Can you still build a career in photography in 2026? Matthew Garberg (EP152)

[00:00:25] Speaker A: Well, well, well. Good morning everybody and welcome to smooth jazz on Luckystraps.com. [00:00:30] Speaker B: That was a joke. [00:00:31] Speaker A: It was a terrible joke. This is the Camera Life podcast. Of course, I just felt that kind of, that Smooth Jazz intro, you know, it kind of spoke to me in various ways. Anyway, I've completely derailed the show in the first 30 seconds. So welcome everybody. This is the Camera Life podcast. It is the 29th of January. I can't believe January is almost over. And we are coming to you live from Melbourne, Bendigo and Sydney. Yes, in New South Wales, in Australia. And of course, today's episode wouldn't be possible without the generous support of our premium sponsor, Lucky Straps, which is also us. We make handmade Aussie made premium leather camera straps to suit every camera that you could imagine and to help you connect with your craft. Head to Luckystraps.com and have a look at our products there. Use code Greg at the checkout. You'll get a healthy discount courtesy of me. Really? It's courtesy of Justin. But you know, I like to take credit when I can, but yes, obviously the boss is here. G', day, Justin. How are you this morning? [00:01:30] Speaker C: I'm good. I was just saying to Matt before the show started that I've been up for three hours and I'm feeling great, feeling wonderful. [00:01:38] Speaker A: You'll crash. [00:01:40] Speaker B: Yeah. No idea how you do that one. [00:01:43] Speaker C: No, it's, it's the only way to start a podcast morning is to up by 5, exercise by 6, home, coffee, breakfast, walk and then into the podcast. Yeah. [00:01:56] Speaker A: Role model, citizen. And of course we are joined today by a special guest, Matthew Garberg. G', day, Matthew. How are you? [00:02:02] Speaker B: Hey, guys. Not bad at all. Yeah, enjoying the early, early wake up. [00:02:07] Speaker A: Oh, is this early for you? Nine o'. [00:02:09] Speaker C: Clock. [00:02:09] Speaker A: Wow, that speaks volumes. [00:02:11] Speaker C: A little bit. [00:02:11] Speaker A: A little bit, yeah. [00:02:14] Speaker C: Really? [00:02:14] Speaker A: My youngest son, first day back at school this year, he's doing in mind, so I had to get up early to make sure he actually realized it was a school day and not still the whole day. So, yeah, back to that schedule. So that's, that's delightful. But of course, Matthew, we're going to dig into your, to your story in a little more depth. But I do have a question for you and it's. I think you're probably in one of the best positions to answer this question. What does it mean for you today to be a, a working professional paid photographer and videographer in 2025, 2026? What, what are the challenges that you faced in entering an already crowded market? [00:02:59] Speaker B: What, what challenges haven't I faced is probably a better question. God, where do I start? Everything from finding clients to managing delivery, managing expectations, getting around just, you know, finding things to shoot that isn't already essentially taken by someone else. Like, it's, it's a very sort of, I, I don't want to say difficult. It's not extremely difficult. It's just a very tedious process to find, you know, worthwhile clients and people who not only do you enjoy doing, you know, the work for, but they also pay you, you know, what's deserved, let's say. [00:03:50] Speaker A: Yeah. [00:03:51] Speaker B: Yep. [00:03:51] Speaker C: Oh, I've, I have an interesting question on that and after this question, we'll, we'll say g' day to the chat and there's some good comments in there starting to roll in as well. So if you're listening, jump in the chat. Talk to us about what it's like to be a photographer in 2026, especially young, up and coming photographers and videographers. My question, Matthew, to get the show rolling is do you think it's an advantage or a disadvantage to be a young photographer or videographer in 2026 compared to someone who's more established, more senior, been in the industry for decades. Say, do you think you've got an advantage or a disadvantage being young? [00:04:27] Speaker B: Well, my back and my knees are in really good condition, so I think that that's, that's a pretty good advantage to start with. [00:04:37] Speaker C: Fair start. [00:04:38] Speaker A: Yep. [00:04:38] Speaker B: Yeah, look, it's, it does have its pros and cons. Being younger, I, I feel like I'm a little bit more in touch with the social media side of things. As much as I really don't enjoy that type of content. I'm not someone who, you know, gets, gets their camera and goes, oh, I'm gonna, I'm gonna do it this way. [00:05:00] Speaker C: Good. [00:05:01] Speaker B: There's a time and a place and I really don't enjoy that time and place. But look, being, being young does help because a lot I've, I've experienced a lot of older generation photographers are very much stuck to their, their own ways. Like they've got it in their head that they want to do it one way and that's, that's the only way to do it. And if you go in and you go, oh, I have a different way of doing it that's going to get you this, this, this and this. People will look at it and go, oh, something different, you know, something that's not what we've seen from every other person we've ever Hired. So, yeah, there are pros and cons to it. You also do get looked at like, oh, he's. He's a young bloke. He. He doesn't know. He's not got the experience, he's not got this, he's not got that. You do, you know, I do find you kind of get looked at a little bit differently, but it's not as bad as I think some people would make it out to be. [00:06:00] Speaker C: It's. [00:06:00] Speaker B: I've. I've not had it really ever affect my own work, but I know that it is something that exists because I've worked with people who have, you know, other shooters and stuff who have kind of gone, oh, you're, you're a bit young to be doing this. It's like, yeah, but, you know, I've been shooting for long enough that I can keep up. [00:06:26] Speaker A: Yep. And I guess at the end of the day, you work, you work. You know, counters that argument with, well, this is what I captured, you know, this is. This is what I'm delivering. [00:06:36] Speaker C: Exactly. I guess it's more about whether it's hard to get. Get the foot in the door, get the work in the first place with that. If people have that sort of maybe a preconception that maybe you don't have the experience to do what they need or whatever, it could be hard. But then once you get in, the work is the only thing that matters. And how you treat your clients, they don't care how old you are after you've been given the chance to work with them, essentially. [00:07:01] Speaker B: Yeah. And that's. I think. I still think that's one of the. The harder things about, you know, working in this industry now is getting your foot in any door ever is. So it's so much easier said than done. I'm not going to say it's difficult because you can get your foot in the door. It's about getting through the door that's difficult sometimes. Yeah. But my biggest piece of advice is to just talk to people. Just talk, talk, talk, talk. And it will open so many more doors than anyone could ever just tell you to do, you know, oh, go start shooting. It'll open doors. No, go. Stop talking to people. That's. That's how you get work. And that's how you get interesting work as well. [00:07:47] Speaker C: Yeah, exactly. And good call. I think. I think that is something that. I don't know whether it's true or not, but there tends to be a fair bit of a stigma against. I don't know. I don't know what you call them, I guess the younger generation that they're less willing to go and talk to people face to face in a room, a stranger. Say it like when we're the bright festival of photography there, I think most people's preconceived. I guess bias would be that a young person, that environment would be more likely to be on their phone rather than mingling with some industry person or whatever. And I'm sure that's not, that's a generalization that's not true of everybody. But it does seem to be maybe more common now that it's. That it's sort of harder for young people to just walk up to someone and say, hey, I'm. I'm Justin. I'm. I'm a new photographer here. What's your name? You know, like that's a. It's not an easy thing for a lot of people to do. And that's what you were doing. [00:08:46] Speaker B: So there is that in saying that I, I was guilty of sitting there playing, playing games on my phone for a little bit@b fob so I didn't have time. [00:08:56] Speaker A: No, never. [00:08:57] Speaker B: Yeah, you guys, you guys, you guys were chockers the whole whole weekend. But yeah, I was, I had a few moments there. But no, it is, it is something even I say to other photographers that I know is just talk to people. Like it doesn't necessarily matter, you know, if you know them, if you want to know them, just talk to people because you, you truly just do not know what will ever happen. I think my best example was I. I shoot up at the local skate park and I was taking some photos of the guys riding and one of their fiance's or wives came over to me and she's like, oh, do you, you know, do you do this full time? And I ended up landing one of, at the time, one of the biggest gigs ever that I had ever shot through talking to her because she knew the owner of a construction company that needed a, like a. What's it called? Convention. Sort of like a building convention shot. And yep, they, their budget was whatever I said. [00:10:08] Speaker C: Yeah. [00:10:09] Speaker B: So. But it was like I, I went from shooting skateboarding to shooting a giant, you know, trade. [00:10:17] Speaker A: Yeah. [00:10:19] Speaker B: In, in one conversation. So you truly never know what doors will open just talking to anyone. [00:10:26] Speaker A: Yeah. Yeah. I have to agree with you. And you know, while we're on the do have this topic of BFOP that's threaded throughout our interview today, I found that running the Lucky strap store with Justin and Jim at befop that just talk to people. It's not a sales pitch. I'm just saying, hey, how you going? What camera are you using? How you enjoying the festival? And we made so many connections just through that simple, like you've described, that simple process of just engaging with people and celebrating what it is that we all love it, love to do. We are going to dive into more in a moment, but maybe, Justin, do you want to say good morning to some folks? There's already a bit going on in the chat. [00:11:01] Speaker C: Do. There is a bit going on in the chat. I'll just. The first comment, I'll ask a recent one. Gareth Davies, new member. Thanks, Gareth, for becoming a member. He actually selected the Send Greg to Japan membership. I think so that's one. Greg, you're off. Off for the races. We only need about a thousand more and you'll be going to drink. Gareth says. This is so true. I've been asked before how I was photographed, how I was able to photograph something, how I was photographing something. And I said, I asked someone. Yeah, exactly. It's like if you don't ask if you want permission to shoot something, a subject, a building or whatever it is, a location, you know, the first step is just to find out instead of saying, oh, I'd love to get in there, find out who is in control of it and ask him. So, I mean, sorry, go on that. [00:11:53] Speaker B: To kind of piggyback on that there. I. I see that it's very dependent. I. I do have the approach coming from shooting cars and everything. Sometimes you're in places that you're maybe not quite meant to be. I also find when it's worth it for the shot, sometimes it is easier to just ask forgiveness. [00:12:13] Speaker C: Depending on what the red tape is and whether you're. You're breaking any laws or whatever, as opposed to if it's like you're not supposed to. [00:12:19] Speaker B: Yeah, yeah. If it's. If you're not doing anything truly wrong. Yeah, it's, you know, all bets are kind of off. But yeah, don't. Don't ever be afraid by a little bit of a. A rule. [00:12:32] Speaker A: Yeah. Get to know your boundaries so that you can ride them and step over just a little. I think that's. [00:12:38] Speaker C: That's right. [00:12:39] Speaker B: Just to make it clear, laws, Laws and rules are different, though. [00:12:42] Speaker C: That's right. [00:12:44] Speaker B: Yeah. You got to respect the laws, but the rules. [00:12:46] Speaker C: Oh, the youth today. [00:12:47] Speaker A: Justin. No, appreciate. [00:12:49] Speaker C: Okay, we'll clip that one. Rules and laws and rules are different. I like it. Okay, who else is in the chat? Paul Good morning. Oh, Matthew, that's that guy. Good morning, Tintype man. [00:13:03] Speaker B: Is there. [00:13:04] Speaker C: Robert Varner. Hello. From very cold New Jersey. I bet it is freezing there. David Leporati. Good morning, everyone. It's probably. Probably. Where else? Felicity Johnson. Morning. Too hot to head out on my weekly Thursday birding, so I get to watch you live. Oh, awesome. Thanks, Flick. Sorry you're missing out on your birding. [00:13:22] Speaker A: Yeah. [00:13:22] Speaker C: And then we've got some comments coming in from David Mascara. Damn, almost forgot to watch. It's not cold where you are, David. You got. You guys didn't end up with the snow. You're too. Too south to be getting snowed in San Francisco. Okay. And Nick Fletcher's joined the chat. And then there's a heap of comments from Dennis that I want to get to. Nick Fletcher says, welcome here until my next meeting starts, so make the next 15 minutes epic. Okay, Matt? Make. Make him epic. [00:13:51] Speaker A: Why is he welcoming us? [00:13:53] Speaker C: I don't know. Well, thanks. I like to be welcome to our own podcast. That's cool. [00:13:57] Speaker A: I feel special. Yeah, well done. [00:13:59] Speaker C: And then a few comments from Dennis. Dennis Smith, school of Light, says, hey, saw this young fella's face pop up. [00:14:05] Speaker B: Had a. [00:14:06] Speaker C: Had very nice memories of our interaction at bfop. And then follows up with, it's never been harder in this industry, but with the right attitude, it's very doable. And this guy seems to have that in spades. Go. And then Dennis says, young, how old are you? I'm assuming that's directed at me because I said young people, because how old are you, Matt? [00:14:32] Speaker B: I'm only 21. [00:14:33] Speaker C: That's right, you are young by definition. [00:14:36] Speaker B: By definition, I'm very young. [00:14:38] Speaker A: But he has been using a camera for eight years, so. [00:14:40] Speaker B: That's right, you know. Yeah. So shout out to my dad, who put a camera in my head. He went, yep, yours now. And from there, the. The addiction has well and truly built up. [00:14:56] Speaker A: You might need dad to help pay the rent right now, but, you know, you've got the lenses. That's all that matters. [00:15:01] Speaker B: Yeah, yeah, the lenses matter more than anything. [00:15:03] Speaker C: Yeah, yeah, exactly. Adam Edwards, also in the chat. Good to see Adam. If you haven't listened to Adam Edwards's interview with us from a few weeks ago, go and check that out after this show. It is a. [00:15:16] Speaker A: And also check out his YouTube channel. He's dropping pearls from his time in Africa. So, yeah, definitely go check that out. Amazing, amazing work and really insightful guidance, which is cool. [00:15:26] Speaker C: Um, and then if David mascara says 65ish in San Francisco, which is either extremely hot or Fahrenheit, in which case it's chilly but not freezing. Yeah, mild. And Robert Varner doesn't remember when he was 21. Fair enough. I don't know if I do now. Final, final comment before we get back into the interview. Paul says hats off to anyone and all of you with an entrepreneurial streak that don't rely on someone from the government sticking money in their bank account every second Thursday. Yeah, or sometimes we do if we. If business doesn't go well. We might need that. But yeah, we, you know, it's. It's a good way to live. It can be stressful, but it's a. It's a good way to live. I think it's empowering. Hi from Balmy. Minneapolis. Minus 13C here right now. Oh my God. Gosh. Septa, stay inside. Septa10. That is chilly. [00:16:26] Speaker A: Where's Minneapolis? Minneapolis in the States. Justin. Is it. Where is it located? [00:16:30] Speaker C: Sort of century and I think it's right on a massive lake. It's like a huge inland lake that's almost feels like an ocean. I'm pretty sure because it's Minnesota and I think Minneapolis is on the shore of a lake that. I can't remember what it is. Minneapolis, Lake, Lakes. I can't even type today. [00:17:01] Speaker A: What happened to you? [00:17:01] Speaker B: I got up at 5 o'. [00:17:02] Speaker C: Clock. I'm on chain of lakes. Maybe it's not on the big lake that I'm thinking of. [00:17:09] Speaker A: Isn't that like Seattle has a big lake? I don't know. America. Anyway. [00:17:14] Speaker C: I don't know. Anyway. But there's. There's a lot of lakes. I think it's. It's called something about the States, like a whole lake thing. You know, it's like their vibe like the state of Lakes or something like that. The Great Lakes. [00:17:28] Speaker B: The Great. Yeah, I was gonna say the Great Lakes is a. Rings a bell. [00:17:32] Speaker C: It could be that. That's terrible. And minus 7.7 C in New Jersey only. Yeah, that's not cold. That's crazy. Melbourne morning. [00:17:43] Speaker A: And Japan too has had huge snow dumps and storms. Yeah, I bet you're missing that powder. [00:17:49] Speaker C: Justin, I've been getting sent a lot of reels and I have definitely not opened a single one of them because I am sad that I didn't book a trip this year. I should have. It was on the list and I. [00:18:04] Speaker A: Was offering to go with you. [00:18:05] Speaker C: We've got too much. I know we had. I've still got a post it note up on my thing that's got the dates for CP plus in Yokohama. [00:18:15] Speaker A: Yeah. [00:18:15] Speaker C: 27Th to 1st March, probably. [00:18:20] Speaker B: There's time. [00:18:21] Speaker C: I know, but any of everything will be booked out and flights will be gone and. Anyway. But yeah, anyway, let's get back into this thing. [00:18:29] Speaker A: Have you traveled much overseas, Matthew? I know you've been around the country. You love your road trips. What about abroad? [00:18:36] Speaker B: I haven't done much abroad stuff recently. [00:18:38] Speaker C: The. [00:18:40] Speaker B: The most recent thing that I brought a camera to was a little trip to London and then Ireland, which was beautiful. I loved it. I had so much fun. Outside of that. I've done a few trips to the US when I was like, tiny weenie, you know, didn't have a camera at that point. But the last, like the big trip that I did shooting was. Yeah, London and Dublin specifically on St. Patrick's Day. Oh, wow. Yeah, yeah, yeah. So. So Dad's birthday falls on St. Patrick's Day. So we're like, okay, 60th, make it big. Where are you gonna go? Yeah, yeah, so. So we went