All language subtitles for Why not yet mirrorless

Hello friends, how are you?

How are things going?

Welcome to a new episode, as always, I

wish you all the best, as you can

see today I am surrounded by all kinds

of cameras, well, not all kinds of cameras,

but all cameras that I have had throughout

history, since it will soon be almost 20

years that I dedicate myself or that I

live from photography, nothing more and nothing less,

I think it is quite, quite complicated, but

there we are, right?

Well, in today's video I want, I don't

know if I want to create controversy, but

whenever we talk about cameras and whenever one

tries to be a little honest, in the

end it ends up being, well, the controversy

always ends up entering, right?

Knowing also that when on Patreon I create

controversy, well, people start to get angry, so

I hope this video is not the trigger

for many of you to get angry and

much less to get angry if I say

something out of tune, which I will hope

not, right?

But, well, first of all, I should say

that last week, well, the people of Fotorruano,

if you don't know who Fotorruano is, Fotorruano

is an incredible photography store that resides in

Mallorca but that distributes throughout the peninsula and

even Europe, so if you don't know them,

I mean, just to give you a quick

follow-up, why do I say this?

Because they are organizing a contest and they

asked me if I could publish, well, the

ad that they are raffling a Sony Alpha.

Of course, when I published that, the people

who know that I am from Nikon quickly

told me, do you want that Sony?

And I said no, no, no, no.

And then why do you advertise it?

I say, well, because the people of Fotorruano

have always treated me well and they ask

me to give them a cable, well, I'm

going to help them, right?

That's why.

And then there were several colleagues who told

me, ah, and then you have thought of

switching to the latest Nikon Z9?

I'm talking about Mirrorless.

And I said, I hadn't even thought of

it either.

Ah, no?

Well, look, it has a lot of new

things, it's true, I've read about it, it

has a lot of new things that later,

well, we'll talk a little bit about them.

But today's video, I wanted to talk to

you a little bit about why I haven't

thought about it yet, nor have I raffled

it, soon, to switch to the Mirrorless system,

right?

Because, well, several years have passed since the

Japanese brand has released what the Mirrorless are.

But I have to be honest, for me,

always, okay?

In my opinion, it has not been prepared.

Nikon, what it has done has been to

put patches to get out of the way,

while other brands, such as Fuji or Sony,

moved very, very quickly, right?

And before I start talking a little more,

I would have to say, okay?

So that you know clearly who I am

as a photographer, right?

I am a fairly prehistoric person in terms

of photography, no, in terms of equipment.

What does this mean?

I mean, I'm not the typical photographer who,

every time Nikon has released a camera, has

had to buy it, or has wanted to

buy it.

What's more, I've always blown up the cameras.

The first camera I had was this, it's

a negative F60.

And, well, then came the F100, the D100,

the D2H, which I have here, and so

on, until we finished with the D5 and

the 850, okay?

But, I mean, if I say this, it's

one, because I don't change cameras constantly, despite

when Nikon had low moments, that is, when

I say low moments, it was this, the

D100 or the D2H, we could say they

were not very good cameras.

We are going to leave it there, okay?

In which, once again, the photographers were Indian

bunnies.

Not only in Nikon, but in all brands.

Well, in all brands, at the time, it

was Canon, well, some Olympus, but let's talk

about Canon and Nikon, right?

And remember this word, Indian bunnies, right?

Because, damn, this camera, the CCD I had,

I'm talking about the D100, it seemed that

the CCD was made of potato skin, but

the D2H was a disaster.

But despite this, I mean, despite the fact

that Nikon did not have its good moments,

I did not change to other cameras, to

other cameras, for example, Canon, despite the fact

that at that time I was working as

a photojournalist and I knew perfectly all the

technical specifications, in that case, at that time,

they were superior to those of Nikon, and

I did not change.

Why didn't I change?

Because, damn, I'm one of those photographers who

are lazy, who are lazy to get to

change, for example, the material.

