Recorded at Apple Park with <a href="https://sandwich.co" rel="nofollow noopener">Adam Lisagor</a>, this conversation gets into what stood out from WWDC26 beyond just the feature list. It covers the looser, more human feel of this year’s keynote, what it’s like shooting in Apple Immersive Video, and why Apple’s new Photos tools feel both exciting and a little uncomfortable. Spatial Recompose, Expand, and Cleanup open up a bigger discussion about AI, photography, memory, and how much a photo can change before it stops feeling real. The conversation also touches on the “Snow Leopard” vibe of the release, and why vibe coding might really matter for creative work.Special Guest: Adam Lisagor.

<description>
 &lt;p&gt;Recorded at Apple Park with &lt;a href="https://sandwich.co" rel="nofollow noopener"&gt;Adam Lisagor&lt;/a&gt;, this conversation gets into what stood out from WWDC26 beyond just the feature list. It covers the looser, more human feel of this year’s keynote, what it’s like shooting in Apple Immersive Video, and why Apple’s new Photos tools feel both exciting and a little uncomfortable. Spatial Recompose, Expand, and Cleanup open up a bigger discussion about AI, photography, memory, and how much a photo can change before it stops feeling real. The conversation also touches on the “Snow Leopard” vibe of the release, and why vibe coding might really matter for creative work.&lt;/p&gt;&lt;p&gt;Special Guest: Adam Lisagor.&lt;/p&gt;
 </description>

Apple’s WWDC26 announcements, from the keynote creative direction to the line Apple might be crossing with AI photo tools

165: Creative Pros React to Apple's WWDC26 Keynote

Apple’s latest Photos app updates bring a new level of AI powered editing directly into the iPhone experience, including tools for spatial reframing, extending the edges of an image, and removing more complex distractions with Cleanup. In this interview, Apple’s camera team explains how these features use depth estimation, Gaussian splatting, private cloud compute, and new image models to make advanced edits feel simple while still preserving the original photo as much as possible. The conversation also covers Apple’s approach to privacy, its collaboration with Google on model foundations, and the use of metadata and SynthID watermarking to identify AI generated edits.

<description>
 &lt;p&gt;Apple’s latest Photos app updates bring a new level of AI powered editing directly into the iPhone experience, including tools for spatial reframing, extending the edges of an image, and removing more complex distractions with Cleanup. In this interview, Apple’s camera team explains how these features use depth estimation, Gaussian splatting, private cloud compute, and new image models to make advanced edits feel simple while still preserving the original photo as much as possible. The conversation also covers Apple’s approach to privacy, its collaboration with Google on model foundations, and the use of metadata and SynthID watermarking to identify AI generated edits.&lt;/p&gt;
 </description>

Apple’s camera team goes inside the new Photos app features, including Spatial Reframe, Cleanup, privacy, and AI watermarking

164: Apple Explains Spatial Reframing

Frame rates are one of those video settings that can seem more complicated than they need to be, partly because different creative worlds use them differently. Movies are still usually associated with 24fps, which comes from the history of film and the minimum frame rate needed to create convincing motion without wasting film stock. Over time, that look also became tied to narrative filmmaking, because we are used to seeing scripted stories presented that way.

For online video, 30fps often makes practical sense, especially when the goal is to clearly show real products, screens, interfaces, or everyday motion. It can feel a little more direct and realistic than 24fps without going all the way into the very smooth look of 60fps. For YouTube, social platforms, tutorials, tech videos, and other reality-based content, 30fps can be a very sensible choice.

60fps has real uses too, but it is not automatically better. It can be useful for sports, gaming, home videos, fast-moving kids, travel moments, or anything that might need to be slowed down later. The tradeoff is that it usually creates larger files, needs more light, and has less motion blur, which changes the feeling of the footage. In lower light, that can mean more noise or heavier noise reduction, especially on phones.