and it was, oh, once. Once in a lifetime. Truly one of those things that I tell people, you've got to go do it once, you know, to see that. I've never seen that amount of people just crowd into streets. It was chalkers, I remember walking through. I've literally got the 16 to 35 held above my head, just clicking shots, praying that I get something. And oh, there are some incredible photos. That's cool. [00:19:48] Speaker A: That's very cool. Now you've mentioned your dad a couple of times in bfop. Yes, we met you and your father this year was, sorry, 2025 BFOP. And for anyone that's not to know, that's the Bright Festival of Photography, which happens every year around kind of October, November, ish, every year in the Alpine region, town of Bright. And so we met you there. I think we were. We were out at night. We were near the river where Dennis was thrashing around in a wetsuit, like painting water. [00:20:17] Speaker B: Still don't know how bananas. [00:20:19] Speaker A: Bizarre things I've ever seen, but gosh, the images that people shot. Anyway, I digress. We met you and your dad were having a chat and I think Justin or someone made a point about Canon know why? And you answered with a really insightful view on. On what we were discussing and that instantly impressed me. And. And we. We've chatted a few times over the festival. Your dad was with you at BE last year. Talk to me a little bit about the inspiration that your dad has been for your craft and the support that he gives you. [00:20:52] Speaker B: Where do I start? Support, mate, I can't thank. Honestly, I. I can't thank my parents enough for the support that they've been there. Every. Every time I say I. You know, I used to say, I want to give this up, they would go, nope, you. You have this talent. You've got to do it, you know? But Dad's really, like. He's. He's the driving force behind why I do a lot of this. He's the one that handed me his old 450D and said, Go nuts. You know, he's. He used to shoot. He shot, you know, before I could even understand what photography was. He used to do all the photo 5 comps at a little photography club near us. And there's one image. I talk about this every time. Of all these hundreds and thousands. It's a macro shot of all these hundreds and thousands on the kitchen counter. And we're talking. I can't for the life of me remember his name. But we were talking to one of the blokes at Canon and he used to do all the judging for the photo 5, and he actually remembers that exact photo, so. [00:22:00] Speaker A: Oh, wow. [00:22:01] Speaker B: Does for anyone. [00:22:03] Speaker A: Sorry, just quickly. Just some interpretation. Hundreds and thousands of sprinkles that you put on cakes, just in case anyone abroad has a different term for it. [00:22:12] Speaker B: Yeah, I forget. I forget that. That might be a regional thing. [00:22:15] Speaker C: Hang on. Are they the. Are they the round balls or are they the little. The round balls are hundreds and thousands. Right. The little longer ones. They're sprinkles. [00:22:26] Speaker B: Yeah, they're sprinkles. [00:22:27] Speaker A: Wow. Your baking knowledge is. [00:22:30] Speaker C: There's a differentiation there. That's quite important. I always. Yeah, I think that's. That's the key. Round balls, hundreds and thousandths. Right, so the ones. They're the ones that are on Smarties. [00:22:42] Speaker B: What? [00:22:42] Speaker C: Yes. What? No, not Smarties. [00:22:44] Speaker B: What are the other freckles? [00:22:47] Speaker C: That's it. Damn it. [00:22:48] Speaker B: Yeah. [00:22:48] Speaker A: Yeah. [00:22:49] Speaker C: And I really know my chocolates. Freckles. That's right. They're the little round balls on the top. [00:22:55] Speaker B: Yes. [00:22:56] Speaker C: Okay, so it was a macro shot. [00:22:57] Speaker B: Of those, and it was a macro. [00:23:00] Speaker C: Get the attention of the judges. [00:23:02] Speaker B: It was incredible. And. And I very, very clearly remember this shot. And I actually. I should. I should actually go recreate it one day. But that was. Yeah. So dad. Dad really got me into all of this and got me. As much as. Greg's not gonna like this. Got me. Got me all on the. On the Canon. So I've been. I've been shooting. [00:23:26] Speaker C: He's a good dude. [00:23:27] Speaker B: Canon since the start. And. Yeah, every. Everywhere. Like, he. He obviously brought me down the bfop, you know, the first time. So I went. First year for me was 24. Yeah. And he's like, oh, we're doing this photography festival. I went, oh. I said, you know, what's this gonna be like? We booked it. I wasn't excited. Oh, eight hours driving. And then we got there. I was like, holy, this is. This is incredible. [00:23:59] Speaker C: We did a camera party. [00:24:00] Speaker A: That was our first. Yeah, it is. That was our first year too. And that was our response. Holy. [00:24:05] Speaker B: It was. I. I wasn't expecting it. I. I think definitely got hooked within the first day. We did the. We did the big bus trip off Rip and it was just. I don't think I've ever fallen in love with a place faster. That entire alpine region is. It holds a very special place in my heart now. Especially after two years of BFOP and now having been back outside of Beef up, it's. It's like you feel at home sometimes. Like. Wow. [00:24:35] Speaker A: Yeah. [00:24:36] Speaker C: So that's very cool. I'm interested about the. In it. So. So the very first time your dad had spotted it, had he been before or he was taking a chance on the festival as well? [00:24:49] Speaker B: No. So we. We know the guys that run the av. They're. They're good friends of ours. Craig. Right. [00:24:57] Speaker C: Awesome. [00:24:58] Speaker B: Craig is a very good friend of ours. Shout out to Craig if you're watching. But yeah, Craig. Craig and my dad go pretty far back and that's how he got in. You know, he knew about it, got involved in it, all that good stuff. [00:25:15] Speaker C: Yeah. So he. So. So you had a bit of an idea of what to expect, but. But based on the branding of the. Of the festival or not the branding, whatever, like the content that was available. I'm just wondering whether, you know, as someone who is like 20. Are you looking at that and thinking. And then. And then thinking about, like, know we're seeing a lot of these creative festivals popping up that are. That have a lot slicker branding. They're like a big venue. The one I went to, the one in Sydney, the bit. What was it called? [00:25:45] Speaker A: Create the Creator Summit. [00:25:49] Speaker C: Not the Fujifilm one, the, I don't. [00:25:52] Speaker A: Know, one that Stoney put on, didn't they? [00:25:55] Speaker C: No, no, it was an all. A new initiative. All brands. I think it was one of those names where you remove the vowels, you know, so it's just the letters. I can't remember. Yeah. This one. Froomfest. Yeah. Thank you. I was like, I know I knew what I was thinking, but I couldn't quite get it out. So there's those sort of things popping up. Would that appeal to that style of thing, appeal to you more than something like BFOP when you're just looking at it from an outsider? No, no. [00:26:28] Speaker B: Before you went there, Even, even before, like. Okay, I'm, I'm not usually the type to go to these festivals and whatnot. I usually just. It's not something I don't really sit there and quite listen to. People just talk and talk and talk and talk. Unless you guys. It's. It's the, you know, BFOP is all about doing right. It's all about getting out there and actually shooting and learning and you know, being in amongst everything. All these, you know, the frame firsts and whatnot. It's not as much like it's, it's not as. [00:27:11] Speaker C: It's closer to a trade show. It's. It's a trade show with. They did have a lot of demonstrations there, but they weren't. Yeah, like, like people had their cameras out, but I've got a few photos of it and I. This isn't criticizing because it's a different thing. They weren't trying to put a, a b fob but there was, you know, there'd be 30 people crowded around a model or something, you know, holding their cameras up, just trying to get a photo kind of thing. It was more of like talk, interactive talks. I would probably explain it rather than like workshops where you head off and do something very sort of hands on and. Yeah, there might only be 15 people, 12 people and you get a lot of time with someone like Dennis or, or Adam or whoever. So yeah, it is, it's different. Okay, so you're not really an expo kind of person or. [00:28:05] Speaker B: No, I, I would take beef up or a beef up like event any day of the week over an expo or a show, you know, a trough media trade show or something like. Yeah, it's, it's cool and all to see the new gear and whatnot being shown off and. But seriously, like I do have to make a mention of this with bfop. The guys at Canon were so good. Like the, the gear hire is directly contributing to their revenue. I. Was they. [00:28:41] Speaker C: What did they loan you? What did they loan you and did you end up buying it? [00:28:46] Speaker B: Yes, I, I did end up buying it. But I have to preface this with my. I have an EF70,200 and now prior to November last year, that was my only. You Know that was my 70.202.8. Loved it. It's a series one. That lens is older than I am. That, that crazy. It was released in 2001 or 2002, so it is older than I am. Works. You know, without fail, it works. But it was starting to, to show its age with the RF bodies and everything. And at bfop, I rocked up to the Canon stand and I'm like, hey, do you guys have the new, like the very, very new RF 70 to 200? And they went, yeah. I went, can I loan it for a day? And they went, sure, take it. I went and shot up on top of Mount Hotham with it. I was blown away by this thing. It was leaps and bounds better than my 25 year old EF. So what, like five weeks later I went and bought it. [00:29:56] Speaker C: Yeah. So that's, it's the Zed. Like the, they call that the Zed version. The one that doesn't. Yeah, I've got, I've got the extendy one. [00:30:03] Speaker B: Yeah. So this is the. I, I, I've gotten into a really bad habit of just buying the USMZ lenses. Yeah. Because I also do a little bit of video. I say a little bit, a lot of bit. It's about 50, 50 at the moment. These, these lenses are just the best I, I don't think I could ever shoot with anything else. [00:30:27] Speaker C: Yeah. [00:30:27] Speaker A: Like obviously now you've become a Canon snob. [00:30:30] Speaker C: No, and a heavy lens snob. [00:30:32] Speaker B: I was gonna say the, the weight is really getting to me. Yes. This is a one point, I think 1.2 or 1.3 kilo lens. The 70 to two hundreds. Just a kilo. Yeah, it's a really light 70 to 200. But that's not to say I wouldn't shoot on like a pancake 22. They're fun lenses. Those are, those are some really fun lenses. So I'm not, I'm not against it, but I, I've really fallen in love with internally zoomed all in one lenses. [00:31:09] Speaker C: Yeah. It makes a lot of sense for video. And that's obviously why Canon had them on their roadmap. Like, it's, you know, they weren't for me because I don't need that stuff. And I do shoot video, but not, I, I don't even own a gimbal for my cameras. I just don't, I just, I don't know, I think my, I just don't tell my clients that. I just, I just don't, I just don't have one. [00:31:29] Speaker B: You're on the R5, I just. [00:31:31] Speaker C: Yeah, R5.2, and now the R6 mark three. [00:31:34] Speaker B: Oh, you got the three. [00:31:36] Speaker C: Yeah, and the R3 as well. But only two out of the three are staying. It's like they're having a showdown at the moment, a fight to the death, and one of them will have to leave the island soon. [00:31:50] Speaker B: The R3 can go it. [00:31:52] Speaker C: It probably will. Although I want to do a proper high ISO test, and I might actually make a video about it, because I think the high ISO to the. On the R3 is still superior to both of them. So for sports, I have to shoot sports pretty regularly in. In dim locations, natural light. So, like, 6400 is pretty common. 3200, really, really common. And colors and contrast seem to hold up a lot better. You can definitely make the others work in lightroom, but it's just like, there's more there with the R3. And I was. I'm looking at it, thinking, can I really let that go? It's so good. But, yeah, it's also. It's an expensive camera, and the R6 Mark III is a just a killer, do it all camera. That's on the cheaper side. Like, if I travel with it, as much as I'd rather have the resolution of the R5 Mark II, you know, it's like, I wouldn't. It'd still suck if I got it stolen or whatever. But, like, does everything good enough? Does video great? Does everything good enough? And it's on the cheaper side. [00:33:01] Speaker B: It's so. [00:33:01] Speaker C: It's like. It kind of makes sense. [00:33:03] Speaker B: Yeah. And that's. It's actually really funny that you've got the R3 and the R5, too, because those. Those are my two options. Right. I. Because I shoot a lot of sports. So I was like, oh, the R3 makes plenty of sense, you know, 30 FPS, but it's 24 megapixel. Okay. That's. You know, that's not terrible. By no means is that terrible, but when you're cropping in as far as I'm cropping, sometimes it's like, yeah, the 45 at 30 is really nice. [00:33:32] Speaker C: Yeah, I don't really crop on the R3. I. Because the sports that I shoot, I can position myself like I'm shooting mountain biking. So some. Sometimes the handlebars, like, graze me as the rider comes past. Yeah. I can position myself where I want to be. So that cropping, I mean, I almost never crop unless I've mucked the photo up. So that wasn't really a Problem for me. But it's. If you were sort of shooting motorsport and stuff where you may not have the ideal lens for that shot that you want to get in that moment because you're behind a barricade or a fence or whatever. Yeah, cropping would be super handy on the R5 Mark II. And the autofocus on that thing is. Is as close to the R3 as you can get. And in some respects better but in some respects not as good. But it's so close that if you didn't have the two cameras to compare it's not. It's a non issue. You could only notice having them side by side. [00:34:31] Speaker B: Well the only, the only thing, and I've said this to the guys at Canon. The only thing I don't like that I don't have on the R5 II is that little thumb like not quite joystick. Joystick is the best thing. [00:34:44] Speaker C: It's the best thing Canon have ever done. [00:34:46] Speaker B: It is one of the best features. [00:34:48] Speaker C: Yeah, it is one of the best features. I wish it was on every camera. Get rid of the joystick. If I would prefer the. The optical thumb. But yeah, the optical thumb back button, focus button which is only the R3. And now the R1 should be on every camera it's on. The R1 doesn't. [00:35:06] Speaker B: No, I know it's on the R1. One of the other ones has it like one of the like R7s or something has it, doesn't it? [00:35:14] Speaker C: Oh maybe I don't cross. [00:35:16] Speaker B: Yeah, I was gonna say one of the crop sensor ones I think has it. [00:35:18] Speaker A: Someone might have another can snob. [00:35:22] Speaker C: It's. They're crops. They're Canon crop sensors. So it's not a Canon thing. It's a two pixels. I don't know. I was just. But yeah, so there may be. There is one. But I. If I did bet, I would bet. No, but maybe. But definitely R3 and R1. And anyway they haven't put it on the R5 Mark II. They should have pleased. That would have just been amazing to include that. But obviously they wanted to share so much of the body of the R5.2 and the R6 3. Maybe then that was going to be an issue. But yeah, that optical thing. When, when, when. When Petapixel wrote an article about why don't cameras have touch sensitive. Like this was only in the last few months or something they wrote this big article saying why don't cameras have touch sensitive pads on the back of them? Like because the original Canon R had this weird Touch slider that they got rid of because no one really liked it. It was. You could use, you know, it was like a sideways slider thing. [00:36:20] Speaker B: Yes, Yes. I hated that. Yeah. [00:36:23] Speaker C: No one liked it. And so they referenced that and they were like, here, See, it kind of got tried, but we think it could be done better. And I was like, it has been done better. Canon did it in the R3, in the R1. And it's amazing. It's just wherever you move your thumb in an instant, the focus point is there. [00:36:41] Speaker B: It's so good. [00:36:42] Speaker A: Yeah. [00:36:42] Speaker B: The other one. Yeah. [00:36:46] Speaker C: I gotta tell you something, Matthew, I gotta tell you something. Do you use eye autofocus tracking? [00:36:50] Speaker B: I was about. I was about to say. I was about to start talking about. I ordered. [00:36:54] Speaker A: I'll come back in about half an hour. All right. [00:36:57] Speaker C: Wait till you see this. [00:37:01] Speaker A: We've created a nerd fest. Sorry, folks. [00:37:06] Speaker C: So for those of you non Canon users, we're not talking about eye tracking of the subject. I assume that's not what you. That's not what I'm talking about. Talking about where it tracks your. Where your pupil's looking and puts the autofocus point there. Which I don't use a lot, but it does work really quite well. I prefer that thumb thingy. Cause I like to just have independent control. Cause sometimes I find I'm scanning the frame around the outside when I don't want it to focus there. But it's not a big issue. This. I borrowed this off my friend Lisa because she's currently got my Leica Q3. This is a Canon EOS 3 film camera. Yeah, this is the other Canon camera that had eye autofocus tracking. [00:37:48] Speaker A: Oh, wow. What? [00:37:50] Speaker C: Yeah, this is the first one. [00:37:53] Speaker B: That is really cool. [00:37:54] Speaker C: Yeah. [00:37:55] Speaker B: How old is it? [00:37:56] Speaker A: How. [00:37:58] Speaker C: 90. Hang on. Why doesn't it tell me straight away? I should have point went release date. Come on, Google AI. [00:38:11] Speaker A: Just while you're doing that, I'm just going to jump to a comment from Paul because it mentions Fujifilm. Greg. Makes you feel better. I clicked on an XE5 video the other day and now my YouTube feed is nothing but Fuji. Welcome, welcome, welcome to the Enlightenment. That is Fujifilm. Anyway. [00:38:31] Speaker C: Hold on. I have an idea. So I'm using it at the moment and yeah, I can look at me and it's focusing on me. I can look at Matthew. It moves it over there. It's like it's not quite as good, but it's moving it around. Now this is black and white. We'll do it anyway. Hey, smile Guys. [00:38:48] Speaker B: Cool. [00:38:50] Speaker C: Yeah, it's. [00:38:51] Speaker B: I forgot blink. [00:38:53] Speaker C: I'll do it again. It was so good to. Yeah. To just see this tech in so. 1998. Did I tell you that? November 1998 this thing come out. Canon EOS3. And yeah, it works. [00:39:09] Speaker B: It's. [00:39:10] Speaker C: I'm so surprised that they didn't revisit