AI Hurts Photographers In More Ways Than One

[00:00:00] Speaker A: Sam. Well, g' day everybody and welcome back to the Camera Life podcast. It is the random photography show and it is Monday. What is it? It's the 9th of November. Can you believe it's been a month since that festival, which will not be named because we said that four letter words starting with B fart too many times in previous episodes and it upset people. So I'm not going to say it. Not going to say it. What an intro, hey? What an intro. Of course, being a Monday night, we've, we've got a lot to get through, we've got a lot of your images to share. We've got some of my images, we've got some of our guest co hosts images. And speak of the devil, my brother from another bearded mother. It's Joel Elston. How are you, mate? [00:01:03] Speaker B: Mate, I'm fantastic. So stoked to be here. Of course, have more chats with you. And you know, two beards are better than one, right? Obviously. [00:01:11] Speaker A: Yeah, [00:01:11] Speaker B: yeah, yeah, [00:01:12] Speaker A: yeah. There's got to be some something, you know, like one of those kind of, you know, a bird in the bushes. [00:01:17] Speaker B: What's [00:01:17] Speaker A: that saying, you know, better than two in the hand. Something like that. Anyway, [00:01:22] Speaker B: yeah, yeah, [00:01:22] Speaker A: yeah, yeah, we'll work. No work. [00:01:24] Speaker B: I'm good, my friend. I'm excited. [00:01:26] Speaker A: Yeah, [00:01:28] Speaker B: good [00:01:28] Speaker A: to hear. Now you've been crook but you're on the mend, which is great to hear. Yeah, A little [00:01:33] Speaker B: heads up. [00:01:35] Speaker A: Yeah, yeah. [00:01:36] Speaker B: If I duck off, duck off. Little coughing fits. I'll try and mute my mic and remember, but I apologize in advance, but I, I [00:01:45] Speaker A: just [00:01:45] Speaker B: couldn't miss out so I had to be here. [00:01:47] Speaker A: Of course. And we're certainly, certainly glad that you are here. We've got a lot to get through tonight. We've got latest industry news, we've got some product announcements, some weird drops and we're going to have a little chat about, about AI. So why don't we just dig into that right away. I chose to title this episode that, you know, AI hurts photographers in more ways than one. We touched on this a little bit last week, talking about data centers. Basically their hunger for RAM and storage medium is outstripping what the industry can supply. And whilst that might be hard for them, it absolutely sucks for us photographers for a number of reasons. You know, just recently I was on the market to buy some new storage devices for my MacBook and the SSDS have more than tripled in price. You know, even just a one terabyte ssd, you know, it's gone from. I remember picking mine up one of my SanDisk ones up a couple of years ago in a Black Friday sale for like 150 bucks for, you know, a good quality one, Fast, you know, reliable, fairly reliable. And now they're worth three. Over three times as much, you know, and whilst you don't have to worry about data storage as much. [00:03:13] Speaker B: Yeah, yeah, [00:03:15] Speaker A: you saw, you saw the writing on the wall years ago, didn't you? I'm gonna stick. Oh, man. [00:03:18] Speaker B: I saw, I saw the signs. I was like, let's go paper. Let's go back to the negatives. [00:03:22] Speaker A: Yeah, yeah. Very wise, very wise. [00:03:25] Speaker B: Yeah. [00:03:25] Speaker A: But for us suckers that invested in high megapixel digital cameras, it hurts to buy storage. It's a significant cost for hobbyists and professionals, professionals especially. I think Justin just recently bought a RAID storage system that cost a fortune. But the amount of data devices and SD cards and CF Express cards that people like Justin and Jim have for their professional work is crazy as to how much it costs. You know, you. You know what, you know, you see what's going on in the industry a little bit. You know, what are your thoughts about the, the encroachment of AI and how it's impacting folks like us? [00:04:14] Speaker B: I think the biggest conversation that I hear people talk about whenever there's like, this AI is brought up in a way. There's usually like, a bit of fear attached to it. It's like everyone's kind of scared of it. And I think, like, it's when AI is creating the art that I think is like the biggest, most like, ethical dilemma, I think, or having some sort of impact on the. The outcome of your product where you're not doing it. I don't know. It's. [00:04:45] Speaker A: Yeah, [00:04:46] Speaker B: but I know that, like, there's AI editing too, which, when I was doing Weddings digitally, like, and I'd have like, multiple in. In the, in the queue. If I had AI editing back then, I probably would have, you know, like, because it just. For thousands of images, it makes sense, like, productively to be able to do that. But in terms of like, AI, when it, like, creates the art, I very much feel like that's like, that's the dangerous part because it is becoming so much better as well and harder to spot. But I like that there's like, things on social media that come out to say, you know, know, specify AI content when it comes out, because that's. I think that's like an ethical dilemma as well. So [00:05:26] Speaker A: I think [00:05:26] Speaker B: that. [00:05:29] Speaker A: But of course, the average Joe who's creating AI art And video or images and videos, they're not applying by those rules necessarily. You know, I see lots my Instagram feed that is questionable. You know, it's clearly not, not a legit, you know, image or video of something. And also if you're guessing whether it actually is real. But there will always be some sort of tell, you know, there'll be some sort of last minute that gives it away. But you know, we, we mentioned last week. I'll bring this article up again. Just bear with me please people. We briefly, Bruce and I briefly touched on this last week and this is just one of the, I guess one of the impacts that we've seen both a negative and a positive in the same news story, which is very unusual for a rumor site. The article AI's ram hunger is hurting Fujifilm XT6 production, but it is boosting this old school Fujifilm technology. So the negative of this story is that the Fujifilm XT6, which is the next flagship body that we're expecting to see from, from Fujifilm in Japan, it consistently is delayed according to the rumors and you know, people in the industry, it's, it's well and truly overdue. But according to some of the reporting, whether it's legit or not, because Fujifilm aren't going to come out and say that, you know, we're going to be late to Christmas that you know, it's because of issues like sourcing components, sourcing especially RAM and chips to, to power to power assist. Fujifilm XT6 cameras are incredibly complex devices and they do rely on cutting edge technology to stand out from the crowd. So that's one side of that whole AI absorbing all of the accessible data storage. But the flip side of it is that Fujifilm is boosting is it quintupling five times product. They're increasing production of their LTO Ultrium 10, which is the latest generation data storage tapes. Now I forgot folks, momentarily I forgot how young Joel is because I tried to explain to him what data reels were and he just looked at me like I was an old fool. But I know what a [00:07:55] Speaker B: tape is [00:07:56] Speaker A: much like an audio cassette. Basically this is these, these products can store up to 30, 30 terabytes of data on a single cartridge or 75 terabytes of data if that data is compressed. And the read and I think the read speeds are pretty slow. It's not as fast as an SSD obviously, but in terms of costing, I brought up the let's share this one instead. I brought up the B and H product page for this Fujifilm LTO Ultrium 10 tape for the 30 terabyte. It's only US$362. Now you think what it would cost to get that in SSD money and it would be probably 10 times that. [00:08:46] Speaker B: Probably quintuple that I think. Yeah, [00:08:48] Speaker A: quintuple indeed. Now, of course the data tape isn't designed as your primary backup. It's not like I can just go and get one and plug it into my MacBook. It doesn't work that way. It's more for people that run cloud storage services or servers and it's a backup option. But the good thing about this old school analog, which I thought you would appreciate, Joel, given that Mr. Analog, is that these data tape cartridges can be operated offline. They can be a physical backup that can't be attacked by malicious players in the, you know, in the Internet world trying to hack into everything. We've seen a lot of that lately, that this stuff can operate offline and act as a pure backup, which is pretty cool. But some of the other things that [00:09:47] Speaker B: way. [00:09:48] Speaker A: I think it is the way and maybe there's something in that. In fact, I was chatting with, I went to the Melbourne Camera Club last week, I gave a talk and I was chatting to one of the members, Greg, and he was saying that, you know, he's tempted to go back to high capacity DVDs and just get a burner and just use that for his backup. [00:10:10] Speaker B: Yeah, that would be [00:10:12] Speaker A: an actual, actual storage. What was the other things I was going to cover off with this little, this little bit here. Cost of memory cards and storage devices are going up again. That's impacting photographers, especially working photographers who need high capacity, fast storage. Not to mention folks like Bruce and Dennis who do a shitload of video recording RAM shortages impacting the production speed and release of new camera systems, as we've seen with the Fujifilm. And I just sort of made this little comment, AI is dominating the creative space, yet true creatives are being hamstrung by increased costs, delays, social media's attempt to scrape all of our data to actually try to attain some sort of ownership over what we're posting. And it just feels like the balance is really stacked against photographers, [00:11:12] Speaker B: you [00:11:13] Speaker A: know, all for the sake of fake or artificial creativity. [00:11:19] Speaker B: In [00:11:19] Speaker A: essence, [00:11:19] Speaker B: convenience. [00:11:21] Speaker A: Yeah, and it just feels backwards. It feels so backwards. [00:11:25] Speaker B: Yeah. [00:11:25] Speaker A: And I find it really frustrating. Anyway, [00:11:29] Speaker B: do you think it's a, do you think that this issue applies to all, like outlets of art or is it just photography? [00:11:39] Speaker A: Oh, Sorry. No, I think that. I think musicians would probably be facing a similar issue, you know, so I think a lot of art practices would be impacted by this. You know, even illustrators now, it's a lot of. It's all digital, you know, a lot of people using iPads and tablets with Procreate and things like that. And even just the cost of. Not just the cost of buying, you know, storage devices that you plug into your computer, but like, the cost of the new MacBooks feels like they've jumped quite a bit. [00:12:18] Speaker B: What are [00:12:18] Speaker A: they worth [00:12:19] Speaker B: now? It's been a while since I've bought one. [00:12:21] Speaker A: Well, Bruce and I played around last. Last week with the new MacBooks that have just come out with the first ever MacBook with a touchscreen. Took them long enough, but, you know, the base model, I think we're looking at about four and a half thousand, but we pimped one out and I think we got to around $25,000. [00:12:43] Speaker B: Oh, [00:12:43] Speaker A: my [00:12:43] Speaker B: God. Okay. [00:12:44] Speaker A: For like a fully pimped out, you know, MacBook Pro, 16 inch with everything. Wow. So crazy cost. [00:12:52] Speaker B: Crazy. Very crazy. [00:12:53] Speaker A: But, yeah, anyway, I thought that was food for thought. What do you guys think in the chat? I know that some people are already commenting. Let's get to the comments and say good day to some people. And then we've got a few little bits and pieces to get through and then we'll have a chat with Joel about what he's been up to. First in the chat is Liz Okie. G', day, Les. Where have you gone? I hope you came back. Philip Johnson. Good evening, all. Christian Nielsen, New Zealand here, checking in with you all. In the West Island. We're not in the West Island. You're in the East Island. John Latimer. G', day, John. Evening, all. Hope everyone had a great weekend. Den is in the chat, of course. Hey, Eggs. Richard. Mail. Evening, friends. Looking forward to another great show. Dennis Smith. Literally have chat GPT open right now on my photography website and it created a suite of products, product shots for my business this week. Freed me [00:13:59] Speaker B: up [00:13:59] Speaker A: to make actual work. Yeah, cool. Good use of it. That's what it's there for. Felicity Johnson. G', day, Felicity. G', day, Joe. Chris Nielsen. That's pretty sweet. Sweet as brother. Yeah. Very New Zealand going on there. Richard Maligan. Claude has been trained for many, many hours to write like me. It's also been trained not to agree with everything I say and to ask the questions I'm avoiding. He's got a real attitude now. [00:14:32] Speaker B: Yeah. [00:14:34] Speaker A: Bruce is in the chat. G', day, Brucey. Peter Colson's online. G', day, Peter. Editing night with the camera Life. Indeed. Henry Higgins, the outdoors. Now, we're still trying to work out whether Henry Higgins outdoors is a naturalist movement or if he just likes getting out and about a lot, you know. [00:14:53] Speaker B: Good. Yeah. Fair. [00:14:56] Speaker A: Gareth Davies in the chat. David Skinner's in the chat. Tim Pates. Hey, everyone. Philip Johnson. Beef up, beef up, beef up. Good on you, mate. Lucinda's here. Julie Powell. Gosh, we've got half the the festival education crew on board tonight. [00:15:14] Speaker B: Yeah. [00:15:15] Speaker A: Evening. It is a beef up reunion. Evening. Just dropped in to say hi. I'll watch the replay. So rude. Julie. We go to all this effort to be live just for you. Rick Nelson. Good evening, everybody. G', day, mate. Gareth Davies. I