Higher frame rates are mainly useful for slow motion, but they also come with technical considerations. In regions with 50Hz lighting, 100fps may be a better choice than 120fps to avoid flicker. PAL, NTSC, and odd frame rates like 23.98 and 29.97 can still matter in certain workflows, especially when mixing cameras, timelines, and audio. There is no single correct frame rate for everything. Each one has a purpose, and it helps to understand what you are gaining and giving up when you choose it.

<description>
 &lt;p&gt;Frame rates are one of those video settings that can seem more complicated than they need to be, partly because different creative worlds use them differently. Movies are still usually associated with 24fps, which comes from the history of film and the minimum frame rate needed to create convincing motion without wasting film stock. Over time, that look also became tied to narrative filmmaking, because we are used to seeing scripted stories presented that way.&lt;/p&gt;

&lt;p&gt;For online video, 30fps often makes practical sense, especially when the goal is to clearly show real products, screens, interfaces, or everyday motion. It can feel a little more direct and realistic than 24fps without going all the way into the very smooth look of 60fps. For YouTube, social platforms, tutorials, tech videos, and other reality-based content, 30fps can be a very sensible choice.&lt;/p&gt;

&lt;p&gt;60fps has real uses too, but it is not automatically better. It can be useful for sports, gaming, home videos, fast-moving kids, travel moments, or anything that might need to be slowed down later. The tradeoff is that it usually creates larger files, needs more light, and has less motion blur, which changes the feeling of the footage. In lower light, that can mean more noise or heavier noise reduction, especially on phones.&lt;/p&gt;

&lt;p&gt;Higher frame rates are mainly useful for slow motion, but they also come with technical considerations. In regions with 50Hz lighting, 100fps may be a better choice than 120fps to avoid flicker. PAL, NTSC, and odd frame rates like 23.98 and 29.97 can still matter in certain workflows, especially when mixing cameras, timelines, and audio. There is no single correct frame rate for everything. Each one has a purpose, and it helps to understand what you are gaining and giving up when you choose it.&lt;/p&gt;
 </description>

A practical breakdown of 24fps, 30fps, 60fps, slow motion and motion blur.

163: The Great Frame Rate Debate

The real reason influencers hold their mics like that

<description>
 &lt;p&gt;The real reason influencers hold their mics like that &lt;/p&gt;
 </description>

The real reason influencers hold their mics like that 

162: Holding wireless mics is dumb

We're joined by special guest <a href="https://www.davidimel.com" rel="nofollow noopener">David Imel </a>to rank and debate the most popular compact and everyday carry cameras, including the Fujifilm X100VI, Ricoh GR series, Leica Q3, Sigma BF, Lumix S9, OM-3, Osmo Pocket, and more. They break down which cameras genuinely deserve the hype, which are overrated, and why compact cameras have become one of the biggest trends in photography and filmmaking again.

<a href="https://youtu.be/6nWNxC3v6gI" rel="nofollow noopener">Watch the video</a>Special Guest: David Imel.

<description>
 &lt;p&gt;We're joined by special guest &lt;a href="https://www.davidimel.com" rel="nofollow noopener"&gt;David Imel &lt;/a&gt;to rank and debate the most popular compact and everyday carry cameras, including the Fujifilm X100VI, Ricoh GR series, Leica Q3, Sigma BF, Lumix S9, OM-3, Osmo Pocket, and more. They break down which cameras genuinely deserve the hype, which are overrated, and why compact cameras have become one of the biggest trends in photography and filmmaking again.&lt;/p&gt;

&lt;p&gt;&lt;a href="https://youtu.be/6nWNxC3v6gI" rel="nofollow noopener"&gt;Watch the video&lt;/a&gt;&lt;/p&gt;&lt;p&gt;Special Guest: David Imel.&lt;/p&gt;
 </description>

Ranking the most hyped compact cameras, including the Fujifilm X100VI, Leica Q3, Ricoh GR, Sigma BF, Osmo Pocket, and more.

161: Ranking EDC Cameras, with David Imel

Formerly The Stalman Podcast, FSC is a practical podcast about building a creative career end-to-end, covering the tools, workflows, and business decisions behind photography, video, and content creation.

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