Are We Sick of Big Cameras? with Denis Smith - The Random Photography Show (EP191)

[00:00:00] Speaker A: I'm going so blind. [00:00:30] Speaker B: Well, g' day everybody and welcome back to the Camera Life podcast. This is the random photography show and it is Monday 15th June and we've got a packed, packed show for you tonight. We've also got a, we've also got a pack studio. We are joined by. Obviously Justin's here. G', day Justin. Great to see you. [00:00:48] Speaker C: Good to be here. Good to be here. [00:00:50] Speaker B: Thanks for showing up. And of course we're joined by Mr. Smith, Mr. Dennis Smith. G', day Den, how are you? [00:00:56] Speaker A: I, I managed to get my in. I, I was trying to do social media just then. It went well. [00:01:00] Speaker C: What's the deal with you? You looked like you couldn't see but you took your glasses off to do the phone. What's the deal with that? [00:01:07] Speaker A: I have so many pairs of. I have these glasses here, see they've got blue on them there. These are my studio glasses. So they, they work exactly this distance here. Right. But no, but no other time. So I can read, I can read Bruce's comments when he says things about us, which is great. [00:01:29] Speaker C: So they're like, they're like manual focus glasses. You haven't got the autofocus models. You're still running it. [00:01:36] Speaker A: I've got, I've been working on those. [00:01:38] Speaker C: This is so it's like, okay, nice. [00:01:43] Speaker A: Autofocus glasses would rock. [00:01:46] Speaker C: They would rock. Yeah. [00:01:48] Speaker B: Well, got an action packed show for you tonight folks, so please stick around. We've got a lot to cover off. We're going to cover some industry news. Sony Alpha turns 20 I think today or yesterday. DJI Nisa360 loggerheads in court over their competing almost identical products. And Dennis has got one to show us a bit later. And we're going to discuss tonight's topic. Are we sick of big cameras? Because evidence in the photography industry in the, I guess in the sales space for cameras is showing that compacts leading the charge and as to our fixed lens cameras, so we're getting into that. Look, we've got more news to cover. We've got your images obviously if you've been seeing in the images, we're going to show those off and I'm going [00:02:36] Speaker A: to get a bit of an update [00:02:37] Speaker B: from Dennis, I think. [00:02:40] Speaker D: Yeah. [00:02:40] Speaker C: Oh, and I've got, I've got some, I've got some, some dog photography to, to show too. [00:02:47] Speaker B: Nice. Very cool. Dennis, it's time to do your ad read. Are you ready? Are you pumped for this? [00:02:54] Speaker A: I am, I am. [00:02:57] Speaker C: He hasn't got his glasses on. [00:03:01] Speaker B: Where's his ad read glasses. [00:03:03] Speaker A: Are you ready? [00:03:03] Speaker D: Are you ready? [00:03:04] Speaker C: Yeah, yeah, yeah. Give us your best. [00:03:06] Speaker A: When I think about my life. There was before lucky straps and after lucky straps. Comfortable leather camera straps with a modern quick release system that doesn't leave any dongles on the camera. Anti theft features include a safety lock and a cut resistant webbing. Our camera straps will keep your gear safe and ready to capture the shot when you don't have a second chance. Check them [email protected] use the code. I'm small for. [00:03:42] Speaker C: No, don't use that code. [00:03:47] Speaker A: What I want to say is it's clean. Fandango here. Can you hear me? It's clean. [00:03:53] Speaker B: Can you hear you, Clem? [00:03:55] Speaker A: Fandango. Yeah. Anyway, thanks for having me. [00:03:59] Speaker C: Great to have you. [00:03:59] Speaker B: We're going to get another update from you soon. [00:04:04] Speaker C: Before we went live, we asked Dennis to do the, the ad read at the start of the show and he graciously accepted and obviously just freesty that. Yeah, but it sounded like a news reporter so it was beautiful. Thank you. [00:04:14] Speaker B: Nailed it. Nailed it. Let's, let's say g' day to some people. Justin. [00:04:23] Speaker C: Yes. Oh, the plumber, Matt, he says hi. Camera Life podcast. Late night at work, listening in. Well, if you're here, if you're here very late, Matt, there'll be some little pictures of your pooch later on in the show. Was one, Matt's puppy was one of the puppies that we photographed and it was a great dog. [00:04:42] Speaker D: Plumbing. [00:04:42] Speaker A: Did you know that plumbing, plumbing is the number one thing that will never be taken over by AI that you [00:04:49] Speaker C: know what, I wholeheartedly agree. And every now and then some canob on a podcast who's like an AI guy says that the plumbing will be one of the first things to be replaced when there's like robot workers because they're like, oh, it's always the dirty job, the dirty repeatable hard work jobs that get replaced first. And I'm like, I don't think they understand. [00:05:15] Speaker B: Yeah, I don't get replaced first. [00:05:17] Speaker C: I don't think they understand how complex plumbing on a 60 year old randomly built home in some random suburb in Australia or the US or anywhere how difficult it is to actually just manage that problem. Like, oh, there's tree roots growing. Just send the robot plumber in. It'll probably knock a hole in your wall and not be able to fix it and then charge you too much like a real planet. No, I'm kidding. But like, no, but seriously, it's. I agree. That's Going to be one of the last jobs to ever have to worry about the AI revolution taking over. [00:05:51] Speaker B: I have said to make your fortune in this world moving forward, you should become a plumber in an aged care facility. Aging population. I always need plumbing. [00:06:01] Speaker D: Always. [00:06:02] Speaker A: Always. [00:06:03] Speaker C: Yes. Okay. Yeah. And so yeah, we've got agreement in the chat. No chance AI completely replaces plumbing. Look it not. Not in a future that we can even comprehend. Maybe in some weird new future where plumbing's not required and it somehow just vacuums the poop straight out of us and disperses it in the upper atmosphere. Maybe, but not. Not with our current system of putting stuff into pipes and just hoping it goes where it's supposed to go. Never. Anyway, back to photography. Let's see who's in the chat. Philip Johnson. [00:06:35] Speaker D: Good evening. [00:06:35] Speaker C: John Latimer. Good evening. Hey everyone still working away as I have you in the background. That's great. Felicity Johnson is here. Rodney Nicholson. Dennis Smith, the guy that tennis guy knows a thing or two about small. See what you did there. Well, I cover that. Lucinda Goodwin. Good evening Lucinda. Send a photo in. It's been a little while. I was very excited when I saw her email. Thanks everyone else that sent some photos in for tonight. It's probably too late to sneak one in if you missed out. But send one in for next week. Email to me justinuckystraps.com and we bring them up towards the tail end of every Monday night random photography show. David Skinner is here. Tintypeman says. Evening all. I had a great day of photography today doing landscapes with my 4x5 camera until I got home and realized that I'd loaded my 120 film backwards and had brilliantly exposed paper. Oh no. [00:07:33] Speaker D: Oh no. [00:07:34] Speaker B: Such a rookie era too. [00:07:36] Speaker C: Well, I hope you still had a great day. You know like the journey is worth [00:07:43] Speaker B: well but all the steps that, that he go. [00:07:46] Speaker D: Scott. [00:07:47] Speaker B: Scott goes through to create an image that we take for granted by just you know, pointing and clicking and. And he, he stumbled at the rookie era. Well, I bet you've learned your lesson, mate. [00:08:00] Speaker C: Yep. John Pickett. Who else? Philip Donnelly. 424 0. I heard that Dennis bloke knows his way around a prawn or two. [00:08:08] Speaker A: I'll tell you, I'll tell you who that egg is in a little bit. [00:08:12] Speaker C: Okay. [00:08:12] Speaker D: Okay. [00:08:13] Speaker A: He features, he features in my wrap up today. [00:08:16] Speaker C: Oh nice. Okay. Tweet Productions. Rick Nelson. Good to see you. Lisa Leach says Good evening Greg. Dennis and Justin Technique FPV says was up Dromies. Good morning. Well, good morning to you, sir. I hope you've been flying your drone around. Who else? Bruce Moyles. Here. Roy Bigsby. G'. Day. I like them big. And cameras too. Nice. Who else is here? Parabellum collectibles. Jason, good to see you. That's about it. I think so. Oh, this, this person's nice. Look at this from every now and then we get a Twitch comment because we do stream on Twitch as well. Yo, bro. I wanted to show you some real love for your stream because you've genuinely got crazy potential. Oh, and they can do some stuff for us. Well, that's nice. You can watch us grow. Appreciate it. Tell me where to send my credit card details. [00:09:13] Speaker B: Crypto. [00:09:15] Speaker C: Nev Clark, good to see you. And everybody else. Phil Thompson, you're all great. Anyway, let's do this. Let's do this. [00:09:24] Speaker B: Full house. [00:09:25] Speaker C: Where are we going to start tonight? So should we, if anyone wants to chime in at any point with the, the topic of big and small cameras, feel free in the comments, just send it or I mean, call us. But we'll, I, should we get into that later in the show? Greg? [00:09:41] Speaker B: Yeah, we'll park that for a bit. [00:09:43] Speaker C: Okay. [00:09:44] Speaker B: Maybe we'll start off with a bit of an update from Dennis, see what he's been up to lately. How does that feel? [00:09:50] Speaker A: Yeah, I mean, I'm king as mustard. I, I, I've had a crazy, I got, I got in about, into the studio about 10 minutes ago, hence I just did not get to tidy up my thing. But I, I got in from the forest after midnight last night. So I was out in the forest last night getting ready for a workshop I'm doing up there in a little bit. And that was a beautiful night. Astro Light painting. Good friends. But I, I was trying to think what to lay in here for as a bit of an update. But I have a lot going on at the moment. I think, I think a lot of people know that I'm in this like quite aggressive transition period, going from commercial video and photography and into counseling and finding that, trying to find that balance now between putting enough time into that business to get it up and running, combined with income, which basically for me means workshops, events, that sort of thing. And I've got a bunch of stuff coming up where really I met this, I'm at this kind of stage in my light painting career where people contact me and like I've got an event coming up in a few weeks for a council where they've got this big festival of light and they, they take me in and they Give me a big room and I just get to do three nights of light painting portraits. So I just sort of take. And I might have like we might do two or 300 across those nights but I set up a big projector and it's all live. I use the live composite on the Olympus cameras so that the portraits are building live on a big screen in the room. So yeah, a lot, a lot of that sort of stuff. [00:11:37] Speaker C: Yeah. [00:11:37] Speaker A: I'm, I'm so bloody happy at the moment. It's ridiculous. Things are, things are good, they're, they're hard but good and, and life is great and, and I've prepared a little presentation tonight around small cameras and why they're great. But I, yeah, I, I, I've, I have a cooking show. I don't know if a lot of people, every now and then I'll forget to change back from Aussie Part Barbie. So I have a cooking show that, that my friend who left the comment before, Phil, he is a, he's a, he's an incredible baker. He has 155 year old bakery here in Port Adelaide. But he's also, he's also a great friend and he came up with this idea that in this time when it's, it's, it's never been harder for families or friends to do cost effective fun things, we realized that there are literally thousands of free barbecues in some of the most beautiful locations. So we, we just shot episode eight and we're shooting another three in the next couple of weeks and we go to barbecues, free part barbecue and we create these episodes, short form episodes and Phil designs really cool fun recipes and we show people how to do that. So it's all about mental health. It's about getting outside, it's about connecting with community, it's about supporting local people [00:13:04] Speaker D: and. [00:13:05] Speaker A: Oh, there we go. That's, that's and we haven't, we haven't really started pushing it yet that hard because I wanted to have 10 episodes under our belt. But we, we're getting sponsorship so we, we got, we're doing three episodes for a council that got a big chunk of sponsorship. Yeah. And, and, and we're hoping to take it on the road so we're going to go traveling. Phil is also a phenomenally talented photographer and just a gorgeous guy. He's become a very close friend of mine and we, we go out and I do it all. Two, three cameras, sometimes four cameras. I do all the audio, all the stills, all the videos. So it's just the two of us. So that's, you know, small. Small cameras is really important with that stuff. But, yeah, amongst many things. I also started shooting my Sala. I'm doing a massive exhibition in August. I'm creating a body of work with that. I started that this week. Yeah. [00:14:01] Speaker B: What's that for? Sorry, Dan. [00:14:03] Speaker A: So Sala, which is. It's a massive. It's South Australia's largest arts festival. So it's called. It's South Australian Living Artists. And I do, to varying degrees every year I do exhibitions and an actual artist, a painter, who I absolutely adore. I opened his exhibition last year, actually. He asked me this year if we. If I would do a collaboration, a collaborative one with them. So we're creatively combining painting and light, painting and photography in a whole lot of really exciting different ways. I'll be. I'm just cutting an ad for it tonight, but remarkable opportunity for me to really push another boundary. Like I. It's called response. So I will create an image and he will respond to that with the painting in some of them. One of them, which we worked on this weekend, is I will give him a photograph. And it's all stuff in the Port Adelaide area. He creates a painting of it. It's 1.5 meters by 1.5 meters. And then I light paint his painting. So he's painting onto a material that light will go through. So I paint his painting with light. So it's. He's responding to a picture of mine, and then I respond to his painting with light. It's extraordinary. Yeah. [00:15:28] Speaker B: Oh, that sounds magical. Yeah, very cool. [00:15:31] Speaker A: It's actually. It's utterly wild. And for me, it is just all I ever want to do is walk to the edge of the creative cliff and look over and every now and then just dive in and take that risk. And sometimes the parachute opens, sometimes it doesn't. And in this instance, the parachute is opening hard and fast. It feels glorious as a body of work, and I get really excited when I think about it. [00:16:03] Speaker B: That's amazing. You never cease to amaze us, Dennis, with the creative directions and like you said, being prepared to push the boundaries of your own creativity to see what is possible. And I think that's wonderful. I think there's a lot of. For others to take inspiration from. [00:16:20] Speaker A: Thank you. [00:16:21] Speaker C: What time of year is. Is that. Will that for the month of August? [00:16:26] Speaker A: So, yeah, the opening is on August 1st. And then we. We have open studio every weekend, so people come in and we're creating work live so you can come into the room and it's that as he transforms his house into a gallery. [00:16:40] Speaker C: Oh, wow. [00:16:41] Speaker A: But I'll be, I'll be running, running an HDMI cable from the camera as I create the work out to his big TV in his, in his lounge so people can see it being created live as well. Yeah, it's, it's a, it's a buzz. [00:16:55] Speaker B: Yeah, that's phenomenal. [00:16:56] Speaker C: I'd have to try and make it, make a road trip across there. I've been meaning to do it and it's only, what's it, eight hours from Bendigo. It's not too bad. [00:17:03] Speaker A: That's nothing, mate. Giggles like drive across the country when [00:17:09] Speaker C: you don't have your helicopter. Can we, can we. If anyone's not already subscribed to Aussie Park Barbies, just head over, head over and give it a quick subscribe. It's like, it's, it's at Aussie Park Barbies on YouTube. If you type in Aussie Park Barbies on YouTube. [00:17:29] Speaker A: Instagram. Instagram as well. Look, the thing is, it's just fun. Whether you want to learn how to cook something on a barbecue, I tell you, you're going to have a giggle or two. Phil is a nut job. And, and we, we always have fun and we always talk about where we are and what we're doing and, and yeah, it's, it's very early. We're still finding our feet, but it's feeling really, really good. [00:17:53] Speaker C: But let's, let's just read out a couple of titles of these videos. Cooking a Greek feast on a park. Barbecue on a park. [00:18:02] Speaker A: We cooked a Christmas turkey. [00:18:04] Speaker C: Yeah, yeah, yeah. [00:18:06] Speaker A: We said, I said, what is the most insane thing that you could possibly cook? And so we bought a 4 kilo Christmas turkey we had to smack. We sit, we set a, a brick on top of it to hold it down while it was cooking. [00:18:24] Speaker C: So it doesn't matter where you are in the world, you'll be able to get some joy out of these videos. Oh, yeah, learn. Learn how to make the most out of a. One of those park barbecues that most of us these days probably just walk past and think, I wonder who uses those? Yeah, you can use them. And you can cook a Christmas turkey. [00:18:42] Speaker A: So that is an Andrew right there. [00:18:44] Speaker C: Yeah, damn. [00:18:45] Speaker B: Yeah, damn right everywhere. [00:18:49] Speaker C: What else? [00:18:50] Speaker B: Well, should we jump into the news? [00:18:54] Speaker C: Yeah, okay, let's do that. [00:18:56] Speaker B: All right, let's talk a little bit about news. As always, there's a lot going on in our industry. New cameras are being rumored, new lenses are being dropped the length the amount of lenses that have been dropped this year already is just ridiculous. From third party. [00:19:12] Speaker C: They didn't break. [00:19:13] Speaker B: Well, I hope so. And a lot of them coming out of China from. From new companies or old companies re envisioning old lenses and all that sort of stuff. Speaking of lenses, let's talk about a little bit of lens news. What have we got? Samyang gonna bring up the Samyang Sony lens. The first article please. [00:19:35] Speaker C: Jay. [00:19:35] Speaker B: What's the. [00:19:36] Speaker C: The deal with this? Where is it? I'll bring it up because I saw Schneider. What's the deal with that? Schneider? [00:19:48] Speaker B: I think Schneider's another, it's another lens company. I thought. [00:19:53] Speaker A: Look at that. 28 to 135. That's crazy. [00:19:57] Speaker B: Yeah. So there's. [00:19:58] Speaker C: There's this, this two coming or they're not sure which one it is. [00:20:02] Speaker B: They're not sure