bought an NVME raid 12 months ago. I've still not finished populating it. I'd hope so. Hope it lasts longer than that, [00:15:38] Speaker B: I reckon. Yeah. Geez. [00:15:41] Speaker A: Yeah. And Bruce makes a very good point. Photos don't hold a candle to video production storage. [00:15:47] Speaker B: Yeah, yeah, yeah, yeah. And video content is like where everything's at at the moment too. So, [00:15:53] Speaker A: yeah, videos king. [00:15:54] Speaker B: It's just like crazy. [00:15:57] Speaker A: Yep, absolutely. Dennis chips in with if it comes from AI, it's literally not a art. Very good point. [00:16:04] Speaker B: Yeah, yeah. [00:16:06] Speaker A: Phil Thompson's in the chat. Here's some info from. From Gareth. What I found is sports Club now use AI for 90 of their advertising for upcoming games on events. Probably based on our photos. But also they all look the same. It's like every rugby club here now has. It goes on the same graphic designer. It's terrible. Oh, that's a good call. Actually, we've got this coming Thursday on our morning show. We've got VUI Lee, another BE instructor who's joining us now. VU is a food tech and lifestyle photographer and I'm really keen to ask him what the impacts of AI have been because I read an article today in Petapixel that talked about some surveys they've been doing with American consumers around how advertising impacts them. And a lot of people are being turned off by the use of AI in food advertising because it doesn't. It doesn't feel authentic, it doesn't look authentic. And it's [00:17:10] Speaker B: put that up. [00:17:12] Speaker A: Yeah, People are starting to pick that up, which I think is. It's interesting. And they're activists again, [00:17:19] Speaker B: like, just [00:17:20] Speaker A: don't like it, you know. [00:17:22] Speaker B: Well, it's just like what Dennis said. It's like if it's not done, if it's done by AI. There's something. There's something not right. That's not art. But you'd think that that stuff, like food photography and product photography, that's where it would probably be used the most. It's probably easier to, like, use that tool for those images. And there's, like, other parts of photography and things that you capture that would be obviously much harder to capture and replicate. But I like. Like what old mate said before. I heard something with North Face, where a famous climbing photographer, like, sent. Did this, like, whole project through North Face, sent them the images, and then North Face were like, oh, cool, we don't need you anymore. We're just going to, like, run these images through AI and give different versions of it for future campaigns. And now they're in this, like, crazy lawsuit, trying to, like, work out copyright, you know, retain [00:18:13] Speaker A: ownership of their work. Yeah, [00:18:15] Speaker B: yeah. Which is crazy. And that's like. That's scary stuff. But then it's like, just like what was said before, it, like, all looks the same. And I think we live in a society now where it's like, more volume and speed is more important than, like, quality and niche and trying to be unique. It's, like, not safe now to have, like, a voice. So everyone's just got to blend in and just do a lot of it. And that's where AI comes in really handy. I guess it helps you just like, pump, pump, pump, you know? [00:18:45] Speaker A: Yep. [00:18:46] Speaker B: Yeah. I don't know, but [00:18:48] Speaker A: I don't. Yeah. And this might be a little too philosophical, but. But what's the ultimate end game? Because the way AI is going, I mean, we're seeing companies weekly a shedding stuff because they can. They can outsource a lot of these. These roles to AI agents now. You know, Canva, I think Canva just dropped five Canvas and Aussie graphic design app company, which, you know, I've been using recently, Lucinda got me onto it for some of my social stuff, just creating, you know, cool graphics and things like that to put on Instagram. And they've just shared a whole bunch of stuff, you know. So what is the ultimate end game here, you know? [00:19:30] Speaker B: Well, it is one of those things that every time I speak to people about AI, it's. There's people that are, like, fearful and oppose it heavily, and then there's people out there that are like, well, this is like the future and you just got to jump on, like, you know, if you don't jump on the train, you're gonna get left behind. And for the person that I am, I'm like, I'm not. Leave me behind, that's fine, but I'll walk, I don't care. But like there are parts just like everyone that's mentioned already, like using AI for back end business stuff. It's like, well, in a world where everything is so like fast and you need time to get places to earn more money, it's like the more you can have AI help you out to make things more efficient. Like, [00:20:14] Speaker A: yeah, [00:20:14] Speaker B: I'm using it from back end of my business stuff. [00:20:18] Speaker A: It's a competitive advantage, isn't it? [00:20:19] Speaker B: It's a tool. It's a tool. And it's like, this is the way that it's, we're gonna move forward. And it's like there are, it's just, it's, it's hard because there's no, like you can use it for this and not for this. You know, there's like this because it's so powerful and it's only so new and it's accelerating so quickly. It's like there's always this ethical like tiptoe around certain areas to be like, is it okay for this or do I have to go this way? And it's like, it's just, it hasn't been around long enough for us to like work out it yet. You know, it's just [00:20:51] Speaker A: kind [00:20:51] Speaker B: of just growing out of, out of speed and people aren't, people are just trying to grab it on everything rather than be like, hang on, what do I actually, how can I actually benefit this in my life in a good way? Where should I use it? Where shouldn't I use it? It's just like trying to keep up. Yeah, it's too fast. [00:21:07] Speaker A: I guess it's, I guess it's similar to when the Internet kicked off, you know, when the World Wide Web opened up and stopped being the, you know, the, the sole use of universities in the states and became actual World Wide Web. People were reluctant, people didn't trust it. You know, and maybe it just requires a generational change. You know, I know that my parents fought going online for years, [00:21:36] Speaker B: you [00:21:36] Speaker A: know, and I remember my mum complaining, oh, well, you know, I wanted to go into, for this competition, but I, the only way I can enter is to go online. You know, whatever happened to sending an envelope with a stamp, you know, that kind [00:21:45] Speaker B: of, [00:21:46] Speaker A: that kind of thing. And maybe that's, maybe that's where we're at. Maybe, maybe we're the mug chromies and my kids will be the, you know, will be the Ones that champion AI and actually put it to good use. [00:22:00] Speaker B: Well, social media is the same sort of thing that hasn't been out for very long and there's already been countless amount of studies with like, what it does to attention spans and like mental health and the impacts there. And it's like, still, it's like smoking. Smoking came out as like benefit for your health, you know, and then because it was supposed to help you calm down, but it's like you work out decades later that this is horrible for us. And I feel like social, me, social media, there's like components of that that are doing the same thing and AI will be the same. You know, it's this technical, technological progressions that go so fast and society is like so fearful of like falling behind and not being relevant. So it's just like you just grab and just like, take me with you, you know, and you just like, everything is like, yeah, cool, I'll do that. You know, it's just like so over, over. I don't know if I'm. This is again, I don't know if this is just because I'm old school, but it's just like, stop yelling at me. Let me exist, you know? [00:22:57] Speaker A: Yeah. [00:22:58] Speaker B: Let me just go through. I'll jump on it when I'm ready, you know, chill out. [00:23:02] Speaker A: Yeah, [00:23:04] Speaker B: I don't know. [00:23:04] Speaker A: It's a good call. [00:23:05] Speaker B: Yeah. [00:23:06] Speaker A: Let's finish up with the comments and then we'll move along. Peter COULSON the Samsung T9 portable SSD 4 terabyte has dropped from 2800 to 1300. I used to buy them for 900. Yeah, I mean it's still, still a big piece [00:23:23] Speaker B: of [00:23:23] Speaker A: gas, isn't it? Greg Carrick wants to know. Wants to say that. You mean the cloud isn't a cloud, it's magnetic tape. That's right, Greg. That's right. Talk about old school. Peter Colson Impossible for me to use the cloud. I shoot five terabytes a month. Yeah. And School of Light Dennis Smith make better work. AI is literally average slop. If you are average, then worry. I know it's more complex than that, but damn. And crackers jumped in with. As a now non professional, I find about 90% of my images aren't worth keeping. I can easily still find room on my existing storage. Nice work. [00:24:06] Speaker B: Yeah. Yeah. [00:24:10] Speaker A: And lots of comments about this. Oh, I didn't know this. This is the thing. Henry Higgins did anyone visit the AI photos at Ballarat Photo Festival? It felt kind of awkward sitting so close to the Pran College Pieces that would feel awkward. [00:24:29] Speaker B: What? That's crazy. [00:24:33] Speaker A: Yeah, [00:24:34] Speaker B: it's real. AI photos is really just like, who has the best idea, who has the best concept. [00:24:39] Speaker A: It's how well can you convince articulated content? Yeah, pretty much. Yep. Peter Carlson. All my commercial clients hate the AI look and they tell me to under retouch. Nice. [00:24:54] Speaker B: That's good. [00:24:56] Speaker A: Very cool. Oh, gosh. The chat's going off. I can't get to every comment because we'll be here. AI [00:25:00] Speaker B: is a hot topic, dude. Yeah, it [00:25:02] Speaker A: is a [00:25:02] Speaker B: hot topic. [00:25:03] Speaker A: It is. Speaking of hot topics, before we. Before we went live tonight, I gave you a little assignment. Are you ready for your Lucky Straps ad read? You know, because it all hinges on this. [00:25:20] Speaker B: It does. And with my three minutes of preparation that I had, not based on your delivery, but based on my poor reading abilities, I can promise it's going to be like, stellar. So Lucky [00:25:33] Speaker A: straps, by the way, this is an application to see whether we're actually going to ever get you back. So no pressure. [00:25:38] Speaker B: No, that's fair, that's fair, that's fair. I got you guys. You know that? [00:25:41] Speaker A: Yeah. [00:25:42] Speaker B: Lucky straps. First of all, why would you have any other strap? There's just like nothing compares to genuine, authentic leather around you while you're shooting. Oh, it's just the most comfortable experience. I wouldn't put it on any other camera. I've got a Leica. That means I'm better than everyone else, apparently. But I've got a lucky strap on that. I've got it on. All my most expensive favorite cameras have Lucky straps only. And also, I think the biggest thing and what makes Lucky straps so special is it's the community that you become a part of. It's what you guys do for the photography community. Outside of just making a camera strap, you guys are so much more involved. You really spread the passion behind this, like, awesome art form and just like being able to associate with a brand as a photographer that cares about photography, I think is really important. So I think for photographers out there that love photography, you just need to get a lucky strap because you just need to be a part of this community that actually really care about you as the photographer and about the art form. [00:26:50] Speaker A: Wow. [00:26:50] Speaker B: Full stop. Lucky Straps. [00:26:52] Speaker A: Full stop. Well done. Well played. What do you think? That [00:26:57] Speaker B: was good enough? [00:26:58] Speaker A: Give. Give Joel a score out of five stars if you think that he has. Has what it takes to spearhead the next marketing campaign for Lucky Straps. I think, I think there's a barefoot and bearded kind of collab in there somewhere. I'M sure if it's in the making. [00:27:15] Speaker B: We've talked about it. We've talked about it. I'm ready. [00:27:19] Speaker A: Tim Pates first said it was poetry, but then later only gave you six stars. Did I say out of five or out of ten? [00:27:25] Speaker B: Out [00:27:25] Speaker A: of five, [00:27:26] Speaker B: I think. [00:27:26] Speaker A: Oh, that's all right. That's good. That's even better. [00:27:29] Speaker B: Okay. [00:27:29] Speaker A: All [00:27:30] Speaker B: right, fine. Okay. All right. That's good, [00:27:31] Speaker A: Gareth. 10 out of 10. 