Copyright for Photographers (AI Edition) - The Random Photography Show feat. Denis Smith (EP167)

[00:00:00] Speaker A: It. [00:00:30] Speaker B: Well, g' day everybody, and welcome back to the Camera Life podcast. This is the random photography show and it is Monday, 11th March. So stick around tonight, especially if you want to learn a thing or two about copyright. And we'll even dabble a little bit into the world of AI copyright and how that's going to mess with your algorithms in the future. But of course, this is the random photography show where we talk industry news, we look at your images towards the end of the show, and we just basically chat about what's going on in. In the biz this week. And of course, I'm Greg, you all know that. And joining me is, is the boss. He keeps the lights on. Justin. G', day, mate. [00:01:08] Speaker C: How are you? [00:01:09] Speaker D: I'm good, I'm real good. I had a great Monday. [00:01:11] Speaker A: Very productive. [00:01:13] Speaker B: I look forward to hearing about that. And of course, joining us as a co host tonight is, is our good friend, Dennis Smith. G', day, balls of light. How are you? [00:01:21] Speaker C: Hey. Very, very happy to be. You know that I've got my together when I have the lights on in the studio and allowing you to see it. So I'm very. I'm very organized. Thank you and super stoked to be here. [00:01:36] Speaker B: Awesome. Great to have you on board then. Now we, for those of you watching along, your audio podcasters will have no idea who's in the room with us, but we're also joined tonight by Samuel Markham. He's here to talk about a special offer. G', Day, Samuel, how are you? [00:01:50] Speaker E: Hello, Greg. And everyone else. Yeah, I'm good. Good to be back. [00:01:56] Speaker D: Yeah. [00:01:57] Speaker E: Over the weekend and into the. Into the week now. [00:02:00] Speaker A: Yeah. [00:02:01] Speaker B: All too painful, isn't it? It's like rebirth. We'll jump into what you've got on offer in a moment, Sam, but first, Justin, you want to say good evening to some peeps. [00:02:11] Speaker A: I do because there's tons of them in the chat. Paul's. He says, woohoo, it's Monday night. He's here early. Philip Johnson is here. Craig Murphy is here. Somehow Dennis is in the chat and. And in. In the room with us. That's amazing. Lucinda's here. Good evening. Felicity Johnson. Brett Wooderson says, how do you all hope you've had an amazing Monday. I did, I really did. Rodney Nicholson is here. Rick Nelson is here. Lisa Leach is here. Craig Murphy. Good evening. Tristan X. First time catching live. Good to have you. Welcome. Good morning from Gareth Davies on the other side of the planet. Tweak Productions is here. Good to see you. Hello, party people. Tristan Says it's strange seeing all the [00:02:54] Speaker D: names of regulars for myself after a year of listening from the Apple podcast app. Well, that's awesome. [00:03:01] Speaker A: And yeah, you are all real. We are. [00:03:02] Speaker D: We're all real. [00:03:03] Speaker A: All of us. All of all real. John Pickett's here. Who else? [00:03:08] Speaker D: Who else? [00:03:08] Speaker A: Who else? [00:03:09] Speaker D: Lucinda is not a lawyer. [00:03:11] Speaker A: No. Hi. [00:03:11] Speaker D: Not a lawyer. Dennis. Not a lawyer. [00:03:15] Speaker A: John hall, good evening. First time I thought it was time to give the live chat a go. This is awesome. Everyone's jumping in the chat tonight. [00:03:21] Speaker B: Good one, yeah. [00:03:22] Speaker A: David Skinner, Roy Bixby, Phil Thompson's. And Tony get off. Hey, Tony. [00:03:30] Speaker D: Yeah, everyone's here. [00:03:31] Speaker A: We can start. [00:03:32] Speaker B: Very cool. Now, before we get into the show proper, Sam. Sam's come along to talk about a special offer he's got for one of his upcoming workshop Slack Slash Tours. But I will hand it over to you, Sam, to tell us a little bit about what you've. What you've got coming up and what you've got on offer. [00:03:52] Speaker E: Yeah, absolutely. So, yeah, I've got a tour going to the south island of New Zealand in July this year from the 2nd to the 11th. It's 10 days, nine nights. And yeah, I thought I'd jump on here, here on the Camera Life podcast and give the listeners a bit of an offer. So until the first of May, I'll be offering $500 off the workshop with the code WINTER. 500. And yeah, you'll. You'll be able to get $500 off that workshop. The. The workshop's capped at four participants, so it's a really, really small group of people. Accommodation and transport are included as well. And yes, starting in Christchurch and ending in Queenstown. And we basically do a bit of a loop of the. Of the west coast there and places like Mount Cook and Queenstown and Haas Pass are all included as well. [00:04:54] Speaker B: Very cool. Hey, Jay, can we just bring up Samuel's website with the. It's in the running sheet, the link. So 500 bucks. 500 bucks off is a. Is a pretty decent offer. Sam, is this a workshop you've run in the past? [00:05:08] Speaker C: Yeah, I have. [00:05:09] Speaker E: I've done this a handful of times now, actually, and it's always. It's always a fun one to do, especially in winter. You get the kind of the frozen lakes and the, you know, all the Hoar Frost in the mornings and. Yeah, yeah, it's gonna be. It's gonna be a good one. [00:05:24] Speaker B: You know, I didn't know anything about Hoar Frost. I'd heard about it in a Marvel movie. At some point I'm pretty sure. But other than that it wasn't until Brett Wood joined us who is a, you know, another amazing landscape photographer. He joined us a couple of months back and gave us a bit of an education on Hoarfrost. I'd never heard of it before. I'd never known what it was. I thought it was a mythical thing so it was fascinating to find out. [00:05:48] Speaker A: Well, New Zealand is a little mythical. [00:05:50] Speaker B: Well that's true. Dragons. [00:05:55] Speaker A: Yeah. Dragons. [00:05:57] Speaker D: Yeah. [00:05:58] Speaker B: Didn't you watch the Hobbit? [00:06:01] Speaker D: I fell asleep, I think. [00:06:03] Speaker B: Oh, that's so rude. [00:06:07] Speaker A: Only nine hours. What's wrong with you? [00:06:11] Speaker C: Very cool. So one of the things, being a New Zealander and saying you've never seen any of those movies is like the ultimate sin and I'm guilty of that. [00:06:22] Speaker B: Oh well, you always like to go against the the grain there Dan. That's why we love you so much, mate. Like the fact that we've got you on tonight to give legal advice but you're not a lawyer. [00:06:31] Speaker A: See that's how we do it. [00:06:33] Speaker B: That's how we do it here. We just run it really loose. So what dates? Sorry? What were the dates of the. We should get so sidetracked. What were the dates of this coming up New Zealand tour? [00:06:44] Speaker E: Second to the 11th of July. [00:06:47] Speaker B: The 11th. Yep. [00:06:48] Speaker E: Yeah, and the discount code for that one if anyone's interested is in all capital letters. So it's winter 500. [00:06:56] Speaker B: Very cool. [00:06:58] Speaker E: Obviously. [00:06:59] Speaker A: And this website is Samuelmarcum Photography. I'll throw it in the thing right now. [00:07:05] Speaker D: It's not already in the description? [00:07:06] Speaker A: No. Yeah, I can pop it in the [00:07:08] Speaker D: chat but I might also put in the description of this show. Yeah, if I can. I'll see if I can do that while we're live. Good enough. [00:07:16] Speaker A: Yeah. [00:07:17] Speaker D: It looks amazing. [00:07:18] Speaker B: Yeah, it does. So let me just read through a couple of the highlights if you don't mind Sam. So 10 days professional photography tuition. Get to explore amazing locations. What else have we got? Editing techniques as well will be covered off with Photoshop. Lightroom and camera Raw. Gain some understanding and knowledge on how to analyze and understand weather charts to make it, you know, make sure you're heading out in the best possible conditions. 9 nights accommodation in your own room. Transport at no cost to participants for the duration of the workshop. National park entry fees. And what about meals and stuff? That's what, that's what I always like to focus on. Are we going to get meals in there or is that at participants own expense? [00:08:04] Speaker E: Yeah, no, so. So I like to keep it open. Options open for the participants. So they have to pay for their own meals, but then obviously they can kind of, you know, gauge, you know, if they're really, really hungry, then they can get a big meal, if they're not hungry at all, and they can [00:08:18] Speaker B: get a small meal. [00:08:20] Speaker E: So, yeah, I like to keep it flexible. [00:08:22] Speaker B: Yeah, cool. [00:08:23] Speaker A: Nice. [00:08:23] Speaker B: Amazing. And so the offer is available until the. Did you say the first of May? Sorry, I should be keeping up first. [00:08:31] Speaker E: First of May, Yeah. [00:08:32] Speaker B: Yep. Amazing. And there's a booking. Booking option. [00:08:39] Speaker A: Yeah. And don't delay, though, because if it fills up, it fills up. [00:08:41] Speaker B: Yeah, yeah, yeah. [00:08:43] Speaker E: So I've only got. I've only got two spots out of the four left. So, yeah, come on board if you're interested or shoot me an email or anything like that. And there's a couple of optional extras on the workshop if you want to pay extra, obviously, just get in contact with me. So we do a scenic flight over Mount Cook. It's about an hour and a half, and we also do the gondola after over Queenstown, and we go and have a dinner over there at night and do some night photography up there, which is really cool. It's one of the last days of the workshop to kind of. [00:09:13] Speaker C: Yeah. [00:09:14] Speaker E: Pull everything together and end on a high note. [00:09:17] Speaker B: Yeah, it sounds amazing. It's definitely on the list. [00:09:23] Speaker A: Have you. Have you not been to nz, Greg? [00:09:26] Speaker B: No, I had, but it was years ago. My late wife and I took the kids. They're only young. They were, like, under 10, I think, and we went to. I went to Wellington and. But we were staying with friends, and to be fair, it just felt like we were in a grungy suburb of Melbourne. [00:09:43] Speaker C: So. Yeah, Wellington is basically Melbourne. [00:09:46] Speaker B: Yeah. Like, it just felt like we're in, like, Prahran, you know, hanging out on Gravel Street. Like, it was just really. Which was great because it felt like home. But we didn't really get to see much of New Zealand. We did go up to Mount I'm gonna. I'm gonna screw this up. I'm sorry. Is it a papa? [00:10:01] Speaker C: Yeah, your papa. [00:10:04] Speaker B: Well, Mike, my kids thought that was hilarious. Hilarious, because they call me Papa instead of dad. And when we went up there, they were just constantly making jokes about, hey, Mama, you gonna a papa. So, anyway, [00:10:20] Speaker A: That's awesome that I did ski. [00:10:22] Speaker B: Oh, no, I didn't skate. The kids skied. I just rolled around the snow with my wife. So there you go. [00:10:26] Speaker A: Oh, so you did. [00:10:31] Speaker B: Oh, yeah. [00:10:35] Speaker A: Anyway. [00:10:36] Speaker B: Oh, dear. [00:10:37] Speaker A: Well, it sounds like an epic Trip Samuel. [00:10:39] Speaker D: Whoever gets those last couple of spots is going to be very happy. [00:10:42] Speaker B: Amazing. Amazing opportunity. Any final words from you, Sam, before we throw you out? [00:10:49] Speaker C: No, not really. [00:10:49] Speaker E: I've got a couple of other obviously number of different workshops running at the moment, so. Like Kiama, Sapphire coast and I've also got some. Another one in Canada later this year. So, yeah, if anyone's, anyone's keen for a workshop, get in touch and more [00:11:05] Speaker C: than happy to have a chat about them. [00:11:06] Speaker E: But yeah, I'll leave you guys to it. I'm looking forward to the rest of this show with copyright and AI and yeah, I'm sure that I'll gain some knowledge from today's show as well. So, yeah, thank you for having me for this little short stint and hope to be back soon. [00:11:21] Speaker B: Anytime. Great to have you. And just, just very quickly before you go, if anyone wants to watch or catch up and understand a little bit more about Samuel's work and his journey, if you head to the Camera Life podcast, It is episode 143 and you can find it in the, in the live section of all of our videos on YouTube. So, yeah, check it out. But look, we wish you all the best. Stay in touch. Let us know how everything goes while you're away. And, and yeah, we look forward to your return and maybe we'll get you on at some point to talk a little bit more about what you've got coming up in the second half of the year. [00:11:54] Speaker E: Absolutely. Thanks guys. I'll cool. I'll see you soon. [00:12:00] Speaker B: See you, mate. [00:12:05] Speaker C: Very cool. [00:12:06] Speaker A: How do I change this? Oh, there we go. [00:12:08] Speaker D: Now we're bigger. Look at that. Fix this up. [00:12:11] Speaker A: A little bit of this. [00:12:13] Speaker D: You want to. You don't be so close. [00:12:19] Speaker A: Okay. All right, so now what? [00:12:22] Speaker B: Well, now we get to talk. First of all, let's just get a little catch up from you, Dennis. You've just been away on a whirlwind tour of central Australia. [00:12:33] Speaker A: Yeah. [00:12:34] Speaker B: Tell us a little bit about your. Your weekend. [00:12:37] Speaker C: Yes, I've just been up with Adam. Well, we had dinner the other night, but I met a guy, we have a mutual friend who is doing some incredible work regional Australia around suicide awareness. In. In you. In youth. He has a. He has a rather tragic story of loss of his daughter and he's taken. Taken that loss and he is turning it into creating this astonishing awareness and he's trying to make a documentary. He's working to make a documentary about it. And we met, we've met a few times that I said to him once, if you ever need a hand on that journey, give me a call. And he called and I went and so yeah, spent three days basically shooting. So just getting footage at events and stuff. Sitting on his deck, looking at sunsets, talking about life and grief and it was remarkable. I made a lot of connections up there with mental health providers. My goal is to be doing a lot of work in regional Australia in helping people that struggle to get help. So it was a beautiful weekend. It was hard but ultimately just gorgeous. Yeah. Met some people doing some beautiful things and made it back which is always great. Hey, it was bloody expensive. $3 10 a liter in the tank. So it was a cracker. But no, I had a beautiful time. Lovely weather going up from Adelaide to Broken Hill. I always leave early in the morning and you get this wild misty sometimes rich. And it had been raining a lot. Said it was green this time. I think that's the thing in Australia is you. It never changes. You know, old mate there is heading to New Zealand. You can guarantee it's like the same as it was six months ago, a year ago and 10 years ago. Whereas here in Australia we get the luxury of seasons and yeah so that. There we go. Summary. [00:14:29] Speaker D: Beautiful. [00:14:30] Speaker C: That was quick. I like it. [00:14:31] Speaker B: Wow. That's unlike you. And what about you Justin? What have you. But how much does it cost you to fill up the van? Have you filled it up since the world went to. [00:14:39] Speaker A: Nope, haven't filled it up. [00:14:42] Speaker D: I'm just gonna avoid it. I'm just gonna not. I'm not going anywhere. [00:14:46] Speaker A: I'm just gonna stay here. Nah, it's so. It's. It's an 80 liter tank so it won't be. [00:14:51] Speaker D: It doesn't break the bank when I fill it up with diesel. So it's not too bad. It's not like these are some of the big four wheel drives with the big tanks. A friend of mine, I think he went. [00:15:01] Speaker A: So he started a trip to Far [00:15:04] Speaker D: North Queensland one week ago towing a caravan up there. We're all like oh that's bad timing. And when he, when he filled up his four wheel drive to leave, I think it was five or six hundred dollars because he must have like a big, a big long range or whatever on the thing. Yeah. But anyway so yeah, hefty. [00:15:28] Speaker A: Oh Craig Murphy says feels expensive. 