Many photographers feel pressured to upgrade, but is the newest tech always the best for your business?
Paul Wilcox joins Marcus to debate the systems, revealing how your choice of gear impacts your speed and your budget .
The Focus Revolution: Learn how mirrorless sensors eliminate lens calibration errors, ensuring your images are sharp even when shooting wide open .
The £600 Flagship: Why a used DSLR might be the smartest financial move you make this year, providing pro-level results at a fraction of the cost.
The Viewfinder Advantage: Discover how “live” feedback—including histograms and instant review inside the eye-cup—changes how you interact with your client.
00:01.24 Marcus Well, hello, everybody. Marcus here, and welcome to another show. So today, we’re going to be talking about something a little bit different. We’re going to be talking about cameras for a change. And we’re going to go down the technical route. We’re going be talking about the DSLR versus the mirrorless camera. Now, of course, I can’t do this on my own. I’ve got help in the shape of Paul Wilcox. Paul, hello. How are you doing?
00:29.82 Paul Hello, Marcus. I’m very well, thank you. It’s great to be on the show.
00:33.97 Marcus Thanks, Paul. i know I know you’re a regular listener and we’ve we’ve hooked up before in the past. So yeah, it’s great to have you on here. So um I’m obviously, I’m going to be in the camp of the DSLR because I’m a DSLR user. Paul, you’re going to the camp of the mirrorless.
00:49.85 Paul Yes, yes, absolutely, yes.
00:53.59 Marcus So it’s a bit of a debate and it’s a popular one, isn’t it? when The pros and cons. And um I’m going to give you a little spoiler alert. I think I’m going to lose this debate because obviously with technology, the newer it is, the better it’s going to be. Newer comp computer computers are better. Newer phones, cameras, that new new newer phones are better, blah, blah, blah. But hopefully I’ll be able to hold my own.
01:18.71 Marcus You feeling confident, Paul?
01:20.60 Paul Yeah, i am um I’m interested to see your your your ah points of view, your argument, bearing in mind, i am a former DSLR user. So, and, you know, I do i do have a soft spot for for ah the the cameras that I still own, although I don’t use anymore.
01:32.09 Marcus Yes, yes.
01:39.51 Marcus Yes, okay. So let’s first of all start off with a little bit of what it actually is the difference between the two, between a DSLR and a mirrorless. It’s basically just really, there’s just one difference. And they ba they’ve got rid, the manufacturers got rid of the mirror, the prism on the top of the camera. For people on YouTube, you’ll be able to see I’m holding up an old fashioned camera here. And this bit at the top is with a prism. And what it basically does, it turns the mirror, the image upside down. That’s, main That’s the main fundamental difference, I think, Paul, isn’t it?
02:15.29 Paul Yeah, well, um it it is, but when they removed the mirror on a DSLR, they also removed the autofocus sensor. So with a DSLR, there’s two sensors, and I’m talking… generically now.
02:31.06 Marcus Right.
02:31.15 Paul So when you’re when you’re looking through your DSLR and you’re focusing on a subject, you’re using the smaller autofocus sensor and then when you hit the shutter button, the mirror lifts up and the image is recorded on the main sensor.
02:43.77 Marcus Yes, quite.
02:46.23 Paul So basically you’ve got two systems And when the when the mirrorless cameras were invented, basically the autofocus sensor and the mirror taken out. So the focusing and the image recording on a mirrorless camera is just completed on one sensor. And you can see there’s all sorts of advantages with that.
03:03.70 Marcus Paul, that is exactly right. Yes, which we’re going to go into, also the odd and disadvantages as well.
03:08.87 Paul Yeah.
03:11.47 Marcus and But of course, it’s not, you know, it’s the idea… I was thinking about the history of cameras and it’s not a new thing, a mirrorless camera in the fact that there’s no mirror, because if you cast your mind back to the original cameras, the plate cameras, the big 10, eight ones or whatever, but with the big bellows, you look directly through the screen, the ground graph glass screen, and the image would be upside down. Have you ever have you ever tried of those cameras, Paul?
03:38.61 Paul Right. I’ve never, i’ve I’ve only ever seen it being used on um ah YouTube. I’ve never had the opportunity to have go myself.
03:50.39 Marcus Well, they’re still people still use them, even though they’re very expensive to use.
03:52.95 Paul Yes, yes, yeah.
03:54.07 Marcus ah But the quality is supreme. And they were called technical cameras because you can actually bend light with it. With the bellows, they were amazing things.