it until recently. R3. It's. It seems kind of crazy because it did work. I don't know, I wonder what the, what the problem was. It's even got like a manual like calibration knob up here and stuff. It's hard. Oh yeah, that's really cool to track. To do the eye tracking and stuff and calibrate it. Yes. It's old school anyways. [00:39:37] Speaker B: I, I use it mainly in motorsport because it's really easy to just flick your eyes back and forth to follow the cars and it's each different car. [00:39:45] Speaker C: As it enters the frame. Yeah, that makes sense. [00:39:48] Speaker B: It's way quicker especially for. I find for panning. It's really, really good for panning. You got to calibrate it though. You really have to calibrate. I can't stress that enough. You have to calibrate it because it will not work. You don't calibrate it. [00:40:01] Speaker C: Yeah, yeah. And I, I think there's been some people on the Internet say that it just didn't work for their eyes even after calibrations. There's some people's who, the way I guess the way their eyes work or the way that their, the light reflects or something, it just doesn't track it properly. So it's one of those things that you'd want to. If you were buying a camera for that feature. You definitely want to test it out beforehand in a store and calibrate it and make sure it works for you big time. Yep. [00:40:28] Speaker A: Pretty cool feature though. [00:40:30] Speaker B: Yeah, very cool feature. [00:40:31] Speaker A: I hope it stays very interesting. [00:40:33] Speaker C: Yeah, I think so. And I think, I hope like Petapixel said, I hope more camera brands play with inter like touch sensitive interactive buttons rather than just buttons and dials or hey, just use the touchscreen because I hate using the touchscreen on the, on the camera and I think that's what. [00:40:49] Speaker A: A lot of brands have leaned into. Oh, the touchscreen. You like Fujifilm do it. You can select your focus point, you can slide your finger around or your thumb while you're holding it, but it's not, it's not responsive enough. [00:41:00] Speaker C: It's not tactile. It doesn't. Yeah. [00:41:03] Speaker A: Because at the end of the day the, the touch function is a secondary function for it. You know, it's, it's primary purpose is to be a monitor. But I mean we've got the technology you see in like Apple MacBooks or laptops that have a trackpad rather than a, you know, traditional mouse kind of setup. That technology exists today. [00:41:20] Speaker B: And you're right. [00:41:21] Speaker A: I think more brands should lean into that. [00:41:24] Speaker C: I love having David Leporati in the chat. Okay. Because I didn't know any of this. The Canon EOS 5e50e film cameras had eye tracking autofocus. EOS 5 had 5 points across the frame and the 50e had 3 points across the frame. Yeah. Whereas this has, this was the next gen autofocus that I think has like 40 auto. 40 something. 30 or 40 autofocus points. So it's 45. So it's more like the earlier DSLRs where you've got that like cluster of points. [00:41:54] Speaker A: Yeah. [00:41:54] Speaker C: You know, around. Whereas so my 1N, which is here only has, yeah. 5 across straight line through the middle and that's all you can select. And it doesn't have eye autofocus or anything. Yeah, thanks, David. I thought the three was the only one. So that's. They must have all come out in the same year or like. Sorry, same, like series or whatever. And then they just ditched it. [00:42:24] Speaker B: Okay, there's a question in there from, from Dennis that I'm looking at. [00:42:29] Speaker C: All right, I'll read it out. Yeah, I was gonna say question for Matthew from Dennis. Is open gate a clickbait debate or as a 21 year old whippersnapper, do you wake up wet thinking about having it? [00:42:45] Speaker B: Nah, I read the full question before. [00:42:47] Speaker C: I read it out loud. So what's your take? What's your take on open gate? [00:42:56] Speaker B: I, I do not care if a camera's open gate or not. It makes no difference to me ever. You know, it's, it's pitched as this, you know. Oh, you can film in one orientation and get both out. I don't care. Like if I'm shooting something right, I'm, I'm shooting it with intent. I'm shooting with the intent to either be, you know, vertically or horizontally displayed. Like if I'm shooting, let's say a bike video for Instagram, I'm gonna just shoot it vertical. I'm not shooting landscape and using open gate to make it vertical. It's not, I do think it is just clickbaity. Like, oh look, we've, we've got open gate. I don't know, Justin. If you've, you've used it much on the R63. Yeah. [00:43:42] Speaker C: Now it's not. I, I'm, I come on down on the other side of this than Dennis a little bit because I can definitely see its applications. You know, if you're shooting a bike, if you're shooting a bike review in two hours or three hours on out on location hybrid photo and video, and they want to be able to make social media reels for it. And you've got a rider riding a bike up and down a hill trying to get shots. Currently, we're already doing multiple takes to get multiple angles and stills and video each time. And so, like, you're gonna burn them out fairly quickly if you have to be like, okay, now I'm gonna do a vertical. But that being said, for me, for what we do, and this is what other people have said, I would just frame it up so that you could crop the vertical out of 4K footage. It's fine for, for what is required for my job. I don't need open gate. But if someone, I could imagine someone being more professional saying, I can't just crop the vertical out of 4K, I need, I don't know, whatever, slightly better footage or something. That's not something. Yeah, that's not something. I, you know, that's. I'm not going to say they don't need that, but I personally don't really need that. I would just frame it up so that the vertical would. Because again, a bike ride isn't easy. Probably a little bit harder with a car. Because a car takes up that horizontal space. [00:45:07] Speaker B: Exactly. [00:45:08] Speaker C: So you base. You sort of don't have a lot of options. And maybe open gate could be a little bit handy, but it's probably still not going to be great because it's still not wide enough. Like, sorry, it's not like enough. Don't know. [00:45:20] Speaker B: Well, it's an interesting topic. That's kind of where I sit on it is, you know, as I said, if I'm going to shoot it, I'm going to decide what I want it to be before I shoot it. And the other thing is really people, it really gets this easy if you shoot it in landscape and post it to Instagram, just, just rotate it, make people rotate their phones. Because it does two things. One, it. You get, you know, that whole area to use. But two, it makes people, if someone's really interested, they'll rotate their phone and you get that attention, that attention, that watch time because someone's going through the effort to actually go. Or, you know, the barrier, the barrier. [00:46:03] Speaker C: To them swiping to the next video is slightly higher when they've already rotated their phone. I'll give you that one. That's it. That's a, that's a good social media tip, I think, for people. Yeah, have a, have a play with shooting, with posting some native horizontal content to rotate their phone. [00:46:19] Speaker B: Yeah, I've got, I've got plenty of friends who do that. That's the, that's their whole thing is they will only shoot in, in landscape and they'll just, they'll make people rotate the phone and the content looks beautiful. It looks better, in my opinion. [00:46:33] Speaker A: Yeah, Just that little bit more detail when it's, when it's horizontal. And I like the way that they'll go, be ready to rotate or tilt your screen. Countdown. It's like by the time you actually see what they're trying to show you, you're already 10 seconds in, you've already committed, you've already, they've already been engaged. That's a stat, you know. Plus, I'll. [00:46:53] Speaker C: I'll die on this hill. There's no context in vertical. How long is it going to be before we see a vertical cinema? Never. Yeah, because it's a terrible way to view perspective of a scene. You can't, you know, when you're watching like a news thing that was shot on a phone and you're like, I can't tell what's happening because you don't know who's over there and who's over there. [00:47:13] Speaker B: Exactly. [00:47:15] Speaker C: Whereas if it was from a, like a journalist that shot it horizontally, you can see the scene and you can move it anyway. I. Yeah, but no, the phones are what we've got and we gotta play the game. [00:47:26] Speaker B: I'll die on that hill with you. I, I'm 100 horizontal. Just. I like even having moved through my career between shooting, you know, commercial work to doing almost, you know, my own social media, other people's social media. I really hate vertical. As much as everyone's like, oh, but it's, but it's, you know, it's for social media. [00:47:50] Speaker A: Yeah, I don't care. [00:47:52] Speaker B: I'm doing it for me. I'm not doing it for someone else. [00:47:55] Speaker A: That's right. But you know what else is interesting? You know, we, we see movie trailers come out on social media a lot now. You know, depending on what channels you're following and they don't do the rotate and watch the full screen of the trailer. They, they go vertical and they cut out so much of the context of what you're trying to watch. [00:48:10] Speaker B: Oh yeah. [00:48:11] Speaker A: I don't understand that mentality about like, maybe it's enough to sort of for you to click on the link and go to a YouTube video or whatever it may be, but it just feels, it feels misplaced having cinematic video trailers. Cinematic movie trailers, sorry. Where you've got to try and work out what's going on. There's compromises to that. It is interesting that the open gate debate, you know, when I used to review products for review cameras and lenses, we'd often get a media release in the lead up to the launch and it was all under NDA and stuff and things like open gate would be bolded in the text because they're buzzwords that people think they're getting more value as soon as you say open gate. It sounds technical, it's slick. But it also makes you feel like you've got something more important than something that doesn't have open gate. A lot of people won't even understand what open gate means, but it's just because they put that buzzword in there and it's in all of their marketing. People think that it's, you know, it's compelling new feature, which it is, it is a new feature, but it's not for everyone. It's only for like, you know, the 5% of the, of the hundred that require. [00:49:19] Speaker C: I wonder whether I want. I'd love to ask, I don't know if we not love to ask Chris Benny because it's, it's people like Chris Benny, automotive photographer and videographer, that I would imagine that open gate on these smaller cameras gives them a lot of flexibility. Like he's using cameras mounted on rigs, they're doing chase footage of Red Bull stunt planes and stuff like that. Like that's an application where I could imagine having Open Gate might be very, very useful in high end professional action sports video. But he also might say, nah, we don't use it. I don't, I have no idea. I should ask him. Maybe I'll send him an email, see what, see what he says. [00:50:05] Speaker B: That that would be, that would be interesting because you know, the other thing is I, I start a lot of my video on a Blackmagic 6K, right. With 6K, you have so much room to, to crop and still have it look good. Okay. It really, you know, I never really thought about it. And even now on the R5, I'm back to shooting pretty much exclusively 4k. I haven't touched the 8k raw on it yet. As much as I really want to, it's just overkill. It's so overkill. 1.1.8 gigabytes per second or something. It's it's just like. Yeah, it's stupid. [00:50:42] Speaker C: It is. [00:50:42] Speaker B: It is a stupid amount of data. So I haven't touched that yet. But I've never. You know, worst case, you. If you do want to vertically align horizontal footage, you. You put it in and then you. You put a background and blur the background and just have the video go in the middle one. [00:51:00] Speaker C: Yeah. Oh, Greg, you're muted. Hang on, I got you. No, I don't. You might have to unmute your mic. There we go. [00:51:07] Speaker A: Sorry, had to cough. [00:51:11] Speaker C: All right, quickly. This is a comment from Woob says, hi, Matt Lowell. [00:51:17] Speaker B: Hey, mate. That's what. That's one of the guys that comes out to all the bike events that I go to. [00:51:24] Speaker C: Okay. [00:51:24] Speaker A: Ah, cool. [00:51:25] Speaker B: That's. [00:51:25] Speaker C: That's. [00:51:26] Speaker B: That's one of my followers. [00:51:27] Speaker A: That's. [00:51:27] Speaker B: You guys probably have a new one. You better, you better, you better go subscribe, mate. [00:51:32] Speaker C: Yeah, please do. We do. [00:51:34] Speaker A: Give us a. Like, give us a. Subscribe. Tell your friends. [00:51:37] Speaker C: Oh, hey, while we're doing, let's do a little ad for the podcast. We have a guest coming on next week that I'm very excited about. Peter Coulson, indeed. Australian fashion, beauty and portrait photographer. But massive, massive body of work. Hugely regarded, award winning, massive YouTube channel with everything you could ever want to learn about, particularly black and white beauty, fashion, studio work, master of lighting, master of working with models. Very, very excited. So, yeah, if you are new to the channel, we do an interview every Thursday like this one next week. Peter Coulson. So stay tuned for that. Hit the Notify Bell thing and you'll know when we go live. [00:52:31] Speaker B: Yeah, anyway, definitely tune into that one. [00:52:34] Speaker C: Definitely worth a look. Back to the show. Back to the show. Should we talk about, like, what you do now and what and what? So what you do now and then eventually I want to get to, like what, what you're trying to do, what you're trying to build. But like, what. What's your work look like now? Yeah, paint us a picture. [00:52:56] Speaker B: The best. The best way to. The best way to do it. Which. Which side do you want? Do you want the boring side? You want the fun side? [00:53:02] Speaker C: Everything. Everything. Like what makes you money? What. What do you have to do that you don't love, but you do it because it's either you're learning something or that you're making money or Whatever. What do you love that doesn't pay you anything, but you wish it did. Tell us everything. [00:53:15] Speaker B: Okay, so we'll. We'll start with the boring one first. Is what makes me money. That's. That's corporate. So we're talking training, videos, backend communications, all the really, really, like, want to fall asleep recording type things. They're. They're fun. They are fun, but they're fun to set up. They're, you know, to set your lighting up, to get, you know, you're in. I can't say. I can't say heaps about some of these, but you're in these big buildings in the city overlooking the harbor. So you want to get, you know, the harbor in the windows, in the back. And, you know, it's. It's interesting talking with CEOs and stuff like that of these big businesses, but it really is just getting two people to sit and talk to each other in a chair. [00:54:00] Speaker C: It's. [00:54:00] Speaker B: It's not overly interesting to actually record and edit and whatnot, but it's interesting that set up and, you know, be there and do. So that's. That's a lot of the money. It's good money. It's just very difficult work to not only find but to continue and to be able to accommodate for, because sometimes they want two camera setups or three camera setups, and they want certain lighting conditions and they want, you know, very certain things that you either need to buy some really expensive gear for or you, you know, really have to know how to do and you get to work in some really odd conditions. I've worked in, what's it called, like, warehouses and stuff, and they're. Warehouses are a very interesting location to shoot at because there is so much going on there. There's so much going on, and you really have to be on top of your takes because, oh, no, someone with a forklift is just smacked into a pallet. There goes your, like, there goes that bit of the take. So it's. Yeah, it's. It's a very, as I said, fun. Fun to set up and be ready for. Very, you know, boring to shoot type of thing. [00:55:22] Speaker C: I'll just. I'll just interject there before you go on to the next thing, a little pro tip from Dennis. Approach these boring corporate shoots like it is the most important job you have ever shot. Light, audio. Treat it like art. [00:55:37] Speaker B: So, yeah, I wish you that, Dennis. [00:55:40] Speaker C: It is. [00:55:40] Speaker B: Every. Every one of these jobs always does feel like the most important thing I've ever done, because partially the caliber of people you're working with, it's like, wow, these people are really, you know, top of the food chain people. And it's like, I, I really have to be nailing this whole thing. So, yeah, there's that. And then kind of on a lower level from all that, I do work for local councils, businesses, stuff like that. That's a lot more fun. You get a little bit more freedom. But it's a little bit higher stress, lower budget, not terrible. Like you won't, you won't hear me complaining about it. But you know, the. They'll want various. You know, some clients will want very certain things out of the content that they get. And some do not care. Some. Some just go, we want this captured. You can do whatever you want with it. Some go, you know, we want eight revisions on this. And it's like, okay, great, have fun. But I think corporate events are some of the most fun things to shoot in this little bubble. I love my corporate events, whether it be dinners or meetings or. We did one up in the Hunter Valley once. I love, I love this. This is my favorite job, I think, ever. [00:57:05] Speaker C: We. [00:57:05] Speaker B: It was three days at the Ridges Resort in the Hunter Valley and we basically got to run around with this company and it was their end, like one of their end of year celebration things. And they had two teams of the company. I got, I got stuck with the really fun side of things where they were, you know, playing all these games and they had technology that the company produced and they were able to test it out and all this other stuff. And then end of the weekend, the most important bit, this was like stress that we really had to, you know, cover. This was a treasure hunt around the entire Ridges facility. And there are all these activities and it was just, it was like, you know, you're sitting there going, I wish all jobs were like this. This is, you know, so much fun. You know, there was face painting, like you had to paint a flag on one. One of the group's members faces and all this other stuff. And it was, you know, the. There's really that type of work in, in corporate and