299 so far on our trip. Hair goods. [00:15:32] Speaker D: 299. They're like no, no we're not. [00:15:34] Speaker A: It's not $3. [00:15:35] Speaker D: It's only 2.99. It's fine. [00:15:37] Speaker C: Yeah. [00:15:39] Speaker A: Oh yeah. Lucinda cost me 97 to fill half of my Subaru. See, that's the problem. Lucinda Subaru is not a good fuel [00:15:47] Speaker D: carrying container that you can't fill it up. [00:15:50] Speaker A: It'll. It'll. It'll cut them out of the door seals and stuff. [00:15:53] Speaker D: That's very dangerous. Don't do that. [00:15:54] Speaker B: Not good for your skin either. [00:15:57] Speaker D: People probably are doing that at the moment. Just straight in the back seat. [00:16:02] Speaker A: Samuel Mark of 230 for 70 liters yesterday. [00:16:05] Speaker B: That's crazy. [00:16:06] Speaker A: Oh, that's. Yeah. Okay. [00:16:08] Speaker D: I'm staying at home. Yeah. [00:16:10] Speaker C: Yeah. Well, I was driving on the open road. Yeah. Seeing all the people towing caravans. I was just like, oh, my God. Yeah. [00:16:18] Speaker B: Your cheap holidays just become. Yeah. Twice as expensive. [00:16:21] Speaker C: Yeah, yeah, yeah. [00:16:25] Speaker B: You said you had a good day today. What. What. What transpired in your day to make it such a top of the. [00:16:32] Speaker A: Well, AI was on my mind because [00:16:34] Speaker D: of this show that was coming up. [00:16:36] Speaker A: So I actually had a little bit [00:16:37] Speaker D: of an experiment and I let. What. [00:16:40] Speaker A: I heard this on YouTube. [00:16:42] Speaker D: I can't remember who said it, but I'm calling. I call it Chat Jupiter now because it's more fun. Instead of Chat GPT, Chat Jupiter sounds like a friendly little character. So I let Chat Jupiter be my boss today, and I got it to set priorities based on things that I want to have done in the next few months. And then I just let it choose my tasks. And then I told it when I was feeling like I didn't want to do that task anymore. And it would either suggest an alternate task or it would chastise me for not sticking to my plan, depending on my mood level. And it was. [00:17:20] Speaker C: Wow. [00:17:21] Speaker D: And it. And it actually worked quite well. [00:17:23] Speaker B: So. [00:17:23] Speaker D: Yeah. [00:17:24] Speaker B: So Yelena's out? Is that what you're saying? [00:17:26] Speaker A: No, the thing is she doesn't. She doesn't have the time to. [00:17:32] Speaker D: To do this much work to keep me on track. [00:17:35] Speaker A: She hasn't got that kind of time. [00:17:38] Speaker D: She would take all day. [00:17:41] Speaker A: Yeah, it was. I had a CEO day. Exactly. I had a CEO day. But I had. [00:17:45] Speaker D: So it was like. [00:17:46] Speaker A: Yeah, a CEO that has an executive [00:17:47] Speaker D: assistant telling them exactly what they should be doing at any one moment because they're the. They're the real heroes. [00:17:53] Speaker B: I missed that. [00:17:54] Speaker A: Hey, I didn't do nothing. Look at this. [00:17:57] Speaker B: It does sound like that. That's what I'm hearing. He just spent the day playing. Oh, what's that? I'll build Lego. Okay. [00:18:06] Speaker D: Oh, I'll talk to you. Yeah, I have a LEGO idea. I can talk to you. About that later. [00:18:09] Speaker C: Oh. [00:18:10] Speaker A: But yeah, otherwise good weekend. It was Yelena's birthday. Happy birthday Elena. And we had a bit of a [00:18:18] Speaker D: Mexican fiesta in the backyard. [00:18:19] Speaker A: I smoked meat for 18 hours and [00:18:25] Speaker D: it was, it was good. [00:18:28] Speaker C: Adam Edwards made me pizza on Sunday. Saturday night he has this. He's like a proper pizza and he made me pizza and it was wild, man. It was. Yeah, he's. He's quite the chef, I can tell you that. [00:18:42] Speaker D: Was it like, like a Pete. [00:18:44] Speaker A: Has he got a big pizza oven or what was it crazy thing? [00:18:48] Speaker C: It's about, about half a meter round but it's like a proper gas powered thing. But yeah, yeah, I, I know Peter. And this was the wild. I'll tell you what, he's got it down. [00:19:01] Speaker D: Don't make it trip up. [00:19:03] Speaker B: Yeah. [00:19:06] Speaker A: How was your weekend, Greg? [00:19:08] Speaker B: Pretty quiet. Sash was, Sash was a bit crook. She had all of last week off. So we just sort of lay. Lay low at home and we just hung out and when no one was looking, we'd order takeaway just for the two of us. Try feeding eight people fish and chips. Let me tell you about cost of living crisis. [00:19:31] Speaker C: Oh yeah, yeah. [00:19:32] Speaker A: A minimum chips isn't going to cover that. [00:19:35] Speaker B: No, it doesn't. It really does. So yeah, no, we just hung out at home and we did a few things around the house and you know, just the usual was nice. I, I was saying to Dan earlier today, we had a chat on the phone which was lovely always and I was saying I haven't picked up my camera in like 12 weeks. Just haven't really felt compelled to grab it. So I'm gonna try and do some stuff tomorrow. Might do some more. More stuff just even indoors around the house. But so yeah, overall we're doing okay. [00:20:07] Speaker A: Good to hear. [00:20:09] Speaker B: Thanks mate. Well, let's get stuck into the camera life podcast random photography show proper. And it wouldn't be a Monday night if we didn't talk about a little bit of news and social awareness. Should be jumping to that. [00:20:23] Speaker A: Yeah. But before we do the news, we should. We got to pay the bills. [00:20:25] Speaker D: I got to do. I got to do an ad read [00:20:27] Speaker B: for the ad read. Yeah. [00:20:28] Speaker D: This business. I don't know if you've heard of [00:20:30] Speaker A: lucky camera straps, but I decided tonight instead of us just making up something [00:20:33] Speaker D: on the fly, I'm going to read something out that a customer sent in. [00:20:37] Speaker A: A five star review from Brian Gutzman. Real person, beautiful and comfortable. This is on the Deluxe 45 Stealth Black Limited edition. Which is. [00:20:51] Speaker B: Oh nice. [00:20:55] Speaker A: Which is. [00:20:56] Speaker D: Which is this Bad boy. Yeah. So it's like the leather has like this black like cross hatch pattern, kind of like basket weave from, I don't know, like a Japanese warrior or something. Anyway, and Brian goes on to say, [00:21:12] Speaker A: I honestly don't know what one could [00:21:14] Speaker D: do to make anything better. [00:21:16] Speaker A: The craftsmanship of old world masters with [00:21:19] Speaker D: a very modern and comfortable addition of material. [00:21:22] Speaker A: It handles camera and a huge glass [00:21:24] Speaker D: telephotos that is all ad over. [00:21:28] Speaker B: Nice. [00:21:28] Speaker A: Can't. Can't say any better than myself. [00:21:31] Speaker B: No, you can't, that's for sure. So folks, you heard it here first. Head to Luckystraps.com who are of course the sponsor of today's episode and every episode of the Camera Live podcast. And yeah, check out everything we've got on offer there. We've got straps for every style and size of camera that you could possibly imagine. Broader shoulder and neck straps. So smaller wrist straps. You can create the perfect strap for you. You can even customize it. Use Code Greg at checkout and you'll get yourself a healthy little discount. But yeah, nice. Let's jump into the news. [00:22:08] Speaker A: Where do you want to start? [00:22:10] Speaker B: Let's start from the top. Oh, no, hang on. Let's talk social posts first. Okay, my bad. Sorry everyone. Let's go with social media. So every week I kind of keep an eye on the socials to see if any interesting camera news or any cool little things come up that are related to photography, anything random. Because, you know, this is the random photography show. What do we call it, Dennis? [00:22:32] Speaker C: It's the, this is the random shot of your show. [00:22:34] Speaker B: There, you heard it. You heard it, folks. A couple of little quick clips which will only take a minute to, for Justin to throw up on the screen. Anytime you're ready, boss. [00:22:45] Speaker A: I'm about ready. It's like we did in rehearsal and oh, it's like he's wearing a GoPro. [00:22:53] Speaker B: Yeah, he's got the, the ultimate cine GoPro, which is a Sony. Oh, I can't remember what camera it is. It's one of those. [00:23:00] Speaker C: What? [00:23:01] Speaker B: It's not like an fx. It was, it's something bigger production value and, and what it does is it, it allows the, the cinematographer to wear the helmet and actually see directly what he's actually photographing within frame. [00:23:16] Speaker A: Oh, so that's why it's got like the eye. Ah, that's clever. [00:23:20] Speaker C: It's like teleprompter for the head. [00:23:22] Speaker E: Oh. [00:23:22] Speaker C: Like it says there. [00:23:23] Speaker B: Yeah, yeah, yeah, that's exactly what it is. Dan, you're spot on. So basically the, the, the videographer filmmaker can actually interact with both their hands free. And it looks, that looks like a natural point of view. It's kind of like the ultimate pair of Ray Ban. What are those? Metaglasses? [00:23:42] Speaker A: Yeah, yeah, yeah. Just slightly better quality. [00:23:46] Speaker B: Slightly better quality. [00:23:47] Speaker A: Hang on. [00:23:47] Speaker B: I have seen something like this before, but the camera was mounted on top and it was for skydiving. Videography. [00:23:52] Speaker C: Yeah. I used to skydive a lot and, and back when I was skydiving the, the camera, it was hilarious. The people would put on their head, you know, these days, just a GoPro. But it was wild. It's exactly what it looks like. [00:24:07] Speaker A: Yeah, I remember seeing like big good [00:24:10] Speaker D: camcorders just strapped to the side of people's helmets. The neck pressure that that would have caused. [00:24:18] Speaker C: Anyway, anyway, that's that one. [00:24:22] Speaker B: The next one I thought was just a little bit of fun. A few months ago, Sasha and I went down to Smith street in Collingwood. Amazing area. And we found. We came across this little photo booth that does the little strip of four images. And the great thing about this photo booth is that on top of the booth they had a television sitting and they had a live feed camera showing what the interior of the photo booth was actually doing to process the, the images so quickly. And this is just a. Another. It's not from the same photo booth, but it's. It's basically showing you how those photo booths work from the inside out to get your. Your quick snaps out very, very quickly indeed. I think it only takes like it's under 10 minutes. [00:25:07] Speaker A: 10 minutes. [00:25:08] Speaker C: Very cool. I love it. [00:25:11] Speaker B: It's pretty quick. [00:25:11] Speaker A: Wow. [00:25:13] Speaker D: Very cool. [00:25:14] Speaker C: Oh, that's amazing. [00:25:15] Speaker B: Yeah, like it. [00:25:16] Speaker C: Yeah. [00:25:16] Speaker B: Dips it into the different chemicals and then it goes into a drying mode and. Yeah. Yeah. [00:25:22] Speaker A: God, 84 dips for a single photo. What? [00:25:29] Speaker C: Now that makes a lot of sense actually, when you think about. I suppose I've never really wondered how those machines worked, but. Yeah, roll in there once every few days and replace all the chemicals in [00:25:40] Speaker B: the water and stuff and the paper and. Yeah, make sure it's all working right. [00:25:45] Speaker A: That's crazy. [00:25:45] Speaker B: But it's pretty cool actually. The one, the one in Collingwood, that session I went to, it also had a, like a vending machine that was selling film and Instax slide, large format or like, you know, medium format film, 35 mil film and disposable cameras. So it was just a cool little hangout spot. A couple of benches, you know, people just sitting in there chatting, waiting for their photos to develop. It was really Cool. [00:26:11] Speaker C: I love it. [00:26:12] Speaker B: It's kind of a project there for someone, the right person, you know. Yeah, definitely something School too, can be done with that. Yeah. Anyway, I thought that was pretty cool and worth sharing because we don't often get to see that. And like you said, Dan, I'd never thought about it before. How the hell do they get those done? Like, you know. [00:26:29] Speaker C: That's amazing. [00:26:30] Speaker A: Tony wants to know, are there any in the city, Greg? [00:26:33] Speaker B: Yeah, there is. There's one outside Flinders Street Station at the intersection of Flinders and Elizabeth. There's one that. [00:26:39] Speaker A: It's been there forever and it would be like this. [00:26:42] Speaker D: It doesn't just have like a little print. [00:26:43] Speaker B: No, no. [00:26:44] Speaker D: In there or something? [00:26:45] Speaker B: Yeah, no, same thing. It's old school. Yeah, yeah, yeah. [00:26:48] Speaker D: Cool. [00:26:52] Speaker B: So. Yeah. [00:26:53] Speaker A: Nice. [00:26:53] Speaker C: Next thing, next thing, next thing. Joel will be doing that at weddings, I bet. [00:26:59] Speaker A: Yeah, he'll have it. [00:27:00] Speaker D: He'll have a backpack with it in there. [00:27:01] Speaker C: Yeah. [00:27:05] Speaker D: Just stuff sloshing everywhere. [00:27:07] Speaker B: Yeah. This is interesting. I think this was CBS's studio that they set up for the. I know. ABC. There you go. Sorry, my bad. This is how they. How they filmed and presented part of the Oscars. [00:27:21] Speaker C: Ah. [00:27:22] Speaker B: And these are all. Yeah, these are all robotic camera systems. [00:27:28] Speaker C: That's cool. [00:27:29] Speaker B: So they're on these. It's like sort of like an Amazon warehouse. You know, there's all these little sliding parts moving around really fast. These things mean that there's no camera operators, which is terrible, but there's no camera operators. They all. They can be like pre programmed. They can, you know, they obviously are aware of each other spatially, so you're not bugging, they're not banging into one another. This is how they. How they kind of get away with doing it with as little on the ground as possible. [00:27:57] Speaker C: They don't have a robots union yet. [00:28:00] Speaker B: They don't have a union. [00:28:01] Speaker A: Not yet. [00:28:04] Speaker B: But yeah. Oh, it was pretty wild. [00:28:06] Speaker A: Yeah. That's scary. [00:28:08] Speaker C: Yeah. [00:28:08] Speaker B: Yeah, it is, isn't it? [00:28:09] Speaker A: Yeah. Wait till you just replace the cameras with guns. Anyway, [00:28:16] Speaker B: mirror very quickly, I mean. And the last little. The last little social media news, I'm seeing lots of good things on socials and on YouTube for the new Tamron link device that the Bluetooth connects to all of the new and some of the older Tamron lenses. And the people are calling this an absolute game changer for. Especially for videography because you can actually set it up to do automated, like, focus pulls all through this little. This little thing that you plug into the base of the little Bluetooth dongle. That you plug into the base of the lens and then there's a companion app and so you can alter what the parameters of your lens are, what it can achieve, how, how fast you want it to focus in and out. All sorts of stuff. It's pretty crazy. [00:29:12] Speaker C: Some really good stuff. I mean they always have, but they are doing some particularly good stuff at the moment. [00:29:18] Speaker B: Yeah, I think from the, from the third party lens crowd, I think, you know, I think they're really up there in terms of. Yeah. Making waves for first party develop, like develop glass. [00:29:31] Speaker A: And I think, I think that's the thing is like there's only so much [00:29:35] Speaker D: space to just go. Let's make either similar to first party but at a better price is one strategy that they used to adopt. You know, like, hey, our primes are just as good but they're half the price. Then it's always going to be a race to the bottom price wise. Or then they went the route of let's make lenses that first party companies aren't making. Let's fill the gaps. But now the first party in all the new mounts, they all seem to be heading that way a little bit as well. They're making different lenses, they're filling in weird gaps and stuff like that. So for the third party manufacturers, the higher end ones like Tamron and Sigma, they've really got to go. What, what else can we bring to the table that first party aren't going to. [00:30:18] Speaker C: Yeah, still make them really good. [00:30:21] Speaker A: Exactly. Yeah, still making amazing lenses but they're [00:30:24] Speaker D: doing something else as well that you can't get from your first party system. And it's like that's, yeah, that's, that's mega. [00:30:30] Speaker A: Yeah. [00:30:31] Speaker B: And more and more we're seeing third party lenses when they get reviewed, people say I think this tops Nikons or Canons or Fuji's version. You know, we're seeing this, this sort of next level, next generation of lenses which is great. Let's jump into some news articles. Won't spend too much time on these again. There's not a huge amount of news going on. Lots of rumors out there, but that often just is indicative of a slow news week or month. And the rumor sites kind of tend to invent things or they. I saw one of them, I think it was on the Fuji rumor site, someone saying, oh, as I first, as I first revealed back in 2019, this company is now working on, this is, is rumored to now be working on this lens again. And it's like, oh come on dude, how long are you going to Recycle that seven year old rumor, you know. [00:31:19] Speaker A: Yeah. [00:31:22] Speaker B: Something very quickly. Last week we, we saw a sneak peek of a new Fujifilm Instax camera. That was the new wide. It's a new version of the wide. Do you remember that, Justin? It had like the five little dots around the knob. [00:31:36] Speaker A: Yeah. [00:31:37] Speaker B: Up in the corner. That's just the self. Yeah, that's just the self timer mechanism. It lights up as the timer counts down. It's nothing. [00:31:44] Speaker C: Here it is. Is it just the color or is it finally. Has it got a problem? Proper shutter so it could do bulb. [00:31:53] Speaker B: I should have looked it up. [00:31:53] Speaker C: Sorry. [00:31:54] Speaker B: Dan. [00:31:54] Speaker A: Can it. [00:31:56] Speaker C: I don't care. [00:31:57] Speaker B: There's a lime green version which is more in line with what Instax tend to do with their. With their cameras. But this one's being called the grown up version just because it's black. It's all black. [00:32:11] Speaker A: Did it. [00:32:12] Speaker B: Yeah. [00:32:12] Speaker A: Has it changed? Because it says here, while retaining the same features, operability and body design of [00:32:18] Speaker D: the Wide 400, a new color option. Jet black is pretty much the line. [00:32:21] Speaker B: It is, it's just. [00:32:22] Speaker C: Okay. [00:32:23] Speaker A: Yeah, but it is a nice color. [00:32:25] Speaker B: Yeah, it looks good. [00:32:27] Speaker C: Look, I love the idea of those wides. It was when I was doing that project last year. I. My fantasy was to shoot them on that larger format. Yeah. And yeah, it would. That would. [00:32:38] Speaker B: But there's. [00:32:38] Speaker C: But there are so many options now. I would just love to do one with Fuji. But yeah, there are definitely. [00:32:44] Speaker B: Bob. [00:32:45] Speaker C: Bob. [00:32:46] Speaker B: A bill wides. [00:32:48] Speaker C: For sure. [00:32:49] Speaker B: Yeah, for sure. Most definitely. What else? A new. Another new Instax Mini has been announced. This is for the. The ones that you use den at BFOP last year that. The Instax mini film. And there's a new mini 13 that has been announced. [00:33:06] Speaker A: Oh, look at that camera. [00:33:08] Speaker B: Yeah. [00:33:09] Speaker A: Is it gonna focus on me? Apparently it's not. [00:33:11] Speaker D: Oh yeah. [00:33:11] Speaker C: Oh, there it is. Oh, that is so sick, man. [00:33:15] Speaker B: Yeah, that's cool. [00:33:18] Speaker D: Good. [00:33:19] Speaker A: Not many people have one of these. Actually quite a lot. Actually. Quite a lot of people got one [00:33:24] Speaker D: considering it was only an hour. [00:33:25] Speaker B: Yeah, that is a one depending on [00:33:29] Speaker A: how you look at it. [00:33:31] Speaker C: I can. I've got a note. We're going to be talking about that series in copyright and AI tonight. [00:33:37] Speaker B: Oh, cool. [00:33:38] Speaker A: Oh no, by showing it on this, I've probably just signed the copyright of that over to YouTube. I don't even know how that works. We'll talk about it. Sorry, Craig, what do you want me to. Did you want me to pull something else up? [00:33:50] Speaker B: No, no, no, no. Oh yeah. Let's bring up the, the EOS R7 Mark II rumored specifications. [00:33:57] Speaker A: Oh yeah, I haven't looked at this. [00:33:59] Speaker