Why?

Because, well, now I have all this, but

in its time I had less, but I

went dressing all cameras with all kinds of

lenses.

From a 16mm and a fisheye to a

70-200 and everything that comes with it,

I mean, all kinds of fixed, zooms, I

mean, it gives me a lot of laziness

and I am one of those nostalgic photographers,

so to speak, in which I do not

...

I mean, why do I want to sell

this?

If they are not going to give me

anything, if the symbolic character, the romanticism that

it has, that I have learned with the

F100 or the D3, here we have it,

which was the first great Nikon camera, the

first great camera, and that is, it ate

all Canon models, with which I started to

work, with which I learned more photography, I

mean, with which I developed as a professional.

The romantic character that it has is incredible

for me, so why do I want 500

euros?

Well, it's not that I have too much,

but come on, it's in the showcase really

eating dust, but I prefer it, I mean,

I prefer that for me, right?

And well, as you are seeing, I am,

in addition to prehistoric, I am a little

romantic, and well, until I renew it, until

I change, for example, from the D3 to

the D3S, previously I had to change the

shutter twice, and from the D3S, which I

no longer only had it, but later Erika

had it, I think this camera worked like

10 years and we changed the shutter like

three times, three times at least, or four.

And now I'm working with the D5, and

with the D850.

What happens then?

That, fuck, until I don't bust it, until

I don't take out everything I can, I'm

not going to change to other models, okay?

Ah, and also, I have to be frank,

I am not the typical photographer who, before

going out to take pictures, reads the whole

instruction book, yes, I am like that, I

mean, I buy the D5, I buy the

D850, and I already know the brand Nippona,

it is the one that is best adapted

to my way of working, or I have

adapted to the specifications of the brand Nippona

to have the type of photography that I

have.

So, I mean, I'm that guy who doesn't

read all the specifications.

That's why, if in this video, I'm sure

I say something wrong, keep in mind that

I'm like that, okay?

So don't take it into account.

But, having said all this, it is then

when I ask myself, or I asked myself

in the past, when the first Zs came

out, the first mirrorless from Nikon, do I

change?

Well, I tried one, and I tried the

first model, I think it was the D5

and D6, and well, no, no, I mean,

they were not prepared for me, for my

way of understanding photography, for my way of

shooting.

Why didn't I change to Fuji?

Why didn't I change to Sony?

Despite the fact that Fuji had an incredible

marketing strategy and all this, because they were

not easy, they were not comfortable to use

for me.

And the first Fuji, the first, I don't

know now, eh?

I mean, the focus, I mean, a cyclist

passed by, or the bride was running, and

when he pressed the button, the bride had

already passed, I mean, he had nothing, I

mean, it was a bit of a thing

that no.

Well, Sony, why?

Well, because Sony is like playing, for me,

remember, that is, it is like something rigid,

I mean, I take this camera and it

is that it adapts to my hand perfectly,

I don't have to do anything, okay?

Ah, and Fuji and Sony did something very

well when it comes to marketing, and that

is to say, the weight, the weight that,

hey, it breaks your back, I mean, it

is that carrying, I mean, working with this

type of cameras breaks your back.

Damn, if you charge 15 batteries, you're still

going to break your back, because I don't

know Sony now, and I don't know, for

example, Fuji, but at first, to photograph a

wedding, you have to go with 15 batteries,

or 20, to finish all that milonga, then,

what the fuck are you telling me?

And do you think it's going to break

your back to carry 500 grams to a

kilo?

I mean, do you think that difference of

500 grams is the consequence that you break

your back?

No, let's be frank too, right?

I mean, that's why, among many things, I

didn't, I mean, I never changed, besides the

laziness it gave me to take off all

the equipment I had, as I have told

you, with all the lenses, for a system

that I was not entirely convinced of.

