EP69 John St Reviews the Fujifilm GFX100RF - The Random Photography Show

[00:00:06] Speaker A: Here we go. [00:00:20] Speaker B: Never range. [00:00:22] Speaker A: I like it. I think I'm a bit favorish. Well hello everybody and welcome to the Camera Life podcast. This is the random photography show. It's episode 69 and it's the 14th of April in 2025, the year of our Lord. Now Lord is John Street. John street has joined us tonight. Now if you're, if you are in Australia and you're into photography and you're looking at socials and you see some Fujifilm stuff, build Fujifilm stuff, come up on your socials, chances are you're going to see John street because we were just talking before we went live that all over my socials at the moment it's just John street playing around with a eight and a half thousand dollar medium format sorry larger format Fuji camera. G'day John. Greg, don't get it wrong, I'll never talk to me again. How are you mate? [00:01:15] Speaker B: I'm really good thanks you guys. Are you well? [00:01:19] Speaker A: I'm still dealing with a flu but I'm here Sweating bullets but I'm here. [00:01:26] Speaker B: Oh good, I'm glad. I thought you're having hot yoga or something there. [00:01:31] Speaker A: No, I was having a hot flush but I did ask for the day off this morning and Justin said no so I'm here. [00:01:36] Speaker B: I've heard he's a bit of a prick so I don't want to sometimes. [00:01:39] Speaker A: He'S a terrible boss but yeah, speaking of the devil we are joined by. [00:01:44] Speaker B: Hello man, I didn't see you there. [00:01:45] Speaker A: How are you? Hello founder, Lucky Straps, what's up? How are you mate? [00:01:52] Speaker C: I'm great, I'm great, I, we'll talk about it later but I bought some camera gear today so I'm, I'm still flying on that high, you know riding that high for, for a couple of days before I come crashing down. Want something else? [00:02:05] Speaker A: Very cool. So yeah, this is the random photography show. Now we've got John on board because John's a. John was one of the first guests we ever had on the show since I jumped on board and we thought we'd get him back. It's about time we have a catch up, see what he's up to but also talk about his work with Fujifilm Australia and testing promoting possibly being one of the first people in the country with their hands on a GFX 100 RF the medium format point and shoot and we're going to hear from John about that, his experience, the process of working with a brand, you know we've all kind of dabbled in working with Brands. I've worked with Fujifilm a lot. Justin's worked with Canon and now OM Systems quite a bit, as well as some other gigs in the past. So it'd be good to hear from John on his experience with Fujifilm. So we're looking forward. No pressure, John. There'll be a quiz. [00:03:01] Speaker B: I'll fail it dismally. So there you go. I'll just give you the heads up. Yeah. [00:03:05] Speaker C: I'm very excited to hear about this camera because we've had a few opinions. I've got my own opinions, but I haven't had hands on. You two have had hands on. I'm keen to hear what you thought of it and how it's changed the way that you work particularly. We'll save this a bit for later, but particularly since I know you like to use zoom lenses and this camera does not have one of those, so. [00:03:29] Speaker A: Not technically. [00:03:30] Speaker C: No, not technically. It's got a button. [00:03:32] Speaker B: No. [00:03:34] Speaker C: Before we get to. [00:03:34] Speaker B: It's a really big sensor that you can punch into so, you know, you. [00:03:37] Speaker C: Don'T lose to zoom center. We might just see. Let's see who's in the chat because we've got the one and only David Mascaro from the States, which I believe it's probably 1am there. David, he says. Good morning, fellas. Having some sleepy tea, then hitting the rack again. Yeah. Go to bed. What are you doing now? [00:03:58] Speaker A: Thanks for joining us. This is ninth episode. [00:04:03] Speaker C: Thanks, David. Good evening, Philip Johnson. Yelena says 997 subscribers. So close to 1000. We are close. So please subscribe because if we hit a thousand during this show, we're going to give away a $200. 200 Australian dollars. You US people. We're not giving away. [00:04:23] Speaker A: Don't go out in your tariffs just yet. [00:04:25] Speaker C: No, no tariffs. We'll give away 200 Australian dollars which will get you a pair of socks or something. And we'll only do that if we hit a thousand subscribers. And if we do, John will pick someone from the chat. [00:04:39] Speaker B: Yeah. [00:04:40] Speaker C: At random. [00:04:40] Speaker B: I will. [00:04:41] Speaker C: Or just one of his mates. We'll see. [00:04:43] Speaker A: And we'll say before we went live that, you know, we don't care about who it is that subscribes. We're not interested in quality anymore. We just want the numbers. So if, you know, Grand. Grand's over for dinner and she's got. [00:04:54] Speaker C: A YouTube account, just. [00:04:56] Speaker A: Yeah, don't even ask. [00:04:57] Speaker C: Subscribe. [00:04:57] Speaker B: Yeah, don't say grab. Don't say grab a granny. [00:05:01] Speaker A: Grab her phone. I said don't grab the 69. Who else is on 69? [00:05:10] Speaker B: Jesus. [00:05:10] Speaker A: I'm very feverish. I'm sweating bullets. Let's just keep moving. [00:05:13] Speaker C: Paul's in the chat. Evening. Evening. Brett Wooderson. [00:05:17] Speaker A: Hey, Brett. [00:05:19] Speaker C: Evening, Wookie. Good evening. [00:05:22] Speaker A: I said Shane. [00:05:23] Speaker C: That's Shane. That is Shane. [00:05:24] Speaker A: Yep. [00:05:25] Speaker C: Ian Thompson. Good evening all. Bruce Moyle, as always. Evening, everyone. David says it's already 2:30am so it's almost time for you to get up, David. And Yelena says, go on, create some burner accounts. It's not that hard to create a YouTube burner account. So, yeah, do that. Whatever gets us over the line. I don't care. [00:05:44] Speaker B: Just get some bots online. Do that. [00:05:46] Speaker C: Yeah, that's right. [00:05:47] Speaker A: Oh, don't know about bots. [00:05:49] Speaker B: Yeah, well, you never know. Hi. You caught my eye. Message me. [00:05:57] Speaker C: You'll be getting, you'll be getting some of that now that you're Internet famous. I know stuff is you getting some. Some bots like hitting you up in the dms. [00:06:06] Speaker B: I've had that for a long time. [00:06:08] Speaker A: When I say, listen to him, not to Brad. [00:06:15] Speaker B: Studio. No. [00:06:16] Speaker A: Do you get the ones like I do. I love dead bods. [00:06:20] Speaker C: I haven't. [00:06:21] Speaker B: No, I don't think. No, I don't think I do. [00:06:23] Speaker A: Well, I have. I have a deadbot to love so well. [00:06:26] Speaker B: And you've got a big beard as well, man, that would. That's definitely very attractive. [00:06:29] Speaker A: That gets the girls crazy, you know. [00:06:35] Speaker B: But. It does. But I actually thought Fuji, when they first contacted me through Instagram, was initially an only girls person. So because it came, it came in through my, my dms, it slid in as. And we weren't friends. So, yeah, when they contacted me, they said, yeah, I will go into it a bit later. But yeah, I did honestly think. Yeah. So they got blocked and banned the pool marketing girl, because I thought he was. [00:07:03] Speaker A: You nearly lost your chance to test and review the gfx. [00:07:06] Speaker C: Hang on, are you telling me that Fujifilm Australia or whomever, whichever department it was, reached out to you to promote a new camera and they did that via dm, not via email or something. That to me is. Is a little crazy as it is, but I'm sure that's how the world works now. And you want them because you thought it was. [00:07:28] Speaker B: Yeah, I, I didn't realize it was them. It wasn't until they said, look, you've got to put a proposal together for the. For working with us, a marketing proposal and a storyboard. And I said, how long have I got? And they said, five days. I said, what? Well, that's not very long. They went, yeah, we're trying to contact you a couple of weeks ago, but we never got response to the Instagram. I never got anything from Fuji. They went, I know, I sent it from a private account. Did you get a message that said hi there? And I'm like, oh yeah. I'm like, yeah, yeah. Well, well, what happens is with the Instagram, if you, if you hit the send, you're only allowed to send one message. So that's what came through. And it was for one of the marketing people and I went, oh, not one of these muppets again. So I go block, oh, block and then report. So I actually told them in the meeting that, you know, I, yeah, I thought you were an only fans person than you or a bot. So anyway, so they ended up emailing me in the end and that's, that's. [00:08:25] Speaker A: How they got funny, isn't it just. [00:08:27] Speaker B: Yeah. [00:08:27] Speaker C: FYI to brands, email's very good way to reach out to people. Maybe better chance of cutting through. Or you could do both, you know, do both on the same day, email and DM and say, hey, I've emailed you. Just check your emails because. And then, and then it's really a solid chance it'll get through. [00:08:43] Speaker B: Maybe they were just trying to make it more personal, you know, because I am a big, you know, big. [00:08:47] Speaker A: Well, they're all, they're all about influencers at the moment. Fujifilm Australia, they're all over this influence. [00:08:52] Speaker C: Oh, yeah, it does seem that way. [00:08:55] Speaker A: You know, they just had the creator summit. This talk. We'll cover this a bit later in the news section. This talk of a new Fujifilm camera. Another new Fujifilm camera coming out. That's very influencer savvy and I know, I can honestly say, look at him, look at him. [00:09:08] Speaker C: He knows something, something. [00:09:11] Speaker A: Bastard. Never trust a South Australian man. [00:09:16] Speaker C: We'll find it out. [00:09:18] Speaker B: Yeah, I know a little bit because I accidentally, when I went to Sydney for the Fuji event, I, I accidentally. Well, I just bumped into the film crew that would film my advert here in, in, in Adelaide. I bumped into them in Sydney and Martin Place and they were doing something special. I can't say. [00:09:36] Speaker C: What? [00:09:37] Speaker B: Yeah, they were doing something. Yeah, I can't say. [00:09:40] Speaker C: Here we go. Paul says, ah, that explains why my Canon ambassadorship never happened. Check your dms, Paul. [00:09:49] Speaker B: Hey there, Paul, you caught my. [00:09:54] Speaker A: Bruce. [00:09:55] Speaker C: Bruce tactfully says, I really hate the stupid marketing people. That message from private accounts. Block and ban many. I love it. And oh, Nathan's in the chat. Hey, Nathan, what's up? This is Nathan. He was on. On the show. Wonderful episode, if you haven't seen it last week. Go back, check it out. Yeah, you can't skip this comment. The beard is a winner. [00:10:22] Speaker A: You're so jealous. [00:10:23] Speaker C: I shaved it off today. My beard's gone, so it's not talking. [00:10:26] Speaker B: About you, sweet cheeks. [00:10:28] Speaker A: Right. [00:10:30] Speaker C: All right, beard. [00:10:32] Speaker A: We've got a fair bit to cover off tonight. [00:10:34] Speaker B: Have we? Okay, cool. Let's. Let's knock it out the ballpark. [00:10:37] Speaker A: I. I think we should. So, other than you were completely ignoring Fujifilm Australia's request. Request to work together in the first. [00:10:45] Speaker B: Hi there. [00:10:47] Speaker A: You finally came around and went, oh, you guys are being serious. So what was it like for you to go like? Was there a Big Gulp moment where you went, oh, Jesus, this is real. [00:10:58] Speaker B: Yeah. [00:10:59] Speaker A: Or did you just think this was just a. This was just another opportunity to get out on the street? [00:11:03] Speaker B: No, I. Initially, I just thought when they said. I got the email, because they emailed me eventually and that's how we got in contact, they said, oh, we've got a proposition for you. And I thought it was just going to be something like I'd done with Charlie previously, like volunteer or. Or do something like that. And they said they want the teams meeting to talk to me about it. And I thought they may have wanted to run something in South Australia, in Adelaide, knowing that I'd just come back. So I didn't think it was a. I didn't think it was anything to do with this at all. Nothing. So I had no expectations. But then when they had the teams meeting, they said, look, we want you to work with this new camera. Would you be interested now? Yeah. [00:11:44] Speaker C: Yes. [00:11:46] Speaker B: Yeah. Do you want Tom to think about it? No, no, I'll do anything. I'll even do it naked. So they wouldn't sell old cameras if I did it naked. So. Trust me. So, yeah, so that's where it started. But they said. They told me that I had to initially submit a marketing proposal on a storyboard. And I said, can you do that? And I'm like, yeah, yeah, no worries. Yeah, all the time. Yeah. And. And then they told me I only had five days and it was just before Christmas. Yeah, sure. Yeah, easy. Yep. No worries. And we could. We ended the thing and I was just like, google is your friend. [00:12:27] Speaker A: Yeah. [00:12:28] Speaker B: And just looked it up. [00:12:30] Speaker C: How many storyboards have you done before this? One. [00:12:33] Speaker B: None. [00:12:34] Speaker C: Nice. [00:12:35] Speaker B: Zero. [00:12:36] Speaker A: How do you. How do you store photography? [00:12:40] Speaker B: Well, that's the. That was the thing I I didn't know what I was doing, so I put a proposal together and I just started with my story because they said they wanted some kind of social aspect to go with my street photography. And they said, I used to be a cyclist, didn't you? And I'm like, yeah, but about 15 years