B: They seem to get a bit of a, an update every, every few days with some new details. So I thought it'd be, I thought I'd cater to your needs, Justin, this time. [00:34:08] Speaker A: Well, I, I, hey, I won't be buying it. [00:34:10] Speaker D: It is a crop sensor and you know how I feel about them. [00:34:16] Speaker A: But no, seriously, it's not, it's not a camera that's on my radar at all. But I know the, the seven series line from Canon has long been a sports and bird photographer's [00:34:31] Speaker D: sort of camera because it gives them extra reach over their full frame options when they throw their telephoto lens on it. Crop sensor. The [00:34:41] Speaker A: 7D Mark II was super popular [00:34:43] Speaker D: for sports photographers and bird photographers. And I think pretty much since that camera, everyone's complained that it didn't really have a proper successor where it was a pro feeling body and a pro featured body. But a crop sensor. [00:34:58] Speaker B: Yeah. [00:34:58] Speaker D: So I wonder if this will be it. [00:35:01] Speaker B: Well, if these rumors are anything to be believed, they're saying it's going to have a 39 megapixel stacks, a backside illuminated stack sensor. The sensor speed is going to be close to the R5 Mark II. It's got the Digic accelerator, it's got 40 frames per second electronic shutter, pre capture, dual SD slash CF Express. So it's, you know, we are seeing some pro features rumored and again it is rumors. So [00:35:34] Speaker A: this is an interesting one here. [00:35:36] Speaker D: Body ergonomics, close to the R6 Mark III. [00:35:39] Speaker A: If they do that. [00:35:40] Speaker D: I think that will tick a lot of boxes for people because that's got the same like it's got a joystick for autofocus and stuff like that. It's a, it's, it's a pretty full Featured body. The R6 Mark III. Yeah, I've been enjoying shooting with that. [00:35:55] Speaker B: So cool. [00:35:57] Speaker D: Yeah. Awesome. [00:35:58] Speaker B: So then that's that. What else is happening? Oh, Nikon put out a notice. They've, they've made some mistakes from one of their factories. Can we jump to the Nikon reports? Manufacturing issues. [00:36:14] Speaker A: Huh. [00:36:16] Speaker D: Bringing it up. [00:36:17] Speaker B: So Nikon have come out and admitted that there seems to be a problem with some of the lenses manufactured in one of their, one of the sites. The Z6 Mark III, the Z5 and the new ZR cinema camera haven't met Nikon's internal standards. And I think they're saying oh yeah, there's a, there's a, a way to Check your serial number against a database to see whether it is actually affected. And then I think you have to send your camera in to be fixed. [00:36:53] Speaker C: Have they said what the problem is? [00:36:57] Speaker B: I don't know that they went into that much detail. [00:37:00] Speaker C: Yeah. [00:37:00] Speaker A: Serial number may cause the cameras to become inoperable. That's a big one. [00:37:06] Speaker B: Yeah, just a small error. [00:37:08] Speaker A: It's a big one. [00:37:12] Speaker C: Yeah. [00:37:13] Speaker A: Well, you don't want that. You don't want your camera to be inoperable. Operable is definitely better. Operable is preferable. That'd be a nice T shirt. But yeah, I'd be checking that if [00:37:24] Speaker D: I had a Nikon, and particularly if I had a Nikon, I was a wedding photographer, I would be. I would be checking that post haste. [00:37:32] Speaker B: Well, didn't. Didn't Adam take one of. He took a ZR as his backup, didn't he? To. [00:37:37] Speaker C: I, I, And I have no doubt that he will chat more about this at some stage or, or. But I was lucky enough to. To have a look at some stills. I hope I'm not stepping on your toes here, but yeah, I, I think, you know, the ZR is thought of as a video camera, much like my. I've got two Sony A7 S3s, which is the greatest video camera ever made. And they. Neither of them have ever made a still image. And he was showing me some stills that came off that camera and they were pretty mind blowing. [00:38:07] Speaker B: Yeah, nice. [00:38:09] Speaker C: Yeah. Which was. Which is really nice. Look, I think when I look at that article, what it makes me about is. And this is something that pros do automatically, but if you're heading away on a trip or whatever, even if you've got an old camera sitting on the shelf, chuck it in. You just never know, right? If you're in a place having a great time and you either drop it, it gets wet, or some. Anything happens, pulling something out of the bag is really good. Even if it's an old dun. You know, I, I always had. Well, of course too many cameras in the car. But yeah, there is the odd occasion when it's nice to just have a backup. [00:38:42] Speaker B: Hey, on that day, let me ask you a question. What's your. What's your go to road trip? Sitting on the. On the passenger seat set up. [00:38:51] Speaker C: What a fantastic question. It's exactly this and it has been for quite some time. So I have a. An Olympus EM1X, which is their pro large body with the two grips with a 40 to 150, which is an 80 to 300 equivalent F 2.8 it is sick man. Like I have it on the, I have it on the seat and it means I can just pull over and grab stuff or if I jump out. And the Q3 for wide and that for quite some time has been my, on the spare seat kit. I've just, I just unloaded my cards from this trip and just some absolutely stunning images of um, both of those. But particularly the nice thing about the Olympus is it is um, it's relatively light and that 150 is a 300 mil reach and, and so. Yeah, but that's been my spare seat kit for a long time. [00:39:45] Speaker B: Nice. Nice. [00:39:46] Speaker D: Yeah, it's a cool setup. Those two cameras. [00:39:49] Speaker C: Yeah, yeah, it's red. I, I mean I, I, yeah, I love it. It's a, it's a, it's a, it's a remarkable camera because it's hyper, hyper fast shutter speed if you need it. And it's also something I'm, it's just second nature when I pick up any of those Olympus bodies. It's like, it's just automatic. Like I'm so familiar with them. [00:40:11] Speaker D: Yeah, that's such a big part of it too. And I'm sure it's the same with the Q3 now like you shot with it so much so. Yeah, you don't have to think about anything and you just pick it up and, and you're already doing it before you thought about it. [00:40:23] Speaker C: That's it. I'm doing a little trick. Like I, I try, I try not to stop too much on those trips, especially this one, which is a particularly beautiful one. On my next trip up I'm going to do something. I do a thing where I stop every 50km on the button and, and, and have to get out the car and make an image there rather than doing what I do now and that's just put the blinkers on and go 150 kilo. [00:40:46] Speaker A: I'm guilty of that too. I've, I taken so many mental photos on the way past places and gone. Oh I just have time to stop or it would probably look better with [00:40:58] Speaker D: better light so I should come back another day and shoot that thing and I never, never do. Yeah, I really need to just stop and just take the photo and if it's, if it's not great, then it doesn't matter. [00:41:09] Speaker A: Yeah. [00:41:11] Speaker D: Take three minutes and I just, I don't know. Yep. [00:41:14] Speaker B: Yeah, for sure. [00:41:15] Speaker A: Craig Murphy says love my EM1X sitting on the back seat right now. [00:41:21] Speaker B: Nice. Well, speaking of Olympus. Oh, you want to read that last question? [00:41:27] Speaker D: Sounds Like Nev's found his, his passenger seat camera. [00:41:31] Speaker A: That's why I bought a Q3. [00:41:32] Speaker D: Yep, I'm a little bit of an image quality snob. I have to admit that I've been loving my journey into this camera. [00:41:38] Speaker B: Nice. So good to hear. I'm glad that worked out given I twisted your arm to buy it. Speaking of Olympus, the OM systems management have confirmed that a new pen camera is on the way. What are your thoughts on that, Dennis? [00:41:55] Speaker C: I think it's great. Look, I, I, There was a lot of, there was a lot of went down when OM did that trend transfer went across, we don't, when the camera division went across the om, there was a lot of naysayers suggesting that it was the end and it was all over. And I mean like all camera, all camera manufacturers, I'm sure they are having a rough time and have done for some time, but every single time they bring out a new body, not an iteration of something that already exists. I think it's just gorgeous. I think it means the brand is strong, the form factor is strong and yeah, I think it's exciting. I've never shot with a pen. I, I did spend some time with that OM3. That was good fun. But I think it's exciting. I think it's great because people, there's a lot of people invested in that, that Micro four third lens universe. Although the pen is a fixed, fixed. I think the pen was a fixed lens. [00:42:46] Speaker B: Hey, I think previous iterations of it was. Yeah, yeah, you're right. It's interesting. Whenever I go to a camera club talk or even a beef up, you know, the amount of people that are running around with OM systems, cameras and lenses just really took me by surprise the first couple of times I sort of came up against it, you know, especially people that are, and you know, these are people that are doing birding, they're doing landscape, nature photography. Like the, it's almost like a retirement year's camera system. [00:43:18] Speaker C: Look, I, I do this all the time. Over my shoulder, right? There is a print, right? That print on the wall there is massive. I think it's AO and it is a crop from a Micro four third sensor. And I'm telling you that thing is sharp as attack and I have printed lots of big stuff. I have like, I've done it all with those cameras and I will go to war with anyone who suggests that they are not good. [00:43:50] Speaker D: So will Scott Portelli, Australian Photographer of the Year. [00:43:56] Speaker A: You're looking at all his images and [00:43:57] Speaker D: he's like, yep, all All OM system. You're like that's it. [00:44:01] Speaker A: Okay, that's all I need to know. [00:44:04] Speaker C: Full disclosure. I can also make a very good argument as to why my 60 megapixel full frame Sony is also a fantastic camera and energy effects and all those things. But yeah, yeah, you're. If you're. If you don't want to be lugging around a big heavy lump. [00:44:20] Speaker D: Exactly. [00:44:21] Speaker C: And the glass is stunning. Right. And that's always the thing that matters. And, and Olympus is an, a medical optical glass company and that's why their glass is always magical. [00:44:32] Speaker D: Yep. Rick Nelson says the pen was both fixed lens and, and interchangeable. Craig says the last ones were micro four thirds mount. [00:44:44] Speaker A: And Rick goes on to say the daily carry question. I think a new pen would answer it. And that's, that's what the. Everyone's just waiting for that. Everyone's just waiting for like a different [00:44:56] Speaker D: version of a Ricoh GR or the Fujifilm X100. They just want different options just for like, you know. [00:45:02] Speaker A: Yeah, a micro 4/3 version would be amazing. [00:45:05] Speaker C: Yeah, I think so. Like they, I've had mix 106 I think it was. And, and all those little things and, and they, they're fantastic. Like they're so usable and the quality is so ridiculously good and sliding it into your pocket is the way to go. [00:45:22] Speaker D: Yeah, yeah. [00:45:23] Speaker A: Brett Wilson's a fan too. [00:45:25] Speaker D: Being Olympus for a while. From landscape to street now car, no issues. [00:45:29] Speaker A: OM system. If you would like to sponsor the show, reach to out out, you know. [00:45:32] Speaker B: Yeah, yeah. [00:45:36] Speaker A: What else? [00:45:37] Speaker B: One, one last little bit of news. The folks at Lumix at Panasonic are about to learn. Apparently tomorrow they'll be announcing a brand new TZ300 point and shoot with a fixed 24 to 300 and sorry, a fixed 24 to 360 mil lens, a 3 centimeter macro mode and a 20 megapixel sensor. It's a little point and shoot. Once again something that's pocketable. Pocketable compact has just the right amount of bells and whistles and features. [00:46:11] Speaker C: And I think what's happening, I think the other thing that's happening as well is they're all, they're all just breathing a sigh of relief. Relief that Sony dropped the ball so heavy on this. [00:46:22] Speaker D: On the compacts. [00:46:24] Speaker C: Yeah, like they just completely did up. [00:46:27] Speaker A: They had amazing lines and they just didn't update them. [00:46:30] Speaker C: They had it locked in. I. In this studio I had the full range of Z, whatever the hell they are like a lot. All of them from the Base to the thing because I did a workshop on vlogging with those cameras and then that weird thing came like it was just, it's just a show. I, I have no idea what the hell they were thinking, but they, they're just getting smashed and. And I think it's a great thing. [00:46:55] Speaker D: Yep. [00:46:56] Speaker A: Yeah, this is fun to see. [00:46:58] Speaker C: Let me just reiterate. Sony regularly sponsor events. [00:47:05] Speaker A: Quietly moving right along. [00:47:09] Speaker B: They're not going to listen to you. Who will they listen to? [00:47:12] Speaker C: Yeah, it's so good. [00:47:15] Speaker B: Very cool. [00:47:16] Speaker D: That is funny. [00:47:17] Speaker B: And that brings us to the end of the news. I will just do a quick. We don't need to bring any of these up, but a bunch of our folks, our friends, our community are out there creating YouTube videos. Adam Edwards has just dropped another one about Iceland. Brett Wood's got one coming out. Actually, it started when we went live, so don't go there just yet. On editing waterfalls in landscapes, Pete Mallows has been very busy photographing festivals and he's put together what he's learned from that experience for everyone to learn from. Jeff Freestone's got another one out. Greg Carrick has got yet and I think he's put two out this week. Julie Power has probably put out about four or five this week. I think she's, she's a machine. She's such a machine. So, yeah. So, you know, like what we try to do here, support your community, go out and have a look at your favorite photographers youtubes, give them a, like, give them a thumbs up, all of that sort of stuff. And, and yeah, [00:48:16] Speaker C: Adam's. The amazing thing about his Iceland video, it's nice and concise. But for anyone that's into. Yeah, it is a master class in how to create the perfect drone shot. I mean, it is outrageously beautiful. [00:48:32] Speaker A: Oh, nice. [00:48:33] Speaker D: I haven't seen it yet. [00:48:33] Speaker C: I'll have to watch that. I watched it in his gallery in Broken Hill the other day on an 80 inch screen in 4K. It was just. Oh, that would have been cool. [00:48:43] Speaker D: Yeah, that's awesome. [00:48:44] Speaker B: Yep. That's it. [00:48:50] Speaker A: I think that's it. [00:48:52] Speaker C: Oh, I do believe that my pulse just started to race. [00:48:56] Speaker A: Did you? [00:48:57] Speaker B: Yes, I got a little gassed. [00:49:01] Speaker C: Here we go. [00:49:03] Speaker A: All right, so it's time. [00:49:04] Speaker B: It is. It's time for Dennis to shine. But just before he does, I just want to put out a little, a few little caveats with this topic. Neither of us are lawyers. None of us are lawyers. [00:49:16] Speaker D: None of us. [00:49:17] Speaker B: In fact, I mean, Justin's been on the wrong side of the law. But that's very different thing and message me if you want the goss on that. But yeah, we're going to talk a little bit about copyright. You know what, what the, what the playing field looks like now for photographers but also what's ahead, especially with AI on the horizon and excuse me, Dennis is here to, to, to help us understand that a little bit more. [00:49:45] Speaker C: Yeah, look, it's a tricky one. You know, I, I've, I've been on this all day. I probably put about eight or nine hours into this today and quite a bit of time while I was away thinking about it. And just as Greg suggested, I want to make it incredibly clear that I am not a lawyer. In fact I'm a self declared dipshit when it comes to most things. However, what I do know is a little bit about copyright and historically in prison and it is not from any, any angle other than a lot of experience. Something people, most people don't know about me is I'm not only a light painting artist, I'm also a commercial photographer and video producer, but I'm also an educator. So from the three, from those three different pillars I do feel reasonably confident that copyright is something that I am very familiar with and I think a really good way to frame this before we get into it is this. That the vast majority of the information that I have for you tonight, and we are probably only going to dip into the top tiniest little area of it comes from a place called arts law. That's arts l.com Now Arts Law is one of three quite significant bodies of legal advice that are given out to artists and creators in all different forms and they have the most amazing suite of downloadable information sheets. So if anything we talk about tonight sparks any queries or questions or I or thoughts, the best place to go is to artslaw.com I can assure you from experience today using chat GPT as a way to give a gather together information on copyrighted AI gets complicated very quickly. [00:51:45] Speaker D: Yeah, I, I bet. [00:51:46] Speaker A: Hey, you want to know something funny? That's why I was just smiling then when I was reading your email today I was like I haven't heard of Art Slaw before. I wonder what is that like a clever, I thought it was like a clever name Art Slaw like Arts Law. Yeah, I was like I haven't heard of this. I'll be interested to hear what this is all about. [00:52:05] Speaker D: I didn't realize it was Arts Law. [00:52:08] Speaker B: Please vote in the comments if you want me to mark his unmute his microphone. [00:52:11] Speaker A: It's you can't you. [00:52:13] Speaker D: Me, Greg. [00:52:15] Speaker C: All right, so the reason, so the reason I am so familiar with the Arts Law website is that last year I had a very significant issue around copyright with a large university that I'm happy to talk about where there was a three month long, I want to say, conversation with their legal department and that was around copyright and the use of my images and copyright. But I reckon, guys, tell me if you think this is a good way to think about this. I reckon the vast majority