Episode 30 - “Film Photography vs Digital Photography” - Part 2

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there is nothing about that ultrax film that has

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Jared on it whoa whoa whoa I'm going to give you my big grp now with the digital side of things may not be a fair

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comparison I'm going to play devil's advocate here I would rather right

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now if because cost isn't a variable that you can remove if cost wasn't a variable

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say cost no variable what are you doing I would shoot more film than I do but I still like the flexibility of uh digital

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okay I do I still like the flexibility dig and I like a lot of the features within digital I like the speed at which

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I can accurately and professionally capture a digital image and that that

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even goes down to like autofocus and stuff like that um amenities tech tech is better certainly has more amenities

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there's a lot more manual process which I do enjoy but like if I need to capture an image I'm just a lot more confident with

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my digital camera well and too because we do do it for a living it certainly is

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more efficient for you for the client yeah you know they're not sitting there watching you fiddle with a light meter

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and and you know adjusting your aperture adjusting your shutter speed like with this one I literally have to manually

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yeah meter for the light right which is you know a 30 speed process 30 to 40

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second process at best on its own before I can even dial in the settings to take one shot right by that time as a digital

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shooter you've already fired off you know two or three different poses and and five or six you know different

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images yep um or more depending on the shooting mode that you're in so for our

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profession right now certainly certainly more efficient um but going back to the control

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thing why do we have or why is it so attractive to you to have the control

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with the digital medium cuz with like raw images especially yeah a raw image

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from a camera now now days a modern camera can be manipulated to look really any way you want it to look oh yeah um

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and then with you know the recent years with Photoshop now coming out with AI features you can literally place things

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within an image that aren't there you can take things out with literally with the click of a button so for me I I

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really think a lot of it stems from the fact that you don't there are two

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things right off the bat if you're shooting film MH that are pretty

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important that you have no control over it one it's already programmed this is the speed of the film MH now you can

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push pull you can do some things but I mean that's that's it um so you're limited in that exposure value right off

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the bat the other thing that I think is probably more important and more of a reason why I would rather shoot digital

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right now is because there is nothing about that ultrax film shot M that has

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Jared on it okay so now it's stylistic thing well because and here's the thing

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all film is going to have its own characteristics but that's programmed from the manufacturer right the way it

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renders the green the way it handles oranges the way it behaves in in in

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bright sunny situations like that's programmed in MH to the film stock like

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that's part of it whereas with a digital image a raw image I can make Jared's style in any scene

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now well so this is the polarizing part with film because you do get it back in a digital

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JP I was say Let me throw a wrench in your statement can then take it into a Lightroom or whatever and manipulate it

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but to me I don't let myself do that okay and the reason why I don't let myself do that is is

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because and I'm probably just being the the old man like get off my lawn typ this is probably just a not good

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mentality but I don't let myself edit film images with the exception of exposure values so why don't you edit

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your film images and I'm going to and I'm going to give you give you the thought behind this question after you answer I don't edit the colors okay I

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don't edit the colors I don't edit the white balance the only thing that I will edit is exposure values and I might add

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contrast or something in there but like because be because my whole thing and it's more of a purist perspective like I

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I chose Kodak portra 400 because of the colors I'm not going to manipulate those

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otherwise I'm just going to shoot a digital image if I plan on manipulating all those things that's the way that I look at it I couldn't see that the the

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argument that a lot of film and I guess you could call them purist it depends on how you define a film purist there are a

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lot of film Shooters out there who they do manipulate their film images because I mean even back in the day going back

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to the development lab itself you're manipulating colors in the lab if you're especially if you're enlarging it if

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you're you know printing it or any anything like that even back in the old day after development you can add your

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magentas your Cy your yellows you can enlarge it on an enlarger and manipulate color so technically people have been

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editing film images since they've been developed well so I I I went to I ended up on a forum

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somewhere and basically I posed the question to I don't edit my film images typically unless something's like

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severely wrong yeah to where like I need to recover that so that I've not wasted $2 on that shot well so I I ended up