4. And a bit from David Skinner. Felicity. [00:27:36] Speaker B: It's pretty good. [00:27:37] Speaker A: Five out of five. And crackers. Of course, my cameras refused to be worn without a. A lucky strap. Now, speaking of lucky straps, I've got a little more to add to that ad. Read the Lucky Straps family and friends sale. It's happening and we mentioned it last week, but I'll go through the details very quickly again tonight. So basically what we're doing, we do this every year. It's our biggest sale. This is where you'll get the best discounts on any of the Lucky Straps products as well as some of our other products that we put on the site. So it's not just leather straps. We also do belts. We have a range of merch lucky straps. And the camera life stuff isn't online yet, but it will be a bit later in the year. So we won't have it on online in time for this sale. But leather belts and some discounts on the valorant gloves from memory. So what can you do? Well, if you head to Lucky Straps now, you go to Luckystraps.com family sale. You'll bring up this page. Let me. Why isn't that working? Hang on folks. Let me just bring this up very quickly. [00:28:49] Speaker B: I'm just going to go get some water. Keep going. [00:28:51] Speaker A: Yeah, okay, you do that. I'll do my bit. So the 2026 family sale is about to go live soon in six days. And the best thing you can do now is to get ready to save by joining the mail list. Down the bottom here. You can drop your email in if you're not already a member or not already subscribed to Lucky Straps. I should say pop in your details there, hit get access. You'll receive information in the lead up to the family sale going live. So the if you sign up on the 12th of November, you'll get a teaser email that will go out to all of our mail list folks. And then from 16th of November, from 8am Australian Eastern Daylight Time, the family sales opens to the whole mailing list. The sale will go live until Sunday the 22nd at midnight soon to be followed by a Black Friday to Cyber Monday sale for the public. But the best way to get the best deal is to sign up to the family sale. And the way that the sale works is that the more products you add, the more you save. So and again, this is the best deal that we'll run. Black Friday won't beat it. Absolutely not. So for one item we'll be giving our, our family members, our family and friends, 15% off, two items, 25% off or three or more items. You'll get 35% off plus free express shipping on two or more items added to your cart at checkout. What else we got works across the entire range including valorant personalization of leather goods. So if you get leather embossing done, it's charged at the usual price. The family sale is for our email list only with a code. So you'll get the code in the email once you connect up on the on the family sale landing page here. So yeah, so stay tuned, join. That way you'll get, you'll get information sent directly to you in the lead up to the sale as well as giving you some info on what's for sale, what the discounts are and how to, how to make the most of it. So yeah, good luck with that everybody. I might pop that link in the chat just to make it easier for folks. Hopefully it goes through. I'm going to pop the. It's just Luckystraps.com forward/family sale. And Rick Nelson. Gotta love him. I look for new cameras to buy just to get more lucky straps. Three just isn't enough. I agree. [00:31:35] Speaker B: That's right. That's right. [00:31:36] Speaker A: I agree. John, let's get a little bit of an update before we jump into some news, let's get a little bit of an update about what you've been up to. [00:31:48] Speaker B: Yeah, we touched on it earlier since befop, you know, the, the Festival that Shall not be Named. I always leave feeling really inspired being around so many talented instructors but also like really passionate students as well and participants of the workshop. It's just like really inspiring being around people that care so much and are really, really talented at the same time. So um, I've been working on my own sort of personal project over the last couple of years and it's sort of coming to this like point where it's starting to look like something. And I just had some conversations with some people at BFOP that's like really motivated me not just to continue creating and curating the project, but also like write artist statements and apply for grants or look to apply for grants. And yeah, I'm looking to do an exhibition at the beginning of next year, just like a small one just to like, get, get moving. So I pretty much almost have that locked in. So, yeah, I'm just like, really, you know, I've been photographing for over a decade, but, you know, for 12 years I've been essentially focusing on weddings, which I love and still, and still love doing and want to do more, but just trying to like, legitimize myself more for photography for me. And it's. It's kind of nice to have something else to put some energy into that isn't just for other people, but it's just for me. So, yeah, I've been working on my own personal project of just like my photos from around home, which has been really. [00:33:27] Speaker A: Yeah, let me bring up, let me bring up this page here and we'll go through some of your images. No, that's not going to work. There we go. It is interesting what you said about bfop, how, you know, you connect with people that for the most part you don't see, barely talk to for a year and you get together and you start having these conversations about creativity and the business and the art and, you know, I'm stuck. How do I get out of this? I had very similar conversations with you, with Dennis. You know, I had countless conversations with Lucinda and yeah, all around that. I think, you know, it's interesting what you said about. For me, I look at it that I gave myself permission to be an artist, you know, and similar to you, I've been shooting for well over a decade as a street photographer. I never considered myself to be a serious artist. And now I'm finally giving myself that, that level of recognition that actually I do have something to offer. And it sounds like you're in a very similar place. [00:34:34] Speaker B: That's a hard step to do, man. And I think, like, not just like, just to try and admit that you're creating art in any, like, outlet. Right. Any medium is hard, but I think especially in photography because photography is just like, not seen as like a widely accepted same, as like a little bit of a dirty art form. Like, it's not really well respected, especially in Australia. It is in America. There's so many amazing, massive American photography that do great stuff, but in the Australian scene, there's, like, actually not a lot they exist. Like Trent park, obviously, and Trent Mitchell are like, still doing amazing stuff, but it's, it's really hard to make that next step, I think, and trying to try and accept that you create art in photography, I think, which is also very subjective. But art photography is so literal in. In many ways. Some ways, not some way it isn't, um, but in my way it's like, well, this is what it looked like, you know, and some people, it doesn't resonate so much. But I don't know, for me, it's like this, this particular project, like this area is essentially just between the Newcastle Bards and Newcastle beach. And it's like maybe a stretch between the Bards and Newcastle that's maybe 2, 300 meters. And this whole project essentially has been taking place within that stretch over the last two years. And I just like, that's where I go to hang out. I just love being there. So just having a camera on me and documenting what I see is just easy. But now it's turning more into like a mission, I guess. Like I'm going out to shoot today, but it's still mostly about being in the space and enjoying it and then just documenting what I see while I'm there, not trying to force it, you know, I think that's like when I don't create good images, it's when I'm going out, trying to make it happen. It's like the more I'm just present and enjoying myself, I just capture what I enjoy, I guess. [00:36:33] Speaker A: Yeah, [00:36:33] Speaker B: but, yeah, [00:36:34] Speaker A: I think that's [00:36:34] Speaker B: really. [00:36:35] Speaker A: That. That idea of being present is really powerful. It's when you're at your most mindful. You're just enjoying what's going on around you. The. The light as it falls on you, the warmth of the sun, the sounds. Seeing people just interact with one another. And then every now and then, you'll see one of those moments you go, oh, okay, cool. And you'll lift your camera and you'll take the shot. You're barely even thinking about taking the shot because you're so occupied present. And I think that's beautiful. That's [00:36:58] Speaker B: right. [00:36:58] Speaker A: And I [00:36:59] Speaker B: think that's. That's the thing. That's why I love shooting film anyway, because it doesn't. There's no distractions to take me away from, like what I'm. What I'm there to see. It's like I shoot it and then it's like, cool. I can't reflect. And then perfect. You know, I've just got to cross my fingers and just like move on. And I think that's why I. I changed to shooting film is like. It just helps me Remain present. And I think out of everything that I've tried to learn about art in all mediums, not just photography, not that I do anything else, but, like, I find inspiration through other areas. Is that every single art, the one thing you'll have in common from all of the best, like, artists in whatever field is they talk about their experiences and how they felt, and that's just being present. And if you're not being present, then it's like you've got no source to, like, draw the inspiration from. You're just trying to, like, put something in a rectangle. You know, it's like, how. How can you make that meaningfully is like you have to connect with what you're photographing and find it, you know, have a curiosity about yourself or, like, be. There's like an instinctual, like, pull towards something and as soon as you start asking questions and thinking about, it's like, gone. Just follow it and just like, like, I didn't know that this project was going to be a thing. It's just like going out being like, oh, I like that, like that, like that, like that, or that's interesting. Or like that old dude's skin, you know, I know my taste is very strange and it's. I didn't know that my taste was what it was until I started looking back on my photos. I don't think about it when I'm in the moment. And I think that's the thing that, like, you got to try and break out of. Especially when you start out. It's like you go out trying to create something and that's the wrong place to create. In my. In my experience, with my style. And I think street photography is all about being present and just like, watching things unfold and being a bit of a fortune teller and watching things fall into places and getting them when they're like, perfect. But, you know, it maybe isn't relevant to every style of photography. But I guess in this photography, this is what I love most about photography is like, the ability it has to really harshly like. And quickly put me in a space of, are you here? Like, are you here? Are you somewhere else? Because if you're not here, you're gonna miss, you know, so as soon as I, like, pick up a camera, like, it just goes, okay, just be, you know, and then the photos will come. I don't know if that's like a weird spiritual approach, but this is how all these photos happen and I quite like them. So that's all that matters. [00:39:31] Speaker A: I'm [00:39:31] Speaker B: not doing it. For anyone [00:39:32] Speaker A: else, maybe it is spiritual for you. I. I think it's. For me, I. I'm in a similar headspace, and I think it's. It's more that I've kind of awakened a little bit to what it is that I'm doing. [00:39:46] Speaker B: I [00:39:46] Speaker A: don't know if you feel this, but, you know, after. After a period of time and you sort of give yourself that permission to. To celebrate your craft and celebrate your style of work, you kind of reach a bit of a. Maybe a happy place that I kind of feel like I know what I'm doing, [00:40:05] Speaker B: but [00:40:05] Speaker A: not just from a technical standpoint, from allowing your. Your creative eye to see and. And, you know, and your. And your shutter finger to. To respond in the right time, in the right way. You know, I know it's a bit flouncy, but [00:40:19] Speaker B: just having faith in yourself, I think it's like. [00:40:21] Speaker A: Yeah, [00:40:21] Speaker B: I think. And it's really, like, awesome that there's so many amazing, great photographers that as photographers we can look up to and go, wow, that looks great. You know, I'd love to do. I love street photography because I love people like Bruce Gilden and Stephen Shaw and Fred Herzog and Willie Meggleston and all these people. So I look at their work, but I don't go out and try and replicate the images that's there. I try and understand what they're capturing and let that. You know, I do a talk at. I didn't do it this year at bfop, but I do talks about creative diet in terms of, like, what you ingest creatively will come out of you subconsciously when you're just creating. Um, and, you know, if you watched Friend episode of Friends every single day, and that's all you ever watched was Friends, you'd go out in the world and you would see compositions that would be like a Friends episode. It would just happen, like. [00:41:10] Speaker A: Yeah, [00:41:10] Speaker B: because you're being trained to look that way. So, you know, if you're taking in, you know, 16 by 9 Instagram reels all the time, you're going to go out and just see in that format. You know, that's why I don't even have a tv. I've just got photo books over there that I look at when I want something. Even though I've seen him 100 times, it's just like. It's just training me, I guess, to, like, see differently. And I think that's, like, really important for people. But it's not immediate, too. It's not something where you can go I can look at that and go create it. And it's like a good challenge, which is a good exercise to have when you first start photography. But when you're trying to find your thing, it's like you need to let yourself talk, know. You need to let yourself be able to show what you like and not try and look like something else or have it expect to look like something else. You just got to let your curiosity and instinct take you and just go for the wild ride. And it's actually so beautiful to get to a place where you create work that you like and you actually don't give a shit if someone else doesn't like it. Like, [00:42:12] Speaker A: yes, [00:42:12] Speaker B: I'm trying to do all this artist concept and do an exhibition and maybe do a book and all this stuff, but if I don't get any of that, I'm not going to stop creating this. Like, I'm doing this for me primarily. I just see something that I go, oh, maybe someone else feels, sees some value in it, really, Maybe. And if I can get funding to keep doing it, why wouldn't I? But if I don't, I'm not going to stop, you know, because I found how photography exists for me and that's the most important thing. And that's what everyone should be chasing. And that's what you found. You know, like, we were having these chats of befob about you with your stuff too, and it's like you just got to, like, just jump in