04:02.60 Paul Right.
04:03.67 Marcus You could bend you could you could foreshorten in perspective and do all sorts of amazing things with them. So that was a type of mirrorless. And then i then I thought also about the…
04:15.47 Marcus Rangefinder cameras, like the Leica, for example, the original one, that would that had no…
04:18.58 Paul Yes.
04:20.65 Marcus um Am I correct in saying that i had no mirror in it? ah guess I guess should have done bit more research first, but…
04:26.26 Paul Well, it it wouldn’t it wouldn’t have a mirror, would it?
04:28.76 Marcus No.
04:28.86 Paul Because um the you’re not actually looking through through the lens when you’re setting that shot up.
04:33.94 Marcus Exactly.
04:37.37 Paul you’re You’re looking through the range frame.
04:37.40 Marcus Exactly.
04:39.09 Paul So, yeah.
04:39.70 Marcus Exactly. And the advantage of that Leica camera was that it was very small.
04:46.28 Paul Yeah.
04:47.03 Marcus And that’s why people love the mirrorless ones, because they’re very small.
04:47.64 Paul Yeah. Yeah.
04:49.87 Marcus They don’t need that prism on top. So just thought put little history there, just to say it’s not a completely new thing.
04:52.09 Paul Yeah.
04:56.39 Marcus But nevertheless, though, it has revolutionized the industry.
05:01.40 Paul Yeah, absolutely.
05:01.75 Marcus So, OK, let’s get our cameras on the table, as it were. What do you shoot on then, Paul?
05:08.31 Paul So I have two mirrorless cameras. My primary camera is ah it a Canon R6 Mark II. And um my backup camera,
05:16.18 Marcus Oh, very nice.
05:19.50 Paul It’s a Canon R. The Canon R was the first um version mirrorless camera that Canon did, and it’s it’s like the the um it’s like a 5D Mark IV, but a mirrorless version of the 5D Mark IV.
05:35.03 Marcus Right.
05:35.22 Paul And um so that’s that’s my backup camera. um it only has The Canon R only has one slot, one card slot, whereas the has two. has too And that’s why it’s my main camera.
05:49.48 Marcus Oh, that’s interesting.
05:50.95 Paul Yeah.
05:51.16 Marcus Yeah, that’s quite important.
05:51.74 Paul Yeah.
05:52.44 Marcus Even though I must smart never needed it, touch wood, I’m touching wood all over the place here.
05:55.82 Paul Touch wood. Me too.
05:56.94 Marcus it’s is what It is one of those things, isn’t it?
05:57.33 Paul Never needed it. It’s nice to have that redundancy.
06:00.12 Marcus Yeah, nice to have that redundancy.
06:00.42 Paul Yeah. It’s nice to have that redundancy.
06:01.60 Marcus Exactly right. um Okay, so those are like these that’s a really high-end, very nice camera. I shoot on the Nikon D850,
06:11.84 Paul Okay.
06:12.79 Marcus which um is um a real beast of camera.
06:14.85 Paul it’s ah It’s a chunk of camera that is, isn’t it?
06:16.73 Marcus Yes, is but ah but still being made, I believe. I was going to check it out, but I do believe they are still being manufactured. which is quite surprising.
06:25.63 Paul Oh, right. Okay.
06:26.68 Marcus The Canon do the… cannon don’t do the um
06:31.29 Paul The 5D Mark IV, I believe, has being stopped being made now.
06:34.59 Marcus Stopped, yeah. Yeah, yeah.
06:35.83 Paul um ah i would never get rid of this camera. it’s um I’ve had it six years now.
06:42.83 Marcus You’ve got one. You’ve you’ve got one there.
06:44.37 Paul i’ve got this ah Yeah, my 5D Mark IV, I’ve had it six years.
06:44.53 Marcus Sorry, just for the people who don’t know. Yeah.
06:48.50 Paul um it’s ah it’s It feels so good in the hand because i i like it i like the big I like the big camera.
06:54.55 Marcus Hmm.
06:56.26 Paul It feels so good in the hand. um But um the the primary reason why I wanted to move away from this, and it stems down to my lens choice. So, um and I don’t know whether you can relate to this being a Nikon ah user, but my 24-70L lens um was always a bit soft, no matter what I did, it was always a bit soft.
07:13.20 Marcus Mm.
07:22.04 Marcus Oh, yes.