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Googling at one point what all could you do because obviously I've not developed film myself so like I don't know what

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all you do have flexibility in the dark room with we use light room now that's funny Hobe called it that um

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cleverly basically what I came across and came away from my research of what all can you edit with film basically the

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people said if it is in the develop module of Lightroom that is essentially

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something that you would have been able to have manipulated within the chemicals and the development process right and if

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you know anything about Lightroom or photographers are going to understand this you don't have a lot of color

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outside of I mean if you've got a white balance slider Bal SL you got a t slider

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and you can add Vibrance and saturation otherwise it's luminance values it's luminance values but they did have

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printer lights back in the day which is at least three shades of color well I mean true N Shades you have blue yellow

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uh magenta green cyan red that's nine nine colors right there with whatever amount of combination you wanted to well

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so like I said and it's it's more of a it's more of a um I don't know I guess

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maybe I give the the medium more respect than maybe mhm the medium should get because I guess one one I know one

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school of thought with people who shoot film is is like okay if film photographers then had the technology

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that we had today they' edit their images my whole thing is like would they though would they maybe or would they

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just shoot digital because that's that's kind of how I look at it like I chose this film stock because of its

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characteristics the only thing that I'm going to do is fix where I messed up where I Overexposed it a stock where I

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messed up because that will manipulate your colors I'm of a similar mentality with film like I I don't edit my film images

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other than if I've truly screwed the pooch on it and again I need to recover something right um whether it's an exposure adjustment contrast whatever um

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I will touch those up but yeah for the most part I'm I guess a a non- editor yeah of my film shots because I'm the

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same way aside from liking the process I'm like no if I'm going to commit to to this process I'm going to live with the

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results of it yeah you know and live with the results of my film choices odly enough like I enjoy editing like I

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really enjoy editing sets pH EDI photos is fun like I that was probably one of my first like aha moments with

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photography starting out was we talked about it on a couple episodes ago was Finding Your editing style learning how

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to edit you know trial and error these things like I enjoy that process I enjoy taking a raw image and putting it into

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the way that I saw it yeah putting my flare my style whatever or even exaggerating the way that you saw

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it or even exaggerating stylistic choices so but I enjoy editing I just don't think that's part of I just don't

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let it be part of the film process and my biggest gripe truly my biggest gripe with this film Resurgence we talked about this last night on the way back

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from uh star I cannot

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stand and again this is definitely a get off my lwn like old fart mentality yeah

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I cannot stand this movement of appreciation of photos simply mhm simply

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because it was shot on film what a boomer I hate it dude I see so many like

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horrible photographs compositionally uh subject

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matter um just just a terrible photo literally if that photo did not say in

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the caption shot on film or shot on XYZ camera then everybody else would it

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probably wouldn't get posted truthfully it probably wouldn't get posted it would might have got shot but it would have

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never left the SD card yeah so it you're seeing this gratification and and and

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and uplifting of below average photos simply

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because shot on film so it's like a bad shot just because it shot on film does not make it good and that's what we're

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seeing right now we're seeing a trend of that you because I shoot photos of trash cans on digital and film so well I mean

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that's my photos are that's my big gpe with it I I I literally have scrolled threads I've scrolled Instagram for

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weeks now and I will see a photo that is it's just not a good photo

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but it was shot on my M mia7 with Kodak portrait 400 and people are in the comments oh my gosh I love this I'm like

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if this was a digital image hey whoa whoa whoa I'm going to play devil's advocate here because this this brings

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up another Point altogether that's I'm going to say outside of film and digital because it happens on both fronts you

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know people freak out about the fact that oh yeah you shot this on a Mia 7 or you shot this on a Pentax 67 or I freak

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out about the Fuji gw690 the Texas Leica we get attached to the tools yeah we get

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attached to the tools of the trade like I'm attached to this Fuji X Pro 2 right here I love this camera but am I better

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because of this camera no it's just a tool but we get attached to the tools and I think we all

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nerd out about gear from time to time I know I do but it happens on the digital side too I mean people attach great