ago. [00:13:00] Speaker C: They wanted you in Lycra for the shoot. [00:13:04] Speaker A: Close to naked. If you've got an imagination, it's just as good as being naked. [00:13:08] Speaker B: That's right, it is with my package mate. So trust me. So this isn't, this is, it's past 9:00 in it. [00:13:17] Speaker A: No, it's the filthy hour. [00:13:20] Speaker C: It's a late show, it's fine. That's what this was. Hey, it's episode 69. [00:13:25] Speaker B: So, yes, I just put it together and I, I said, look, I'll. I drink a lot of coffee and stuff. And that's where my journey started. So that's how I got into using cameras and getting into streets. So how about I do coffee and, and photography? And they went, yeah, just put it all together on a storyboard about how you would market the camera. So I did and I just started my journey, wrote a story about myself, put my images, how I would cat you the. Use the camera to capture it and wanna. And then provided a selection of images that I previously taken throughout my journey for the type of photography I was going to do. [00:14:01] Speaker A: And then, sorry, John, just to jump in, did you have to. At that point, did you know any of the specifications? Did you know that this was a fixed lens camera? That it had a digital teleconverter versus a zoom? [00:14:12] Speaker B: No, they just told, they, so they told me it was a GFX fixed lens and they gave me a couple of specs and I'm not a specs person, so I was like, I just went, yeah, yeah, I can use that, no problem. And, and then I would, I thought I'd my pants later. So, you know, because I do, I, I, I learned my, I learned my craft on, on primes and then I, I shoot on zooms because I like the flexibility of them. So, so yeah, it was a, it was a, it was a big learning curve having to go back, especially with the gfx. So. Yeah. [00:14:48] Speaker A: Wow, that's pretty full on. And I think what I love most about this story, John, is that, you know, humble street photographers, you know, often we get overlooked for gigs. Yeah. You know, because there's ambassadors and ambassadors will go, you know, Matt Crummonds will go out and shoot with the, the GFX1 hundreds Mark II and the 500. The GF500 millimeter lens in. I don't know if you've seen anyone said I must pick on him next time I see him. There's, there's some footage of Matt lifting the. This big GFX with his big black lens and he's. He's got his hat on and he's like. He's in the wild and he looks so serious. He looks so staged. Sorry, Matt, we love you. But, you know, often they'll go for. For people that, you know, will tackle wildlife or weddings or a particular genre. [00:15:37] Speaker C: Dare I say it, the sexier image making adventure, you know. [00:15:43] Speaker B: No, it's nothing to do with that, Justin. I'm sorry, mate. It's got bugger all do there. It's more. It's. It's easier to do. It's easier to market those things because you can get modeler disclaimer things for people. There's all this commercial aspect to things I have I was totally unaware of. So. So part of the. So part of the brief was right. You're a street photographer. Yeah. You're a candid street photographer. I am. I want to stick to. I want to stay with that. Okay, well then don't get any identical and identifiable faces in it. Don't get any telephone numbers. Don't get any graffiti. Don't get any rego numbers. Don't get any business names. Don't use any graphics from window reflections or anything like that. [00:16:27] Speaker A: There's a fun in that. [00:16:28] Speaker C: You know what makes that really easy? 102 megapixels of fine detail. That certainly makes it easy to avoid any identifiable numbers and faces and shit. And so probably not everything. [00:16:42] Speaker A: So what happens next, John? So you've submitted your storyboard. They've gone, yeah, cool. All right, let's do this. Because it feels like a good tool for the job. So they've obviously found a fine craftsperson. So what was next? [00:16:53] Speaker B: So what this? So I submitted it, right it to Fuji Australia, and I said, oh, we really like it, but we have to send it to Japan to get them to okay it. And I'm like, oh, no. I said to my wife Lisa, man, they're gonna knock it back, you know, I mean, street photography, it's not. It's never like. It's never gonna go down well, you know what I mean? So. And then I was a bit. I thought I was gonna. I was sort of talking myself down and think, oh, I'm gonna get knocked back. And then I thought, jesus Christ. Out of all the people that could have contacted, they've contacted me. So even if Japan knock it back, that's still a pretty big thing to get noticed, you know, as a street photographer. And I've only been doing it for six years, people have been doing it for 20 odd years and don't get any sort of recognition or notice, you know. So I thought if, if Japan knock it back. Oh well, it's not all doom and gloom, you know, it's good that they contacted me initially, but it came back from Japan that they loved it even more and they wanted to do a bigger sort of expand what they initially wanted to do with me, which was like they wanted to do a movie about me and my journey and they also wanted a load of additional extra images added to the contract. So I was like, okay, no old. Yeah. Are you happy to provide those? Yeah, I guess so. Yeah, sure. So that was just more added pressure, so. [00:18:11] Speaker A: Well, not really because you could just take one image and chop it up into like nine frames because you've got all those megapixels. No one's going to know, are they really? [00:18:20] Speaker B: It doesn't work like that, Greg. [00:18:22] Speaker A: No, whatever. [00:18:23] Speaker B: You know it, you freaking know it. So. Yeah, but they wanted 10 to 15 hero images and I only had the camera for about two weeks. So it was, it was a little bit, I'm not gonna lie, I was stressing my bollocks off because I had to. I wanted to remain a candid street photographer, but I wanted to meet all the briefs. Oh, and then don't forget, you've got to find, you've got to leave, create images with enough blank space or dark space where they can put their ads. So there's all these, there's all these stipulations. And of course this is, you know what it's like, Greg? You can go weeks or months and not get a good image or you can, you can get six in one day if you're lucky. You know what I mean? But a lot of the time it's, it takes a lot of time in street photography because there's a lot of bad shots. [00:19:11] Speaker C: So I don't know if we're skipping ahead, but at this point, did you know how long you would have the camera for to make the images? [00:19:19] Speaker B: Like it told me, 10, 10 days to two weeks. [00:19:23] Speaker C: Yeah, that's not a lot of time. I mean, if you could shoot all day, every day, sun up to sundown, I mean, you hope, you'd hope you could get some stuff but yeah. [00:19:33] Speaker B: Yeah, well, I. I did. I went out six hours a day, three hours in the. Early in the morning, and then come home in the afternoon when the sun was too high, and then go out in the. In the evening. And I did that every day. So, yeah, six hours. And I would walk about 15 to. Well, some days, 10 or 12, sometimes 15 to 20 kilometers. Yeah. In the heat of South Australia in the middle of summer. [00:20:01] Speaker C: Now, was this separate, because I. I saw you on a cool video, rocking around, taking photos. Was this separate to that? Was that a separate. Separate shoot? So you did this work for 10 days and then there was a separate shoot? [00:20:13] Speaker B: Yeah, then they came out afterwards. Yeah. And I had to sort of take them to the places I'd been to try to. [00:20:18] Speaker C: Yeah. [00:20:19] Speaker B: To try to show where shots had possibly taken. But I took 8, 000 shots in. In two weeks. 8,000. [00:20:28] Speaker C: How much hard drive space was that? [00:20:30] Speaker B: A shitload. And I've still got all the 128 gig cards sitting up there. Yeah, it was a lot because, you know, It's. It's a 102 megapixel sensor, plus the JPEG on top of that. That's a lot. That takes up a lot of space. Yeah, yeah. And then they have to go through them all. Nightmare. And I don't shoot on burst mode either, so they're all like. I'll shoot like two or three shots. But, yeah, you know, I don't know. [00:20:59] Speaker C: What you've organized, Greg, but are we. Do we. Are we going to get to look at any of these shots on the. On the podcast, Putting me under pressure. Oh, not right now. No, no, not right now. I was just. Just to let the viewers at home know that. That maybe at some stage we'll. We'll check them out. That. [00:21:14] Speaker A: Yeah, we will. Yeah, we'll bring up. Okay, we'll jump to John's. [00:21:17] Speaker B: Cool. [00:21:18] Speaker C: No, just wondering. [00:21:19] Speaker A: I. I was just watching porn, so I got distracted. [00:21:22] Speaker C: Oh, okay. So he was on the Fuji website, guys, just so you know, he was just looking at the camera that he wants to buy. [00:21:33] Speaker B: Good save there, Justin. Good. [00:21:35] Speaker C: Just while you're doing that, Paul Henderson says, hi, folks. Digifrog Dave from Tassie says, hi all. And Yelena says, still on 997 subscribers. [00:21:45] Speaker A: Oh, come on, guys. [00:21:47] Speaker C: So I guess no one's getting a $200 voucher. Come on. [00:21:50] Speaker A: Maybe. Maybe if you're sitting on the couch, you're watching us, and your partner's next to you, or one of you got their phone open to Say, hey, let's have a look at that. [00:21:58] Speaker C: And if you don't know their password, maybe figure out why you've got trust issues together. Maybe it's because you subscribe them to shit they don't want to be subscribed to. [00:22:11] Speaker B: Maybe we should change that from 200 just down to a voucher for counseling services or something like that. [00:22:18] Speaker A: Yeah, maybe couples. [00:22:19] Speaker B: Yeah, couples therapy. [00:22:20] Speaker C: Yeah, you can. Greg will do a couple of sessions with you. The beard fixes everything. [00:22:25] Speaker B: Love it. For shite or whatever. Yeah, something like that. [00:22:27] Speaker A: Let's. Let's. Let's bring up some of John's images. [00:22:32] Speaker B: So those ones. Yeah. [00:22:35] Speaker A: Oh, here we go. Gfx. You got you a folder. Look at you. [00:22:38] Speaker C: I was gonna say, yeah. How do we know? Or is that a story? That's a story. [00:22:42] Speaker B: Yeah. [00:22:43] Speaker C: That'll be too small. [00:22:44] Speaker A: Yeah. [00:22:45] Speaker C: Instagram. There we go. [00:22:47] Speaker A: Hey, you want to bring it up? [00:22:51] Speaker C: I don't want it. [00:22:52] Speaker A: Oh, that's 65. Oh, now I've got to go and find them. [00:22:58] Speaker B: They're here. So these are. These are the starters? Yeah. [00:23:02] Speaker A: Are these some of the duds? [00:23:04] Speaker B: Yeah, but it's not noticeable, so you can't really. It can't. Sort of. [00:23:09] Speaker A: Did you sign over ownership of the images? That's. [00:23:12] Speaker C: That's a good question. [00:23:13] Speaker B: Okay, so. No, I still own every image I took with the camera. They're all mine. But Fuji have exclusive rights over all of the images I provided. [00:23:25] Speaker C: So you could use them for your own personal work, but they can use them for whatever they want. And you can't sell them to any other company? [00:23:33] Speaker B: No, I can sell them as well. [00:23:36] Speaker C: Well, then, so it's not exclusive, right? As in, they're not. They're not the soul? [00:23:41] Speaker B: No. Well, they. Can they. Oh, well, maybe it is. I don't know. I'll have to read my contract. But I can. Technically, as far as I know, I can print them, I can sell them, I can put them in a book, I can put them in a zine. I can do whatever I want. It's my work. They haven't paid me enough money to own them whole solely, but they can use them in whatever, in any marketing that they want. And they can change it. What to. They can crop it and do whatever they want to it. So you sign all that over. You know, so it's very specific. [00:24:13] Speaker A: It's not just. It's not just there. Ours. You. You don't have any say. But actually, there is a bit of give and take. [00:24:19] Speaker B: It's a subs send. You A significant contract and thankfully my, that's my wife's area of expertise, so she had a bit of a look over it, so. Because you know, you've got to make sure that when you're doing this, you've got to know what you're doing, you know, and what you're actually signing over. Yeah, yeah, yeah. So, yeah. But sometimes companies will pay you a large sum of money to have. They're solely theirs and that's it. You can't ever use them, you know, and that's normally for like Coca Cola or something like that, you know, or even Fuji. If they, if they really wanted an image and they wanted to have it forever and they wanted to own it, then it would be a lot more than what they paid me. [00:24:56] Speaker C: Be a different. Yeah, it'd be a different deal. [00:24:58] Speaker B: Yeah, yes, absolutely. [00:25:00] Speaker A: And, and John, another question I have for you, mate. So putting aside, I don't want to put you in any pressure, so just feel free to say I will skip that one. [00:25:08] Speaker B: No, no. [00:25:10] Speaker A: How free can you be about how you describe this camera to other people now? So that was the reason why I asked. Hang on. So let me just jump in quickly. We had Matt Grumman's on a couple weeks ago. Yeah. And we asked his opinion about the GFX100RF and, and he, he let it be known what he thought about that camera. He had, he had, he didn't hold back much, did he, Justin? [00:25:31] Speaker C: No, he did not. [00:25:32] Speaker A: No. [00:25:32] Speaker C: He gave his honest, honest opinion and he said himself, he said, I love the GFX system and I love the image quality but here's what my thoughts on this camera. [00:25:41] Speaker A: Yeah. He was an ambassador on the 1/ hundreds mark II. Yeah. You know, he's, he's done a lot of work with them. I love this shot by the way, John. It's one of my favorites. [00:25:49] Speaker B: Oh, thanks. Thanks mate. [00:25:50] Speaker A: Yeah, I really like, I really love it. [00:25:54] Speaker B: Her hair just lit up. It was like. Yeah, it's amazing. I was so close to her as well. [00:26:00] Speaker C: It lit up but it's not blown out. [00:26:02] Speaker B: No. [00:26:02] Speaker C: You know what I mean? Normally like I've shot a lot of backlit shots with hair in it and normally that would all be. Yeah, just bright blown out highlights. [00:26:10] Speaker B: Yeah. Underexposed a lot. Then brought it back. Yeah. So there's a story behind that image. I actually took that when I was out with the film crew and I actually got abused by Karen and her husband for taking the photo, not the people on the bench, by someone else. And it was literally the Camera crew was saying, so you do street photography. Do you ever get, like, many people complaining and stuff? And I'm like, nah, most of the time it's from people you're not photographing. And they were like, videoing me doing what I was doing. And then this car apparently came up behind with a husband and wife. They stopped. They were filming using their phone to filming. And then they parked the car and got out and then approached me and said, what the hell you doing? And created all this. Yeah. [00:26:50] Speaker A: So they were filming you thinking that that was okay because they were. They were on justice side. [00:26:55] Speaker C: Well, that's. That's different. Righteous. What? [00:26:59] Speaker B: Yeah, and of course. Of course they said that I was putting the camera up and down. Of course I was because the guy kept turning his head and I can't get faces in the shot for the marketing. So it did look. Every time he turned to look, I put the camera down because I didn't want to take a photo. Do you know what I mean? So. And then they were complaining and then breaking the law. And you've gotta. I hate it when people tell me that, you know, when random people come up, tell me what the law is, and I'm like, you don't know. I've got to call the police. Please do. Please do, because I'd love to have you arrested for harassment. But the worst thing was it. It ruined that moment for those two people on the bench as well. So as street photographers, you know, we have the right to take photos of anybody on the street that we want in a public place. Yeah, but that. Just because we have that right doesn't mean that we should. So. And. And sometimes you. It isn't. It is intrusive to. To. To put a camera in someone's face. You know what I mean? So sometimes I just wanted to capture that moment. I got talking to that couple on the bench, and my God, they were. They were from Germany. So that made it even worse because the laws in Germany about photographing people in public are very different to here. So they're very strict about it there. So it. Yeah, look, they were. I talked to them and it was okay because I'm sort of that type of person. Yeah, I didn't shy away from it. I explained what I was doing and etc. Etc. And they were. They weren't happy about it, but they were okay about it, you know? So. Yeah, but it was the. It was the other couple. So that was just an interesting thing because literally the camera crew would ask me, how do you deal with people who approach you? Well, they just, they just all backed off. I was like, why did you leave me there? [00:28:37] Speaker A: Did you at least film it? Like, did they at least get that. Get it on footage? [00:28:39] Speaker B: Like, I don't, I don't know. [00:28:41] Speaker A: That'll be gold. Yeah. I've been doing talks at camera clubs recently. I did one a couple weeks ago about ethics and photography and I do it. I do a street photography bit because that's obviously my gig. It's what I love doing and it's the sort of thing that we get challenged on. You can't take my photo. You don't have a right to do that or. I know the law. And, and so I talk about it in. And it's like you said, John, it's like, just because you can take the photo doesn't mean that we, that you do. And as street photographers, I, I say in my talks that we all have a. Any photographer, no matter the genre, has an obligation to be ethical in their approach to their work. You know, And I talk about how fashion and portraiture photographers should never have to touch the model. Right. They should be good enough to direct a model to pose without the need to physically put their hands on someone, you know? Yeah. You know, wedding photographers should never have to jump into the pool. Yet here we have Justin Castles who jumps into a pool every wedding he gets a chance to shoot with a camera. [00:29:41] Speaker C: It's not an ethical decision. It's more of a matter of it was hot and I wanted to be in the pool. [00:29:47] Speaker A: I saw the video you put channel the other day. [00:29:50] Speaker C: Oh, did you? [00:29:51] Speaker A: Yeah. [00:29:52] Speaker B: You know what, that sounds very similar to a person that flashes people. Oh, I was just. Got naked because it was hot. Do you know what I mean? And yeah, I didn't have any clothes underneath my coat because it was hot. [00:30:02] Speaker C: That day and you know, I had shorts on. On. Come on. [00:30:05] Speaker B: Yeah, well, thanks for the clarification, mate. Yeah. Otherwise we probably would be doing it. But. Yeah, yes, but in saying that as well, Greg, we have to be. Also, I've said this a few times on. In talking to people. Just because we have our moral compass, we shouldn't judge others. Do you know what I mean? Because every, every person's moral compass is different. So I think you just got to think, why am I taking this photo? And have a good reason why you're doing it. Do you know what I mean? [00:30:33] Speaker A: But I think the, the, the issue, John, is that the, like you said, the Karens, the people who oppose it. [00:30:39] Speaker B: Yes. [00:30:39] Speaker A: Even when you Try to. And I've tried to explain it very nicely to people. They. They don't want to hear it because they were already rolled up. They already believe that they've got something to hold against you because they've clearly got nothing better to do with their day. [00:30:49] Speaker B: Yeah. So most of the time they're not the ones being photographed, Greg. It's the. The people that often approach you are not the people being. It's the. Yeah, do good at Karen's and the occasional Ken. Do you know what I mean? It's mainly Karen's, I'm afraid. Sorry, people. It is. That's my experience. [00:31:07] Speaker A: Yeah. That's fair. [00:31:09] Speaker C: A few good comments coming in regarding this. Bruce says they went. They went into Today Tonight mode. He also mentions morals. Morals and ethics is different to the law. [00:31:23] Speaker B: Yes, of course it is. [00:31:24] Speaker C: Also got a great viewer. This is our. This is our first viewer comment from Twitch. Tonight's our first time streaming to Twitch. I was really trying to jack up our subscriber account to get on Twitch as well. [00:31:35] Speaker B: Jesus. [00:31:37] Speaker C: Crippled accounting L8 says the best viewers on stream boo.com remove the space. So there you go, guys. There's a good. [00:31:47] Speaker B: There's a dirty bot for you. [00:31:48] Speaker C: Yeah, not sure if I'll go. [00:31:51] Speaker A: Can we get them to subscribe? [00:31:52] Speaker C: Yeah, can you subscribe? Crippled accounting L8 and Brent Wooderson says. John, is being naked part of your photography? You seem to be mentioning it a lot. [00:32:02] Speaker B: It is, Brett, you know, because you've been there. No, it's not. It's not. No. [00:32:11] Speaker C: Speaking of subscribers, is this gonna work? Hang on. Is that gonna work on Canon? Come on. Canon. If Canon would focus on. [00:32:22] Speaker B: It did for a second there. Yeah, yeah. [00:32:24] Speaker C: It sets of faces and it's really. [00:32:26] Speaker B: Yeah. [00:32:26] Speaker C: Anyway, there's a thousand. You'll have to believe me. It says a thousand. We did it. Hang on, hang on. I got sound effects for this. This stuff. Come on. What are we doing? Oh, they're all my negative sound effects. [00:32:46] Speaker A: Oh, that'll do. [00:32:48] Speaker C: That's the best I've got right now. [00:32:49] Speaker A: Very Vicar of Ghibli. Love it. [00:32:51] Speaker C: Otherwise, we've got. Oh, here we go. [00:32:56] Speaker A: It's too late. It's too late. Don't play the air horns. That's not a celebratory sound. [00:33:02] Speaker C: Sorry. It's my favorite one. [00:33:04] Speaker A: I just want to say. I just want to echo Greg Carricks. [00:33:09] Speaker B: It wouldn't focus. [00:33:11] Speaker A: It would focus if it was a Fuji. [00:33:13] Speaker C: Let's. Let's not play the canon vs Fujifilm auto focus game because you don't want to play that game. [00:33:21] Speaker A: All right, so let's cut to the chase here, John. What was your experience with the Fujifilm? [00:33:27] Speaker C: Yeah, that's what I want. [00:33:29] Speaker B: Okay, so. So they asked to go back to Justin. Yeah, I could. They asked me, I had to. As part of the agreement, I had to write a, a review as well on the camera. And, and I, and I, I said, look, how honest can I be? And they went, well, yeah, be honest, but you know, within. [00:33:45] Speaker A: Stick to the talking points. [00:33:47] Speaker C: The positive, the positive, you know. Yeah. [00:33:50] Speaker B: And I went, okay, I will be honest. And I did, I look, I had no expectations of the GFX100RF. I just went out there and I photographed it with it and I used it to the best of my ability and I loved it. And that's an honest thing. But there are some things that I didn't like about it and it. Very minor. And when I got it, it was, it was the first one in Australia. It was the only one in Australia. It was also a. What do you call it? It's not a production. Yeah, yeah, yeah. So I had a few glitches and stuff, but the only thing that I really didn't like, couldn't get that, that. [00:34:27] Speaker A: Lens to zoom out. Could you break it off trying to get it to budge? [00:34:31] Speaker B: No, but it had a little lever that I could just punch in. I love that and I love the ND filter that was in it. But they had the, they had the bloody film simulations on the dial, which for a street photographer was an absolute freaking nightmare for me because every time I went to take a photo I put my hand to stick the thing and it would move it to classic chrome or something I didn't want and or so I had to take that off. But that's easy enough to do. Everything's customizable and I didn't like the grip. But holding it for five or six hours a day is, with a shallow grip is hard work. [00:35:09] Speaker A: Look, at least. [00:35:10] Speaker B: Well, Greg, I didn't have any problems. I was just worried about dropping the freaking thing. And most people aren't going to hold it for, for three, four hours a day, you know what I mean? And I got around it. Yeah, yeah. I used a cam. I use my wrist strap because I like to have my camera down low and then shoot with it. So that way. So they give me this fancy rope, this new Fuji row that they wanted to push and that just went just to let us know what you think about that. Straight out there. That got left in the Box. So. Because I'm not going to use a rope. I want. If I'm shooting straight, I want to. In my hand. [00:35:48] Speaker A: Yeah. [00:35:48] Speaker B: So. [00:35:49] Speaker C: Yeah. [00:35:49] Speaker B: But you know, they want to make. [00:35:50] Speaker A: Just fell in love with you a little bit more, John. [00:35:54] Speaker C: I love it when you talk dirty. [00:35:57] Speaker B: But the camera, they wanted it to make it look sleek and aesthetically beautiful, which it is. I think it's a very attractive camera. I had the black and silver one. So it's what I like. That's what my. All my Fujis are basically is the black and silver look. And they want to keep a shallow grip to keep their sex. And I understand that. You know, so something's got to give. You know, you can't have a big chunky grip on something that's supposed to look sleek and stylish. [00:36:24] Speaker A: So this would have been nice bring out like they did with the XE4. And. And they used to do this a lot more. They used to bring out L brackets for their cameras as you filmed it. [00:36:37] Speaker B: Yeah. [00:36:38] Speaker A: A small rig but rebrand it. Yeah. But when they brought out the XC4, this was just before COVID and you know, and it wasn't a flagship camera but you could get. It had like a. Like an X100. Didn't have any grip at the front. It's just a sleek body. Right? [00:36:53] Speaker B: Yeah. [00:36:53] Speaker A: But you can get this L bracket that puts a grip on the front and then that's Fuji branded. Plus you can get a Fujifilm thumb rest that slots into the hot shoe. [00:37:02] Speaker B: Yep. [00:37:02] Speaker A: And that's what I use. And it's so incredibly comfortable because it's a lightweight camera. I found with that at 100rf that it is heavier. It is. And I keep. I know like you, I shoot with the wrist strap. A lucky straps wrist strap. By the way. [00:37:19] Speaker C: Everybody scan the QR code near John's head for 15 off. Yeah, that one. No. Yep, There you go. [00:37:31] Speaker A: I can see why Fujifilm chose you. You're so good with directions. But. But yeah, look, you know it. I'm glad to hear that you enjoyed it and I think that there's. If. If you're. If you can put all of that kind of expectation out of your head and just go out and enjoy the shoot. [00:37:47] Speaker B: Yeah. [00:37:48] Speaker A: Well, I found an incredibly enjoyable camera to work with. Yeah. Weddings and I don't shoot motorsports and. [00:37:53] Speaker B: No. [00:37:53] Speaker A: You know, so look, it's not going. [00:37:55] Speaker B: To be good for