07:27.04 Paul So, it required me to to ah make the micro adjustments within the body of the camera. i don’t know whether you can do that on Nikon, but you can you can set the camera up with a a chart and then you can you can do you can make the micro adjustments because there’s the slight intolerances between the autofocus sensor and the image capture sensor.
07:34.68 Marcus Right. You can. Yeah.
07:42.39 Marcus Yes.
07:54.06 Paul So what that could result in if they are very small fractions if they’re slightly out it could mean you have front or back focus errors so with that in mind i could never if i mean for my work my clients would never see it but when i’m editing i could just see that slight softness um when i um use the same lens on any of my um mirrorless cameras i don’t have that issue there’s no there’s no focusing
08:03.45 Marcus Yeah, yeah, yeah, yeah
08:25.37 Marcus yeah. Well, it focuses internally. It focuses internally, for want of with a better word, doesn’t it?
08:29.11 Paul e
08:30.94 Marcus Because it focuses internally.
08:31.03 Paul yeah, it’s, so the focus is, is, is happening on the same sensor as the image is being captured.
08:35.29 Marcus Set in the same sensor. Yeah, yeah.
08:37.17 Paul And so there’s no, and there’s no intolerances. There’s no, there’s, there’s there’s no second system in fact it’s fighting against. So it’s, it gives me that sharper, i it gives me a sharper ah image with that lens. And I, when I realized this,
08:56.70 Paul I was sold and um it was then just a matter of time of when I was going to start to move to Canon.
08:58.68 Marcus Yeah.
09:03.31 Marcus Gotcha.
09:05.27 Paul And because I’ve got a load Canon lenses, i was it just made sense that I stuck with Canon with the various adapters.
09:10.20 Marcus Of course. Yeah. Yeah.
09:12.96 Paul I could still use all my legacy lenses um and they work.
09:15.54 Marcus Exactly. Exactly. Exactly. Yeah, that’s… So you’ve touched on a few points there, Paul. Um… Let’s go first. Let’s start off with you talking about the feel of the camera.
09:26.52 Marcus um And the we one those in the sales blurb, a lot of the things quite about mirrorless cameras, the advantage is that they’re smaller. um But I would not necessarily say that smaller is best. If I can just give an analogy here, Paul. i are you um Do you play music at all? Are you a musician?
09:47.22 Paul Yeah, I played guitar and I played clarinet in my time.
09:48.55 Marcus I thought you were. thought you were. There you go. Oh, okay. i do du two definite Let’s go to the guitar. i don’t know much about clarinets. Now, as far as size goes, you do get different sized necks on guitars.
10:02.98 Marcus And in in my world, which is the bass world, there’s basically two types of neck you get on the guitar.
10:03.38 Paul Yes. Okay.
10:09.15 Marcus The bass guitar, you get the precision one, which is quite wide, and you get the jazz neck, which is very narrow.
10:10.11 Paul Yeah.
10:12.35 Paul Yeah. Yeah. Yeah.
10:15.75 Marcus Um…
10:16.21 Paul Yeah.
10:17.40 Marcus now um So you think, well, obviously the narrow one is better, isn’t it? Because it’s going to be faster. in the but And I’ve got small hands. um So, i yeah, I would favour that. But I also have on my ah another guitar ah ah two bases, and one is the wider neck. And even though it feels different to play with the wider neck, it makes me play in a different way.
10:41.98 Paul Yes, absolutely. And you you see that with classical guitars that have a very wide neck compared to acoustic guitars, which have that narrow neck.
10:47.13 Marcus Yes, that’s right.
10:51.67 Marcus Now neck.
10:52.47 Paul And when you’re swapping between the two, and it it can become a little bit of a problem with muscle memory because your strings are closer together.
11:02.30 Marcus Exactly.
11:02.52 Paul as opposed to it where is a classical gets guitar that are a bit further apart.
11:06.42 Marcus Yes.
11:06.65 Paul And it’s the same with um a big chunky body like your 850 or my 5D Mark IV. um Although I always try and um match and customise my cameras where the buttons are oh roughly in the same place, they are close together on a mirrorless camera, and that can be can be a problem.