then there's that really boring work as well. So yeah, it's. It's good. But that's. Yeah, that's the. Oh yeah. [00:58:19] Speaker C: I was just going to ask on the, on the corporate stuff, like how are you getting this work? Is this, was this the stuff that you. Is coming through like you're working as kind of a subcontractor or something for someone else? Or is some, is some of this coming through your business? [00:58:31] Speaker B: Bit of both. So primarily subcontracting, I have some very good friends who will bring me in for second camera or whatever. They'll bring me in for that. Some of it is through my own business. Not as much as I'd like, but some. But yeah, that's. That's the other big thing. I. I forgot to say it before. When we're talking about talking to people, other photographers and videographers are your best friends. They will give you more work than going out and finding clients will. Definitely, that's. That's one of the biggest takeaways I've had in the past few years, is make friends with as many photographers as possible because someone's going to have a sick day and someone's going to need someone to cover and if they know that, you know, you do good work, you're reliable and you're a good person, you're more than likely going to get. Hey, can you, can you cover this for me? So, yeah, it's. Yeah. And it's also good in, in this corporate stuff to be working next to other, other people because you're not entirely one man banding it always. So it's a little less stressful when you've got someone else there to crack jokes with and help carry equipment and all this other stuff. So there's, there's definitely that side to it. But moving on to what was the next one? Things, things that I wish. [00:59:54] Speaker A: What was the other half? [00:59:55] Speaker C: Yeah. [00:59:56] Speaker A: Yes, you talked about. [00:59:59] Speaker C: Yeah, what else? [01:00:00] Speaker B: So the other half of the fun stuff, the other half is the cars, the bikes, the. The action, the landscape, stuff like that. That's me, right? That's. That's a very me part of my work. I've loved cars since I was like two. There's. There's photos I've got with hot rod shirts on and, you know, I had the biggest Hot Wheel collection as kids, so I've been obsessed with cars. [01:00:28] Speaker A: Yeah. [01:00:28] Speaker B: And so it's starting on, starting in the career. I went out and I just started taking photos for a performance shop down the road from my house. And from there I really started getting into it and I started going to drift events and my mate's Dr. My mate has a drag race car, so went to the drag strip with him, started shooting there and it kind of just kept snowballing. I started taking on individual clients to shoot their cars and then I got into the drifting, I got into the racing and that led to one of the best things ever, which was committing to shooting Bathurst. So I shoot the Bathurst 12 hour and the Bathus 6 hour. I would like to do a bit more this year, but that's, that's for later. But I. Annually I'll go up there and I'll shoot those two races and it's some of the most fun. It's, it's so full on. I'll come out of a average, average bath this weekend. I'll come out of about 8,000 photos of a two to three days. But it, the whole time, you can't wipe the smile off my face the entire time. So I, I do that paid or not. You know, that's, that's one of those things that I do it because I love it and I do it because I absolutely love cars. That's, that's, that's a, that's a pretty, pretty easy one to be shooting and enjoying. I've recently picked up bikes, like sport bikes and stuff, and I've made a lot of friends through doing so and it has been. It's a very interesting shift from cars because in cars, you know, you're shooting a car, it's, it's there. You know, you get a good landscape behind it. You, you frame it up nice. You make it look good kind of about it. You know, most, most car owners don't want to model with their car. Most car owners don't really. They're not in their car doing something while you're taking photos with the bikes. It's, it's a, it's an interesting mix between I'd almost say portrait photography and that car photography where, yes, you're shooting the bike, but you're also shooting the person on the bike. And that's been a really steep learning curve for me is learning how to shoot people in that, in that portrait sort of setting. You know, it's not a corporate headshot anymore. It's. It's trying to make it interesting, trying to make it fun, trying to show off the person and their machine. And it just, it's been a really, really fun endeavor recently to be shooting that. And it's. I wouldn't necessarily say one of those things I wish I got paid more for, but it's one of those things that I wish I never ran out of work for. Yeah. Because I found that with the cars, I. If you take a. Scroll back to my Instagram, I haven't shot a car in a good amount of time, like eight or so months until recently. [01:03:26] Speaker C: I know. I haven't noticed there was a, a shift on the, on the Instagram from basically cars to bikes. That was fairly. Yeah, shift. [01:03:39] Speaker B: It's a whole. There's a whole can of worms to open about the, the car scene and media in the car scene. But I just don't, I don't get people interacting with the content as much from, from cars on a, like a social media numbers side. My car posts were averaging, you know, 50 to 80 likes and then the interaction, which is really what I cared about, maybe get like 2,3000 people that see it and view it and whatnot. And I was getting about 80% of my own audience seeing it with the bikes. The bikes is a complete flip from that. My average is, you know, triple digit likes, comments, reposts, and then my audience scores are ridiculous. They're. They're 8,000 plus on most posts and it's mostly a new audience that's seeing them and people just. People love to interact in that scene. Whereas cars, it's. People kind of keep to themselves. Unless you're popular, people just kind of keep to themselves. But with bikes, you can be anyone and anyone's gonna talk and comment and, you know, enjoy that content. So the, the shift in community really helps with the shift with the media. Like, you'll also find a lot of the, the guys with bikes will have nice cars to shoot as well. So keep an eye out for some of that coming this year. But yeah, and then the last one, which is stuff I don't get paid for, this is the true. I just want to do it because I love it is all my landscapes, my action stuff, you know, shooting the skateboarding and things like that. That's always been very me. I used to mountain bike a lot, did a few competitions and it was always. I always loved the, the action sports stuff. And I just go out and I, I go, yep, I'm gonna go to this skate park or I'm gonna go to this beach and I'm gonna shoot the surfing. I'm gonna shoot skateboarding. I'm gonna shoot just for fun, just to see what I can do just for fun. And it's always a good time. I don't think I've ever been miserable shooting, shooting action sports before and landscapes because that's, that's like at the root of where I started with photography was landscapes and macro and yeah, pretty much flower photos. I started shooting just flowers and trees and landscapes and it blew up from there. So landscapes have always. I. I'm by no means an amazing landscape photographer. Yeah, it's so hard. [01:06:27] Speaker C: It's so. [01:06:31] Speaker B: I look at the shots. So I'll. I'll get into the story after the next little bit, but I look at my shots from earlier this month and I go, what. What am I doing wrong? Like, why is this so boring? [01:06:45] Speaker C: You know, they're wizards. The people that do that, make those things that we see and we're like, oh, it's beautiful. It's. They. The work that goes into it. Yeah, that's. Yeah. And I'm sure yours are. I'm not trying to. I'm just saying mine are terror. Mine. And they're just photos. And then you see someone's landscape. That's a great photography. Like, wow, that's next level. [01:07:08] Speaker B: What am I doing wrong? You know what I'm probably doing wrong? I'm probably using zoom lenses. That's probably what I'm doing wrong. [01:07:14] Speaker C: You can make. You can make some. Kill it. [01:07:15] Speaker B: No. Yeah. [01:07:16] Speaker C: I don't know. [01:07:17] Speaker B: It's gonna hold you back. No, it's not. But I don't know what it is. I. I get the settings right. I listen to all the guys at BFOP and they still look like trash. [01:07:28] Speaker C: Wow. I mean, they're the people that beat. They've probably been doing it for longer. [01:07:33] Speaker B: Than I've been alive, some of them. [01:07:35] Speaker C: Yeah. So there is that. I want a couple of quick comments before we. Before we move on. Firstly, LTK photo, who shoots a lot of drift and cars and stuff like that, says this is great lot. Lots of useful information. So that's awesome. Thanks. Ltk. Get on those motorbikes. Go and go. And start building your social profile by getting into it. [01:07:56] Speaker B: Come shoot. Come shoot. Motorbikes. [01:07:58] Speaker C: I think LTKs. In what country? Can't remember. I don't think it's Australia. [01:08:05] Speaker B: Although I'll come shoot motorbikes. Give me a bed to stay in and I'll come shoot motorbikes with you. [01:08:11] Speaker A: Well, there's a comment here from Dennis about to collaborating. Engage Sydney light painting portrait session. Fueling up the helicopter. [01:08:22] Speaker C: Oh, I said I couldn't understand what that meant. I get it now. As in he's fueling up his helicopter to cover Sydney to do light painting. Bike portraits, I guess. [01:08:29] Speaker A: Imagine. [01:08:30] Speaker C: Yeah. [01:08:33] Speaker B: You'D love some of the stuff. I. I did. I actually didn't post the photos, which I should have. We did the good old steel wool with the. With a motorbike. I did some video. I did a video of it, but I got a few photos that I didn't post. You would? Yeah, it's. It's a little far back in my Reels, but it's a red Yamaha R1 and we, we got the steel wool and we're flinging it around and. Yeah, it looked, it looked beautiful. Yeah. [01:09:06] Speaker C: I think lean into that a little bit. Definitely that sort of light painting and stuff like that. It's. [01:09:13] Speaker B: It's different and that's. Oh yeah. [01:09:16] Speaker C: Oh, North Carolina in the US this past weekend I went down to Florida and shot the Daytona Rolex 24 hour race. [01:09:23] Speaker B: I'm jealous. I'm very jealous. Could you like, can you like smuggle me in next time, please? I would actually. [01:09:32] Speaker C: Yeah. We want to see some photos from that LTK on, on the Monday show when they're ready. [01:09:37] Speaker B: I'd do anything to shoot a 24 hour of anything. That's. Yeah, that, that's one of the big ones. I want to do a 24 hour race and shoot a 24 hour race. That's 12. 12's fun and all, but night racing is a whole different animal. [01:09:53] Speaker C: Yeah, it just has so much opportunity for just epic imagery, doesn't it? Like the. I've seen Andrew Hall's stuff because he does the 24 hours. He. His. Those shots, Craig, when it's just like the early morning, like sunrise and the lights are still on and the exhaust is like glowing or the brakes are glowing. You know, it's just the lighting conditions are so good. Yeah, Hang on, hang on. Just quickly, just quickly, just quickly. Are you doing a wedding? Heck yeah. [01:10:25] Speaker B: Yes. [01:10:26] Speaker C: This guy's doing my wedding. [01:10:28] Speaker B: Yes. So that's. That is a friend of mine whose wedding I'm doing next year. September. Or she can kill me. September 9th I think is the day. Hopefully, hopefully it's, it's in, it's in messages somewhere. [01:10:42] Speaker C: Step. But yeah, step one, put that in every calendar you have and put a thousand alerts on it. [01:10:48] Speaker B: It's in my calendar. The actual days in my calendar. I just, I don't have the phone within arm's reach. Good, good, good. So, yeah, I, I am, yeah, I'm branching out in the shooting weddings. I've already, already shoot a few proposals so it's. Copy that. Odd. [01:11:07] Speaker A: It was the fourth. [01:11:10] Speaker B: Okay. It's in there. It is in there. [01:11:14] Speaker C: Can't be that hard. Oh dear. No, no, you'll be fine. You've got the skills to do it. Are you shooting video or photos? Hybrid. [01:11:24] Speaker B: Hybrid. So it's going to be both. I do plan, I do plan to do a few prior to this, prior to taking one on solo. So I'm not going to be, you know, unpracticed and whatnot. Yeah. And if, if some of the proposal work I've got is anything to go by, I should be, should be pretty. [01:11:43] Speaker C: All right, well if you want any tips in the lead up to it, don't hesitate to reach out to me or Jimbo. I've done plenty. [01:11:50] Speaker B: I was gonna say Greg and I were talking about that the other day. [01:11:54] Speaker A: How many, how many weddings do you think you guys shot over the, the time you're working together? Justin? [01:11:59] Speaker C: I don't, I don't remember. Not a million. Because we did. We weren't like high volume. We were probably doing. I don't know, we're probably doing 35 each per year. Wow. But some of those by each like. Sorry, that's confusing way to say it. I might shoot 35 and Jim shoots 35, but some of those, we were doing the same one together as a large two photographer wedding. Some of them were us like most of them were us separately for, for most of the time. So. Yeah, I, I'm not sure. Plenty enough. A lot we did. [01:12:40] Speaker B: We did enough. [01:12:42] Speaker C: My, my, my short term tips would be. My, my main tip would be if you're, if this is your first real sort of full wedding and it's just you, you, you will need to pick what your priority is. Is it photos or video? And I know you're going to do hybrid, pick one. That if all else fails, this is what I'm doing. The. And if it's say like hey, I'm going to shoot photos and I'll get some extra clips to put a highlight reel together or I'm gonna video the ceremony and everything, audio miked up, blah blah, blah. And I'll get some extra photos. But, but that, that would be my advice because it, once things start rolling it's like there's no time to, to like do much. So, so as long as you know in your mind you like and, and, and your friend knows and I'm sure they'll, they'll be happy to work with you on whatever the priority is. Yeah, yeah. Just, just pick one and have the other one as more of the. That's the bonus, that's the extra that I can offer because I've got the skills to do both. But this one's my core focus on your day. [01:13:45] Speaker B: Exactly. Yeah. That is, yeah, that's, that's definitely something we've got to chat about soon. [01:13:51] Speaker C: Is it something you're. Is this sort of like a test to see whether it's something you'd want to do more Of. [01:13:55] Speaker B: Yeah, yeah, it is. It actually really is. Look, I. I already enjoy. You know, it's probably the start of the slippery slope, but I really enjoy proposal shooting. It's been a lot of fun. [01:14:07] Speaker C: And you enjoy. You enjoy corporate events. You know that corporate event you were talking about? That's basically what a wedding is essentially like. Like, it's kind of the same, but they're just not. They don't work together, but other than that. [01:14:18] Speaker B: Exactly. [01:14:18] Speaker C: It's like fun drinking, like. Same, same, same. [01:14:24] Speaker B: Yeah. And, you know, I'm now fully. Fully equipped with. With this. This bad boy now. [01:14:32] Speaker C: Ah, yes. [01:14:33] Speaker B: I. I mentioned this before. Before we went live. I picked up a flash recently, and this has been on my. This been on my hit list for a while. This is the 600EXRT. [01:14:45] Speaker C: I know it well. I know well. I had multiple of those. [01:14:49] Speaker B: Yeah. Can you guess? We'll play a game here. Can you guys guess how much I paid for this? [01:14:57] Speaker C: Oh. [01:15:03] Speaker A: What do you think, Jay? [01:15:06] Speaker B: Wow. [01:15:06] Speaker C: I think because he's asking us, there's a trick here somewhere. I'm gonna say. I'm gonna go low. I'm gonna say $150. [01:15:16] Speaker B: Craig, Greg, any guesses? [01:15:19] Speaker A: 72. Dennis says 1995 plus tax. [01:15:26] Speaker B: Close. $0. So $0. [01:15:30] Speaker C: What? What? What? [01:15:31] Speaker B: Marketplace. Marketplace. Fine. [01:15:34] Speaker C: Now I have the same brand as your hat. [01:15:36] Speaker A: It is. It's monster. [01:15:37] Speaker B: Yeah, yeah, yeah, yeah. [01:15:38] Speaker C: Everything that's. [01:15:39] Speaker B: That's my. Because I work with other photographers and videographers. You all got to mark your gear with something. And mine's all monster stickers. That's. That's how I do everything. I've got one in the back of my camera as well. Really? Yeah. [01:15:54] Speaker C: So you just. So you just had enough of those stickers that you were like, this will be the best way to. To do it. [01:16:00] Speaker B: Pretty much every one of my V lock batteries, all of it. All of it has monster stickers. My hard case. You can't quite has it. [01:16:10] Speaker C: Yeah. [01:16:10] Speaker B: As well. Yeah, yeah. [01:16:11] Speaker A: Oh, yeah. [01:16:12] Speaker B: Yep. My fingers. There it is. So, yeah, no, that's. That's kind of like my little signature thing. Anyway, so. Found this on Marketplace. [01:16:21] Speaker C: He. [01:16:21] Speaker B: He wanted 50 for it on Marketplace. I went, oh, sweet. I'll grab it for 50. That's. That's stupid cheap for what this is. And I get to leaving my job, like the job I was doing to go pick this up. And he messages me. He goes, hey, mate, I just put batteries in it and it's not turning on. I went, oh, I'm. I'm buying a dud here. So yeah, gotten to his place, I bought batteries on the way and we put these in, you know, lithium batteries, you know, the best of the best and nothing happens. You turn it on. Well, now it turns on, but it, it turn on. It didn't turn on. And so he went, well, you can kind of just have it. If it's not going to turn on and it's a dud, you can kind of just have it for free. And I went, okay, I'll take that, I'll take that. You know, I paid 18 bucks in batteries. It's, you know, not terrible. I get it home, I slot the batteries back in and I just go bang. Whole thing boots to life and it works beautifully. So I, I can't, I can't complain on my, my free flash. [01:17:43] Speaker C: And, and, and okay. You know, the only thing I would do is put the batteries in and out like 10 times, turn it off and on like 10 or 20 times, make sure it, make sure it's not going to let you down on a shoot and then do a happy dance because that is awesome. [01:17:58] Speaker B: Yep. I've cleaned it, I've tested it with these batteries different, like other batteries. I've tested it all. So I am, I am very happy with it. It's been one of the best purchases as of recent. [01:18:08] Speaker C: They were a solid flash and they, there was a trigger that you could get for them as well. I don't know how easy they