of people that are listening or will be listening, the 15 or 16,000 people that will watch this once it goes completely viral, will probably not want to learn about the intricacies of me taking portraits of students and how they are used in post and the deep legal dips of that. I reckon people here, you know, if we think of beef up attendees, if we think of people who go out and just shoot every day or every other day and pop images up onto social media, they're probably a little more interested in that side of things with regards to copyright. But also I reckon there might be a little bit of interest and I can see the chat here if this is not the case. I have been doing deep, doing a bit of a deep dive into how our images and our likeness and our images are being treated online at the moment with regards to learning models around AI, what they see, what they're doing with our images and what rights you have to protect your likeness from being used on those. And I think this is probably the most controversial thing that I'm going to say tonight and I think I wrote somewhere today that a third of what I say is probably a balance of not true will piss most people off. But I reckon a great way to start when we're thinking about copyright and our images or video is before people jump on the bandwagon and start being quite vocal or aggressive about copyright and AI stuff is really have a hard think about what it is, you're getting pissed off about what it is you're trying to protect. There was a time when, remember when everyone used to put their images online on social media and they put a giant water watermark across the middle of it. And I would look at 90 of those images and go, yep, I'm not quite sure what you're trying to protect. You know who, no one's going to want to take that piece of and use it for anything. The reality is that people don't steal images to use them commercially. And when we think about copyright, that is really the crux of it all, we can have a deep dive into what licensing is and what image creation is and who owns the images and whether they're paid for or not paid for, whether you're a contractor or a member of the public. But really what it boils down to is copyright law is designed quite specifically to protect your images or video or any copyrightable thing from being used commercially. And what that means is that that's either using an image or your likeness to advertise or market something or, or, or be sold or. Yeah, something that you did not intend it to be. So it's complicated. It's really complicated. I have three great examples that I'm just going to touch on because this might spark the conversation. I had a situation last year where I had been doing photography for a very large university in Adelaide for more than a decade. I woke up one morning and there was the merger of two big unis here in South Australia. And I woke up one morning and we'll call it New Uni. Oh, hello. An Instagram ad with an image that I've made on it for Old Uni. And I was like, I wonder. So I went and had a look and long story short, New Uni's entire website, their social media and all of their brochures were just full of my images that I had made licensed to Old Uni. So I jumped, made contact with a few people that I knew at uni and asked a question. And after about three months of towing and froing, the intention was always for the modi ever to be with Old Uni. The Government of South Australia, in order to lubricate the merger of the two universities, changed the law in South Australia. And so all, all contracts or any agreement that anybody had with Old Uni was transferred over to New Uni. Now Arts Law and I spent quite a bit of time together talking about this and basically he said, how much money have you got on something better? So I did so that was fascinating. And I learned more about copyright than that. That than I ever had. Now another and more relevant situation to our chat tonight. Is this a current client that I have who I love to bits. And I'm loving the work and the relationship, I'm loving everything that we are doing together. It's actually the only commercial client I have at the moment, so I'm going to be delicate with this. We are creating a body of work and the comment was made off the cuff with no malicious intent by the client suggesting that the work is so amazing, they're looking forward to Being able to plug it into their AI engine that they have and use it in different ways. Yeah. I then made it pretty clear that it's not the case. And there's a. And, and, and this in herein lies the crux of the AI issue is this. There's a couple of reasons. As a creative. The reason we don't want that happening is because it takes work away from us. Now I'm always happy to have the conversation with a client. Are you wanting to use things we create in order to put into a machine learning or AI thing in order to do work? I can have that conversation with you, but we need to have it up front and we need to agree to it up front. Right. And that is the normal way of doing this. But more importantly, if I have done a photo shoot with someone or shot some video with someone and they've signed a talent release that says that they have certain rights and I have certain rights to use it, the second that AI comes into play, they have to pretty. They have to sign an agreement to say that their likeness can, can be used in a, in an AI learning engine. And I promise you this for nothing, the second that you insert AI or machine learning into any conversation around art, video, photography, commercial, non commercial social media, not social media. I promise you that there is no black and White on 23rd March 2026. It is all gray. There is no clearly defined law that protects you, me, the art we make stuff we're putting online right now from being taken away and used as. Not only as machine learning and to be spat back out, but also, believe it or not, being manipulated into something different. Now there are laws around. There are laws around deep fake and [01:00:09] Speaker D: defamation and stuff like likeness style ones like, like yeah, I've made a, I've made a fake Dennis and he's out there and I'm having him sell camera straps on social media. That's a, that's against the law. [01:00:24] Speaker C: Yes, because that is, that is. There is. There is some versions of legislation around deep fake. [01:00:31] Speaker B: Yeah. [01:00:32] Speaker D: Yeah. [01:00:33] Speaker A: So. So would it. Would us an example of a more of a long something has been around longer. [01:00:40] Speaker D: I'm not saying it's anywhere near the same, but just an example of something that's been around longer that had to go through this situation. [01:00:46] Speaker B: Would you. [01:00:46] Speaker A: Was it. Would you say it's kind of like [01:00:48] Speaker D: how people were sampling and manipulating music to create new music? [01:00:53] Speaker B: Yes. [01:00:53] Speaker D: Law and laws come about where it [01:00:55] Speaker A: was like, hey, this is what, this is what just copying music is. [01:00:59] Speaker D: And you can't do that. And here's what sampling it and turning it into something new is. And you can do that. And they drew a lot sort of a line in the sand that I'm sure ends up going to court sometimes, but they were sort of like his. [01:01:10] Speaker A: Here's what we all agree on is [01:01:12] Speaker D: the difference between you're just copying my song that I wrote and you're taking a part of it and turning it into something completely new, new art. [01:01:21] Speaker C: And they had. [01:01:23] Speaker D: The music industry had to figure that out and probably took ages. Did it? [01:01:26] Speaker C: Well, it did. It took a long time and now. Now there's a very clearly defined. And it's pretty universally stuck to in that area of it now. Now you quickly so. So if I use a part of a song you make to make a new song, there's a sort of a. There's a very, very clearly defined pathway to the originator of the piece of music receiving some recompense or recognition from that. But right now, you know, you don't have to do. You don't have to dig very deep to realize that the AI music generation now is gigantic. Now another. Another example and it's one of the things I sent you today. So I did some experimentation. I've been doing experimenting for the past couple of years is both alone and with a group of people in. In the light painting community. And there is a thing that happens where if I go into Chat GBT and I place in and I place and I write the description, create a ball of light image under a jetty with a reflection in the style of Dennis Smith, it will spit back an image that is a ball of light under a jetty with a reflection in the style of Dennis Smith. Now really? Yeah, truly. But yeah, it is the now I sent you. Did you get those images I seen? [01:02:37] Speaker A: Yeah, yeah, yeah. [01:02:38] Speaker B: Bring up. [01:02:38] Speaker C: Bring up the light painting one because this is really fast. It's fascinating. This experiment I did today. Now for the longest time, what's been happening is when you do that and you get an image back, it is pretty much an image that. And that it's a replication of an image that I've made which own. You know, which means. Yeah, so here. So here's a really fascinating example. Now Chat GPT today did not give me back one of my. Now that's nice and clear. GPT did not give me an image back today because we just spent 30 minutes talking about AI and imagery production. So what I did, it was hard [01:03:16] Speaker A: enough to know not to put its foot in it. [01:03:18] Speaker C: I think so. So I went into. I went into Google and I was not logged in as me. Right. And what on the left hand side there? I uploaded that image. Now I've used a BFOT one because I thought that would be really nice. I placed that top image. That top image there and I said, give me a subtle variation of this image. And it gave me the one below it. Right. [01:03:42] Speaker D: Hold on, let me see if I can zoom in. So. So yeah. [01:03:45] Speaker A: Okay. That was the prompt when I gave it. [01:03:48] Speaker C: And that's what it gave me back. Right. [01:03:50] Speaker B: Wow. [01:03:53] Speaker C: It did not know that it was me putting that image in at the top there. So it didn't question, do you own this? Do you have any rights to this? Nothing. It just plugged it back. Right. And then I asked it the question, is this copyright infringement? And its response was, the legal answer is currently evolving, varies by country, but here are the core principles as they stand in 2026. Then underneath that, it gave me this long. Just utter. Basically saying that it's great right now. And then weirdly, this is crazy. Further down in its response was this paragraph that was a pull from an interview I did with Tamaron. So it gave me. It didn't know it was me. So I am being used as an example of. Yeah, yeah. Of an opinion. [01:04:48] Speaker A: But does that mean it. It basically analyzed that image and somehow knew that. That you, you know, you create images [01:04:56] Speaker D: like this so that. [01:04:59] Speaker C: I talk about it a lot online. So I'm. I'm regular. So it's gone and it's gone. It gave. There was a list of sort of ethical considerations. And I just thought it was funny that one. Yeah. Because. But I think more relevant to this, and this is really important, and I have been doing lots of experiments with this. There is no way that what has happened here is right. Because what it's done is it's taken an image that. That it's taken an image and it's replicated it. And by the nature of the fact that it is almost identical, it would be the same, believe it or not. And this is again, as gray it may. I'm not a lawyer. You can argue with me, do this till the cows come home. But if I create that image any. And you go out to that location and you stand there with an iPad and you work hard to replicate my image until they are almost identical, you are breaking my copyright. You are infringing on my. On the creation of an artwork by replicate. By trying to replicate it. Now, if you are inspired by me and you Go to a different place or different mountain, a different bit of snow and create something that's different. Right. But it's so unbelievably wild how. Now, I also did an experiment pre BE last year where I took six of the. The most popular photographers at BE and I replicated all of their images in AI as well. And that was. And not once that did it ask me if I had the rights to use any of these images. So here is an, here's an. Here's a live example of how our photography is being used to feed AI. [01:06:54] Speaker A: Yeah, I guess that's so. Yes. So we all think that, that there's some sort of the way that they're trained. We all know that they're trained on. [01:07:04] Speaker D: They've trained these things on everyone's images. But if somehow they've somehow kind of got around the law by saying that they had, you know, they bought the rights to use them through somewhere or something or whatever. But what you're saying is, regardless of how they trained their engine, any person can grab an image that's fully copyrighted from someone else and throw it in there and say, replicate this and, and change this little thing or make it look like my, you know, make it look like I can post it for myself. [01:07:39] Speaker A: And I guess the difference is anyone [01:07:41] Speaker D: could have done that in Photoshop back in the day, but it's not Photoshop doing it. Photoshop's just a tool, like a drill. And then you're, you know, like. And then the human is infringing on the copyright, whereas here it's kind of. It's kind of both working as a team to infringe on the copyright? [01:08:01] Speaker C: Yeah, well, yeah, and, and here. And herein lies the complexity of it. Now the question. Rick's just asked the question. So is everyone copyright infringing actors, photo spots? No, because you're taking a photo of nature. Like, it's. They're two completely different things. Here I've created a piece of art and it's, it's fundamentally a core element of the photograph is the creation of the art. It's like going into an art gallery. Now here is the important thing and a great example. If you go into an art, people. People always use this as an example. If you go into an art gallery and you take a photograph of a piece of art on a wall, are you infringing on the copyright of the artist or the photographer? No, you're not, because you only infringe on the copyright when you are breaking either the. Breaking the copyright. If you sell it. So if you then take that piece of art and you monetize it or you sell it in some way, then you are breaking the copyright of that image by the nature of taking the photograph. You are not. It's so complex, right? And then for me, for me, things get really interesting because I'm an educator, and this is something really important for, you know, a big chunk of the people who listen to this podcast are either either run workshops or they go to workshops, or they're involved in the learning, sort of, you know, the learning space. Because copyright for general photography is so unbelievably straightforward. If you're going out in the morning and you're taking photos of the sunrise, or you're going down the beach and you're taking photos, there's just no confusion at all, right? You. You own the image. You own the rights to it. If you choose to sell it to someone, you develop a license. So you have this document that you can download anywhere, and you license that image to someone. So if someone wants to make a calendar and use your image, well, you. You negotiate rights with them, but you are always the copyright holder of that image, right? Where things start to get gray is at places like be, right? So if you come to a light painting workshop and this is going to rise some people up, which I did. If you come to a light painting workshop and there's a line of 10 of you and I tell you how to set up the camera, I tell you how to focus, I tell you what settings to put in your camera, and then I pick up a light painting tool and I walk into the scene and I create a light painting, and you capture that image. A fascinating thing happens when that shutter closes, right? Who owns the copyright of that digital file when it's created? The reality of the situation is that I do. You don't now, yeah, it's. It's amazing. And I don't talk about this at workshops, right? And because I don't talk about it, there's this thing called an implied license. Without knowing it, everyone, just everyone, a sane person would understand that that's okay for you to then have that image. The reality of the situation is that I own the copyright of that image. And what that means is that you can have it, look at it, show it to friends. Can you put it on social media? It's really great, right? But I own the moral rights and the copyright to that image. So if you choose to put it onto social media, you need to adhere to the moral rights part. The Copyright legislation, which means attribution, you need to say that I made it. You cannot imply that you made it. You cannot modify it, you cannot print it, you cannot share it. If you put it onto social media, it must have attribution. But then it gets really wild when you put stuff on social media. [01:12:03] Speaker A: Right. [01:12:04] Speaker C: Who owns. You know, copyright and infringing on social media is really complicated, but the creation of art is really complicated. Right. And light painting is very unique in that way. Now, it's implied when you come to a Dennis Smith workshop that you can share it and do what you like with it. I don't care. If it mattered, I would talk about at the beginning of a workshop. But it always complicates things because it's confusing and I don't want to create that confusion. Yeah, it's a wild, wild, wild place. [01:12:37] Speaker B: Couple of. Just let me just jump in quickly, Den. Here's a great example that someone. [01:12:44] Speaker D: Sorry, I was trying to help you. [01:12:46] Speaker B: You go tweet productions at the markets in Melbourne, I saw a bunch of canvases of Hosier Lane and graffiti art for sale. Does the graffiti artist own that copyright or does the photographer? [01:12:57] Speaker C: Amazing. This is something I am very, very, very knowledgeable about, because I do. I do photograph a lot of graffiti and I do a lot of collaborations with graffiti artists. And here is the best way. Here is the best way to think about this. We all know silo art is very trendy at the moment, right? So there's a lot of silos around Australia, regional Australia, where