and try it. [00:42:51] Speaker A: Yeah, and. And I think what you said about, you know, making this, a project like this into a book and an exhibition, that's not the end point. It's more of a stopping to recognize and celebrate where you got to before you continue on your journey. You know, I think a lot of people see that the ultimate end goal is to put a book out or hold an exhibition, but that should never be the end goal. You know, that's just a moment to reflect [00:43:18] Speaker B: side effect [00:43:19] Speaker A: and celebrate [00:43:19] Speaker B: side effects. [00:43:20] Speaker A: Yeah, yeah, pretty much. I mean, there's this. I love this image. [00:43:25] Speaker B: Yeah, me too. It's one of my favorites. [00:43:30] Speaker A: And Sasha and I just. We've just been putting up more artwork on the walls and I've got your print there that I got from you a few months ago. Oh, [00:43:38] Speaker B: yes. [00:43:39] Speaker A: We picked up one of the prints. I'm just waiting for a frame to arrive, and then we're going to put that up as well. But I absolutely love your color palette. What, what film are you using with with most of these? [00:43:50] Speaker B: So the Hot. The whole project is only shot with one camera and one film stock. It's the leica with Portra 400. That's it. Kodak. [00:43:57] Speaker A: Nice. [00:43:57] Speaker B: And, like, I'm not gonna vary outside of that at all. It's just keeping that consistent and just letting the people in the place do the talking and not the technical stuff. It's just, like, the flavor, and I just love the flavor of people here. It's just the best place to People watch. [00:44:15] Speaker A: Yeah, [00:44:16] Speaker B: yeah. [00:44:17] Speaker A: Lots of skin. It makes a huge difference to [00:44:19] Speaker B: so much skin. Yeah, [00:44:21] Speaker A: yeah. [00:44:21] Speaker B: Old skin. Oh, I didn't send you one, but I got this one of, like, this really old. Like, actually, I've got it on here on my board. Hang on, I'll show you. But this one here. Love those. Love those roles, you know, something about the way that skin tells a story about, like, someone without telling you anything about them, you know? [00:44:43] Speaker A: Yeah. [00:44:44] Speaker B: I don't know. I just find it really interesting. Yeah. But thank you. I love that. I love my project because it's the place that I love. And [00:44:52] Speaker A: yeah, [00:44:53] Speaker B: I said in my artist project, like, to touch on what you said before, in my artist statement, it says, I wrap up by saying, like, this project, like, this isn't the end of it. This project will exist as long as I live in Newcastle because I'm always going to go there and I'm always going to go with my camera. So as long as I live in Newcastle, this project will continue, you know, until I move somewhere else. But, yeah, it's the best way to have photography exist in your life. [00:45:19] Speaker A: Yeah. Actually, talking about that presentation I did at a camera club. So it was at Melbourne Camera Club, and the presentation I did was about the value and the benefits of local neighborhood photography, you know, because I head out into Prahran and South Yarra, you know, to do most of my street work. And, you know, I went and I went to the camera club and I did this talk about, you know, the benefits of doing local. Local neighborhood photography. You build up an intimate relationship with your neighborhood. You start to recognize people, they start to recognize you. You become part of a community whilst you're documenting. You know, you almost become like an uninvited historian. Yeah. You know, that documents the way that the world is, the way that I see the world, the way it is now before it becomes what was, you know. [00:46:10] Speaker B: Yeah, yeah, [00:46:10] Speaker A: Those sorts of things. So, yeah, it's. It's interesting. And I like the fact that this is, you know, you've just picked this. This stretch of land, stretch of coast that, you know, that's where the, that's the, that's the only boundaries that the project really has, [00:46:25] Speaker B: you [00:46:25] Speaker A: know, is that it's. And even [00:46:26] Speaker B: then it's like, it's variable because it's like, you know, [00:46:30] Speaker A: I still [00:46:30] Speaker B: walk outside of there with my camera and if something fits, it fits. Right. I, I want to put a question for you actually, because I very much agree with you. The fact that like, you do become sort of like historians and like, I think it's important to capture life as is, you know, because it's just. [00:46:46] Speaker A: Yeah, [00:46:47] Speaker B: it's, it's. It just is. You know, how do you. Do you come across having conversations with people, like with street photography and the way the world is like documenting people candidly and them approaching you and having conversations that are like, where you're trying to like maybe de. Escalate a situation because someone doesn't want their photo taken. And like, how do you navigate those conversations as a street photographer yourself? Like, what do you sort of tend. How do you tend to navigate them? [00:47:20] Speaker A: The most of the interactions I've had with people where I've had to have a conversation with them, I don't know if it's most, but, you know, a big chunk of them have been quite confrontational. So they've sort of either stopped and seen me taking a photo and say, did you just photograph me? I've had a couple of violent people come at me and I've talked about that on the show before. It kind of put me off street photography for a good period of time. Especially when one guy walked up to me and dropped his pants and told me to photograph his. His penis. So that kind of put me off. Yeah, nothing like a bit of sexual assault on the streets of Paran. But look, I, I just be. I. And I say this when I run my street photography workshops that just be honest [00:48:10] Speaker B: with [00:48:10] Speaker A: the person, you know, be very honest about what you're doing. So look, I'm a street photographer. I document what goes on in, in Melbourne or wherever I am and how people interact with the world. I'm just, you know, I can show you the photo. If you're not happy with it, I can. Delete means nothing to me. It's just a, it's just a moment in time kind of thing. So I, I try to keep it very brief. I don't get too, too deep in the artistic purpose side of things because most people don't give a. They just want to know why you took it while I took their photo. [00:48:40] Speaker B: Sure. [00:48:40] Speaker A: And then sometimes if someone sort of persists and gets a bit know. But you're not allowed to do that. I'm like, well, you know, I, I understand you feel that way, but actually I, I am allowed to do this. You know, I'm in public, you're in public, I can photograph anything I can see. And I said, and you know, while we're on the subject of that, every one of these shops has a camera, at least one or two cameras above it. [00:49:02] Speaker B: They're [00:49:02] Speaker A: photographing already, watching you constantly. All those dash cams that just went past you, that Tesla's got eight cameras, you [00:49:08] Speaker B: know, [00:49:10] Speaker A: that surveillance pole up there on the corner of Chapel street, you know, that's got four police cameras pointing in different directions. You know, we're documented our whole lives now. [00:49:20] Speaker B: Yeah, [00:49:20] Speaker A: but people still get a shock when they see someone with a proper camera, you know, step in to take a photo. And I'm not confrontational in how I take photos. I become very still and very quiet and I just stand in a place. I don't try to hide clearly. I'm just standing there, I'm holding my camera. I mostly shoot from the hip, so I'm looking down at it, glancing up at the scene, you know, that sort of stuff. So I've only ever had a couple that went, that went pear shaped quickly. But both of those situations, I think the people were either affected by drugs, alcohol, mental health or a combination of the above, you know, [00:49:59] Speaker B: that makes it hard. Yeah, [00:50:01] Speaker A: it can do. I mean, but that's also living in a city, you know, in a place like South Yarra, we've got such a tightly packed population of diversity, you know, we've got some of the most expensive properties, you know, a few hundred meters away from here, most expensive properties in Australia, and equally go the other direction a couple of hundred meters and you've got some of the most financially disadvantaged people living in commission housing, you know, so there's. That makes it [00:50:29] Speaker B: such a great subject matter though. [00:50:30] Speaker A: Well, it does, yeah. There's, there's quite a diversity and there's people from all walks of life from all over the planet, you know, just trying to get by day by day. So. But, yeah, [00:50:41] Speaker B: but [00:50:41] Speaker A: amazing project and we certainly look forward to seeing more of it as you, as you shape and mold it into something that you want it to be. [00:50:51] Speaker B: Thank you, mate. [00:50:55] Speaker A: Wow. How do we already talk for almost an hour? Gosh, you can go on. [00:50:59] Speaker B: Sorry, mate, you know, it is me, I apologize. [00:51:01] Speaker A: Yeah, it is you, rookie. [00:51:04] Speaker B: Yeah, yeah, okay, I guess, yeah, I'M just like, I'm, I'm trying to mute it in between coughing. I apologize. Yeah, [00:51:11] Speaker A: no, don't apologize. You're doing very well. We really appreciate it. [00:51:15] Speaker B: Thank you. [00:51:16] Speaker A: Let me get a couple of news headlines out of the way and then we'll jump into some viewer images and, and we'll, yeah, we'll, we'll dot some news throughout that. Couple of big announcements. Well, bigish announcements. The folks at Panasonic have registered a new camera in China, which is where often products get registered first these days. Panasonic, you know, they, they've just been this quiet little plugger, you know, they just bring out these, these cameras every so often and you know that I don't understand how they've stayed relevant all these years when they, when the competition is so steep from some of the big players. But look good on them. They've obviously got a fan following. I know that they're huge in Japan, they've got cult like status in Japan. But yeah, they've got a new, they've registered a new camera. We'll wait and see what it is and we'll bring you the news. A Leica rumor. This might tickle your fancy and Dennis's and maybe even Nev Clark's. A new Leica Q3 43, sorry, it's a digital Joel monochrome camera is rumored to be announced early December this year. So we've seen the two. That's cool. Two variants. Yeah, we've seen the two variants of the Q3, the 28 and the 43. But now. Oh, and the monochrome. Now we're looking at a 43 monochrome. So yeah, if it wasn't for the price tag, that would, that would interest me greatly. Probably the 28 more than anything. The monochrome, [00:52:48] Speaker B: that would [00:52:49] Speaker A: be great. [00:52:49] Speaker B: Yes. Street stuff would be fantastic with that. [00:52:52] Speaker A: It'd be a very cool, very cool rig. In other camera news, looking at some lenses, Tamron patents, three new medium format lenses which is pretty big. Let me just have a quick squeeze at what they're, what they're suggesting. A Tamron 60 mil 1.8, a 75 mil 1.9 and a 130 mil 2.6. That's for the Fujifilm GFX and the Hasselblad X2D cameras. So Greg Carrick, start saving. There's more lenses on the way, mate. Park the news for a little bit. Let's have a look at some viewer images. Are you happy to do that now, Joel? [00:53:38] Speaker B: Yeah, let's do it. I'm keen [00:53:40] Speaker A: all right, cool. Well, you're in charge today, so, you know. [00:53:45] Speaker B: Yeah, I'm Justin [00:53:46] Speaker A: today. You are Justin today, but you're [00:53:50] Speaker B: in charge. We all know that. [00:53:52] Speaker A: Yeah, clearly I'm the talent, he's just the money. Love you, boss. If you're watching Joe, you still got the running sheet open? [00:54:04] Speaker B: I do, yes. [00:54:06] Speaker A: Do you feel up to reading out a couple of comments that people have sent in with their images or is your. Is your voice. [00:54:14] Speaker B: Oh, yes, I've got Tristan images. Yeah, [00:54:19] Speaker A: just find the images because there's a bloody big list of them. Tristan. Tristan. Oh [00:54:25] Speaker B: my God. There is a word in here that I'm not going to be able to pronounce. So I apologize in advance. [00:54:30] Speaker A: You'll be right. Give it a crack. [00:54:32] Speaker B: All right, I'll give it a crack. [00:54:34] Speaker A: Your images. Okay, let's go start reading, my friend. [00:54:39] Speaker B: All right, so thanks for a great podcast. This is a photo from Ozengahara Nature reserve in Guma, Perfect Japan. I nailed that [00:54:51] Speaker A: prefecture. Yep. [00:54:53] Speaker B: The trailhead is. The trailhead is only accessible by shuttle bus that takes you from the valley parking area to the to a high mountain ridge. This photo was taken at the bus stop slash staging area. The hike starts with a steep descent into large plateau with an incredible, unique, beautiful bio zone. I highly recommend anyone that has a chance to go check it out. I took this photo with my Fuji XT3 in kit lens and then there's a second photo. Apparently [00:55:22] Speaker A: there is. [00:55:25] Speaker B: Oh yes, that one. Then this says I included a second photo taken with my Pentax 17 half frame camera. Kodak Ultra Max. That's my man in the valley for the context, place and atmosphere. Thanks to you all of the people who participate in the show for being wonderful source of inspiration over the last few years. Tristan. [00:55:45] Speaker A: Oh, thanks Tristan. [00:55:48] Speaker B: See, I like those ones. [00:55:50] Speaker A: Yeah, there's just something about the look of film [00:55:56] Speaker B: and the Pentax 17 is like. I know. I think the photos it takes are not bad. If you get focus right, it's like pretty good. [00:56:03] Speaker A: Yeah, I was talking to someone online today about