are to get any more. That allowed you to use it as an off camera ttl. It basically was what Godox and Yongnuo copied back in the day. Yeah, they just cop, they just copied that system and then basically from there it seemed like camera brands stopped worrying too much about expanding their flash systems and kind of just let, let those brands run with it. [01:18:40] Speaker B: Yeah, yeah, I, I used to use. So I borrowed a Godox off one of my mates for the longest time and it was, it was, it was good. I, I enjoyed it. But the, the only problem was I have this like softbox attachment that's built for the Canon Rectangle flashes on a round Godox one. So it always kept. I'd be mid shoot and I'd notice it like on the floor. I'll go, oh no. Softbox has fallen off. Whoopsies. [01:19:11] Speaker C: Yep. [01:19:12] Speaker B: So no, they're good, they're good flashes but flash is very, I've only recently started like since having borrowed it off my friend. I only recently started really integrating it into my work. Prior to that, I always just use them for, you know, I'D either rent them for a corporate event or I'd borrow them off whoever I was shooting with. So it's. It opens a lot of interesting creative choices for me now when I'm shooting, you know, nighttime events and stuff like that. Yeah. Now, yeah. I've seen a couple, couple questions in chat that I want to get to. [01:19:49] Speaker C: Which ones? You tell me. I'll bring them up. [01:19:51] Speaker B: There's the one from Sage about shooting races here. This is a really interesting one. [01:19:59] Speaker C: I'll read it out. Sage. Sage says. Sage8451. Who's got the clippy profile picture? [01:20:04] Speaker A: Very cool. Oh, yeah. [01:20:06] Speaker C: When it comes to shooting races, do you normally need a press pass to photograph? [01:20:13] Speaker B: Short answer, yes. So for things, for big events, you usually need accreditation. Now that's not to say you can't just go take photos. You. You can absolutely buy a spectator ticket, bring your camera and take photos. Like, no one is going to stop you. No one will stop you from doing that. That's how I got into, you know, shooting officially for races was by standing on the sidelines shooting, you know, a certain car. And if I found like a heat map of which car I shot, whoever had the most, I'd get in contact with them and go, hey, I've got this amount of content for you here. You know, here you go. Have like, you know, that's. Now your, those are your photos from me. And that's how I, I got into shooting for the big. One of the big GT4 class teams last year at Bathurst was I did some work for a bloke who runs in a subcategory and he went, oh, I'm racing in the GT4 next year. I want you to come shoot me when I'm doing the GT4 racing. I went, sweet. And that was the year I got accredited. Now, unfortunately, shooting for the same bloke this year, different race category, no accreditation. So the lesson, the lesson to learn here is it's never a given, but if they deem you important enough, they'll give you one. Yeah, but that's for big racing. Smaller, smaller events like club racing and stuff like that, usually you just have to either Eastern Creek's my local track and for Eastern Creek, you have to have a media accreditation through. It's either ARDC or Motorsport Australia. It's one or the other. But every now and again they'll let you on with a temporary pass. So it's really. You just have to ask. Worst they say is no, sorry, you just shoot from a spectator spot. [01:22:21] Speaker A: So what does accreditation, what is the benefit of that process? Does it give you better access? Can you sell prints if you just shoot from the stand, but you can't if you're accredited? How does that all work out? [01:22:34] Speaker B: So the selling prints I'm not too sure about because I, I actually haven't started formally selling prints until recently, so I'm not too sure. I'd have to do a bit of research on the selling component of it. But as far as I know, shooting from spectator, like no one's going to stop you from making prints and whatnot. It is definitely an, it's an access game. It is very much an access game. There are so many spots specifically on Bathurst. There are so many spots you can't get to that you can get with a media accreditation. Take for example the, the second corner after the main straight or after the big straightaway going up the mountain of Bathurst. You can't get there as a normal spectator, but man as an accredited photographer or videographer, whatever you shoot, getting to that spot is nuts. It is one of the most beautiful spots because you can just see straight down the barrel of the track, like you see everyone coming from the first corner and you can watch them all come up and you know, it lets you into. There's a few other spots specifically around Bathurst. There's a few really, really, really good spots that you can't get to via spectating. So a little, little bit bummed that I don't get to do that this year, but it's still going to be good tuning nevertheless. The other thing you get access to with accreditation is media rooms. Now the media rooms are great because you get to talk to other photographers, you get to meet other people who are doing the exact same thing as you. You get to learn from them. You get to just, just to brush shoulders with these people and you know, get the experience, get the support port. I, what was it? Bathurst? Last year I had someone who's, why I think their wide angle lens wasn't working and I just let, I just let them borrow my EF 16 to 35. And I had mainly done that because someone had lent me a set of microphones after mine just you know, died mid, mid weekend. So I was like, you know what this is, It's a great community of people to, to get involved with. So the, the, the benefits from accreditation really come from your, your location access and your people access. You also get really, really cool opportunities to meet really cool celebrities when you're a accredited track photographer. For anyone who's watching who knows their bikes and their MotoGP racing. I got a very, very, very close selfie with Valentino Rossi at Bathurst. So you get some very, very cool opportunities. [01:25:19] Speaker A: And I guess that just, that elevates your overall experience too, doesn't it? That, you know, it builds that energy that. Because motorsport events are more often than not like a festival, very much a whole weekend, there's lots of people, there's, you know, corporate tents and VIP tents and you know, the general public and all that sort of, of stuff. It's. Yeah, it's really interesting. [01:25:41] Speaker C: I've, I've, I've some questions about the future. [01:25:49] Speaker B: My future. [01:25:51] Speaker C: Like. So you, you've got quite a few irons in the fight, quite a few angles. I've done, I've done a little bit of research on your no social presence, your website, that kind of thing. What, what goals do you have or are you just at the moment, are you just like, head down, working, don't have time to think about that stuff or is there some things where you're like, no, no, you know, within one year, two years, three years, I want to be doing mostly this kind of work or more of that kind of work or what do you want? [01:26:26] Speaker B: Would I, would I truly be a photographer without having goals like that? You know, you never know. [01:26:33] Speaker C: You never know. [01:26:34] Speaker B: Yeah, the, the short answer is absolutely there, there are absolutely long term goals. Right now it is a little bit, you know, head down, you know, working, but that's also because it's, you know, the start of the year. I've had no work for two months because everyone shuts down for holidays. But the, the big things now, I don't know, I don't know how likely I am this year to get that, get to some of these, but next year for sure. I definitely want to try and get a accreditation for Bathurst again. Definitely want to do that. I really, really want to shoot the F1 next year. I want to get, I want to try and get some, some foot in the door, some into the F1 next year. I, I don't care where I have to go. I'll fly to Singapore, I'll go to Melbourne. I, you know, I'm not fast. [01:27:24] Speaker A: Yeah, come to Melbourne. Come to Melbourne. Yeah, I'm only a kilometer from the track. [01:27:30] Speaker B: Yeah, I'm not, I'm not, I'm definitely not locked down to Sydney at the moment. So I, I will be traveling a lot more. That's, that is one thing that's on the list too for the next, let's say five. I think most of this is like a five year window for some of these things. I, I can, you know, I've got the, the luck of being young here. I can put that five year window on. [01:27:55] Speaker C: Hey, we've still got five years in us. Don't write us off five years. Don't we? [01:28:00] Speaker A: Greg, you little bastard. [01:28:01] Speaker C: What are you on about? This is coming from. I was up at 5am, you woke up four minutes before the podcast. So, okay, so, so Bathurst F1. So essentially racing and, and you're, you're wanting to do that stuff initially, I don't know if I'm hearing this right, but it's more about doing those races, I'm not going to say as personal work but like you're not worried about whether you get paid so much as just this is something that you really want to do. That's it. [01:28:40] Speaker B: Yep. Because I, I know in a sense if I do these things and if I can, you know, have my work noticed, then it does become something that will pay, you know, that can pay well and can be consistent and it's something I know that I die happy doing, you know. But the other thing is to go along with that is motorsport is obviously not seasonal, but you either have to travel a lot to make it a consistent thing or you have to have something else to make motorsport a viable, consistent piece of work. So I, look, I, I'd love to scale a lot more of my corporate work in the next few years. I'd love to get a lot more of my own clients in that respect and really start sort of in the best way building a proper business business building that up where I have consistent work, that's my goal for the next few years, is to really try and not go a week without working some form of job. Because at the moment it's like pulling the curtain back. It's, it's inconsistent. It's very, very inconsistent. Some weeks I'll be absolutely slammed. I'll have three or four jobs and then some, you know, I'll go months without anything. So I really want to like this. This year's goal is to really start getting that snowball going of more and more work. And I'm not fussed work where I do that work. But to just get that client base going and get those connections going with people, that's ultimately the, the short term goal. And then, you know, some of the more fun long term goals, like I want to shoot out of a helicopter in the next three years. I don't care what I'm shooting. I just want to shoot out of a helicopter, like. And then I've, I've put, I've put this on the 5 year one, but this may be a 10 year one. I do want to shoot out of a jet fighter. That's. [01:31:04] Speaker C: Yeah, no, that's an amazing goal. That is an amazing goal. [01:31:08] Speaker B: But that is, that would, that is. Yeah, yeah, truly like a dream come true type shoot. I would love adf. Adf. Hit me up. I would love to, to get in a jet fighter and shoot other jet fighters, training, whatever, you know, But I. [01:31:24] Speaker C: Would, I think we could, we can confidently say that the only person around here that knows anything about that is the one and only. Wrong button. The one and only. The one and only David Leporati. Yeah. Who also knows all about Canon and Yongnuo flashes as well. Because yes, the Yongnuo, why an E3RT2 transmitter did work with those EX flashes. And that's what was crazy is they just come in and said we can just piggyback onto Canon system and just start making more products. I bought all that. Yeah. I had the Canon stuff in there anyway. But yes, that is an amazing and amazing goal. That's one of those ones that like you say, it's like, it's not something you're not. Like your career's not hinging on it or anything. It's just one of those things that you like, you write it down. You're like, one day this is what I want to do. Yeah. [01:32:15] Speaker B: You know, going to like career hinging goals. Like ultimately I do want this creator to pay for a house eventually. Like that's, you know, I'm sure I, that that goal is shared among a lot of other creatives. But I, I do want this to end up, you know, really just being all I do for the rest of my life. I'll die happy with a camera in my hands, you know. So it's. Yeah. Lifetime goal is to make this work, essentially is to make this work for me and really, you know, get a good life out of it because, hey, I, I'd be happy with what I've done now, but I know there's plenty more to do. So. [01:32:57] Speaker A: Yeah, and I don't think that's, I don't think that's too tall in order to be honest. You know, I think if you put in that work and you network and you build your client base, but more importantly, you build your, your base of peers. As you said, you often get work through peers. I think there is a sustainable you know, future for that especially plenty of. [01:33:16] Speaker C: Work that needs to be done. Yeah. [01:33:17] Speaker B: Oh, yeah. [01:33:20] Speaker A: AI is not going to. Not going to dominate everything. No, we will still need photographers. [01:33:25] Speaker B: Yeah. AI will not be able to replicate a lot of our work. [01:33:30] Speaker C: No, some of it, it will. But there's always going to be a call for. If everyone can make something with AI that is this level, there'll always be a call for something that stands out. Always. It has to be. [01:33:44] Speaker B: The other thing is, now, I don't like harping on AI too much, but I do think there will be a point in time where people will look for an actual photographer, like a proper physical photographer over AI. It will get to a point where, you know, so far, like, you know, corporate archives or corporate media libraries are going to be so full of AI that people are going to just want to see, like, an actual photo. So, yeah, I do think there's going to be this little, like, rise and fall, and when the fall starts happening, you better cash in and, you know. Yeah, get shooting. [01:34:28] Speaker C: Stay the course. Don't. Don't be blind to it, you know, adapt where you need to, but you got to stay the course and, and trust that you can't. There's not gonna. There can't be this world where everything is generated with AI and everyone just goes, oh, cool. Like, there will be ways to stand out with different forms of art and stuff like that. We've talked. [01:34:45] Speaker B: Yeah. [01:34:46] Speaker C: Anyway, yeah, I wanna, I wanna, I wanna keep on trucking here because I'm excited and I want to know, so what, what. Have you got any plans that you're. You're going to put in place to try and make those goals happen? This year, particularly? Let's, let's start with corporate work. What's your plan to, to bring that to life? [01:35:07] Speaker B: So I want to say a lot, but there's some things I can't say. I. I've made a lot of recent connections to some really good corporate companies and so I plan to really pull. Push a lot of those connections as far as I can go with it. I plan to, you know, connect with other photographers and videographers and see where they need help, where. Where they might need someone else to, you know. Oh, you know, are you not taking a job on because you don't feel like you've got enough people or do you need an extra videographer for this or that, you know, and to really start doing that. And the other thing I want to do is I'm trying to just go places and just take every Opportunity to go somewhere and talk to people that I can because that's, you know, ultimately getting out and going, doing whatever events, just walking around the city. Something, you know, I want to put myself in as many positions where I can make a connection and where I can, you know, get a lead from. I want to put myself as in as many of those positions as possible. Yep. Because ultimately, realistically, I don't have a single way to just go, oh, yeah, I'm going to be more busy this year. I, I'm still at a stage where I'm needing to find a reliable, consistent client base and I need to build that for myself rather than relying on like a 50, 50 split between myself and other people. So, you know, it. It's a very difficult thing to do. And quite honestly, I, I am no pro at it as I'm still going through all the stages. But it's definitely a very big learning experience. Very, very big learning experience. And yeah, the goal is to definitely put myself in more places to get more work. [01:37:16] Speaker A: And I think it's really rewarding to hear that answer from you because I know, and I've suffered this as well, lots of photographers who get to a point where they could turn their craft into an income, but the idea of managing a business presents a roadblock in itself because there's so much involved. How have you kind of built that knowledge base and understanding for yourself of how to actually turn your craft into, you know, a financial outcome? [01:37:45] Speaker B: Does slamming my head against the desk many times count as a good answer here? Look, it's not easy. It's really not easy and I'm still navigating a lot of it. So it's. Navigating. It has been interesting learning. It is very, very difficult, especially because it's my first time doing any of this. I've never run a business. I've never, you know, there's so many little ins and outs of operating and like all the back end stuff. I, not that it's not, that's a big deal, but I just had to do some like tax stuff and it was a nightmare. Yeah, it was like, I, I don't want to do this. I was like, okay, is it really, is it really worth running a business if I have to do this stuff? But you know, the, a lot of, ultimately a lot of the, the negatives to it all never actually comes from the, the photo side. It always usually comes from the business side of things. And negatives in a way of, they're, they're hurdles that I obviously have Never seen in my life. So who knows how to jump over them? But once. Once you get it over and done with you, you then obviously now know how to do it, and you can just keep doing it and keep getting better at it. So it's. Yeah, it's tricky to navigate and it's tricky to. Trying to think of the phrasing here. [01:39:20] Speaker A: Okay. [01:39:21] Speaker B: Get off the ground, I guess. [01:39:23] Speaker C: Yeah, yeah, it can seem. It can seem big, but you're getting off the ground. You're doing it. So you should never feel like you're. There's this giant load of work to do, and then on the other side of that, you. You're. You're done. Because it's like, it's never that. And no, no, no, no. Yeah, it's like Dennis is 54. Learn heaps every day. Never stops. Ever. It does. It doesn't ever stop and set up. It's never. It's never, never. It's always, never, always. It's always ongoing and evolving, and there's always