about. [00:20:04] Speaker C: Ah, right. I'd heard about this 60 to 180, but I hadn't heard about the 28 to 135 yet. [00:20:09] Speaker B: Yeah, maybe both. Who knows. [00:20:12] Speaker C: Maybe. [00:20:13] Speaker B: But yeah, a couple of new. This is for FE mount 28 to 135F, constant F 2.8. Amazing kind of workhorse lens, all purpose. And then obviously a 60 to 180, you know, for portraiture through to some relatively close sports. But still again constant F 2.8. But this is expected to be dropped on the 25th of June so in 10 days. [00:20:42] Speaker C: Okay. And then we'll know. I wonder if they drop them both or if they'll Dennis on a full frame camera. Would you prefer a 60 to 180 or a 70 to 200? The conventional. The conventional focal length of 7200 or would you prefer to get the extra 10 mil on the wide end but sacrifice the 20 mil on the long end or would you not care? [00:21:06] Speaker A: No, to be honest. Well, that could always. I used to use 7200 a lot and I've got a. And I've got a. I have a 70 to 200 and I use a lot in video as well. So I would go long. I would want it line because, because we have, you know, we often have the lots of primes or 24 70s at that end. So I would always go for the length if it didn't. If it didn't affect weight. [00:21:35] Speaker C: Yeah, yeah, yeah. [00:21:38] Speaker A: One has got the G Master 70 to 202.8 Sony lens. That thing weighs nothing. It's insane how lightweight it is. [00:21:48] Speaker C: Then if, if you have the cannon, the canon one. Have you held the. It's about the same weight, but it like goes down small. [00:21:56] Speaker A: I've got the, I've got the 70 to 200 Canon lens. It's a new one. No, an EF1. [00:22:04] Speaker D: Yeah. [00:22:05] Speaker C: So the, the RF cannons about the same weight as the Sony's. Yeah, about the same. It's, it's amazing what all, all the brands have been able to do with that workhorse type lens to, to reduce the weight by a. I hate. [00:22:17] Speaker A: It's amazing. Incredible. And we're going to talk about weight a lot tonight. [00:22:21] Speaker B: We are, we are. [00:22:23] Speaker C: Bruce Moyles. Bruce Moore's got two of the 70 to 200 Mark IIs. That's greedy. Bruce, two of them? [00:22:29] Speaker A: Gosh, he's probably got three, but he's too embarrassed to say it. [00:22:32] Speaker C: Save some lenses for the rest of us. Yeah, I know. [00:22:36] Speaker B: Okay, so anyway, so the, the Samyang Schneider lens drops. A lot of this is coming from the back of the CP plus show in Japan earlier this year, which we didn't get to go to because someone forgot to book tickets at accommodation. But there's a, there's a bunch of lenses that I discussed in an interview at that show. So, yeah, if you're a Sony shooter and you're looking for some alternative lens options, then Samyang Schneider might have you covered. [00:23:08] Speaker A: I have a wild story. So I was in the forest last night, like I was saying, till very late. [00:23:14] Speaker C: Any story that starts with I was in a forest last night, very late, very late. [00:23:20] Speaker A: And the guy I was with is a Sony. Like, he's, he's a, he's probably the best astrophotographer that's ever lived. And we're doing a workshop together. Anyway, he goes to me, check out this lens, and he just now has emailed me the photograph. And it's a 6 millimeter full frame lens. And he had this idea of tilting the camera, tilting the camera onto its back, pointing straight up at the forest. And then I light paint around the camera in a circle. And he's just emailed it to me. It is insane how wide that thing is. It's got the light painting from down flat. [00:24:05] Speaker C: I mean, do you think he'd mind if we, if we just showed it on the show without him knowing that it's, you know, hey, can we bring. What do you think he'll care if we bring it up? [00:24:18] Speaker A: No, he's just sent it to me. He's, he's just, he's given it what he, he's shared with me. And the wild thing is that because he's an actual astrophotographer he does like 9673 image composites to get those. And I said to him, I said, nebulas? Yeah. And I said, dude, this has to be. This has to be actual size. Large. Send. It's on its way. And so this image I'm sending you is a single exposure, but it's. Yeah, so I had to keep just this. I had to keep the same distance away from the. The camera all the way around. And. And it took me. I did it on the second attempt. [00:25:01] Speaker B: Nice. [00:25:02] Speaker A: Yeah. Which is. But 6 mil is really wide. [00:25:05] Speaker C: That blue wide. I didn't even know that was a thing. [00:25:09] Speaker A: Yeah. And the. And the quality is pretty insane. [00:25:14] Speaker B: What brand was the lens? Do you know? [00:25:18] Speaker A: Let me see if it comes up in the. [00:25:21] Speaker B: In the exif. [00:25:22] Speaker A: It was lean. Leans. Lean six. [00:25:26] Speaker D: No. [00:25:28] Speaker C: All right, I've got it. I'll pull it up. Hang on. Where are we now? [00:25:31] Speaker A: Yeah, this. This is. And this. It's important for you to know whoever sees it, this is a. This is a single exposure always. [00:25:41] Speaker C: Dennis, I'm getting a little bit of. Getting a little bit of noise from your mic. Is there something that's like, oh, I've got my. Oh, no, it's not. [00:25:50] Speaker B: That's tapping it, like. [00:25:52] Speaker C: Yeah, it's almost like you've got a record player, but it's at the end of the record and it's just doing that. It's like going and around circles, just going, badunk, badunk, badunk. I don't know what it is. [00:26:01] Speaker A: Would you like me to. [00:26:04] Speaker C: It's no big deal. I think it's yours. Let me just. [00:26:07] Speaker A: I could change to my wanker mic. [00:26:10] Speaker C: No, no, no, you don't need to Let me just like. Yeah, okay. It's definitely. Yeah, it is. It is that. I don't know what it is. It's not the air conditioner, so don't stress. All right, let's add. Let's. Oh, yeah. Oh, my gosh. [00:26:26] Speaker A: How wild is that? Now I'll explain again for those of you looking at this that are not sure. So the camera is on its back pointing straight up. And then I literally. He set the timer to 30 seconds. So a 30 second exposure. I step back maybe three meters and then I've. I've got to gauge staying exactly three me or, you know, roughly do the swish swirly and then stop at the same. Stop at the same point. So what I did is I lined up there. You can see at the top there. There's one of the trees, is bright. [00:27:07] Speaker C: I was Gonna say do. Yeah. Do you know where you stopped and started? Is it? [00:27:10] Speaker B: Yeah. [00:27:10] Speaker A: So what I did is I lined up the camera with that tree and started there and then went round and then when I saw it line up, I just stopped again. [00:27:18] Speaker C: Ah, yeah, that's cool. [00:27:20] Speaker A: Wild, right? [00:27:21] Speaker B: Should we. [00:27:21] Speaker C: Incredible. Should we zoom in a little and just see if we can see Dennis's face or something? Oh, it's not. I don't think. I don't think we've got enough zoom, zoomy resolution. It must be a low. That's right. We can't. We can't enhance far enough. [00:27:37] Speaker A: Wild. [00:27:37] Speaker C: It is. It's so cool. It's such a great idea. [00:27:40] Speaker A: I don't. It is very, very, very, very rare for me to see an image on the back of the camera where I just go psycho. And I swear I jumped about a meter off the ground. It takes. It takes something pretty special to blow me away. And I was floored when I saw that. [00:27:56] Speaker B: Yeah, it's pretty amazing frame. [00:27:57] Speaker A: Yeah, Thanks. [00:27:58] Speaker B: Y. Yeah, really cool. [00:28:01] Speaker C: You guys should be that. [00:28:02] Speaker D: Yep. [00:28:04] Speaker C: Collaborative art. [00:28:05] Speaker D: Y. [00:28:06] Speaker A: This is it, right? See, he. Because for him, for me, it's like I. I say yes to everything, you know, And. And Astro is hard. Like the images that I've sent you for tonight, you know, they're an example of. Of hard because. Because I only ever do it in one exposure. It's hard because. And so when people like, will. This guy that I'm out with, he goes, hey, do you want to try this? I'm. Yes. You don't even get the s out. And I'm like, yes. And. Because if you don't. If you don't say yes to people with crazy ideas, you don't see crazy stuff. And yeah, we both. Yeah, we both stood there just blown away. And that's a collaboration of people taking risks, going out on a freezing night into the middle of the forest. Because we're doing a workshop. We're taking 12 people out and we're going to have a. An Astro zone and a light painting zone in the forest. It's going to be gorgeous. [00:29:02] Speaker B: That's amazing. [00:29:03] Speaker C: That's a good idea too, because obviously one can interfere with the other, you know, with a bit of light coming and you're trying to do Astro or whatever. So, yeah, get them sort of separated far enough, but you can still. Yeah, that's a great idea. [00:29:15] Speaker A: Yeah. [00:29:18] Speaker C: Yeah. Everyone's a fan. Tweak. Production says, that's cool. Phil Thompson says, Insane Felicity Johnson says, oh, wow, that is wild. Bruce Moyle very cool tweak. Production says yes. Use the wanker mic. Felicity Johnson says, I was in the forest last night too on our property shooting the sky until the wee small hours. It was an amazing clear and dark night. Yeah. And just to confirm for Parabellum and that is on a 6 mil lens, something like. [00:29:48] Speaker A: I think it was 6 full frame and it was tiny. [00:29:53] Speaker C: Yeah. Wow. Love it. How good you saw it here first we got a sneak preview. Look at that. There you go. [00:30:03] Speaker B: That's incredible. [00:30:08] Speaker C: So we're talking about, we're talking about lenses. Yeah, no six mils. What else? [00:30:15] Speaker B: Just another little quick lens announcement. This is also for Sony Viltrox apparently. Although it'll probably, if it's Viltrox, it'll come to other mounts but they're expected to announce tomorrow a brand new pancake lens. They dropped a teaser. No other information at this stage. So we don't know, you know, we don't know its focal distance or anything like that. But speaking of small pancake lenses can be amazing lenses especially for everyday photography. So keep an eye out on that one. Indeed. Let's move along to camera news now. Let me just shut down some of these tabs. So many tabs open. Congratulations in order for Sony who have just celebrated their 20th anniversary of Alpha cameras. Way back in 2006, the Sony Alpha 100 was an APS C camera that was launched with a 10.2 megapixel APSC CCD sensor. And even that camera had Sony's in body image stabilization which is steady shot inside. So yeah, that's where it all kicked off and they, they entered the mirrorless market not, you know, before anyone else as well. Like they were very, very quick to get in there. So yeah. [00:31:34] Speaker C: Would they use. No. Were they, they, were they. [00:31:37] Speaker B: The. [00:31:37] Speaker C: They were the very first full frame mirrorless but not the first crop sensor mirrorless? [00:31:46] Speaker B: I don't think so. No, I don't think it was. [00:31:48] Speaker C: Sony don't know my camera history that well. [00:31:51] Speaker B: Yeah, I can't remember it. [00:31:52] Speaker C: We'll have to maybe one day we'll do a history of cameras. Not all cameras. A history of mirrorless cameras. Let's start. [00:32:02] Speaker B: It's a seven hour episode. [00:32:04] Speaker C: Yeah, yeah, 27 hours. All right, well the first one. Anything else exciting happening this week? [00:32:15] Speaker B: Yeah, there is. Insta360 have finally announced their new Lunar Ultra camera which was co engineered with Leica and DJI is the first article I came across this morning about this. DJI is suing Insta360 for violating multiple Osmo Pocket patents according to DJI. And then the next day Insta360 is counter suing DJI for asserting five patent violations. Going in the look, I would probably [00:32:51] Speaker C: put that in the category of. For both of them without knowing exactly what happened. The pot calling the kettle black probably. I'm guessing both of them have done a lot of copying and it's kind of. It is what it is. Let's bring this little camera up because this is, this is not really something that the photographers care about, but it is very interesting. And so basically it's taken the OSMO Pocket, which has been one of the most popular video cameras of the last couple of years. I've got one, I think Dennis has got 15 of them. And it, it can allow almost anyone to shoot extremely. Not high level, but like right up there. I mean a professional can do high level, but I'm talking about almost anyone can do quite good video with it. It's very much like grab it, open the thing, point it at something and you'll probably get decent work. Athletes and musicians and everybody rocking around with them and making good videos because they're so stable. The image quality is quite good for something so small. It does fit in your pocket. The OSMO does this thing. Took it to the next level. [00:34:07] Speaker A: It's special. [00:34:08] Speaker C: Yeah, it's got, it's got three times zoom. [00:34:11] Speaker A: Yeah, I, I didn't know, I didn't notice it until I saw a shield the other day. And you can remove the front of it so you can have camera off over there doing a thing and you can be away from the camera controlling it now. Yeah, that's because so many. So when I, when I put action cameras on the outside of my car, which is pretty regularly, you sit in the car with your phone controlling them and looking at them and, and being able to do that with these is extraordinary. Yeah, and, and yeah, and to be able to zoom in, to be able to punch in and not be digital is, is just wonderful. [00:34:53] Speaker B: Yep, yep. Let me give you some specs. [00:34:56] Speaker C: Yeah, do the specs, Greg. And then I've got something to say about that detachable screen. But yeah, do the specs. [00:35:02] Speaker B: So the new Luna shoots 8K up to 8K 30 action footage. It has two lenses obviously on that gimbal head which is a three axis stabilization gimbal. It utilizes AI tracking. The dual lenses is there's a 1 inch and a 1 and 1.3 inch CMOS sensor, one for each. It utilizes a triple AI chip. Whatever the hell that means it's got 47 gigabytes of internal storage and built in Leica color profiles. And yeah, the 2 inch OLED touchscreen on the camera can actually be removed and function as a wireless remote control system. [00:35:41] Speaker A: Now one of the cool things about it is when you punch in it's seamless so it doesn't go wide, hard, cut, tight. It, it merges them and it's witchcraft. [00:35:57] Speaker C: Yeah, yeah. I think the only down, the downside of that is being aware that the quality is going to get worse and worse until you hit the three times zoom. So so like as you zoom in it's digital, digital, digital getting worse and worse and worse. Then you hit three and it's going to be like wow, night and day, much better and then slowly get worse and worse and worse again. But it is cool that it can just seamlessly do it and it's not just one or three. Yeah, yeah, it's pretty amazing. [00:36:23] Speaker A: Now if you were creating, if you were creating a video, like if you were creating a video with it, you would probably cut that anyway. But, but for a lot of people being able to be able to just do that, it's, it's. [00:36:37] Speaker C: Yeah, for just random YouTube stuff or whatever. Just general. Yeah. Vlogging. [00:36:43] Speaker A: I mean. Yeah, sorry. [00:36:46] Speaker C: Oh, I was just going to get into the. This, this isn't bad. I'm not sort of having a crack at insta360 or, or whatever. I'm actually having a crack at all of our legacy camera brands. Why is it taking brands like Insta360 to come up with unique ideas like these detachable screen remotes and stuff like that? Like why are we spending three to twelve thousand dollars on the best cameras that we can get our hands on and then lenses and no one is willing to have a swing at different ergonomics or different usability features like this. And I understand you can't just change on professionals like you know the Canon 1 series, they, they really resist changing anything on that when it comes to ergonomics. They, they don't want pros that have been using the same bodies for 20 years to have to relearn something. But in our mid range tier, in our three four five thousand dollar cameras, take a punt. Make a removable screen remote that just. So the whole back just clips off the camera and we can use that as a remote or something. Someone tries like why can this thing, this insta360, what's this one, the ultra thing that I bought. Why can the camera module just pop out and I can use this as a remote screen for this, but none of my professional cameras can do that. And this was like 700 bucks or whatever. And I know there's different levels of quality, but I think someone in the camera world needs to step up and start trying something. That's my opinion. [00:38:31] Speaker A: I think you're bang on. I remember there was a time when people cared about my opinion and I was lucky enough, yeah, I was lucky enough to have the air of the head of Olympus. So. And I was at the launch of a, a very special camera. This is quite some time ago in Sydney and I was there and he came and said hi and, and, and with a few people looking over me, asked me what I thought and I had one question and it was this. I lifted a camera up. Oh, there we go. I just happened to have an Olympus camera on my thing because we're going to talk about small. And I said to him, I said, explain to me in simple terms why I can't do this. If I. Yeah, I say 402.8. Yeah, good. Why can't, I can't, why can't I communicate with my camera yet I can with my phone. Like this is an outrageously simple thing to do. And his response was fascinating. He said, yep, we would love to do that too. But the, the, the it's, it was all about licensing the software to do it and I thought that was extraordinary. He, he said we, there's patents around it and it all became about patents and stuff like that and it just seemed like rubbish to me. But that's the type of thing I think about too, Justin, is something like that. Like, it just seems extraordinary to me. Why can't I talk to my camera? Why do I have to turn a knob or a button, you know? Yeah, but, yeah, all of those things and, and, but this is why, this is why some of the biggest YouTube channels that exist, I can name a half a dozen, are using these to film their entire channels. And they have little, you know, like I use, I use all that float feed to magic DJI mics, but I use labs. But it's wild. We, we are at a point now where the camera companies are. I don't know what I would love to know. I mean, although we're about to talk about how compact. Who would have thought 10 years ago all the big camera retailers were saying point and shoots are dead, they're gone, that they will never back. Phones have killed. [00:40:58] Speaker B: They stopped making them. Yeah. [00:40:59] Speaker A: And here we are, they're back. Like everyone's announcing new ones. [00:41:04] Speaker C: Yeah. [00:41:06] Speaker A: Detachable. Yep. They. They are killing. [00:41:11] Speaker C: Just