11:27.51 Marcus mean mean
11:31.82 Paul I always believe that when using your camera, you should be able to subconsciously ah know exactly where any button is and what any button or dial will do, and you and you know it subconsciously because um you’re looking, you’re you’re either posing or creating a scene, and you’re looking through your viewfinder, and you know instinctively by pushing a button or turning a dial,
11:42.08 Marcus Agreed. Oh, 100%. Yes. yet
12:01.46 Paul you’re going to get the right setting. You don’t want to have to be pulling the camera away from your face and and having to look what you’re doing.
12:06.39 Marcus Yeah, exactly. That’s really important.
12:09.40 Paul And with the buttons being quite close together, that it you can – there is a tendency i where i’ve I’ve pushed the wrong button just because I’ve got thick thick fingers, you know.
12:09.74 Marcus Really important.
12:19.99 Marcus Hmm. Yeah.
12:22.74 Paul um So, ah you know, I will give you that one. I will give you that one. Yeah.
12:29.30 Marcus Well, it’s, um yeah, I mean, I’ve had a lot of students come in who have bought mirrorless cameras and they just find them too small for for their hand, to just of the feel of them. I get it.
12:39.73 Marcus I get it. You think, oh, if it’s going be small, I can carry it around with me. But look, photography, you’ve got to be, if you want take a good photograph, you’ve got to be committed to it. You’ve got to be committed to the cause. You’ve got to go out there.
12:49.85 Marcus And unfortunately, size is one of the things that you need to deal with, you know, whether it be with lenses or possibly cameras.
12:49.93 Paul Yeah.
12:55.44 Paul Yeah.
12:57.30 Marcus So, yeah.
12:57.69 Paul Yeah.
12:57.90 Marcus Okay. So the the size thing is not such a, it could be, are we going to give that one to me or are give that one to you? We’re going to give that one to me.
13:07.93 Paul I’m happy to give that to you, Marcus, in fairness, because for me, i and i’m good um’ good there’s going to be a load of your um listeners who are ah female who may be shouting at me now saying that, well, I’ve got small hands and and a mirrorless camera is and would would far better suit me.
13:21.57 Marcus I’ve got some.
13:26.65 Marcus I’ve got small hands, Paul. I’ve got some more hands.
13:30.81 Paul But for me personally, I love the feel of my 5D Mark IV, but I understand that um it would be nicer to have my controls of my R6 slightly a bit further apart. And I appreciate why that’s not the case.
13:46.42 Marcus Yes. Okay.
13:47.06 Paul However, And just to just a ah slightly related issue is, you know, if I’ve been walking around an event for eight hours and I’ve got the 5D Mark IV paired up with 70-200 lens, I feel it on my neck because it’s heavier.
14:01.82 Marcus yeah but Yeah, I’m with that. And, you know, I’m a recent convert to the zoom lens, well, the 70 to 200. And I must admit, I’m shocked at how much they weigh. It’s like, oh, my God, I’ve got to carry. But there you go. Okay. so And the second thing you talked about um was the focusing abilities of the mirrorless camera. Now, look, I’ve got to say, i’m just going to go and say you’ve won there, Paul, because that is the biggest appeal to me about…
14:30.58 Marcus with the mirrorless camera is the way they quickly focus and their eye and their eye focusing as well.
14:33.75 Paul yeah
14:36.34 Marcus As I get older and older, my eyes are going.
14:37.00 Paul it is fantastic yeah yeah so um going back again to to the 5d mark for the amount of um
14:39.34 Marcus it’s The eye focusing is brilliant.
14:49.21 Paul individual ah focusing areas that I can use.
14:52.94 Marcus It’s about 32 or something, 32 or something.
14:54.92 Paul I think it’s more like 60-ish for the Canon.
14:56.56 Marcus Oh, yes.
14:58.90 Paul But that when you look at what that a mirrorless camera has, it’s ah it’s a couple of hundred.
15:05.13 Marcus Yeah. Yeah.
15:05.94 Paul But I don’t have to worry about that.
15:06.09 Marcus yeah
15:07.98 Paul So when I’m doing headshots and I’ve got a person, you know, we we do we’ve work around 160 degrees, 180 degrees. they’re looking at me like this. And this eye is closest to me.
15:19.35 Paul So i can I can program on a button that I want this eye to be the sharpest.
15:24.12 Marcus Yeah. yeah yeahp yeahp
15:25.30 Paul Then they look at me straight on and I can and decide which eye I want to be focused, sharpest.
15:27.42 Marcus yep
15:30.90 Paul And then they look at me like this and then I can switch another button and it it happens so quickly and the camera just recognises it, just gets it and it’s sharp.