the next level that you're like, oh, I. I have to do that now. [01:40:02] Speaker A: Yeah, it's true. Because a lot of photographers even suck at keeping their social media up to date, you know, and I'm. I'm no different. There's lots of cats. Photos. [01:40:12] Speaker C: Photos of my cats. [01:40:13] Speaker A: There's not much on my Instagram other than that. [01:40:15] Speaker B: They're pretty good, though. [01:40:16] Speaker A: Oh, thanks, mate. But, yeah, like, lots of people we've spoken to here and just through, you know, chatting with other creative folks, they say, oh, yeah, I've got this image. Oh, and actually, I haven't. I haven't put it on Instagram yet. My Instagram's a bit behind. We hear that all the time. Because they're busy with the. With the businesses taking photos. Yeah. [01:40:34] Speaker B: Oh, yeah, yeah. [01:40:36] Speaker C: And which is part of the reason why we wanted to start this podcast was so many. I watch all these photographers on YouTube putting content out about their work, but there's way more photographers doing amazing work that don't have time to make YouTube videos about it. And that's why we're like, if we can hopefully just get them to carve out two hours of their life to come on here and talk about it, we can get, you know, the world can get a bit of an insight into what it is they do and their story and all that stuff. Because, yeah, most photographers and videographers don't have time to like, to put all that content out about themselves. [01:41:11] Speaker B: Well, yeah, and that. That is actually something I do try and do is. Is YouTube. That's. That's one of the big things for me that I've started doing recently, as nerve wracking as that is, is YouTube. And. Oh man, the. The first few videos of mine have been, in my own opinion, a bit of a dumpster fire. But they're out there, right? The whole point is that they're out there. [01:41:34] Speaker C: Yeah. And gotta do it. [01:41:35] Speaker B: I. I've done it. Right. Yeah. And now. Now it's. Now it's a matter of. I'm gonna spend more money on more cameras to record YouTube videos because what else do you do? I've got a. I've got a R50. R50V is my next. The little tiny little Canon one. It's gonna replace the blackmagic. Because this thing is. I love this camera but man, you can't do with these outside of. Outside of like studio videos. [01:42:07] Speaker C: This is useless. [01:42:08] Speaker B: It's a webcam, right? [01:42:10] Speaker A: It ends up being a 6k webcam. [01:42:12] Speaker B: Yeah, 6k webcam with all the bloody. Someone. If anyone's watching and wants it, it. It's currently on Marketplace for 1.3 thousand. Comes with a lens cages and all this other stuff. [01:42:25] Speaker A: Check it out. [01:42:26] Speaker B: No, but I definitely, I, I definitely agree with you that documenting and giving insight is super important. [01:42:34] Speaker C: Well, yes and no. And so I'm going to. This is. This is the. We're in the back end of the podcast now. So this is the portion where I start offering unsolicited advice. Actually, no, I'll ask you when they get solicited. Can I. Can I give you some advice based on. This is my limited experience. In my opinion only take it as what you will. There's a lot of things that you want to achieve and everything that you take on is a lot of additional work and dilutes from the core thing that you're focusing on. It does. There's no way around it. I've. I've made YouTube videos. I've done all sorts of different angle. I've got a lot of work on different projects at a time and it pulls away from whatever the core focus is. It's just how it is. And it's something I've accepted and I'm happy to work with. But I'm always assessing whether it's worth it, this extra attention. And based on the goals that you provided before, I would. I would definitely give YouTube a few second thoughts as to what value it's providing towards bringing you towards your goals, particularly the goal of more corporate work. I think that there's some low hanging fruit in that from what I've seen that you could go after. That would be far better time spent than YouTube stuff. Now don't get me wrong if that, if, if making YouTube videos just lights you up and it's just something you want to do, go for it. But in terms of, if it's just sort of part of the package that you think you need to be doing as a photographer and a creative to put yourself out there. I don't know if I've missed it but do you have a separate brand for your corporate work beyond you that is, that's probably so I think, I think you need to separate motorsport and bikes as, as you to corporate you and they can always be crisscross over and people don't. It doesn't have to hide one from the other or anything like that. Yeah but corporate clients want to see corporate work and that's it. And, and a simple brand. And then particularly I saw that you have a LinkedIn profile but your LinkedIn profile has you with you in a car as the thing that needs to be you on a corporate shoot. It has to be, it needs to be all corporate branding and then you need to have a corporate branded website. This is just my opinion too. I keep saying, I'm saying, I think, I think that's what I would do. [01:45:20] Speaker B: It is very true though I, I haven't touched that link did in it in a good while so I, I probably should go out and change a few things there. But yeah, I, I do think I should probably spend a little bit more time on, on LinkedIn. The YouTube stuff. Ultimately it boils down to I'm not going out of my way to do it. It's not something I've kind of, I'm sort of on the same page as you where it's like it's not something that's going to quite get me work but I do like to document those exciting things that I'm going out and. [01:45:55] Speaker C: Then, then do it for sure. If it's something that you just want to do because it lights you up but, but do it knowing that it's like, like hey, this is, it's, it's, it's probably, it's not work but put. [01:46:06] Speaker B: It, put it in that pocket like. [01:46:08] Speaker C: Say, say this isn't work, this is like hobby stuff which is fun and it could turn into anything because YouTube is an amazing place. So don't, don't discount it becoming something bigger than a hobby. But yeah, I just, when I first saw Sort of what you're doing. I thought if I was a commercial, a potential commercial client and you gave me a card or gave me a name or whatever I come across, I would just be like, how much commercial work have you done? And I know you've done a lot. That's the thing. So your, your online presence isn't presenting your capabilities well enough, I don't think. I think that could be. Yeah. And it doesn't need to be a complicated website either. It can be a one pager. [01:46:55] Speaker B: Yeah. Just a landing place, landing and gallery and that's it. [01:47:01] Speaker C: Some examples of work, what you're capable of. And I, I think a separate name. Whether you, whether you decide to use your name for corporate and a different name for motorsport, or I would probably lean towards a different name for corporate and stick with your name for motorsport because that's like, that's who you are. And you. And then you can do bikes, motorsport and everything under you, and then just on a separate corporate kind of profile, pretty much. I don't know, I think that would be, I just think that would be. And it would probably make things clear for you too, where it's like, this is, yeah, this is corporate work, this is motorsport work. I even price them differently. I'm, you know, like, I don't need to get my rate for a, even a bike shoot. It's different. Yeah, it's, you know, it's different thing, corporate work. You have your rates and then, and then I still think, because so if you're working in with a lot of people, then you can try. And when you're building those connections, you're giving them something. Even if you're like, hey, I can, I can be your second camera operator and stuff like that. You can even put that on your corporate profiles. Like, this is, this is. I love working with other, you know, helping teams that need to expand on media social shoots. If, if you, you know, if you're a team, you need an additional camera operator. Put all that there. I don't know. What are your thoughts on that, Matthew? Am I off? Am I on? [01:48:26] Speaker B: No, no, you're, you're actually, you're, you're quite spot on with things that have been going on in the back of my own head, specifically about that. Like really kind of trying to show that professional. Because as. As you'd probably know, not a lot of that work sometimes can be kept. Right. A lot of that work just gets, you know, sent off, no one else can see it type thing. So the best, the best. I've got are some selfies on set and stuff like that, but even that, you know, I just don't show that and I, I think that, yeah, the link, the LinkedIn definitely needs an overhaul and I'll, I'll definitely now start looking into a separate entity for the corporate work. Yeah, but no, I would keep them. [01:49:12] Speaker C: I would keep them the same core business. So don't get too complicated, don't make a new ABN or what a business structure. [01:49:19] Speaker B: No, no, no, no. [01:49:20] Speaker C: But just, but just a separate presenting brand. Yeah, I think, I think would be a great idea and yeah, I know. So, so in terms of not being able to share that work, that's going to be a tricky one and that will be a matter of just trying to hustle up some jobs even if you do them at a lower rate or even free when you've got nothing on for a client or someone you've worked with before or something like that. Just to build a little bit of. Especially like, so if corporate events are your thing, like that's the first thing that you want a lot on there. If you're like I love shooting corporate events, make sure that that's everywhere. Whereas complicated, complicated sort of multi camera shoots aren't your thing. Don't bother trying to, you know, get portfolio like as in it's not like you, you'd rather rock up to a corporate event than you would to a complicated multi camera. Yeah. Shoot. Whereas you'd rather do a complicated multi camera shoot as part of another team. So you could build. [01:50:20] Speaker B: Yeah, yeah. [01:50:21] Speaker C: You're sort of building two different avenues there. One's, one's like, I'll work in with your team. When you get this work and you need an extra person, I'm your guy, just, just let me know. And then, then whereas you're putting out to corporate clients like hey, if you need a corporate event covered, I can do hybrid photo, video, social media content. I could do it all in one, one person, rock up and get it done. Because I'll shoot pretty much, yeah, Over. [01:50:49] Speaker B: My dead body I will. [01:50:53] Speaker C: Yeah. I don't know. That was just my first thoughts when I was looking at stuff, but I wanted to hear. Hear where, what, where you want to take things from there. Before I sort of thought too much about it, but by the sounds of it, because that, that may also help motorsport too because it's, it doesn't confuse the motorsport side of things when you're trying to get accreditation. I don't know, like do they look at social profiles? Do they, you know, do they care or is that not part of it at all? I don't know. [01:51:17] Speaker B: I don't know. It is very I with the accreditation I, I don't have quite enough experience dealing with the accreditation stuff, so I wouldn't have a clue right now. Like the gist of it that I can get for at least Bathurst is if you're shooting for a main competitor team you're pretty much guaranteed. If you're not shooting for a main competitor, you have to be shooting for a big, big sponsor. Outside of that I, I don't know. So I don't know how much they look at I, I, it is kind of weird because I do have, you've probably seen on my website I've got an entire page dedicated to my motorsport work. Yeah. So I, I do have quite the catalog in there. I need to update it. That whole website needs a bit of an overhaul. I don't know if you saw, but I did a big update last night when, when Greg said, oh we'll just use the, the website and the Instagram. [01:52:15] Speaker C: I went. And now we haven't even, and now we haven't even pulled it up. And we made you do all. [01:52:20] Speaker B: Yeah, I know, I know it needed to happen. It's better that you guys made me do it than. Exactly. [01:52:28] Speaker C: Well, well, I definitely think like a website this, I might be biased because I've done a lot of work with online in the past. Like I've come from online marketing to e commerce photography. I've had, have had and still had very many websites. It's kind of my thing. I even still make websites for client for some, a couple of clients that are really, I'm good friends with. So I would be putting quite a bit of work into that if I were you. Pick one first two, like so don't put one aside, be like, all right, this one can stay aside with my motorsport work on it and stuff. I'm going to do a new corporate website. It's going to be super simple. Don't over complicate it. Like don't try and do everything at once. Just leave one off to the side and then get one done and then when you've got a gap in your work, try tackle the other one. Yeah. Because it, it can feel like it's a massive project and, but just break it down into small chunks. [01:53:26] Speaker B: Oh yeah. As with anything, you know, it's, it's just about making it, you know, easily processable task and just getting it done even if it's in the smallest bits, like it's like editing a big catalog, right? You just do it in, you know. [01:53:43] Speaker C: Chunks or for me, a big video. I look at all the, I look at all the footage, I look at all the hours of footage and I just go, oh, I can't. [01:53:53] Speaker B: Yeah, but you have to just chip. Yeah, I'm, I'm about to start that process next week. I did another, I did another YouTube video. I'll plug this now. It's coming when I could be bothered. I'm not gonna do, I'm not gonna do what I did with BFOP World. Like I'm gonna release it in two weeks. [01:54:14] Speaker C: I like that. I like that. [01:54:16] Speaker B: The, the quick rundown is I spent the last what week and a bit down in Victoria again around Bright, funny enough, but we're doing a four wheel drive adventure. We went all the way from Sydney down through Kosciusko and then down into the Victorian high country. And so I've got this whole big YouTube video, like very. It's so. It was so difficult to capture because I've only got one camera to record with. So I can't record myself shooting with, you know, anything. So it, it, I wanted it to be like a come with me type vlog. It BW into like 300 gigs of footage and I went, holy. [01:55:04] Speaker C: Yeah. Oh my gosh. That's massive. [01:55:09] Speaker A: That is massive. [01:55:10] Speaker C: That's, that's like this. The amount of footage that, yeah. That I would get when we were doing like a multi day tourism shoot. [01:55:17] Speaker B: And yeah, anyway, that's essentially what this was, you know. Yeah. I filled up, I filled up two SD cards full of photos and then still ended up filling some of my CF Express up with photos. I've got gigabytes upon gigabytes of drone footage. Like, it's just, it's gonna be great. It's just gonna take forever to edit. But I need to like, I need to cut 300 gigabytes into 15 or 20 minutes of, of YouTube video. So wish me luck. [01:55:48] Speaker C: Ruth be ruthless. Yeah. [01:55:51] Speaker B: Oh, absolutely, absolutely. That's, that's definitely one thing I learned after the beef up. One was I caught myself doing so much talking and just talk, talk, talk, talk, talk and not enough showing. But that's also one of the other reasons I'm buying the R50V when I can sell the Blackmagic is not only do I get a, a second RF capable camera, I also get a small little vlog camera that I can chuck on a tripod show behind the scenes work. It also helps for just capturing regular behind the Scenes, work and social media content and all this stuff that can go into, you know, building that secondary portfolio in a way. Yeah, I'd love, I'd love to try and do it with the blackmagic, but it, it, you just can't really. There's no autofocus. The files are so big you have to rig it up and it just isn't a feasible camera to do something like that with. [01:56:52] Speaker A: What lens mount does that have on it? [01:56:54] Speaker B: The blackmagic has an EF on it at the moment, so it's currently got my very old 1785 on it. So it's, it's not bad. I just. Obviously I can't be throwing these big ones on it now. Yeah, but yeah, no, I've ran all my EF glass that I shot photos with for that to do video with. So it works. It definitely works. [01:57:20] Speaker A: Cool. [01:57:20] Speaker C: Nice. [01:57:20] Speaker A: Very cool. [01:57:21] Speaker C: Well, excited to see it come out. [01:57:25] Speaker B: It'll be soon. [01:57:26] Speaker C: Dennis was in the chat, he said, Justin, that's great advice. I'm glad because I was worried he might say Justin, that advice. Dennis is. Dennis. I mean Dennis has done, Dennis has done a ton of corporate work, but also had his own very unique style of art and creating and, and, and blended them and separated them. I think in, in a very successful way where he shot F1 cars with light painting. You know, like he, he's, he's done a lot of things so he would be. And he did actually back in the chat, somewhere up here, he did say, email me. Yes, we, we need to chat. So Dennis would probably be an amazing resource for this kind of stuff. Having two, two focuses and where to separate, where to cross promote, you know, how to kind of approach that sort of stuff. What, what are your thoughts, Greg? You have a, you have a background in the corporate world. I know not, not from the photography side of things, but you, you know, you, you swam in those fish tanks. I don't know how to. What I was trying to say there. You were so close. [01:58:30] Speaker A: You're so close. [01:58:33] Speaker C: Corporate waters. What, what do you, what do you think? [01:58:36] Speaker A: Yeah, I, I think corporate customers don't want to be dazzled by anything other than what you can do for them, you know, because for corporate people, even, even people that have big marketing budgets, everything is about time. And more often than not, they, you know, corporate entities or their agents will give you the job with less than ideal notice. You know, and it's being up being, it's being about. Sorry, it's, it's being able to adapt and, and shift with that, without it, you know, without letting it impact you in either way. But I think, yeah, I agree with Justin. I think he's made some amazing points, which is really rare. But you know, a separate corporate identity is really smart. Once you become big enough and well known enough, then, yeah, maybe you can blend everything into, this is my website, this is, this is who I am, this is what I shoot. And people know enough about you to not worry, not matter. But I think having a separate corporate entity is a great idea. It's almost like creating a