But later, after Nikon was eaten by Fuji,

Sony, well, Canon was as lazy as Nikon,

in the end, well, I never thought of

changing.

In the end, it seems that Nikon has

taken out the Z9, and that's why there

was someone who commented to me, for example,

Montesinos, who is out there, for example, watching

me, in which he told me, hey, man,

and you're not going to change for the

Z9?

And I say, well, no, not at the

moment, despite what I have read is brutal,

it does not have blackout, if I'm not

mistaken, I think we can shoot up to

speeds of 1.32 thousandth, imagine shooting 1

.32 thousandth, in a wave, right?

I mean, you can stick until the moment

the damn grain of rice falls to the

damn girlfriend, I mean, that's brutal, right?

And it has other specifications that maybe I'm

not going to use, not 4K, not 8K,

I don't know why, but well, I guess

there will be videographers, although, honestly, not many

videographers are going to change from Sony or

Canon to use Nikon's Z9, honestly, I don't

know.

But hey, I do use video, the camera

that is being recorded is an 850 with

a Nikon 20mm, so it may be good

for me to do a slow motion, for

example, but I'm not going to record the

Patreon videos in 4K, it would make no

sense.

But hey, everything that is improving, the equipment

is perfect, but I also have to say

something, the D3S, older than Cain last year

and at the beginning of this year, Edikat

was working with it, he kept taking pictures,

okay, that's no excuse, we have to adapt

to what is being invented and you have

to adapt to the environment, but gentlemen, this

camera is a shrimp, and this, the 850,

I think it's still, well, I don't know

what to say, I think even this time,

because this, for my taste, I think it

can, it can, the ISO reduction may be

better, the focus in places with little light,

I wouldn't know how to say, but I

think the quality of the digital file, or

of the CNC, sorry, I think this is

better than the D5, I'm talking for talking,

but with both I'm really happy, so a

shrimp has to come out of the island,

as I say, so that I can get

to change, but there are still things in

Nikon that are junk, right?

And now, well, let's go back a little

bit to that Indian bunny thing, okay, they

have taken out the Z9, it is incredible,

or it seems incredible, I have not tried

it, but first of all, tell me that

I do not have to use a conversion

ring with the Z9 for my old lenses,

are you kidding me?

Is that so?

I hope not, but if so, what are

you telling me?

That I have to put another lens between

the camera, between the Z9 and my old

lenses?

And that conversion ring, I don't know, but

is it going to take away my focus

speed?

Is it going to take away my focus

speed?

Is it going to make the quality not

be as precise as I want?

Because if I always wear prime lenses, I

mean fixed, I mean, what's going to happen?

And do you remember the Indian bunny thing?

When Nikon took this out, or this camera,

it was the D100, well, before this one,

I think there were two or three at

least, but we were Indian bunnies, not only

in Nikon, but also in Canon, be careful.

With all due respect, these were cameras of

laughter, in which the quality lived in its

absence.

I mean, we had to suffer from the

change from a negative, from the F100 for

example, to the F100, from a really orthopedic

change, very slow, very bad.

And the photographers, not me, everyone, I mean,

we had to pay a toll, because let's

not forget, from the F100 it did not

go to a D3, that everything was perfect,

no.

I mean, I'll tell you an anecdote, I

was doing a personal project with the D2H,

the D2H, even with everything, I mean, the

whole personal project was always with the least

amount of ISO, in this case 250.

In the course of what the personal project

was doing, I changed to the D3, okay?

I continued with the personal project, it was

a personal project of open spaces, always shot

with the least possible ISO.

When I started doing it with the D3,

when I finished the project, when I started

to see, I saw the images with the

D2H and the D3, and it is that

despite the least possible ISO of one and

the other, the quality was disgustingly better.

And the D2H, I told you, it seemed

that the CCD was potato skin, I mean,

and that we paid all the photographers, focus

speed, photographic quality, ISOs, memory cards, I mean,

all a toll that we had to pay

of the digital, that is, the negative for

the digital.