motorsports and things like that. It's not a one camera fits all type camera. Do you know what I mean? It's got It's a very niche market type camera. You can't do it with that. You can't do kids, sports or footy or you might be able to take them after they win the trophy, do you know what I mean? But not from a distance. Find something else, you know what I mean? Like it's just not going to work. One camera doesn't fit all. You don't get a car to go four wheel driving and then race it around the track and expect it. Oh well, you know, it can do everything, you know, and fly and hover and. No, you just buy other cameras. [00:38:33] Speaker A: Jay, do you want to jump to some comments? [00:38:35] Speaker C: Couple of good comments, including a question that I think will lead us down the next discussion. But I like this comment first from. I think it's Slava Varus. Slava Varus. I don't know. Greetings from Canada. It's 6am here. That's pretty cool because it's a bit late in the us but it's early for you. So I like it. I'm using the GFX50R plus the 53.5 Daily and I would certainly trade it for the new GFX100RF just for its small form factor and rangefinder style. Yeah, I think it would be the perfect upgrade for you if you can, if you can afford it. But yeah, because that's, that's essentially. It's, it's that, it's, it's that with the 100 megapixel sensor, just 102, 102, sorry, sorry, 102 all compressed into a smaller form factor. So yeah, if you're not changing lenses, it would be the perfect camera for you. Now Jay Hunter says, why are there so many reviewers lukewarm on the camera? The only thing it's missing is the shallow depth of field for portraits. [00:39:38] Speaker A: I think he answered his own question in some ways. [00:39:40] Speaker C: Yeah, but, but is that the only reason so, so many reviewers are lukewarm? I don't know. What, what are your thoughts? [00:39:46] Speaker B: Well, I've seen lots of stuff coming in and probably Greg has too and everybody's bitching and whinging that it doesn't have IBIs. I mean, in all honesty, it depends how you shoot. Yeah, so I have shaky hands and I shot it at 15th and 60th of a second and this is how noob I am. [00:40:04] Speaker C: Right. [00:40:05] Speaker B: Because I don't follow stuff like this. I just took the camera as was and I shot with it. Yeah, I actually thought it had IBIS because it didn't give me A whole list of specs and I didn't even know. I thought it did and it didn't. So the camera is so compact. Okay. And it's got such a, like a pancake lens on the front. You've got to put a screw on, adapter and a hood and that makes it a little bit longer, but you can shoot without it. It's so well balanced that it's easy to hold. It really is. I'm not just now I. It's easy to hold and you look if, if you're going to shoot it at night. I've seen other people shooting with it. Not that didn't have any problems. I didn't particularly like it at night and personally I wouldn't take it out at night. I don't think it's that sort of camera. Not dark streets of Adelaide or Sydney. I don't know. Wander around by yourself with a ten grand camera or an eight and a half grand camera. Unless, you know, you're like a person, it's no big deal, you know. But I wouldn't do it. I would choose another camera to do that sort of stuff. So I, I honestly, people have bitched and wins. It doesn't have Ibis and I didn't, didn't miss it. I shoot a 1000th of a second F8 to F16 and F22 sometimes, you know, if I'm shooting around at the sun and then I didn't notice anything. No problems with it at all. The autofocus was great. I don't know about you when you had it Greg, but it didn't miss a. It hardly skipped a beat for me. [00:41:27] Speaker A: No, it was pretty fast. And look John, you know, as street photo and we've gone out when you've come to Melbourne, we've gone out at night and shot straight and you know, often when you shoot straight at night you get more duds than you do good shots. And that's just the nature of the game. Doesn't matter what camera you're using, it just is that way because you've got a lot of conflicting factors going on and I agree. I think, you know, there's, there's a lot of complaints. Going back to Jay's question about the lukewarm reviews and we saw it a couple of weeks ago with, with Matt Crummonds. He just didn't understand, he couldn't understand why they would put out a camera without IBIS with 102 megapixel sensor. Because the concern is that 102 megapixel sensor is unforgiving. It picks up every little movement. It picks up all your mistakes. [00:42:14] Speaker B: Yeah. [00:42:15] Speaker A: But at the same time, you know, I think the same could be said of a, you know, a flagship Fuji X series with a 40 megapixel sensor. You know, it's. It. I don't think it matters. I'm not explaining this very well. Yes, there's a lot of technical elements to it, but it's also about what you use it for. For Matt Crummonds. It's not for him. [00:42:39] Speaker B: No, it's not. [00:42:40] Speaker A: Because it doesn't suit the sort of work he does. No. For someone like you and me. Yeah, absolutely. You know, I had a blast with it. [00:42:48] Speaker B: I. I had a blast. And that. They told me that was aimed at professional photographers who want to have a. A quality camera that they can pick up and take anywhere with them. Yeah, that's that, you know, and so. [00:43:00] Speaker A: Glad they said that because they wouldn't tell me that directly. [00:43:02] Speaker C: When I asked who it was for, who. [00:43:05] Speaker A: I said, who's it for? They said, oh, we're still. We're still writing the marketing prep for that. Because the other thing, too, John, when I got my copy, I can't remember when it was now, but the initial specs they sent me, I think I got the resolution. I went, oh, gee, dur. It's a GFX100RF camera. And they said, yeah, it's got 102 megapixel sensor and it's like it's got. Anyone could have told you that. Yeah. You know, it didn't tell me which processor it was. I think I had an ISO range because I wanted to flog that. And there was only like 4 or 5 of the key specs out of. And I. Usually when I do a review, I list like 15 key specs. Yeah. So I didn't even know if it had ibis. Same like you and I. I went into the menu and I'm like, it's got to be here somewhere. You know, maybe it's not. [00:43:53] Speaker B: See, I'm not that technical, Greg. So I didn't. I just said, I just set the camera up the way I want to and I went out and shot with it. And they wanted the images that they wanted and I provided them. And it nailed the brief for. For a street photographer. People say you can't shoot with the GFX on the street. Maybe you can't if it's, you know, the current gfx, not the fixed lens one, because it. It looks like a. It Looks like another brand, shall we say? [00:44:18] Speaker C: Yeah, tell me what brand. What does it look like? [00:44:22] Speaker A: Not a good one. [00:44:24] Speaker B: I mean, it's a brand that doesn't do a good. It's good a job. [00:44:27] Speaker A: But if you. If you didn't know cameras, if you saw. If someone saw you shooting with that, and then a day later someone said, oh, was this the camera? And held up a. An X100. [00:44:37] Speaker C: That's so close. If you're. I would have said the same because. [00:44:42] Speaker A: They look the same. [00:44:43] Speaker B: I was actually. [00:44:45] Speaker A: Yeah. [00:44:45] Speaker B: And a number of. A number of people approached me and said, what camera is that? Is that a new. Blah, blah, blah. And I had to quickly put the camera down and keep it either out of sight or whatever, because, you know. But yeah, photographers noticed that camera straight away. And also I got so many, like, beautiful. Just from people walking by, comments saying, beautiful camera, beautiful camera. I love your camera. And I got away with so much more with that camera, even though it's quite large because it looked. It looked nice. And so people automatically make an assumption that if you have a camera like that, you must know what you're doing. Clearly, they don't know me. [00:45:25] Speaker C: All right, all right. [00:45:27] Speaker B: But yes, the ad. [00:45:28] Speaker C: The ad section of the show's over. Right, Come on, let's get serious. [00:45:34] Speaker A: The only person that didn't get invited by Fujifilm to take part is now jealous. That's what we're seeing here, everyone. [00:45:40] Speaker C: No, no, let's get serious. I've got a few. I've got a few contentious remarks. No, no. What I want to find out. Here's my first question. [00:45:48] Speaker B: Yep. [00:45:51] Speaker C: So you spent 10 sort of immersive days shooting it. [00:45:54] Speaker B: Yep. [00:45:54] Speaker C: Pretty immersive. Because you wouldn't normally shoot that much in that amount of time for your regular work. [00:45:59] Speaker B: Not normally. [00:46:01] Speaker C: Not as intensely, anyway. [00:46:02] Speaker B: No. I've got three or four hours a day. Yeah. [00:46:04] Speaker A: That's a lot of coffee. [00:46:06] Speaker B: It's a shitload of coffee. [00:46:07] Speaker C: How creatively. I know this is going to be hard because it's hard to separate now the camera from the project that you were involved with. You know, like, it would be different if you were just given the camera but with no expectations, but you had something you needed to do. So that probably changed things a little bit. But how did it feel to shoot creatively compared to what you're used to shooting? And did it change the way that you work in a For better, for worse or anything? [00:46:35] Speaker B: It. Well, it's a fixed lens. Yeah. So I know, as we said before, I shoot zooms and so, yeah, I was forced to have to get amongst it and be more creative with it, so. And get closer to people. Again, using the camera to make sure, yes, you can punch in, but people can normally see. Do you know what I mean? Especially with street photography. So, yeah, it. I did have to change it and I did have. It took a. It took a little while to get used to that. But, you know, if you're. If you're been doing it for long enough, it doesn't take long to adapt to different things, you know, just because I shoot on a zoom, right? I shoot at 35 millimeter focal length, which is 50 generally. That's where my zooms always set at. Right. But I do change it depending if I want some flexibility, whether I want to zoom in to get closer to something or a building or someone up there, or if I want to go wider. You know what I mean? So this. You just had to use your feet more. And I hardly ever used the telecom. I used it to be able to see because my eyesight. Shit. So I used to, like, punch in with it to see something where it looked all right and then come back and then move towards it, you know? [00:47:43] Speaker C: So you shot most of it, most of your images natively at that. What's it, 35 equivalent? Yes. [00:47:51] Speaker B: No, it's. I think it's. Yeah, it's a 38. 28. [00:47:55] Speaker C: It's 28 equivalent. Okay. Yeah. So you shot most of your images at that or thereabouts. You weren't sort of cropping into like a 60 equivalent or anything like that. [00:48:03] Speaker B: Not to shoot sometimes. Look, I'm one of those people. Yeah. I would. I'd copy and afterwards. Yeah. And there's tons. Tons. I wanted to admit I was very conscious. Right. Even though you've got that. That large sensor, you can crop in a lot. Yeah, it gives you a lot of play to get brilliant images from it. The image quality from the. From the lens and the sensor was spectacular. It's beautiful. Left my. It left my other Fujis for dead in that regard. But I wanted to make sure that I got as much as I could on that sensor, because what's the point? Do you know what I mean? So that was a challenge for me to not look at just cropping in a particular thing, but try to use the whole sensor. And of course, I cropped in a little bit, but I didn't crop in, like massive amounts, like a third or something, you know what I mean? [00:48:50] Speaker C: And I think that was one of Matt's. Matt's contentious Points was he. And this was I guess more of a marketing thing or something. But he, he didn't like the sort of marketing push on the teleconverter. Yeah, teleconverter and then crop into a panoramic and then. Yeah, the aspect ratio. And then he was like, all right. So I took this great image, you know, using the digital teleconverter and the panoramic view. And then he said, and then you bring it into Lightroom and you see what the actual 100 megapixel sensor captured. And he's like, you've cropped down to this, you know, this is your sensor and you've cropped down to this tiny little thing in the camera. And he said it's, you know, it's not, not disingenuous. But he was like, that's not what 100 megapixel sensors are. Sort of, well, not what you spend 10 grand for, I guess is what he was getting because all of his stuff actually always come back to it's not a bad camera. I just don't know if it's a ten thousand dollar camera for me kind of thing. Yeah. [00:49:49] Speaker B: Oh, okay. So the aspect ratio dial is one of the things that they're plugging. Right. I, I only used it to, to, to meet the marketing brief that they wanted certain images for me using that aspect ratio dial. I didn't, I shoot three by two and I, I used to shoot different aspect ratios when I first started until I learned that to print for exhibitions is expensive if you don't use standard sizes. So I learned that three by two and everything was much easier to print. Cost effective for exhibitions. So that's what I shoot at. But I was particularly shooting it trying to use the whole sensor at the fire. Five by four. I think it is. But I look and I understand with the aspect ratio, don't I? Look personally I thought was a little bit of a gimmick. Yeah. Did I use it much? No, not really. And would I use it? No, I don't really. Right. [00:50:41] Speaker C: I thought it would be one of the things I would enjoy. [00:50:44] Speaker