Show Notes

Greetings everybody, you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 411 for Thursday July 11th, 2024. Today some interesting stories from our friends at PetaPixel for this week and one of them is a real doozy.

Canon Teases New EOS R Reveal

Canon Europe has launched a new teaser on YouTube, alerting photographers that there will be a Canon EOS R System announcement next Wednesday, July 17.

While there is a two-minute trailer on the YouTube event page, embedded below, it is just a fancy animation showing the time of the announcement, which will be at 6 AM ET (3 AM PT) on July 17.

Even as teasers go, Canon’s features limited information. The video’s description only says, “The countdown to Canon’s EOS R System live event has begun. Join the excitement here on Wednesday, July 17th 2024 at 11:00 BST and 12:00 CEST. We can’t wait!”

That said, the video comes just over three months after Canon announced the development of the long-awaited Canon EOS R1 flagship mirrorless camera, so the reasonable expectation is that the R1 will be part of the Canon EOS R System event next week.

Canon has also set up a premiere page on its Japanese YouTube channel, and while the information is different, it is similarly limited. However, Canon Japan does reference “the long-awaited Canon EOS new product launch,” which adds a bit more juice to the expectation for the R1, not that it was necessarily required.

Canon hasn’t shared much info about the EOS R1 thus far. However, it has shown what the camera will look like, and PetaPixel has compared it to the similarly styled EOS R3. Specific details are limited, but Canon does promise that the EOS R1 will combine “cutting-edge technology” and “top-class performance,” while promising the durability of a flagship camera model. Canon also says the camera will deliver significantly improved still photo and video performance for “sports, news reporting, and video production” applications.

Assuming Canon can get the EOS R1 into the hands of pro photographers in Paris for the 2024 Summer Olympics, which start late this month and run into the second week of August, the camera will be a solid choice.

In any event, photographers won’t have to wait long to see what Canon has up its sleeve, since the 17th is next Wednesday. For my two cents it probably is the announcement of the EOS R1 since the Olympics are coming up at the end of July into the beginning of August in Paris, France it would only make sense that it was the EOS R1. But there is nothing saying that Canon’s idea of a big announcement couldn’t also contain the much anticipated EOS R 5/Sr with a 100 MegaPixel sensor in addition to the EOS R1. Those two combined would be a massively HUGE announcement in both that they reveal their Mirrorless Flagship finally and also a “big” reveal due to the massive sensor rumored to be in the mirrorless replacement for the EOS 5D S/r!

Sony ZV-E10 II

Sony’s new ZV-E10 II camera is aimed at content creators and vloggers and promises significant improvements over its predecessor.

The Sony ZV-E10 launched in the summer of 2021 and proved to be an accessible camera that, ultimately, didn’t quite meet its potential. Nonetheless, it has been an extremely popular model for Sony and one of the best-selling interchangeable lens cameras on the market. Sony believes that its successor, the new Sony ZV-E10 II, addresses some of the original ZV-E10’s shortcomings, including its iffy battery life and lack of 4K/60p recording.

Driving many of the ZV-E10 II’s improvements is a new imaging pipeline, featuring a 26-megapixel Exmor R CMOS APS-C image sensor and Sony’s Bionz XR processor. The ZV-E10 instead sported a 24-megapixel chip and the older Bionz X processor. With the move to the new sensor and processor, which are also featured in the Sony a6700, the ZV-E10 II can shoot 4K/60p 10-bit 4:2:2 video with improved quality and better autofocus performance. Sony promises the same image quality as the a6700 and FX30, two capable APS-C cameras.

While there are many similarities between the new ZV-E10 II and last year’s a6700, there are also a handful of differences beyond their physical designs. While the a6700 can do 6K oversampled video, the ZV-E10 II has a small crop factor that reduces the resolution to 5.6K. The ZV-E10 II also can’t do 4K/120p video, although it can do Full HD at 120p. Further, the ZV-E10 II lacks the dedicated AI processing chip found in not just the a6700, but many of Sony’s recent cameras. This means the new vlogging camera can’t promise quite the same autofocus performance as some of its siblings.