15:40.44 Marcus Yeah, yeah, yeah, yeah, yeah.
15:42.74 Paul And um and if i’m if I’m working tethered or working using the back of the screen, i can i can exactly i can see exactly where the camera’s
15:42.88 Marcus yeah
15:52.50 Paul focused on which eye and it is, you know, just dreamy, fantastic.
15:57.50 Marcus Yeah, just but just for argument’s sake, Paul, you know, and I shoot Tethered well. and I mentioned on the head of the show that we both shoot very similar type of things. And with branding, you know, and i when I’m shooting Tethered, you’re not shooting really quickly, you know,
16:14.10 Marcus and and And the focusing is maybe, if you’re doing an event or a wedding, I can really see how the all really the eye focusing is really going to come into it. Because when I’m shooting with Tethered, I slow down quite like a bit. And if I’m doing still life or whatever, the focusing isn’t quite so critical there. There’s an argument.
16:31.64 Paul um yeah i would Yes, with fast-moving stuff, but you know what?
16:33.11 Marcus The speed of the focusing.
16:37.16 Paul i’m a you You take the um the the luxury away from a photo shoot. I spend most of my time working with small businesses, and I’m working in small areas and ah cramped areas.
16:52.20 Marcus Right.
16:53.76 Paul So quite often I’m shooting from the hip.
16:54.26 Marcus Yes.
16:56.41 Paul and I’m having to pull out the the articulated screen, and I’m having to – I might not even have to be able to get the camera – it might be an arm’s ah arm’s length away from me.
17:01.59 Marcus Oh, I see.
17:06.42 Marcus Yeah.
17:07.93 Paul But i can as long as I can see the the screen from my position, I know that I’m able to focus um the the the focus point and get it on an eye and get it on one of their eyes.
17:10.71 Marcus Yeah.
17:14.42 Marcus Yeah.
17:20.28 Marcus Yeah, i can definitely I can definitely see how that works. Definitely. No, they it’s ah it’s a clear winner, the the focusing. And the reason they just the reason why they focus better is basically because it’s focusing straight on the sensor, as we said earlier.
17:33.98 Paul On the sensor that’s catching your image.
17:34.01 Marcus It’s not having to go through… a It’s not having to go through the mirror, the mirror the mirror to invert it or whatever you know whatever it does.
17:38.79 Paul Yeah.
17:41.73 Paul Yeah.
17:41.76 Marcus So, yeah, it’s so it’s basics, but it it does work very well. um I definitely give that one to the focusing. I mean, when I look back, when I look at my Hasselblad cameras and my film cameras, and i got um I mean, I was younger then.
17:54.78 Marcus I can’t even focus them now.
17:56.06 Paul Yeah.
17:56.86 Marcus I can’t even see. It’s like, wow. i got I could not do manual focusing nowadays, that’s for sure.
18:03.06 Paul Yeah, um and I mean, I don’t know whether you want to discuss this, but manual focusing with a mirrorless camera is also, if you’ve got that time, it’s it’s also incredibly dreamy to do, incredibly ah easy to do, because on mirrorless cameras you have what they call focus peaking.
18:24.85 Marcus Yeah, well, you do get that on the DSLRs as well.
18:26.01 Paul So…
18:27.86 Marcus Oh, I see the photo where you get we yeah you get little a little graph, with a little indication.
18:32.41 Paul So as you’re looking through your viewfinder, your ribbon of focus, your depth of field gets, um in what in my case, it’s red.
18:33.14 Marcus Yeah, yeah, yeah, sorry.
18:42.08 Paul It gets a red fringing. So if you’re working with a narrow depth of field um and you, oh depending on where you focus, you can, that fringing around ah your subject, can you can place that fringing anywhere as you manually focus.
18:55.32 Marcus Cocha. Interesting. Perfect. interesting
19:00.82 Paul and you know exactly where the fringing is, it’s called focus peaking. That is exactly where um your camera is pointed, and you know you’re focused perfectly.
19:14.65 Marcus ah effect
19:14.71 Paul and And I think that would work quite well, especially for because these cameras are really good. They’re hybrid cameras, and the the video quality is very good as well. So, you know, if you wanted to do um use manual focus for video as well, depending on the fact the scene you’re videoing,
19:31.19 Paul and And it has other things as well built in there for manual focus, which just make it incredibly easy.
