00:37:46 ◼   ► - Like the AF on button on cannons and stuff like that,

00:37:48 ◼   ► where you hit the button there without,

00:37:50 ◼   ► because normally I just half press the shutter

00:37:53 ◼   ► and then go all the way.

00:37:53 ◼   ► - Right, so most people, phones,

00:37:55 ◼   ► phones, cameras, big cameras ship,

00:37:58 ◼   ► so that if you press the shutter button halfway down,

00:38:01 ◼   ► it will start focusing,

00:38:02 ◼   ► and then if you press it the rest of the way down,

00:38:03 ◼   ► it will take the picture,

00:38:04 ◼   ► and at that point, everything you just described takes place.

00:38:06 ◼   ► It says, "Should I really take the picture,

00:38:07 ◼   ► "or should I wait for the focusing motor

00:38:09 ◼   ► to finish getting to where I know it's supposed to focus and so on and so forth.

00:38:12 ◼   ► The other technique is often called back button focusing, which means you assign some button

00:38:17 ◼   ► on the back of your camera to be the "please do autofocus now" button.

00:38:23 ◼   ► And then the shutter button is, you turn off the feature that makes the camera try to focus

00:38:28 ◼   ► when you push the shutter button halfway down.

00:38:30 ◼   ► So you separate the two functions.

00:38:31 ◼   ► So you decide when you want your camera to do autofocusing with the back button, and

00:38:36 ◼   ► once you're happy with the focus you can press the shutter button. you can do both

00:38:40 ◼   ► of them at the same time and then you would still have the same situation where

00:38:43 ◼   ► should I wait for the motor or whatever but you can also do your focus and then

00:38:47 ◼   ► once you're happy yes you've got the focus to my satisfaction and you know

00:38:50 ◼   ► the thing isn't moving the person isn't moving or whatever then when you press

00:38:53 ◼   ► the shutter button it's going to take it immediately because no part of pressing

00:38:56 ◼   ► the shutter button tells it to do focus again focusing is separated from

00:38:59 ◼   ► shutter. I am not a big fan of this but I see I see the situations where it could

00:39:05 ◼   ► be advantageous and some people, this is the only way they view the camera and they consider

00:39:09 ◼   ► it broken to use the other way, but I feel like it's just kind of a muscle memory type

00:39:12 ◼   ► thing a lot of the times.

00:39:13 ◼   ► But you see the advantage is like, if you get it focused on somebody and they're not

00:39:17 ◼   ► moving, very often with cameras, with modern cameras being so good at focusing on stuff,

00:39:23 ◼   ► like someone in the background will move and turn their head towards the camera and the

00:39:26 ◼   ► camera will be like, "Ooh, a pair of eyes.

00:39:27 ◼   ► I'm totally going to focus on that."

00:39:29 ◼   ► It's like, no, no.

00:39:30 ◼   ► Focus on the ear of the person I just focused on.

00:39:31 ◼   ► Like you know, if you get the focus the way you want and the person you focus on turns

00:39:35 ◼   ► their head away, so now they're just ears facing you, but you're happy with that focal

00:39:38 ◼   ► plane, you don't want it to jump to the person in the background whose two eyes just face

00:39:42 ◼   ► that.

00:39:43 ◼   ► You want it to stay where you left it, so in that situation, you do back button focusing

00:39:47 ◼   ► to get the focus you want, so you get perfect eye focus on that person, and even if they

00:39:50 ◼   ► turn their head slightly, you don't want it to pick some other subject, so then you use

00:39:53 ◼   ► the shutter button for it.

00:39:55 ◼   ► So if you got used to that technique of focusing, I think that would essentially do the same

00:40:01 ◼   ► thing as you saying shutter priority because, you know, in that case the shutter never activates

00:40:05 ◼   ► autofocus it just fires the shutter.

00:40:08 ◼   ► Yeah, I never shot that style but, you know, a lot of people do so there's probably some,

00:40:13 ◼   ► I probably should be using that style.

00:40:15 ◼   ► It's more cumbersome a lot of the time, and especially if you forget that you've, you

00:40:19 ◼   ► previously selected this focal plane and I'm never going to change it unless you hit the

00:40:23 ◼   ► back button again and you think, oh, you know, because you get used to just using the half

00:40:27 ◼   ► The other way to solve this problem with lag or maybe the focus is to get a Sony camera

00:40:33 ◼   ► or some other camera that has insanely good, really, really fast, really smart focus selection

00:40:39 ◼   ► that's just been getting better and better over time.

00:40:40 ◼   ► And to be fair, all camera manufacturers have been getting better and better.

00:40:43 ◼   ► Sony used to have a huge lead and now it just has a smaller lead, but Sony still is a really

00:40:48 ◼   ► good focusing system where it will...

00:40:50 ◼   ► Like the reason you don't notice it on Sony is it's so fast.

00:40:53 ◼   ► First of all, Sony lenses are very fast to physically focus, and second, the Sony image

00:40:58 ◼   ► detection system is really good at finding the thing you want to focus on and tracking

00:41:02 ◼   ► it and not getting distracted when something moves.

00:41:05 ◼   ► So that's one of the advantages of the Sony cameras.

00:41:07 ◼   ► But other ones have been catching up, and these types of settings are a good way to

00:41:10 ◼   ► sort of shore up the minor inefficiencies as compared to the best of the best.

00:41:16 ◼   ► Yeah, and in all fairness, as much as I love the Fuji color processing, they are not close

00:41:22 ◼   ► to class leading with autofocus sophistication.

00:41:25 ◼   ► That is one area where they are, I think,

00:41:27 ◼   ► behind the competitors, and I think all their views

00:41:29 ◼   ► agree with that.

00:41:30 ◼   ► So I have noticed that it is not as smart

00:41:33 ◼   ► as Sony's autofocus, but it's smart enough for me,

00:41:35 ◼   ► and I'm loving the pictures that it's getting.

00:41:39 ◼   ► If I was a sports photographer,

00:41:40 ◼   ► I would definitely not use Fuji,

00:41:42 ◼   ► but I would, but for taking pictures that I like a lot

00:41:46 ◼   ► in other situations, it's proving to be fantastic.

00:41:49 ◼   ► One thing I noticed as I was taking pictures

00:41:52 ◼   ► with these cameras for the first time,

00:41:54 ◼   ► like since using an iPhone,

00:41:56 ◼   ► I missed the iPhone HDR photography.

00:42:00 ◼   ► And I don't mean the,

00:42:03 ◼   ► so cameras have caught up in a number of ways.

00:42:05 ◼   ► So since I, the previous last camera I bought

00:42:10 ◼   ► was the Sony A7R III, which is at this point

00:42:14 ◼   ► probably something like five years old in that ballpark.

00:42:18 ◼   ► And what, cameras have gotten really good at eating away

00:42:22 ◼   ► some of the iPhone's advantages in the meantime.

00:42:24 ◼   ► Not all of them, and they never will get all of them,

00:42:26 ◼   ► but some of them.

00:42:27 ◼   ► And one of the things is, you know,

00:42:29 ◼   ► the iPhones have always been really, not always,

00:42:31 ◼   ► but modern iPhones have always been really good

00:42:33 ◼   ► at dealing with high dynamic range scenes.

00:42:36 ◼   ► Scenes where you have something very bright,

00:42:38 ◼   ► like maybe something, you know,

00:42:40 ◼   ► water reflecting the sun, or the actual sun,

00:42:42 ◼   ► or the moon, or something, you know, in your shot,

00:42:44 ◼   ► something very bright, but you still wanna have detail

00:42:47 ◼   ► in the darker shadow areas.

00:42:49 ◼   ► So you have to have a lot of dynamic range in the image.

00:42:52 ◼   ► And modern camera sensors in big cameras

00:42:55 ◼   ► can capture that dynamic range very well.

00:42:57 ◼   ► Modern camera sensors have incredible dynamic range,

00:43:00 ◼   ► but usually where they lacked is in processing down

00:43:03 ◼   ► the dynamic range to a useful photo

00:43:06 ◼   ► that you would actually want and look good

00:43:08 ◼   ► without losing all the details in the highlights

00:43:11 ◼   ► or the shadows.

00:43:12 ◼   ► And usually you had to shoot raw

00:43:14 ◼   ► to really make the most of that.

00:43:16 ◼   ► and I am so done shooting RAW,

00:43:18 ◼   ► like the pictures are so huge and they break and everything

00:43:22 ◼   ► and I'm just not,

00:43:23 ◼   ► and that's for a more editing focused workflow

00:43:26 ◼   ► than what I ever want.