And now going back to what they are

for the Z models, that is, the conversion

ring, that someone explain it to me, that

is a damn toll, but how much did

it cost to make a mirrorless camera with

the same mount as all these?

Don't tell me, Nikon, that you didn't know.

No, don't touch my morals, like the XQD

cards, okay, perfect, that go very fast, that

everything goes great, but how much did it

cost to do something not so cheap?

Damn, it's just that each card that comes

out for 150 bucks, okay, I mean, it's

work material, I don't want to go poor

for the rest of my life, but man,

don't come to me and make me pay

for a toll that I'm not willing to

do yet.

Because, and one more thing, okay, I'm taking

out the Z9, okay, it has a set

of lenses, but don't touch my morals, there

is not a set of lenses still solid

that supports a camera like that, bastards, I

mean, what is this thing about?

Okay, it's going to be taken out, okay,

you're waiting for all of us to move

there, but don't give us all the facilities

to end up moving, among other things, the

toll of the damn conversion ring, that the

other day a good photographer told me that

it didn't limit the focus, well, that it

didn't lose focus speed, but I hadn't tried

it either, so I don't know.

And the truth is that I asked several

colleagues who work with Nikon, if I'm not

from Nikon, forgive me, but well, this video

is not only intended for Nikon users, but

I'm telling my experience, right?

And he told me, I'm not going to

change the Z9 yet, despite all the wonderful

new specifications that it has, which seem incredible,

but for the moment I'm still staying with

my dear reflexes, I'm not going to move,

and okay, although the new Z9 doesn't make

noise, because the shutter is not mechanical, if

it is not electronic, but it puts me

a little hard, so that noise, which for

you or for some is a problem, for

me it is a pleasure, and I feel,

I don't know, I mean, pleasure, even when

they tell me, how can you work with

this camera so big?

I was working in the press for 10

years, it was what we were used to

working, and look, I feel so comfortable, and

with this I want to finish, because sometimes

you will have heard me say that I

like these cameras, the 850, for example, I

like it, and sometimes there was almost a

collective catharsis here, in which once I said

that the 850 was not worth a cigarette,

but it was not worth it, why?

For me, for me, for me, why?

Because I'm used to this, when I found

this, which is all plastic, well, I didn't

feel comfortable, and why not say it?

The price is not the same, the versatility

that one has and another is not the

same, each thing has its own, but is

it a bad camera, the 750?

No, obviously not, and what I wanted to

get to finish with this, the most important

thing is that you work with Sony, Canon,

Fuji, Nikon, whatever, that when the time comes,

you are comfortable, because that depends on the

damn photograph, in which you as a photographer,

you are in front of a photo, you

know that you have the best possible camera

with you, and that you know that it

adapts perfectly to your needs, and when the

time comes, you press the button, you shoot,

and you know that you have captured everything

in a perfect way, and you know that

with the camera you have, you have no

limitation to capture that moment that just happened

right in front of you.

The rest are all nonsense, you have Canon,

Nikon, Fuji, or Sony, or your fucking mother,

that of your fucking mother was left over,

sorry, but I think, because it is clear,

there is something more than brands, and models,

and systems, but it is that you take

your camera, you mount it here on top

of your hand, and you feel safe, happy,

and it is an experience to work with

you, the rest I think is left over.

Well, I think we could be talking about

a lot of things, or more little things,

but this is what I wanted to share

with you more or less, why I'm still

going to keep working with Reflex, despite the

fact that Nikon seems to have put a

little bit of batteries with the little story,

but let's see what happens, I'm going to

wait 1, 2, 3 more years, because I've

already been an Indian bunny, or maybe I

still am.

So nothing else, friends, so far, I hope

you liked this, if I have created controversy,

do not go down on my Patreon channel,

bastards, it was just to create a little

atmosphere, right?

So that, well, be good, until next time,

bastards.