19:35.35 Marcus Yeah, that’s very good. face favor um Okay, let’s move on to price. Price, paid price, price. So, well, you’ve already mentioned as a professional photographer, you need two cameras. You need a backup.
19:52.15 Marcus So just bear that in mind when we’re talking about price of camera.
19:52.49 Paul Yeah.
19:54.87 Marcus So what ah the R6 mirrorless camera, like a top-end Nikon, you’re looking around about £3,000, aren’t you, I think, for the body, a single body.
20:04.89 Paul Yeah, um the my camera is now being superseded um by the Mark III, and um i i’m I’m led to believe that that camera now is in the ballpark of and the high 2000s, yeah, just for the body.
20:26.78 Marcus Yes, yes.
20:27.83 Paul Yeah.
20:28.02 Marcus Okay. And you and and and and you need two bodies. If you’re go to go into professional photography, you need two bodies. So just bear that in mind as well. You know, anybody thinking investing in that system.
20:35.42 Paul Yeah, so the the the so the off the top of the press, the cheapest in the UK for UK stock, £2,800 just for a body, for a Mark III.
20:46.94 Marcus m Yeah, i would imagine so.
20:49.24 Paul um And you wouldn’t need two cameras. You never want to be on a photo shoot and you drop your camera and you you can’t.
20:55.49 Marcus Oh, God.
20:57.24 Paul carry on anymore you know you’ve got to you’ve got to be able to carry on haven’t you it’s not that it’s not the client’s problem it’s your problem so you need to pull a camera and you know i’ll be honest with you i i will go to uh most shoots with three cameras now the 5d still comes with me but it’s my third camera it’s it’s it’s one of those oh sort of oh crap moments you know everything’s gone wrong need you and you’ve
20:58.17 Marcus okay ah It’s inthinkable.
21:12.95 Marcus Yeah, yeah, yeah. Gotcha, gotcha. Okay.
21:22.01 Marcus Yeah, I get it. So, okay…
21:25.69 Marcus Sorry to interrupt, Paul. I was just a little bit aware of the time.
21:27.31 Paul It’s okay.
21:28.61 Marcus That’s a little bit aware the time. and So with price as a DSLR, um and I know this because i I’ve had loads of four or five of my students this year have bought, I recommend they go and buy either the Canon, Canon,
21:44.70 Marcus e Canon 5D Mark III or the Mark IV and I know you can get the Mark III for around about a really good Nik one for about £550.
21:57.14 Paul Right.
21:57.69 Marcus The Mark IV may be £600.
21:57.72 Paul Yeah.
22:00.45 Marcus And when you consider that that camera was five, six, seven years ago was being used for billboard campaigns, was the top end of the…
22:06.49 Paul Yeah. Yeah.
22:09.86 Marcus And really, if you put an image from one a a modern camera, a mirrorless one, against the side of a DSLR, you really wouldn’t be able to tell a difference that much, I don’t think.
22:21.14 Marcus Certainly not on a and a phone or how you view it.
22:22.04 Paul No. No.
22:25.18 Marcus So you’re saving a load of money there.
22:25.59 Paul I agree.
22:28.60 Marcus And so if you can get, say, a Nikon, I don’t know, the 750 or the 650, all these numbers don’t make any read, I’ll be honest, but a Nikon equivalent or a Canon equivalent, 600 quid, 500 quid, and you get a lens, like a 1.4, 50mm lens for £100, £150, you’ve got a of range camera there, don’t you, Paul?
22:49.27 Marcus top of the range camera thatal
22:51.51 Paul Yeah, yeah. and i And I know ah photographers in in Cheshire, where I’m from, who use Nikon 750s, D750s, and they swear by them.
23:00.74 Marcus Yep. Well, I use it, Paul.
23:03.02 Paul Absolutely swear them.
23:03.10 Marcus I use my 850. The 8D850 is supposed to be the best camera ever made.
23:07.96 Paul Yeah, but I suppose, you know, Marcus, if you put your 850 into live view mode, which you must be able to do,
23:12.92 Marcus Well, the gloves are off. i
23:20.02 Marcus Yes.
23:20.25 Paul into a live view mode where you’re looking at the subject through the through the the LCD, effectively you’ve got a mirrorless camera.
23:21.59 Marcus Yes, that’s yes. Yes. Yes.
23:26.78 Marcus Mirrorless camera. Exactly right. That’s exactly, exactly right. Exactly right. I used to, don’t look, I’m not ah a ludder here.