00:43:27 ◼   ► - You might be back to RAW eventually,

00:43:29 ◼   ► but I think, so this is relevant to a link

00:43:32 ◼   ► that we'll put in the show notes from PetaPixel

00:43:34 ◼   ► that is actually from two days ago,

00:43:37 ◼   ► where the headline is,

00:43:38 ◼   ► Gen Z discovers modern digital cameras

00:43:40 ◼   ► are better than iPhones.

00:43:41 ◼   ► And it shows a bunch of pictures on like TikTok

00:43:43 ◼   ► where they're like, look, you know,

00:43:45 ◼   ► this person was sitting on the beach

00:43:47 ◼   ► and we wanted to take a picture of them.

00:43:48 ◼   ► Here's what it looks like on the iPhone.

00:43:49 ◼   ► Here's what it looks like on a real camera.

00:43:50 ◼   ► And there's situations in which the iPhone sensor

00:43:52 ◼   ► is too small to gather enough light

00:43:54 ◼   ► and the real camera is able to gather enough light

00:43:56 ◼   ► to correctly expose the person, right?

00:43:57 ◼   ► But a lot of these pictures,

00:43:59 ◼   ► like, oh, look how dark everything is in the iPhone.

00:44:01 ◼   ► I think they're terrible examples

00:44:03 ◼   ► because what you just said is so true.

00:44:05 ◼   ► Where the iPhone excels is not being good

00:44:07 ◼   ► at low-light photography and that it gathers

00:44:09 ◼   ► a lot of light on the sensor and can see in the dark.

00:44:12 ◼   ► No, that's not why the iPhone photos come out well.

00:44:15 ◼   ► They come out well because it does the high dynamic HDR

00:44:18 ◼   ► photos, meaning, and we're setting aside

00:44:19 ◼   ► what you're gonna get to eventually, right,

00:44:20 ◼   ► with just the EDR stuff.

00:44:22 ◼   ► But like, when the iPhone does high dynamic range,

00:44:26 ◼   ► it does it in the same way that big cameras can do it,

00:44:29 ◼   ► but it does it without involving the user at all.

00:44:32 ◼   ► You just press the shutter button on the iPhone.

00:44:34 ◼   ► And what the iPhone does, it's not like,

00:44:35 ◼   ► oh, it processes its dynamic range better.

00:44:37 ◼   ► It takes multiple exposures, right?

00:44:40 ◼   ► It takes one underexposed.

00:44:42 ◼   ► It takes one overexposed,

00:44:43 ◼   ► I don't know how many exposures it takes,

00:44:44 ◼   ► it takes at least two, maybe more,

00:44:46 ◼   ► and it combines them.

00:44:48 ◼   ► So it's not a single photo,

00:44:49 ◼   ► 'cause a single photo has crap dynamic range

00:44:51 ◼   ► on a sensor that's like the size of the end

00:44:54 ◼   ► of an eraser on a pencil, right?

00:44:57 ◼   ► It's going through this tiny little lens,

00:44:58 ◼   ► but this tiny little, it's just,

00:45:00 ◼   ► there's not a lot of light there.

00:45:01 ◼   ► So why do the iPhone cameras actually look better

00:45:04 ◼   ► where the real camera breaks up?

00:45:05 ◼   ► Because it takes multiple exposures and combines them.

00:45:08 ◼   ► If you take a single exposure with a full-frame camera

00:45:11 ◼   ► in a very challenging lighting situation,

00:45:13 ◼   ► like a person with a bright sunset behind them,

00:45:16 ◼   ► you can choose to expose, so the sunset is not blown out,

00:45:19 ◼   ► and then the person is all dark.

00:45:21 ◼   ► You can choose to expose the person,

00:45:22 ◼   ► so their skin tone looks good,

00:45:24 ◼   ► and then the sky behind them is blown out.

00:45:26 ◼   ► With any single exposure, you can try to get as much,

00:45:29 ◼   ► you know, big camera sensors have a lot of dynamic range,

00:45:31 ◼   ► you can try to get a compromise between them,

00:45:33 ◼   ► but in very challenging situation

00:45:34 ◼   ► where there's a really bright light behind somebody,

00:45:38 ◼   ► you can't have both.

00:45:39 ◼   ► But big cameras can also take multiple exposures

00:45:42 ◼   ► and try to combine them.

00:45:43 ◼   ► They just, there's so much worse at it than phones, right?

00:45:46 ◼   ► 'Cause first of all, there's the contract

00:45:47 ◼   ► when you're using a big camera,

00:45:48 ◼   ► which is you press the shutter button,

00:45:50 ◼   ► we do a single exposure.

00:45:52 ◼   ► Oh, do you wanna do exposure bracketing?

00:45:53 ◼   ► Well, that's a setting and you get to do it

00:45:55 ◼   ► and maybe you wanna use electronic shutter

00:45:56 ◼   ► or maybe we're gonna take multiple ones

00:45:57 ◼   ► and I hope you don't shake the camera

00:45:58 ◼   ► 'cause our software is not very good

00:46:00 ◼   ► at aligning the pictures and combining them.

00:46:01 ◼   ► The iPhone totally wins there.

00:46:03 ◼   ► So I feel like this PetaPixel article

00:46:05 ◼   ► is showing a bunch of photos where I'm like,

00:46:07 ◼   ► the iPhone probably would do better here

00:46:09 ◼   ► unless you're in a situation that is within the realm

00:46:13 ◼   ► of the dynamic range of a real camera.

00:46:15 ◼   ► That you don't need, if you have a big sensor

00:46:17 ◼   ► and a real camera, you don't need to do multiple exposures,

00:46:20 ◼   ► whereas the iPhone does need to do multiple exposures

00:46:22 ◼   ► and it ends up looking worse.

00:46:23 ◼   ► And I guess that's what their examples are here.

00:46:24 ◼   ► But I think, you know, you've said in the past, Mark,

00:46:26 ◼   ► with iPhones are better at low light,

00:46:28 ◼   ► and then we get all this feedback saying,

00:46:29 ◼   ► are you crazy, iPhones aren't better at low light,

00:46:31 ◼   ► they have a tiny sensor, they can't gather any light,

00:46:33 ◼   ► or whatever, and it's like, no, they're not better,

00:46:36 ◼   ► physically speaking, in terms of photons,

00:46:38 ◼   ► But they're better because they take two or more exposures,

00:46:42 ◼   ► I honestly don't know how many they take,

00:46:44 ◼   ► and they find a way to combine them,

00:46:45 ◼   ► even if your hand is shaking,

00:46:47 ◼   ► even if the processing of the multiple exposures

00:46:50 ◼   ► that they take exposing for the sky,

00:46:52 ◼   ► exposing for the person's face, exposing for this,

00:46:54 ◼   ► and then they do all this processing,

00:46:55 ◼   ► and they mush it up into this thing that they call a photo,

00:46:57 ◼   ► which is a combination of multiple photos,

00:47:00 ◼   ► that's what they're better at.

00:47:01 ◼   ► And big cameras can do that, but it's a setting,

00:47:04 ◼   ► and you have to know how to use it,

00:47:05 ◼   ► and they're still not as good at doing the combination

00:47:07 ◼   ► of those exposures as Apple is,

00:47:10 ◼   ► let alone doing them seamlessly

00:47:11 ◼   ► when you just press a single shutter button.

00:47:12 ◼   ► Maybe they'll get there someday,

00:47:13 ◼   ► but I do kind of feel like there is that implied contract

00:47:16 ◼   ► with the real camera, which is you press

00:47:18 ◼   ► that shutter button once, we do one exposure.

00:47:20 ◼   ► And if you want something different,

00:47:21 ◼   ► you have to ask for it explicitly.

00:47:23 ◼   ► - Well, and there actually, there is an HDR mode

00:47:25 ◼   ► on the X-T5, I gotta see if the X100V has it.

00:47:29 ◼   ► - But you're talking about multiple exposures,

00:47:31 ◼   ► or you're talking about, oh, the thing

00:47:32 ◼   ► where we add a brightness channel

00:47:33 ◼   ► that shows the bright stuff brighter?

00:47:34 ◼   ► - So there's multiple options.

00:47:36 ◼   ► So there is the multiple exposure thing.

00:47:38 ◼   ► You flip a knob over to HDR, it's right at your thumb,

00:47:41 ◼   ► you hit the shutter and it goes buh buh buh,

00:47:43 ◼   ► and it takes three pictures and it merges them

00:47:45 ◼   ► and you get a JPEG out and it's done.