that saying how Pentax needs to just now released a full frame one because no one else is going to. [00:56:14] Speaker B: No, that's right. Bring back the K1000 with a light meter. You know, that would be fantastic. That would sell so much. [00:56:21] Speaker A: Yeah, it would because I mean A, it would be a brilliant camera but B, so many photographers we've spoken to learned on that camera. [00:56:29] Speaker B: Yeah, yeah. [00:56:30] Speaker A: You know, and like they would have lost it to mold camera. Yeah, [00:56:34] Speaker B: yeah. It's got Like a cult classic behind it. [00:56:37] Speaker A: Yeah, it is, yeah, definitely cultish. You know and I was talking to a mate about, he shoots film sometimes and has far too many cameras that, you know, and I think we talked about this when Devin from the Brunswick darkroom joined us a couple of weeks ago for a chat. You know that eventually a lot of these film cameras that people keep getting service to keep working, they'll just stop working or people will stop offering service for them, you know, because getting parts and all that sort of stuff will become difficult. And I just [00:57:10] Speaker B: don't. Sure, [00:57:12] Speaker A: you know, we, we see in other mediums where analog technology has, has been revived. You know, vinyls have gone nuts and so what have Sony and, and you know, Audio Technica and all of those brands done? They brought out new turntables with modern conveniences like Bluetooth and you know, the site like, you know, I saw a post this week that Costco was selling these old school 80s boomboxes in these vibrant, you know, 80s colors. And it had like a CD player and a tape deck and a radio and it like, you know, it was a big thing with a handle. Companies are leaning into old analog technology once again. [00:57:53] Speaker B: But [00:57:53] Speaker A: the camera companies are so scared to dip their feet in the big brands. [00:57:58] Speaker B: Which is crazy because like you know, little, little small director called Christopher Nolan, Odyssey, the whole thing's done on imax, like medium format film. Like you got one of the biggest, most prolific film directors of our time, like literally doing a whole movie on film. You've got Tarantino who does everything on film. And it's like I don't understand like why like you know, companies like Fuji are just pulling out so hard and they were the, they had such like a, a beautiful take on like film stocks. With Pro 400H, Fuji Industrial, there were all these beautiful film stocks, like even the FP100C, like Polar Polaroid film, like that's now like $600 a box if you can find some, you know, these companies, if you just made that stuff, you'd sell so much of it. I don't understand like why it doesn't happen. But I guess maybe it's, I don't know, whatever. But that's, this is me old school again, you know, just going home. [00:58:58] Speaker A: But it's still happening even in, even stepping aside from film. Like you know, there's been such a demand for about three years now, people wanting to move away from their phone photography once again back into cameras. They're looking for decent quality point and shoot compact cameras that they can drop into their, into their, their backpack or their bag or their pocket. You know, [00:59:20] Speaker B: they [00:59:20] Speaker A: don't have to be high megapixel count. That's not what they're for. They're for capturing moments and people just don't want to be on their phones, you know. And all of the camera brands took their time to realize the shift in the market. They, they ignored it largely. And [00:59:34] Speaker B: so, [00:59:35] Speaker A: you know, models like the Rico GR and the Fujifilm, I mean they're much more expensive high end versions of a point and shoot, but they remain popular, you know. So now all of a sudden we've got reports that Canon and Nikon especially are scrounging to release some point and shoot compacts. But by the time they get it out, [00:59:55] Speaker B: the [00:59:56] Speaker A: fat will be over, you know. [00:59:58] Speaker B: Yeah. Be on to something [01:00:00] Speaker A: else because. Yeah, I just feel like there's a, there's almost, I don't know what if it's an ignorance or an arrogance. It's probably both. People actually want these products. You know, people want high quality digital point and shoots that aren't garbage. [01:00:16] Speaker B: You [01:00:16] Speaker A: know, people want film cameras again, [01:00:20] Speaker B: you [01:00:20] Speaker A: know, without having to pay 10,000 to get a Leica. [01:00:24] Speaker B: Yeah. [01:00:24] Speaker A: You know. [01:00:24] Speaker B: Yeah. [01:00:25] Speaker A: And then also. [01:00:27] Speaker B: Yeah. And also just like the cost of film going up too. Like film is so expensive. It's not like, it's not, not, not a cheap thing that I've chosen to do for myself, but it's just. Yeah, I don't know, I just don't. I, I'm of that generation now where it's like I'm just trying to pull away from screens as much as possible. Like I found that when I was just shooting with digital it was like cool. I take photos 5% of my time and 95 of my time I'm either editing, culling or doing, doing some sort of admin. So if I can just cut back being on a screen in some capacity and just like actually just be. And how many mega pixels do we need? Like seriously, like, I'm sorry. Like I remember jumping on the last one with you guys and people you were talking about like how whatever it's up to now, and I go, is that even necessary? Like, [01:01:18] Speaker A: yeah. [01:01:18] Speaker B: To just put on Instagram or your website? Like, like, [01:01:22] Speaker A: yeah. [01:01:23] Speaker B: And the camera I keep coming back to all the time is like, you know, the cat, the Canon 5D Mark 3 was such a great camera and like, I think that was the peak of what we needed in that digital thing, you know, and like maybe better low light. I understand that. But the images are great on that. You know, there were feature films that were filmed and videoed on a 5D Mark III and they look great. I just don't understand, like, why we need. You know, you're talking about the AI stuff with the storage and the ram, and I'm just going, slow down. Like you don't need it all. I don't get it. Just slow down. [01:02:02] Speaker A: Totally. [01:02:03] Speaker B: I'm just broken record, aren't I? Jesus. [01:02:06] Speaker A: Oh, well, sometimes a broken record's your favorite record. [01:02:10] Speaker B: That's right. I don't know. [01:02:13] Speaker A: Let's. Let's move along or we're never going to get these [01:02:15] Speaker B: finished. Please. [01:02:16] Speaker A: You talk so much. Next is Lisa Leach. Can you find Lisa on the. Oh, yes, [01:02:23] Speaker B: yes, yes, I can do that. All right, cool. Says hi Greg and Justin. But let's say, Joel, thank you for the incredible interview with TJ Thorne. Inspiring and interesting person all round. My image this week was created on a moody evening on Lisk and Tire beach on the Isle of Harris. Moody skies and sand patterns. Harris creates a physical buffer to mainland Scotland from the temptuous Atlantic Ocean, which, as you may imagine, provides a contrast swell of waves and fierce winds. Whilst I was prepared for Harris wild beauty, the immense spiritual connection to this outer head Bridian land was unexpected. Such a magical place. Thank you for sharing our work and offering feedback. Wow, that's got so much texture in it, doesn't it? [01:03:19] Speaker A: Yeah, that's very cool. I'm just trying to work out what that. Oh, it's just the water [01:03:27] Speaker B: bubbles, [01:03:27] Speaker A: the runoff. Yeah, it's creating some froth. Love a bit of froth in a photo. [01:03:32] Speaker B: Yeah. This [01:03:33] Speaker A: is beautiful, Lisa. Lisa's been publishing on her socials, her work, and she did a range of images in a forest with these trees that were just so old and gnarly, but just covered in moss and. Yeah, just absolutely wild and stunning. [01:03:50] Speaker B: Yeah, Gorgeous [01:03:51] Speaker A: experience too. Yeah. Thanks for sending that in, Lisa. Well done you. [01:03:57] Speaker B: Fantastic. [01:03:58] Speaker A: Up next, we have Maya Hall. [01:04:02] Speaker B: All right, [01:04:02] Speaker A: just a short essay for you to read there, Joel, with your bad throat. [01:04:05] Speaker B: Yeah, I know. I really apologize if my reading is off. I swear I'm dyslexic, so I'm trying my best. [01:04:12] Speaker A: Oh, you'll like this [01:04:13] Speaker B: one. Oh, yes. I gotta look at it first before I read. I love that. Okay, so in honor of Joel's appearance, I'm sending in another Newcastle photo capturing Newcastle bards and Nobby's lighthouse. I love how the steps of the bars are like a stage. And I was so pleased to Capture the people in a beautiful winter light. This was from the same shoot as the man bending over with the shadow. Oh, that I used for BE camera swap. I love Newcastle as a photographic destination and everything is so accessible. Shot on D7,500. There's like a lot of camera specs there. [01:04:49] Speaker A: Thank [01:04:49] Speaker B: you. Greg and Jim, an interview with Julie Millerwick on Thursday was an amazing interview. [01:04:56] Speaker A: Yep. Yeah, it was pretty cool. [01:04:59] Speaker B: I love that. I love winter. Like one winter on the coast. There's something that like I feel like the light turns a little bit more pink and it's just like a little bit more dusky and really pretty. [01:05:10] Speaker A: Yep. Yeah, pretty is a good word for it. Absolutely. There's this clarity to it but there's beautiful color. But it's not, it's not overbearing color, you know. [01:05:21] Speaker B: No, it's like a musty, just soft magenta. I love it. So, so romantic. [01:05:29] Speaker A: Now while we're on theme, let's have a look at John Hall's image again in honor of you. Do you want to read out John hall the next one? [01:05:39] Speaker B: Yes. Since Joel is on tonight, I thought an image from Newcastle was appropriate. This was taken on one of my many visits to Newcastle last year while trying to sell Maya's parents house. Argyle House is a heritage listed building from the 1860s. Back in the 80s it became Fanny's nightclub and that's. I've got some memories there. Yeah, let's, let's move on. Back in the 80s it became Fanny's nightclub and had some pretty ugly additions made to it. It finally closed in 2024 and was looking pretty sad when I took this. Yeah, it's a, it's a institutional right there. But yeah. Known as the Argyle House now. It's like up and running now but much fancier than that. But this was very much the aesthetic that people of my generation knew fannies for. You show this to anyone my age, they'd be like, that's Fanny's. [01:06:38] Speaker A: I remember vomiting on that street post. [01:06:40] Speaker B: Yeah, yeah. I remember sitting there waiting for a taxi so many times. But yeah, it's cool. [01:06:47] Speaker A: Nice. Let's, let's do, let's do two more and then we'll jump on some more news. Let's go with Gareth Davies image. [01:06:55] Speaker B: Cool. [01:06:55] Speaker A: If you want to. [01:06:57] Speaker B: Yep. I've attached a portrait of someone I know. The photo doesn't work for me in the background which is too distracting. The mural is awesome though. But I was hoping you could settle something for us. He has a funny nickname. Does he look familiar? To you. First clue would be an Australian film. Second clue is that the film is Crocodile Dundee. Hopefully you'll guess it since we can wind him up even more. Taken on the Q3 monochrome, I can't recognize him. [01:07:27] Speaker A: Crocodile Dundee. [01:07:30] Speaker B: First clue would be an Australian film. Second clue is that that film is Crocodile Dundee. [01:07:38] Speaker A: Oh, that's not enough clues. That's like two. That's, that's, that's cheating on the clues. [01:07:42] Speaker B: Unless that's actually him. Crocodile Dundee. [01:07:50] Speaker A: No, because that was. No, no, because Crocodile Dundee was Paul Hogan. That's not Paul Hogan, is it? [01:07:56] Speaker B: I don't think so. I don't know for a while. I don't know. He's looking good. Like, if that is him, he's looking good. [01:08:05] Speaker A: Yeah, I don't think that's him. I don't know who it is. You're gonna have to fill this in. [01:08:09] Speaker B: Yeah. Great image, though. [01:08:11] Speaker A: Yeah, I love it. And I, I, I get what you're saying about the, about the background, but this is kind of what I consider, like an environmental portrait where you put a person in a place and you want that place to be context in the story of the image, [01:08:27] Speaker B: you [01:08:27] Speaker A: know? And I think it's really cool that you've got this guy. He's looking a bit shocked himself. And then this creature over in the background on his. Over his left shoulder. It's kind of staring at the photographer as well. It's, It's. Yeah, I think it's fascinating. It works. [01:08:44] Speaker B: Cool. Actually, having the, The. I don't know if it's a Slazinger or puma shirt with the big jaguar, like, on his shirt, too. Coming the same way over the beer. Yeah, that's cool. [01:08:55] Speaker A: Yeah. Fosters. [01:08:57] Speaker B: I [01:08:58] Speaker A: don't know when that was taken. So many people in the chat. What do you say? The mural is amazing, though. I'll have to. The mural is amazing, though. I'll have to take a color photo of it one day. Yeah. Yeah. I can't. I can't see. The nickname is Donk. I don't remember that from Crocodile Dundee. [01:09:28] Speaker B: Before my time mate. [01:09:30] Speaker A: Yeah. And I don't really feel like going back and watching it, so, you know, casual racism at all. [01:09:37] Speaker B: Yeah. [01:09:39] Speaker A: Let's do one more. David Moscoro from the San Fran Bay Area. Let me find David's shot. Here it is. Okay, [01:09:50] Speaker B: cool. [01:09:51] Speaker A: Something different. Here's [01:09:52] Speaker B: something different. Not my typical street portrait, but my daughter and my sixth grandchild. Jonah. Nothing like documenting your family on film in 2026. This will give my grandkids Something to talk about years down the road when I'm gone. Shot with a Nikon F6 and Tri X. [01:10:11] Speaker A: Yep. That's beautiful. [01:10:12] Speaker B: Gorgeous, isn't it? [01:10:14] Speaker A: Yeah, [01:10:15] Speaker B: yeah. It's like no notes. [01:10:18] Speaker A: Yeah. No notes at all. [01:10:20] Speaker B: No, it's beautiful. It's just [01:10:22] Speaker A: like [01:10:23] Speaker B: of what it is, is like it's so, so special [01:10:26] Speaker A: and it's important. Yeah. This, this has value to the family. Yeah. Very cool. [01:10:35] Speaker B: Fantastic. [01:10:36] Speaker A: All right, let's pop a, let's pop aside that for the moment. Let's, let's get a little bit more news out of the way. It wasn't a lot of news this week, folks. Few lens items coming around. Just announced the new Mica 58 millimeter f 1.2 mix APS C lens has been announced. Great portrait lens, you know, what's that going to give you? About a, about a 90, 95 mil equivalent. 