seems like something that's like, hey, that. That wouldn't. I don't believe. There's probably a whole lot of things I'm not thinking about that a camera brand would say, oh, that's hard because. But the screens already flip out basically off, you know, like, it's almost there. You just add a few buttons to that same part. So extend the flippy part so it's got some buttons on it and then make it just come all the way off and then you're done. And yeah, some people might break them, so make spare ones so you can just buy the. Oh, I broke my screen. Here's a new screen. Or whatever. But anyway, yeah, it's tin type man. DJI and Insta360 are stepping up and that's why they own the vlogging market. Yeah, I know. But. But what about, like, regular cameras that were. That are worth way more than these things are? Our cameras cost a lot more. [00:42:02] Speaker A: These. These things have not fundamentally changed in 20 years. [00:42:07] Speaker C: Yeah, no, no, they haven't. So just quickly, Lucinda says, I'd hate 400 photographers in the photo pit, all yelling at their settings more than they normally do. Yeah, that could be a problem. [00:42:23] Speaker A: Like, I thought [00:42:28] Speaker C: I'd be running around past all my competitors, going, shutter speed 10 seconds, shutter speed 10 seconds. [00:42:33] Speaker A: And they're all like, okay, in the patent application, we're going to have the Lucinda clause. And that is like, you can turn this feature off at all. [00:42:45] Speaker D: That's right. [00:42:46] Speaker C: That's right. [00:42:49] Speaker A: 4.3% cut of all profits. [00:42:55] Speaker C: What else? [00:42:56] Speaker B: Well, it's interesting with the whole insta360 announcement, obviously hot on the heels of that are these two announcements of clashing court cases or legal disputes over who actually came up with it first, you know, because obviously the, The. The Lunar is very much a copy of an OSMO Pocket, heavily influenced. There's no denying that. You know, it's. It's got that basic form factor of a handle, a gimbal and a. And a camera head that pivots and follows and does all those sorts of things. And then there's all little nuances between the different brands. And obviously Insta360 is partnered with Leica on this one, so that's quite a bit of clout for them because Leica colors, as Justin and Dennis will attest to, are just glorious. [00:43:44] Speaker C: And, and they do that with. They do that with a lot of their sort of premium, I think The Ace Pro 2's got the Leica stuff in there. Like a lot. Yeah, a lot of them are kind of. They're getting that from Leica. [00:43:54] Speaker B: Yeah, yeah, yeah. But it is an interesting concept that, you know, why aren't more of these brand. And maybe this is about camera brands protecting their proprietary color science. But why aren't more phones and action camera brands partnering with Canon, with Nikon, with Fujifilm to get their color profiles so they can at least tempt Canon photographers who run around with, you know, full frame mirrorlesses and big lenses to actually pick up one of these if it had Canon color sides. [00:44:30] Speaker C: Well, that's interesting because. So you could go after some, you could go after Canon or Sony if you wanted to sort of appeal to video. I think if you were like, hey, you know, Dennis shoots with say Canon, let's try and sell him action cameras. So let's make sure that we've got Canon color science in our action cameras and then maybe Dennis will want to match everything up. But I think the problem is Canon and Nikon and probably Sony too have always looked at those as, hey, we might want to get in that market. So we're not going to, we're not going to put our name on something that we might want to compete with. Whereas Leica aren't going to make action cameras and little pocket sticks. If they do, Leica would get Insta360 to make it and they would put a Leica badge on it, charge triple and just redo the, you know, like they've done with some products in the past. They redo the interface and the body and things like that. But the, but the like guts of it is made by another company for some of those cheaper products and that and that. So for Leica it makes a lot of sense for Canon. So you know who it would make a lot of sense for? Probably Fujifilm because they're probably like, hey, we're not going to make an action camera, but everyone loves Fujifilm colors. We should partner with GoPro or something. [00:45:44] Speaker A: You know, I, I wonder, I wonder this, like, I'm probably a good example here. I've prepared a little camera presentation here, but, but I shoot with very high end gear for my fancy stuff. Right. But yeah, when I'm. So when I was in India, my last trip to India and, and, and this is. Are we talking about compact cameras yet? No, we're not. [00:46:14] Speaker C: But we can though. We can this thing here, right? [00:46:18] Speaker A: My action four, which is, you know, whatever GoPro this thing captured, like I always have this on my hip. It lives in a tiny bag on my waist and I just grab it out if I want to grab walking stuff, ambient stuff. And then when I'm capturing the, the beauty stuff I pick up this and it's, and then when I want to do a still I pick up this and, and, and they tend not to cross over and I don't like the, the A pocket. A pocket or a lunar would have to be remarkably better than my Sony A7SIII insert whatever pro video small body you're using. But I, I have seen, I have shot some stuff on my pocket three and, and this thing, the instance of the 360 cameras where it's close like but it depends what you're doing and they have various use cases right now my, my video work in India was all slow, all 100 frames a second. 4, 2, 2, 10 bit the color, you know, it needed to be cinematic. [00:47:35] Speaker B: Yeah. [00:47:36] Speaker A: Lots of control of depth of field is another big one that you never, you just can't get on those action cameras. It's one or the other. Right. Well except for the, the GoPro one thing which is fascinating but yeah, there, there's, I just don't, I think they will always sit in different rooms. They will just get better and better and so when I'm, when I'm on an India trip and I need a pocket three and I need, or I need an action camera and they will all just get way better. I just, I, I think there is a space around content creators where there isn't that crossover and it doesn't matter. And so it just becomes about size. Right. And size matters in that thing. And so you put that, you put that dual camera insta360 thing in someone's hand that has any sort of creative sense, they're going to make magic. They are going to create magic. Cheap, easy, the batteries last forever. [00:48:39] Speaker B: I'll get one. [00:48:40] Speaker A: I'll have one. [00:48:40] Speaker C: Yeah, yeah, that's it. In the right hands there, there is a cinematic tool and in the, in not the wrong hand. Sorry that in, in, in more amateur hands, they're the simplest way to get great point and shoot footage. It's, it's, they can be both, you [00:48:58] Speaker A: know and I'm an advocate that the more people, that is, the more people that are making good looking images, the better. Yeah, that's, that's for one. Yeah, it's, I, I, I think it's magical. We live in a great time. [00:49:14] Speaker B: Yeah, we're very fortunate. [00:49:16] Speaker A: And you don't need big cameras. [00:49:19] Speaker C: No yeah. Greg, should we, should we just go on to talk about these small, big and small little cameras? Because there's a couple of things that we, that are on the news that we could probably do next week if like the Apple thing I put on there. We can. That's probably a bigger topic than, than we've got time for tonight as well. It's actually kind of interesting. Apple have done some updates that aren't available yet but will be coming to iPhone soon. We can talk about that next week. [00:49:48] Speaker B: Yeah, we'll cover that off next week. [00:49:49] Speaker C: Yeah. There's nothing else really that got. [00:49:53] Speaker B: No, not really. Godox has dropped another mini flash. They seem to drop a new one each week. The only other article which we can cover next week is the one about Bali. [00:50:03] Speaker C: Yeah, yeah, that's not. We'll just leave that timely either. That. Yeah, we'll talk about that next week. [00:50:08] Speaker B: Yeah, yeah, let's, let's talk about why size does or does not matter. So we're talking specifically about cameras. There's been a couple of articles that have been floating around predominantly on Petapixel for those of you that like Chris Nicholl and Jordan Drake stuff. Chris Nicholl Nichols, I think he dropped the article talking about. [00:50:35] Speaker C: It was. It was about Chris. I think it was written by the other guy. What's it. Is it Jared Schneider? Yeah, yeah. But it was sort of his. [00:50:41] Speaker B: Jeremy something. [00:50:43] Speaker C: No, anyway, yeah, anyway, they're cool. They're all cool. Cool. [00:50:49] Speaker B: Yep. [00:50:51] Speaker C: But yeah, it was about Chris Nichols I think. [00:50:54] Speaker B: Yeah. So the article is about, you know, photographers are tired of big cameras and it was about this, this kind of experience that Jaron had working with Chris whilst they were traveling. And Chris Nichols turned to Jaron and said, you know, I'm thinking about buying another camera, you know, and this is, this is someone who is probably one of the most well known faces in our industry in terms of content creation for photographers. And, and I promise I did not, I did not find this article on purpose. But he talked about how he's looking actually considering looking at a Fujifilm at the Fujifilm XE5 which is. I picked up. And you know, this is a guy that has access to every camera on the market. Pretty much, you know, people, people are gagging to give him gear to review. And yeah, and he's talking about how he. In the article, I'm not going to read it yet obviously but he's talking about how that the, the image quality from smaller, you know, APS C or micro four thirds cameras is good. Enough for most of the stuff we do, you know, and how, you know, jumping to a, to a smaller sensor, getting this more compact camera, more compact glass, results in a better photography experience. And this is something that I've been talking about and writing about for quite a number of years now about how, you know, you don't need to walk out the door with a bag full of glass. One camera, one lens, go out and have fun, you know, and you'll, you'll feel lighter and you feel better for it, that sort of stuff. And so there's been a couple of articles that I've come across the last couple of days on this particular topic. And what's actually spurring this on as well is that there's been a significant shift in the industry in terms of how consumers are buying camera gear. So in the first four months of this year, compact and fixed lens cameras. So cameras that include a lens like your Ricoh GR, your Fujifilm X1 hundreds. What else? Sony's, your Leica came hues with a built in lens. They're actually taking up about 25% of all new camera sales at the moment. [00:53:08] Speaker A: That's wild. [00:53:09] Speaker B: So people are looking for smaller, more compact, just good quality cameras. And in the first four months of this year, the sales, the monthly sales numbers have been up to 48% higher than this time last year year for those particular. [00:53:26] Speaker C: That's a good sign. [00:53:27] Speaker B: It's a great sign. And of course what we're seeing is that brands, I mean, Fujifilm has been on it for a long time, obviously because they've always put out smaller cameras. But brands are now scrambling to sort of get compact cameras back into the market. You know, we saw kind of a, the anniversary effort from Canon with the, [00:53:46] Speaker C: what was it, the G7X3 or something like that. And then. [00:53:56] Speaker B: But yeah, so people are looking for these sort of compact camera experiences. You know, it reminds me of the conversations we've had, Justin, both on the show and outside of the show, talking about, you know, getting a camera for your Elena when you guys go on holidays. She doesn't want to have to just pull out a phone every time she wants something. Maybe just great, that's good, something that takes good photos. And so you got the TG7, which proved to be, you know, a lot of fun when you guys went away to Bali. [00:54:21] Speaker C: Waterproof down to 20 meters. Check the manual, it's only 15, but 20 anecdotally. And the image quality is great for, for what it is. And the fact that it's got a Zoom lens and goes underwater and stuff. It's a, it's a crazy little camera. But it is kind of sad that that, that and, and other that that not as much but like the, from what I can tell the only real meaningful update between the TG6 and the TT7 was going to. From micro USB to USB C basically there was a few other things but like. And that's the case with multiple of these compact cameras. These ones that have been. The series has been out for a while because as Greg said like the, the manufacturers kind of put them on ice when the, when the markets said yeah we're not, we know phones are better, we're bored with these. I'm either going to have a fancy camera or a phone I'm not going to buy, I'm not going to borrow like use a compact or whatever. And so manufacturers just, just put the whole product ranges just off to the [00:55:21] Speaker B: side because that was a time of mobile phone or smartphone camera technology growth. That was when it was going through its boom period. You know, we were jumping generations of iPhones. The image quality just was leaps and bounds better than the previous gen. Now we're seeing much smaller increments of improvement. It's more feature adding stuff. [00:55:40] Speaker A: I caught up with, I caught up with my ex business partner who we had a commercial video and photography business for 15 years that we recently shut it but we still catch up and we had this conversation today about. The conversation was about social media and the death, the quite rapid death of social media for photographers. Right. And we were thinking that that partly has something to do with this sort of resurgence of point and shoots and away from phones is because the, this sort of requirement to be quickly getting stuff shot and shot shot online. Yeah is kind of. Because that is, that is sort of is declining that maybe this leaning back into photography as a practice on itself has, has helped to grow this desire to do it again to get back into using point and shoots. Because yeah, five, six years ago it was dead. They just weren't happening. I, I mean most people know but, but I'll say it again, I was an Olympus visionary for, for the longest time and so I used to take immense joy in taking these things, you know, these things out. I had boxes of them out and, and proving in, in so many different ways that they were just as good as your big giant full frame things. [00:57:05] Speaker B: Yeah. [00:57:06] Speaker A: And the reality is that, that they insert Olympus or Fuji. My friend Lottie, she is an astonishing photographer but she has a Nikon Z6 thing with a, with A sort of one of Those amazing Tamron 30 to 180 crazy lenses. She recently got herself an XE5 I think Greg, or like a, like a, like an interchangeable Fuji thing because she's a, she's a walk around travel photographer and love it, like, loves it. All the concerns she had about image quality, this and that are gone because she doesn't have sore shoulders anymore. But you know, I think, I think for a lot of people, especially if you're doing a lot of walking around, it's just a comfort thing as well. I know for me I have millions of stories of creating, you know, we, I know this is, I know this is video but, but it's a, it's a similar thing that there is my, you know, this was our staple. This is what we used to create video with. And now that there is, look at, look at the difference. [00:58:15] Speaker C: You know, the size of the monitor is the entire new camera. Yeah. [00:58:20] Speaker A: These things, these think this is the greatest video camera ever made in the history of, of our art forms. [00:58:26] Speaker C: Is that A7s the A7s three? [00:58:29] Speaker A: Yeah. Yeah. And you know, and, and so for me when I'm, when I'm traveling that's it. The, the Leica and the, and the Sony and, and therein lies the most astonishing horsepower, image quality, processing power of all. And, and I, I and, and I think coming back to that compact thing allows whether it's shooting professionally, which I, and I and I'll walk onto a shoot, I'll walk onto a very high value commercial shoot with a Q3 and an A7 and no one questions it. Whereas back 15, 10 years ago, you know, people like Bruce would appreciate this paragraph is this meant, this meant something. You're a pro. I mean like it gives you kudos when you walk onto set with something big. And stills cameras are the same. Right. If you, if you have a, have the gear, you know what you're doing. But what happens is we, we, we learn that, that that's not true because the work is amazing. But another point, someone was talking about the OM cameras, the OM1s. Here's, I love these cameras. They are extraordinary. It's the, some of the best glass in the world. But here's a really interesting thing. That is a full frame camera. I want to make sure that this is like they are the same size. [00:59:56] Speaker C: This is, they're so close, aren't they? Isn't it? I've often wondered that. Yeah, it's full frame. [01:00:02] Speaker A: Full frame Sony. [01:00:03] Speaker C: Yeah. [01:00:04] Speaker A: And, and an 081 yeah. [01:00:06] Speaker C: Yep. [01:00:07] Speaker A: And I'm not doing. I'm not doing the fishing thing. Yeah, it's. It's. Yeah, Bruce made a good point. Someone would say get a matte box [01:00:23] Speaker C: to get respect, but not explain. [01:00:25] Speaker A: Yeah, wouldn't even be able. Wouldn't even know what it's like when you see. When you see influences with. With these. With this. With the little, you know, with their sonies and stuff, with all the, the boxes and the rigs and the cameras and all that. That is just a. Such a wank. You. You. It is so unbelievably unnecessary for 93.6% of them. [01:00:50] Speaker C: Yeah, there's a lot of. And then there's the commercial guys that obviously have all that stuff that, that are sort of. But I do often wonder whether, like, for. There's a certain level of commercial work where I feel like you don't need to do all of that, you know, for your local business kind of stuff. A lot of people will, if they've got all that gear. Like, I've seen people using anamorphic lenses and stuff like that local stuff in Bendigo, and I'm like, oh, it's. [01:01:18] Speaker B: They're probably. [01:01:19] Speaker C: Probably doing. Because they enjoy it, to be honest, rather than like, thinking the client will notice or whatever. They probably just enjoy. [01:01:26] Speaker A: Like, I, I'm. I'm telling you this. [01:01:28] Speaker B: I can. [01:01:28] Speaker A: I can. I can walk to a job with a. With a shoulder bag and have an A7R4, A7S3, my Leica Q3, my 360 camera. And if I want a pocket and an action camera and two lenses all in a. In a shoulder bag, I'm shooting as good as anybody. [01:01:50] Speaker C: That