00:47:47 ◼   ► That's, and that's using the exposure bracketing,

00:47:50 ◼   ► one dark, one light, one medium,

00:47:52 ◼   ► different settings for like how much range

00:47:54 ◼   ► you wanna cover there, how much you wanna crush

00:47:56 ◼   ► into the final picture.

00:47:57 ◼   ► But then modern cameras also have usually some form

00:48:01 ◼   ► of extended dynamic range shooting mode.

00:48:04 ◼   ► So what this, and the various details of how they do this

00:48:08 ◼   ► are, you know, they vary by manufacturer and everything.

00:48:11 ◼   ► Some of them will have like dynamic range priority modes,

00:48:13 ◼   ► but the idea basically is they use a larger range,

00:48:17 ◼   ► like they capture a larger range than they normally would

00:48:20 ◼   ► and then map that to like, you know,

00:48:22 ◼   ► the zero to one color space, you know, for the JPEG.

00:48:25 ◼   ► So what ends up happening is it looks, you know,

00:48:28 ◼   ► if you've seen HDR pictures online,

00:48:31 ◼   ► like they can look a little bit odd,

00:48:33 ◼   ► like in terms of the contrast is maybe too low

00:48:36 ◼   ► and everything kind of looks almost like a painting,

00:48:38 ◼   ► like not texture-wise, but like color-wise.

00:48:40 ◼   ► - Are you thinking, again,

00:48:41 ◼   ► I feel like we need to distinguish,

00:48:42 ◼   ► you're talking about HDR with multiple exposures?

00:48:45 ◼   ► - No, one exposure.

00:48:46 ◼   ► - All right, so then what you're talking about

00:48:47 ◼   ► is if you take a photo with your iPhone, for example,

00:48:50 ◼   ► of a sunset, you may notice that when you view that

00:48:52 ◼   ► on your iPhone with an HDR screen,

00:48:53 ◼   ► that the sun looks brighter?

00:48:55 ◼   ► - That's different.

00:48:55 ◼   ► So there's three different things.

00:48:58 ◼   ► I'm talking about extended dynamic range modes

00:49:00 ◼   ► on big cameras where they kind of,

00:49:03 ◼   ► they use the range they have differently.

00:49:06 ◼   ► They map it differently to capture more range

00:49:09 ◼   ► at the expense of usually contrast and possibly noise.

00:49:14 ◼   ► Because they kind of like shoot at a higher ISO

00:49:16 ◼   ► than they would need to and then kind of capture.

00:49:20 ◼   ► I don't know the details of how it works.

00:49:22 ◼   ► - Speaking of details, I should find this in a show

00:49:23 ◼   ► that's on a future show.

00:49:24 ◼   ► I actually had it in the notes.

00:49:25 ◼   ► I learned something recently.

00:49:27 ◼   ► We were watching a video about Sony cameras,

00:49:28 ◼   ► ISO in particular.

00:49:29 ◼   ► you probably already knew this and maybe we've mentioned on a past show but if we did I totally

00:49:33 ◼   ► forgot it, that Sony's sensors on their cameras have two different capture modes essentially

00:49:39 ◼   ► depending on what ISO level they're at.

00:49:41 ◼   ► There's like a low sensitivity one and a high sensitivity one and when you cross an ISO

00:49:44 ◼   ► threshold which differs from camera to camera it kicks into the other mode which I had no

00:49:50 ◼   ► idea about but it explains so much.

00:49:52 ◼   ► If you look at the test results you can see I can see and on this camera an ISO 400 is

00:49:55 ◼   ► switches to the other thing which is, you know, it's a trade-off between dynamic range

00:49:59 ◼   ► and noise and stuff like that, but it's something that Sony doesn't really mention because they

00:50:04 ◼   ► don't consider it to be a feature that you can count on.

00:50:08 ◼   ► I forget what the term of art is, but their video cameras do it explicitly and they only

00:50:14 ◼   ► talk about it there because the video cameras are able to be equally good in both of the

00:50:17 ◼   ► ranges, but it explains a lot if you have a Sony camera of like, "Why, when I was cranking

00:50:22 ◼   ► up the ISO, everything kept looking worse and worse until I crossed the threshold and

00:50:25 ◼   ► and all of a sudden it got better

00:50:26 ◼   ► and then started on a whole new curve.

00:50:28 ◼   ► It's because these sensors have two different modes.

00:50:30 ◼   ► It makes sense when you see the underlying stuff.

00:50:31 ◼   ► I'll try to find it for a future episode,

00:50:33 ◼   ► or maybe even for this one, but it was fascinating.

00:50:35 ◼   ► And that's the type of technical detail

00:50:37 ◼   ► that is buried inside your cameras

00:50:39 ◼   ► that is good to know because on a real camera,

00:50:42 ◼   ► you have control over that stuff.

00:50:43 ◼   ► On the iPhone, even if you're using a third-party camera app

00:50:46 ◼   ► and tweaking all the settings, not quite as much control.

00:50:49 ◼   ► - Yeah.

00:50:50 ◼   ► And so rounding out the dynamic range topic,

00:50:53 ◼   ► One of the things I missed also was

00:50:56 ◼   ► what John said a minute ago.

00:50:57 ◼   ► When you take a picture with a modern iPhone

00:51:01 ◼   ► of a high dynamic range environment

00:51:04 ◼   ► like there's a sunset or something,

00:51:06 ◼   ► you notice when you view it,

00:51:08 ◼   ► it cranks the brightness up way past normal

00:51:11 ◼   ► pure white brightness levels

00:51:13 ◼   ► for those parts of the photo that are super bright

00:51:15 ◼   ► like the tips of the waves, the sun,

00:51:17 ◼   ► the light in the background, the moon, whatever it is.

00:51:20 ◼   ► Those get higher brightness levels.

00:51:22 ◼   ► Same thing happens on any kind of modern Mac with,

00:51:26 ◼   ► do they call them EDR or HDR for the screens?

00:51:28 ◼   ► They call them XDR.

00:51:30 ◼   ► - EDR I think is what they call the technology of,

00:51:32 ◼   ► hey, we're gonna show your screen the way we normally did,

00:51:34 ◼   ► but if you show one of those photos

00:51:36 ◼   ► that was taken how you describe,

00:51:38 ◼   ► we will also show that on the same screen

00:51:40 ◼   ► without changing your display mode or anything like that.

00:51:43 ◼   ► That's the EDR, it's like the ability

00:51:44 ◼   ► to combine regular dynamic range,

00:51:47 ◼   ► your windows and webpages and stuff like that.

00:51:49 ◼   ► But oh, here this little square of it

00:51:51 ◼   ► is high dynamic range, just that little square.

00:51:54 ◼   ► We've talked about it before with the aerial screensaver,

00:51:56 ◼   ► when you show a preview of it in system settings

00:51:58 ◼   ► or whatever, that it's like this little tiny window

00:52:00 ◼   ► that's suddenly HDR, but the whole rest

00:52:01 ◼   ► of your screen is normal.

00:52:03 ◼   ► - I was wondering, well, if I'm using a camera

00:52:05 ◼   ► that can capture all this dynamic range,

00:52:08 ◼   ► how can I get my pictures to render in that mode

00:52:11 ◼   ► on my Pro Display XDR and my MacBook Pro?

00:52:14 ◼   ► It's obviously just some kind of metadata somewhere,

00:52:16 ◼   ► like how do I set that?

00:52:17 ◼   ► So I was looking for an app that can do this,

00:52:19 ◼   ► I can be like, all right, take this photo from my camera,

00:52:22 ◼   ► turn on EDR display mode for it,

00:52:25 ◼   ► and then let me map in the image,

00:52:27 ◼   ► like all right, what levels correspond to what?

00:52:30 ◼   ► So, you know, 'cause what EDR, the way EDR works,

00:52:33 ◼   ► basically, if your regular screen brightness

00:52:35 ◼   ► is like 0.0 to 1.0, EDR would be like,

00:52:39 ◼   ► all right, in this photo, we have some areas

00:52:41 ◼   ► that are 1.5 bright, so, you know,

00:52:43 ◼   ► map what the photo has from, you know,

00:52:46 ◼   ► zero to one, map it really to zero to 1.5

00:52:50 ◼   ► and show that that will end the screen.

00:52:51 ◼   ► So there's a way you can map the brightness levels

00:52:55 ◼   ► and the tone levels from the picture

00:52:57 ◼   ► onto a different range for display on the screen.