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images to the fact that it was taken on the Fuji x16 I don't you don't but I

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don't I'm I'm very I'm very objective on those things right but there but there's certainly a crowd out there that would

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say the x16 takes takes sucks St takes such good photos I mean to each their

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own I would just say like no that's just that's not a good image mean the the

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cult that I'm in the the RICO cult uh with the gr3 I own a gr3 I love the gr3

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it is certainly a great little camera but there's a crowd out there that thinks just because an image was taken

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on the gr3 it elevates that image no so it happens on both fronts but the point

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that I'm making is like it does we get attached to these tools and and we literally let the tools polarize our

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opinions on things yeah I just I guess I guess my biggest gripe with it is most of what I see from

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film I see very little portrait work there are some people who do really I see quite a bit of portrait work on I don't that's not what's on my feet a lot

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what's on my feet a lot is like abandoned houses MH uh or the backs of

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halfway tarp covered cars or I mean the other one that the one that I saw the

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other day was literally like the back of an old baville uh it was shot on a m Mia 7 with portrait 800 and I'm telling you

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the image was not a good image now this is a good photographer like I respect their work but this image was not good

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but you should have seen in the comments the people who were like oh my gosh I love this such a rad I'm like no it's

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not was it not good because it wasn't a good image or was it not good because you didn't like the subject

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matter or was it both it was it was to me it was both I'm like this is this

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is I don't this is just not a good image like composition it's not good okay so

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there's some technical issues with it yeah I'm like this is just not a good image um but because it was shot on Mia

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7 on portra 800 it was getting tons of praise and Scot Le right now if you can

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afford a Mia 7 and I'm not being like I'm not being a fdy dud I'm not being jealous like a good photo is a good

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photo right I don't care if it was taken with a 2 megapixel point and

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shoot it onto a piece of Flagstone with a hammer and a chisel photo is a good photo but I'm going to say a bad photo

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is also a bad photo I don't care what it was taken with agreed um so yeah that's just my personal grip with the current

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film uh Resurgence is I I'm I I see a lot of elevation of very very what I'll

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call subpar work simply because of the medium I'm going to give you my big grp now

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with the digital side of things and it's not necessarily a problem with some people but there is a there there's a an

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epidemic right now in my opinion on the digital side of things and it comes from the manufacturers they

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know the the camera manufacturers know that we have gas oh yeah acquisition

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syndrome they know that we have gas and so it feels like every three minutes

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we're getting a new camera body from somewhere true people are freaking out about the specs like this new XYZ camera

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shoots 12K Apple proes 422 HQ you've got to get it today like you need to sell

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the camera that shot 6K yesterday cuz it's no longer good yeah uh it's no

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longer a good option to shoot your content with your photos your videos whatever um there there's such this

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there's this stipulation or this mentality right now on the digital side where like cameras are all of a sudden

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obsolete because the new guy just came out and that's where I get frustrated on the digital side yeah um with film you

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don't really experience that obviously there's some cult followings for certain I like the Mia 7 and like your your

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bigger well-known film cameras but like for the most part literally I went to a thrift store and got a $15 film camera

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and it's going to shoot the same thing that that mamia 7 shoots because with film really the image is dictated by the

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stock that's what I'm saying now there's definitely sharper glass you know definitely sharper glass out there and

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certainly something to be said for different formats but like most of your aesthetic with film is dictated by that

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role of film that's in that camera right which is goes back to the control thing I goes back to the control thing um but

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with the digital side of things the the thing that I get just upset about and I I shouldn't because I'm not buying new

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cameras so it it doesn't matter but I'm just like we are so inundated with new options I wonder if fast I wonder if

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that was the case back in the day though when they were Mass producing these film cameras though it could have been now I I I guarantee you they probably didn't

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turn and burn them as quickly as they do like yearly there are new releases from every manufacturer now right just like

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cars monthly now there's new releases from a certain

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manufacturer Sony do they really they're putting out cameras all the time see Canon does like a year a yearly release