1990. Yeah. What up next, Tamron's first results. So financial results have come in since Sony's buyout bid. There's been no word about, about that buyout, but there's been a 36% increase in the amount of lenses that Tamron makes for other brands, which is a pretty big jump. In fact, all of the camera brands, I looked at some results this morning, especially the overall worldwide shipping numbers. They're soft and they're down on last year, but they've started to trend back up in October so they slumped a little bit in September. And yeah, they're on the, they're on the rise again. Another lens just announced Lauer 24mil F2.0D tilt shift and I think that's coming to Sony Nikon and I'm pretty sure I saw them that they're doing it for GFX as well. Might have gotten that last bit wrong. And also from the folks in at Surui, the Surui Aura 15 mil F 1.6. Why would you need a 1.6 at 15? That's wild. And 24 mil. Yeah, 24 mil 1.4. Full frame autofocus lenses are coming on today. Apparently they're going to be announced and that they will be made available for Sony and Nikon camera systems, I believe. What else, Mika? Also putting out a 50 mil 1.4. That's coming soon. And in the smaller pancake almost Pikelet news, we do have another pancake lens on the market. DJ Optical Ultra Slim 35 Mil F 3.5 Mc Pancake Range Finder coupled. What a title lens. [01:13:01] Speaker B: Jesus. [01:13:01] Speaker A: For Leica M mount. We like a bit of Pikelet Action here on the camera life. Let me just bring up the one quickly. Yeah, [01:13:08] Speaker B: I'd like to see that. [01:13:09] Speaker A: I think it's just fun. Where are we like a rumors. Here we go. Add to stage. There it is. That is definitely pikelet size. [01:13:20] Speaker B: Oh, that's awesome. [01:13:23] Speaker A: It's pretty cool. [01:13:25] Speaker B: Like an M mount. [01:13:26] Speaker A: Yeah, M mount. [01:13:28] Speaker B: Okay, [01:13:32] Speaker A: let's see how much they've got it on. For sale on ebay. Let's have a quick squiz on eBay. [01:13:36] Speaker B: Yeah. [01:13:37] Speaker A: US$520. [01:13:41] Speaker B: That's pretty good. [01:13:42] Speaker A: So what about 800? [01:13:45] Speaker B: Yeah, the heaps cheaper than a summicron. [01:13:48] Speaker A: Yeah. Yep. Yeah. Just a little side note, Joel, did you. When did you have pikelets growing up? [01:13:58] Speaker B: No. Oh, what to eat or in terms of lenses, [01:14:03] Speaker A: were they a thing in your household? Is your name, were they called pikelets or they called drop scones? [01:14:10] Speaker B: Oh, first time I've ever heard of drop scones. So definitely pikelets. [01:14:14] Speaker A: Yeah, I think drop scones might be a Tassie thing because my nan was from Tassie, but my other nan, she was a Melbourne girl and she called them pikelets but my Tassie nan called them drop scones. What about you folks in the chat, are they pikelets or are they drop scones? Is there a difference? And please tell me why this question matters. The only other little bit of news, two little things I want to share, One is that Canon has announced a new digital microphone as well as a replacement for their existing remote shutter timer controller. So some new products are coming out. Sony just dropped some new products last week or the week before, more for videography, some Sony branded monitors and some Sony branded audio gear. And the only other thing I wanted to share with you guys, which I thought was kind of a handy little thing to have access to, is that Petapixel now have this sub site, let me bring it up. And it's called Pixel Meter. It's the first time I only saw it coming across it today. And basically it's basically a collective of reviews. So if you've got a particular camera or lens or whatever it may be that you want to see how Petapixel have rated it and why, then you can go onto this, what's it called, Pixel Meter website and you can see a review. So like here's this new Nikon $28,000 US dollar lens and it will give you a. It'll give you this, their score as well as some pros and cons and then all the bits and pieces that go with it. So I just thought it was a really handy. And there's a whole collective of reviews here. There's something very similar that I follow in the gaming space, which I often refer, like correlate with photography space. And it's called Metacritic. And it's a very similar thing. It collates all the reviews done for, say, games and things like that, gives you an aggregate score. And that's what this is doing, [01:16:13] Speaker B: which [01:16:13] Speaker A: I think is cool. So if you're looking for new gear and you're curious as to what folks think of it, you can head to Pixel Meter. [01:16:23] Speaker B: I wonder if they use AI to help gather their scores. [01:16:28] Speaker A: Probably, [01:16:29] Speaker B: yeah. Probably, yeah. [01:16:30] Speaker A: Yeah, I'd say so. I'd say so. And that brings us to the end of the news. Before we jump into viewers images, would you folks mind if I bring up some of mine? Is that okay? I'm asking, but really I don't care. You okay, Joel? Oh, maybe his headphones have gone flat. Oh, no. You still there? Hello? [01:17:06] Speaker C: Two minutes, [01:17:07] Speaker A: Two minutes. All right, I'll let him work that out while I bring up these. Yes, it's a little bit stuttery. Can you give us an audio test? [01:17:21] Speaker C: Difficulties? [01:17:29] Speaker A: You still there? Hello? Hello? Can you hear me? [01:17:39] Speaker C: I can't hear you. [01:17:40] Speaker A: Oh, no. Are your headphones gone flat? Oh, he's. Joel, can you hear me at all? All right, folks, [01:18:00] Speaker C: I'm sorry, I don't know it's happening. [01:18:02] Speaker A: Let me send him a message just very quickly. [01:18:11] Speaker C: Oh, yes, yes, yes. [01:18:17] Speaker A: Sorry, guys, I know this doesn't make riveting viewing. See how that goes. Anyway, whilst Joel's doing that, I'm just going to bring up some of my recent images. Like I said at the start of the show, I've been a bit flat. Haven't really been very focused or engaged in going out for intentional street photography walks. And when I feel that way, I kind of just have to listen to it and, you know, just write it out, I guess. Yeah. However, that hasn't stopped me from taking a camera. Everywhere I go, I always still make sure that I have a camera with me, whether it's slung across my. My body, sitting on my hip or wherever. I've got one in my bag. We'll just have to. Oh, he's back. Hello. [01:19:05] Speaker B: Thank you. Sorry. [01:19:10] Speaker A: Can you hear me? [01:19:12] Speaker B: Yeah, I got you. You got me? [01:19:14] Speaker A: Yep, yep. Good. He's back. [01:19:16] Speaker B: Cool. [01:19:17] Speaker A: Tim Pate says this is peak entertainment. It is. It's better than the pikelet story, that's for sure. Incidental street photography for me. Just, you know, Going out, visiting people, going and doing chores or errands around the place. Always having a camera with me, always having it accessible, especially when the light's so good and. Yeah, every time, every now and then I see one of those moments and I just. I just take a frame. And these are some that I've done probably in the last week. Ish, give or take. Just when I'm been out and about, Just looking for quiet moments. [01:20:00] Speaker B: Very wes ends. [01:20:02] Speaker A: Yeah, you reckon? [01:20:04] Speaker B: Yeah, [01:20:05] Speaker A: not like that. I'll take that. I went into the city. I went into the city and I caught up with Greg Carrick. We had a coffee and a chat and we. We hung out for a little bit. And Thomas, Thomas Forbes, who has been a guest on the show a couple of months back, he was wandering along doing street in the middle of town and I saw him and he tried to pretend he didn't see me. It's a common reaction I get. Um, and he joined us for a cuppa and we. We sat and we munched on Greg Carrick's basket of fries while we. We talked about photography. It was really, really, really lovely. But these are some of the shots I got while I was in the city with him. [01:20:48] Speaker B: Oh, cool. [01:20:52] Speaker A: And this is in one of our new underground. Underground train stations that they've just finished on the metro tunnel. I just love the architecture, [01:21:03] Speaker B: love that. [01:21:05] Speaker A: Yeah, I was pretty happy with that. [01:21:13] Speaker B: Oh, cool. What a cool. [01:21:15] Speaker A: They're so cavernous and massive. [01:21:18] Speaker B: I [01:21:18] Speaker A: love them. And the light just pours in and throughout the day it just shifts across the ground. Really cool space. I was pretty happy with this one. [01:21:29] Speaker B: Those lights are gorgeous, aren't they? [01:21:31] Speaker A: Yeah, they're very cool. Yeah. So all of these were shot on my Fujifilm X70, my little. My little point and shoot Fujifilm compact. So, yeah, that's kind of what I've been up to. A bit of incidental street. [01:21:51] Speaker B: Oh, dude, [01:21:53] Speaker A: what's wrong? [01:21:54] Speaker B: I'm hoping you still have me. [01:21:56] Speaker A: Yeah, I still have you. Can you hear me? [01:21:58] Speaker B: What is happening? [01:22:03] Speaker A: Sorry, guys. Let me just send you another message. Unplug your headphones. Sorry, team. We'll see if that makes anything different. We can hear you, but you can't hear me. Where are we up to? We're up to Jamie Tweak Productions. Let me just find the image while Joel sorts out his. His stuff. [01:22:44] Speaker C: Oh, my God. [01:22:47] Speaker A: Where's it gone? I can't find Twigs photo. It's all falling apart, folks. Oh, here they are. A, B and C. All right, let me bring this up and I'll read it to you. All right. Sorry guys. Doing three things at once. Hi Greg and Justin. Has been a while but I wanted to share with share this with you guys. A bit late for tonight. This is from last week. Sorry but it can wait. I'm a camera house employee and each year we have our internal photographer of the year competition. Was stoked got three places. First in landscape, second in action and third in macro. Amazing. My favorite pick was my one from beef up 2025 from Nick Fletcher's BMX chaos of Mitch Brown. I'm extra stoked that it got printed in a magazine. So chuffed. Never seen my photos in a magazine article before and so I wanted to be printed alongside the very talented photographers who work at camera house. The shot was taken on the R5 Mark 2 with the 16 to 28 2.8 lens with a Godox TT685 flash. Let's have a look at these images. Let me just bring them up. So that's the magazine cover? No, that's Lisa Leach's. That's not it at all. There's the shot. Oh wow. Oh, that is amazing. Well done, Jamie. That's incredible. Yep, really crisp, really beautiful. And there was another image here. What was that? Oh, this was inside. This is the. In the magazine. Yeah, but well done. What a stunning shot. You've got to be happy with that. Please tell me you've printed it. If not you should be making the most of that. Camera house discount, staff discount. Get that printed. Print it large. I would. Why not? It looks gorgeous in black and white. It works really, really well. And the, you know, the geometry of the frame with that sort of the cross that the rider makes is. Is unbelievable. So yeah, well done. Good job. Let's see who we've got next. Paul Carpenter has been out and about with his X100 again let's bring up his images. And I will read to it. Hi guys. This week I took the X100VI from Fujifilm down to the coast for a bit of pseudo landscape photography. I say that because my R5 is clearly a much better option. But I did find one interesting feature in that I could use the built in 4 stop ND filter grad filter to get 1 second exposures without too much trouble. This one was made with my tiny new LEO photo tripod travel tripod that I won at befop. But the handheld exposures at one second were sharp enough for social media use. The lighter of the two images is the classic chrome JPEG out of camera and the bluer one is the RAW file with reduced color temp and. And some additional textures in Lightroom. I'm more than happy with the JPEGs out of camera for street work, but all these Seascape files needed some help in post processing. Do you think the second one is overcooked? Let's have a look. Oh, actually, I think Joel's back. All right. This is your last chance. [01:26:32] Speaker C: I know. I'm so sorry. [01:26:35] Speaker A: It's fine. It happens. It happens. These are Paul's images. I'm just trying to work out which one's first. So this is the straight out of camera JPEG as we can see there. So this is with the Fujifilm X100 Joel Mark 6. And then this is the edited RAW. I don't think it's overcooked at all. I think it's beautiful. I think it's got the perfect color temperature. I think there's just enough amount of coolness and blue in the frame, and it really, really elevates the image. [01:27:13] Speaker C: I agree. Not overcooked at all. [01:27:18] Speaker A: Pretty cool. [01:27:19] Speaker C: Yeah, it looks great. [01:27:21] Speaker A: Yep. All right, we're up to Greg Carrick. Do you feel like you're ready to read out a few more? [01:27:29] Speaker C: I'm back, my friend. [01:27:30] Speaker A: Well, you're currently on probation, so, you know. I