you. [01:01:50] Speaker A: Oh, here comes Brucie. [01:01:52] Speaker C: Well, I, I had a missed call. [01:01:54] Speaker B: Is that. [01:01:55] Speaker C: Try again. Yeah, I think I got it fired up. [01:01:59] Speaker B: He ghosted you? [01:02:01] Speaker A: Yeah, I reckon he. He. [01:02:04] Speaker C: It must have. Must have gone to message bank or something. I didn't get onto it fast enough. Is this. But no, look, I, I'm. [01:02:10] Speaker B: I'm. [01:02:11] Speaker A: I'm a real advocate for, For. For small and. And going out and having a go. Yeah, certainly when you get old. [01:02:20] Speaker D: Yeah. [01:02:21] Speaker B: It's interesting, though. So. So many, you know, we go to workshops and we go to events and. And we see people show up with these massive backpacks and they, you know, they unsling them and they're carrying everything just in case, and they spend more time, you know, handling heavy gear and juggling things than they do actually creating. Oh, he's Brucey there. [01:02:39] Speaker A: Sorry. [01:02:39] Speaker C: Yeah, hold on, hold on. Bruce. No, no, I'm trying to get him, I'm trying to get him back on. Stay with us. [01:02:45] Speaker A: Well, I, I, I don't think I'm out of place in mentioning this but, but Fuji have approached me around the South Australia launch for. [01:02:54] Speaker C: I think we've got you. Yes, hold on one second. We'll let Dennis hang on. But you're all stacked today. [01:03:02] Speaker A: Really important you finish that. Yeah, they, they've, they've asked me to launch a very nice camera here in South Australia which means they'd send me pre production stuff and, and, and I, the reason they, they approached me with that stuff is because as quick as they are to send me the GFX stuff, I'll take these small compact cameras and go out and absolutely beat the, out of them and, and push them and, and then present them as a new product with, with that stuff. And I, I, I, I, There are so many people that just wouldn't even contemplate doing that because it's an a, whatever the, you know, small sensor sizes and I'm just so. Whatever. [01:03:49] Speaker B: Yeah. [01:03:49] Speaker A: Anyway, Bruce, what do you got for us, mate? Come on. [01:03:53] Speaker D: Oh, just like the amount of gear and stuff that I was talking about, the matte box and things is ridiculous. But I think it's been an interesting case of the filmmaker youtuber and then all the sponsorship stuff and then people seeing a problem with somebody else's thing and then building it up and then oh, I need to have that matte box or I need that filter or I need that bit of glass because it's all the sales cycle and stuff like that. But I don't know how many have ever actually worked with a brand or anything where they're like a creative agency where you need to actually do that. And I find it really fascinating and it's about finding gear to fix a problem which you don't have a lot of the time, which I find really fascinating. Like the 32 bit float thing in the audio circle became the oh my God, this will fix every problem in the world. It doesn't. [01:04:48] Speaker B: If you know how to use a [01:04:49] Speaker D: mic, you don't need it. In some say in some areas it can be a great little save. But they also talk about it as well because they go, oh, you'll never clip an audio thing. If you overpower that capsule, you'll clip it. [01:05:05] Speaker C: It's so funny you say that because I've had a few clips in audio that I was really annoyed about because it ruined a take and I was pissed off at myself that I Got it wrong, you know, and I, I often thought about that 32 bit float thing and it's on the mics I have now, I think have it. If you use the inbuilt audio y the DJI mic two have I got. I think so. [01:05:33] Speaker D: And so yeah, the mic, the mic 2s have it. [01:05:35] Speaker C: Yeah, yeah. So, but I am so against the effort of having to use the inbuilt audio, drag that file off and sync it up that I have never used it. And I just am really, really careful with my levels because I don't want to have to use that audio because it's such a pain in the ass to get it off the little microphone and use it. So it's actually really funny. [01:05:57] Speaker D: Yeah. The worst thing about the DJI mic too is, and this is when people say, oh, do you get the road? Like the road or the dji? And I'm like, well, it depends on what you want to do. If you don't want to have to deal with your media being recorded and running out of space. Get the roads because it loops so you can keep using it, make sure you offload when you need to, but it's not going to ever run out of space. The dji, you have to have a computer to clear it. So if you're out in the wild and you've forgotten to clear it, you. [01:06:30] Speaker C: I never thought about that. I never, I never even pressed that record button on the, on the mic itself unless I'm like, wow, this is a one, one chance take. And I can't monitor it. [01:06:40] Speaker D: But yeah, I use it because it's nice. It's always nice to have a safety. [01:06:44] Speaker A: Yeah, that's, that's the, I, I, I have the new, I have the receiver so that sits, that locks into the top of the Sonys and that and I monitor those peoples. But like my cooking show that I was talking about before, I have, I have a mic on. He has a mic on. Our guest has a mic on. I love them. I have a shotgun on top of one of the cameras. Like so many audio feeds coming in and I can't monitor any of them because I'm also shooting two cameras. So having that as a safety is amazing. But I'm with you, Bruce. I think we're in this time where people just rely on it. They just think that there's some magical little, you know, ants inside the box that are monitoring it for you. You've still got to do the work. [01:07:31] Speaker D: No, yeah, and, and I think that's the thing, right? Like There's a lot of people who are not learning the fundamentals and using the shortcuts. And then when they get into a sticky situation, if they get a bigger client or whatever else around the big shoot and something goes pear shaped, they don't have the experience because they haven't learned the fundamentals to actually get themselves out of that predicament. And it's saying like in, like sort of stepping to the left or right here, you know, the rigging up of cameras is like, I don't know, it's like a dick measuring competition in some spaces. Like they're just ridiculous. And, and, and you've, you'll comment about it before then it's like, it just gets silly. But it's like you get to a point where you put so much on this camera, you might as well have gone and bought like a proper cinema camera. [01:08:20] Speaker C: It's a nice, that's a nice shot, Dennis. You can't see it. He's just, Dennis just whipped out one of his rigged up cameras. [01:08:30] Speaker A: I just got out my fully rigged Blackmagic 6K and, and, and did have some measuring. But you, you're so Bruce. That is, that, that is such a, your point before, that is so important for people to understand is just because you see 14 people on YouTube with a, with a rigged, you know, a rigged out camera, it just does. 90% of them don't need it and probably don't use it. [01:08:59] Speaker C: Let's, let's talk, let's talk, let's talk stills photography. Do you think that that is an issue in stills photography in any way as well, where we, you know, we might layer up with gear too quickly without learning how much or like each piece that we've purchased or whatever, all of a sudden we're using all these different things, but we got them too fast that we haven't learned what each piece does potentially? [01:09:27] Speaker D: I've got a really good example of that. [01:09:29] Speaker C: Okay. [01:09:30] Speaker D: And anybody who gets into studio photography, like using strobes because the rabbit hole is deep, the mods and everything else. And, and some people like just get one and start experimenting, see if they get. And some people will go to a workshop, say, I know you had Peter Coulson on and he's one person I learned from really early on. And you'd walk in and go, oh my God, this is so much cool gear. I want like, I want to be like that. [01:09:59] Speaker A: I want all that gear. [01:10:00] Speaker D: But unless you've never actually used it, you buy it and it sits there gathering dust. I've worked on different workshops over the years where people go, I bought this and I don't know how to use it because I went to a workshop and I didn't do anything more with it. So, yeah, that's, that's the one place I see it a lot. It's not as obvious as everybody just buying too many bits of glass or whatever because it likes the latest, greatest. [01:10:24] Speaker B: Yeah, but you do see it. I, I sort of, I sort of beef up the first year I was doing, attending a workshop, very observant of what was going on around me. And there were people there with really big, you know, full frame Canon R bodies with big glass. And they were asking the instructor what, you know, it was the middle of the day and they're, well, the first thing in the morning and they're asking instructor what ISO they should dial in. It's like, hang on, you shouldn't be asking that question while you're carrying $12,000 worth of camera gear. [01:10:53] Speaker D: You've done it. [01:10:54] Speaker B: You put the, what is it, the cart before the horse. You know, [01:11:00] Speaker A: Richard just made a great comment in, in the chat about the power of it being the idea. Right. And, and, yeah, and, and, and his comment there. My, my version of that is, is less, is more, you know, or you keep it simple or all those things. [01:11:19] Speaker B: Learn. [01:11:19] Speaker A: Yeah, My, my first, when I started photography, I had a 24 mil lens and it was a great lens and I shot everything with it. And then I got a 50 and I shot forever with that thing. They, they, they look like they've been through a war. And every piece of kit that I have looks used because I use it and focus on exactly what Richard's talking about. The idea make, buy less, try more. [01:11:53] Speaker B: Yeah, yeah. [01:11:55] Speaker A: It's, you know, if you've got gear that, yeah, thresh it, thresh what you have. Beat it. The beat the out of it strobes is another great example. You're so right, mate. Is, is learn how to use one line really well and then maybe buy another and learn those. Yeah, yeah, it's. We, we all fall into. I fall into it with torches, with flashlights. Torches. [01:12:24] Speaker B: I kind of feel like you've earned that, right, Dennis. I feel like you've earned that, that privilege, that, that, you know, king of torches [01:12:34] Speaker C: before. Just so we don't hold Bruce on here forever, because he's probably, you know, living life. Bruce. [01:12:40] Speaker D: Yes. [01:12:41] Speaker C: Do you have any thoughts on, on small cameras versus big cameras? Is it, is it something you think about? [01:12:47] Speaker D: I do, I've much to Greg's shock and horror. I've looked at the Fuji rangefinders forever in a day but I've not had the opportunity to pull a trigger on one just due to timing and finances and it would be just a play camera it wouldn't need for my professional use. I would love to have something like that always around because I don't have an everyday carrier apart from the, the iPhone so. And I've got some cool stuff out of my phone. Don't. Don't that, that's, that's a here nor there. But I would love to have something like a little range finder in my back pocket all the time. But yeah, yeah, opportunity hasn't allowed that unless Fuji want to send me one. You know I'm happy to, I'm happy to take gifts. [01:13:35] Speaker C: One of those Eterna 55s to go with it. Just like a little combo. [01:13:37] Speaker D: I actually don't want one. [01:13:39] Speaker C: I don't want one. [01:13:44] Speaker B: I, I can give you a whole [01:13:45] Speaker D: breakdown on that camera. Oh my God. It's, it's an amazing camera but it is made for movie sets and it needs two people to operate it. [01:13:52] Speaker C: Oh wow. [01:13:53] Speaker A: Yeah, it's crazy. [01:13:55] Speaker D: It is. It is an actual proper cinema camera where you have an operator and a first AC to operate it. Yeah, like I operate it by myself. I took it to a dawn service and had a bit of fun with it. It's ridiculously heavy and like as an example, this is, this is why I say it's a two person camera. The actual menus are on both sides of the camera on the flat of the camera and you've got your evf, your monitor. Right. Your monitor doesn't have any menus on it so all the menus on the side of the camera. So if you need to adjust something, you need to take your eye off what you're shooting as an operator and look at the side of the camera and if you're in an awkward position, you can't do that. That's because it's made for two people. Yeah. [01:14:39] Speaker A: Imagine if you could just talk to it. You wouldn't have to see anything. Although. Although. [01:14:45] Speaker D: Okay. Okay. If you could talk to it, what voice would it have? [01:14:50] Speaker C: Yeah. What would Fuji's voice be? Oh, interesting. [01:14:54] Speaker A: Well it would be, it'd be like you'd be able to choose. But. But what I know is this, if you were on set, if you were on set talking to your returner, the director would be in your face in about 3Ns. [01:15:05] Speaker C: Yeah, well that's true. You'd have to whisper to it. [01:15:08] Speaker A: Yeah, yeah. [01:15:09] Speaker D: Well, yeah, you whisper sweet nothings to your camera. [01:15:15] Speaker C: Oh dear. [01:15:16] Speaker B: Indeed. [01:15:17] Speaker C: Funny. [01:15:18] Speaker B: I want to talk a little bit about, about products, but we'll kick Bruce off first. [01:15:25] Speaker C: Anything else to add, Bruce? [01:15:27] Speaker D: No, I just want to see people put in, in the chat whose voice they should hear for Fuji. [01:15:32] Speaker C: Yeah. [01:15:32] Speaker D: Voice control. Yeah, like, like, you know, like the sat navs, like you used to get that and stuff like that. [01:15:39] Speaker C: Yeah, yeah, yeah. Who should fuji have? [01:15:41] Speaker B: Yeah, Mr. Bean. I'd go for Mr. Bean. [01:15:44] Speaker C: Greg Chromie. [01:15:46] Speaker D: I could do it. Okay, I'll catch you later. [01:15:48] Speaker B: Thanks, Bruce. We talked earlier about how, you know, all the big brands dropped compacts and fixed lens cameras. Pretty much, you know, Fuji stuck with it, Sony stuck with it, obviously. Leica. One of the, one of the, the everlasting models from Sony was the RX100 range and the latest version was number seven. Now that came out quite a few years ago. There was a news article today that I found from, from almost a week ago now that in Indonesia Sony have registered a new patent for a new film for a new digital camera. And it's a fixed lens compact camera because they get classified separately compared to interchangeable lens cameras. And the question that was raised in the article is this is the RX100 mark 8. And I think it's interesting to see that, you know, and I think we'll see a little bit more of this camera company starting to lean back into the compact fixed lens ecosystem because they did ditch it. And when they ditched it, all of that knowledge, tooling, manufacturing capabilities, all of that disappeared because they no longer wanted to do it. And now they've got a retool they've got to relearn, they've got to remaster that compact fixed lens camera market, you know, and we saw it last year when Sony, I think this was kind of a bit of a desperate kind of. Let's just throw this out there and hope we sell some units. When they released the RX1R, Mark 3, was it? Yeah, but it was ridiculously priced. [01:17:21] Speaker A: Incredible power, but very little in terms [01:17:24] Speaker B: of Upgrade from Mark 2. Yeah, you know, I think it was the same lens. It was. [01:17:29] Speaker C: I'd be interested to see. There were some iterative updates across some aspects of it. But I would be interested to see what I like on that. Whether. Whether it's, it. Whether it exceeded what their goals were. I'd love to know. [01:17:45] Speaker B: Disappeared from the news cycle very quickly. [01:17:47] Speaker C: Yeah, yeah, yeah. [01:17:48] Speaker A: Oh yeah, real quick. Yeah. There was so much strange. I remember we were talking about it on the show or you guys were. We were watching. But the. Yeah. At the time it was. There were all sorts of NDAs. No influences had. Had. [01:18:01] Speaker C: Oh, that's right. Yeah. People were complaining about that. That. [01:18:04] Speaker A: Yeah. When you keep the shills away, there's something very sketchy going on. [01:18:10] Speaker C: Don't send this to anybody. [01:18:14] Speaker B: To me, that was Sony saying, look, we've already got the lens design, we've already got the body design. You know, we've got the guts of it. Let's just put in some new updates. Let's put it out there. [01:18:24] Speaker C: Yeah, I, I think it's someone that, that saw how well the X100, the Q series and the, the GFX new GFX100RF was getting received and they were like, holy, we're missing out on market share. Pull something together fast. [01:18:41] Speaker A: Here's an interesting thing I thought just popped into my head when I bought, when I bought the Q3. It was very. It was for quite a specific project. So it was for my India. I was doing an India trip and it was a bit of a coming of age. That was my excuse for buying it camera. But here's an interesting thing. I've had it for nearly two years. This thing has more than paid for itself by the amount I've used it commercially. And that, that is an indication of how. And, and I mean proper commercial. So being on commercial shoots where it is part of my kit for making images and they end up being provided to the client and it is a. I think, I think there's probably no better indicator of the fact that now insert any. Because that could be any version of that because all the images are good. But, but for a form factor for pulling it out in the middle of a shoot with a client and using a small, tiny compact camera. They, they are, they are powerful devices. David Hockney passed away this week. Right now I'm weirdly two days before hot. Before he passed away, I started joiner photograph. Let's not go down that rabbit hole. But my point is that, you know Hockney, you look at Hockney, all the great photographers of the 70s and 80s, they were all using compact fixed lens or maybe not fixed lens, but they were all using compact small cameras. You know, it is, yeah. All of this stuff is all about marketing. Small, small, compact cameras are coming back because they're fashionable again. Big bulky cameras because, you know it all, they all have a marketing purpose and a reason and, and a insert. Insert. I've used up all my words. I think we should be canceled. [01:20:37] Speaker C: Okay. [01:20:37] Speaker D: No, I get it. [01:20:39] Speaker B: It's like the whole, you know, I always, it always fascinates me in America, the whole big truck mentality. I mean, we call them youth, right, but they call them trucks. [01:20:47] Speaker C: Wait, Greg, wait, wait, wait. Have you ever driven one? They're so. [01:20:51] Speaker B: I've given an F100 there. [01:20:53] Speaker C: Yeah, yeah, yeah, yeah, yeah. An F and. And a 2500 series Chevy. A new one to drive. [01:21:02] Speaker B: I get that. [01:21:02] Speaker