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uh I thought Sony did maybe they didn't not literal monthly but I think by every three months they have a new body coming

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out oh wow right now they're they're cranking them out yeah all the Sony guys are unsubscribing right now and I'm

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sorry my big my big thing my biggest thing with with with cameras uh and

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digital cameras specifically people get inundated and if it's for a photo

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perspective if it's strictly for photo yeah truly if you have

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anything 5D Mark iiii era or newer I'll say Mark 2 okay came

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out what 2010 Pro they bouts probably 2010 to 2012 or newer you should be good from a

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photo perspective your your your your features are going to be negligible in regards to upping your yeah uh your game

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so to speak the photo game as they come out autofocus gets better um they can do

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more frames per second before the buffer feels but by and large optically um

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they're all the same there you've got a perfectly capable camera now that that's

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kind of not the same with video yeah video is different but and again even on the photo side the only differences now

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are just the amenities you have different you have a fast more accurate autofocus you have a higher burst rate

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but as far as the actual medium itself there's only so much data that

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you can cram into you know a raw file or a JPEG file I mean your megapixels may

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may increase a bit but I'm not as I'm not as huge of a proponent of megapixels I don't really care about megapixels I

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mean heck one of the the most touted ones is the uh Sony A7 S3 and I think

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it's a 12 megapixel sensor yeah that's not a lot of megapixels I mean I have a i shoot a lot this camera right here has

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double that well I was about to say I shoot with a Canon eosr 90% of the time

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that's what 36 and it's a 30.3 megapixel sensor3 um

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so yeah it's it's it you know what's hilarious my most I'm just going to say

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my most viral quote quote viral piece of content as far as photos go were a or

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was a set of images that I posted on Tik Tok that was shot with a

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5 megapixel camera oh your little Canon Power Shot thing or whatever that was Power Shot from I think 2001 it's a 2001

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model or 2002 model right five megapixels yeah and I POS the question is five megapixels

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enough well apparently it was because it's been my V my most viral piece of content ever I think specifically if

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you're viewing it on just a little cell phone screen yeah I don't think 90% of the viewers would be any the wiser um so

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I think that's our big big gripes with each medium then you're saying your biggest gripe with film is just the fact that because it's shot on film people

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automatically think it's gold yeah my biggest scrap with digital is the fact that like we're so inundated with

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freaking options and the specs truly if you know what you're doing the specs don't matter no they don't and both of

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them are tools I mean they are they're a tool to capture a photograph at the end of the day uh and they both do

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it differently but I mean again it's a tool so in the proper hands you can get good images it's like uh it's just no

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different actually speaking what Preston yesterday yeah uh he has a Fuji xe2 uh with actually a lens that I want

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to get my hands on little pancake 27 mil that guy is so inconspicuous like I really like that plus with crop factor

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you're like 40 yeah so it's it's getting closer to my favorite focal length of 50 he's a little guy but he's a performer

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well so we're going to be uh working with them in a golf outing here in a few

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days and he said I'm gonna be running around with it but like I'm gonna leave all the good like hard work and the

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professional work to you guys and I I caution I was like no dude that camera right there is perfectly capable like

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honestly if you wanted to give give Garrett or I that that camera for that day we can deliver we could deliver you

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professional results well my response directly to him I was like this camera right here the X Pro 2 and one of its

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siblings that I owned back in the day have paid thousands of dollars yeah so they've made me thousands of dollars

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yeah it's it's it's it's just a tool uh the skill is certainly more important um I joke around too cuz I'm

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like dude it's in the name XPR too they don't called Pro for we' had that discussion the only thing the only thing

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that that and I I really do like I've I've got a growing love for Fuji actually um the only thing

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that is like a a blip on their record most of their bodies are really small

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yeah they're they're a small mirrorless hybri body unfortunately which it's it's unfair because they're perfectly capable

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yeah but from an outside like client customer paying perspective it's not

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confidence in stealing when you show up sorry I didn't mean to knock that around but when you show up this a little bitty