Persona for yourself. You've got your fun monster hat wearing, you know, motorsport stuff and then the corporate side. And you know as well as everything else, your landscape, your videos, that all sits over here. But your corporate side is about a simple message that's compelling to a potential client that says you need better headshots, better corporate event photography, videography. You need these things and this is how I can deliver them above and beyond your expectations. You know, look at corporate keywords that are used in, in corporate writing and blogs and things like that where they will use, you know, they use jargon, they use acronyms, you know, and there's no reason why you can't replicate that to show people that you understand their language a bit. Because corporate people, even in marketing are terrible at explaining what their vision is, you know, because someone higher up is, oh, we need this. You work it out, you know, and so down the line before it gets to you, not everyone's sure about what's on, what's happening, you know. [02:00:34] Speaker B: Yeah. [02:00:37] Speaker A: So, yeah, I think that's a great, a great piece of advice. The other thing, you know, definitely clean, crisp corporate images, but also client testimonials go a long way on your website. Most definitely get some. You know, as you, as you start to build yourself in this space, you go to a shoot, like you said, you talk to everyone, you find out who they are, what's their position, and you let them know why you're there and what it is that you're doing. But you know, it will be through word of mouth that you'll get other gigs through corporate. And often businesses are interconnected with other businesses or, you know, brand people that are collaborating on something will say that you did work for this, this side of the business. Well, hey, can we get Matthew over here on this side of the business maybe, you know, you get corporate events, but then also they want to document what's going on in the warehouse. [02:01:29] Speaker C: Yeah, I was going to say that it will lead to. Because, because it's all about. You just got to get that, that first foot in the door with a client. After that, your website basically becomes irrelevant. After that it becomes over deliver, like, get it to them fast and then let them know, hey, I do do other work. So if there's anything else you need, especially in the video side of things, if you only did photos or vice versa, or if you ever want me. Yeah, like it's, it's just taking those steps to follow up. But like the first step, once you get the thing, just get it back to him as fast as possible and over deliver them and, and like just make them happy. Yes. Because people just want, they end up just wanting that person. Like my, my main client that I do work for, who's a friend of mine now. But like he just, he just, we're talking about this the other. He'll just forward me emails without even. Doesn't even have a request in it. And then like, he just wants me to just figure out what needs to answer based on. Based on what? What's going on in the email chain and then just work it out. You know, like it's sort of. They, they, like Greg said, they don't have time. They just want it to work. Sometimes they don't even know what they want, but they just want someone else to handle it because they're busy doing everything else that they've got on their plate. And it's like if you can be that person, that someone can just like call or text or email and be like, hey, we've got a shoot next week at this time for this thing. Can you do it? And then you just, and they know that you'll just sort it out. You don't need a giant brief or, you know, all that. You don't need to quote it up. We've got a rate we're all happy with, you know, becoming that, that person for the client. That's the goal, I think. Yeah. Yeah, that's what I aim for. [02:03:15] Speaker B: No, ultimately, yeah, ultimately that's, that's hopefully where I, you know, end up. That's, that's also the goal. So it's, you know, you've got this. [02:03:25] Speaker C: You'Ve got the skills to do it. That's the thing. It's like you've got, you've got everything to do it and you've got. Now you've got the experience to do it. It's, it's just like, it takes time and it's, you're absolutely like running towards the goals. So. [02:03:37] Speaker B: Yeah, through the goal. Yeah. [02:03:40] Speaker C: Get through it. [02:03:41] Speaker A: But, you know, and as we've talked about, you know, build up your network of fellow photographers. Build up your community. [02:03:46] Speaker C: Yeah. [02:03:47] Speaker B: Oh, yeah. [02:03:48] Speaker A: Because community is all about helping one another out. That's what community does. Right. When it's done well. And, you know, you might have a question. You might drop Dennis an email, or you might give Bruce Moore the buzz because, you know, he keeps his corporate videography to one side and then his fine art practice to another. You know, maybe you've got questions, lean into your community and. But it goes both ways. That sort of stuff. You know, it's being available for others as well. You know, you. Before long, you might come across some young, young videographer who's just finishing high school and, you know, needs some advice, reach out to them and say, hey, I. I went through this five, six years ago. Sure. [02:04:26] Speaker C: Always. [02:04:27] Speaker B: Always. [02:04:28] Speaker A: Yeah. [02:04:28] Speaker B: You know, even. Even I was shooting an event over Australia Day, and I had some kid mid. Mid job come up and start asking questions about my camera. I'm, you know, oh, what do I get? You know, what should I do here? What should I do here? I want this camera. I want this. And it was just like, oh, dude, you know, talk to him. Helped him out with what he needed to, you know, what he needed to know. And I was like, I used to be that kid. I used to be him. And, you know, I, I pretty much the. The whole way I got the contact for that job was by doing exactly what he did. I walked up to another photographer at an event and just started talking gear with them. [02:05:03] Speaker A: Yeah. Yeah. [02:05:04] Speaker C: You didn't sell the kid Blackmagic 6K, did you? [02:05:07] Speaker B: I actually did. [02:05:08] Speaker C: I actually did the perfect camera. It's actually the best. It's the best camera you can get. It's amazing. [02:05:14] Speaker B: It went along the lines of, how far do you want to take it? And how much buddies you have to drop? Because if you have right now, yeah, I have a camera for you. [02:05:24] Speaker A: I can give you a lift to an atm. [02:05:26] Speaker B: Yeah, it's got a lens, it's got. It's got a cage, it's got the power cables. Like, you just got to buy a battery and a hard drive and that's it, you know, that's simple, right? [02:05:36] Speaker C: Simple. Simple. What? Okay, so if you, if you had to go into the. I don't even know what they have at high schools anymore, the media class, whatever the thing is, at high class, if you had to go into that, into the media class and, and talk to them about the realities of becoming a professional Photographer or videographer right now. Is there any advice you'd have for someone who's like 17, 18, they want to just leave school? You know, would you, would you tell them to go and do a course? Would you tell them to go straight and try and get a job with someone? Do you have any advice? [02:06:17] Speaker B: Yeah, I do. What's, what's the, what's the language rating on the podcast? [02:06:23] Speaker C: Yeah, we try not to drop the sea bomb. [02:06:25] Speaker B: Okay. My, my advice is it's hard. [02:06:29] Speaker C: It's. [02:06:29] Speaker B: It is. It is not an easy industry to just get out and go in. [02:06:35] Speaker A: Yeah. [02:06:36] Speaker B: But it is one of the most rewarding things to get out and go in. And I definitely recommend, go talk to professionals, see who needs work, see who needs assistance if you're just learning. Absolutely, absolutely. If even if you don't know how to use manual on a camera, go find someone, Go find a professional that's going to teach you manual. That's how I did it. I, I did work experience through school, and I, I, you know, the guys I did it with, I really owe a lot of the knowledge that I gained so quickly. I got taught at 14 or 15 how to use manual in three days. I was a complete auto shooter from like 12 or 13. Obviously, I didn't really know it, you know, but, you know, everyone, everyone starts, everyone starts there, and it's totally okay. And then I, I was basically thrown onto a boat and said, okay, we're shooting a yacht. Here's how to shoot manual. Learn it. And that was, you know, the, the learning under pressure with a professional. Being able to kind of just like catch you if you start slipping is the fastest way I ever learned anything in my early days, and it's definitely something I tell younger photographers is, go out there, shoot hell, come with me, come shoot with me. Like, you know, it's just, get out, start shooting with other people, with more professional people, with just more experienced people. Start shooting with them, pick up what they do. Find your own groove. That's the other thing is you, you have to find your own groove in things. Like you, you, you'll never sort of stand out if you're just copying other people. You, you have to put your own spin on it. And, you know, one, one professional's workflow might not work for you, but parts of their workflow might work really well for you. So don't force yourself to copy a workflow that isn't perfect for you. Yeah, definitely, definitely. Go out there and just play around, muck around, make mistakes, and don't be afraid of it because ultimately there is plenty of time, especially again at a younger audience. There's so much time. You can make so many mistakes as long as you learn from them. Make all the mistakes you want because it's the best way to figure things out. [02:09:12] Speaker C: Epic. Excellent, epic advice. [02:09:15] Speaker B: I try. I try. [02:09:21] Speaker C: Should we like. We're just over two hours so we don't have much time. [02:09:23] Speaker B: I was gonna say where. Yeah, I did just look at the clock and I went, holy crap. We've been. We've been going for a bit. [02:09:29] Speaker C: Oh yeah, that happens. [02:09:30] Speaker A: Yeah. [02:09:34] Speaker C: Is there an image from your recent trip that you want to pull up and tell us about or something? [02:09:41] Speaker B: Oh, recent trip. I think it doesn't have to be recent, but there's. You know what? I'm actually really, really proud of it. You can probably. It's on my website. [02:09:55] Speaker C: Yeah, I've got it up whereabouts it. [02:09:58] Speaker B: Should be under landscape. [02:10:01] Speaker C: Yep. [02:10:02] Speaker B: It'll be. It's like the second or third row down. I've got it covering the whole middle section there with the guys stand. Yeah. So that's probably one of the most epic images I've captured recently. Yeah. This one, I love this shot. So this is. I think this is shot at either 180 or 200 mil. Now what, what you can't quite see is just over that. It's not quite a cliff. That's actually a big fire break. It's steep. It's. It's like that, right. And it goes down in these like steps. And we were kind of. We were joking about driving down it and you know, getting to the bottom. But there was. There was no chance we were doing it. But this was. Yeah, about eight, no, ten days ago. Ten days ago. Now this is mid bushfires down in Victoria. I know you guys are copping it pretty hard down there, which is how you get that like that haze sort of in the background there. And I just love this shot because. Because of the compression off that 200. It's just. It looks so gnarly. There's a few more if you keep scrolling down. I think these are all off the recent Victoria trip. So this was. These are all around bright true blue gullies on the way up to Mount Hotham there. These are some. Yeah, these, these are a lot of fun. These, these might end up on the wall. Especially that one. Yeah, the watermark's in a really bad spot. Don't mind me, but this is Craig's hut. For anyone who's local to Victoria, this is a 22 or a 23 minute exposure. Yeah. [02:12:01] Speaker C: Is it stacked like. Because isn't that how people do star trails mostly these days is where you like stack it or whatever. How did you do it? [02:12:10] Speaker B: So I just, I, I set it to bulb. Oh yeah, yeah. I just went bulb and then I cranked the aperture to I think five or six and yeah, I just let it go. I just sat there for 20 minutes. Love it. [02:12:27] Speaker C: And so it's a single cap, single capture, capture all in one go. I love that. I Love that. [02:12:34] Speaker B: Yeah. 11145 second capture is what the, is what Lightroom says. It's, it's my second longest. I don't actually have my longest one up, but I have one from down in Jervis Bay that I did back in November that was 58, 58 minutes or 48 minutes. And I've, I've got just some incredible star trails over the heads of Jervis Bay. Only problem is you get some slight light pollution because what the, what you see in the bottom there is actually all the smoke. [02:13:15] Speaker C: I wondered that like, like because it's a little bit of light pollution with haze. [02:13:19] Speaker B: Yeah. So I actually, I don't know if that's light pollution or, or what because Craig's hut is in the middle of bloody nowhere. [02:13:28] Speaker C: That's true. [02:13:28] Speaker B: But if you, if you zoom out and go down, I think, I think it's down a little bit further. I think I put them up here. Ah yes, yes. These ones, these ones. That's how thick the smoke was. [02:13:46] Speaker A: Yeah. That's crazy. [02:13:47] Speaker B: That was, that was the evening down at Lake Buffalo. So if you go back up, there's actually a clear shot of that area. Yeah. There you go. There's, there's a, there's a full lake and mountains and there's actually in that photo there's even more mountains behind there. Yeah. There's about four more ridge lines back that you just can't see. It was that thick. It was beautiful. The conditions were incredible because you, you get some amazing shots, you know, super cinematic looking with the fog in the morning and the sun, sun rays hitting. I think. Yeah, that one of the, the Land Rover there. Yeah, just. Yeah, look at that. [02:14:35] Speaker C: Yeah, like. [02:14:37] Speaker B: It was, it was just awesome. And that's, that's about 9, 30, maybe 10 o' clock in the morning. So. Yeah, it wasn't even like it was sun, you know, sunrise or anything fancy. It was just the atmosphere and that's going, going back to very briefly the landscape. Guys just get lucky sometimes with this stuff. You Know, and I, Yeah, I never quite understood it till I was out there. I went, holy. I am one of those landscape guys that. Getting lucky. [02:15:12] Speaker A: Yeah. Like, it's not luck, it's perseverance. [02:15:15] Speaker C: Exactly. It's. [02:15:16] Speaker A: It's like always being there. [02:15:18] Speaker C: The more you try, the luckier you get because you put yourself in the position to get lucky more often. You know, it's all about that. [02:15:24] Speaker B: Yeah. [02:15:25] Speaker A: And we say that even in street photography, you know, people say, oh, that's a lucky shot. So, no, I. I was down there for an hour and a half every day for seven days. I made a daily ritual that was just one of. Then it, you know, a thousand shots. [02:15:37] Speaker B: Still. [02:15:38] Speaker C: Still lucky. But it's like. It's not like. It's not like you didn't, you know, it just. It just happened once and it was a flip. It was like you made yourself to be in the right space for that luck to. To strike, you know? [02:15:52] Speaker A: Absolutely. [02:15:53] Speaker C: Yeah. [02:15:53] Speaker A: You've got to be available. [02:15:54] Speaker B: Yeah, yeah. If. If you want to get hit by lightning, you got to climb a bloody tree. Like, that's, you know, right place. Right. [02:16:03] Speaker C: So it works with. It works with unlucky, too. You can get way more unlucky if you constantly climb trees in lightning storms. [02:16:09] Speaker B: Yeah, it depends. [02:16:12] Speaker C: It depends. [02:16:12] Speaker B: But, yeah, you know, you've got it. [02:16:14] Speaker C: Yeah. [02:16:16] Speaker B: Yeah, it is absolutely. Numbers game. And the more time you can spend being in the numbers, the better. [02:16:20] Speaker A: Yeah. [02:16:21] Speaker B: Like, most definitely. [02:16:22] Speaker C: I'm excited to see that. That video come out. I. I don't want to give you any more equipment to buy. Do you have a GoPro? [02:16:32] Speaker B: I do. [02:16:33] Speaker C: Oh, well, then why don't you. Did you take that on your trip? [02:16:37] Speaker B: I did. [02:16:37] Speaker A: Perfect. [02:16:38] Speaker B: And it. It. No, not perfect. It burnt through. I think I killed one entire battery. Like permanently killed one. My GoPro's having issues, so I did bring it with the intent of doing behind this. We had it. We had it rigged up in the car, like Top Gear style, pointed at us. [02:16:55] Speaker C: And even pov, chesty strap for shooting. That's how I did almost all my YouTube videos. I never used the second camera. It's just like. I like POV on the chest. [02:17:06] Speaker B: Yeah. I've got. So I've got. I've actually got a second YouTube video. I wasn't going to talk about this, but it's a secret. It's a much shorter YouTube video coming from the first week of. First week of 2026 that I've also really behind on. But no one has to know that where I. It is A. It's a more POV sort of come shoot landscapes with me and it's a lot more of me talking to the camera, but also showing what I'm doing as I'm doing it. So I'm kind of using the R5 II as a GoPro just without actually showing myself shooting with the R5 2. [02:17:44] Speaker C: Right. [02:17:44] Speaker B: So I'm showing what I'm shooting, what I'm looking for, why I'm doing it, what settings I'll probably use, pointing the camera and like pointing with my hand, you know. Oh, I see like this sea cave down here and I want to get these rocks over near it and yada, yada, yada. So, yeah, I. I'd definitely be using this guy if it wasn't nuking batteries. I've also got this one, speaking of GoPros. [02:18:11] Speaker C: Oh, old school. Nice. [02:18:12] Speaker B: Yeah, I do. I do like my old school gear. [02:18:16] Speaker C: Yeah. I mean, yeah. I mean, if you can get a hold of some batteries to try in it and figure out what's. If it needs a firmware update or something or why it's cooking them. But yeah, POV. Chesty strap. There's so many people I follow on YouTube that do great work because if you can like see the scene and they're pointing at the scene and then they lift their camera up and then see what they framed, it just. It's such a cool way to watch how people work and. [02:18:45] Speaker B: Absolutely. [02:18:45] Speaker C: You'd be great at it. [02:18:46] Speaker B: Yeah, yeah, that's. Yeah, that ultimately that's the plan is to just, you know, show people what goes on. Yeah. Because it is such a fun process to do as well. It is, it is a really fun process. But yeah. So definitely. [02:19:03] Speaker C: How many, how many hours do you reckon takes to edit like a YouTube video? [02:19:09] Speaker B: Oh, it depends. That bfop one took me. Oh, I want to say I did about 8. 