00:53:00 ◼   ► - Did you look up how the iPhone does this?

00:53:03 ◼   ► - No, I didn't have time for that.

00:53:04 ◼   ► - So I believe my vague recollection

00:53:08 ◼   ► is that the way Apple decided to do

00:53:10 ◼   ► exactly what you're describing,

00:53:11 ◼   ► they wanted to do it in a way so that when you share

00:53:14 ◼   ► that photo with somebody who doesn't have an HDR screen,

00:53:16 ◼   ► like they just have a regular, they have a MacBook Air

00:53:18 ◼   ► or they have an iMac 24 inch or something like that

00:53:21 ◼   ► and they don't have an HDR screen,

00:53:22 ◼   ► that it still looks normal to them,

00:53:23 ◼   ► like that nothing goes wonky.

00:53:25 ◼   ► So my vague recollection is that what Apple did is,

00:53:28 ◼   ► it's, you know, the JPEG or whatever the Heeck image is,

00:53:31 ◼   ► just the regular dynamic range.

00:53:33 ◼   ► And then there's a separate, sort of a separate channel

00:53:36 ◼   ► that's like the brightness enhancing channel.

00:53:38 ◼   ► - Oh yeah. - And non HDR screens

00:53:40 ◼   ► will just ignore that channel and just show it normal.

00:53:42 ◼   ► But if you have an HDR screen,

00:53:43 ◼   ► it takes like the brightness channel and smooshes it together with the picture and then produces

00:53:48 ◼   ► the output.

00:53:49 ◼   ► What you're describing sounds more like you've got the image data and then you're

00:53:52 ◼   ► just like telling it to reinterpret it.

00:53:54 ◼   ► But I do wonder if the Fuji thing is doing the, you know, separating the brightness channel

00:53:59 ◼   ► from the regular image for back-up compatibility reasons or if it's really just like baking

00:54:03 ◼   ► it into the photo and then just reinterpreting it according to some flag that says, "Hey,

00:54:07 ◼   ► when you look at this thing, interpret it this way."

00:54:08 ◼   ► - Well, so as far as I can tell,

00:54:10 ◼   ► I don't think any modern standalone cameras shoot that way.

00:54:14 ◼   ► With whatever that metadata is

00:54:16 ◼   ► that makes Apple display them super bright,

00:54:18 ◼   ► I don't think any modern cameras do that.

00:54:20 ◼   ► So I was wondering, how can I apply that in editing?

00:54:24 ◼   ► Is there some app that can toggle that flag

00:54:26 ◼   ► and generate that brightness data for my pictures?

00:54:29 ◼   ► And I looked around, so I have Pixelmator.

00:54:33 ◼   ► So Pixelmator on the Mac can do it.

00:54:36 ◼   ► If you go to the color adjustment section,

00:54:38 ◼   ► hit customize, you can add an EDR toggle.

00:54:41 ◼   ► The problem is this only works for raw files,

00:54:43 ◼   ► as far as I can tell.

00:54:44 ◼   ► And it seems like the X-T5 raw files

00:54:48 ◼   ► are supported by nothing right now.

00:54:50 ◼   ► Including, not Pixelmator, not Mac photos,

00:54:53 ◼   ► like nothing seems to support the X-T5 raw files,

00:54:56 ◼   ► even though this camera came out like last fall, I think.

00:54:59 ◼   ► It's not super new, but anyway.

00:55:01 ◼   ► Pixelmator on the Mac can do it only for raw files.

00:55:04 ◼   ► Pixelmator Photo is their iOS app.

00:55:07 ◼   ► This can do it for all files.

00:55:09 ◼   ► If you go to the adjustment sliders,

00:55:11 ◼   ► hit the ellipsis menu, and then there's an option

00:55:14 ◼   ► that says turn on EDR.

00:55:16 ◼   ► So that's what this, it's called EDR in Pixelmator,

00:55:19 ◼   ► and so that's what you wanna turn on

00:55:20 ◼   ► if you wanna play with this.

00:55:21 ◼   ► I separately found an app called Radiance Plus,

00:55:25 ◼   ► I'll link to it, it's three bucks a month

00:55:28 ◼   ► or 30 bucks lifetime, and I converted two photos with it

00:55:32 ◼   ► and instantly paid the 30 buck lifetime fee.

00:55:35 ◼   ► It's a very, very simple app.

00:55:37 ◼   ► It just has like two sliders, it's like brightness

00:55:39 ◼   ► and strength or something like that.

00:55:41 ◼   ► I converted these two pictures I had taken

00:55:43 ◼   ► with the Fuji X100V, they look awesome.

00:55:47 ◼   ► And these pictures were awesome by themselves

00:55:49 ◼   ► like before I did this, but they're even more awesome

00:55:52 ◼   ► when I added this flag.

00:55:54 ◼   ► It much better captures the actual range

00:55:56 ◼   ► that the scene actually looked like.

00:55:58 ◼   ► And I'm very, very happy that I can basically

00:56:00 ◼   ► take awesome camera input and make them look

00:56:04 ◼   ► as nice as the iPhone photos do in this particular way.

00:56:07 ◼   ► And then that syncs, I added them to my library,

00:56:10 ◼   ► like it works in your photo library,

00:56:11 ◼   ► and so now those show up on all my devices

00:56:14 ◼   ► in that cool EDR mode and it looks great.

00:56:17 ◼   ► So I will link to these apps in the show notes.

00:56:19 ◼   ► If you wanna do it, I strongly recommend

00:56:21 ◼   ► giving these apps a try.

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00:56:29 ◼   ► and growing your business online.

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00:58:18 ◼   ► While I was doing all this, I was in camera mode,

00:58:25 ◼   ► and so one of the most common times that we use

00:58:30 ◼   ► big cameras in our household is we can occasionally see

00:58:34 ◼   ► some wildlife from our deck of our house.

00:58:38 ◼   ► And so I wanted something that had a big zoom.

00:58:41 ◼   ► And I gave Tiff as a gift a couple years ago,

00:58:45 ◼   ► I gave her a super zoom lens for our Sony.

00:58:50 ◼   ► The 200 to 600 millimeter Sony zoom with a 2X teleconverter

00:58:55 ◼   ► so that it reaches to 1200 millimeters.

00:58:57 ◼   ► It's a very far reach.

00:58:58 ◼   ► We've tried to shoot with this a lot.

00:59:00 ◼   ► we haven't had great success with it,

00:59:03 ◼   ► in part because it's just not a very sharp lens.

00:59:06 ◼   ► And so we've gotten some pictures

00:59:09 ◼   ► that just were very soft and very low contrast.

00:59:13 ◼   ► And I thought at first maybe that's just the teleconverter.

00:59:15 ◼   ► So I took the teleconverter off,

00:59:16 ◼   ► less reach, faster, et cetera,

00:59:19 ◼   ► and it just still was not very good.

00:59:20 ◼   ► And some of it is just distance.

00:59:23 ◼   ► If we're taking pictures of something

00:59:24 ◼   ► that's like very, very far away,

00:59:28 ◼   ► the atmospheric haze, the water vapor in the air,

00:59:31 ◼   ► like it just makes it hard to capture anything very sharp

00:59:34 ◼   ► at a very great distance because that's just how air works

00:59:38 ◼   ► and you can't really get around that.

00:59:40 ◼   ► You can put a UV filter on it and everything,

00:59:43 ◼   ► that doesn't really do much.

00:59:44 ◼   ► It's not really, you're dealing with the atmosphere.

00:59:47 ◼   ► So there's only so much you can do.

00:59:50 ◼   ► But I was curious, now that I was in the Fuji system,

00:59:54 ◼   ► Fuji has a similar reach lens.

00:59:57 ◼   ► I also know that there's this whole category of super zoom cameras.

01:00:01 ◼   ► And I had never tried one before.

01:00:02 ◼   ► I know Jon has occasionally tried things like this, right?