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booger oh yeah they don't know that the specs are like better than some of these

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big Cannon and Tony people that that they're waving around but listen I would in full confidence obviously other than

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the client perspective in full confidence I would go shoot just about anything with the RICO gr3 now that would be comical I would I

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would absolutely do it if anybody's willing to let me step on their set with a RICO gr3 I'll deliver I'll deliver wow

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call me out keep seats I'll bring the gr and you'll get a set that you're in love with I was about to predict that you

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wouldn't get paid for that they take you off the set listen again talk just

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talking about pure cold hard facts no it is and that's the unfair thing only

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print that I've sold on my website came from the RICO yeah just saying now just

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saying one thing that I do and kind of kind of get back to the the initial discussion of film versus digital yeah

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sorry rub it back in they they do things differently they do process aside film

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yeah is has a lot more grace and latitude with the highlights which is

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which is the bright Parts the sky eyes essentially the bright parts of your image it has a lot more flexibility

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before it becomes Overexposed and totally gone yeah yeah before you can now where on the inverse of that where

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it falls apart more quickly and in my opinion is a limitation is a lot of times the shadows will get pretty

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they'll just get like well I mean that's just factual information they don't have Shadow retention it's almost it's

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starting to get a little better it's actually starting to get a lot better with digital but the inverse has kind of always been the case with um with

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digital yeah and so that was a shift that I had to make when I started first experimenting with film was I need to

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overexpose this I need to overexpose this because if I underexpose it the Shadows are just going to be this brown

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mush don't they're not going to be this dark black thing that I had in my head like I thought I would be adding more

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contrast in here because it's what happens with digital right um or you can raise shadows in digital and it

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typically shoot it darker and it will retain more more data there so yeah they're they're kind of the opposite in

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that side um but uh digitals digitals closing that Gap it's closing the Gap

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obviously it's closing the Gap further than film because film's not being newly innovated anymore true true well but I'm

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saying like it's always done that better it's always done on the highlights it's always it's always done better there the

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thing though too like with the process and again if we're talking about film versus digital um going to that workflow

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and just the manipulation ability with digital you can truly craft an image I I don't think and this is just a

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difference in the mentality when shooting the two mediums I don't think with film there is much crafting of an

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image that goes on like you're truly capturing right the beauty of digital and and I would say you know obviously

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why it's still the most prominent form of Photography right now is because you can craft after the fact and now there's

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going to be purists out there that say Well if you get it right on camera it don't matter blah blah blah and sure there's something to be said for that I'm not going to not going to f you on

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that but you can craft an image with a with a digital photo nowadays so so I

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guess to to specify my or or to to uh to clarify

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my point of preferring digital right now I'm preferring digital raw

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yeah may not be a fair comparison because a better comparison may be a

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JPEG a JPEG standard picture profile yeah in regards to like a straight out

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of camera film comparison well I wouldn't even say that you have to make that comparison because again just using the tool that's available to you the

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tool that's available with digital cameras is you have a raw option yeah so I don't think you have to make that

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comparison again I think it's just a mentality shift of with film I'm I'm

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capturing um unless you're editing your film shots then you can craft afterwards but with digital you you have the

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ability right from the get-go to craft yeah um I can take a a image I can take

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an image uh of a city street and if it's a dark dingy day and there's you know

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things that that street that I don't like I can remove those things I can make it look like a bright day yeah um

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it may not make sense but I can craft an image I can craft a story from that digital Right image I can't do that with

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film it's pretty much said that's true so I mean to each their own yeah I

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personally enjoy both uh I certainly shoot far more digital than I do film

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yeah um well we both do yeah but I don't know I think I like the uh I think I

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like the control aspect of of of a uh a digital image I can see that plus too

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like I feel like it I almost feel like there's more art to it in the sense of you can put your stamp on the color say

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throughout the whole process there's more art to it there's there's more art to it yeah there's more art to it and there's more like I feel like you can

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put more personal touch on it um you know you can be known for this particular editing style um I think if