C: It's, it's. Oh, it's nice. I get all so nice. They're so smooth. You can hear, you can hear petrol bowsers spinning when you accelerate. It's so nice. [01:21:15] Speaker B: But the point is it's that whole, you know, bigger is better because it feels more substantial. It's more dominating, it's more powerful. There's all of those sort of connotations and we see it in the camera industry as well. You know, for ages, Canon and Nikon were putting out especially APS C DSLRs that were basically hollow. They felt empty and light because they were going for this big plastic body. But the innards weren't that big. But they're making it big. But they were making the body big to try and make it a dominant product. Yeah, yeah. [01:21:50] Speaker C: That's that bad boy, that is. [01:21:53] Speaker A: Look at the sides of it. Right again, that's my full frame. Sony, right. That camera there is an Olympus Micro four third. It's got a double grip now. I love it. I use it heaps. This is my drive. But that is a perfect example of designing a camera to be big. [01:22:19] Speaker C: To be big. [01:22:20] Speaker A: It doesn't. It's a micro 4/3 heater. It's absolutely tiny in there. [01:22:25] Speaker C: Yeah, yeah. Wow. Dude, it just looks odd, doesn't it? Look at the size of that little thing. [01:22:30] Speaker A: Yeah. [01:22:30] Speaker C: I mean, what is that? A sensor for ants? [01:22:32] Speaker A: Stunning. Stunning. Stunning. This camera. But it doesn't need to be that big. [01:22:38] Speaker C: Yeah, an X the chance. [01:22:41] Speaker B: Let's catch up on some comments, Justin. [01:22:44] Speaker C: Okay. And then we'll cap off. We'll cap off this discussion. I have some thoughts too. I have some thoughts, but if Dennis has any more show and tells or, or demonstrations. But we'll quick. Let's just go. Let's go back and see what everyone's been saying. Oh, there's so many things. [01:23:02] Speaker A: This Richard Greenfield guy is so onto it. [01:23:05] Speaker C: Yeah, he's a wizard. [01:23:06] Speaker B: He's. [01:23:06] Speaker C: He's a very smart man. Let's start with that. He says, as a musician, I thought buying the right guitar would make me play like Stevie Ray Vaughan or Steve. Sadly, I actually need. What I actually needed was practice. I wish getting better was as easy as spending money. Me too. Richard. I'm currently looking at a collection of boutique guitar pedals on the front floor of my studio. That, that arguably made me worse as a guitarist. Not better. But gosh, guitar pedals are fun to buy. I don't know if we have anything similar to that in the camera world. Lenses would be the closest thing but there's nothing quite like a handmade guitar pedal. If you guys know, you know. Yeah, it's. But it's. It's exactly right. We get caught up as guitarists buying chasing tone rather than just learning how to play songs because it's fun. So anyway, what else were people saying? Some of the, some of the discussion around what voice a Fujifilm voice to settings camera would reply with is Greg Carrick says a cute Japanese girl. Parabellum collectible says Liam Neeson. I have a very particular set of skills. Philip Johnson agrees. Greg's voice. Yeah, I think that'd be good tape. The, the Morgan Freeman option. Yeah. John Cleese with insults. [01:24:33] Speaker A: All right. [01:24:34] Speaker C: And then. Oh Bruce. Bruce Moore said Bobcat gold plate gold. Sweet. That. Yeah that would be a good. That would be a good one. Peewee Herman, Ozzy Osbourne. Ozzy Osborne would be hard to. You'd be like come on man. Like you know, you're waiting for him to finish talking about the settings. Come on, we're trying to shoot something. Okay. Lots of people have mentioned OM system obviously synonymous. OM System and Olympus synonymous with like compact but capable cameras. Yeah, they were the ones that were pushing against the full frame market essentially single handedly until Fujifilm come along with the X series I guess and, and sort of tried to. To steal that thunder a little bit with their super much bigger crop sensor. What else, what else were people saying here? Yeah, Jason's long been a convert slash user. Small cameras, micro 4/3 Fujis, even Sigma DPs. But there's been a reverse flow example recently. I've been taking the DSLRs out again. Gosh, there's a lot of nice DSLRs and that's. That is going to happen. Richard Grenfell says boutique pedals are for pimps and real estate agents. That's right. That's right, baby. It depends. It depends. Your version of Boutique and my version of Boutique might be different. Mine are just handmade. You're probably thinking of like actual ones that cost $5,000. That's not what I'm talking about. Mine are not that expensive. What else? Not much else. Nev's been loving the Q3 and now in his workflow, he's using it in weddings. He mentioned before events, they're small and discreet. People feel cool not looking at a big fat lens. Which is actually interesting because just before that, Nev was shooting weddings with GFXs. So it's like the op, you know, like he's sort of. He's used both and he would still be using the gfxs, I guess, at weddings as well. So getting that real time feedback from what people do. When you lift up a different type of camera, that's. [01:26:50] Speaker A: I think in a year's time, I'll be gfx. [01:26:55] Speaker C: So. Okay, let me, let me cap off my. Let me cap off my part of this discussion because it was really funny when Greg said through this, and I had read that article already and I thought, of course he's gonna want to talk about a famous camera reviewer wanting to buy the same Fuji film that Craig's got. I was like, this is definitely going to come up on the podcast because it's quite a, it's quite a feather in the cap to have someone who's been like handed a new camera every week for the last 15 years of his life to say, I think I want to buy the same camera that Greg Cromie uses. I think that's what he said in the article. He actually mentioned. I think he did Craig in the article. [01:27:33] Speaker B: Yeah, because he saw. [01:27:35] Speaker C: No, he didn't. But we can, we can perpetuate that rumor on the Internet [01:27:44] Speaker A: story. [01:27:44] Speaker C: I say, that's right. That's right, that's right. [01:27:47] Speaker D: So, [01:27:49] Speaker C: and, and I think that is very cool. And it's a camera that I was, I was pretty tempted on until I found out that didn't quite fit my hand the way I had thought about. But I'm hoping the X Pro 4 does. But long story short, I had all my gear laid out on the floor of my office probably for the last four days because I'm contemplating selling some stuff. Stuff that's been on the, on the chopping block for a while. I've got a lot of my bigger Canon lenses. [01:28:19] Speaker A: Oh, that's all right. [01:28:20] Speaker C: My bigger Canon lenses that I've replaced with smaller options. And I've had them basically sort of set aside. I always, I don't rush to sell things. I'm in a fortunate situation where if I acquire a new piece of equipment, it's not, it usually doesn't require the sale of another piece of equipment. But I plan to. I'm like, yeah, if I get this new bit and it works out in my kit, I'll get rid of this other bit in a couple of months when I've confirmed that it's all good, you know, and I laid everything out and I got the R3 out, which is. This is the R3. The R3 is A, A full size body like the, like the R1. It's like Dennis's. What was that one you just held up before Dennis? So it's a full gripped body. [01:29:08] Speaker A: Yeah. [01:29:08] Speaker C: And I thought I was going to be able to get rid of it and have the R5 Mark II and the R6 Mark III as my two sort of main camera bodies. And I haven't used the R3 for probably four months to confirm that it would all be fine. And I haven't. And I picked it up and now I don't want to sell it. The viewfinder, the viewfinder on paper has the same specs kind of as the R5 mark II, the same dots and all that stuff. But then I looked through it and it looks way better. The eye cup's bigger, the area. It's a more immersive experience in that little viewfinder and everything feels better about that camera. [01:29:53] Speaker B: Then why are you picking it up? [01:29:57] Speaker C: I forced myself not to, to use the new camera that I bought to make sure that it would fit my needs. I don't sort of stay with the old one and not use the new one. But because the plan was to sell the R3, because the problem with the R3 is it's big. It's big. And so when you shoot, you know, street or something with it, it, it's very imposing. So I was like, I can't use it for that. But I have a Q3. [01:30:22] Speaker A: So grips, grips are, are the best. Like if, if now that I'm not shooting commercially as much, I don't, I didn't really. It's the first time I've ever contemplated having a stills camera without a grip constantly attached to it. It's. [01:30:41] Speaker B: Yeah. [01:30:41] Speaker C: So. Yeah. And well, I was just going to say an inbuilt grip for me is better because the batteries that, the proper batteries that go in a full size body are far better than the small batteries. You know, I had two batteries for the R3 and I've got six batteries for the R5 Mark II and it's just how it's had to be. But long story short, and I'll show you some pet photography soon when we switch gears. But, you know, I'm finding myself. I know the Fujifilm GFX100II has one of the best viewfinders on the market. I'm finding myself lusting after a really great viewfinder. [01:31:24] Speaker A: Yeah. [01:31:25] Speaker C: And when I was shooting pet photography in the studio, I want a screen that tilts out so I can do lower angles. And I don't want it to do what the stupid Canon one does where it flips out to the side because I can't nicely just look down and shoot. I want to be directly behind the lens, not out to the side. It just really annoys me having it out to the side. I can't compose with it as well. I feel crooked. So I was like, I might end up with a gfx. And it's funny because Greg's talking about these small cameras and how they're taking over the industry. And I'm looking at the biggest camera, like, well, maybe I should get that. And it's probably a dumb idea and I won't be rushing into it because my Canon gear is just fine. But it was really interesting that I picked up the R3, looked through the viewfinder and remembered just, wow, this is actually a better experience than either of my other cameras. [01:32:19] Speaker A: I know we're getting on time, but a quick follow on from that. I think the point. I think the important point is, especially if you are someone that you normally uses commercial bigger cameras is it's not so much will this small compact camera replace your bigger gear, but it means that when you're going out for a walk or you're going somewhere that you're not shooting commercially, can you pick up a smaller camera that will satisfy you like the big one would? And I think that that is. That is happening more. Yep, that's it, man. That's it. Or your X106 or whatever the Fuji XT's it. It's for someone that is shooting big gear all the time. You're not. More and more now, it's less of. Less of a compromise to pick up that smaller camera. And that's the great thing, I think. I think that's probably. Probably the. The. I didn't think about that before, but that's probably it. [01:33:12] Speaker C: I agree. [01:33:12] Speaker B: Yeah. And that circles back very nicely to where that article originated, was that these less imposing, smaller, compact, fixed, even fixed lens cameras, or not interchangeable, provide great experience, great image quality. They may not match the gfx or the R3 or whatever it may be, but like you said, Dennis, it's not about replacing like for like. It's about getting something that complements your kit. Perhaps that's it. I'll provide you with options. [01:33:45] Speaker A: I can scroll through my lightroom and. And there are a stupid number of cameras on there. [01:33:51] Speaker D: And. [01:33:51] Speaker A: And it's very rare that I'm not just looking at the images and picking the ones out that are, that are. That are a good image. I mean, Richard hit the nail on the head before, you know, it's, it's a good. If it's a good image, it doesn't matter what it's taken on. It just doesn't matter. [01:34:09] Speaker B: Yep, yep, [01:34:13] Speaker D: Very good point. [01:34:14] Speaker C: The. Oh, this is. Gosh, I gotta find out what the end of this comment is. Yeah, we better. We will look at some images. I'll do. [01:34:22] Speaker A: We need another ED read. [01:34:25] Speaker C: Yeah. Go to Luckystraps.com and buy one. Use code. [01:34:31] Speaker A: Dennis Small for My strap is so important to me. It lives on the shelf where it stays beautiful and clean because I don't use straps so much. But when I do. Lucky strap. [01:34:44] Speaker C: That's right. I'd like to. We need to work up Dennis's a bit harder and to get it a bit more patinaed, a little bit more worn bright. [01:34:56] Speaker A: It's with Lucky. [01:35:00] Speaker C: Actually, I've got a. I've got a better thing that we should say in the, in this part of the show. Greg Carrick said it somewhere, if you get a chance, just like, like this video. That would actually be amazing if you, if you like this show, hopefully YouTube will show it to some more photographers and we can grow, grow our posse. What I'd love is if, if anyone has a friend who's a photographer that hasn't sent a photo in, hassle them to send a photo in next week. They don't even have to watch live. They can watch back later. They can check it out later. If they're not around, find a friend who hasn't sent a photo into this show and hassle them to send something in. It'll inspire them to go through their Lightroom catalog or to get out and shoot something. It'll be fun. [01:35:40] Speaker B: Yep. And if you like, like what you see here on the Camera live podcast, don't forget that we do this twice a week, always live, Every Monday evening, 7.30pm Australian Eastern Standard Time, we have our random photography show where as you can see, we can talk about anything from industry news to new product launches, launches to what's going on with our friends and neighbors. So make sure you subscribe, tickle the bell icon and that way you'll get a notification in your time zone when the Camera Life podcast is coming to you. And speaking of the Camera Live podcast, this coming Thursday, we have our regular interview show at 9am Australian Eastern Standard Time. And this week we are interviewing. Interviewing. Losing my words. I've got it here. I've got it here. We're interviewing Katie Phillips. Katie Phillips is an Aussie family maternity couples wedding baby photographer. And Dennis will like this art therapist. And yeah, so Katie's joining us on Thursday. So like I said, make sure you subscribe and, and dial in. That's it. That's all I've got. [01:36:46] Speaker C: That's it. [01:36:47] Speaker A: Yeah, I'm looking forward to that one. When I saw, when I saw that she's an art therapist, I will be there with bells on. Oh, no, I won't. It's my wife's birthday. She'll be spewing. But I will definitely come back and watch it. There's a lot of photo. I'm looking at the photos. There's a lot of photos for us to get through. [01:37:04] Speaker C: I know, we better. We, we're gonna crank through them. [01:37:06] Speaker B: We're gonna skedaddle. [01:37:08] Speaker C: We're gonna skedaddle. I'm gonna start with mine. I'll have to go through mine quite quickly. Where did this end up? Hang on. Put that in there. Where is that? All right, we're gonna get through these fast. [01:37:21] Speaker A: Lucky straps are for pimps and real estate agents. I like it. That means I need to be a pimp or real estate agent. What would I be? [01:37:29] Speaker C: Yeah, just like. Good. Now I'll start with mine. I'll try and move through them pretty quick because there's a lot of them. But the point is more to give you a quick overview of my four dog pet shoot that wasn't supposed to be a four dog pet shoot from the other week. And so to start with. So first of all, I'm going to read out Richard's comment that says I did a lot of pet stuff. All you need is an F4 Zoom with animal tracking on the cannons. It's so easy, it's like cheating. Agree. I did use an F4 Zoom. I used the 24 to 105, but I think, I think I can do it with a 2870 next time probably because I checked my metadata as you should always do after a lot of shoots and didn't really hit either end of the zoom range. I shot a lot at about 28mil and a lot at 50mil. They tend to be my favorite focal lengths. I would use primes, but it's really handy with pets to be able to quickly change. Now this, this shot will show you that I do indeed need a climate controlled studio to work with pets. Because in winter when it's cold AF in Bendigo, it looks like they're smoking because they're breathing out really, really hot dog air. And then. And then. Yeah. And then in summer it's too hot for them in the shed. So on the list will be a space that I can control the climate of. I did the usual kind of lighting setups that I did. We had four dogs. Their names were. Where are we? This one is Buster Sage the Kelpie, Winnie the little black puppy and Reggie, which was the even littler puppy that you'll see at the end, who was plumber Matt's little pooch. So I played around with black background and like a red sort of background. We did some treat throwing just for fun because this, this, because this puppy was just a bit wild and. Yeah, yeah, I just, I like to get some nice portraits. This is mainly with one light. Actually. No, there's more like four lights. But it's too hard to explain in this show. I'll have to do a behind the scenes shot next time. Some more treat throwing. I should have done more of that that were mainly just for fun. And now I'm like, oh, actually that was pretty. We should have done more and I should have tried to get some, some good expressions with them. This poor Kelpie. Yelena's parents. Kelpie Sage was just stressing. So I didn't really get many photos at all. [01:40:06] Speaker A: She. [01:40:07] Speaker C: She did not want to be where the. In front of the camera at all. But yeah, played around with the red. Some full length shots and some shots of these two together. The cow managed to get the cowboy one ear up, but you can see how she just, she just. She's like, I don't really want to be here. Thank you. Yeah, yeah. So I'm still learning a lot about. But working with dogs that aren't so comfortable and just playing around with them to get silly shots like this, which wasn't. That wasn't intentional. We were just trying to get them to burn off a little bit of energy. [01:40:48] Speaker A: People are the same. People are the same in studios. [01:40:50] Speaker C: Yeah, yeah, that's a good point. [01:40:53] Speaker A: Some of them are super awkward and you probably motivate them the same way. [01:40:59] Speaker D: Yeah, yeah. [01:40:59] Speaker C: Throw a ball. [01:41:00] Speaker D: Yeah. [01:41:02] Speaker C: Throw treats at them. And then so this was the Final dog, which was the youngest puppy, Reggie. And it was by far the most easy and well behaved dog to take photos of. It just would sit there and, and do whatever it wanted. And so yeah, we had. I like this. Yeah, that was a funny shot that just happened by chance. But yeah, I'm shooting these and I'm like, I need more light, I want more power. I had my lights maxed out and I still had to be at ISO 200 for some of the shots because my, my modifier is massive. It's a 1.8 meter softbox and it's not super efficient. So I'm like, maybe I need a 1200 light. That'd be nice. Yeah. You need more. You reckon? I need more power. [01:41:50] Speaker A: More power. [01:41:51] Speaker C: Bigger. More power. Bigger. Bigger light. [01:41:54] Speaker A: Bigger. Or parabolic. [01:41:56] Speaker C: I did, I looked at those. But I have to learn how to use one. I've never. [01:42:01] Speaker A: You can get that. That's one there. It gives. It also gives a round catch light rather than Rockda. [01:42:09] Speaker C: Yeah, that's right. I just, I didn't want to spend. I don't know what a. A parabolic. That's over. That's like 1.5 meters. It would probably cost me way too much money, this thing. So this was a Godox 1.8 meter softbox. Octagonal. Obviously it cost 180. 