know, [01:27:33] Speaker C: I know. I gotta prove. I gotta prove my. My worthiness. [01:27:38] Speaker A: Up next, we have Crackers. Greg Carrick. [01:27:40] Speaker C: Cool. [01:27:41] Speaker A: Get these shots. [01:27:43] Speaker C: G', day, everyone. And their dog. Here's two images of a set from close ups of the rock slate steps at Maroondah Dam in Healesville. These remind me of Oriental paintings of mountains and wild sea waves. Or. Have I had too much coffee? Fuji XT2 with 18 to 55 kit lens. [01:28:04] Speaker A: Nice. Yeah, I see what you're saying about the. It looks like an Oriental. Like one of those sort of. Almost like one of those ink drawings or paintings, you know, of the mountains and the clouds. [01:28:17] Speaker C: Yeah, yeah, yeah, yeah, yeah, yeah. [01:28:19] Speaker A: But that. Those sticks in the bottom right corner, those. That little bit of debris and detritus that kind of anchors it, [01:28:28] Speaker C: you [01:28:28] Speaker A: know, it gives it. That [01:28:29] Speaker C: wasn't there. It would give it a very unique aesthetic, I think, as well, because you wouldn't know it would be on the ground. You wouldn't know where that would be [01:28:36] Speaker A: from. No. Yeah, but it just adds a little bit of context to anchor it in place, which I really love. And this is the second one. This definitely looks like one of those. Like a silk screen painting kind of thing. Well spotted. Crackers. [01:28:55] Speaker C: Yeah. Great perspective. [01:28:57] Speaker A: Yeah. Well, Done. Created a landscape out of a slab of rock. [01:29:04] Speaker C: Yeah, [01:29:05] Speaker A: yeah. And Felicity Johnson agrees. Henry, love the second. Yeah. Nice work, Greg. Well done. [01:29:15] Speaker C: Yeah, very cool. [01:29:17] Speaker A: What are we up to, Liz? Okie's up next. Should we have a look what Les has to offer? [01:29:22] Speaker C: Yeah, let's do it. [01:29:23] Speaker A: All right, Let me just find. Oh, no, what have I done? Where is his image has gone. Here we go. A proper diner. Oof. You want to read this one out? [01:29:37] Speaker C: Yeah, yeah, yeah. I just had to look at it first. The subject of real diners came up a couple of weeks back. Here's one of the originals. Mel's Diner in San Francisco about 10 years ago. Canon 5D Mark III 17 to 40. F4L at 31. Yeah. Settings. PS. The best breakfast. That looks great. [01:30:01] Speaker A: Yeah. And well done on the panorama too. You know, if anything I was going to comment on this, Les. I would have cropped in that. Cropped out that right hand car. We just see the left panel of it. I would have sort of cropped the frame maybe just on. Halfway through that window on the right. But, [01:30:26] Speaker C: you [01:30:26] Speaker A: know, this is how you saw it. This is just what I might have done. Certainly no objection to the way you framed it. Yeah, it's. It's wonderful. There's so much going on. [01:30:36] Speaker C: There's a lot. [01:30:38] Speaker A: Yeah, yeah. Absolutely amazing. Very cool. Mel's driving up next. Who we got next? Timothy Pates. [01:30:55] Speaker C: Timothy paid [01:30:56] Speaker A: three images. I keep opening the wrong folder. Hang on, let me just move these folders because they keep screwing me up. Tim Pates. All right. [01:31:09] Speaker C: Oh, yeah, cool. [01:31:11] Speaker B: These are a few [01:31:12] Speaker C: images from the bushfires earlier this [01:31:14] Speaker B: year [01:31:14] Speaker C: whilst in the area, helping with the rebuild, that's all. But let the images do all the talking. That's great. [01:31:21] Speaker A: Yeah. [01:31:25] Speaker C: That's crazy, isn't it? [01:31:27] Speaker A: Yeah. Oh, wow. If that was a caravan. I bet it was. [01:31:38] Speaker C: Yeah. Gas bottle on there. [01:31:41] Speaker A: Yeah. Yet there's still greenery just, you know, 50 meters away. [01:31:48] Speaker C: Yeah, [01:31:52] Speaker A: now we've seen that one. [01:31:53] Speaker C: Yeah. [01:31:55] Speaker A: I think I've got one image twice. Yeah. Really powerful images. Anything with it, with, you know, after a bushfire is really. [01:32:09] Speaker C: Yeah, really beautiful. [01:32:11] Speaker A: Quite powerful. Yeah. Lovely work. Great work, Tim. Sorry, I've only got the two images. I seem to have two copies of number three. Somehow, I don't know how I did that wrong. Yeah, Sorry, mate. I mean, look what I'm. Look what I've got to work with tonight. I mean, come on. Up next is John Latimer. John Latimer. Do you want to read this one out? [01:32:39] Speaker C: Evening, guys. Hope all is well this week I've been practicing different techniques with trying to improve focus and getting subjects tack sharp for printing some photos large. At home I went to my local reserve and played around with a lot of settings and different different approaches and was a bonus that I got a bird that doesn't really move once in the sun. I was reading up on trying to find lenses sweet spot by stepping down the F stop which is supposed to help with sharpness and focus. So instead of 5.6 to 6.3 I was playing with settings 7.1 and 8. Was interested on your thoughts and have you heard anything like this before? I think they turned out sharper and I'm happy with how they turned out. I wasn't sure if there was truth to this or not. Bit of a. [01:33:28] Speaker A: There is truth to it. [01:33:29] Speaker C: Yeah, [01:33:30] Speaker A: it's [01:33:30] Speaker C: like. Yeah, [01:33:33] Speaker A: yeah. Like often when you watch or read. When I used to write lens reviews I'd always look for kind of what I thought was the sweet spot, you know where the lens came into its own more often than when it was just thrown wide open, you know and often it meant yes, stopping down a couple of stops of light. But our modern day cameras are more than equipped to compensate for just those minor stop downs. But it does elevate sharpness, it gives you greater confidence. But these images, I mean the tone through them is just gorgeous and yeah, that's, I mean it's a lot. It's not a full res image on here and you're seeing it Internet through Internet. But yeah, there's, there's absolute sharpness in there. You know you can see the detail here in the feathers. [01:34:25] Speaker C: It's gorgeous. [01:34:27] Speaker A: Yeah, that's just. I mean look at that. [01:34:31] Speaker C: With that [01:34:32] Speaker A: type of [01:34:33] Speaker C: distance between subject and background it's always going to be like shallow, you know, it's always going to have that like shallow depth of field look. [01:34:40] Speaker A: You [01:34:40] Speaker C: might as well get all the texture out in the parts that mean the most. [01:34:45] Speaker A: Yeah, [01:34:45] Speaker C: done really well there. [01:34:47] Speaker A: Yeah, it's beautiful. And then. Yeah, yeah, that's incredible. [01:34:53] Speaker C: Yeah, it's cool. [01:34:57] Speaker A: See into its eye. [01:34:59] Speaker C: Yeah, yeah. It's crazy. It's like blue eyes wild. [01:35:03] Speaker A: This is reminding me. I, I was editing some of my befop photos this morning and I was editing a photo of you. Oh yeah? Yeah. And I zoomed in on your glasses and there's a like a crystal clear reflection of me in each of your, in each of your lenses. [01:35:20] Speaker C: Cool. I want to see that. [01:35:21] Speaker A: Yeah, yeah. It's very funny but this is beautiful. John. Amazing work. [01:35:27] Speaker C: Yeah, fantastic. [01:35:29] Speaker A: Yeah, I think it's totally a thing. I think every lens has a sweet spot in that. Yeah, you just get optimal sharpness for the sort of genre you're shooting. You know, not every lens has to be flung wide open. Sometimes that that ultra fine, narrow field of view that's in focus isn't enough, you know. But, yeah, these are stunning shots. Really well done. And the way that it just has obliterated the background. Yeah, very cool. Moving along. Who have we got next, Joel? [01:36:08] Speaker C: We would have Philip Johnson. [01:36:12] Speaker A: Philip Johnson. One image. Let's have a look for it. Here he is. So [01:36:20] Speaker C: there's one image. [01:36:20] Speaker A: This is [01:36:21] Speaker C: image one. Oh, yes, I know where that is. That's gorgeous. The image captures the magic of the Blue Mountains, a weather event called [01:36:30] Speaker A: the [01:36:30] Speaker C: Phantom Falls. Essentially, this occurs when there are fog events in the megalong valley and flows over a plateau that separates from Jameson Valley and flows like a waterfall. You just have to be in the right place at the right time. Sony A7.7202.8 F4, 1200, ISO 160. I love [01:36:53] Speaker A: that magic. [01:36:54] Speaker C: You see that, like, so often in the Blue Mountains. And it is really beautiful to, like, stand on top of the ridge and watch the mist go and just like, fall upwards. It's stunning. [01:37:05] Speaker A: Yeah, that's beautiful, Philip. [01:37:09] Speaker C: Yeah. [01:37:10] Speaker A: And, you know, we've still got layering in the background. You can see that there's still early morning light reflecting off the clouds at the very top. [01:37:20] Speaker C: Yeah, yeah, yeah, [01:37:21] Speaker A: yeah. Great composition, too. And good choice on the. On the. The framing. [01:37:26] Speaker C: Yeah. [01:37:28] Speaker A: Deserves to be wide. That's lovely. Print it. And the chat agrees. Damn, that's cool. Ms. Ames. G', Day, Ms. Ames. And Phil Thompson's. Great shot, Philip, with heaps of mood in that cloud. Yeah, that's beautiful, mate. Well done. [01:37:47] Speaker C: Fantastic. And he's got another image, I think. [01:37:50] Speaker A: No, don't get him confused with Phil Thompson's. [01:37:54] Speaker C: Oh, [01:37:55] Speaker A: yeah, Johnson. [01:37:57] Speaker C: Wow. [01:37:57] Speaker A: Yep. [01:37:58] Speaker C: I'm dyslexic. That proves it. [01:37:59] Speaker A: Yeah, that's why I'm here. Who we got next on the chart? It is Phil Thompson. [01:38:06] Speaker C: It is Phil Thompson. [01:38:07] Speaker A: It is Phil Thompson. All right, let's bring up Phil Thompson's in. [01:38:09] Speaker C: Cool. [01:38:10] Speaker A: Oh, I love this. All right, read it. [01:38:13] Speaker C: Oh, that's crazy. All right. It was captured on the southern shores of Lake Pukaki, looking north towards Mount Cook and the Southern Alps at sunset as the twilight was creeping in and the last light of the sunset was shining on the snow on the mountains. I cropped it to 22 by 10:10 as there [01:38:33] Speaker A: were a lot of [01:38:34] Speaker C: dead or clear space both top and bottom with the clear skies and calm waters in the foreground. The sunset and twilight colors over there always seem to be more delicate and pastel due to atmospheric dust, water vapor, sea salt in the air, which helps the diffuse the light captured on my trusty Pentax K1 Mark II with the Pentax 28.05 lens. 1 15th f 11 400. As always, thanks for the podcast each week and performing and being a community for us. That's some xpan type stuff right there. That's cool. [01:39:13] Speaker A: Yeah, it really is. That's been really [01:39:17] Speaker C: far away. [01:39:20] Speaker A: Yeah. I don't know if it's me or if it's. But it almost. Maybe it's my glasses. I've got multifocals. It almost feels like you can just see a slight curvature of the horizon line and maybe it's just a trick of the eye, but it is a very, very wide field of view. Like it's taking in a lot of scenery. [01:39:41] Speaker C: It is, yeah. 28 to 105. I wonder what the lens was like fixed at for that shot. [01:39:49] Speaker A: Yeah, [01:39:51] Speaker C: it's crazy. [01:39:53] Speaker A: That's. That's just magic. You've really got it. You've got to print that big. Like [01:40:01] Speaker C: Ken Duncan. [01:40:01] Speaker A: Imagine that up on a wall. Yeah, Ken Duncan. Big go Ken Duncan on it, Phil. That's amazing. What a scene. Jesus. All right, foreign, let's move along. Ah, my old mate listened to Goodwin. Single frame. You ready to go, Joel? [01:40:30] Speaker C: Yeah, mate. Love Lucinda's work. [01:40:34] Speaker A: Oh, yeah. [01:40:36] Speaker C: So cool. An image from my first of three shows in 24 hours over the weekend. Someone I ran into over the weekend made a comment about how I captured the energy of a show across this set of images. Giving you one, I think sums up the week for the artist. Fanny Lumsden released an album Friday week and the first week of release is important to chart a lot of press and interviews and shows for her and the team. They found out just before the Geelong show that they charted number two on the Australian album and number one Australian and global country album album and number six on global album on the ARIA charts entirely independently. I felt the sense of achievement frame settings because I never send them. Canon R5F5 1/100,000 ISO 2000 with Flash. Yeah, that's great. [01:41:29] Speaker A: Yeah, it's really captured the mood. [01:41:33] Speaker C: The cinders works great, right? [01:41:35] Speaker A: And the contrast between her and the rest of the band. They all look like they've just shown up from a golf Tournament. [01:41:45] Speaker C: Yeah, they do. Yeah. You got golf plays on the right and then a cowboy on the left. [01:41:50] Speaker A: Yeah. Yeah. That's beautiful. Great image. Well done, Linda. [01:41:55] Speaker C: Great moment. Well done. [01:41:57] Speaker A: Yeah. Really lovely. I bet she was pleased with them. [01:42:01] Speaker C: Yeah. [01:42:01] Speaker A: The artist. We've only got two people left. [01:42:07] Speaker C: Do [01:42:07] Speaker A: we save the best for last? Not usually. Anyways, Dennis Smith, he's up next. Let me find Dennis's image. [01:42:15] Speaker C: Good segue. [01:42:16] Speaker A: Where's he gone? Where's he gone? I can't find him. There he is. November 9th. [01:42:24] Speaker C: Oh, Dennis. It is just starting to warm up. The beach is becoming enticing in the water. Moving, purging, laughing, and making work is my happy place. This is a 1.6 second exposure at F9, which means it was still. Still pretty bright. Peace, Dennis. I love that he gets in the water and does this. It gives it [01:42:48] Speaker A: such a [01:42:49] Speaker C: crazy, like, element. Like, when he gets in the