23:30.45 Paul You know.
23:33.22 Marcus I had a ah a mirrorless camera, the Fuji X100 back in 2012. And I bought it to go on this cycling trip that I did in the Himalayas. And it was just perfect for that.
23:43.52 Paul Right.
23:43.98 Marcus It had a fixed lens.
23:44.92 Paul Yes.
23:45.02 Marcus It was small and all that. But I didn’t really like it.
23:47.03 Paul Yes.
23:48.16 Marcus And I think in those iterate early iterations, that it was the viewfinder that put me off, the electronic viewfinder. I just really couldn’t get them to grips with it.
23:54.74 Paul Oh, yes. yet They’ve been massively improved now.
23:56.04 Marcus or It just didn’t seem very well. Yeah.
23:58.55 Paul You know, you you must, I don’t know whether you’ve ever been, you’ve tried to graph in a subject in bright light and you’re trying to you’re trying to look at your feedback on the back of your camera and you’re struggling.
23:58.72 Marcus Yeah.
24:08.30 Paul Whereas, you know, to be able to to be able to review your images as well as your image and histogram inside your viewfinder is, as I can with my mirrorless cameras, is fantastic.
24:08.98 Marcus Oh, yes, that’s so true.
24:17.27 Marcus Yeah, I get it. Yeah.
24:22.36 Marcus what What’s it like looking through the op the electronic viewfinder? Or is it really, really just you couldn’t tell the difference in that on an optical viewfinder?
24:31.67 Paul there’s There is um a small bit of lag.
24:32.06 Marcus Is it really that good?
24:34.90 Paul if you’re especially with Depending on on the quality and the amount of money you’ve paid for your camera, there can be a small bit of lag because effectively you’re it’s like a movie camera. you’re it’s a It’s a video stream of what you’re seeing.
24:51.62 Marcus Hmm.
24:51.77 Paul So there can be a bit of lag. um I have noticed that more so with my R rather than my the r six
25:01.34 Marcus Gotcha.
25:01.37 Paul um
25:02.14 Marcus It’s a bit older.
25:02.33 Paul but what yeah But what you do get compared to a DSLR is is so much information, and this is all customizable, but you get so much information either on the back of the screen, on the the bigger screen, or through the electronic viewfinder.
25:02.82 Marcus It’s a little bit older. Yes.
25:18.54 Paul So for argument, say, you can have a live histogram. So if you are a photographer that really relies on a histogram rather than your… and exposure meter, then um it’s absolutely fantastic. You know, you can always shoot to the right or shoot to the left or and make sure that you’re not getting any blocky blacks or burnt out whites.
25:43.38 Marcus Yeah, yeah, I get it. Yeah, but sometimes too much information, Paul. That’s maybe another argument for another time. But… yeah Okay, so I’m going to give myself…
25:51.19 Paul I’ll have that one then. LAUGHTER
25:52.66 Marcus ah No, no. you could have i want the part I’m to win in a price one, that’s for sure. um Okay. ah what what One last thing. We’ve got a few minutes, Paul. what I’ve got a few things here. What what what do you think? what What’s another defence that you want to go for, the mirrorless camera, that you think another advantage of it is?
26:13.50 Paul Well, there is a another facility, which I don’t know whether would good for you, but you can shoot silently.
26:20.22 Marcus Oh, that’s right.
26:20.31 Paul So imagine you much at a wedding and you’re you know you’re in a church and it’s all quiet you get into that really romantic part where the vicar will say, and you may kiss the bride, and you go all you can hear is click, click, click, click.
26:20.94 Marcus Actually, that’s a good… Yes. Yes.
26:33.05 Paul click click click
26:33.53 Marcus Yeah.
26:34.19 Paul Whereas with silent shutter, you can no one knows you there.
26:34.20 Marcus Yeah. Yeah. No, that is that I must admit, youve you’ve got a good one there. Okay. That is it. Okay. I think that’s 2-2.
26:45.59 Marcus That is 2-2. We’re going to leave that.
26:47.38 Paul so I would have said 3-1, but, you know, who’s counting?
26:47.55 Marcus What? okay No, we just went through one. No, how dare you if you? Review back to the program. what What’s the ISO like?
26:59.62 Marcus I know it’s very hard for the ISO. It’s all very subjective, but what’s the…
27:01.66 Paul Well, the ISO, yeah, the noise-reaching capabilities are fantastic.
27:07.61 Marcus Okay.