80 bucks or something like that. Like it was. [01:42:31] Speaker A: Yeah, we live in great times. [01:42:34] Speaker C: We do live in great times. So yeah, a few more puppy shots. It was. That one was the most easy to work with. It's got some running towards the camera. And so I had put this stuff on the back burner, this, this dog photography stuff because I've got a lot of lucky work to do at the moment. But I think it's. I think it's got a. I gotta make it happen. I gotta start doing these properly, so. Oh. Once we have a temperature controlled studio, it'll be all systems go. [01:43:08] Speaker B: Very cool. [01:43:09] Speaker C: More pooches. [01:43:11] Speaker D: Yeah. [01:43:12] Speaker C: And that is that. [01:43:13] Speaker B: They're great. They're really great shots. [01:43:16] Speaker A: Gorgeous, mate. [01:43:17] Speaker D: Yeah. [01:43:17] Speaker B: Well done. [01:43:18] Speaker C: It was a fun, fun way to spend a Saturday. Gotta love dogs. [01:43:22] Speaker B: Oh yeah. Should we bring up Dennis's images? [01:43:26] Speaker C: I think we should image behind the scenes. Yeah. Should we start with the images, Dennis, or the behind the scenes video? [01:43:34] Speaker A: Let's look at the images first. [01:43:36] Speaker C: Okay. [01:43:36] Speaker A: And I'll power through them. We don't need to be. [01:43:40] Speaker B: So. [01:43:41] Speaker A: So my. We shot an episode of Aussie Park Barbies last weekend and the story behind the episode was we would. We were heading out light painting and on the way we stopped to make a meal and we were heading to the salt. We were going out onto the salt flats. But as we were leaving Port Piri there were these abandoned train carriages. So we ended up stopping there. And at the end of the night for, for the episode, I wanted to make a portrait of my two amazing friends. So we jumped into one of the carriages and I think this was the third attempt I got this one. So it's hand lit. So I, I light them by hand. I've got a magnetic light on the outside of the carriage illuminating the one next door. And this is a single exposure. Yeah, it was, it was remarkable. The texture and the, and the walls and the, yeah, the graffiti and they sat very still and, and it was a gorgeous night and, and I really love, as you guys know, portraits. If I'm making images of humans, I'm a happy man. [01:44:47] Speaker B: Yep. [01:44:48] Speaker A: But this is, yeah, this is a single exposure, ISO 100 maybe 30 seconds. If four or something. It, it's. And these are, and if, if you want to show that. Can you play the video? [01:45:01] Speaker C: Yeah, yeah, I was gonna say maybe I'll quick because it's for that image. So I'll just, I'll, I'll bring the video up for it. [01:45:09] Speaker A: This is just a quick little thing just for people. The reason I make these is that people, it just, I want people to see how easy it is. And so this shows the, the technique. [01:45:24] Speaker C: Looks like you're using a 360 camera to film this. [01:45:27] Speaker A: Yeah. So yes, I, I shorten this just. But, but you can see I scan them by hand and then I pop a bit of light around the space and then add the blading. Yeah, it's as simple as that. [01:45:42] Speaker B: Magic. [01:45:43] Speaker A: Any idiot could do this. Yes. [01:45:46] Speaker C: Yeah, of course. It's just. [01:45:47] Speaker A: No, it's all about, I mean it's all about, you know, like lighting them by hand is. That's how you get the shape and, and the texture and, and it's, it's remarkable way to, to illuminate people, that's for sure. And, and it will never, ever, ever be repeated. It's always, always one, one thing. And, and yeah. [01:46:11] Speaker C: How did, how did you, how did this shot. We won't, we won't go too long. But how did this shot evolve in terms of. I'll go back to the full shot in terms of finding the. Actually, I'll play this one more time before we do that while you're talking about it. How did it evolve in terms of you finding the composition that you wanted and then how many times did you have to sort of repeat that pattern trying to get the right shot. [01:46:35] Speaker A: We walked through the carriage earlier in the day and, and I spotted it then and remembered it and I wanted them to be in it. And what you need is, you need, you need the person to be able to stay still. So she was able to lean on that and he could sit with his elbows there because the main thing is they need to keep their heads still. And this was the third attempt and last one. So I, I get pretty good at knocking these out first like, you know, pretty quick. And the, and, and what I, what I change, the things I change is not so much lighting them. I'm pretty good at that now is if the blading is either too much or too little. You can see it's a bit wobbly on the right hand side there. I would normally have another go, but we were tired and wanted to leave. Yeah, but, but yeah, I, I would sometimes, yeah, I smash these out pretty quick. We, maybe we're in there for like three, three to five minutes maybe. [01:47:34] Speaker B: Wow. [01:47:35] Speaker C: Wow. [01:47:35] Speaker A: Yeah. [01:47:35] Speaker C: That's crazy. [01:47:36] Speaker A: Thank you. Thank you. I appreciate it. I, I feel very. Yeah, I, I love it. I feel, I just feel, I just feel blessed to be able to, to give this to people as a gift. Yeah, that's, that's how I feel about this. And, and the reason I make these videos and stuff is I want other people to see that. It is, it's not, it, it's, it's a real thing. This is not some AI Photoshop layered composite rubbish. This is, this is, this is something that anybody can do [01:48:14] Speaker C: with a lot of practice. [01:48:16] Speaker A: Oh yeah, one or two. I made one or two of these. But practice is good, right? [01:48:20] Speaker B: Yeah, absolutely. [01:48:22] Speaker C: Exactly. [01:48:22] Speaker A: Indeed. Oh, okay. So we, yeah. So this is, this was from outside again. This is a single exposure. I'm fanatical about my astro work being a single exposure. And what's insane about this image is that out there's a giant power station in behind this place. And then we were getting a nasty reflection off the silver paint on the side. But you can see a little bit of light painting in there, some blading. So I've, I've got a light inside, inside the carriage. I'm down on the, down on the ground. Like I could barely see the back of the camera but it's at ISO 1600. This is with a 35 mil Lauer. So it would have been at maybe 1.2 or maybe 1 if 1. Which means the blade is so dim that when it's on, you can barely see it and it shows up. Yeah, but, but yeah, single exposure. Thanks. [01:49:27] Speaker C: Beautiful. Thank you. [01:49:30] Speaker A: Very cool. I want to do. It's all I ever want to do my whole life. Oh, there's another one. [01:49:35] Speaker C: Yeah, and there's another one. [01:49:38] Speaker A: Yeah. The Milky Way. [01:49:41] Speaker C: Yeah. Yeah. I'm very much the same with Astro. And, and not, it's not because I don't love the work from people like Richard Taddy that, that stack, you know, stuff and that, but for me, I just love getting that photo and that's done. I know you. And then you edit it or whatever later, but just not, not having to look at different photos and be like, oh, when I blend these together later, it's going to be great. I just like to see it and be like, wow, that's the nice guy. [01:50:09] Speaker D: I look. [01:50:09] Speaker B: I agree. [01:50:10] Speaker A: And, and I, I just keep, I just keep rotating back to this idea that I want every single person that ever sees an image of mine to know that they can do it. [01:50:19] Speaker B: Yeah. Yeah. [01:50:21] Speaker A: That you, you can do this yourself. [01:50:23] Speaker C: Yeah. [01:50:24] Speaker A: All right. Thank you, guys. We should, we should. And thank you for the very kind comments, everyone. In the comments, I, I, it, it means a massive amount to me that, that I make something that pleases your eyeballs. [01:50:36] Speaker D: Yeah. [01:50:37] Speaker B: And lots of comments about it being inspiring, too. It's not just eye candy, it's. People are taking stuff away from this going well, you know, so many possibilities. So. Yeah, well done. [01:50:48] Speaker D: Yes. [01:50:50] Speaker B: I've got a couple in there. Yep. [01:50:54] Speaker C: Done. [01:50:54] Speaker B: I haven't been out much lately, to be honest, but every now and then I'll take the camera with me on a little stroll, play around with hunting some light. I've been really getting into architecture a lot more. I've realized with street photography, you know, finding really interesting spaces and shapes just by looking up. You know, often we see, you know, when you're photographers, you often people watch. Well, I do as a street photographer especially, and you see people moving through the world without glancing up or down, you know, And I discovered when I was doing macro photography that I should be looking down more to see what wonders are at my feet. And then with, with architectural stuff, I should be looking up more. There's just so much going on around us, and it's just looking for those shapes and compositions that, you know, that I think are worth, Worth documenting. [01:51:53] Speaker A: Yeah, that's a. Looking up and looking down is such a thing. It's such a powerful thing. [01:52:00] Speaker B: Yeah. [01:52:03] Speaker C: Yeah. The, the, the advice you get early on as a photographer is often just get out of that. That eyeline. [01:52:13] Speaker B: Yeah. [01:52:13] Speaker C: Photography. Not. Not that that's bad, but like experiment. Get low, get high, look up, look down. [01:52:18] Speaker A: Yeah. [01:52:19] Speaker C: Do a top down shot. You know, like find things to look through. You know, just. Just get your camera into different positions to what you would normally just see walking down the street. Yeah, that's great advice. [01:52:31] Speaker A: The light on that person's face is gorgeous because. [01:52:34] Speaker B: Yeah, it was just really good. [01:52:35] Speaker A: Yeah. Drawn there and we can see that she. He is looking straight at us. Which is lovely. Yeah, [01:52:44] Speaker C: Very cool. Craig. So you haven't been out much, but you've been doing it. You're still. [01:52:48] Speaker B: Yeah, every now. These images were just from going out doing errands and because, you know, we don't have a car, we choose not to. We live in a city. I walk everywhere or public transport. So I've always got. I'm always looking, you know, I'm always traveling with a. With a photographer's eye. So it's got to be in the right place. So. Yeah, that's it. [01:53:12] Speaker C: And you got to have your Fujifilm with you. [01:53:14] Speaker B: That's right. No other way to do it. [01:53:17] Speaker A: Which makes it easy. [01:53:18] Speaker B: Exactly. [01:53:19] Speaker C: That's right. Because they're small. Although I want a bigger camera. Anyway. Let's keep on trucking. [01:53:31] Speaker B: All right, let's look at your images, people. Time to. We've got John Latimer first. [01:53:39] Speaker C: We do. [01:53:41] Speaker B: Shall I kick off? [01:53:42] Speaker D: All right. [01:53:43] Speaker B: Hey, guys. Been swamped with work and traveling interstate so much this past month for events and really feeling the pressure. I managed to squeeze in some time for some photo walks and switch the brain off for a while. This week's photo is of a young grey bitcher bird never heard of that had amazing light in between the rain and wasn't really planning on taking photos. More just to get out and away from it all for a moment. But better to have the camera and not need it rather than to need it and not have it shot with an A7 R3 with a 200 to 600 1200th of a second at f8, ISO 100. [01:54:20] Speaker A: There something really like birds are. Birds are wild. Hey. Because you. It's so hard to get them in a composition where it's not distracting. And this is it. [01:54:30] Speaker D: That. [01:54:31] Speaker A: This is at F8 and you still got that soft background is gorgeous. But the exposure control. The. The feathers. Because it's backlit. The feathers are not blown like that. That's. That's special. [01:54:44] Speaker C: Yeah, the. The. The like backlight sort of rim lighting on that. [01:54:48] Speaker B: Yes. [01:54:49] Speaker C: Is perfect too, because it's not. It's not super blown out. [01:54:52] Speaker B: Yeah. [01:54:53] Speaker C: It's just nice. Yeah, that's. It's a great shot. Great composition, too. Just a bit of negative space on the right and the. [01:55:00] Speaker D: Yeah. [01:55:01] Speaker C: Here. Spot on. Trying to find a spot where they're not just sticks everywhere in the back. [01:55:05] Speaker B: Yeah. Distraction often, isn't it? Apparently I got it wrong. It's a butcher bird. [01:55:10] Speaker C: Well, no, I mean, I'm reading. I'm reading the text and I copied it word for words on you, John. Maybe John. Maybe John discovered a new species that you guys aren't aware of. The bird. But either way, and John Latimer proving Greg wrong, you don't need a nice compact camera in 2026. An A7R III with this 200 to 600 is exactly. To make an amazing. [01:55:37] Speaker B: To walk around. [01:55:37] Speaker C: To walk around. Just a point. An everyday carry point and shoot. Awesome shot, John. Thank you for sitting here. [01:55:46] Speaker B: Well done. Well done. Up next, we've got Gareth with some wind photography. [01:55:53] Speaker A: Can I. [01:55:53] Speaker B: Can I read this one down? Yeah, go for it. [01:55:56] Speaker A: Because my new photo that you guys are using was taken on a Q3 mono. [01:56:01] Speaker C: Oh. [01:56:03] Speaker A: So this from Gareth. Hi, Justin. I'm just watching last Monday's podcast and I thought I'd send you this for image review. This was taken at a workshop at Shreddenhams in Bristol on the Leica Q3 mono. This particular image is from the JPEG. Using this selenium, Leica looks at ISO20001, 1000th of a second f 2.8 and cropped a lot. I did also take a few photos on the SL3s, which were also good. I heard you talk about the Leica 2870 lens. You could save some money getting the Sigma version. I bought the 7200F 2.8 from Sigma and it's really good, along with the 24 one. For regards, Gareth. Now I'd be curious if he's talking about 70 to 200 in the Sigma to go on to the SL3s. [01:56:52] Speaker C: Yeah, I think so, I imagine. [01:56:54] Speaker B: Yeah, [01:56:57] Speaker C: yeah, yeah. So I actually. I went on a deep dive, Dennis, because Marcus Bell come on the podcast and damn him made me want an SL3. Yeah, yeah, yeah. And then so. And then I talked myself out of the SL3.1 because it's insanely expensive and two, because there's not many lenses in the Leica system. And I was like, wow. I just. I don't know if that's a good idea. And Then I remembered about the OWL Mount alliance and I went looking and there are a lot of lenses available in our mount. A lot. And they're really good. Sigma and also all of the like Lumix stuff. Yep. So there's actually a lot of lenses far more than what's available for Canon. [01:57:43] Speaker A: Look, It's a. The SL3. [01:57:45] Speaker C: The. [01:57:45] Speaker A: So I know we don't. We need to keep moving, but yeah, the SL3 is something that gets me a bit juicy. I. [01:57:54] Speaker C: That. [01:57:54] Speaker A: That and the. That lives in the same realm as the blab. [01:57:58] Speaker D: The. [01:57:58] Speaker C: The. [01:57:59] Speaker A: Yeah, yeah, they are. They are very good. And you're actually not spending that much more than if you go to a GFX system. I promise you I've done that. I've done that. I've put those all into many shopping carts and. [01:58:15] Speaker C: And yeah, they're in a similar basket for me in terms of price and, and what the system offers. What's really fun. And there's a guy, oh, I'd actually love to get on the podcast. He's got sort of a smallish YouTube channel and he did a video. He is a photographer in Hawaii working commercial. Commercial, but also landscape photographer in Hawaii. And he switched to the SL3. He'd been a Canon shooter for many years. Dream Camera SL3 stuck with it for 18 months and then he made a 20 to 30 minute long video about why he's going back to Canon after trying to use it for 18 months. And it like the dream that he had for, for this gear that he lusted over and then the reality of what it was like shooting with it and that it wasn't all bad, but the cons outweighed the pros. When. When reality set in. After a year and a half of using it, I was like, this is a very honest video this guy's making. [01:59:12] Speaker A: You know what they say about supermodels, right? [01:59:14] Speaker C: What's that? [01:59:15] Speaker D: I. [01:59:18] Speaker C: What, what did they say? [01:59:20] Speaker A: Well, the fantasy of, of laying down with a supermodel, right. [01:59:26] Speaker B: Oh, yeah, yeah. [01:59:27] Speaker A: Is often disappointing. But what the interesting thing hasn't been [01:59:31] Speaker B: in my experience, but you know, [01:59:35] Speaker A: the interesting thing, the interesting comment that Gareth makes here, that I have experienced is ISO20,000. Now I've shot with a few that. It is mental how that thing, how clean that thing is at high ISO. Wild. [01:59:50] Speaker C: Yeah. [01:59:51] Speaker A: All right. [01:59:51] Speaker C: Yeah. This like. Yeah, it's hard. It's hard to see, but it has, it has been cropped a lot, I'm sure. And it's still so, so clean. Like his shoes. The Detail and stuff on his shoes that I can see on my screen is. It's pretty crazy. [02:00:06] Speaker A: The guy in the background. The guy, like. It's a great composition and a very smart Croft as well. The guy in the background and all [02:00:12] Speaker C: that shredden sounds like a really fun place to take photos, so that's actually very cool. Great place for a workshop. So I'm glad you had fun there. And I'm jealous of your Q3 mono as well and your SL3s, so. Damn. [02:00:26] Speaker A: I'm very close to locking in a workshop in Melbourne the week before. Be up, by the way. [02:00:33] Speaker C: Well, well, well. Keep us in the loop. [02:00:35] Speaker D: Yeah, [02:00:38] Speaker B: Greg Carrick is up next. Is that who you've got? [02:00:42] Speaker C: Yes. Now he's got a little collection and I'll try and bring them up at the right time. I'm not actually