A: Yeah, well, maybe you would. But like John said, he only. He generally sticks to three by two because that's just his preferred. And. And you kind of, you know, when I shoot street, I, I'm kind of. I have like my preferred ratios as well. [00:50:58] Speaker B: Yes. [00:50:59] Speaker A: Like I have a preferred film simulation and so my, my, my kind of. I'm already preconceiving how, how this image is going to look when I put it in post. [00:51:07] Speaker B: Exactly. But I mean that with time don't you. You learn exactly how it's going to frame up and how it's going to look. So. [00:51:15] Speaker A: Yeah. And look the thing. The other thing is is that people are going to put that as whether you like it or not. It may not be for you. I imagine that but people will put that aspect ratio dial to good use. They will create stunning panoramas old school like the, the. What was that? The really weird aspect ratio anyway you know so I think some people will. [00:51:40] Speaker B: 64 point something or whatever. [00:51:42] Speaker C: Yeah. [00:51:42] Speaker A: And, and look. Yeah the hot. The old expand. So the other thing too you know and we talked about this and and Matt brought this up in his point a couple of weeks ago that you know you shoot at the aspect ratio it gives you the framing option so you're looking through a viewfinder or at the screen and you, you can composed within that new freaky aspect ratio. Right. [00:52:02] Speaker B: Yeah. [00:52:02] Speaker A: 65 by 24. Thank you Greg Carrick in the comments. But if you get home and you realize that you've missed some elements. Well the good thing is is that the full frame of the sensor is being recorded so you can re crop you know something like oh well that defeats the purpose. No, it's just another tool. [00:52:18] Speaker C: Well that's what was interesting because as Bruce has pointed out here and that's what Matt said. The thing that he didn't like was that the crops weren't perfect permanent And I'm, I'm kind of. I, I personally would. [00:52:30] Speaker B: Well the jpegs are. But the raw. That's not. [00:52:33] Speaker C: That's right And I personally as much as I understand what Matt was saying that it sort of forces you. I think, I think the viewfinder is enough to force me into the creative outlet of shooting in that aspect ratio. [00:52:44] Speaker A: Yeah. [00:52:44] Speaker C: And that I would be still happy to have the potential of the full image sensor when I get into lightroom personally. But I can see what he was saying because he was sort of saying you know this is a high end camera for you know this is in a beginners for camera. No you don't, you don't need guardrails, you know, blah blah, blah. But, but I also think when I think about it I'm like, I think seeing the image in that aspect ratio in the viewfinder would be enough for me to creatively immerse myself into that style. And then if I get back to the computer and I'm like oh man, this would actually look better square. The whole image is there and I can play around with it. What's really pissing me off a lot right now is the fact that my R5 Mark II has, like three aspect ratio settings. And I'm like, it's, it's. It's a. It's a little bit of software programming, and it could have tons of options in there. [00:53:36] Speaker A: I've been knowing Canon. They'll add it later, but make you pay extra for it or. [00:53:40] Speaker C: They did do that once a week. Yes. [00:53:45] Speaker A: Nikon did it last year with a couple of their Z cameras where they added a new set of frame lines. I think it was the APS C cameras. [00:53:52] Speaker C: No, Canon. That was Canon. Canon did that for the. For the face. [00:53:57] Speaker A: Yeah, the face for doing. Yeah. And. But you had to pay for the firmware. It's like 125 bucks. [00:54:03] Speaker C: Yeah. [00:54:04] Speaker A: Just to add frame lines in. [00:54:07] Speaker C: I'd love to hear them explain that. Like, why does it cost? You know, like what? What? [00:54:11] Speaker A: Yeah. [00:54:11] Speaker C: Why did you have to charge for this? Why Wasn't a free upgrade because they. [00:54:16] Speaker A: Didn'T sell enough cameras, Justin. [00:54:18] Speaker C: Why don't I have many aspect ratios? You know, I've got a 1.6 crop. Why not a 1.3? Why not? And because 1.3 used to be a native crop in Canon's bodies. Like, why not that. Why not? It's really a really nice panoramic feel. [00:54:31] Speaker A: Simple. [00:54:32] Speaker C: It's cheap. It's a little bit of div. Someone at Canon could probably knock it up in an afternoon and be like, all right, it's ready to go. [00:54:38] Speaker B: You know what you could do, Justin? You could just change to Fuji. [00:54:43] Speaker C: I need to be. So the. The problem is the people in my shots, they move. They move around. And people shoot moving people. [00:54:52] Speaker A: With Fuji. [00:54:57] Speaker C: I am the film simulations do tempt me. They do tempt me. [00:55:01] Speaker B: Yeah, they're nice. But you can always add them in post again if you want. You know, it just depends what you want to do. But in saying that the aspect ratios, I've talked to other people now who have used it, and I can understand what they've gotten. Because people, like, for the cinematic sort of, you know, they're 65 by 24. [00:55:17] Speaker C: Yeah. That's pretty. [00:55:18] Speaker B: You know, sometimes it's difficult for people to visualize stuff. Yeah. Whether you're a pro, whether you're an amateur, it doesn't matter. If you're. If you. If you shoot weddings, would you shoot many? 65 by 24, Justin? Probably not, no. But. [00:55:32] Speaker C: But maybe two bangers a day. You know, of the whole day. These two that just Happened perfectly for that. Yeah, yeah. And, and for a wedding, honestly, I probably wouldn't bother changing to the crop for that. I would just pre visualize it and shoot it. [00:55:46] Speaker B: But okay. [00:55:47] Speaker C: In that mindset of like, hey, I'm going out on a photo walk and I want to shoot in this aspect ratio, having it show in the viewfinder does get you into that. It helps you immerse into that mode. In my mind anyway, it just sets. [00:56:00] Speaker B: You up on the, on the journey and even if you look at something, you can easily just turn it right. And, and it shows you exactly how it will look. And if you don't want it, you can move it back or you can just take the goddamn photo and then do it in post. [00:56:12] Speaker A: Do you know what I mean? [00:56:13] Speaker B: You know? [00:56:15] Speaker A: Yeah. [00:56:16] Speaker B: What's going to be good, it's not going to be good for another person. That's the thing, you know, exactly. Everybody certain things that they want from certain products and it's never ever going to be exactly the same for everybody. [00:56:27] Speaker C: That's right. [00:56:27] Speaker A: John. I said this in my review and I actually said this when Matt was on. It was a good review. Oh, thanks, buddy. I, I, you know, and I, I love shooting with the camera. I thought it was, it was a ripper. [00:56:39] Speaker B: Yes. [00:56:40] Speaker A: You know, and, and I could certainly see myself shooting with one if someone was offered to, to buy me one. But I, I couldn't justify it from my work, you know, it just doesn't, it doesn't suit my budget. And that's fine. I've got my own cameras for that. I'm looking at buying another new Fuji camera that fits my budget because whilst the GFX is for me artistically, it's not for me financially. [00:57:04] Speaker B: No. [00:57:04] Speaker A: You know, and it's this whole thing, the thing that I kept coming back to in my reviews and in my conversations with people about it is that everyone's fallen into this habit. And I blame Apple. I call it the, you know, the Apple consumerism mentality where every new product that Apple brings out, they make you feel like it's for you. Doesn't matter what it is, that you need it or that it's going to enhance your life. And that's the job of marketing. And clearly Apple has probably one of the biggest marketing budgets on the planet. But, you know, and I kept coming back to, you know, if, if you don't like the fact that it's an F4 and it doesn't have IBIs, well, then this camera isn't for you. But there are plenty of people out there who will make magic and create wonderful images with it, despite what you perceive as a limitation, you know? [00:57:48] Speaker B: Well, if you. There wasn't just me working on the project, there was 30 other people around the world working on the project as well. Look at all of the. They weren't all street photographers. It was all different genres and styles of photography. Go and look at what they've done with the camera. [00:58:02] Speaker A: Yeah. [00:58:02] Speaker B: And see what they've done, you know what I mean? And see if it fits for you. If it doesn't, don't buy it. [00:58:07] Speaker A: Yeah, yeah. [00:58:07] Speaker B: You know, you can't have seven kids and they want to go out and buy a Ferrari and then go, I can't get all the kids in the back. Do you know what I mean? You've got to pick it. You've got to pick something that suits what your needs are. You know what I mean? Come on, use your noggin. We're not children here. And as soon as they develop the perfect camera, they won't sell anymore, will they? Come on. [00:58:32] Speaker A: Yeah. [00:58:32] Speaker B: You know, every time you get a new phone, they say, this is the next beat. Oh, it's. You won't need to do anything. We've improved everything you want it. And then next year, they're ready. Oh, that one. Was that one superseded. Now you definitely need this one because it's got a 50,000 megapixel sensor on the back of this camera, on the back of its phone, you know, And AI will tell you exactly when to take the photo. In fact, you can just leave it and it'll take it for you. You know what I mean? Whether you want to do or not, anyway. But it's not for everybody. Of course it's not. And everyone's going to have an opinion and they're entitled to their opinion. [00:59:07] Speaker A: Yeah, but we're right, of course. [00:59:10] Speaker C: That's right, of course. [00:59:11] Speaker B: Without saying, Greg, what would they know? Have they even used one? No. [00:59:13] Speaker A: Exactly. The first in the world. [00:59:20] Speaker C: Yeah. You guys are so cool. Now there's a couple of a comment in here from Jacob Van Vlay. I'm not sure how to pronounce your name, Jacob, but it's very cool. Where are you. Where are you commenting from? It says, well, I've zoomed my thing in. I have an rf. The only thing I'm missing is tcl. What does TCL stand for, guys? What? Tcl? Yeah, maybe if I want to keep the high res. I need to be so close with portraits. It's creepy. Okay, so teleconverter lens is. And is that a thing for the X100? [01:00:03] Speaker A: No, it has a digital teleconverter. [01:00:06] Speaker C: Yeah. Okay, not sure what he means. Yeah. And I mean, we need clarification, Jacob. Yeah, tell us, what is it that you need? It sounds like you need just a. Yeah, a version. And I mean, Leica ended up making the, the Q3, which is equivalent focal length, 28 mil, and they end up making a 43 version because I think people asked for it for 10 years. Basically they wanted a 50 mil version. So who knows, maybe in the future Fujifilm will make a longer, sort of more 50 mil equivalent version of this. [01:00:36] Speaker B: And Rico GR have done the same. So they brought out the, the gr3 or x or whatever it's called. And that's, you know, to give people that extra reach because people have different. [01:00:45] Speaker C: 40 mil equivalent or thereabouts, I think. [01:00:48] Speaker B: Yeah, something 40 odd. It's something like that. Yeah. So it depends what your preferred focal length is. Yeah, yeah. So, yeah, again, people like to shoot 35, some people like to shoot 28, some people shoot 50. [01:01:00] Speaker C: Whatever Bruce Mole says, what if I want to shoot in a circle crop? That's a good point. There should be circle crop in my R5 Mark II. I think that would be an easy thing for them to implement and it could start a new thing. [01:01:13] Speaker A: This is what Photoshop is for. [01:01:14] Speaker C: That's the only holding me back. [01:01:16] Speaker B: Isn't that what. It's not what aliens do. Oh, no, that's probably. [01:01:23] Speaker C: Crops. Good point. [01:01:25] Speaker B: You don't want to get analy probed anyway, so. [01:01:28] Speaker C: Okay, okay, so the word. All right, so your opinion is that Ibis not needed or wasn't. [01:01:36] Speaker B: Or not. [01:01:37] Speaker C: Don't worry about it. [01:01:38] Speaker B: Not for my style of photography, the way I shoot. No, not for mine. If, if you go out at night or whatever, then great. Or if you want to do slow shutter drag, it's going to work brilliantly for you. So, yeah, you know. No, I didn't have any problems. Now, Jonas Rask went out and did a load of images with the camera at night and stuff and all of his images are great, but where. My Fuji did the same thing. Tom, he did the same thing at night, shoots at night, didn't have any problems with it. So it just depends. I have shaky hands, I'm getting old and I'm getting a bit, you know, rickety, so it's not great for me. [01:02:16] Speaker A: It's not the coffee. No, not at all. [01:02:18] Speaker B: Would I like, would I like it, the lens to be brighter? Yeah, sure. But Not. Not at the cost of having to have it stick out even further. [01:02:25] Speaker A: So another two grand. [01:02:27] Speaker B: Yeah, I mean, you. Everyone goes, oh, and the Q3. Well, yeah, look at the Q3 and how far that lens comes out compared to a GFX100RF. [01:02:36] Speaker C: It's a different balance. Very different balance. [01:02:39] Speaker B: Totally different. Oh, but you know, they can fit in Ibis for that. Yeah. Because they've got the room, they've. They've accommodated. [01:02:45] Speaker C: No, no, it's. It's optical in the Q3. It's