01:00:05 ◼   ► Yeah, before I got interchangeable lens cameras, I went from like little handheld, like, you

01:00:09 ◼   ► know, point and shoot type things, which are my first digital cameras, to super zoom, which

01:00:14 ◼   ► I used for many years, because what you get with the super zoom, I remember I was taking

01:00:18 ◼   ► pictures of my kids playing in the waves in the water, is you get a really good quality,

01:00:23 ◼   ► incredibly long zoom lens for the price of never being able to take it off your camera,

01:00:27 ◼   ► it's not an interchangeable lens camera. It is a camera, it comes with this built in,

01:00:30 ◼   ► and it is what it is. And I was able to get, I think my last one that I got was like,

01:00:33 ◼   ► it was like a, you know, a 2.8 aperture through the entire zoom range, which is absolutely

01:00:39 ◼   ► unheard of unless you're willing to spend like thousands of dollars on a like interchangeable

01:00:43 ◼   ► lens zoom thing. Because normally, you're lucky if the lowest end of the zoom range is, you know,

01:00:48 ◼   ► f/2.8. Usually it starts off much worse than that and gets worse as you zoom. But I was able to get,

01:00:53 ◼   ► for a very low price, a tiny sensor in a not very good camera, but it comes built in with

01:01:00 ◼   ► a extremely long zoom that's f/2.8 through the whole aperture range.

01:01:05 ◼   ► If I had to try to get that in a "real camera" equivalent, it would have cost thousands of

01:01:10 ◼   ► dollars more.

01:01:12 ◼   ► I endorse that type of camera and they're really cool, but of course that's all you're

01:01:16 ◼   ► getting.

01:01:17 ◼   ► You can't put a prime lens on it.

01:01:20 ◼   ► the sensors tend not to be very big,

01:01:22 ◼   ► or if you do get one with a big sensor or whatever,

01:01:24 ◼   ► then those also cost thousands of dollars.

01:01:26 ◼   ► But it is a very inexpensive way

01:01:29 ◼   ► to get a really good quality, really long zoom,

01:01:32 ◼   ► as long as you're okay with that being

01:01:33 ◼   ► the only thing this camera can do.

01:01:35 ◼   ► - Yeah, and usually, there's other compromises.

01:01:39 ◼   ► It might not have the best optical quality.

01:01:41 ◼   ► Usually the sensor is substantially smaller

01:01:44 ◼   ► than you would get in a big camera.

01:01:46 ◼   ► Resolution's usually not as good.

01:01:47 ◼   ► It doesn't have as many pro features.

01:01:49 ◼   ► There's other downsides to it, but overall,

01:01:53 ◼   ► it's, you know, super zooms can be pretty good.

01:01:55 ◼   ► And so I was curious--

01:01:56 ◼   ► - And also, the super zooms are almost always

01:02:00 ◼   ► way, way, way smaller than an equivalent focal length range

01:02:04 ◼   ► would be on like a full frame camera or something.

01:02:06 ◼   ► Like smaller, lighter, like, some of them are comical,

01:02:08 ◼   ► like you put this picture up.

01:02:10 ◼   ► Some of the biggest super zooms do get comical,

01:02:11 ◼   ► but they're still smaller.

01:02:13 ◼   ► They're still smaller than if you were to get

01:02:15 ◼   ► that same focal length.

01:02:17 ◼   ► Smaller, lighter, if you get the same focal length

01:02:19 ◼   ► interchangeable lens.

01:02:20 ◼   ► So it is, I love that category 'cause it's like,

01:02:23 ◼   ► we're gonna make compromises for the sake of

01:02:26 ◼   ► having really good zoom and not being so big

01:02:29 ◼   ► that you need like an extra person to hold

01:02:31 ◼   ► the front of the lens up for you.

01:02:32 ◼   ► - Yeah, so here, I just pasted this link,

01:02:34 ◼   ► I'll make this the image of the chapter art.

01:02:36 ◼   ► This is all the different cameras.

01:02:38 ◼   ► And so I don't own most of these.

01:02:40 ◼   ► I went to lens rentals and I rented

01:02:43 ◼   ► a whole bunch of stuff from them.

01:02:44 ◼   ► 'Cause I'm like, I wanna try out modern super zooms

01:02:47 ◼   ► to see how good are they, how do they compare

01:02:50 ◼   ► to the Sony Super Zoom that we have,

01:02:52 ◼   ► and do I want to maybe sell the Sony thing

01:02:55 ◼   ► and buy something else?

01:02:57 ◼   ► - And by the way, are you calling a Sony thing a Super Zoom?

01:02:59 ◼   ► I think Super Zoom only applies to the cameras

01:03:01 ◼   ► that don't have interchangeable lenses

01:03:03 ◼   ► and have really long zoom. - You're right.

01:03:04 ◼   ► No, I know, I'm the only person,

01:03:05 ◼   ► I'm just talking about a giant telephoto lens.

01:03:07 ◼   ► - Yes, exactly.

01:03:08 ◼   ► - I consider the combined unit of the camera

01:03:12 ◼   ► and the giant telephoto lens, I will call that a Super Zoom.

01:03:14 ◼   ► I know it's technically not,

01:03:15 ◼   ► There's other things in here that also aren't super zooms,

01:03:17 ◼   ► but I'll explain why in a minute.

01:03:19 ◼   ► But anyway, so I decided to rent all this stuff

01:03:21 ◼   ► to see how do I like modern long reach camera options?

01:03:26 ◼   ► How do they compare to my giant Sony full frame,

01:03:31 ◼   ► 600 millimeter telephoto?

01:03:32 ◼   ► Like how does all this stuff compare

01:03:34 ◼   ► and maybe does something else fit my needs better?

01:03:36 ◼   ► Maybe I could trade the Sony for it

01:03:39 ◼   ► with B&H or something like that.

01:03:40 ◼   ► So anyway, I rent all this stuff from Lensrentals.

01:03:42 ◼   ► They were great as usual.

01:03:43 ◼   ► I also wanted to try with all,

01:03:46 ◼   ► so I rented what seemed to be, according to DP Review,

01:03:50 ◼   ► which is, I've been on that site so much recently

01:03:52 ◼   ► and I'm still so sad it's going away.

01:03:55 ◼   ► I went to their reviews and ratings and everything

01:03:58 ◼   ► and did some research and found it seemed like

01:04:00 ◼   ► the two generally best regarded super zooms right now

01:04:04 ◼   ► are the Sony RX10 Mark IV

01:04:08 ◼   ► and the Nikon Coolpix P1000.

01:04:12 ◼   ► The Nikon's about a thousand bucks,

01:04:13 ◼   ► the Sony RX10s almost 2,000,

01:04:16 ◼   ► so it's a pretty big price difference.

01:04:18 ◼   ► The Sony only, quote, only,

01:04:21 ◼   ► goes to an equivalent of 600 millimeters.

01:04:23 ◼   ► So it's not a massive reach,

01:04:26 ◼   ► but that is still pretty far,

01:04:29 ◼   ► especially for something that is as small as it is.

01:04:32 ◼   ► And if you look at this picture

01:04:33 ◼   ► of the overview of all these cameras,

01:04:34 ◼   ► the Sony RX10 is the one in the bottom left corner.

01:04:39 ◼   ► And you can see it is way smaller

01:04:42 ◼   ► than the telephoto cameras, than the full frame telephotos.

01:04:46 ◼   ► And it's even significantly smaller

01:04:47 ◼   ► than the next one to its right.

01:04:49 ◼   ► That other black camera is the Nikon P1000.

01:04:52 ◼   ► But the P1000 doesn't just go to 600 millimeters.

01:04:56 ◼   ► It goes to 3000 millimeters.

01:04:59 ◼   ► - Goodness.

01:04:59 ◼   ► - I also wanna point out,

01:05:00 ◼   ► and if you're looking at this photo, which you should be,

01:05:02 ◼   ► it'll be the chapter art

01:05:03 ◼   ► and it'll probably also be in the show notes,

01:05:05 ◼   ► that when Margot says the one in the lower left corner

01:05:07 ◼   ► goes to 600 millimeters,

01:05:09 ◼   ► that's how far at least one of the white ones

01:05:11 ◼   ► on the right goes. - Yes, the one on the far right

01:05:14 ◼   ► is the same. - Goodness.

01:05:15 ◼   ► - Yeah, the far right lens has the same zoom distance

01:05:18 ◼   ► as the far left camera.

01:05:20 ◼   ► So when we say you save size and weight

01:05:22 ◼   ► by going with the super zoom, this is what we mean.

01:05:24 ◼   ► - Yeah, and in all fairness, I did have the lens hoods

01:05:26 ◼   ► attached to everything. - But you should.

01:05:30 ◼   ► There's a lens hood on the one on the left too.

01:05:31 ◼   ► - Yes, and you really should for, you know,

01:05:33 ◼   ► when you're trying to minimize, you know,

01:05:35 ◼   ► any kind of thing that could cause haziness

01:05:37 ◼   ► and trying to maximize contrast,

01:05:39 ◼   ► you want the lens hoods on.