sure. [02:00:47] Speaker B: All right. Hi, Justin, Greg and Jim, AKA Dennis. I went out with a bunch of photographers from the Yarra Rangers Photographic Society into Melbourne to get City Light photos. I decided to only do multiple exposures. You can do this in camera with Fujifilm. Up to nine images in a photo, but I just stuck to double exposures. And here's two examples, samples. The first of each is the two images side by side that make up the double exposure. Then the final result, the girl. The first girl I photographed was a model being photographed by a bunch of other photographers. I just bumped in and did the double exposure thing and when I showed her the back of the camera, she lit up and was jumping around in excitement. I think I put a few noses out of place. Anyway, I had fun. And I'll add this to my grab bag of how to shoot Street. [02:01:38] Speaker C: And here's another one. So this is the. Yeah, the other two images and then the final result, double exposure. It's really fun. [02:01:49] Speaker A: There's a lot of photos we need to get through. [02:01:52] Speaker C: Yeah, I know, I know. [02:01:54] Speaker A: I. I reckon we can't just have a crack for three hours. Shall we? [02:01:57] Speaker C: If you. [02:01:58] Speaker A: If you've. [02:01:58] Speaker C: If you've got to go, Dennis, just yell out. Just yell out. [02:02:01] Speaker A: No, no, not at all. I'm just trying to be. I'm just, you know, I'm just a wise one. This one. [02:02:06] Speaker C: The wise one. Yeah, there's a lot. Yeah, these are great. [02:02:09] Speaker B: They're really. [02:02:10] Speaker A: Double exposures are super. That's a whole. Another way of thinking. Right. [02:02:14] Speaker B: Yeah, isn't it? [02:02:15] Speaker A: Seeing, you know, street photography already is that masterful sort of thing of where you've got to see stuff, but then being able to visualize Them being one on the other is so good. [02:02:25] Speaker B: Yeah. [02:02:26] Speaker A: Coder is also one of the great albums of all time. [02:02:29] Speaker B: Of course. [02:02:29] Speaker A: L. [02:02:34] Speaker C: Okay, John hall, let's keep. Let's keep it rocking. [02:02:37] Speaker B: All right. You want to read this one, Dan? [02:02:39] Speaker A: Okay, let's go. Hi, guys. Don't know what happened to this one. I sent it in a couple of weeks ago and it seems to have disappeared, so I thought I'd resend it. Vivid has just been on in Sydney. We went out a couple of weeks ago on a very wet Tuesday evening. We were shooting the lights up in the Argyle cut when I turned around and the atmosphere of the scene caught my eye. Taken on my Z63 with a 28 2.6 at f 5.6, 1/100 of a second. ISO 6400. We subsequently went out a week later when the weather was better and got arguably better shots of the lights, but it didn't compare to the atmosphere of this night. Yeah, that's. Look at the reflection on the ground of that whole. [02:03:25] Speaker C: Yeah, yeah. [02:03:26] Speaker A: That's sick. [02:03:28] Speaker C: It's a. Yeah, it's sort of a more interesting take on Vivid than. Than seeing some of the. You know, because you see so many of this sort of same kind of shots. It's a beautiful. Obviously, vivid's a cool thing, but this is something different and I. I love it. [02:03:42] Speaker B: Yeah, me too. [02:03:43] Speaker A: Yeah, that's super cool. Yeah, that's moody, man. That looks like a film noir shot. [02:03:49] Speaker C: Yes. [02:03:50] Speaker A: And. And again, you know, this whole, like, this whole thing so often, you know, highlights and shadows are kind of what I love. And. And really controlling the light coming out of that box, it would be like. It's a very thin slice away from that just being blown out white block. So it's gorgeous. There's the juxtaposition of the left and right of the frame as well. That's just art, Wink. I was just trying to find something interesting. It's a gorgeous but well seen. [02:04:19] Speaker C: Yeah. Yeah. [02:04:22] Speaker A: Well, it is like painting, really. [02:04:25] Speaker C: Everything's like painting. [02:04:27] Speaker B: It is. Up next, we've got Jamie Vanden Brink or Tweet Productions. Hi, Justin, Greg, and Camera Life alum. Hope you all have had a wonderful week. It's been miserable, wet and cold here in Toowoomba, Queensland. So I went trotting through the archives. Here is my photo of a kookaburra, which I took in the Blue Mountains in June last year. Since I bought my telephoto lens, which was for macro, mind you. It lures me into pointing it at these feathery little flappers and bikes instead. I swear I have no control over it. It must be a correlation of owning one. Anyway, I really do like this photo. The light and colors were beautiful. The branch it was sitting on had this wonderful swirly texture. Indeed. And his pose turning back towards me showed off his lovely feathers. This was shot with the Canon R5 Mark II with the EF100 to 400 Mark II and shutter 1.500F 5.6, ISO 6400. [02:05:25] Speaker C: 640. [02:05:27] Speaker B: Oh, sorry. 640. Thank you. [02:05:30] Speaker A: Can I ask. This is not a critique of photo at all. I think it's utterly gorgeous. But I. What, I wonder what people's feelings are of, of removing the feather that's coming out of his head in, in, in Photoshop. Like I. And this is coming from someone who is stupidly, ridiculously fanatical about only ever delivering the images that I capture light painting wise. But I, I often wonder whether just because in Photoshop you can in pretty quickly just remove that leaf. I, I wonder. Yeah. I wonder what people's feelings are on that. Whether. And it's. That's just my. Does it make it a better photo? Who knows. But I think it's lovely. Again, just this look at, look how soft that background is. Yeah, it's remarkable. [02:06:19] Speaker D: It's. [02:06:20] Speaker C: It's a tough one. It's like. [02:06:22] Speaker A: Isn't it? It's tricky. [02:06:23] Speaker C: Yeah. You, you definitely could do it, but I would tend to not do. Would probably make it a much cleaner sort of composition. The other thing you like, you could do, I think if you cropped in tighter, particularly off the right hand side where that kind of green, strong green is if you, if you cropped past that and, and cropped a bit of the top off here. I'm not saying you should do this. I'm just saying you could. It would potentially make this background seem more uniform. Therefore this would look less like it's popping out of its head and more like it's part of the background because it's not. Because there's not an absence of, of leaf up here. Does that make sense? [02:07:12] Speaker A: Yeah, it does. [02:07:13] Speaker C: If, if you sort of come. Yeah. Just across and, and down. Maybe it would remove. But it would also change the, the photo completely and, and probably, you know, not look as good. I think it looks great. [02:07:25] Speaker A: So I don't, I, I, I only, I only again, just to be really clear, not a, not a critique of, of the image. But I'm always curious about what people's feelings are on it. [02:07:36] Speaker B: Yeah. [02:07:37] Speaker A: And it's the reason why I don't edit any of my light painting images really is, is because I want, you know, and, and then, and then now, now I've been looking at it for a couple of minutes. It's quite huge. It's like a little crown. [02:07:51] Speaker B: But yeah, I get it, I get it. I mean, I, I don't, I don't remove anything from images, but I'm not shooting, mostly shooting street stuff, you know, But I, I like the way it is, the way it is. If I got it wrong, then I got it wrong, you know. [02:08:07] Speaker A: Oh, look, Yeah, I, I, I, that's why I hate camera clubs and, and, and being banned for life is because I find it fury. I, I get furious when a camera card judge would look, would look at this and go, well, if you'd moved 2 meters to the right, you would have. The beak would be the thing, I think with your dick. There was a cliff 2 meters to the right, you know, like, it is what it is. Gorgeous photograph, like for so many reasons. [02:08:36] Speaker C: Yeah, yeah, Great shot. Great to get the profile, you know, of the beak and stuff, because that bird could easily just sit there and face the other way the whole, the whole time you're standing there and you're [02:08:44] Speaker A: like, God, there's a catch light in its eye. The text. [02:08:49] Speaker C: Exactly. [02:08:50] Speaker A: It's gorgeous. [02:08:51] Speaker C: Yeah, Great shot. Lots of great comments in the chat. We can't, we don't have time to read them all out, unfortunately tonight, because we talk too much. But a lot of people have agreed that potentially playing with crop could be fun. But it, you know, it's always going to change and tweak says we'll edit it and see how it looks. Thanks, Dennis. Also a pretty heavyish crop already. This was a really tall tree. Exactly. [02:09:18] Speaker A: And herein lies the power. Herein lies the power of megapixels, the ability, the crop. [02:09:24] Speaker C: Right. [02:09:25] Speaker B: Yeah. Yeah. [02:09:29] Speaker C: Who's up next? Felicity Johnson. [02:09:32] Speaker B: Yeah, Dan, you want to read this one? [02:09:33] Speaker A: Yeah. Hi there. This is a photo of the giraffe tree, which is a yellow gum up the road from home in the Wellsford Forest. My husband, who is an early riser, sounds the fog alarm and I'm straight out. I find the fog helps simplify our very busy forests, helping to isolate the point of interest. I agree. I took this photo last week on my Nikon Z8 with a 2472.8 lens. The other photo was the same tree in spring 2023 when I was photographing wild flowers. Nikon D780 105.2.8 macro lens. Wow, that's a nice camera. Yeah, yeah, beautiful. Can I see the fog one? Yeah, beautiful. Wow. [02:10:19] Speaker C: Damn, what a tree. [02:10:20] Speaker A: I like your husband. I love the fog. [02:10:23] Speaker C: The fog alarm. [02:10:24] Speaker D: Yeah, yeah, [02:10:27] Speaker C: yeah. I was thinking I need one of those like, but like a fog, a foghorn one. Like a. Yeah, yeah. You know, I have to get one of those for the show. We haven't been doing a lot of sound effects lately. Yeah, both great shots. I love revisiting the fact that you revisit the same subject too in your local area in different times of year and things like that. I think that's awesome. Especially such a unique tree. [02:10:50] Speaker A: And how neat having a subject. I mean we probably all have that, you know, us spot a place, an item that we, we revisit regularly to play with different lights and different textures and different moods with it with the same subject. I. It's a gorgeous idea. And getting the sun coming through on the, on the, on the other side is. We all love a good starburst, that's for sure. [02:11:12] Speaker C: Yeah, yeah. [02:11:13] Speaker B: Amazing. [02:11:15] Speaker C: Greg Carrick says the bent tree on the right deserves its own image to too. Yeah, it must. It's. Yeah, it's a super interesting tree. Maybe it's feeling left out, but yeah, fantastic shot. Philip Johnson says have to love a tree with character. [02:11:32] Speaker B: Indeed. [02:11:33] Speaker C: So. Okay, up next. [02:11:38] Speaker B: Goodwin is up next. [02:11:39] Speaker A: Oh my Lord. [02:11:40] Speaker C: Right, here we go. [02:11:43] Speaker B: Hey gang. Sending an image this week. Got a last minute call up to shoot a show at Geelong Arts Center. I always love this perspective of the artists on stage as most people don't get to experience it. That's very true. [02:11:56] Speaker A: Yeah. Wow. There, that's. Yeah, that's fascinating, isn't it? That's kind of what the performer looks out and the lights coming out. [02:12:04] Speaker C: It's. [02:12:05] Speaker B: I love that. It's just all purple. [02:12:07] Speaker A: It's very dreaming, isn't it? [02:12:09] Speaker D: Yeah. [02:12:11] Speaker C: Speaking from my experience of being on stage, I never played anywhere that looked quite so big and full and amazing as that. Usually it looked more like a dingy pub. So it is really cool to get these kind of perspectives that us normies don't get. You know, like we don't get to see this especially maybe we get lucky enough to see it empty one day, go up on stage and see what these venues look like when there's no one in them. But to see all those phone light, phone torches and everything from different decks, like that's. Yeah, that's pretty special. [02:12:42] Speaker D: But. [02:12:43] Speaker A: And I have to look at, you know, especially with Lucinda's work And I go like, how, how. Well, this, like, just what a remarkable opportunity as an image maker to be able to even be in the. In the. [02:12:57] Speaker C: The. [02:12:58] Speaker A: In the position where she is to make the image. [02:13:01] Speaker C: Yeah. [02:13:01] Speaker A: And I know how she gets this because she's very good, trustworthy, very. [02:13:07] Speaker C: It takes. Yeah. The. The artist has to trust you to let you get in. In their creative space while they're performing. And that takes a lot of work and a lot of time to build that trust. [02:13:21] Speaker A: That's a great comment, actually. That's really interesting. [02:13:24] Speaker C: Theater is really quite intimate, but Lucinda, you've made it look like a stadium. Well done. Yeah, that's cool. That's very cool. Best seat in the house. [02:13:34] Speaker B: Yeah, very true. [02:13:36] Speaker C: Thanks, Lucinda. Keep sending them in. We missed you. I know you're busy, so it's fine if you don't, but you know, we like it. [02:13:47] Speaker B: Nev. Yeah. Dan, you got this one. [02:13:51] Speaker A: Yeah. Niv, the story behind this photo. Oh, my God, they're sick. [02:13:55] Speaker D: Look at the light. [02:13:57] Speaker B: Wait. [02:13:57] Speaker A: Oh, no, that's not the comment. Offshore winds create beautiful waves where the wave just kind of sits there before it crashes down. So dialing the shutter speed down to half a second gives it a long pause. It's like pausing. It's like pausing before you speak. Mindfulness meets photography and they merge together. Oh, my Lord. Dude, you need to come and help me write my RS therapy course. Location, Sandy Sand Patch, Albany, Western Australia. Tech GFX 1/ hundreds 2GF 100-200F 14 ISO 40. Shuttered half a second. I didn't have an ND filter on me, hence the extended ISO setting. [02:14:42] Speaker D: Gorgeous. [02:14:43] Speaker A: It actually works really well. Well, dude, I agree, that is extreme. [02:14:47] Speaker B: Extraordinary. [02:14:49] Speaker C: Yeah. Wow. It's making me want to gfx. We better move on pretty quickly. Let's not. Let's not linger on this photo for too long. [02:15:02] Speaker A: I've just seen your. I've just seen your comment there. Ne. I. I will. I'll make. I'll make. I'll get in touch with you, mate. Actually. Thank you. [02:15:09] Speaker C: Yeah, we'll. We'll. We'll connect it. We'll connect her up. [02:15:12] Speaker D: Yeah. [02:15:12] Speaker A: That'd be amazing. Thank you. [02:15:14] Speaker B: We'll. [02:15:14] Speaker C: We'll have our people talk to both of your peoples and we'll connect all the peoples. [02:15:19] Speaker A: Lovely photo. That's gorgeous. Well, seen that light. [02:15:23] Speaker C: Yeah. Beautiful shot. It'd be nice to just be standing there watching this. Oh, that would be. [02:15:28] Speaker A: I can. You can feel it, right? On your morning walk, old mate. Old mate. It's one of the most valuable things I learned about photographing water was from our waterfall mate at B3 flop. Useless of names, but he, he did 100 waterfalls in 100 days or something insane like that in Victoria. And he was like, yeah, misty, smoky, you know that Frosty, your soft cloud looking water is cool. But shoot a half a second or, or something like that and you feel the movement in the water. You feel it like. I can feel that, that way there because it, because it's not like crazy long exposure. [02:16:07] Speaker C: Yeah, yeah. [02:16:09] Speaker B: It's just enough. [02:16:10] Speaker C: Yeah. [02:16:13] Speaker B: Who we got next? Phil Thompson. [02:16:16] Speaker A: Philly Allege. [02:16:18] Speaker B: Hey, Justin and Greg. These two images are of Trouuta Arch that is amid the Tarquin Forest in Tasmania's northwest one from either direction. They were captured on one of my many Tassie trips. This one is March 2019. It is a beautiful easy walk into the arch through the rainforest with this rewarding view at the end of the track. [02:16:40] Speaker D: Wow, [02:16:43] Speaker A: look at that. [02:16:45] Speaker B: Pentax K1 Mark 2 with the Pentax 15 to 30. The first photo was 1/30 of a second. F13, ISO 800. The second photo 1/10 of a second. Aperture F11 at 1600. As always, thanks for a great show and having the platform for photographers to learn, discuss and share in their craft. Cheers. [02:17:07] Speaker A: Look at the color there. That's amazing. [02:17:11] Speaker C: Yeah, I love that you've got both angles too. That's actually really cool. [02:17:15] Speaker D: Yes. [02:17:18] Speaker A: You know what that means? That needs light painting. [02:17:22] Speaker C: Some light painting. Of course. Imagine this at night time. Oh, you could go crazy in here. [02:17:30] Speaker A: Coming from behind those palm trees. It would just be ridiculous. I mean. Yeah, one day. Phil. Let's go, mate. I'll bring the helicopter, [02:17:42] Speaker C: fuel it up. Yeah, thanks for sending those through there. Yeah. Epic. [02:17:46] Speaker A: They're very cool. [02:17:49] Speaker C: Epic. Now, where are we? [02:17:54] Speaker B: We're up to David Tarlington, Parabellum Collectibles. This one's for you. [02:18:00] Speaker C: Whoops. There we go. This one's for me. [02:18:07] Speaker B: No, for Dennis. I meant. [02:18:08] Speaker D: Sorry. [02:18:09] Speaker A: Oh, let's go. Hi, Dave, thanks for. Thanks for coming. My friend would like to submit some images from my very recent journey to Japan, if at all possible. Now, while there, I took the opportunity to capture as many images as possible and have since arriving back home last week, only had the chance to look through three days worth of images so far. Now, the images I've sent through are from days I had reviewed while still in country and hope you can give some feedback on them. Information attached for your reference. Canon R7 for this trip, mostly Sigma 16 to 300 Image 1 Nagasaki Peace Park Peace Statue Love. The first day visiting this amazing monument with the rain setting in over the day, was fortunate enough for the crowds to move on long enough to capture the image with the reflection of the main path. Shutter priority ISO 320. Some bias stuff. 1 400/th of a second. 16 mil. Image 2 Nagasaki Hypo Center. Spirit of Nagasaki really was only looking at getting some images of the bridge across the Urakami river, which runs about 100 meters from the Nagasaki Hypo Center. A hypocenter of the A bomb. Oh, that's pretty surreal. With so many people transiting the bridge to and fro the Atomic Museum. I tried to use a slow shutter speed to blur them out or to almost make them not in the image at all, but this image. But this image, along with a couple of others work better than I expected. The ghosting of the subject as she had stopped, then continued on almost looks like a spirit from the past. This was done handheld, using a railing as my temporary tripod. I love you, my friend. That is genius. Shadow priority ISO 0As. 4 seconds. 