not. [01:02:49] Speaker B: Oh, is it? They don't have Ibis. [01:02:51] Speaker C: No, it's in the lens. [01:02:52] Speaker B: It's obvious in the lens. [01:02:53] Speaker C: Okay. And it does work very, very well. But that's probably part of the reason why that lens is. Is quite big and it's obviously very bright lens. But, yeah, it's a different. It's. It's obvious. [01:03:04] Speaker A: And like a glass doesn't matter what form it comes in. It ain't cheap. [01:03:06] Speaker C: It's not cheap. And it's. It's. Yeah, and. And it's. [01:03:10] Speaker B: And. And you know, the other thing, Justin, what I look at when people complain that it doesn't have X, Y and Z and it doesn't have this and it doesn't have that, it doesn't have this and doesn't have that, go and speak to the. The top photographers from the 60s and 70s when they had nothing but film and they didn't have any problems getting images with that, didn't have Ibis and everything else. [01:03:27] Speaker C: And, And I get. [01:03:28] Speaker B: We get a little bit spoiled. I think we do. [01:03:31] Speaker C: But on the other hand, when you're charging premium money, it's fair enough for people to sort of poke holes in stuff and decide that it's not for them. But it's. Yeah, it's. It's having that nuance, I guess, of. Of knowing that, hey, there's a difference between it being not for you and being. I don't want this to exist. And it's like, I would rather the camera exist. Maybe I won't buy it, but I'm glad they made it. It's just probably this. This camera is probably not for me in the way that I shoot, but I'm really glad they made it because someone's got to be. At the moment, Fuji are tip of the spear when it comes to megapixels in small cameras. They're winning, you know, and someone's got to. They got to push that forward and they're doing it. It's cool. I'm glad that they're doing it. But it's. Yeah, it's the F4 and lack of IBIs, even though it is being pushed out there is like, that's, that's what everyone is commonly poo pooing. For me, that's a genuine reason not to spend that much money on that camera. But it doesn't make me go, ah, they're stupid for doing it. It just makes me go, well, I'm glad now I don't have to spend that money, otherwise I would have been. Because you were close. I really wanted. I was pretty excited about it. But it, but when I really looked at the images that I would make with a camera like that, a lot of them are at night, you know, tons of them were at night. And I'm like, okay, it's probably not the right camera for that. [01:04:58] Speaker A: Well, I think I have the camera for you. Can we jump to the news? [01:05:01] Speaker C: Sure. [01:05:03] Speaker A: Do we have an intro, music, anything? Jesus, what am I paying you for? [01:05:08] Speaker C: Hang on, what have we got? This is the news segment, music. [01:05:16] Speaker A: Today. All right, let's jump to some news. Oh, hang on. [01:05:23] Speaker C: Before you jump to the news, just to remind everyone, we did make it to a thousand subscribers. So we are giving away a 200 voucher. John is going to pick someone from the chat. [01:05:32] Speaker B: We just lost 300. I think. [01:05:33] Speaker C: Hopefully not. John's going to pick someone. It'll. He's going to pick a random chat comment. So if you want a 200 Lucky Straps voucher, just make a random comment. You don't have to say anything, just say something. Anything. [01:05:46] Speaker B: But be nice. [01:05:47] Speaker C: Yeah, be nice if it's mean. He's not going to pick you. Don't be. [01:05:50] Speaker B: No. Yeah, yeah, yeah. Suck up is what I'm saying. [01:05:54] Speaker C: Basically we're going to do that now. [01:05:55] Speaker A: We're going to make people stay around till the end. [01:05:57] Speaker C: Oh no, they're gonna stay around. Well, they're gonna, they're gonna make their comments while we do the news. We'll pull a few of them up and then at some point we'll, we'll will tell who's got the, got the winning thing. [01:06:06] Speaker A: Well, here's some Fujifilm news just in. Just, you know, this came out last week. Okay. [01:06:13] Speaker C: I was being so nice to Fujifilm. Why would you bring this up? [01:06:16] Speaker A: Well, this is a really bizarre entry. This, this looks nothing like a Fujifilm camera. This is a proposed. This is a supposed image, a leaked image of a. The new Fujifilm camera. Yet another one that's apparently coming out this year. But you know don't believe rumors because, you know. But it's a half frame camera, it's small and it's probably going to be pretty lightweight and I would imagine it's going to be pretty plastic fantastic. I might be wrong. It's got a 1 inch Sony sensor and they're saying that they're basing that off the lens size. It's got an f 2.4 aperture lens so it looks like it's about a 14 to 24, a 14 to 25 mil lens. The rear of the camera is really odd. It has. I don't know if you guys can see these images. Let me bring it up. It's still going to load. Please load. Yep. So this half frame camera, it has a vertical LCD on the back. Now my big concern with this camera is that. Well, I had two concerns. What if Fujifilm went down the route of the Ricoh or the Pentax Ricoh, what was it? The 17, the film camera, which was a half frame film camera. [01:07:31] Speaker C: Yeah. [01:07:32] Speaker A: In which case landscape shot, you turn it portrait orientation to get a portrait shot. You just keep it landscape. This LCD kind of indicates that that could be. This is just me. Okay. I haven't seen this camera. I don't know it. That it could be something going on there with the frame. Because the, the. Sorry. With the lcd. Because the LCD is portrait orientation. [01:07:57] Speaker C: If you can't talk about this, John, you can just back out of the room until we talk about it or. [01:08:03] Speaker A: Just remember, silence says lots. [01:08:09] Speaker B: I'm just gonna go to the toilet. Just a sec. [01:08:12] Speaker A: All right. [01:08:13] Speaker C: Now. [01:08:13] Speaker A: So yeah, it's. It's an odd little. It's a small camera. It's not huge. Yeah, it's interesting. [01:08:23] Speaker C: Is it? Well, it depends on their marketing, you know. So you know how I said I'm glad the GFX100RF exists even though I wouldn't buy it. If this camera comes to exist, it is a. It's a massive miss in my opinion. It is a missing it. It's a gimmick. It's worthy of an F bomb. It's a gimmick. But what if it's if, if they call it a half frame camera and put a vertical LCD screen on the back that they could have just done with software or whatever. I'm sorry, but that is, they'd like, they're. No, it's about. [01:09:02] Speaker A: Yeah, it's interesting. We, we have talked at length obviously about Fujifilm currently on a bit of a pathway of. They're trying to harness a youth market and There's a couple of reasons for that. One is the demand for cameras amongst Gen Z. Is that right? Gen Z in Japan and China is absolutely through the roof. [01:09:24] Speaker C: Yeah. [01:09:25] Speaker A: They want cameras that they can do tick tocks with or whatever the equivalent is. They can do Instagram, they can quickly upload for socials, you know being able to shoot iPhone style videography and photography is obviously still very appealing to many and I think that's what this camera is trying to do. They're trying to basically say don't take it like stop using your phone for photography. We've got something slightly better and this. [01:09:54] Speaker C: Is my point, slightly better. The 1 inch sensor in this don't. [01:10:00] Speaker A: Hang on every word I say. [01:10:02] Speaker C: No, no. But it probably won't even. It'll be barely slightly better than a phone and that's. [01:10:09] Speaker B: Phones are pretty good now I have. [01:10:11] Speaker C: To say phones, that's it. [01:10:13] Speaker B: What you're going to do, you're always going to have your phone on you anyway. They come with pretty amazing cameras unless you want to blow it the billboard size and then you're going to have some issues, you know. But yeah, I don't know. I don't know. Obviously the marketing people know what they're. [01:10:25] Speaker C: Doing but if they all. I mean the biggest things for me is if they call it a half frame that's a massive issue. I think when that's obviously a very particular, you know it should be half a 35 mil frame. It, it's not, it's a 1 inch sensor. If they should have just called it a 1 inch sensor or just not. [01:10:43] Speaker A: Worried about this is just what the rumors are calling it. So I don't know what. Fujifilm, Fujifilm. This exists? [01:10:49] Speaker C: Yeah. Fujifilm might be looking at this being like what? We're not making that. [01:10:53] Speaker A: So that's not our camera. [01:10:55] Speaker C: That's the dumb rumor. So I'm just saying if they made it, I'm not saying they are making it. If they made it would be, I think, I think it would be a bad idea because I don't know, I might be wrong but I can't see this camera being sub $1000 either in. [01:11:10] Speaker A: Australia they need one. [01:11:12] Speaker C: They probably need, I mean the, the. [01:11:14] Speaker A: The latest, you know, kind of entry level which was actually a great camera which is that XM5 which I'm looking at possibly buying but that's 1400 without the, without a lens. They need to keep this under a thousand or at least out a thousand or eleven hundred. [01:11:32] Speaker C: How much was the Pentax K17 film? Half camera. [01:11:37] Speaker A: Oh, that was like 800 bucks, wasn't it? [01:11:39] Speaker C: Yeah. [01:11:40] Speaker B: Plus a thousand dollars for film and development. [01:11:44] Speaker C: So once you start throwing in sensors and all that kind of stuff. Yeah, I'm just. It's just. [01:11:48] Speaker A: Anyway, we'll see. [01:11:49] Speaker C: Hopefully. Hopefully. It's. They've. There's a few things about it that they've got wrong and then it's obviously. Maybe it'll work. [01:11:56] Speaker B: If it exists. It's lost me with the Sony sensor, so. [01:11:59] Speaker C: I'm sorry, don't they make all the sensors now? [01:12:03] Speaker B: Probably do, yeah. [01:12:05] Speaker A: Couple of other bits of news. Let's just keep the good times rolling. [01:12:10] Speaker B: Oh, Canon. [01:12:11] Speaker A: Canon USA is set to increase their prices in the U.S. i ordered some. [01:12:16] Speaker C: I, I ordered some lenses today. [01:12:18] Speaker A: Greg, did you get FOMO because of the tariffs? [01:12:21] Speaker C: I didn't get fomo. I got investment mo. I was like, if I buy every lens that Canon have and then just hide them, and then once the tariffs come in, I can sell them to the States. Oh, it's a new. It's a new business I'm running. [01:12:35] Speaker B: I thought you were going to say hide them from the wife. But anyway, no worries. [01:12:39] Speaker A: No, you do you. Justin, whatever goes on between you and Yelena about buying things, that's fine. [01:12:44] Speaker C: Yeah, I. I want to beat. Beat the price rise. [01:12:48] Speaker B: Yeah. [01:12:49] Speaker A: That's fair. So this is. This is the rumor again. These are rumors, guys. These aren't necessarily confirmed, but, you know, industry. People talk, people listen, people spread the mill. They shouldn't. And. But that's not the only one, because also Fujifilm are set to increase their prices, at least in Japan at this point. Sorry. [01:13:11] Speaker C: In the U.S. except. Except green. [01:13:13] Speaker A: Imagine that. I think they're gone by the same person. So again, same. Same scenario. But this. Again, it's a rumor. However, they're saying that someone has confirmed that Fujifilm has suspended orders for particular cameras in the US Effective immediately. [01:13:30] Speaker B: Oh, that'll free up a few more for the other markets, won't it? [01:13:34] Speaker A: Yeah, exactly. [01:13:34] Speaker C: Oh, they've suspended orders in the U.S. yep. [01:13:39] Speaker A: So interesting. And including the GFX100 RX RF. Sorry. [01:13:44] Speaker C: Interesting. [01:13:46] Speaker A: So, yeah, it'd be interesting to see what comes of this. I mean, obviously we all sit back in amazement at what's going on in the U.S. well, that's one word with the current dictatorship. Leadership. Sorry. And how these decisions are impacting everyday people like you and I, the way that we work, the tools we need for the job. I. I just, I won't get into. I won't get into politics. We Won't do that today. [01:14:12] Speaker B: No, not today. [01:14:14] Speaker A: That will make me mad. A little bit of good news. [01:14:16] Speaker C: That's our Wednesday night show is the political one. [01:14:18] Speaker B: Well, you should get me on that one. [01:14:22] Speaker A: One last bit of news for everybody. Peak Design who makers of great camera bags. They still launch new products on, on Kickstarter to this day because that's how they began back in the day with their original funding it. Yeah, well they, they've continued to do that. Now this, they had a target of $100,000 and they hit 10 million. I think it's, you can see it here. This is a few hours old but they're. I think they're over 11 million now on the Kickstarter. [01:14:54] Speaker B: That's wonderful. And this dollar, do those people get anything for it or not? [01:14:58] Speaker A: They just, you get a discount. They get the discount, they get the bag. You get a discount off retail, you get it early. [01:15:07] Speaker B: 2%. [01:15:08] Speaker A: Yeah. You know, but you get it early. Like, you know, there's a lot of people that are Peak Design fanboys and girls and people. [01:15:15] Speaker B: Yeah, one of the Peak Design bags. [01:15:18] Speaker C: They've consistently delivered great products time and time again on Kickstarter. So it's like there's no, I mean, who knows, something crazy could happen but essentially there's no risk. You know, like they've done this so many times and they're just, they're only doing Kickstarter now because like Greg said, it's legacy. It's