01:05:40 ◼   ► - I think the lens hood on the camera on the right

01:05:42 ◼   ► is bigger than the entire camera on the left.

01:05:45 ◼   ► - I think you're right.

01:05:46 ◼   ► (laughing)

01:05:48 ◼   ► And I also, you'll note right above the Nikon P1000

01:05:52 ◼   ► is a little tiny black camera.

01:05:53 ◼   ► That is the Sony RX100 Mark VII.

01:05:58 ◼   ► This is not a super zoom,

01:06:01 ◼   ► but the reason I rented the RX100,

01:06:03 ◼   ► first of all it's very inexpensive to rent.

01:06:05 ◼   ► I'm like I'm already renting all this other stuff,

01:06:06 ◼   ► let me throw this in too, I wanted to try it.

01:06:09 ◼   ► The RX100 series, I first got one,

01:06:13 ◼   ► I first rented it from Lens Rentals actually,

01:06:15 ◼   ► back in 2013 I rented the very first one.

01:06:19 ◼   ► And now they're on Mark 7.

01:06:21 ◼   ► Unfortunately Mark 7 seems to be,

01:06:23 ◼   ► this might be the last one.

01:06:24 ◼   ► Like they released this Mark 7 in 2019

01:06:29 ◼   ► and there's been like nothing on that front since.

01:06:32 ◼   ► But what's interesting about it

01:06:33 ◼   ► is that it's kind of pocketable,

01:06:35 ◼   ► not really, you know,

01:06:38 ◼   ► you wouldn't want this in your pocket.

01:06:39 ◼   ► A jacket pocket you could do.

01:06:41 ◼   ► Definitely not like a pants or other clothing pocket.

01:06:44 ◼   ► You could easily put it in any,

01:06:45 ◼   ► pretty much any size bag and larger jackets.

01:06:50 ◼   ► I was interested in the RS100, the new one,

01:06:52 ◼   ► because I had heard it had gotten a lot better

01:06:54 ◼   ► since the one I had tried in 2013.

01:06:55 ◼   ► And the one in 2013 was pretty underwhelming

01:06:58 ◼   ► in terms of image quality.

01:06:59 ◼   ► It is, the RS100 series is very small

01:07:04 ◼   ► and it has a zoom range of 24 to 200 equivalent.

01:07:08 ◼   ► So I thought that's really interesting to be in that size.

01:07:11 ◼   ► How good could the optics possibly be in that?

01:07:14 ◼   ► And I saw sample pictures on dpreview.com

01:07:16 ◼   ► and I was like, that seems impossible.

01:07:19 ◼   ► They look pretty good for a camera that's that size,

01:07:22 ◼   ► has like a little, I think it's like a one inch sensor,

01:07:24 ◼   ► like a little, still bigger than a phone by a mile,

01:07:27 ◼   ► but still a small sensor for a standalone camera

01:07:30 ◼   ► and these little tiny optics that go to 200 millimeter,

01:07:33 ◼   ► how good could that possibly be?

01:07:35 ◼   ► But the reviews were stellar.

01:07:36 ◼   ► So I thought, let me rent this thing.

01:07:38 ◼   ► You know, I think it was like 60 bucks to rent.

01:07:39 ◼   ► I'm like, fine, let me rent it, I wanna try this.

01:07:41 ◼   ► Where big cameras can still very much shine

01:07:43 ◼   ► is areas that the iPhone really cannot compete in.

01:07:46 ◼   ► And one of those areas is long reach.

01:07:49 ◼   ► Now we will see, I know this fall,

01:07:51 ◼   ► there's the rumors of the Pro Max phone

01:07:54 ◼   ► having the periscope arrangement of its optics,

01:07:57 ◼   ► which would almost certainly result

01:07:59 ◼   ► in a much better zoom reach.

01:08:01 ◼   ► but I would be surprised if it was competitive

01:08:04 ◼   ► with anything else here, frankly.

01:08:06 ◼   ► So anyway, I decided, let me see something

01:08:10 ◼   ► that is approximately pocketable-ish, almost size class.

01:08:15 ◼   ► Let me see its reach as a competitor to a phone.

01:08:19 ◼   ► I was thinking, if I really love this little tiny

01:08:21 ◼   ► Sony camera, maybe I would buy one

01:08:22 ◼   ► and just kinda keep it in my backpack wherever I go

01:08:25 ◼   ► and occasionally use it, because that can cover roles

01:08:28 ◼   ► that the iPhone really can't cover,

01:08:30 ◼   ► and sometimes I want that.

01:08:32 ◼   ► So anyway, I rented all this stuff,

01:08:34 ◼   ► and I tried it all out,

01:08:35 ◼   ► and I made a little sample gallery,

01:08:37 ◼   ► I will link to that in the show notes as well.

01:08:39 ◼   ► Found out a couple of, I think, useful comparison points.

01:08:43 ◼   ► I'll try to be quick, I know it's not super entertaining

01:08:46 ◼   ► listening to a podcast about photos,

01:08:49 ◼   ► but I'll try to be quick.

01:08:51 ◼   ► What surprised me the most,

01:08:52 ◼   ► so I took, I went outside,

01:08:54 ◼   ► and I tried to take the same approximate set of pictures

01:08:58 ◼   ► with all of these cameras,

01:09:00 ◼   ► at when possible at the same focal lengths

01:09:03 ◼   ► and just kinda compare to see how are they in handling,

01:09:07 ◼   ► what kind of quality am I getting,

01:09:08 ◼   ► what kind of sharpness and stabilization can I get

01:09:12 ◼   ► at the long reaches,

01:09:13 ◼   ► and how do the pictures end up looking.

01:09:16 ◼   ► And number one thing I noticed was,

01:09:18 ◼   ► wow, the iPhone really sucks.

01:09:20 ◼   ► I've thought for a while, wow, the iPhone

01:09:23 ◼   ► is an amazing camera, but it's not an amazing camera

01:09:27 ◼   ► when you want reach.

01:09:28 ◼   ► The 3X lens on the iPhone 14 Pro

01:09:30 ◼   ► that I was using for these comparisons, sucks.

01:09:34 ◼   ► I have noticed so far this year of using this phone,

01:09:37 ◼   ► the amount of over-processing and over-sharpening

01:09:41 ◼   ► is kind of irritating to me a lot of the time.

01:09:44 ◼   ► Not every time, I still get a lot of good photos with it,

01:09:46 ◼   ► and it's still gonna be the camera that I use

01:09:48 ◼   ► by far the most 'cause it's always in my pocket,

01:09:49 ◼   ► but the amount of processing that it does

01:09:53 ◼   ► is a little off-putting.

01:09:56 ◼   ► And so I might try to experiment with apps like Halide

01:09:59 ◼   ► to see maybe if I do more manual control,

01:10:02 ◼   ► maybe I can get a better balance that I like more.

01:10:05 ◼   ► But I am not super thrilled

01:10:09 ◼   ► with the iPhone 14 Pro's camera system

01:10:11 ◼   ► in the sense that I have tried to make it replace

01:10:15 ◼   ► a big camera and at first I thought it really could.

01:10:18 ◼   ► And now I see it really can't.

01:10:20 ◼   ► It does really well for what it is.

01:10:23 ◼   ► But at the end of the day,

01:10:24 ◼   ► it is still a tiny little sensor with tiny little optics

01:10:27 ◼   ► that have to cost probably like 40 or 50 bucks.

01:10:29 ◼   ► And so there's gonna be a lot of limitations there

01:10:32 ◼   ► for physics, for components, for quality,

01:10:34 ◼   ► like there's so much that's limiting it.

01:10:37 ◼   ► And it makes up for a lot of that with its smarts

01:10:39 ◼   ► and its various processing and intelligence

01:10:41 ◼   ► and what it does with that sensor

01:10:43 ◼   ► and how it dumps data off and how it deals with everything.

01:10:45 ◼   ► There's a lot of intelligence there

01:10:46 ◼   ► and it really is incredible for what it is.

01:10:50 ◼   ► But there's a lot more out there.

01:10:53 ◼   ► And so what this experiment has taught me is

01:10:57 ◼   ► there's still a place in my life for other cameras.

01:11:00 ◼   ► So anyway, I took pictures of far away objects

01:11:05 ◼   ► with all these cameras, including the iPhone

01:11:07 ◼   ► and the RX100. (laughs)

01:11:09 ◼   ► And the iPhone, I showed the regular 3X resolution,

01:11:13 ◼   ► the regular 3X perspective, and I zoomed it all the way in

01:11:16 ◼   ► with the digital zoom just so you could see

01:11:17 ◼   ► what that looks like.