4 seconds. 48 mil. Aperture 11. Interesting. We'll submit more images as time goes on. There were thousands to go through. I think there is something quite stunning about that concept of this being a ghostly image, considering where it is. And that is such a wonderful thing because it shows once again how looking at an image can make you feel or understand or know something. There is some power often in understanding the background of the image because that adds a third dimension to it. And this is a perfect example of that. [02:20:32] Speaker C: Yeah. [02:20:33] Speaker A: Yes, it's a cool image where it is, but it is multiplied knowing what is on the other side of that bridge, isn't it? [02:20:41] Speaker B: But it's also, you know, considering the photographer's experience too, knowing those elements and looking for those moments. When I went to one of my trips to Japan, I went to Hiroshima. And I didn't plan this, but the day I caught the Shinkansen there and back from Kyoto, it was the International Day of Peace. And so at the Bomb Dome in Hiroshima, they at the park, the Peace park, and at the museum, it was packed full of people, some survivors that were still alive, mostly family of survivors from the bomb blast. And just that experience, knowing that what had happened and the day that I happened to be there just made that photography experience so much more meaningful. And it ended up being one of the greatest days of photography I've ever had because it was just so much more to it than just seeing the light. And the shapes. It was. There was. There was context and story and history. [02:21:33] Speaker A: Yeah. Well, that's it. Right. Knowing a bit about either the place or the. Or the. Or the person who's made it even. [02:21:43] Speaker B: Yeah. [02:21:43] Speaker A: Now can I be. He's asked for. David has asked for some feedback. [02:21:49] Speaker C: Yes. [02:21:49] Speaker A: So I'm going to give you some. I reckon you could crop this really hard. I, I think if you, if you cropped it in hard enough to lose the stairs, the stair railing at the bottom and. And the railing on the left, it would make this image timeless. It could be any time. Although that is copying it pretty hard actually. [02:22:11] Speaker C: Yeah, I'm trying to find a. [02:22:14] Speaker A: Or making it a vertical. That would be my only immediate sort of feeling on it. That's the first thing that popped into my mind other than it just being like a gorgeous idea and execution with the shutter speed and that. But maybe. Yeah, that's the only thing that I think about is if you could crop in a little harder. [02:22:32] Speaker C: I think Dennis and Greg have talked pretty well. I think that other image does work great. So I'll give you some feedback on this one and it'll be some more, some bog standard, more technical feedback because this is tough lighting conditions. It's an overcast day, so the sky's going to get blown out. And I think as you've seen, your R7 has some pretty nice in body image stabilization that you can utilize. So you shot this at 1/400th at f4 I would try. And at ISO 320 I would get that ISO way down. I'd underexpose a little bit and I'd crank up your aperture and slow, maybe slow right down your shutter speed, maybe down to like experiment with anything from like a 15th up to a hundredth and play around with that. With the right aperture setting at ISO 100 that you can try and get a bit of detail in the sky potentially. I know it was overcast and dreary and there's probably no cloud there anyway. But if this had maybe a little bit of cloud definition and then you could lift the shadows, the darker parts of the image just a little bit to bring that reflection out, maybe you could have made a Betty's. But it is. This is just tough conditions and I like that you've tried to frame the. Or that you have framed the reflection center composition. Framed it really well. But yeah, maybe just trying to retain something in the skies and then getting sort of some more depth of field and a slower shutter speed might have got a little bit sort of more pop and color in the image. [02:24:11] Speaker B: That's the other thing. The other thing that I would add to this one, Jay, is that, you know, if. If this are the conditions you've shown shot and the settings you've shot and you get home, you realize, I could have done this. I could have done that. But you still want to do something with this image. I would leave the sky blown out the way it is, and I would flip this to a black and white image and go for a heavy contrast. [02:24:29] Speaker C: Yeah. [02:24:30] Speaker B: And really, really lean into that. You've got this, you know, this stark white background of the sky. Make everything else stand out in contrast to it. Yep. So, yeah, but it is tough lighting. It's, you know, it's always [02:24:45] Speaker A: completely. [02:24:46] Speaker B: You can make this a vertical crop. You can make it square. [02:24:49] Speaker C: Some great advice from Lisa, playing around with just framing the reflection itself and trying to do something with that. So just really working with the reflection, the puddles, the tiles, and not worrying too much whether you have the statue in it as a secondary angle. Tell the story a little bit. There's lots of things. [02:25:11] Speaker A: What a wonderful thing to play with. [02:25:14] Speaker D: Yeah. [02:25:15] Speaker A: Reflections. Reflections at a place like that is just gorgeous. [02:25:19] Speaker B: Yep. Amazing, though. Amazing. [02:25:22] Speaker C: Yeah. Great work. Thanks for sending them in. [02:25:25] Speaker B: Yeah. [02:25:26] Speaker C: And onward we march towards the end of this. [02:25:29] Speaker B: Almost there. [02:25:29] Speaker D: Long? [02:25:32] Speaker C: Two hours. Two hours and 25 minutes in. [02:25:34] Speaker B: That's nothing. Up next, we've got David Skinner. [02:25:39] Speaker C: Yes, we do. [02:25:40] Speaker B: Okay. [02:25:41] Speaker A: Oh, wow. [02:25:41] Speaker C: Oops. Whoops. Hold on. Coming back. Oh, no, I can't. Apparently I can't use my computer. I'm not sure. [02:25:46] Speaker B: Here is my image to share. Taken this afternoon. Nikon Z7 Mark II. Tamron 70 to 300. Looking at finding natural light for Matt Crumman's challenge this month. Cheers, everybody. [02:25:58] Speaker C: David S. Matt's got a challenge this month. He didn't tell me. [02:26:04] Speaker B: He's all over the place, that man. [02:26:06] Speaker C: Natural light challenge. Well, that is some natural light. Look at that beautiful green just streaking through the image. [02:26:13] Speaker B: Yeah. [02:26:13] Speaker D: I love it. [02:26:15] Speaker C: 70 to 200. Yeah, it must be. [02:26:17] Speaker B: I love the crop, too. [02:26:19] Speaker D: Yeah. [02:26:21] Speaker A: I've just. Last weekend I had a. I've been. For two years, I've been working on it. A. A project shooting video with a classical composition. And. And it was projected in a theater last weekend on a. With a 4K laser projector. And the video. I. It was the first time I've ever created a scope which is. This is three to one, but like a wide because it was being shot. Screened in a movie theater. Oh, my Gosh it was so remarkable how gorgeous it was making stuff like that and, and I. And going hard on these crops. It makes them cinematic. Like it, it just, it's so gorgeous. And especially when you have that, those long lines going there, accentuating them that way is gorgeous. [02:27:12] Speaker C: Makes me want a gfx. Greg Carrick says, were you on the only hill in the area? [02:27:21] Speaker A: Ah, [02:27:24] Speaker C: that's funny. Yeah. Beautiful shot. Love, love using the, the green fields to frame the trees. You know, you often say see trees in the sky above the horizon. It's nice to see them framed by, by the beautiful green. [02:27:39] Speaker B: Yeah. [02:27:40] Speaker C: Awesome. And Phil Thompson says, goodness, boys, it's a late show. I can hear the team feeling good. Coming through the water. Warren Pond station. Yeah. And on that note, we're, we're drawing to a close. We have what, two images left, two to go. [02:27:57] Speaker B: All right, next up is Rodney Nicholson. Dan, you take this one away. Yeah. [02:28:02] Speaker A: Hi. Hi, Justin. I love the contrasting light in this. It's got a wonderful color palette. It's got moody clouds. In fact, I was drawn to this location because of the clouds. I know the place well. Many wedding fashion and just composition shoots here over the years. Corio Bay, Geelong. Wonderful architecture shot on my phone. I didn't have my Pentax in the car. 1, 1000th of a second. F 2. Apologize if I read that. Funny, the punctuation seems to have gone. [02:28:37] Speaker B: Yeah, well, look at that. [02:28:40] Speaker C: I love, I love that, Rod. Neil, just no matter what, a lot of us will. I say us, I just mean me will not take a photo because we didn't bring our big camera, our main camera, you know, like sometimes you were like, oh, you know, wish I had the camera, but you don't. Whereas Rodney will go, I got my phone. I'm gonna go and find the angle I want and take the photo. Yep. [02:29:03] Speaker A: And here's a perfect example of, of how that can work. Right? Like, that is super light. That must be like on, on the widely. Obviously. Yeah. [02:29:12] Speaker C: It's got to be on a wide. Yeah. And then cropped. Yeah. I, I find myself looking at the dark gray. What are they? Pavers. And being like, why are those ones there? You know, like what, is there a pattern? Why are they there? Did they have to get replaced once and they ordered the wrong gray? [02:29:36] Speaker A: Yeah, yeah, yeah, yeah. [02:29:40] Speaker C: Awesome work. Oh, whoops. [02:29:41] Speaker D: Hang on. [02:29:42] Speaker C: Okay, we better. God. [02:29:44] Speaker D: Wow. All right. [02:29:45] Speaker C: Lucky Larson. [02:29:46] Speaker B: Nelson. Well done, Rodney. Hey, Justin. Greg and Dennis. This was last night. Looking from Mount Gravatt at the sunset in the distance. A last minute sunset Watching time, time with my wife. Shot with the Lumix S5 Mark II and the Sigma 100 to 401. 160th of a second. F 6.1 ISO 1250 at 252 millimeters. Thanks for the show and look forward each week to this. Look at those layers. [02:30:17] Speaker C: Yeah, I love. I'm a sucker for layers and cars and stuff. I'm just like. Yeah, that's. That's. That's the stuff I love. It just makes you want to rack out your lens to its maximum and just get all the layers. [02:30:30] Speaker A: I'm gonna be a complete dick. It's. It's. It needs to be. It's not straight. [02:30:38] Speaker C: Oh, yeah. Is that tower. Is that based on the tower? Is that what you. [02:30:42] Speaker A: Based on my brain. [02:30:44] Speaker C: I know, but there's a lot of. There's a lot of lines. I was. I was interested as to what the thing that. That drew you to. Okay. It's definitely not straight. [02:30:53] Speaker A: First of all, it was the clouds, but, yeah. The tower. So it needs to be. It needs to be straightened. What a gorgeous, gorgeous thing. You're right. Like, there's so many. There's so many layers there. It's amazing. [02:31:07] Speaker C: Yeah. [02:31:08] Speaker A: And you know the most beautiful thing about this photo, Rick? [02:31:11] Speaker C: What's that? [02:31:11] Speaker A: You were there with your wife. [02:31:13] Speaker C: Yeah. Yeah, yeah, yeah. [02:31:15] Speaker A: That is the most beautiful part of this whole photograph. She was there with you. What a lucky. What a lucky man. Although I. I suspect that there's no luck involved with that. [02:31:27] Speaker C: And. And Rick's also shooting on a Lumix, which means he's using lenses that are in the L Mount alliance. Nicely. On my SL3. Should I buy? Well, I think that's nice, too. [02:31:38] Speaker A: Record, maybe. Record, maybe get himself an SL3. That your wife would clearly be happy [02:31:44] Speaker C: with that reporter edition. Rick says yes, slightly off straight. It was a great time. [02:31:51] Speaker A: And that's all. Ignore me. [02:31:53] Speaker C: That's all that matters. Exactly. But, yeah, beautiful colors. Love the framing. Great work. What a shot to finish the show on. [02:32:01] Speaker A: Yeah. [02:32:02] Speaker C: The pink hue is magical. [02:32:05] Speaker A: Yeah, it is magical. That's so true. It takes patience, Right. To wait for that light. [02:32:11] Speaker C: Exactly. Yeah. Or luck to. To be there in the moment and [02:32:15] Speaker A: say, nick just turning up now. He's just come back from Monaco. I was saying. [02:32:24] Speaker D: Yeah. [02:32:27] Speaker A: Of him partying on the back of super yachts, literally looking over the track. Yeah. So either he threw his phone to someone on the boat and said, hey, can you make a video for me? I've been getting very envious over that, man. [02:32:46] Speaker C: And, well, maybe we need to try and drag him back onto the podcast so we can hear some stories of travels, hopefully. I wonder if he took. I wonder if he took his GFX100RF onto the yacht and took a really nice shot. I wonder if he's got any photo. Hang on. No, Nick, we don't. We haven't got time for this. Nick, are you there? Can you hear us? Oh, hold on, hold on. We're getting glitchy. [02:33:14] Speaker B: Hang on. [02:33:16] Speaker C: Can you hear me? Oh, no. This is playing ball. This is a playing ball. Hang on. We've got nothing. We can't. I'm trying. I'm trying my best. We're two. 2 hours and 33 minutes into this, so good. Are you there? [02:33:37] Speaker D: Yeah, I'm here. [02:33:39] Speaker C: What's going on? [02:33:42] Speaker D: Well, first of all, I don't know who Dennis is following on Instagram, but I. I've been in Vienna. I've been nowhere near Monaco. Yeah, [02:33:58] Speaker C: we. Oh, hang on. [02:34:00] Speaker D: There are genuinely two mix lecture photographers. There's the Sydney guy who does surf photography and occasionally a bit of motorsport, and then there's me. [02:34:12] Speaker C: Were you on a super yacht at some point? [02:34:16] Speaker D: Not in Monaco in the last couple of weeks? [02:34:18] Speaker C: No. Okay, that's an interesting answer. We'll have to find out when you were on a super yacht one day. [02:34:25] Speaker A: Well, I tell you what, this next. [02:34:27] Speaker D: I genuinely have the best Jeremy Clarkson super yacht story ever told, but it can't be told. It can't be solved on a public podcast. So cat at the bar sometime, and I'll tell you my story. [02:34:40] Speaker C: Perfect. And I'll record it and put it on the Internet. [02:34:42] Speaker A: Is that not you, [02:34:45] Speaker C: Nick Fletcher photo. [02:34:47] Speaker A: Oh, that's hilarious. I have been sending him some wild messages, man. [02:35:00] Speaker C: I'm like. [02:35:02] Speaker A: I'm like, dude, get your kid off. I want to get your kid off and get it into one of those super bottles. [02:35:09] Speaker C: Oh. Oh, that's hilarious. [02:35:14] Speaker D: Very, very regularly exchange messages because you'll get called for jobs. I should be doing it. I'll get called for jobs. [02:35:21] Speaker C: Who should be doing. Oh, that is funny. Dennis has been sending you messages like, mate, can't wait for BFOP this year. It's gonna be great. [02:35:33] Speaker A: Actually, I'm just looking at his profile. [02:35:35] Speaker B: He is. [02:35:36] Speaker A: He's an actual photographer. I don't know why I should have figured that out in about two seconds. [02:35:41] Speaker C: Okay. Okay. [02:35:45] Speaker D: Yeah. I love you like a brother, Dennis. [02:35:50] Speaker A: I'm gonna be sleeping in the forest this year. [02:35:53] Speaker B: You will. [02:35:53] Speaker C: Oh, my gosh. [02:35:54] Speaker D: If you're lucky. [02:36:00] Speaker B: We had to get you on the show soon, Nick? [02:36:02] Speaker C: Yeah, yeah, we need to get you back on here when you. When you've finished traveling the world. [02:36:08] Speaker D: No, I'm back for literally days, so anytime you like. [02:36:11] Speaker C: Okay. [02:36:12] Speaker B: All right, we'll be in touch. [02:36:15] Speaker C: All right. What a. What a. What a way to end the show. Anything you wanna. Anything you want to say, Nick, before we. Before we cap this bad boy off. You called in. You got any thoughts? [02:36:24] Speaker D: No, I was just sending to flat check Dennis, who's been. He's been taking mushrooms again and following red people on the Internet, [02:36:35] Speaker A: spreading rumors. Everyone's gonna think Nick is a. It's a super yacht wielding douchebag. The other. Next weekend [02:36:45] Speaker D: we should. [02:36:46] Speaker C: Oh, we should interview him on the podcast. The other Nick Fletcher. [02:36:53] Speaker D: I don't even check whether it is the Sydney guy. I assume it is, but who knows? [02:36:57] Speaker C: It could be another one. [02:36:58] Speaker D: Oh, God, yeah, man. [02:37:02] Speaker C: Imagine. [02:37:02] Speaker D: Well, do you know there's more than one beef op? No, no, there is, there's a. There's a Bath Festival of Photography. Oh, [02:37:13] Speaker C: gosh, you're an egg. Yeah, you've. You've got bad luck. See you, Nick. How you going? [02:37:25] Speaker A: Good chat. [02:37:26] Speaker C: All right, should we. Should we roll the music before all of our listeners never come back for another show because they're too long? [02:37:33] Speaker B: It is. But just very quickly, on behalf of everybody in the chat and all, obviously us here at the Camera Life, thank you so much, Dennis, for joining us tonight. [02:37:42] Speaker C: Thanks, Dennis. That was mega. Nice camera. [02:37:46] Speaker A: You should feel lucky. [02:37:48] Speaker B: But yeah, we look forward to seeing more of your endeavors and more of your. Your wild adventures. [02:37:55] Speaker A: Thanks for having me on it. It always. It's such a joyous part of my life at the moment. This community that you slash we have formed and, and it's. I just. I always feel humbled to be on this side of the. The camera. So thank you. It's an incredible work you do and I. And along with a lot of people in that chat, very grateful for the energy you bring. So thank you. [02:38:22] Speaker B: Thanks. [02:38:22] Speaker C: Thank you, thank you. We love it every time you come on. [02:38:26] Speaker B: Indeed. [02:38:28] Speaker C: And with that Nev Clark says the motto is buy a GFX or go home. I like Gareth Davies says, thanks, guys. David Skinner says 99. Phil Thompson's. Thanks so much, Justin. Dennis and Greg, another great show. An interesting discussion about going small. Makes me think for my New Year's and my New Zealand and Tassie trips. [02:38:52] Speaker B: Yeah. [02:38:53] Speaker C: Bruce Moyle, awesome show as always. Nice to see you, Dennis, mate. Well done everyone on the images. Thanks, Brucey, and thanks for calling in to give us your thoughts. [02:39:00] Speaker A: Yeah, that was great, Greg. I'm gonna send him a matte box. [02:39:05] Speaker C: A matte box, Greg. Eric says hip show Groovers keep on trucking. Thanks for having you here. Jason. David. David Skinner. Yeah, he was here. Parabellum Collectibles. Thanks for sending in. It's always awesome to see new people in the photos. Rick Nelson said the wife said no more cameras for a while. Oh, man. Philip Johnson. Thanks, Nev. Everybody tweak. Good to see you all. Rodney Nicholson, you're all awesome. Nick Fletcher, you were late. And we'll see you all on the next one.