Nonetheless, Sony does promise better autofocus than the ZV-E10. The company also promises a much richer suite of video modes and features. While the original ZV-E10 essentially topped out at 4K/30p and even did that with a crop, the ZV-E10 II can shoot 4K/30p without any crop and 4K/60p with a slight crop (1.1x). The new camera has a three-capsule mic, shoots 10-bit across all record modes, and includes S-Log and S-Cinetone profiles, and all these modes are easier to find thanks to Sony’s recently redesigned menu system.

Speaking of “easy,” Sony emphasizes ease of use with its ZV-series cameras, and the ZV-E10 II is no exception. To help budding content creators, the camera includes a dedicated Cinematic Vlog setting that makes it easier to get cinematic-looking footage. This setting includes a 2.35:1 aspect ratio and a locked 24p frame rate. The camera also has built-in buttons for background defocus (which seasoned shooters can do by manually controlling the aperture) and product showcase modes.

Other ways to dial in the perfect look in the camera include the Creative Look function. This has been in Sony cameras for a while now, since the a7S III, but often goes unnoticed. The ZV-E10 II includes 10 preset looks with eight adjustable parameters, and users can save an additional six custom looks. These now come with full names, like “Portrait” instead of “PT,” making the feature much more accessible.

Another improvement in user experience concerns vertical video recording. Since many people shoot vertical video — Sony says about 70% of what people shoot for social media is vertical — the ZV-E10 II also includes a new vertical information display. It has other improvements, including the move to the larger Z-series battery. This switch adds about 30 grams of weight to the camera, but increases video recording duration from 80 minutes to 130 minutes on a single charge.

“From the beginning, the goal of the Sony ZV line was to create cameras that produced high-quality results while being extremely easy to use. Today, the ZV line continues to uphold that standard, but we’re taking it a step further,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “Our aim with the advancements of the ZV-E10 II is to inspire creators to develop or recreate their own unique style through features like personalized Creative Looks and Cinematic Vlog Setting. We are continually evolving our technology to help creators of all skill levels bring their visions to life.”

The Sony ZV-E10 II will be available later this month for $999 body only or $1,099 in a kit with the new Sony 16-50mm f/3.5-5.6 OSS II power zoom lens.

Wild Eye Magazine

When Outdoor Photographer shut down, it devastated landscape, nature, and wildlife photography enthusiasts. However, its spiritual successor, Wild Eye, has been unveiled and will publish its first issue in September.

The first “virtual” issue of Wild Eye will be entirely free for anyone who signs up on the magazine’s freshly-updated website, setting the stage for four print (and digital) issues in 2025. Unlike Outdoor Photographer, which was a monthly newsstand publication in its heyday, Wild Eye is targeting quarterly publication.

The reduced quantity comes with what the team hopes is an uptick in quality in terms of content and overall presentation. Unlike the typical magazine of years past, Wild Eye will be designed to be saved, displayed, and enjoyed more than once.

To that end, Wild Eye editor-in-chief Dan Havlik, who has been in the photography industry for many years and was the longtime editor-in-chief at Shutterbug before moving to Digital Photo Pro and then Outdoor Photographer, tells PetaPixel that each issue will be printed on higher-end paper stock, worthy of the beautiful nature images that Outdoor Photographer was known for.

It’s important to note that Wild Eye itself doesn’t reference its Outdoor Photographer roots, but they’re there. There are plenty of familiar faces on the Wild Eye team, including its publisher, Jason Bradley, design editor, Scott Brandsgaard, and sales manager, Bob Meth. There are also familiar names among its contributors, which include celebrated professional photographers Amy Gulick, Austin Mann, David Duchemin, and Melissa Groo.

As for the type of content Wild Eye readers can expect, there will be a combination of print, digital, and web-based content, including features from the world’s best photographers, showcases of beautiful photos that explain how they were created, explorations of the wild locations across the globe, field notes, gear reviews and roundups, and more.

The first issue will feature a story from conservation photographer Paul Nicklen, a guide to developing photographic style from Erin Babnik, and a spotlight on landscapes from Ted Orland.