artists are commissioned to come and create artworks on the silo I downloaded today. And it is very, very easy to find online. If you just Google silo art and copyright, there is a. There is a very amazing PDF and it will blow your mind. But it's. I've tried. I've distilled it down for you all to make it really simple. An artist goes and creates a piece of work on a silo. The silo is either on private land, public land, land is privately viewable or publicly viewable. Believe it or not, the artist always retains the copyright of that piece of art. And what that means is that you can look at it. It's implied by the nature of it that you are able to photograph it. But the second you photograph that piece of silo art, all copyright laws come into play. You can share it, but you should, and you should. You should always. The moral rights of the artist should always be taken into care. Now, that's attribution. You can't modify it, change it you can't. All of the stuff that more writes and you can find this stuff on arts law, you definitely cannot ever post it online without attribution. You can never use it for marketing advertising. You can't print it. There was a case in rural South Australia where a bakery across the road from a silo Art was making postcards out of them. [01:15:04] Speaker D: And they. [01:15:05] Speaker C: Without, without, like all art, you, you can contact the artist and get permission to do it. And there are some who just do give mention, but you can't sell a postcard with that picture on it because you're breaking the artist's copyright. It's quite, it's quite amazing. [01:15:20] Speaker B: Never knew that. [01:15:22] Speaker C: It's amazing. Hey, like you and graffiti. Now, I'll take it back to the question. Graffiti is the same. Now, the immediate thing you think about was, that's ridiculous. How can you. How does someone who goes and spray paints it, it's probably only going to be there for, for X amount of time. It doesn't matter just because you can't find the person to get their permission, their rights are still really, really important and must be kept. And those rights are. You can photograph it, you cannot make it appear that it's yours. You can't modify it, change it and all the other stuff. It's really wonderful and fun to think about it. But when you do start to think about it and even me as an artist, as a commercial photographer, as a educator, at the end of days like today, I am still blown away with how many things I don't know and what I thought I knew, but I don't. And it's really fascinating. And so looping back around to this idea of AI, what I can promise you from the bottom of my heart, my screens, my two screens over here are full of PDFs and documents ready for today. I've got notes and stuff. I promise you that we are heading into a storm around a. And the storm is this thing, right? Oh, yeah, that's exactly what it is, mate. [01:16:56] Speaker D: Yeah. [01:16:56] Speaker C: And the frobisher. The problem is I don't really care. For the last 10 years, as far as I'm concerned, if I put an image online and this is going to blow some people away, when I post an image on social media, don't forget to ask me about rights on Instagram and social media. This will blow your mind as well. But what blows me, what I've always had, if I put an image online, it's gone, it's gone. I know that, yes, I have rights and all that, whatever. You know, if I. If you truly want to protect your artwork from being stolen. And I loop back to what I was saying before. Do you think your work's that good that someone would want to steal it? Right. You know, no one's stealing 97.6 of a that exists on Instagram. Making a poster that big out of it. That poster there. Out of it. Right. And selling it. You're just not doing it. But there are some images of mine that exist online that I know literally millions of. I used to have back in. Back in my. Before all my social media was hacked, I had this one image that was like shared, but just the likes. I counted like more than 1.8 million times. This image was used everywhere online. Yeah, gone. Like I put it on there, it's gone. Who cares? You know, can we. [01:18:23] Speaker B: Can I just get some clarification on something, Dan, if you don't mind? Yeah, just for the folks playing along at home. [01:18:31] Speaker C: What rights? [01:18:31] Speaker B: And maybe this is something you're going to cover off. So sorry if I'm jumping. What happens to our images that we post onto Instagram or Facebook? Let's just start with Meta. What happens to those images? Who can they take them and use them to farm. [01:18:48] Speaker C: Thank you. [01:18:49] Speaker B: Data for AI. That sort of stuff. [01:18:51] Speaker C: It's a great question and I think without. Let's think of all that stuff as like the foundation, because I think that's the big question that everyone has. Insert whatever social media platform you want. But meta is the. Is in reality the number one when you sign on to. And I, I literally have the. Oh, no, I opened something else over it. But I, I looked at it many times today and you can just. If you just do a search on meta, copyright what my images or whatever. But when you sign up for an inst. From an Instagram or Facebook account, you tick. I agree to the terms, conditions and the amazing thing, believe it or not, it's like one paragraph and it's very concise and it's very clear and. But it's as simple as this. When you. I don't. I'm not reading this. I close the page like a dick. But when you post an image to Instagram, you give away a whole lot of rights. And those rights are this. You say to meta that they can use it to. It can go into their sharing universe. And I was blown away by this when I learned this. What that means is that you give them the rights to show it, share it, have it shared, and then there's a whole lot of Stuff around them, being able to use it for marketing or whatever, you're not that good. Right. But, and, but what it meant, this blew me away. What that means is that by the nature of the way the internal sharing mechanisms of Meta work, they are, they are applying your moral rights to them. And your moral rights basically mean attribution. So if you share an image anywhere inside the Meta universe, attribution occurs because that's what happens when you share an image. You know where it came from, right? [01:20:49] Speaker D: Yeah. [01:20:50] Speaker C: However, what we all know is this, that if, and I'm guilty of it, I've done it before, right. Is I see a funny meme, I screenshot it and I crop it and I might send it to a friend or something. I've broken the copyright of the person that designed that thing. The second that you don't use an internal mechanism of Meta to share your someone's image, you are breaking their copyright like brutally. And it happens all the time. There was an app called Repost. Yep. [01:21:25] Speaker B: That. [01:21:26] Speaker C: That breaks copyright of the artist because it's not using it, it's an external mechanism. So the second use any app that is not covered by the licensing agreement in Meta, you are breaking the artists, you're infringing on the artist's copyright or the photographer's copyright. However, you don't have to look too deep before Meta do claim that. Meta do claim that none of your images are being used to train any AI engine or being scraped for that purpose. I call bullshit on that so severely because, and this is the reality of it, you can't, you can't prove that because we all know that right now there are AI learning engines everywhere that are not, they don't go. There's not, you know, you know, Albert over in Tasmania working for Meta is not going Albert at thing, starting an account and doing a thing. They have these gigantic monster engines that are just basically doing an epic version of doom scrolling and just ingesting into it for learning. Right. But I was quite surprised with how the intention of Meta in protecting our rights as photographers and creatives. [01:22:51] Speaker D: Interesting. [01:22:52] Speaker C: Now Craig is right. Craig is right. On Flickr, if you, if you use Flickr as you're sharing, which is my initial place, they have some incredible, incredible ways to. So Creative Commons start coming into effect when you're dealing with a, with a growing up place like Flickr. Right. So Creative Commons, we won't get too deep into this, but Creative Commons is a way that as the artist, you can set licensing on your images to be used. So A lot of time in the old days, before we just stole images, you would go to places that had access to Creative Commons and they were images you could just use. But back to looping, back to the subject at hand. [01:23:33] Speaker B: Yeah. [01:23:35] Speaker C: I think anyone that is watching this now or the future has any interest in copyright. There's some really important things to know. Laws vary by country. So we have a thing in Australia called Now I do need to look at this. In, In. In the wonderful United States of America, they call it. They call it fair use. And so there's a, there's a. There's an idea of fair use. Now, this is where I can use absolutely any image I want anywhere in the world. If I'm creating YouTube video where I'm critiquing images. So if I'm, if I go and get one of your, one of your wedding photos, Justin, I can use that image for education, for critiquing. There's certain things that are under fair use, but there's a fine line like you really need to be critiquing an image, but attribution has. It has to be. You must say where it came from, who owns the image. In Australia, we call it fear dealing. Yeah, it's. It's interesting. And again, super, super, super gray with AI. Right. A lot of AI engines are using fair use as their legal reason for taking the images. But arts law, again, is really clear on this, on legislation in, In Australia. [01:24:52] Speaker A: I have some weird questions. [01:24:54] Speaker C: I'll go. [01:24:56] Speaker A: I have weird questions. This one's, this one's on Greg's behalf. [01:25:00] Speaker D: At what point. [01:25:01] Speaker A: At what point in, in a photo is, say, art, a graffiti art piece, [01:25:09] Speaker D: let's say, not just tags and stuff. [01:25:10] Speaker A: I'm talking like a, like proper street art, but it is street art on the streets of Melbourne. And at what point is it no longer relevant that copyright, like Greg's out there shooting amazing street photography? At what point is that in the background of an image or is it ever not relevant? [01:25:31] Speaker C: Yes. So it needs to be. And as weird as this sounds, and I can't, I would need to go look it up. But it needs to be a substantive part of the image. [01:25:42] Speaker D: Right. [01:25:42] Speaker A: So it's almost like you've photographed the [01:25:45] Speaker D: street art, as opposed to the street art is in your photograph. And that would be something you'd have to legally argue if it was. Was ever a dispute or something. Yeah. Whether it's. [01:25:54] Speaker C: Yeah, yeah, yeah. It has to be a substantive part of it. And, and the interesting thing about copyright law is you. You would be amazed how, how often you'd be amazed how often these disputes around copyright and, and infringement on licenses and stuff. It's quite amazing because I, I, I read a lot of these and on art school they give a lot of legal examples. So what they do is they go in, in Castle vs. Chromie 19, you know, 20, 26 of use of fling through and you can click through and look at the, the case. They give a, they give a long form breakdown of the case. And it's quite amazing how often judges or legal bodies go to. Well, it's kind of obvious, guys, you know. Yeah, for that, right? It's like, yeah, duh, what did you think was going to happen? And in light now I do, I write a lot of licenses, right, and you'd be amazed. So I'll give you an example. I went to Broken Hill this weekend and I shot about 800 gigabytes of video for this guy, this friend of Adams, and about 400 stills. Now he has them all. We unloaded the cards at the end of every day. Now I did that as a favor for him, but by the end of this week, he will have a licensing agreement in his inbox from me that says all of the video and stills that I shot between these dates for this use become licensed for you to use how you like in perpetuity, blah, blah, blah. And he was like, why would you do that? And I said, mate, we're friends now you might hate me or I might hate you in a month's time, just protect you, because I will just come and take them if you're a dick. Now he has a contract from me saying that. Now you would be amazed how many people don't have licensing agreements, they don't have talent releases, right? All that kind of thing. These things are all so incredibly important. [01:27:55] Speaker A: Does that also, does that also protect you a little bit in the sense that if you license it to him, [01:28:03] Speaker D: it's very clear that it's now licensed to him and not for him to pass on to some other organization to use or, you know what I mean? As in, whereas if you just gave no license and then you find out down the track, he goes, oh yeah, [01:28:16] Speaker A: I let this other, this other place use it. [01:28:18] Speaker D: They said, you know, they wanted it. And then, and then you might have trouble protecting it because they would say, well, you said he could use it. So what's like there was no formal license arrangement. Maybe it was just a friend helping a friend out. These, these are. Now you weren't protecting your. [01:28:33] Speaker A: Is that as well. [01:28:35] Speaker C: It's a great question. And something that is, again, so important. The intent, right. It's all about intent. My intent is that he never has to worry again about that footage because it's a. It's amazing and it, you know, it's stunning and I think will be a valuable part of, of what he's trying to do. But my intent is that I don't want to think about it again and I don't want him to have to. And in the licensing agreement that I, I sent him, basically it will be as if I was assigning copyright to him, but I, I'm not going to do that, but that's what it will feel like. So he can do. The question here is about, can he run it through AI Rick? My intent is that Jason can do as he wishes with what I've given him. He can change it, modify it, put it through AI, whatever he wants. I was doing him a favor. Now what happens is, if I didn't send him, let's say I didn't send him a licensing agreement, and this happens [01:29:40] Speaker A: quite a bit with, with a lot [01:29:42] Speaker C: of different work, is if you don't do these things, it's like if someone comes to a workshop of mine, right. And then if in a year's time I see an image that someone's made at a workshop and they have brutally infringed on my copyright, so they've modified it and put across the middle of it. Dennis Smith is a wit. I can. I would then attack them and, and go for it, because there is what's called an implied license. Now, if I did not tell people at my workshop that they can't use the images in a certain way, if I didn't tell them that up front, then. And I find them sharing an image on their social media without any attribution to me, well, if it ever became a legal dispute, it would go back to the implied license. And it's implied that if you came to a workshop with me and I didn't say to you, you can't use them. Well, you can use them because it's, It's. That is what most, most people would think is the obvious thing. [01:30:42] Speaker D: That's what I was about to ask. Would it. Would a judge be like, hey, I mean, they go to a landscape workshop and it's implied they can use the images. Like, why would they, you know, for the average punter, why would they think any different? They don't know, you know, so it's that. [01:30:55] Speaker C: Yep. And so that's why it's so important that as an, as a creative or a lot of people that a lot of people that hang out in this community, right, they are all passionate photographers. They're passionate, they make artwork. Right now the question, I think it popped up here about the people keep going, oh, you just did. About your landscape. Well, that's why light painting is so very specific because how often are people photographing the creation of art? It's just, that's what the magic of light painting. Right now it gets interesting when I think the question of music came up before right now if you, Bruce asked the question about music. Now if you are videoing a music, a music event, the thing that is, the thing that is copyrighted is the actual music. It's not the artist or the thing because the, the artistic creation is the music. And so the copyright is the, where I'm at. But back to your, back to your, your, your question about, yeah, implied licenses. So implied. If I never sent my mate any license or anything and in six months time I decide he's a dick and, and whatever and it went legal. Or a lawyer would just send me a letter and go, dude, we've got the emails where you said, yes, I'll come to Broken Hill. I would love to help you out. It's my, you know, so, yeah, yeah. But I promise you this. I could, I could throw a half dozen examples to you of when there are litigious people. I, I have a mate who makes a particular type of photography in Scotland and he was sued by a guy in America because he said that he had created. He does a very specific type of miniature photography and he's the best in the world. And this guy is dick and said you're copying my images and sued him from America in five seconds. We figured out that it wasn't, it cost my mate £6,000, £6,000 to reply and push him away. I mean, it's an ugly space. [01:33:20] Speaker D: Wow. Yeah, wow. [01:33:23] Speaker B: Because there would be characters out there who, you know, and we've all seen it, we've all, most people I know in this industry have had an image stolen or used without their permission. And there would be people out there that would just be, well, let's just use it. And it's easy to, you know, beg for forgiveness than it is for us for permission. You know, and it's that whole thing of we don't know. Often we don't find out that our stuff's being used. [01:33:48] Speaker C: No, you know, you won't know. I, I, I am this is a true story. I, you not. Someone, Someone delightfully told me once that an image of mine won a light painting competition in Europe somewhere. Like it's, you know, or someone sent me a pick one of my images on a whole wall of a hotel. A hotel room. Right. One of my photos. Like it, you know. [01:34:16] Speaker D: Yeah, it sucks. That sucks. [01:34:18] Speaker C: Yeah, it's awful. But