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have to go back and look at like old photo books and stuff like that back in the film days but I think people's style uh what would have been attached

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to a photographer style back then would have mostly subject matter and like composition stuff um well like anel

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Adams obviously he's known for black and white lscape like he wrote the book on landscape photography right you you you

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didn't really get the there was not the ability to be known for like processing I don't feel like uh

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or or is it wasn't as easy to be known for like styles of color and stuff like

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that because again that that part's already in the film stock I was going to say now in the digital age like that's what we know people buy like that that's

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their calling card like I know me you both fans of short stash on Instagram uh short stash has a digital processing

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style that we love got your bright and Airy you've got your Moody you've got your people who do really good muted

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work like Becky and Chris um there gets a little too far for me in most cases as a Pres visuals by PR who saturation is

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prominent same with Evan ramp he's one of my favorites that boy is always in you know popping the colors yeah and I

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like it yeah um then you got Pete who's just just clean absolutely Pete's clean

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he's a good photographer we talked about that on the way home like he's he's recently really been going hard into the

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film space as well and single-handedly raising the price of Mia sevens I love you Pete but I can't afford a Mia s

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right now no no he uh I mean that's just that's part of

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the influencer effect um he's he's he's kind of like the Kye Jenner with the uh what was it she contact T2 yeah yeah had

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no idea what she got no and the contact T2 has been well documented as a camera

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that's destined to die because eventually its Electronics just stop working but but it's a $2,000 camera

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right now because Kylie Jenner own it yeah so but I actually so I don't think Kylie's good for the film but I do

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believe that Pete is good for the film community and some people would argue that because you know he's inadvertently raised the prices of

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camera models and and film obviously has seen a price increase that was not because of Pete by the way as far as

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film socks go but I think Pete's good for film photography because he has so much influence I'm hoping that it

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encourages new companies to start bringing back old chemistries old film

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stocks new film stocks whatever listen if they ever figured out how to do um uh

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kod Chrome again M I told you there's a company trying right there's definitely company try that's one of my favorite

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recipes actually to shoot with my Fuji I would love the opportunity to shoot kod Chrome one day yeah I like the I love

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the hoping it comes in the future but I I think Pete's good for film photography and you know he's a digital shooter yeah

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a phenomenal phenomenal digital shooter so I think this thing that me and you are both of the same mentality like I

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don't think you have to pick a side no you don't have to pick aide and you I think it's cool to like it all you shouldn't hate someone because they feel

28:57

different ly than you my whole thing is I'm objective like if it's a good photo it's a good photo a bad photo it's a

29:03

it's a bad photo I'm not going to give you Grace and say like oh this is a good photo yeah when it's really bad but just

29:11

because it's shot on film I'm also not going to do same thing I'm not going to do the inverse on digital either right um which I don't know I'm not saying you

29:17

should be like me but I mean to each their own I think that's fair I think that's fair I think the moral of the story is you don't have to pick side no

29:24

you don't have to pick side you can love them all you can love every camera brand you can love every camera style whatever

29:30

now I am partial to my Canon or my camera brands yeah you're brand loyal I'm not brand loyal I'm brand loyal in

29:35

the sense of it's it's very expensive to switch well it's also very expensive to

29:41

not be loyal well in my case I have Lumix I have Fuji I have Canon so I

29:49

started with Canon and because of of Canon has always since I've been in

29:55

photography had great autofocus yeah they've always been top tier autofocus I meany in a lot of cases

30:01

could say that they've taken over that spot but years they're neck and neck they've always had good autofocus um

30:07

I've always enjoyed Canon's colors uh and the biggest thing for me starting out with a Canon camera the menus were

30:14

like they were even beginner friendly they're so freaking simple uh to navigate I had a Sony camera in my hand

30:21

yesterday as a as a 10-year photography vet so to speak

30:26

yes dude and it's not the first Sony you've had in your handy it was cumbersome now I know the people the

30:32

Sony lovers are going to say like oh well W you get used to them it's not that big a deal at all yeah but like