Conservation is a big emphasis for Wild Eye, and Havlik says that he wants the magazine to emphasize the importance of conservation photography and help convey the more profound meaning and impact of nature and wildlife photography.

Havlik says that Wild Eye‘s three tenets are “education, inspiration, and information.” Further, the team aims to build upon a foundation of beautiful photographs. Ultimately, the images reign supreme and everything else is in their service.

While the magazine industry has faced many challenges, and Outdoor Photographer wasn’t immune to them, Havlik believes the market is trending toward high-quality, tactile experiences.

“I really feel like a younger generation is starting to get burned out on the digital image, digital text, and are coming back to a printed format because it’s becoming rare — it’s kind of a unique thing,” he says, adding that Wild Eye hopes to attract the same audience that enjoyed Outdoor Photographer, while expanding to a younger generation, who perhaps was never into print but is becoming interested in enjoying photography beyond the screen.

That said, not only is Wild Eye releasing its first issue this September in digital format, but the print issues next year will also come with digital versions because that’s something that some people want, and it makes the magazine more accessible.

The Wild Eye team is still ironing out some of the broader details concerning the eventual price structure for subscribers. Still, Havlik says it will be competitively priced against other high-end photography publications.

People can sign up right now to get the first issue of Wild Eye emailed directly to their inbox as soon as it’s ready in September. All you need to do is enter your email address — no additional information is required.

Massive Lego Bust

We’re used to seeing photos of police standing in front of criminal stashes of drugs and guns so when officers in Oregon posted pictures of themselves standing in front of thousands of Lego boxes, it caught the internet’s attention.

The Springfield Police Department shared the amusing images to its Facebook and Instagram accounts showing boxes and boxes of Lego being loaded into a van as they were being impounded to the evidence locker.

The cops even employed a drone to get an overhead view of the massive haul of Lego as well as throwing in a few funny pictures of a Lego cops and robbers set that has a toy criminal being handcuffed.

Although the photos are amusing in nature, the story behind the bust is quite serious.

The sting followed a three-month operation in which the Crime Reduction Unit had uncovered evidence that a toy store called “Brick Builders” had been knowingly purchasing stolen Lego boxes.

According to police, the store’s owner, Ammon Henrikson, had been buying the new and unopened sets from suspects who had been swiping Lego sets from shops like Target, Fred Meyer, Barnes & Noble, and Walmart.

Henrikson had apparently been paying the shoplifters a fraction of what the Lego boxes retail for and officers learned that those suspects were using the money to buy illegal drugs.

On July 3, the Springfield Police Department served a search warrant at the premises of Brick Builders in Eugene and discovered 4,153 sets of Lego that officers estimate are worth over $200,000.

“We all feel the impact of organized retail theft through the increasing cost of items we buy for our families,” says Chief Andrew Shearer.

“Recognizing this, SPD’s Crime Reduction Unit, with the support of our retail partners, works diligently to hold accountable those who make the choice to engage in or support retail theft.

“SPD is proud of the work of our officers, and we are committed to the pursuit of those behind these crimes in our community.”

In March, PetaPixel reported on a police department in California which has been using Lego heads to conceal the identities of suspects after a law was passed which prohibits police departments from posting mug shots of nonviolent suspects.

I am glad to see this kind of story as there has been a LOT of theft of stores such as Walmart and back in the day Kmart as well and generally at these stores, only their store security can bust shop lifters on site at the stores, however one security person has to cover multiple stores in a district so they are only at each store one day a week, at least that is how it always was at Kmart, not sure if Walmart does anything differently as I have personally chased shop lifters at Walmart back when I lived in the Atlanta area. 

A lady actually filled a cart with flat screen TVs close to Christmas time and then tried to stroll out of the store without paying for them. When an employee told her she needed to pay for them she grabbed the largest one, a 65” and tried to make a run for it to her car, but myself and another customer chased her down and dragged her back to the store with the TV and she was arrested once the police arrived. It is truly crazy the kind of stuff people will try to get away with.

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