water with the light, too, and, like, splashes the water up. It's wild. It's so cool. [01:42:56] Speaker A: Yeah. Did you watch him do it at Bright last year? [01:42:59] Speaker C: Yeah, yeah, [01:43:00] Speaker A: yeah. In the river. [01:43:01] Speaker C: Yeah, yeah. [01:43:02] Speaker A: He. He was. Yeah. The energy that man can contain is mighty impressive. [01:43:08] Speaker C: It's the a. It's. You know, it's. It's. It's everything. I don't know. He just. He's. He goes and he. I think he's a painter. He's a painter, not a photographer. Like, he uses photography for a camera as his canvas, but it's like he's so much a painter, and I love his work. [01:43:25] Speaker A: Yeah. You know what I really love about this, this particular shot is how the orange of the sunset up here blends into the red, and then it just keeps moving. [01:43:37] Speaker C: Yeah, [01:43:38] Speaker A: I think that's. [01:43:38] Speaker C: Yeah. [01:43:40] Speaker A: So lovely. It creates this connection. And then the light is also, obviously bouncing off the water in the foreground, which is the bulk. The Of. Of the image, and that's just captivating. [01:43:51] Speaker C: Dennis is really good at, like, understanding where negative space should exist in the frame, because there's usually a lot of negative space in his images, but they look in. They're like. They look intentional. Like, most people would probably do something like that, have it centered and maybe have a lot of the sky in, too, because there's still texture up there, but you don't need all the sky in this. Like, it makes sense for it to be tilted down and get those water reflections, like. [01:44:17] Speaker A: Yeah, [01:44:18] Speaker C: he's very good with his negative space. [01:44:21] Speaker A: Yeah. And on that, the sky is amazing. Like, the contrast of those clouds and the patterns that they make kind of a resemble the turbulence in the. In the rippling water in the foreground. [01:44:33] Speaker C: Sure. [01:44:33] Speaker A: And you know, the, the space in between this, the peaceful space is where Dennis is creating these, these swirling motion patterns. Yeah, that's pretty special. [01:44:45] Speaker C: Yeah. [01:44:45] Speaker A: Nice work, Smith. [01:44:47] Speaker C: Always mate. He's always killing it. [01:44:49] Speaker A: I know. Nice work. Oh, and don't forget guys, that Dennis is running some workshops in Melbourne in December. So head over to his website, have a look for Dennis Smith online and check out the info on his upcoming workshops. I went, what was it, the first weekend of October, the weekend before Bright. I went and did his light painting workshop over at Fabric in. Where was it? Box Hill, which is Jason Lau's studio. One of his studios. One of the most altering creative experiences I've ever had. It was just magic. I learned so much. But yeah, wonderful. [01:45:27] Speaker C: Fantastic. [01:45:29] Speaker A: And final entrant with a very late entry. Every week he sends it to me at like 10 to 7. Nev Clark. Nev Clark keeps messing with me. [01:45:40] Speaker C: That's so funny. At least he's consistent. [01:45:43] Speaker A: He is consistent, I'll give him that. Yeah. And a busy boy. He's doing lots of love [01:45:48] Speaker C: that. I love. [01:45:49] Speaker A: Lots of gigs. Yeah. Well, wait till you read how he did it. [01:45:52] Speaker C: Likey. Q3. 43 ISO 400F8 macro mode light was 10 Fola Kmart light. [01:46:04] Speaker A: $10. I think you meant terrible. Terrible spelling. [01:46:07] Speaker C: Yeah. Oh, $10. Kmart light and smartphone torch For Phil at home on the coffee table. That is really cool. [01:46:16] Speaker A: Isn't that fun? [01:46:17] Speaker C: Yeah. [01:46:19] Speaker A: He was just sitting at home mucking around. Pulled out this banger. I love that. [01:46:25] Speaker C: It's fantastic. [01:46:27] Speaker A: Yeah, [01:46:28] Speaker C: it's like really soft but also sharp. I love it. Like it feels. [01:46:32] Speaker A: Yeah, there's. Yep. [01:46:34] Speaker C: It's like really romantic and beautiful but also kind of like has something a little bit pointy about it. That's obviously. But it's like. Doesn't feel super comfortable. It's lovely. [01:46:44] Speaker A: And if you kind of soften your gaze on it and look at it more like an abstract, it almost represents an eye in some sort of like a reptilian head. Like there's a real. There's almost a menacing element. Especially because there's those spikes in the, in the, in the background that the three sort of peach colored spikes that are jutting out. [01:47:02] Speaker C: Yeah. [01:47:03] Speaker A: There's a real menacing quality to it [01:47:05] Speaker C: for sure. Yeah. [01:47:07] Speaker A: Yeah. But it's like [01:47:08] Speaker C: soft petals. Yeah. It's really beautiful. [01:47:10] Speaker A: Yeah. Yeah. Well played, Neville. [01:47:13] Speaker C: Great interpretation on just like a rose, you know, like [01:47:17] Speaker A: just stuffing around on the coffee table, you know, at home. Why not? [01:47:22] Speaker C: Fantastic. [01:47:23] Speaker A: That's what it's all about. Very cool. Well, I can finally turn this off, but thank you to everyone that sent in images. Let me just bring us together. Thank you to everyone who sent in images. We love it. It's the highlight of my week. Absolutely. I know that. Oh, Felicity, hang on. Of Ms. Felicity Johnson. I'll never hear the end of this. I don't think it came through, Flick. Did it, did it, did it, did it? Just bear with me. Just chat amongst yourselves, folks, or have a look. No, I'm sorry, Flick, it didn't come through. If you can send it through to the camera [email protected] but also send it through to [email protected] and we'll bring it up next week. I'm so sorry. We're still trying to work out this, this, this, this email issue. It's doing our heads in. Anyway, where'd you go? There you are. Sorry. Flickering. Yeah, I got the address right. Lucinda. I can learn. See, I can do hard things. [01:48:45] Speaker C: So proud of you. [01:48:47] Speaker A: Thanks, man. Thanks. I can do lots of stuff. Thank you to everyone. Yeah, sorry. Getting back on track. Thank you to everyone for sending in your images. We love it. Like I said, you can send your images to the camera [email protected] we'll bring it up on a Thursday evening. Don't be a Neville. Don't send them to me at 5 to 7 every, every Monday night. I love you, Nev, because you do my head in, but yeah, but please send them through. You know, a single image often says more than, than a whole collection of images. But if you've got like a small series that you've created down, you want to show us like, you know, three, four, five images, that's cool too, as long as they're all sort of related. But more importantly, when you send in your images, please make sure you include a little, just a little couple of sentences about why this image was important to you, what compelled you to send it in, and if you want feedback, let us know about your camera settings that you use, what gear you used, if you want. And yeah, we'll bring it up every Monday evening on the random photography show. Speaking of which, if you'll allow me for a moment, we do this twice a week, every Monday evening, 7.30pm, Australian Eastern Daylight Time. At the moment, we have a random photography show where we talk about industry news, product launches, we see what, what we've been up to recently in our own work and what we've got going on, but we also look at your images and speak to them every single week. And then every Thursday morning at 9am Australian Eastern Daylight Time, we have our interview series of shows where we talk live, live on YouTube with an amazing Australian or international photographer. Most of the BE workshop instructors make up the bulk of our. Our. Our catalog of interviews. Joel has. Has obviously been on the show. Joel, you've been on the show a number of times. [01:50:38] Speaker C: This is my third time now today. [01:50:41] Speaker A: Third, surely. I've done more than that. [01:50:44] Speaker C: I think we did two on. I don't know, probably. We just catch up and chat all the time, mate. That's. [01:50:50] Speaker A: We do. We do, yeah. It's hard to keep count, but. But yeah, look, and if you are new here, say good day in the chat. It means a lot to us. If you reach out, give us a like. It helps out a lot. It lets YouTube know that we have content worth sharing. And for the absolute cost of $0, you can subscribe to the Camera Life podcast. And that way if you hit the bell icon. Once you've subscribed, you'll get notified in your time zone whenever we have an episode about to go live. So, yeah, so do that. Joel, before we wrap, what. What have you got on in the next sort of in the foreseeable future? You've got any weddings coming up? Any particular other than. Than your core project that you're working on for your personal stuff? [01:51:33] Speaker C: I got a wedding in a couple of weeks and I think that's the last one for the year. Weddings don't exist like they used to in my life, which is quite nice. I don't need to do 35 now, I do about 15, so I quite like that. But I got one more for the rest of the year and then it's just coming into December and January. It's like holiday period, warm weather. So I'm going to be fully invested in the project, I think. And just shooting and being at the beach, it's going to be really tough, you know, but. Sounds [01:52:02] Speaker A: good, [01:52:02] Speaker C: yeah. So I'll take the bullet for the team and just do the best I can. What I thought, you know. [01:52:08] Speaker A: Yeah, look, we appreciate your sacrifice, obviously, for the sake of art, but someone has to do it. Someone has to do it. Who's on Thursday? Listen, wants to know who's on Thursday. On Thursday we're joined by yet another BFOP workshop instructor, but more importantly, he is a food, tech and lifestyle photographer. Vui Lee is joining us to talk about his craft. And I've known VUI for quite some time. He's a Fuji boy, so he's. He's right up there on my list of people that I like. You don't shoot Fuji, do you, Joel? No, [01:52:42] Speaker C: I. When I was doing digital, I was doing Fuji. I do have a digit. I have an XT5. It's what I use for my [01:52:47] Speaker A: skin, [01:52:48] Speaker C: so. [01:52:49] Speaker A: Nice. There you go, you're back up there, brother. [01:52:54] Speaker C: Yeah, yeah, yeah. But, yeah, no, if I was to shoot any main camera system, Obviously, besides Leica M10s or MLMS Evans, but you can afford that, it would be Fuji. But, yeah, they're good. [01:53:06] Speaker A: Yeah, nice. All right, Just redeemed yourself? Yes. Very cool. As for me, I'm working on a couple of projects. I've just finished writing a very big article for the Beef up team for Matt and Nick. I wrote an article about BFOP 2026 and the power of Community, so hopefully that gets published soon. And I wait, I'm still waiting for Matt to let me know where that's going to go, but that was pretty cool. It was a, you know, it was, it was a slog. Trying to fit everything into an article that, that I experienced and that I saw others experience at bfop. Because so much happens, you know, we. We were surviving on, you know, five hours sleep a night, up early, doing podcasts, you know, people coming into the house, heading to the hq, hanging out with folks like it just, you know, there's so much happens [01:53:55] Speaker C: in [01:53:55] Speaker A: an event like that. But I think it's those times when you stop and you have those connections and you interact with someone and, you know, and share a story or whatever it may be. That's, that's where, that's where it really hits hard. But, yeah, but I think that's about it for us. I think we might be at a point where we can say goodbye to some folks. Let me have a look at who's in the chat before I say our farewells. Gosh, there's so many comments, so many people. I love it. Felicity Johnson, Ms. Ames. Lucinda, of course, Gareth. Greg Carrick. Who else we got? Les? Okie. Oh, some news, just joined. Who's that? Foot Rot Dog. Foot Rot Dog wants to know. No, that's not Foot Rot Dog. Does a Fuji GSW 690 count? Absolutely, lutely, absolutely. Especially if it's got a Fujinon lens on it, which it will have. [01:54:56] Speaker C: Yeah. [01:54:58] Speaker A: John Latimer, David Skinner, Rick Nelson, heaps of people joined in. Peter Carlson, of course, Phil Thompson, Philip Johnson, Rick Nelson, I think I've said. Greg Carrick, I think I've said too. Look, thank you everybody for watching tonight. This has been the Camera Life podcast. And of course, Joel, thank you so much for dragging yourself out of your sick bed, doing at least bare minimum to make yourself look presentable and, and jumping on the show to help me co host. I appreciate it and I'm sure everybody that's watching and listening along live does too. So thank you so much for your time, mate. [01:55:36] Speaker C: Thank you. Anytime. And I apologize again for my technical cool stuff, but I, I'm always like, so stoked and honored to, to be chatting with you guys. So any opportunity I get. Thank you. [01:55:47] Speaker A: Amazing. Amazing. And your beard looks gorgeous, by the way. I just want to put that. Thank [01:55:50] Speaker C: you, mate. So, yeah, I'm, I'm learning from them. [01:55:52] Speaker A: I'm [01:55:53] Speaker C: learning from the best, you know? [01:55:54] Speaker A: You know? Yeah. Say it again, go on. But look. On that note, folks, we're going to tie in a bow in this episode of the Random Photography Show. Don't forget to join us on on Thursday morning, 9am Australian Eastern Daylight Time, as we talk to Vui Lee about his life as a food, tech and lifestyle commercial photographer. And don't forget the Lucky Straps Family and friends sale. Head to Luckystraps.com familysale. Register your interest. Just drop your email address into the little white box and you'll be getting updates and notifications as we get closer to the biggest sale event of the Lucky Straps year. But once again, thank you so much and look, we'll see you all next time. All right, be safe, everybody. Thanks again, Joel. [01:56:39] Speaker C: Bye. Bye. [01:56:41] Speaker A: Bye.