27:07.67 Paul So I was shooting an event yesterday. i couldn’t use flash. The event was in ah in ah and a golf club, and it was lit by normal fluorescent lighting, and I was shooting anywhere between 16,000 and 32,000 ISO.
27:18.12 Marcus Sure.
27:24.79 Paul um i had to do to get make sure that people were captured sharply.
27:26.84 Marcus Yeah, man.
27:29.79 Paul But it’s the – so, yes, the the the images do appear noisy, But then once you’ve put them through Lightroom with a bit of 50% de-noise, they’re very usable.
27:40.49 Marcus Oh.
27:43.49 Marcus Oh, yeah, but that takes forever. That takes forever. I don’t know. I mean, Paul, that’s that’s a very low figure. I mean, I shoot with events, you know i know, when it’s dark, obviously, at 12,800, mate. And, i you know, i just whack it there and it’s…
27:55.83 Marcus you know, with a 12,800, I’m at what?
27:59.22 Paul Yeah.
27:59.93 Marcus Maybe I, um, shutter speed 125th with a longer lens, you know, with VR ah on it. I mean, and um I look at my files and they’re fine. they I don’t, I doubt i wouldn’t denoise them.
28:09.69 Paul Yeah, they are. Yeah, they’re good.
28:11.90 Marcus I think that, I just wonder, the I just think that,
28:12.15 Paul Yeah. Well, I was shooting at 32,000, though. 32,000. not 3,200. 32,000. So… LAUGHTER LAUGHTER LAUGHTER
28:16.79 Marcus Oh, oh, I see. Okay, not 3,200. 3,200.
28:19.74 Paul yet not not thirty-two hundred
28:21.52 Marcus Okay, okay, i’ are those numbers?
28:22.30 Paul thirty two thousand so
28:23.36 Marcus Okay, okay, I get it. Okay, I see. In that case, so you bloody sneak one in there, mate. You beat me with a 3-2. Okay, I’m not going say any anymore because I’m losing now.
28:33.42 Marcus Excellent. but I think that’s been it There you go. There you go. um I think, because and you know, if if I always have the ultimate camera and yeah sometime I will upgrade my kit, I would actually go for mirrorless.
28:44.46 Marcus But I’d go for the medium format ones, the large sensor size ones, you know, like the GFX ones or Hasselblad, something like that.
28:49.72 Paul Yeah, like GFX 100, something like that.
28:54.83 Paul Oh, yeah.
28:55.02 Marcus Something, not just the fact that the camera’s upgrading, but the sensor is upgrading.
28:55.99 Paul The XD2, yeah. yeah Yeah, that Hasselblad XD2 looks a fantastic camera.
29:04.31 Marcus they do They always have been, all the whole digital Hasselblads have all been excellent. They’ve all got slightly very low ISOs. But yeah, I think that would be my next move for me if I was to go down that route.
29:13.78 Paul Yeah. Yeah, yeah.
29:15.74 Marcus Wow. Okay. um There we go. um Anything else to add?
29:20.82 Paul No, I don’t think, not unless you want me to win another point.
29:23.86 Marcus No, I don’t.
29:24.66 Paul Because you’re not even talked about in-body stabilisation yet, you see.
29:24.74 Marcus I think we’re going to finish it there. but ah What about…
29:30.20 Marcus When do you do… Okay, let’s not… Okay, we won’t because it’s going start another thing. But I want the… What do you call the iPhone mirrorless camera? Because that’s obviously the the most ubiquitous camera there is.
29:42.50 Marcus That’s a mirrorless, isn’t it?
29:42.86 Paul It’s really interesting. i would say it’s it’s the iPhone um is more computer-generated.
29:50.46 Marcus Yeah.
29:50.74 Paul It creates more computer-generated images.
29:51.20 Marcus It’s definitely comp computer. But yeah…
29:53.62 Paul So, im yes, it it doesn’t have a merit, but it does have a sensor. The sensor is incredibly small, but I would think the image that comes out of it is more computer-generated.
30:03.99 Marcus Very small.
30:10.58 Marcus Yeah, yeah, yeah, yeah, it has to be.
30:11.10 Paul It has to be to be able to get anything decent.
30:13.53 Marcus ah Exactly right, it has to be. Okay, let’s leave it there, Paul. Thank you so much for being a great guest. Thank very much indeed.
30:19.96 Paul Yeah, you’re very welcome. Thank you for having me