you can't do anything about it. What do you do? What are you gonna do? Like suitable. [01:34:22] Speaker D: Yeah. [01:34:23] Speaker C: In another country. Awful. Like your people are. And, and, and you. Sorry, but they are. There's a desert grab. [01:34:34] Speaker A: People. People are. [01:34:36] Speaker B: Sorry, but they are. [01:34:37] Speaker A: The lawyer. [01:34:38] Speaker D: Sorry, but they are. [01:34:39] Speaker A: All right. I, I, this is a fun one because I think this is a bit [01:34:44] Speaker D: of a misconception here. I think because Rick Nelson says these laws must get money. If, say, a wedding photographer hands over the RAW files, that would be releasing all rights. Correct. Question mark. And that's. So this separate thing. Lucinda said something here about. I'll get to this in a second about wedding photographers specifically, but the file format, I don't believe has anything to do with your copyright. [01:35:04] Speaker A: If you give someone RAW video footage [01:35:06] Speaker D: or log video footage or a JPEG file versus a RAW file or whatever, that's got nothing to do with and [01:35:12] Speaker A: Because I think that probably comes from [01:35:13] Speaker D: the old thing about, you know, hang on to your negatives because that, that was more about if you have the negatives, you can print from them. If they don't have the negatives, they can't print from them. So it's, it's more like a, it was a physical way to, it was a physical barrier as opposed to the, the actual copyright. The, Yeah, I don't know, the legal protection that comes with whatever format the art happens to be in. [01:35:40] Speaker C: There was a question earlier that, that was really good and I want to, I'm not going to find it. There was a question earlier regarding putting copyright data in your excess data. Yes. So Lightroom most, most photo editing software has the ability to embed your copyright information into the excess data. That protects you to a degree for sure. Because, however, if anyone's going to go to the, to the level of stealing imagery for commercial reasons, you can scrape bits of data. [01:36:10] Speaker B: I, I set up my copyright. Not that I'm particularly worried about people using my images, but I do it in camera, in my camera. I've got a way that I can enter all that stuff. But yeah, here's an interesting. [01:36:25] Speaker C: Oh, sorry. [01:36:26] Speaker A: Oh, well, I just, I, I actually [01:36:27] Speaker D: don't know what this, what this Means [01:36:28] Speaker A: Lucinda says wedding photographers in Australia don't [01:36:30] Speaker D: own copyright unless they sign it back over to themselves. I hadn't, I haven't ever heard that and I didn't, I, I, yeah, I acted for the 10 years I was doing it that I owned the copyright. I have no idea, I have no [01:36:44] Speaker A: idea if I did or not. But I don't know what that means. [01:36:49] Speaker C: I know this for. I know this. I don't know about that. But what I do know is this. If you. Yeah, that's really interesting actually Lucinda. I'd be fascinated to understand that. What I do know is that if you. Ah, damn it. I was gonna say I was looking at that and thought about it. Not gone. [01:37:17] Speaker A: Anyway. Yeah, Bruce says it's true and, and family portrait wedding and I don't know whether. So maybe this. In my contract it said that I [01:37:28] Speaker D: retained all the copyright and that they have full license to use it how they see fit other than like commercial. They couldn't resell it. [01:37:38] Speaker C: This is what I was going to say. [01:37:39] Speaker D: Yeah. [01:37:40] Speaker C: If you are, if you are employed as a photographer. So if you work for a company under an employment agreement with all the bullshit that comes with that. I don't know. I've never been employed by someone [01:37:51] Speaker D: they [01:37:52] Speaker C: copyright sits with them unless it's contracted out. So you can. So if you are employed, if you're employed by someone as a photographer, it is, it's, it's implied that, that you don't own the copyright of those images unless you contract basically with all law, you must contract out of legislation. So you, if you. The only copyright law is so unbelievably tight except for AI it's so tight so you must contract out of it. So I've, because I've only ever photographed as a contractor, I always own a copyright unless it's a large Adelaide based university in which case they can just take it and do whatever. Yeah, it's way more complex if they, if uni's lawyers are watching this. If they've come back to watch this. This I know that I egregious error that I did not insert paragraph into my licensing agreement that predicted the future and a law change that I could never have known. Now here's an interesting thing about street photography, Greg. [01:39:00] Speaker B: Yes. [01:39:01] Speaker C: On the Arts law website they have these key things called info sheets and so pretty much around any form of art. So whether it's painting or indigenous artwork or any. There's about 20 different situations where you can download an info sheet. On average they are three pages long. The street photography info sheet is 13 pages long. Yeah. Around copyright and law, around street photography. It's. There was nothing in there. I didn't know. But as always, it will blow people's minds if they read it because it's really fascinating. [01:39:40] Speaker D: Yeah, yeah. [01:39:41] Speaker B: See, once again I'm going with the. It's easier to ask forgiveness than permission. So I just. [01:39:46] Speaker C: We don't need to ask permission. That's the law. [01:39:48] Speaker B: No, I know, I know. [01:39:50] Speaker D: Yeah, yeah. [01:39:54] Speaker C: The answer sheet is really good though because what they do, they tell you what the law is, but then they also make some really good suggestions about how not to be a dick. [01:40:02] Speaker D: Yeah, yeah, Yep. How to operate in a way that, that avoids conflict, you know, like in the first place. Like, here's how to just do it. [01:40:10] Speaker A: Couple of quick comments. [01:40:12] Speaker D: Yeah, okay. So apparently me, me putting it in the contract and making it clear what sits with me was, was probably the right way to go about it. Don't know how good my contract was, but it was there. [01:40:22] Speaker A: Lucinda and Bruce confirm. Rick Nelson says yes. I did school and sport photography for [01:40:28] Speaker D: years in the States prior to moving here and they own the copyright to all I took there. [01:40:33] Speaker A: And Lucinda says there is a website called Pixie with an X, P, X, S, Y that you can sign up [01:40:39] Speaker D: for and add your files to and it scans and sends cease and desist if anyone wants to investigate. Investigate. [01:40:46] Speaker C: Lucinda, a question on that. Do you mean, do you mean if you, if you think there's a file that has been infringed, you can put it up there or do you upload all of your images to that? That would be interesting because I know there is, I know there are some amazing websites that if you, yeah. If you suspect, I mean, I mean it's a, it's a, it's a really, really, really, really, really wild, wild deep hole to go down to think, start thinking about someone going out and replicating your light painting images as opposed to. If you removed the light painting image from it and. Because everyone shoots the jetties here in South Australia. But it is pretty wild how many light painting images there are under the jetties of South Australia that you could almost lay over the top of mine. And by law, in law that's infringing my copyright. But it would, it's, it's just utterly ridiculous that I would ever. I just think it's remarkable that there might be one person on the planet that looked at something I did and thought it might be fun to do and I encourage it all. [01:41:57] Speaker B: Bring it on. [01:41:58] Speaker C: Yeah. [01:42:01] Speaker A: Anything Else, we should probably wrap this up. [01:42:03] Speaker C: Yeah, that was a lot of words. I, I feel like. Look, I feel like all I would recommend is that if anyone's curious, artslaw.com definitely, definitely be careful using AI to ask questions about copyright, because it is. I have had false negatives and positives [01:42:27] Speaker D: all the time because you got to check everything. There's. There's people losing their jobs and more in the states who have been using it for legal proceedings and didn't fact check the. What it spat out and they've made the wrong arguments that have impacted the case and stuff like that. Like it's. You can't trust it implicitly. You have to check. [01:42:48] Speaker B: Not just in this space too. I mean, this is happening across the board. Across the board for AI use. You know, my partner is a university lecturer and, you know, the amount of. The amount of times that students have used AI to create work, pass it off as their own, get caught out, and then use AI to submit a rewrite is phenomenal because people are of the opinion that AI is actually working like 100 flawlessly, like a person would, you know, and one of us is getting pulled out all the time. [01:43:20] Speaker C: I will just give me 30 seconds. The other example I had that I forgot to mention was this. I made it. Oh, yeah, pull up that image. I'll just, I'll just talk through this really quickly because this is. I. I put a couple of graphics together just to help. So here is a real world example. Last week I mentioned this during one of the shows the other day. So I needed to. I was making. I have a cooking show. I have a YouTube channel called Aussie Part Barbies. And there was a section in there where my mate was cooking lamb chops. And he said, guys, if you want to impress a lady, you do these ones, lamb cutlets. And I didn't have any video of it. So here's two examples of how you can create an image. The right and the wrong way. So most people would do a Google search. They would then take one of those images and insert it into a video creation AI engine, which I have in the middle there. And then they would have the final video, which is the one on the right. That's my YouTube video. Now that is. See how I've said, may it definitely. You've broken the law. [01:44:20] Speaker D: Yeah. [01:44:21] Speaker C: Now the bottom one, what I did is I went into chat GBT and I said, create an image of lamb chops on a barbecue. And then I entered that into another piece of software that generated the video. And I put that into my YouTube video. That is absolutely, perfectly legal. And yeah, if you, if you're using images off the Internet as reference, you're breaking the law. There we go. [01:44:45] Speaker A: If you, if you use your own [01:44:47] Speaker D: image, image, obviously that would be the most fine because you're, you're taking something you made and saying, hey, change it. [01:44:54] Speaker C: Now give an example. Yeah. That took me less than five minutes to create a 15 second video. That was so good. And in the video you can't see it here, but in the bottom I, I said, AI rendered image. I always, always make it clear in my videos where I'm doing that. Thank you very much. [01:45:12] Speaker A: Oh, yeah, so you just slapped that [01:45:14] Speaker D: in there just so people know that particular clip was. Oh, yeah, I can see. [01:45:18] Speaker C: Yeah, I've only done it a couple of times. What I want people to know. I just want to remind people that I'm not a lawyer. I am a. However, if any of you have questions, I am probably the most contactable photographer on the Internet. Hello, Dennis Smith.com and I will help you answer your questions. [01:45:35] Speaker B: Thank you. Very amazing. [01:45:37] Speaker C: It was a lot of words, man. Have more words been spoken in a shorter period of time on the Camera Live podcast? I suggest not. [01:45:43] Speaker B: Probably your interview, actually. [01:45:45] Speaker A: Yeah, we also had, we've had Glenn [01:45:48] Speaker D: Lavender on, so there's that. [01:45:49] Speaker C: Oh, my God. Here's a cool story. I had a. I had a message from a lady on one of his tours. They were in Bangladesh and she messaged me on WhatsApp and said, Help get me out of here. No, she said. He said, hey, do you reckon you could help me set up to take some slow mo video like you did on your Indio India videos that we did at befup? She was. I think they were on a train or something in Bangladesh and we were chatting about stuff. She was on a workshop with Glenn. I thought that was really beautiful. [01:46:22] Speaker D: Yeah. [01:46:22] Speaker A: Did you say that? That is beautiful. But don't do the same as I did because you'd be infringing on my copyright. [01:46:33] Speaker C: Anyway. That was great. Thanks, guys. I think we covered a lot there. It was good. [01:46:37] Speaker A: We did, we did. But. But also. [01:46:39] Speaker D: Yeah, it's such a big and. Big and evolving topic. It's. It's going to be a long time before that's got a clear picture of what's actually. Yeah, yeah. Right and wrong and inside and outside and. Yeah. [01:46:53] Speaker A: All right, well, crazy stuff. An easier topic. So this will be very quick. It was Elena's birthday on the weekend, [01:47:03] Speaker D: so I bought her a camera this [01:47:06] Speaker A: this part of the show is often called what's in the Box? [01:47:11] Speaker D: And I was trying to figure out how to write this with Yelena's name in it. And it didn't sound very wholesome when I typed it out. So I changed the segment name to Elena's New Camera. You can use your imagination as to [01:47:22] Speaker B: how it was [01:47:26] Speaker C: classic. [01:47:26] Speaker D: Dennis got it. [01:47:27] Speaker B: I like it. [01:47:27] Speaker D: Dennis got it. [01:47:28] Speaker A: I was like, oh, can't use that. [01:47:32] Speaker D: It's not going to work at all. [01:47:35] Speaker A: Okay, so you got a Q3 mono. [01:47:37] Speaker C: Wow. [01:47:38] Speaker D: No, unfortunately she didn't. [01:47:39] Speaker A: She got an OM system TG7 camera. And it actually feels so much nicer in my hand than I thought it would. We've barely played with it. We took a lot of. At her birthday party, we took a lot of fill flashed, you know, looking snapshots that exactly what you think they [01:48:02] Speaker D: would be, which is all the rage with the kids. [01:48:05] Speaker A: But yeah, the lens. The lens zooms, but it doesn't come out of the body. It is, it is really great. Thanks to everyone that recommended it. It's way lighter than I thought it [01:48:14] Speaker D: would be, considering it's a tough camera. It's actually like you can throw this [01:48:17] Speaker A: thing in your pocket. It's got a nice little. [01:48:20] Speaker D: Oh, this isn't going to do it, is it? [01:48:22] Speaker A: It's got a nice little dial on [01:48:23] Speaker D: the top here to change like exposure compensation or whatever. [01:48:27] Speaker A: So even just having easy access to [01:48:30] Speaker D: exposure compensation takes it from being a crappy camera to like a. It's a point and shoot that you don't have to think about the settings, but you can at least control your exposure setting. And I think that's. That's a big step up. What's your latest camera? [01:48:46] Speaker A: Yeah, it's waterproof. It's tough. Yeah, it is crush proof. [01:48:53] Speaker C: I've made some astonishing, astonishing content with. [01:48:57] Speaker A: And the macro, like it gets close. Yeah, really close. Really, really close. [01:49:03] Speaker D: So I might end up getting Elena if she's interested. The little. It's like a little macro flash diffuser that takes the flash. It's like a pipe. It just grabs it and pipes it around the room in a ring flash. It's. It's very clever. They. I think they do a LED for it as well. But I think I'll get the. I think I'll get the. The flash. [01:49:23] Speaker B: Well, you can also buy a separate deeper water housing. [01:49:27] Speaker C: Yes. [01:49:28] Speaker A: Which is if. If we just owe. It's worth it. [01:49:31] Speaker B: Yeah. [01:49:31] Speaker D: Because we're scuba ing for the first time ever in May. So if we get excited, we Might take. We might get that dive case and, and yeah, scuba. Great camera with it, but yeah, love it so far. I'm pleasantly surprised. Obviously it'd be great if it was a, you know, 60 megapixel full frame sensor and a Sumilux 1.7. But. [01:49:53] Speaker A: But it's, it's really good. 12 megapixel. Like. [01:49:57] Speaker D: Yeah, it's. It's what you need it to be. And it's not a phone. [01:50:00] Speaker A: And even though that doesn't seem like much like at a party just having [01:50:05] Speaker D: it, it was just sitting on the table. It can just sit there and kick around. You pick it up, you take a photo, you put it down. There's no notifications on it that you know when you pick it up or anything. Like, there's no distractions. It's just a camera that works. [01:50:19] Speaker A: No lucky strap yet, but I'm working on it. [01:50:21] Speaker D: Needs a nice little smaller ones that would be different. And yeah, there was a lot of we there. And yes, this is a family show, so I couldn't title that. Second that. [01:50:33] Speaker A: Okay. Oh, hang on. What does this say? Look up nudie branch photos with the TG7. [01:50:40] Speaker D: They're super cool. [01:50:41] Speaker A: I'm like, isn't this supposed to be a family show? Nudie branch photos with the waterproof tough camera. Okay, I'll check him out later. [01:50:49] Speaker D: Check them out. [01:50:52] Speaker A: All right, what do we need to. We. I guess we need to get into the, the. Your images section. [01:50:56] Speaker B: Yeah. Dennis has gone back to work, so let's just carry on. [01:51:00] Speaker A: He's busy. Do you want to. Do you want to read these out? Oh, you got the red one. See, I wasn't sure if I. I didn't actually tell her. [01:51:09] Speaker D: There's a red and a black one. [01:51:10] Speaker A: Oh, which one's yours? Yours Looks like it's got different writing than mine. [01:51:16] Speaker D: Don't know. [01:51:17] Speaker A: Is it Olympus or OM system? [01:51:19] Speaker C: Olympus. [01:51:21] Speaker D: Olympus. Yeah. OG [01:51:25] Speaker B: all right, let's. Let's jump to your images. [01:51:29] Speaker C: If anyone, if anyone ever questions, those are. Those are all. They're OM EM one bodies. [01:51:40] Speaker A: Oh my God. What are you doing with all those cameras? [01:51:45] Speaker B: That's insane. [01:51:48] Speaker A: Actually, you know what I wanna, you know what I wanna do [01:51:55] Speaker D: first, Greg? [01:51:57] Speaker B: I think we've lost him. [01:51:58] Speaker D: Justin, he's busy. He's in