01:11:19 ◼   ► It's not good.

01:11:20 ◼   ► I would not recommend using the digital zoom

01:11:22 ◼   ► for anything, but it's there, so you can compare.

01:11:26 ◼   ► And what I was, so first of all, I was very, very impressed

01:11:31 ◼   ► with the little Sony RX100.

01:11:34 ◼   ► If you look at the pictures it got,

01:11:36 ◼   ► it blows away the iPhone for reach,

01:11:40 ◼   ► and it's really not bad.

01:11:42 ◼   ► It's not great, and I think I've decided for the moment

01:11:46 ◼   ► not to buy one, and it also doesn't have USB-C,

01:11:49 ◼   ► 'cause it's so old. (laughs)

01:11:51 ◼   ► But anyway, it's not an amazing optical quality.

01:11:54 ◼   ► But for its size, it's fantastic.

01:11:57 ◼   ► And I could very easily see at some point

01:11:59 ◼   ► me justifying the plan of just keeping one

01:12:02 ◼   ► on my backpack all the time.

01:12:03 ◼   ► Because it really is an incredibly versatile camera.

01:12:07 ◼   ► It even has my favorite part about the RX100,

01:12:10 ◼   ► is it has this cute little pop-up viewfinder.

01:12:14 ◼   ► You hit this little tab on its side,

01:12:16 ◼   ► and this little tiny cube goes pop,

01:12:19 ◼   ► And it pops up this little,

01:12:21 ◼   ► it's the cutest little viewfinder.

01:12:23 ◼   ► And it works, I usually, you know,

01:12:24 ◼   ► I use it outside because it's so bright.

01:12:26 ◼   ► It works, like, it was great.

01:12:28 ◼   ► Anyway, it's an adorable camera.

01:12:32 ◼   ► It is not something I wanna ever put in a pocket.

01:12:35 ◼   ► It is something I would occasionally carry in a jacket

01:12:38 ◼   ► and I would very much carry in a backpack

01:12:39 ◼   ► if I had more frequent needs like that

01:12:41 ◼   ► because they really just cover a lot

01:12:42 ◼   ► that the iPhone doesn't cover.

01:12:44 ◼   ► And for what it is and for its size,

01:12:47 ◼   ► I'm extremely impressed by the RX100 VII.

01:12:51 ◼   ► All right, moving on.

01:12:52 ◼   ► In rough order of price, the Nikon Coolpix 1000,

01:12:57 ◼   ► this is the one that can go to 3000 millimeter equivalent.

01:13:00 ◼   ► It does that by using a much smaller sensor.

01:13:03 ◼   ► You'll even notice its pictures are four by three,

01:13:06 ◼   ► not three by two, the way most cameras are,

01:13:08 ◼   ► because it's basically a phone sensor,

01:13:10 ◼   ► as far as I can tell.

01:13:12 ◼   ► The review's gonna say that I'm like,

01:13:13 ◼   ► "Hmm, that's interesting."

01:13:14 ◼   ► And then I notice it shoots natively in four by three,

01:13:16 ◼   ► So it's like, oh, maybe there's something to that.

01:13:19 ◼   ► But anyway, 3000 millimeter equivalent

01:13:22 ◼   ► is kind of hilarious.

01:13:26 ◼   ► It is also kind of like the iPhone digital zoom,

01:13:29 ◼   ► not especially useful.

01:13:31 ◼   ► 'Cause the problem is, when you get to 3000 millimeters,

01:13:34 ◼   ► when you're like, you know, in that kind of range,

01:13:37 ◼   ► stabilization becomes extremely difficult.

01:13:40 ◼   ► Like I was standing on a deck,

01:13:43 ◼   ► And even if I put it on a tripod,

01:13:47 ◼   ► the vibrations of the deck from wind,

01:13:50 ◼   ► so from like a slight breeze,

01:13:52 ◼   ► were making it jiggle visibly.

01:13:54 ◼   ► And so even to get these pictures,

01:13:56 ◼   ► I had to have the shutter speed way up,

01:13:58 ◼   ► like 2,500th of a second,

01:14:00 ◼   ► way, way up, super fast shutter,

01:14:03 ◼   ► right in the middle of the day,

01:14:04 ◼   ► just so I could get some kind of sharpness in these pictures.

01:14:08 ◼   ► Most of the pictures I shot at those far reaches

01:14:10 ◼   ► were totally blurry and unusable.

01:14:13 ◼   ► These that I got in my sample gallery

01:14:15 ◼   ► were the best ones that I shot,

01:14:17 ◼   ► and I did everything I could to make that happen.

01:14:20 ◼   ► I shot it also at 600 millimeters,

01:14:23 ◼   ► just so you kinda see how does that look

01:14:25 ◼   ► compared to the other ones,

01:14:25 ◼   ► and it's fine when you're zoomed out.

01:14:29 ◼   ► If you're not looking too closely at the pixels,

01:14:31 ◼   ► if you look too closely at the pixels, it's a mess,

01:14:34 ◼   ► even at 600 millimeters, and it gets way worse at 3,000.

01:14:38 ◼   ► When you zoom in, it's a mess.

01:14:40 ◼   ► It is not good.

01:14:41 ◼   ► So the P1000, I think it's a fun novelty,

01:14:45 ◼   ► but ultimately it's very hard to get good pictures out of it

01:14:49 ◼   ► even when you do, it's just not a very sophisticated sensor

01:14:52 ◼   ► in there and I found the stabilization,

01:14:56 ◼   ► even the stabilization at 600 millimeters

01:15:00 ◼   ► was not as good as the other cameras and lenses

01:15:03 ◼   ► at that same length.

01:15:04 ◼   ► So it's not a very good stabilizer

01:15:06 ◼   ► and it's a very like plasticy, like kind of light,

01:15:08 ◼   ► cheap kind of feeling camera.

01:15:10 ◼   ► It's a fun novelty to rent,

01:15:12 ◼   ► but I was not impressed by it, honestly.

01:15:14 ◼   ► - And this looks big.

01:15:15 ◼   ► This is not the bottom left,

01:15:17 ◼   ► but the one directly to the right of it, correct?

01:15:19 ◼   ► - Correct, yeah.

01:15:20 ◼   ► And it goes to, when you turn,

01:15:22 ◼   ► so those cameras, that's in their off position.

01:15:24 ◼   ► When you turn them on and when you zoom in,

01:15:26 ◼   ► the lens sticks out like a Pringles can at the front.

01:15:29 ◼   ► Like it extends outward.

01:15:30 ◼   ► It looks really hilarious.

01:15:32 ◼   ► Like it looks ridiculous.

01:15:35 ◼   ► But it was, you know, it, anyway,

01:15:38 ◼   ► This is not their fully activated state.

01:15:42 ◼   ► So anyway, moving on.

01:15:43 ◼   ► - The reason I bring that up is only because

01:15:46 ◼   ► it's not like you can shrug this off as well.

01:15:49 ◼   ► The pictures aren't the greatest, but the camera's tiny.

01:15:51 ◼   ► Like the camera's pretty big

01:15:53 ◼   ► until you start comparing to the lenses.

01:15:56 ◼   ► This doesn't seem like it has very many redeeming qualities

01:16:00 ◼   ► at all from what I'm hearing.

01:16:01 ◼   ► - No, but it is half the price of the next one,

01:16:04 ◼   ► which is the Sony RX10,

01:16:06 ◼   ► which is the one in the bottom left corner.

01:16:08 ◼   ► So, Sony RX10, it is almost double the price of the P1000.

01:16:13 ◼   ► The RX10 IV really impressed me.

01:16:16 ◼   ► For what it is, for how big it is, or rather isn't,

01:16:20 ◼   ► for how heavy it isn't, and how easily it handled,

01:16:24 ◼   ► I was very impressed with the RX10 Mark IV.

01:16:28 ◼   ► It took pretty good pictures.

01:16:30 ◼   ► It only goes to 600 millimeters, which is pretty great.

01:16:33 ◼   ► The only reason I say quote only 600 millimeters

01:16:37 ◼   ► is relative to some of the other ones

01:16:39 ◼   ► that's not the furthest, but it's pretty great

01:16:42 ◼   ► and it achieves pretty good detail

01:16:45 ◼   ► relative to its price and size and trade-offs.

01:16:49 ◼   ► So I was pretty impressed by the RX10 IV.