30:38

dude it's just it's it's complicated for no freaking reason I was going to say because Fuji's menus are not that

30:44

complex Lumix menus are not that complex Canon menus are like deic don't even

30:50

talk about black magic like that's I could I think my three-year-old could Airy ain't that bad I think Red's a

30:56

little complicated um but yeah I've actually never funny enough I've never had a Nikon in my

31:02

hands a digital Nikon no I had that no I'm talking about a digital Nikon I've never I've never had a Nikon in my hand

31:09

I have my uncle Gary used to shoot Nikon so I've never fumbled through the menus or anything on those I don't can't speak on the Nikon menus um but I do so like

31:17

the the big expense is like once you start to buy glass yeah you kind of get invested in like for instance for me the

31:23

EF system yep well if you want to switch to complete different brand you're now

31:30

buying new glass or you're trying to adapt which you lose some functionality and stuff like that so yeah it's it's

31:35

it's uh pretty pricey we may talk about that one day talk about brand loyalty I'm not loyal to like because I think

31:42

they're the best or because right but I'm saying I think it'd be another good polarizing topic of of which brand is

31:48

the best those those are fun those are I love seeing those battles online yeah

31:54

which again I don't care what shoot with honestly you with a potato and I'll be happy for you if you results my my

32:00

biggest thing with that is uh and Jared Poland does a great job of it of

32:06

basically showing Inc capable hands it doesn't matter what camera you

32:13

put in their hands right it doesn't matter if it's a Fuji it doesn't matter it does not matter a good photographer

32:19

is going to be able to get good images um and specifically with digital if you're shooting raw you're even going to

32:24

be able to be very similar from a processing standpoint from a processing point it's exactly the same um Tyler

32:30

stalman did a video recently about color science and even with color science that

32:36

is something that only truly applies to jpeg images and and camera camera

32:41

manufacturer picture profiles but with a raw image I can make a Nikon image look

32:47

no different than a Canon Image yeah technically speaking you're you're gonna have different changes cuz they're going to render different Hues like for

32:54

instance what I to make different adjustments but you can make it them camera matching is pretty easy if you

33:00

know what you're doing we do it we do it in the video world all the time we match two different brands of cameras for this podcast well so one thing that I've

33:06

noticed like specifically I shoot raw with Fuji and I shoot raw with my Canon uh those are the only two that I can you

33:12

know accurately compare Fuji for me uh in in my age of body which I think maybe

33:17

they fix this a little bit but like a lot of their skin tones will come out even in raw image uh they'll be a little

33:23

more pinkish right a little more magenta but that's just an adjustment shift just an adjustment shift so like I've always

33:28

and I grew up obvious grew up I started out processing Canon images and I've always felt like Canon skin colors have

33:35

always been like very true to life for my eye um from the box from the box yeah yeah you uh you start processing that

33:42

okay that's a minimal skin shift you know to to make it accurate um years ago

33:49

Sony struggled with greens yeah um they're getting better they've since fixed that but uh think they're getting

33:55

better yeah yeah that would be interesting very again probably polarizing um polarizing

34:01

indeed something that's not polarizing is the fact that we enjoy feedback here

34:07

on the podcast both of us do we will not argue about whether or not we like feedback because we both do Jared

34:13

there's a few things that our audience can do if they've enjoyed this episode or if they've not leave us a review um

34:20

like and surprise yeah subscribe so you can see more as they say hit the Bell

34:25

yeah hit the Bell um if you're an audio only listener you can still give us a heart well you can yeah you can save the

34:31

show uh I mean there's all kinds of things you can do uh comment below if you uh have experience with

34:40

film I want to know your favorite medium o is it film or digital yeah yeah get a

34:47

battle going on in the comments that'd be interesting actually

34:52

F I would love to see nothing I would love to to look down in the comment section and see nothing short of a

34:57

tornado yeah a whirlwind of opinions being strewn about I'm here for the opin for the opinions we're not in Kansas

35:03

anymore Toto no no no no other than that we'll catch you guys in the next

35:10

one see you bye see you bye