8 or 9 editing sessions. So at least 20 hours of editing for that. I'm not. I'm not super efficient by any means. But you also like, obviously no one sees it, but I cut good hour of content out of that. There's a whole. There's a whole scene up there that I still joke about and I still have the recording color graded and whatnot for it. But it's me sitting in this big like it's. It's like a Subaru sponsored chair on Mount Hotham. I'm just sitting there talking about the bloody mountain and the weather like it's a completely useless bit. But you still got to watch it just in case there's something in there that's like worth using clips that you. [02:20:03] Speaker C: Could use or whatever. Yeah, exactly. You got to check everything and it just, it takes a long time, just. [02:20:07] Speaker B: Oh, and then picking the color grades, watching it over different devices to make sure it all looks good and going back and changing it and then getting to reg. Regrade a clip. So you got to go back and grade it and re. Export it. I think exporting times alone was, I think 14 hours of exporting. Really crazy. That video has 22 revisions so that. That video got exported 22 times because I just kept changing things. It was originally, it was originally 48 minutes long and I cut it down to I think 30 something. It's a long video. It's still a long video of me just going blah, blah, blah, blah, blah, blah at the camera. So. [02:20:49] Speaker A: Yeah, sounds like what we do every week. [02:20:52] Speaker C: Yeah, we just make long videos, which is a lot of editing. [02:20:56] Speaker B: Yeah, no editing. This is a lot more interesting doing on the fly than it is, you know. [02:21:01] Speaker A: It is, it is. [02:21:02] Speaker B: Yeah. [02:21:03] Speaker C: I. You'll hate me saying this because you're a professional videographer and I'm a photographer that started doing video, but I still, I learned to shoot log and stuff like that. And I still shoot log for my mountain bike work because someone else edits it and it's easier for them to have the option. But man, I do not shoot log and I do not color grade anything ever. I shoot it. I shoot it in a picture profile. I put it in 4, 2, 2, so 10 bit so that I have a tiny bit of latitude. But I put in a picture profile on the back of the camera and I make it look good and then I move on. [02:21:44] Speaker A: Yeah. [02:21:45] Speaker B: Justin, you. You hurt. You hurt my heart, mate. [02:21:47] Speaker C: I thought I would. [02:21:50] Speaker B: That's. But in. In saying that, that's why I don't use this nearly as much as maybe someone else would. Because you can't do that. I. I love sitting there color grading. That's the, that's the most fun bit about making videos for me is color grade it, right? No, no. I've. I've always, always love the post production part of it. And you can't do it with this. This looks terrible. The colors on this. It's a 10. [02:22:18] Speaker C: It's a 10. So it doesn't have like the log. [02:22:22] Speaker B: No, it's. It's got like the D log light. It's got the really. [02:22:27] Speaker C: Yeah, the flat. The flat profile. [02:22:29] Speaker B: Yeah, it's just a flat profile. So it's really crap. So I've never really like used it because I try and keep all, all that video work really nice and cinematic and consistently cinematic. Yeah, so. But that, you know, any excuse to buy more cameras as well. [02:22:48] Speaker C: Well, I mean, look, the, the. Yeah, Exactly. The, that R50V, that will be a good like you say, second camera, third camera, backup camera fits into your workflow. [02:23:02] Speaker B: Oh yeah, so. [02:23:02] Speaker C: So it makes sense. I'm not, I'm not trying to dissuade you from getting. No, I'm just saying that the pov, the POV style thing I think would work really well for the. Because it's like you can also work quick. Like if you're four wheel driving in the high country and you want to go and quickly shoot something, you don't have to be like, oh, I've just got to set a tripod up and put my R50V on it and then walk over there and shoot something. You just like just throw the GoPro on your chest and go and do your thing and just talk to the GoPro. [02:23:24] Speaker B: Yeah, yeah, yeah. And I do see that the other thing is like, oh, you're gonna, you know, kill me for this. I'm buying the kit with it. So I'm buying the little kit 14 to 30 or whatever it is with it for that exact reason of just being able to have it completely set up, ready to go. Click it on bang recording. You know, I'm. [02:23:47] Speaker C: I'll show you something I bought before we end this podcast. Yeah, which way? Just rolling on. Hang on. It doesn't get very favorable reviews, but I bought the Canon microphone, the digital one. So no chords. I really wanted to get rid of chords. And it's all controlled through the menu of the camera and it's even got its own dedicated menu button on the back of it. And you can adjust it from shotgun mono out to like 45 stereo or whatever it is and then like 180 stereo and it works quite well. [02:24:27] Speaker B: You like it pretty good. [02:24:28] Speaker C: Yeah, it's not, it's not. I had a Rode video mic Pro plus but I drowned that. And it's, it's not as good as that. But having no chords and having it just quickly go on and lock and I get digital. So you can, I can shoot four channel because I can still take two channels through the mic input. So. So I can actually have this on top and then run my DJI wireless mics and have four channels so I could get like ambient or backup. And like it's, it's pretty handy. [02:25:05] Speaker B: That's really, that's really not bad. [02:25:07] Speaker A: I, I, So does it transmit, Sorry, does it transmit purely through the hot shoe or does it use like a wireless. [02:25:14] Speaker C: No, hot shoe. So hang on, can I do that? No, it's not in product showcase mode there. So it's got extra connections. It only works on R5 2, R3 and R6. 3. Don't know about the R6. The modern, the modern hot shoes. [02:25:30] Speaker B: Yeah. You need the extra pins. Yeah. Active hot shoe or whatever they're called. I can't find mine. [02:25:37] Speaker C: But yeah, it's. So it transmits through that. Sony's been doing it for a little while. They've actually got, I think they've got two or three different ones that, yeah, and, and like a one that takes an XLR maybe as well. Like they've got. [02:25:50] Speaker B: Yeah, the top handles. Yeah, top handles for the FX3s, but Canon. Yeah, Canon just did that for their C50 or whatever. [02:25:58] Speaker C: C50? Yeah. I don't know if that top handle fits any other cameras. I haven't looked into that. [02:26:02] Speaker B: I'd love to see it. I'd love to see it fit the, fit the R5, but I don't know if you can see it. Just, just up in the back there, that little handle thing. That's a full cinema, like handheld cinema rig and that usually houses. I've got a shotgun mic on it that I actually connect to the DJI wireless unit. And so I can, I can do that four channels through the, the dji, one with the shotgun and then one with the actual unix. I got the dual unit one. Yep. [02:26:38] Speaker C: Nice. [02:26:39] Speaker B: And then you just do the left right. Yeah, the left right split. And then you've got one ambient or shotgun and then you've got the, the voice. [02:26:47] Speaker C: The voice, yeah. [02:26:48] Speaker B: Yeah. [02:26:49] Speaker A: Nice clever way to do it. [02:26:50] Speaker B: So that's for sure. I bet. Yeah. I don't know how I feel about the, the hot shoe mount one though, because I, I rig up a lot. [02:26:59] Speaker C: I was gonna say it's, I'm a run and gun. Like, I don't have a cage. I have nothing. I have no, I don't use a screen, anything. [02:27:08] Speaker B: What, like you don't even have like one of the. [02:27:10] Speaker C: Nope. [02:27:11] Speaker B: Really? [02:27:13] Speaker C: These. [02:27:13] Speaker B: Okay, I, I do have to say the, this cage is one of the best things I, I, this is not going to focus because I manually adjust it. But hang on, let me bring you up. It's somewhere bigger. Oh. Oh boy. Yeah. So this cage is probably one of my favorite things I've ever put on the camera. Side, Side strap. I Know it's not a lucky strap but boo. It will be, it will be. But the. That cage I. I have some very good. I've dropped. No one, no one who's buying my black magic heard this but that, that black magic took a tumble once. Came out completely undamaged. [02:28:01] Speaker C: But that was actually better than when he dropped it. Yeah, yeah, yeah. [02:28:08] Speaker B: No the, the black magic had a. We're out shooting just like this really cinematic video out in one of the rainforests and someone slipped over. The guy who had it wasn't me thankful thankfully but the guy who was using it slipped and he hit the ground camera like to his chest and lost grip of it. And I had the whole. I had the blackmagic caged. I had dual rails coming off of it. It was rigged, no damage, nothing. The worst I did was. Well worse that happened was the little ry coat thing. Like this guy snapped. That was it. Other than that nice. That's good. That cage like but there were scratches on the cage. You could see there were scratches on the cage where it had like grazed something. It was like wow. If, if that had been not rigged up at all that would be a very dead black magic. [02:29:05] Speaker C: Yeah. [02:29:05] Speaker B: So cages, cages are very worth it. [02:29:09] Speaker C: I've never, never used a cage. We do. We. We attach these camera straps to ours so then when we don't drop them. Yeah cage not needed. But other than that no, I just don't have it. I never use, I never use. I used to have a monitor and stuff like that. I just found that it didn't change the way that I shoot. Yeah it's just too fast too run and gun. I'm not doing pro interviews or anything like that. That level of like perfect perfection. [02:29:40] Speaker B: Even then, even then the monitor like just a quick bit about monitors. Like I don't, I don't find myself like it's on there but I don't find myself using it all that often. Like I'm usually use using Canon's little screen that they've got. I'm never really looking at a monitor so that kind of the monitors quick release just if I don't want it I don't have to have it. But back to the, back to the straps. I don't know if Greg told you the story I was going through. [02:30:08] Speaker A: What have I done? [02:30:09] Speaker B: Yeah, I was going through some of my old screenshots looking for something. I was looking for a receipt of clothes that I bought. I scrolled really, really far back. We're talking 20. I think it was 20. 21 or 20, 22, far back. And I saw a little screenshot list of things I wanted for Christmas. And the third image was a camera strap. [02:30:37] Speaker C: What sort? [02:30:38] Speaker B: It was. Oh, where's the phone? It was, I think the leather 2.0. It was. It was one of your camera straps. It was a lucky strap. [02:30:49] Speaker C: So I'm sad that Santa didn't get it for you, though. [02:30:52] Speaker B: I know, right? Right, Santa. Santa could have gotten it for me. I think it's. It's a favorited image because there was no way I was losing. Was in here somewhere. Oh, Lord, it better be in here somewhere. I can't find it. I can't find it off rip, but I'll send it to you, Justin. [02:31:18] Speaker C: Okay. [02:31:19] Speaker B: It is there, but yeah, no, I've known about you guys for a lot longer than I thought, which is really funny. [02:31:27] Speaker C: Yeah, that's very cool. [02:31:29] Speaker A: That's. [02:31:29] Speaker C: We've been around. We've been around. I think this is 12 years. [02:31:33] Speaker B: You guys are. You guys are in my, my local camera shop as well. Right next to. Right next to the R50Vs, there's a. There's a Lucky Straps. Oh, the display. [02:31:44] Speaker C: The display. Yeah. Yeah, we had a heap of them out in camera stores, so yeah, they were cool. [02:31:50] Speaker B: There's. [02:31:51] Speaker C: Yeah, there's. [02:31:52] Speaker B: There's plenty of. Plenty of display for you guys. [02:31:57] Speaker C: Look. [02:31:57] Speaker B: Hi, Finn. Hi, Finn. [02:31:59] Speaker C: Finn. Bee Gee. [02:32:00] Speaker A: Biggie. [02:32:01] Speaker C: I love you, Matt. [02:32:03] Speaker B: I. Finn. That's. That's all my brothers. That's one of my little brother's friends. Hey, dude. [02:32:10] Speaker A: Very cool. [02:32:10] Speaker B: Well, look, I think that might be. [02:32:11] Speaker A: A good place to wrap, I think today's conversation, but with that in mind, obviously, I just want to remind everyone that's watching or listening, whether it be live with us now. Thank you for joining us for wagging. Work for a couple of hours or you watch us later. This is the Camera Life podcast and it's probably brought to you by Lucky Straps, which is also us. We're Lucky Straps. So we support ourselves. It's a cycle thing that we have. But head to Luckystraps.com use code Greg at the checkout and you can get yourself a healthy little discount on a leather camera strap. We do wrist straps, we do wide straps for bigger bodies, we do thin straps for smaller bodies, and we offer amazing customization. Plus, every Lucky Strap includes a quick release system, which includes a buckle and a locking release system so you can take your strap on and off your camera at will in just a few seconds. Yeah, whatever you want. [02:33:05] Speaker C: Freedom. [02:33:06] Speaker A: But also while you're here, Watching the camera life. Please make sure you give us a like. It helps us out a lot. It lets other people know that we exist. And don't forget to subscribe and tickle the bell icon to always. So that way you'll get notified in your time zone when we're going live with our next show. And as we said earlier on next week we've got Peter Colson. Week after that we've got Bronwyn Kid, we've got Richard Grenfell. Plus we've got a bunch of. Of old friends co hosting with us on Monday nights. So make sure. [02:33:37] Speaker C: Do we have someone on this Monday night? [02:33:40] Speaker A: Not anyone really important, just Glenn Lavender. [02:33:44] Speaker C: The one and only. [02:33:45] Speaker A: The one and only. [02:33:46] Speaker C: Maybe we should see if we can get his song for the intro. [02:33:49] Speaker A: Maybe we should chat to him. [02:33:53] Speaker C: I'll unbox this on Monday night and we'll see what color it is. [02:33:56] Speaker A: Oh, yeah, I've got a box. [02:33:58] Speaker B: Yeah, they're a mystery box. [02:34:00] Speaker A: Okay. [02:34:00] Speaker C: They are a mystery box. Oh, you've got something too. Yeah, been shopping. Something else coming as well. [02:34:06] Speaker B: By the. By the way, Justin, you've got. You've got some great taste in storage. These things are great. [02:34:12] Speaker C: Which one? [02:34:13] Speaker B: The. The. The big racks. The big metal storage racks. They are so good, dude. Yeah, mine's. Mine keeps going. I don't know how far more of my screen you can see, but it keeps going. They are so good. [02:34:26] Speaker C: Yeah, yeah, mine's. Mine's my whole office. Hang up. Where are we? Do that and then. [02:34:33] Speaker B: Yeah, there you go. Yeah, yeah, it's like. [02:34:36] Speaker C: And it keeps going. Yeah, you look how messy my office is. Crazy. [02:34:41] Speaker B: Don't. Don't put my. Don't put my camera to widescreen. [02:34:48] Speaker C: All right, let's call it, shall we? [02:34:50] Speaker A: We shall call it. Matthew, just before we go, just thank you so much on behalf of us here at the Camera Live Podcast. Thanks for joining us and sharing with us your journey and your story and all the amazing things that you've achieved already in your career as a. As a professional photographer. We applaud that because it's not an easy market to get into, especially with the influencer crowd flooding every social media you can imagine. But you're creating differentiated work and I think more than anything, your motivation and desire to be better at what you do stood out for me the most. So congratulations and thank you so much once again. [02:35:25] Speaker B: Thank you, guys. Thank you guys for having me. It's. It's been great to chat with you guys and off air as well. It's been incredible. To talk with you guys and, you know, hang out at BFOP and everything. Keen to definitely do more throughout the year. We'll definitely all be in touch. But thank you so much for having me on. It's been some great conversations. [02:35:47] Speaker C: For these YouTube videos. I'm excited. [02:35:49] Speaker B: Yes. Yes. Keep an eye out. [02:35:51] Speaker C: Yeah, yeah. But Matthew Gaberg on YouTube, if you haven't subscribed, just. [02:35:57] Speaker A: Yep. [02:35:58] Speaker C: Search it. Subscribe. [02:36:01] Speaker B: Yeah, I said. I said hi up in the chat, so you can find it up there as well. [02:36:05] Speaker C: Yeah, cool. So very cool. [02:36:07] Speaker A: All right, well, let's play some music and let's say goodbye to some folks. [02:36:11] Speaker C: Justin Roki8048 so says good on you, Matt, mate. [02:36:17] Speaker A: Love it. [02:36:19] Speaker C: LTK photo says photo question. Photo question. Photo question. Photo question. Zombie. [02:36:26] Speaker A: Oh, the zombie apocalypse. Oh. [02:36:33] Speaker C: I know. I know what the answer will be to this is that. I assume that's okay. Yeah. [02:36:36] Speaker B: If you. [02:36:37] Speaker C: If you had to run off into the zombie apocalypse with just one camera and one lens, just one, what would it be? [02:36:47] Speaker B: One camera, one lens. [02:36:49] Speaker C: Yeah. [02:36:49] Speaker A: Gotta make it punchy. Come on, off the top of your head, the Zombies are coming. [02:36:52] Speaker B: R5, mark 2. 24. 105. [02:36:55] Speaker C: I knew it. [02:36:56] Speaker B: Lazy. [02:36:56] Speaker C: That 24 to 105. 2.8 is a zombie apocalypse. What? Couldn't you shoot with that? [02:37:04] Speaker B: Like, you could shoot everything with that thing. Whatever. [02:37:07] Speaker C: Play the music. [02:37:07] Speaker A: We'll see you Monday night, everybody. Be safe. [02:37:10] Speaker C: Good answer. Okay, Dennis Smith says, nice work, team. Matt, let's connect, man. Hey, there you go. Yeah, you won't find better advice on what you'll get from Dennis. Who else have we? Oh, Philip Johnson says, thanks, Justin. And Greg, special thanks, Matthew. Paul says you create your own luck. Oh, Julie Powell was here. Better late than never. Hi, guys. Hi, Julie. It was good to see you. David Leporati had to sign off early for an appointment. Oh, we missed. XY was in the chat. He says, hello, Greg. Well, thanks. Good to see you. No, thanks, everyone else. It was awesome having you all here with us today. And we'll catch you guys on Monday night or next week, Thursday with Peter Coulson. Goodbye. [02:37:54] Speaker A: See you guys. [02:37:55] Speaker B: Bye.