01:16:53 ◼   ► And I think if I was in the market to buy

01:16:55 ◼   ► an integrated super zoom camera,

01:16:57 ◼   ► that's the one I would buy.

01:16:58 ◼   ► It isn't worth trading in my giant full frame,

01:17:00 ◼   ► my giant gear for that,

01:17:01 ◼   ► just because the bigger gear surprise is better.

01:17:06 ◼   ► But it's not, you know, the bigger gear is like

01:17:09 ◼   ► three times the total cost or two times the total cost

01:17:12 ◼   ► and probably three times the total size and weight.

01:17:15 ◼   ► And I wouldn't say it's three times better.

01:17:17 ◼   ► So anyway, that's the RX10 IV, a very solid contender.

01:17:22 ◼   ► There's a reason why that camera is so well rated.

01:17:25 ◼   ► Next I have my new Fuji XT5 and I rented the

01:17:30 ◼   ► Fuji 150 to 600 millimeter giant telephoto lens with that.

01:17:34 ◼   ► As usual, it I think had the most pleasing colors.

01:17:39 ◼   ► I would say the Fuji 150-600 is a substantially sharper

01:17:44 ◼   ► and nicer lens than the Sony 200-600,

01:17:49 ◼   ► even though it is not as optically fast.

01:17:54 ◼   ► What's interesting is that because the Fuji

01:17:56 ◼   ► is made for its crop sensor cameras,

01:17:58 ◼   ► it's made for APS-C-sized sensors,

01:18:00 ◼   ► It's 600 millimeters is an equivalent of 900 millimeters.

01:18:05 ◼   ► So I shot all these and you can see it is more zoomed in

01:18:09 ◼   ► and you get pretty sharp results.

01:18:14 ◼   ► It is a little tricky to focus in certain lighting.

01:18:17 ◼   ► Again, that's I think mostly due to Fuji's focus system,

01:18:19 ◼   ► not the lens, but it is surprisingly good

01:18:24 ◼   ► and surprisingly detailed.

01:18:25 ◼   ► Overall, very impressed by the Fuji.

01:18:28 ◼   ► And then finally, I have my trusty old Sony A7R III

01:18:31 ◼   ► with its 200 to 600 millimeter lens.

01:18:33 ◼   ► I did two sets, one with the teleconverter

01:18:35 ◼   ► to get it to 1200 millimeters

01:18:37 ◼   ► and one without the teleconverter.

01:18:38 ◼   ► And it did fantastically in terms of detail,

01:18:42 ◼   ► like the text on the sign on the right set,

01:18:45 ◼   ► the text I think is the best on the Sony series,

01:18:49 ◼   ► but the lens overall is just not a very sharp lens.

01:18:53 ◼   ► - You say that, but I was definitely looking at the text

01:18:56 ◼   ► in the same thing.

01:18:57 ◼   ► And I have to say, the Sony, the very bottom one,

01:18:59 ◼   ► either with or without the teleconverter,

01:19:01 ◼   ► has sharper text than any of the other ones.

01:19:05 ◼   ► So you say, oh, the lens isn't as sharp.

01:19:06 ◼   ► Well, the text is sharp.

01:19:07 ◼   ► That's why I was looking for text,

01:19:08 ◼   ► because we know what text looks like.

01:19:10 ◼   ► In particular, if you look at ripcurrents.noaa.gov,

01:19:14 ◼   ► the descender in the gene .gov is right on top of a rivet.

01:19:19 ◼   ► That rivet reads way better on either one of the Sony pictures

01:19:23 ◼   ► than it does on the Fuji one.

01:19:24 ◼   ► That's interesting.

01:19:25 ◼   ► If you pixel peep that and go in that, it's just sharper.

01:19:29 ◼   ► It's sharper, it's not as fuzzy,

01:19:30 ◼   ► I can't even tell that it's a river than the other ones.

01:19:32 ◼   ► I definitely, looking at all these pictures,

01:19:34 ◼   ► I was surprised to see that even with the teleconverter,

01:19:36 ◼   ► which usually hurts your sharpness

01:19:39 ◼   ► and light gathering or whatever,

01:19:40 ◼   ► that the Sony comes out on top as far as I'm concerned.

01:19:44 ◼   ► I mean, and it's close, it's not like the Fuji

01:19:46 ◼   ► with that giant lens is much worse

01:19:48 ◼   ► than the Sony with the giant lens,

01:19:49 ◼   ► but I would definitely say that the Sony is sharper.

01:19:53 ◼   ► Now, I think if you had, not that you need to spend

01:19:57 ◼   ► more money, but like, you know, the A7R is up to

01:19:59 ◼   ► the A7R V now, and that is not the most recent

01:20:02 ◼   ► big giant, ridiculously expensive, white zoom lens

01:20:05 ◼   ► from Sony, so if you, you know, refreshed all of that

01:20:09 ◼   ► with modern Sony stuff to compete against your modern

01:20:12 ◼   ► Fuji stuff, I think it would probably widen the gap

01:20:14 ◼   ► even more.

01:20:15 ◼   ► - It's possible, I mean, certainly, you know,

01:20:16 ◼   ► it would have more resolution and everything,

01:20:17 ◼   ► but yeah, I was surprised, you know, just owning

01:20:20 ◼   ► the Sony lens, I've been surprised like how little

01:20:23 ◼   ► I like the pictures that I ever get out of it.

01:20:25 ◼   ► And I don't know what, maybe that's just--

01:20:26 ◼   ► - And I have to say, I've heard this from other people

01:20:28 ◼   ► as well, and so you're not, this is you,

01:20:30 ◼   ► but either I like what the Sony's do,

01:20:33 ◼   ► or whatever difference you're seeing,

01:20:34 ◼   ► I don't see or don't care about.

01:20:36 ◼   ► Like the way they call it the color science or whatever.

01:20:38 ◼   ► I see the differences from camera to camera,

01:20:41 ◼   ► but I would never choose a camera based on it.

01:20:44 ◼   ► 'Cause I always just feel like,

01:20:45 ◼   ► I guess it's because what it comes down to is,

01:20:47 ◼   ► like you said, I'm editing these things.

01:20:49 ◼   ► I mean, any picture I care about, I'm editing.

01:20:51 ◼   ► So if there's something I dislike about the JPEG

01:20:56 ◼   ► that came out, I'll go to the RAW

01:20:58 ◼   ► and change it to the way I want it.

01:20:59 ◼   ► I really don't care how the JPEGs look,

01:21:01 ◼   ► especially when you're talking about

01:21:02 ◼   ► one of these gigantic camera rigs

01:21:03 ◼   ► where you're like, I'm done shooting in RAW, right?

01:21:05 ◼   ► But if you've got that gigantic camera

01:21:07 ◼   ► that's longer than your arm and it weighs a ton

01:21:10 ◼   ► and you're setting it all up or whatever,

01:21:11 ◼   ► spend the five minutes to edit it.

01:21:14 ◼   ► But I need the JPEGs to come out exactly how I want them,

01:21:16 ◼   ► but I'm willing to lug around a camera

01:21:17 ◼   ► that's bigger than my child to take the photo.

01:21:21 ◼   ► I don't quite understand that turned off.

01:21:22 ◼   ► For the pocketable one, sure,

01:21:23 ◼   ► but for the white colored camera lens

01:21:26 ◼   ► that is gigantic and costs a bazillion dollars,

01:21:29 ◼   ► edit those photos.

01:21:30 ◼   ► - Sometimes I find with the Sonys that like,

01:21:32 ◼   ► no matter what I do with the edit,

01:21:33 ◼   ► I can't get the colors to look what I want them to look like.

01:21:37 ◼   ► - But I do wonder what you're looking for.

01:21:39 ◼   ► Like, I think the Sonys look okay.

01:21:43 ◼   ► Like, I don't have that, you know.

01:21:45 ◼   ► Maybe it's a little bit like,

01:21:46 ◼   ► the Fujis I've always felt look a little bit,

01:21:48 ◼   ► it's kind of like when people, you know,

01:21:50 ◼   ► like the Sony's always to me look mostly neutral,

01:21:53 ◼   ► whereas the Fuji's remind me more of film,

01:21:55 ◼   ► just setting aside the ones where it's trying

01:21:57 ◼   ► to look like film like you were talking about.

01:21:59 ◼   ► And I don't want the film look,

01:22:01 ◼   ► whether intentionally trying to look like film

01:22:03 ◼   ► or just kind of like accidentally looking like film,

01:22:06 ◼   ► I want it to be, I wouldn't call the Sony more neutral,