like this is where we started and we still do it so we still want to. Not like they offer people a chance. [01:15:41] Speaker A: To be a part of it. [01:15:42] Speaker C: Yeah, they don't, they don't need the Kickstarter, but they still don't. It's cool. [01:15:49] Speaker A: Comment from from Paul, a man after my own heart. They're not, they're not the only one. The new Nintendo Switch 2 has also been suspended. Same reason. Yeah. So the Switch 2 comes out. I'm a big gamer, I love Nintendo Switch and I've already pre ordered my Switch too. But in America they suspended. Yeah. Yeah. [01:16:06] Speaker C: Hey Greg, if I. Oh, we have. [01:16:07] Speaker A: To talk about a pay rise too. [01:16:09] Speaker C: So they. To the value of one Switch too. [01:16:13] Speaker A: So they preord. They've suspended pre orders in America until I think at least in May because they just wanted to see what happened with these tariffs and there's all these rumors flying around with Nintendo and Apple and a whole bunch of other brands are flying in planes packed to the brims full of stock so they can get it into the country. So it doesn't get hit by any tariff. So if. If the. If the US decides to put tariffs back up or they change them or whatever's going on, because no one really knows. Clearly if they've got the product in country, it doesn't attract the same terrorists as if they're actually flying it in after the tariff has been set. [01:16:49] Speaker C: Yeah. To get as many landed as possible. [01:16:51] Speaker B: Yeah. Unless, of course, they, you know, they change the law. [01:16:54] Speaker A: Yeah, they would. [01:16:56] Speaker C: They would never do that. They couldn't. [01:16:58] Speaker A: Why would they do that? That makes no sense. [01:17:00] Speaker C: Tell me this. [01:17:00] Speaker B: Paper, scissors. Oh. [01:17:05] Speaker A: Yeah. [01:17:06] Speaker C: If. If I buy. Oh, one of my lights went off. Oh, dang. If I buy a. If I buy a Nintendo Switch 2. [01:17:14] Speaker A: 2. [01:17:15] Speaker C: Can I play Mario Kart against you while I'm in Bendigo and you're in Melbourne? [01:17:22] Speaker A: Yes. [01:17:23] Speaker C: Really? [01:17:24] Speaker A: Yeah. [01:17:25] Speaker C: Cool. Okay, I'll get one. I'll save up. [01:17:28] Speaker B: Even more reason not to catch up with Greg in it. [01:17:31] Speaker A: I know. [01:17:33] Speaker B: In person. [01:17:35] Speaker C: Get to catch up more often now. [01:17:38] Speaker A: And it has voice chat. [01:17:40] Speaker C: There's a couple of. Does it really? Yep. There's a couple of questions for John in the chat. While John's answering these questions, let's see if anyone, including Greg, can see what's different tonight about the Camera life. Other than the fact that we've got a thousand subscribers. What is different? Answer me in the chat or Greg, answer us with your microphone. [01:18:02] Speaker A: I know what it is. But we'll see if anyone else is paying that much attention about the Camera Life podcast. [01:18:07] Speaker C: Do you. Do you. All right, first question. We'll go in order of something. Brett Woodison. John, do you prepare doing street. Prepare, prepare. I can read. Doing street photography by yourself or with others? I find sometimes with people you miss opportunities because you're all talking. I do like the company, though. [01:18:30] Speaker B: So yes. Yes, I do. Look, it's mainly in. When I go out shooting, I normally get most of my best shots when I'm by myself, but I also get great shots when I'm with other people. Look, it's predominantly a lone wolf type thing because you can go off and do your own thing and blah, blah, blah, blah. And you do start getting chat and you don't concentrate as much, but it's pretty lonely that way. So I do like to catch up with people. So most of the time, I normally catch up with people for a coffee. We start off together. And then some of my friends in Sydney that I caught up with, I wouldn't see them again for two hours and we'd be either 500 meters apart or 20 meters apart, we just message each other. But. And the other thing is, when you're with other people, if you just stick together, you're going to get. Look, you're going to be looking or be attracted to the same thing. So we'd sort of go to our own, do our own thing, you know, because everyone starts, you know, if there's five of you, you'll start chasing the shot, you know. [01:19:20] Speaker A: Yeah. So you stand out more as a pack of photographers than you do as a solid person. [01:19:25] Speaker B: Yeah, it's your attraction changes. [01:19:26] Speaker A: The environment changes. Yeah, yeah. It changes how people see you and react to you. [01:19:31] Speaker B: As John Bruce is the scene. [01:19:37] Speaker C: All right, next question for John. But first, Paul Henderson says the QR code. No, the QR code has been up before, but if you'd like 15 off, you can scan it and get that. But no, that has been up before. But good, good guess. Nathan, CCP from China. No, it's not CCP from China, it's Nathan Coot. Nathan C. Coot Photography. John, when shooting street, he says he always puts a space between there. But then in his own YouTube, there's no space. I was like, okay, he'll hate that. Great, great interview. If you guys haven't listened to it, go back to our most recent interview episode and listen to Nathan and I chat for two and a half hours. It was pretty good. John, when shooting street, and you may have already mentioned this in the past, but what are your stands on confronting flash when shooting? I notice your work mostly focus on national natural light. [01:20:32] Speaker B: Yeah. So I don't like to use flash because I just find it's too intrusive on people. But I have a number of friends that use flash and they get some great images with them. And also you would think that people would notice it a lot more. But if you shoot through the day, you don't. You don't really see the flash. People. People aren't even aware of it. So during the day, at night, of course it's different. But a lot of my friends go to events and that to shoot flash or whatever, you know, when they're using flash like that. So Dave Cassini, if you want to check out him or Mark Davidson from Melbourne and yep, I don't use it. I just prefer to use natural light. But. And natural and flash can make. Opens all doors creatively as well and to do different things and, you know, but it's another skill. I want to learn how to use it. I bought a flash, but I never used it. It's it's still sitting up there, actually. [01:21:29] Speaker A: Oh, Justin's your man. Justin's a technical photographer. [01:21:33] Speaker B: We talked about Justin flashing, so. [01:21:36] Speaker A: Oh, yeah, I didn't know that. [01:21:38] Speaker C: I can show you. [01:21:40] Speaker B: There's a block around your town that gets his kid off, so he's probably been following you. [01:21:45] Speaker C: So there is. [01:21:46] Speaker B: I remember in our last conversation. Yeah, so, yeah, look. Moon man. [01:21:51] Speaker A: Moon boy. Moon man. I saw him. I saw him get his pepper out. [01:21:57] Speaker B: That's good. Thanks, Greg. [01:22:00] Speaker A: We were all together. I wasn't just. It wasn't just me and him, like, got his number. Justin was there. [01:22:08] Speaker C: Says back to nudity from John. [01:22:12] Speaker A: It's never far away. Episode 69. [01:22:17] Speaker B: Anyway, come on. All right. Lots of cars are using flash at the minute. It's quite popular. [01:22:23] Speaker C: Very creative, but different style of working. It's less. Less documentary and more. [01:22:29] Speaker B: Yeah, yeah. They're using a lot of this slow shutter drag with flashing in wedding photography and stuff now, aren't there? That's become a bit of a thing. [01:22:39] Speaker C: We've. We've done that for a long time. Purely on dance floors. For us. It's not. It's not something I do much out of that space. [01:22:47] Speaker B: No, no. When the family's all standing there, you know, just. [01:22:50] Speaker A: Hey, you played around with it a bit at that workshop at Befop, Justin. [01:22:55] Speaker C: Yeah, yeah, It's. It's. And. And like stunning. Yeah. For dance floors, honestly. Jim taught me because Jim used to shoot at a nightclub and that's what all nightclub photos are. It's like drag shutter, so you can see some light, some movements, stuff like that. Get a lot of saturation and then freeze the subject real close. And he was. He just told. He was like, hey, set your camera at f 7.1 or f 8 ISO about 640, 500 and about an eighth between like a sixth and a tenth of a second. And set your flash on TTL, but you'll probably have to back it off to like minus 0.3 or 0.6 or something like that. And then off you go. And that was it. [01:23:36] Speaker B: You've already lost me. [01:23:40] Speaker A: Who's TTL is that? [01:23:45] Speaker C: I have one more question. [01:23:47] Speaker A: All right, one more question and then we're going to wrap up. [01:23:49] Speaker C: Yeah. Because John's probably like, hey, I committed to 50 minutes. But before my one more question. [01:23:55] Speaker A: Well, we only paid him for 50. [01:23:57] Speaker C: Before my one more question. Hang on. Paul says the Camera Life logo has turned yellow on YouTube. Close. Very, very close. Guess, but this is your last chance to enter the unorganized competition that we Will draw in just a moment. So this is your last chance. Put a comment in the chat. John, I want to know, are you gonna buy a GFX100? Why not? [01:24:25] Speaker B: Because I don't have the budget for it and if I do, I've always said this in, in to other people. If. And also in our own podcast where people have asked me this, if I have the money to spend eight or nine grand on a camera, I would use it to travel. [01:24:41] Speaker A: Yeah. [01:24:42] Speaker B: And, and capture and, and use. I have five other Fujis and a Ricoh GR2. I don't need any more cameras. I have more than enough. So would I, if someone was to donate me one Fuji. If you want to give me one, if you want to donate me one, I'll happily have it and add it to my collection. But if I've got eight and a half grand to spend, I'm going to go to Japan or I'm going to go to Europe and photograph because that's what I want to do. And my cameras that I've got will do that. But would I have it? Would I have a GFX100RF? Yeah, I would. Because it's that sensor and that's spectacular. [01:25:21] Speaker A: Yeah. [01:25:21] Speaker C: Did it, did it. Does it leave you with any lingering feelings of like, oh, I kind of wish I had that camera, or are you able to just push it out of your brain and go, I don't have that camera, it doesn't matter. [01:25:36] Speaker B: I can, I can live without it. But I do. Look, it made me any. With any camera. When you, when you're a photographer, if that camera makes you want to pick it up and go out shooting, then that's the camera for you. And when I, when I had it for two weeks, I had no problems going out for seven hours a day or six hours a day to shoot with it. I love picking it up and going out with it. Now, if it was a pain in the ass to shoot with, that would have not been possible. Do you know what I mean? It would have been a chore. And it wasn't a chore. I enjoyed every minute of shooting with it. But I, look, if I had, if I was a retiree and I wanted to look at buying a camera and blah, blah, I would, for me, I would pick that over like a Q3. [01:26:16] Speaker C: Yeah. [01:26:17] Speaker B: Me personally, and I've used a Q3, I had an opportunity to shoot on the street with it. Was it a nice camera? Yeah, it was, but it wasn't. I, I preferred the, the gfx. That's me, it might not be for everybody, you know, it just depends what you are. So. [01:26:33] Speaker A: And I think that's what it comes like. I, I feel this very similar, John. I, I'm just as happy shooting with my decade old Fujifilm X70 as I was shooting with the GFX100. Yeah, I was just as happy. It didn't change my joy of photography in any way. It didn't change. Yes, it motivated me to go out because I also had a job to do. So, you know, my income depends on me writing a review that's, that's thorough and I take my own images for all of that. So there's that element too. But, you know, that joy of photography, it didn't matter what camera was in my hand. Yes, it was a beautiful camera to shoot with. Yes, it delivered gorgeous images and yes, I love Fujifilm and I love the build quality and the quality of the glass and all that stuff. But do I miss it? No, not really. [01:27:19] Speaker B: No, I wouldn't. But if someone came and knocked on my door today, went, all right, it's Fujifilm. We decided that, you know, we're going to give you a VFX100R. I go, thank you very much. [01:27:28] Speaker C: Yeah, yeah. [01:27:29] Speaker A: Where do I sign? Yeah, anyone could, you know, and I think a lot of people would say that about a lot of different cameras, you know. So, yeah, it's interesting. We're coming towards the end of our show. No, I haven't, Bruce, I haven't given up on the Christmas trip because Justin hasn't categorically said no. [01:27:53] Speaker C: Bruce says Greg is lying. He misses the GFX100R as much as his Christmas bonus trip to Japan. I, I'm trying to figure out how to make that happen because what's the, what's the photography show in Japan in February? [01:28:07] Speaker A: The one that was in Yokohama. [01:28:09] Speaker C: Yeah, the one, the photo show. Yeah, we're, we're in the industry. You know, the industry. People know that stuff anyway, that show. That's right. In snow season we're going, we're figuring out how to make it happen. We just need to make some money anyway. We'll make money and then we'll go to Japan. It's going to be awesome. [01:28:27] Speaker A: Yeah. [01:28:29] Speaker C: All right, here we go. Paul's called it. The microphone into the logo is in the camera lens. That is it. There is a slightly different camera logo in our logo that I changed today on a whim because straps on it. Yeah. In tiny, tiny, tiny little lucky straps. It's more of a range finder the other one was a dslr. And now instead of a world in the middle, it is a microphone in the middle. Right. And the change was because there's a landscape. [01:29:06] Speaker B: Looks pretty. [01:29:07] Speaker C: I did. It does look a little bit gfx 100rf. I was like, where do I, where do I. Where's the aspect ratio dial go? No, I, There's a, there's a landscape podcast that has a very similar logo to us. And I, I, well, and he's been doing it for years. I can't remember the name of it. Landscape Photography World or something like that. It's an Australian podcast. [01:29:30] Speaker B: Yeah. [01:29:31] Speaker C: And I, I messaged him straight away. As soon as I saw it, I was like, I will change our logo. I, I made ours. I didn't even notice that it was. I just made it up. And then I was like, I'll change ours. And I hadn't gotten around to it. [01:29:42] Speaker B: So. [01:29:42] Speaker C: Anyway, yeah. Bruce says this is why Justin isn't making money not actually working, but changing logos. Exactly. You read me like a book, Bruce. [01:29:53] Speaker B: Bruce is like a guru in here. [01:29:55] Speaker A: So insightful. [01:29:57] Speaker C: He knows, he's. He sees all. All right, John, can you please pick someone from the chat to win a 200 Lucky Straps voucher? Most of the people in the chat probably already have lucky strap stuff, so I don't know. Pick wisely. [01:30:09] Speaker B: Where can I see the chat? [01:30:11] Speaker C: Oh, you can't see the chat. [01:30:12] Speaker B: I can't see the chat. [01:30:13] Speaker A: So go to the top right of your browser screen. There should be a comments. [01:30:18] Speaker B: I can see. I can't see comments. [01:30:21] Speaker C: No, I think if you press Hide chat, it should unhide the chat. [01:30:25] Speaker B: No, it, it says I've got that show chat. I can't see it. [01:30:29] Speaker C: Oh, dang. [01:30:31] Speaker B: I can't see. I could on the last time I was on here. [01:30:34] Speaker A: No one gets a strap. [01:30:36] Speaker B: Settings. No, I can't see anything. I'm sorry. Shiver me timbers. So you guys can choose. [01:30:43] Speaker C: All right, I'm, I'm. [01:30:44] Speaker B: Well, I'm just gonna make the most comments. [01:30:46] Speaker C: I'm gonna have to pick Paul Henderson because he got the microphone in the logo thing because I can't get around. [01:30:51] Speaker B: That's great. [01:30:52] Speaker C: Yeah. Yep. You win, Paul. Get in touch. [01:30:55] Speaker A: Yep. How does he get in touch, Jay? [01:30:57] Speaker C: Ah, email. Dm. [01:31:00] Speaker A: What's the email address? [01:31:05] Speaker C: He knows how to find me. [01:31:06] Speaker A: Send nudes. Send nudes. [01:31:08] Speaker C: Justin. Luckystraps.com. [01:31:12] Speaker B: That'S very cool. [01:31:13] Speaker A: Well done. Got yourself a nice voucher. You can choose yourself a strap or some merch. Get yourself a couple of t Shirts. [01:31:20] Speaker C: And thanks to all of you for subscribing, getting us to 1,000. It's still there. I keep refreshing it, expecting. Because there's always one who's like, yeah, and you're back to 9.99 for a year. [01:31:32] Speaker B: You're like, you didn't follow me back. You didn't follow me back. [01:31:34] Speaker A: Yeah. [01:31:37] Speaker C: Damn it. [01:31:39] Speaker A: So, yeah, well done, Paul. It is. It's currently 9:04pm here. We're just drawing to a close of episode 69 of the camera Life podcast. I ran a photography show. It's been a wild night, been a lot of fun. I'm sure I still have a fever, but as always, it's absolute delight to have you on. John, thank you very much for joining us and talking about what is actually a really unique experience for any photographer. Yeah. In the industry, let alone a humble street photographer like your good self. But it's not to say that it wasn't earned. You know, I've made no, I've made no mystery or no, no secret of the admiration I have for your work, as does many of the people in our Fujifilm community. And, and yeah, I think it's, I think they've put it in good hands and I think you've delivered the goods most definitely. And what people think of the camera, you know, time will tell and, you know, it's like we said, it's, it's, it's a unique device. There's nothing like it anywhere else from any other brand with that size sensor, you know, and, and we'll wait and see what Fujifilm do with it next. John, is there anything that you've got going on in your world other than, you know, being an interesting secret. [01:33:01] Speaker B: Influenza, but I don't know about influence. [01:33:05] Speaker A: What about the. Now you've got your, your podcast, which is the, the Street Life. [01:33:10] Speaker B: Yeah, Street Life podcast. Still going strong? Yes. [01:33:12] Speaker A: Yeah, really well. [01:33:14] Speaker B: Still. Yes. [01:33:16] Speaker A: On the show at some stage. [01:33:17] Speaker B: Yeah. You should get Mark on. He's far more intelligent than me. [01:33:23] Speaker A: Well, we've all got one of those. Justin's got me, so. You know. [01:33:27] Speaker C: That's right. That's how I go, Greg. [01:33:31] Speaker B: Really? So not doing much? No, I'm not doing. I'm actually processing all my images that, that I've started, well, taking photos from, so. And I still have 8, 000 images to go through from the GR GFX. 100 RF that. [01:33:46] Speaker A: Yep. [01:33:46] Speaker B: You know, just because I submitted 30 doesn't mean that there aren't, you know, a few gold little nuggets and bangers. The 8,000 that I couldn't use for marketing purposes. So, you know. Yeah, I need to go through all them too. And when I. Look, when I was processing, I didn't have access to Lightroom, so. Because. [01:34:02] Speaker A: No, you wouldn't have. [01:34:04] Speaker B: It was still top secret. So it was a nightmare. You had to do everything in camera and then converted to tiff, and then it didn't work in tiff, so then you had to change it a digital negative, which then you could open up in like it was a nightmare to do. But anyway, there you go. [01:34:19] Speaker A: Yeah, I've had that pre production model grief before as well, where you get excited, you get home, you put the card in and Lightroom, what are you doing? [01:34:28] Speaker B: Lightroom says no. [01:34:30] Speaker A: Yeah, Lightroom doesn't know. Lightroom is more in the dark than anyone. But. But look, on that note, I think. Justin, is there anything that. That you need to plug? [01:34:41] Speaker C: No, but I did. I do need to tell Nathan in the comments. We will get you a camera strap, Nathan, I promise. We would. [01:34:48] Speaker A: I sent you an email this morning. [01:34:49] Speaker C: Oh, okay. Check your email, check your A miles. [01:34:52] Speaker A: Check your A miles. [01:34:53] Speaker C: And then throw that design strap in the bin. [01:34:55] Speaker A: Yeah. Get rid of it. [01:34:58] Speaker C: Philip Johnson says thanks. [01:35:01] Speaker B: Thank you, Phil. [01:35:03] Speaker C: Paul says he's looking forward to the Nintendo Switch review. Greg, will we do a Nintendo Switch 2 review show? [01:35:08] Speaker A: I think we should. Why not? [01:35:10] Speaker C: Elaine has expressed interest. [01:35:13] Speaker A: Oh, yeah, well, she needs. She needs to get onto that. Why? [01:35:17] Speaker C: Do you feel like it's because I'm pretty sure. No, I thought you could just plug one into the TV and you get these tiny little remotes or something and you do that. [01:35:24] Speaker A: We thought we're even considering getting a bigger TV with a faster refresh rate just for Mario Kart. Because we play. We're a big gaming family, so there's seven of us here. I'm a collector, so I actually have seven Nintendo switches that are just mine. And then everyone else in the family has one each. So, yeah, I'm a bit of a nerd. Oh, my gosh. This is why I'm coming to you live from my son's bedroom, because I spent all my money on gaming. [01:35:51] Speaker C: Could you sell those seven and buy a GFX100RF? [01:35:54] Speaker B: Probably. [01:35:55] Speaker A: Nah. [01:35:56] Speaker B: No. [01:35:57] Speaker C: Never mind then. [01:35:58] Speaker A: No, some of them I haven't even put out of boxes. Like, they're collector's items. They'll stay in those boxes and. [01:36:02] Speaker B: Yeah, until he dies. And then the kids will go, thanks, dad. [01:36:04] Speaker A: Yeah, and then they'll stay. [01:36:07] Speaker B: We'll go on that. Trip that we never could afford to go on to Japan. [01:36:13] Speaker A: But look, we will. We will do some switch play. We'll do a bit of shenanigans, maybe just for a bit of fun one day. [01:36:21] Speaker C: Shenanigans. The. The beef up thing. May 10th. Oh, yes. Yeah, we're going. I don't know if there's still tickets left, but I'm going. I don't know if Greg's going. I just said he's going. But we're going. And if you want to go, there's probably. Yeah, you and me. [01:36:37] Speaker A: Oh, yeah, we're going. We have your tickets, though. [01:36:40] Speaker C: No, but if you're listening, you could buy tickets still if it's not past May 10th and if they're not, I. [01:36:46] Speaker A: Forgot we were still live. [01:36:47] Speaker C: Go to the bfop. Yeah, we're still live. Go to the Beef up website. Buy tickets if you want to come along on May 10th for, like a weird CBD photo walk thing. If you're in Melbourne, if you're in another country, it's probably not worth over here for. Don't. Don't buy it. [01:37:02] Speaker A: BFOP Australia is the website. [01:37:04] Speaker C: Yeah, BFOP Australia. Go there, buy tickets and come and have a fun day. [01:37:09] Speaker A: Yeah, there's a lot happening, happening, happening, happening. There's a lot happening in the coming weeks. We've got some great guests coming up too. Just very quickly, before we wrap. We've got. We've got Dean Cooper coming up next week. We've got Chris Hopkins. [01:37:25] Speaker C: Yes. [01:37:25] Speaker A: Photojournalist. Well, they're all. They're all they show. [01:37:29] Speaker B: Tom. [01:37:29] Speaker A: Tom. Putt. Is that how you say putt or is it put? [01:37:33] Speaker C: I thought it was putt. [01:37:34] Speaker A: Put. [01:37:35] Speaker C: It's put. [01:37:36] Speaker A: Well, I don't know. It's double T. Like, who needs that on their name? Who else we got? We've got Bruce Moyles joining us. Bruce is coming up in a few weeks. We've got. We've got one of our first overseas guests joining us. That's going to be on a Monday night. Just because the time zone is different. Nick Duncan, who's a motorsport and automotive photographer, friend of Greg. Sorry, Andrew Halls, he's going to be joining us. There's a lot coming up and we're getting busy, folks. We are getting very busy. [01:38:05] Speaker C: We had a few requests in the chat tonight for some Sony photographers. We'll do our best. It's hard to get things past Greg. I throw up like an option. I'm like, oh, this guy shoots can. He's like, yeah, but. Andrew Hall, Fuji Motorsports and I'm like, yep, he is a legend. Let's get him on. [01:38:21] Speaker B: And then how many people can you get on shooting trams? You know what I mean? But anyway, yeah, true. [01:38:27] Speaker C: I think we're currently rolling about 70% Fuji, which is how Greg likes it. [01:38:32] Speaker A: I'm trying to mix it up, folks, I promise, I promise. [01:38:36] Speaker B: Just very shy Sony shooters. I don't like to admit the shoot with Sony, do they really? [01:38:39] Speaker A: Well, they. Bruce. [01:38:41] Speaker C: Sony. [01:38:42] Speaker B: Oh, there you go. Thanks, Bruce. Good on you, mate. [01:38:44] Speaker C: There we go. [01:38:45] Speaker B: You can create the support network for you, man. [01:38:49] Speaker A: I'm gonna be sick on that day because I don't want to talk about Sony. [01:38:51] Speaker C: Please don't switch to Fujifilm between now and then. [01:38:54] Speaker B: Go on. [01:38:55] Speaker A: I'll have a. Yeah, but look on that note, folks, once again thanks to John, absolute legend for jumping on the show and talking candidly about your experience and you what you see the values of a camera like the GFX100RF and also getting yet another insight into your world of street photography. It's a fascinating. Obviously it's something that we share, but you know, it's often a misunderstood genre. So it's good to get people talking about why we do it and how we do it. You know, that we are conscious about it. We do have ethics and morals when it comes to street photography, despite what some believe. But look on that note, thanks, Justin. [01:39:32] Speaker C: Thank you guys. [01:39:33] Speaker A: Looking forward to that Japan trip. [01:39:35] Speaker C: We're gonna do it. We're making it happen. We've got a new and we're off. [01:39:40] Speaker A: Get T shirts made. Mega pickles. [01:39:43] Speaker C: That's right. [01:39:43] Speaker A: Mega Pickles in Yokohama. And we can use the new logo. [01:39:48] Speaker C: Yeah, we're on it. We're doing it. Oh, we're gonna make it. [01:39:51] Speaker A: Biggest tax write off ever. But, but look on that note, folks, you have been watching, listening to the Camera Life podcast. This is the random photography show and it has been episode 69 and it's been a little loose. It has been a little while. A little loose. Thanks to everyone for watching and commenting. It really does make what we do worthwhile because we, we love what we do and we. The. The best part about what we do is interacting with you guys and chatting about stuff and getting your views on it. You don't want to subscribe just to listen to three old farts. Well, two old farts and a young pup sit around talking shop. Get involved. Good on you, mate. But look on that note, let's play us out with some music, boss. [01:40:35] Speaker C: Okay, here we go. [01:40:37] Speaker A: Have a good night, everyone. We'll catch you on Thursday morning, 9:00am, Australian Eastern.