his camera cupboard. [01:52:03] Speaker A: You know what I want to do first is what I want to pull up your article, which is now live on Lucky Straps. Just quickly. [01:52:13] Speaker B: Oh, is it? [01:52:14] Speaker A: Because I actually had an idea. All right, first of all, let's go to the segment I have Every now and then. Well, it was today with my AI boss and I was being super productive [01:52:27] Speaker D: because of my AI boss. And [01:52:33] Speaker A: we'll quickly have a look at this [01:52:37] Speaker D: article. Let me pull this down. Your toy photography article. [01:52:44] Speaker B: Cool. [01:52:45] Speaker A: Because the photos were really cool. [01:52:49] Speaker D: They're not really formatted well because this is the actual article on the Lucky Straps website which will be going out to subscribers of our email list tomorrow. But like these images were super cool. [01:53:03] Speaker B: I had a lot of fun. [01:53:04] Speaker A: And there's a whole article here written [01:53:08] Speaker D: by Greg about how he went about it and some behind the scenes shots and all that sort of stuff. [01:53:14] Speaker A: And it was super cool. And you know what I think we should do? We should make that the first theme for your images. And I don't know, would next week be too soon? Because I think we should make it next week because it's so like, it's such a. [01:53:29] Speaker D: Just do it. [01:53:30] Speaker A: Just like find something and set it [01:53:32] Speaker D: up somewhere inside or outside. [01:53:34] Speaker A: You've got, got an article to help you do it. Let's all try toy photography and show them on next week's show. [01:53:40] Speaker C: Okay. [01:53:41] Speaker B: I love that. [01:53:43] Speaker C: You know what? [01:53:44] Speaker A: Yeah, just one, just one image. And if you want a behind the [01:53:48] Speaker D: scenes shot of how you set it up, if you're feeling excited. [01:53:51] Speaker A: But you know what I was imagining? I was trying to imagine you, Dennis, [01:53:54] Speaker D: with the world's tiniest little LED light. [01:53:57] Speaker B: Oh my God. [01:53:57] Speaker D: Like a tiny little LED torch. And like behind a LEGO guy, [01:54:06] Speaker A: Of course. [01:54:07] Speaker C: Right, so this here, this is my Matchbox cars. And I have made the smallest light painting tool in the world. Here it is here. [01:54:15] Speaker A: Have you done this before with Matchbox cars? [01:54:18] Speaker C: See that there? So that's a Lego. [01:54:20] Speaker D: Hang on. [01:54:21] Speaker C: With a light, right, that I designed. [01:54:24] Speaker D: Oh, that's awesome. [01:54:26] Speaker C: And you can, and you can clip. So you can clip different bits of LEGO on there, right? So now it's got a green bit on it and then I'm gonna set up a little car and go. It's a light painting around it. [01:54:41] Speaker D: Yes. [01:54:41] Speaker B: That's crazy. [01:54:42] Speaker A: Anyway, all right, well, I've, I've put the link to Greg's article. You can check it out and read the full thing. Or if you've subscribed to the Lucky Straps newsletter, you'll get it in your inbox tomorrow. Otherwise it is on the website under our blog, which we've made exceedingly hard to find find. [01:54:57] Speaker D: You go to the about section and [01:54:59] Speaker A: then to the blog and then you [01:55:00] Speaker D: somehow you end up on the article eventually. But yeah, it's, it's there. I'll put it in the description. [01:55:06] Speaker A: But so the images were great. Did you have a favorite image, Greg, from. From that? [01:55:12] Speaker B: Yeah, I think the one that's sort of about two thirds of the way down the Totoro with the cat bus. [01:55:20] Speaker D: I don't know what either of those words. [01:55:21] Speaker B: Keep going, keep going, keep going. That's causal Lamb. Keep going. That's Godzilla. Keep going. They're the behind the scenes. But this is the image that, that I really loved. And the. [01:55:34] Speaker C: That's. [01:55:34] Speaker B: So I was basically just doing toy portraits. I wasn't setting up big elaborate scenes. But with this one, I've got this printed image. I don't know where I put it from one of my first trips to Kyoto. And, and I. I've had it printed, so it's about a three in size. And what I did was I stuck that up as the backdrop to this shoot and obviously used a. Used a wide aperture, wider aperture to get background blur. So it wasn't kind of obvious what it was in the background. But there's a little bit of aesthetic there that kind of matches the theme of this Studio Ghibli movie, which is. I can't even think of the name of it. Totoro. That's the name of the movie. And these are two characters from that movie. And yeah, it was just a lot of fun. It was just. I just like the way it kind of worked out. If you scroll up a little bit, Jay, on the article, you can see some of the behind the scenes shots. So there's that print stuck to the wall, Vinyl backdrop. And yeah, I just set the figures in it and went for it. [01:56:40] Speaker C: And the lovely thing about stuff like this, right, is you can just. When the kids are going to bed and you just want to hang out and have a bit of fun, it doesn't take up a huge amount of space. [01:56:51] Speaker B: Yeah, well, absolutely. Go on, Jay. [01:56:55] Speaker A: Well, this is what sparked this whole [01:56:58] Speaker D: thing, other than obviously your amazing article was on my mind. [01:57:01] Speaker A: And I also did this. Where are we? I don't know if anyone saw this [01:57:09] Speaker D: because YouTube didn't show it to a [01:57:10] Speaker A: lot of people, but I made this poll and if you get onto our YouTube, you can find this poll. And it was what's holding your photography back the most? [01:57:19] Speaker D: Technique, Money, Drive or time. [01:57:21] Speaker A: And by far, drive. Lack of ideas. Creativity. Creativity or motivation or time. [01:57:27] Speaker D: Just life getting in the way. [01:57:29] Speaker A: And I thought this solves this. This solves both of those problems. [01:57:33] Speaker D: It's like, hey, we know what we [01:57:34] Speaker A: need to do and you can do [01:57:35] Speaker D: it in 15 minutes or you can spend six hours playing around on the floor or you can take it outside [01:57:40] Speaker A: or you can inside. [01:57:41] Speaker D: It doesn't matter. Just do something. [01:57:43] Speaker B: Yep. So, and at the back, at the bottom of the article, I've got some links to some pro toy photographer sites that will just like blow your minds away. They, they take like Star wars figurines and they create props and they have smoke and mist and snow and explosions going on around their toys while they're taking these photos. I went for more simpler, well lit toy. [01:58:08] Speaker C: I love that one. Yeah, that so nice. Because the thing, the thing to always remember is that the skills that you learn at that scale, all the same principles, they scale up. Like if you, if you together around side lighting and backlighting and, and powers and settings, that, that, that would scale up, I bet. [01:58:31] Speaker B: Yep. And yeah, absolutely spot on. And so the, and the premise is, and I kind of led with this in the article that if, you know, if it's shitty weather but you feel like being creative or you're recuperating from something and you can't travel much or you can't get out much, but you still want to do something that's creative and, you know, maintain your skills, it's a really simple way to do it. You know, if you've got grandkids or you've got the, you know, your kids toy boxes still in the cupboard, have a rummage or order yourself something off Amazon. Like find, Find a child. This is what I said in the article. Find a childhood fandom that you loved. You know, was it the Transformers? Was it Battle Cats? Was it, you know, whatever it made, might have been the Smurfs. Like, it doesn't matter, it's just a subject. Yeah, yeah. And you could just add a little bit of fun and dynamism to your images with that. [01:59:21] Speaker D: Yeah, I've got some, I've got some ideas for. I just don't know whether I can order the things I want to get before next week. So I might have to just do something for next week because I think [01:59:28] Speaker A: that's the fun thing too. Just like, let's just do it by next week. [01:59:30] Speaker D: So like, don't make it too big or complicated. Let's just do something. You can always do it again later. [01:59:35] Speaker B: And hey, if you've got kids or grandkids that are regularly around, do it with them. Get them involved, get them to select the toy and. Yeah. And look, just. [01:59:45] Speaker C: Yeah. [01:59:46] Speaker B: And if you, if you are submitting photos for next week's your images and you do a toy shot and it's something that you did with, say, one of your kids or one of your grandkids or a niece or nephew. Pop that in the comments too, because we'd love to hear it. I think it's really important to share the craft possible. [02:00:01] Speaker C: So. [02:00:01] Speaker B: Yeah, thanks, boss. That was cool. [02:00:03] Speaker A: Yeah, thank you. Thanks for the great article. Loved it and it's exciting and I'm ready to go. [02:00:08] Speaker C: I might even use the mailing list. [02:00:12] Speaker D: Oh, nice. All right, your images. [02:00:16] Speaker A: We better make this happen. This first one. I'll just. I'll get you to read some of these out tonight. [02:00:23] Speaker D: Greg, maybe. [02:00:23] Speaker A: If you've got the. [02:00:24] Speaker D: If you got the. [02:00:25] Speaker B: Who is this? [02:00:26] Speaker A: So this is actually Sham. Shams Sandu. [02:00:31] Speaker D: I knew I would get that wrong. [02:00:33] Speaker B: All right. [02:00:33] Speaker A: Shamsha Sandu. And there wasn't any. There wasn't any text with it and there was about six or eight images. And I replied too late, obviously, for [02:00:42] Speaker D: them to see and said, we're just going to do one image. [02:00:45] Speaker A: So I've ended up just picking my [02:00:46] Speaker D: favorite of the bunch and it was this one. I just really loved the way that it. [02:00:51] Speaker A: It flows sort of down and through the composition. I don't know why it. Normally. Normally you would think that would be unbalanced, but it just works here. I don't know what it is. [02:01:01] Speaker B: Yeah. [02:01:03] Speaker A: Maybe it's the mist in the bottom right corner or something, but I dig this for me. [02:01:07] Speaker B: And there's also a little bit of kind of fantasy to it because the clouds are so pink. You know, it almost feels like it's a drawn image, but it's. It's so compelling. It keeps. And then once you get drawn into it, you've got these beautiful steps of. Of layers, you know, the depth in it. [02:01:26] Speaker D: Yeah. [02:01:26] Speaker B: Yeah, that's great. [02:01:28] Speaker C: Yeah. [02:01:29] Speaker A: So thanks. First time, first time sender, long time listener, hopefully. Yeah, Keep sending them in. [02:01:34] Speaker B: Yeah, absolutely. [02:01:37] Speaker A: All right. Up next, David. [02:01:41] Speaker B: All right. So last Saturday, the camera club went for a day of street architecture or whatever took your fancy. Down to Melbourne by train from Shepparton. I decided to only use my Nikon Plastic Fantastic 40mil prime on the Z7 Mark II, although I did also take the 24 to 70. Another decision. And more settings will be tried out till I find the preferred. That was shutter priority 1/60, but already realized that it's too slow for reaction. Shots. [02:02:07] Speaker A: Shots. [02:02:10] Speaker D: I love that. [02:02:11] Speaker C: I love it. I love how she, you know, she's looking. But is she? [02:02:16] Speaker B: Yeah. It's hard, isn't it? Of the 195 shots taken kept 35 of which 13 pass my standards for all different reasons. Some of you can see more on my Facebook socials. I have one of the city skyline where pigeons were flying in and out of frame. I took 27 in succession and the 9th was my keeper. So, yeah, a lot of experimentation there. Still at 1 60th of a second. Autofocus and aperture priority is next to try. Greg, I'd be interested in how you go about settings. Does it vary? Good question, David. My camera settings for street photography are fairly static, so until recently I would always go F8 so that I just knew that everything was going to be in focus because often streets are pretty dynamic. Genre people are moving, you're moving often. And so you just want to make sure that everything's in sharp focus. Depending on the time of day and how much light there is, I'll will rarely go below 1 250th and I'll go up to, depending on the scenario, 1 1000th but average 1500 of a second. And then aperture f8. And then basically the ISO will. Will determine the rest. You know, it depends on the quality of the light whether I'm in, you know, in a. A shady street or out in broad daylight at Fed Square. That's where the ISO will determine the course of the light coming into the lens. So that's kind of the basics for me. [02:03:51] Speaker A: But, yeah, yeah, I dig it and I don't think so. Yeah, it says, yeah, this one is soft and blurred, but the expression on the girl's face to me says it all. [02:04:02] Speaker D: As far as I'm concerned, the technical faults don't matter. Yeah, I don't think they're fine at all. [02:04:06] Speaker B: Yeah, [02:04:09] Speaker D: it might almost make the image. I don't know if it would be better sharp, to be honest. And by sharp I mean the girl's face is probably the only thing that's like, yeah, so, yeah, awesome. [02:04:22] Speaker B: Yep. Yeah, very cool. Well done. Up next, we have Phil Thompson flipping chickens. [02:04:31] Speaker D: Yeah. [02:04:35] Speaker B: Finds the most amazing sky scene. [02:04:37] Speaker A: That's nuts, right? That is epic. [02:04:43] Speaker B: So Phil Thompson says it is an image that I captured on the morning of March 11 this year. Could have sworn that was a sunset, but there you go. It's the morning. I was at the Warren Pond station waiting to catch the 721 to Melbourne for an appointment. As per the old saying about the red sky in the morning, it did actually rain heavily, fairly heavily. Later in the afternoon, captured on a Pentax K1 Mark 2 with a Pentax 27 to 105, 1/15 of a second at f11 and ISO 200. Wow. So, yeah, shot at 7:06am the sun popped up 10 minutes later. [02:05:18] Speaker C: For those that don't know. Red sky in the morning, Shepherd's warning. Red sky at night, Shepherd's delight. [02:05:24] Speaker D: Shepherd's delight. [02:05:26] Speaker C: What I love about that is it's really easy to blow those skies out. Right. Like it's. Yeah, yeah, yeah. And. And there's just the reflection off the fence and the. [02:05:36] Speaker B: Yeah. [02:05:39] Speaker C: And there's only one person there. It's really beautiful. Yeah. [02:05:44] Speaker D: Yeah. [02:05:45] Speaker A: The fact that the horizon line is. [02:05:48] Speaker D: Is right on that person where I would like it. Like I'm a big one for not cropping like through their neck on a horizon line. And, and on a shot like this, sometimes you don't really have that choice, you know, like this. This is a public place. It's not. It's not a posed photo and it. But it's still perfect. Yep. [02:06:06] Speaker C: Yeah. [02:06:07] Speaker D: Yeah. Digging it. And that sky is on fire. [02:06:11] Speaker A: Very cool. This one image thing is working out for us. I think that's good. [02:06:17] Speaker B: Yeah, it does. Punchy, punchy. Who got up next? [02:06:22] Speaker D: Who we got up next? [02:06:23] Speaker A: Crackers. [02:06:24] Speaker B: Carrick. [02:06:25] Speaker E: Yeah. [02:06:25] Speaker A: I just can't find his photo. Where's it going? [02:06:27] Speaker D: Oh, here it is. [02:06:27] Speaker C: There's an Image Coming at 18 at ISO 61. Oh, yeah, awesome. [02:06:36] Speaker D: Sorry, my bad. There we go. I'm back. [02:06:38] Speaker C: Can I read this one? [02:06:39] Speaker B: Go for it, Dan. [02:06:40] Speaker C: Yeah, yeah. This is Greg. Greg Carrick. An eighth of a second, which I love. I saw the. I saw these numbers before. I saw the image at ISO 6425mil. I used the TD Artisan 25mil lens with a variable nd so I could slow down the shutter high ISO to introduce grain. A bit more grittiness by Snapseed. [02:07:02] Speaker B: For the. [02:07:02] Speaker C: For the whole night, I kept the exposure triangle locked in and adjusted the ND to suit the available light. That's what I call the exposure square. Trademark. You know what, Greg? I. That's just. What a gorgeous idea. Cranking the ISO to introduce noise, not doing it in post and using a variable nd. What a wonderful, wonderful method. And I love everything about it. There's. I. I'm not going to pretend to remember the name, but. But I. I've always been fascinated by long exposure during the day. There was an incredible Russian photographer way back in the day who specialized in it and he would create these often in really busy places. Entries to train Stations and stuff, and. But you would see the feet stopping. And that was the thing that always fascinated me, was using just the right shutter speeds. And you can see the. Well, I don't want to assume it's a woman, but the heel is a. We'll call that a giveaway. The. The one stationary foot there, I think, is just remarkable. [02:08:06] Speaker A: Yeah, that is really it, isn't it? I was actually trying to figure out what it was. It is that. It's that shoe, that high heel. That's. [02:08:13] Speaker D: That's the image. [02:08:15] Speaker B: Yeah. [02:08:15] Speaker C: Gorgeous, man. What a very special, special photograph. [02:08:20] Speaker D: Yep. [02:08:21] Speaker A: Thank you, Greg. Yeah, keep them coming. All right, David, Mascara. [02:08:30] Speaker B: All right, photo for the show. I can't decide between these two. Did he. Did you just choose one or two, Justin? [02:08:36] Speaker A: No, I thought we would all pick and maybe the chat can help us, too. [02:08:40] Speaker D: So we're going to show both of them. [02:08:41] Speaker A: It's our first one because the same subject. Two photos. [02:08:44] Speaker B: Yep. So I can't decide between the two. I'll let you guys pick. He was at the bottom of a freeway ramp, so I pulled over and had a nice chat with. With him. Such a happy spirit he had. This was shot on a pentax 67 and tri x that I just happened to take to work this day. Worked out great, I think. Anyway, as always, have a great show. [02:09:02] Speaker A: All right, so we'll go to the next one. [02:09:07] Speaker D: You like the first one? [02:09:08] Speaker A: I think I do, too, but I was like, am I just biased? [02:09:11] Speaker D: Because we looked at that one first and then we changed. I don't know. [02:09:14] Speaker B: I like the first one. It's a little less performative. [02:09:19] Speaker A: Yeah. And I think the overall. [02:09:24] Speaker B: The. [02:09:24] Speaker D: The gray. The background being more gray than. [02:09:27] Speaker A: Than. [02:09:27] Speaker B: Yeah. [02:09:28] Speaker D: As blown like. That one's a little more blown out. He's a little. A darker overall. [02:09:32] Speaker A: Contra. [02:09:33] Speaker D: Maybe there's just more contrast. This has a more subtle tone about it. [02:09:37] Speaker A: I don't know. [02:09:38] Speaker D: Yeah, yeah, I think one. [02:09:41] Speaker A: What's. What's the chat think? Oh, hang on. Look out. [02:09:43] Speaker D: First one. One. Okay, it's unanimous. [02:09:46] Speaker C: Yeah. I think I know why. For me. For me, it's like in the first one, he's. He knows we're there and he's like, hey, I'm here. I've got this. And the second one, he's like. He knows we're there now he's playing around and it's a bit authentic or genuine or. [02:10:04] Speaker D: I don't know. [02:10:06] Speaker C: I think. [02:10:06] Speaker D: Yeah. [02:10:07] Speaker C: But remarkable. Right? So this is. Is that try. So you shot the song film, like, I mean, it's just. Yeah, yeah, yeah. David. It's crazy. [02:10:18] Speaker D: It is crazy. Yeah. I think, I think, Bruce, that's kind of what I was thinking as well is that light at the top sort of draws the eye maybe away from, from the subject and from the sign as well. Even though. Yeah, so. So maybe that's what it was for me. But also. Yeah, I agree. The expression on that's cool. Like that's. Yeah, love it. Awesome. [02:10:38] Speaker B: Very cool. [02:10:40] Speaker A: Lisa Leach. Lisa Leach, the featured photographer in what's the magazine called? [02:10:49] Speaker C: Fancy Photographers Dot com. [02:10:51] Speaker A: No, no, no. [02:10:52] Speaker B: What was it? [02:10:53] Speaker A: What was her featuring? [02:10:55] Speaker B: Oh, gosh, I can't remember. Anyway, she featured in a magazine. [02:10:58] Speaker A: I'm blanking. [02:10:59] Speaker D: She featured super, super cool. [02:11:02] Speaker C: Oh, good. [02:11:03] Speaker A: Royalty. Royalty. I'll read this one. Lisa Leach. Sunrise huddle was captured on my doorstep in Mansfield, Victoria. I'm combining my love of trees, focusing on capturing the beauty in, in the ordinary and every day and my relationship [02:11:22] Speaker D: with my local area to find meaning in the quiet moments of shifting light. The huddle of trees are meters away from the Midland highway, the main thoroughfare between Mansfield, Benalla and beyond. [02:11:35] Speaker A: I pass these trees daily on my [02:11:37] Speaker D: drive to and return from work. [02:11:40] Speaker A: I am frequently drawn with the way [02:11:42] Speaker D: the light cascades, particularly at sunrise. [02:11:45] Speaker A: I ventured out whilst the world slept [02:11:48] Speaker D: early on a Sunday morning and lost myself in nature. [02:11:52] Speaker A: I'm not convinced as yet. [02:11:53] Speaker D: I've done this scene justice, but I'll keep turning up and putting myself out there. [02:12:00] Speaker C: You know the thing, Lisa, Lisa, when I, when I, I put the call out for people to come and give me a hand on the side of the river, when I was doing that light painting thing in the river at Beef up last year, she just, just left. Right. And, and, and that's diving in the deep end, right? Is, is driving cameras and helping people in, in, in a really environment that is probably completely foreign and terrifying, but didn't even balk. And after that moment, I'm kind of learning that Lisa is exploring. [02:12:31] Speaker B: Right. [02:12:32] Speaker C: And, and in these early phases and it's so encouraging and beautiful to watch, you know? [02:12:38] Speaker D: Yeah. [02:12:39] Speaker C: And when you hear these words, when you hear her, her use these words like that's it. If that's your goal, if that's your aim is to just be at peace and, and explore. Explore and keep trying, you're doing it for the right reasons and that's why her work is just so beautiful. [02:12:56] Speaker B: Yep. Yeah. And I think, you know, she said that she'll keep up, she'll keep showing up and putting in the work to do this scene justice. I think with that mindset, you've already done the scene justice. You're just waiting for the right photo to celebrate it. [02:13:10] Speaker E: Yeah. [02:13:11] Speaker D: And this is an amazing photo. I don't know. I love it. I don't have. Yeah. Whether you'll get a better one, I don't know. But I love this one. [02:13:20] Speaker B: Yeah. [02:13:21] Speaker D: I think it's a great choice. It's sort of. It's got symmetry, but not so much that it looks symmetrical, if that makes sense. There's that big branch in the center. Kind of breaks it up and balances out the sort of filled in other side. [02:13:35] Speaker A: I don't know. [02:13:36] Speaker D: It's. Yeah, I love it. [02:13:37] Speaker C: Well, I see. It's weird what we see, right? I see. I see a tree that's died and all the other trees. Trees standing around it, leaning in and mourning its death, you know? [02:13:47] Speaker D: Wow. [02:13:47] Speaker A: I. [02:13:48] Speaker D: Your brain is just so much cooler than that. I just. [02:13:51] Speaker A: I just saw like, some trees that [02:13:53] Speaker D: looked really nice, and I use nice a lot. [02:14:01] Speaker A: It was better Photography magazine. [02:14:03] Speaker B: That's right. [02:14:03] Speaker D: Lisa was featured in. [02:14:04] Speaker A: And I haven't. [02:14:05] Speaker D: I've only seen the, like the online. Online photos and stuff of the article. I haven't got my hands on a copy yet, but it's very, very cool. [02:14:15] Speaker A: Ronnie Nicholson says, beautiful mood and tweak. Production says, that was deep, Dennis. [02:14:21] Speaker D: Rick Nelson sees a cool campground. Yeah, that's. [02:14:23] Speaker A: That's more. [02:14:24] Speaker D: We're like, yeah. I'm like, yeah, I can. [02:14:28] Speaker C: With some firewood. Yeah, I love it. [02:14:30] Speaker A: Yeah. [02:14:31] Speaker C: Amazing. [02:14:33] Speaker D: All right, up next, [02:14:37] Speaker A: Nev Clark. Whoa. [02:14:41] Speaker D: Who wants this one? [02:14:43] Speaker B: I can read this one out, if you don't mind. The photo is interesting, but the story is. Maybe you meant that the other way around. Have to look closely at it and you'll see the shark in the water. The story was. I actually didn't see the shark when I was doing the drone photography. However, I'd actually been in the water about 10 minutes before this, having an afternoon swim before I did my drone photography. Sometimes in life you get lucky, and [02:15:07] Speaker C: other times you get eaten by Sharp. [02:15:08] Speaker B: He didn't say that they were my words, but it's a great wife. [02:15:12] Speaker C: Yeah. Oh, that's nuts. Hey. [02:15:15] Speaker B: Yeah. [02:15:15] Speaker C: Wow. [02:15:16] Speaker D: Yes. [02:15:17] Speaker A: That is nuts. And I'm never going in the ocean in wa. Never ever. [02:15:25] Speaker C: That's gorgeous. Drones are rad. [02:15:27] Speaker D: Hey. Yeah. Yeah. Yeah. [02:15:30] Speaker A: Drones are rad. And so's our country. Look at this water in that coastline. Like the. Like, it's. It's the. Yeah. The three different colors. Just perfect. [02:15:39] Speaker D: Yeah, Yeah. [02:15:41] Speaker C: I Always drone photography would be on Mars. I don't know what they're thinking, I reckon. Are you still here? I love it. [02:15:52] Speaker A: Good job, Nev. Yeah, yeah. Love that shot, too. [02:15:57] Speaker D: The. [02:15:57] Speaker C: The. [02:15:57] Speaker D: The shark obviously makes it, but it's. It looks beautiful even without the shark. But the shark, knowing that that's. There is. That's a very special photo. [02:16:05] Speaker B: Yeah, it's very cool. [02:16:07] Speaker D: Yeah. And damn, you were lucky. Yes. [02:16:09] Speaker C: Yeah. [02:16:11] Speaker A: All right, Paul Carpenter, where is your photo? [02:16:14] Speaker D: It's in here somewhere. Here. [02:16:18] Speaker C: Ah, that's interesting. [02:16:24] Speaker A: All right. Paul says this image was taken last [02:16:27] Speaker D: week, weekend at Thredbo. [02:16:30] Speaker A: I climbed up one of the ski [02:16:32] Speaker D: runs and framed the Milky Way in between the gap in the trees with the hills on the other side of the valley illuminated by the village lights below. Also got some auroral glow as a bonus. It appears from social media that it made a brief and unexpected appearance on Saturday night. [02:16:52] Speaker A: The brightest stars, including the Southern Cross, [02:16:54] Speaker D: have a bit of a glow to them, while the smaller stars are sharp. Not sure if it's due to the slight haze in the atmosphere or a technical reason at my end, but I quite like the effect anyway. Canon R5, 15 to 35L lens at 15 mil, 2.8, 20 seconds. [02:17:09] Speaker A: ISO 6400. [02:17:11] Speaker B: Nice work, Paul. [02:17:12] Speaker C: What I. What I love about this image is, is the being a light painter, of course, is the foreground, Whether. Whether that was a car coming up a road in the distance or whatever. But it reminds me of an image I took of the Flinders many years ago where I was the only person for 50 kilometers. And I opened the shutter, ran down to the car, drove a kilometer down the. The gully, turned around and turned the headlights on to light the foreground from the side. And it feels like. It feels like that here because most people, you know, would. Would. This is definitely lit from the side, and that's what gives it such gorgeous shape. [02:17:50] Speaker D: Yeah. [02:17:51] Speaker B: Yeah. [02:17:51] Speaker C: It's so amazing again. Earth is so rad, man. Look at those stars. Astro season's coming soon. [02:18:00] Speaker D: Astro season? [02:18:01] Speaker A: Is that your favorite season? [02:18:04] Speaker C: Me? [02:18:04] Speaker B: Yeah. [02:18:04] Speaker C: Because I can. Yeah, totally. It means you kind of. A new moon is interesting. I go out to the salt lakes and with the. Yeah, it's gorgeous. I love it. [02:18:19] Speaker D: Oh, there it is. [02:18:19] Speaker A: I was like, I'm trying to find the next image. I'm having trouble with this new setup. I've changed things. [02:18:24] Speaker D: It's not working for me. [02:18:27] Speaker A: Oh, this one says, here's one for Greg. So. Oh, no, no, that's not. [02:18:32] Speaker B: What have you done to it? [02:18:34] Speaker A: Give me no, give me one. Give me one second. [02:18:37] Speaker D: Hang on. [02:18:38] Speaker A: Go. Go to this one and I'll fix. Go to this one, John Latimer. [02:18:45] Speaker D: I'll fix it up. [02:18:48] Speaker C: That's crazy. [02:18:50] Speaker B: That's insane. I love it. Do you want to read this one out, mate? Me? [02:18:59] Speaker C: Dennis. [02:18:59] Speaker B: Yeah, let's go. [02:19:00] Speaker C: Is this Gareth? Hope you're well. Here's one for Greg. Apologies for the huge. [02:19:04] Speaker B: No, no. John. John Latimer. [02:19:08] Speaker C: Hey. [02:19:09] Speaker B: Hey. [02:19:10] Speaker C: Watch live every week and love the show. I never really share my photos, but loving what everyone else is producing and capturing and seems like a great place. Great and safe place to share. I normally just keep to myself. Quite sheltered person, so I thought I'd share one of mine. Well, John, mate, you are so right on many levels. Firstly, there is no safer place to hang out than here, man. And it is also a safe place to share your work, especially if it looks like this. Absolutely gorgeous. Yeah. And thanks for. Thanks for having the courage, mate. Put your work out. It is. It is not always an easy thing to do, but. How beautiful is that? Whatever the heck is going on in the background with that. That bouquet and the backlight on the hairs and. Yeah, and what kind of spazzy spider is that, man? [02:20:04] Speaker B: That's like. It's an Australian spider. Jewel spider or XMA spider. Christmas spider. [02:20:11] Speaker C: That's amazing. [02:20:13] Speaker B: Shot with a A7R3 and a 100 mil Sony Macro 1.2.8. [02:20:19] Speaker C: My apologies. So it's a dual spider shot on an A7R3 with a Sony Macro, 100 mil at f 2.8, 1.4 magnification. Shot around f 16, single image. Edited in Lightroom Mobile, as my PC has given up. But how good is Lightroom Mobile? [02:20:38] Speaker B: Right. [02:20:39] Speaker C: Love the show. And I'll slowly build up the confidence to share more and more and maybe comment on the live show in the future. Oh, mate, that'd be amazing. Isn't it amazing how F16 it still gives you that bouquet in the background? That's what always blows me around. [02:20:53] Speaker B: Macro lenses are trippy. They really are. [02:20:56] Speaker A: Hey, this is a fair point. [02:20:57] Speaker D: Lisa says this spider looks like one of Greg's toys. [02:21:00] Speaker A: It does. [02:21:01] Speaker D: You'd have something like this on your shelf. Yeah, probably, but more cartoony. [02:21:06] Speaker B: Yeah. Less deathy. [02:21:10] Speaker D: I like big butts and I cannot lie. Bruce said it's a big one. [02:21:16] Speaker A: It's a big one. [02:21:17] Speaker D: That is a big. [02:21:18] Speaker C: But, hey, how nice is it. How nice is it that he's sharing his work? Right? [02:21:22] Speaker B: Like. [02:21:22] Speaker C: Yeah, yeah, just keep. Keep them coming, mate. [02:21:27] Speaker D: Love it. All right, Greg. [02:21:30] Speaker A: He's back to. Back to Gareth Davies, I think. Will this work? [02:21:33] Speaker D: There we go. [02:21:34] Speaker A: The file was so big that it [02:21:37] Speaker D: just, I don't know, compressed it. It explode. It was like a black hole. [02:21:40] Speaker A: The file. [02:21:41] Speaker D: Those big files are so big, they. They collapse on themselves. [02:21:49] Speaker B: So Gareth has to say. I went down to Berry Port harbor after work last week with a couple of other photographers. I wanted to test the Ricoh 0.75 wide angle converter on the GFX100RF. While it did work, my filters didn't fit, so I only took a couple of photos with it. Anyway. I moved down a bit to photograph some wood and saw the two others silhouetted with the setting sun. And I thought that was a more appealing photo. This was underexposed by two stops using a Kodak Kodak Ektar 100 film recipe from Fuji Weekly. I preferred this out of camera over the RAW files. I tried editing. [02:22:33] Speaker A: Sometimes you do. You get a photo in camera and then you try and edit it and you're like, this happens to be on [02:22:37] Speaker D: the Q3 a bit. [02:22:38] Speaker C: And, yeah, the Q3, mate. [02:22:40] Speaker A: Yeah, the JPEGs are sick. And I try and like, replicate them with the RAW because I just want to say, like, pull the highlights back just a touch or something like that. I'm like, I think I could get it better and I can't make it look as good. And it's very frustrating. [02:22:52] Speaker C: So it happens when you put them into Lightroom, right, And it shows you the JPEG preview and you're like, wow, sick. And then it goes. [02:23:00] Speaker A: It's like, yeah, that's. So I shoot on the Q3. I shoot everything as RAW and also [02:23:07] Speaker D: a large JPEG because so often I'm just like, that's. That's exactly the way I want it to look. And then. Yeah, but I would. I would actually much prefer it if I could shoot a RAW and have it look like the JPEG and then I can tweak from there. [02:23:20] Speaker A: That would be great. [02:23:20] Speaker D: But apparently Liker and Lightroom don't. Don't play together. [02:23:24] Speaker A: I just want to. [02:23:25] Speaker D: Quickly. [02:23:25] Speaker A: Let's just see. Enhance. Nope. Oh, yeah, hang on. [02:23:29] Speaker D: I want to get to the. [02:23:32] Speaker C: Oh, look at that. You can see his nose. [02:23:33] Speaker B: Oh, look at that. [02:23:35] Speaker D: Yeah, just. I look. [02:23:36] Speaker C: You can literally see his nose hairs. That's hilarious. [02:23:39] Speaker A: Can you really? [02:23:41] Speaker D: You can definitely see the eyebrows and the eyelashes. Oh, dear. [02:23:45] Speaker B: That's insane. [02:23:47] Speaker C: Yeah, that's a really cool photo, actually. [02:23:51] Speaker B: It is. [02:23:51] Speaker D: Yeah, yeah, [02:23:55] Speaker A: yeah. [02:23:55] Speaker D: Beautiful. Grab [02:23:58] Speaker A: John Hall. Where is this one? Here we go. [02:24:02] Speaker C: Oh, hang On a sec. It's got my name there. John Hall. Since Dennis is on tonight, I thought I'd send this one in. We got hooked on light painting after doing his workshop at BFOP in 24 and have since invested heavily in all sorts of torches, tools and gels. Even made his own orb tool. What a legend this one is of Zancy Barn at Lake Mungo. Oh, that's nuts. We're doing. Obviously we're doing a workshop there in May and was taken on the way home from BEOP last year. Timing was perfect as the core was low in the western sky. I'd hoped to do something over the dunes, but the track around the back of the dunes was closed as it had been every time we've been there, so we only had views to the east. Big shout out here too to Richard Taddy and his amazing videos. I'm sure you can see his influence. Richard and Dennis are both absolute legends and have been a great source of inspiration for me. Taking on my old Nikon D7500 with a Turkina 11 to 22.8. Sky was a single tracked shot, 11 mil 60 seconds f28. ISO 800. Foreground shots were 11 mil 15 seconds f 2.8 and ISO 200. Well, thank you for your kind words, John, that anything I've done has inspired you to do anything. And I tell you why this is such a gorgeous light painted shot in the foreground is because you've lit it from the side. So you clearly. There you are, you've clearly listened at the workshop because you've absolutely smashed it out of the ballpark. Like obviously, obviously, you know, we always want a single exposure. But I, I understand completely that sometimes when you want to track the stars, that's not possible. And that's gorgeous, isn't it? I love how you've like not beaten the. Out of the Milky Way. Some people just go so over the top. Yeah, you've really been quite respectful of the sky. Like it almost. I always love it when I look at astronauts and you kind of imagine that if you really let your eyes adjust, you could. This is what you could see and you've really been. Although, you know, I mean, it's all artistic impression. Gorgeous, man. Amazing. And I'm going to go, I'm gonna, I'm going. We're doing a workshop there in May. I'm gonna go track this building down. I've not seen that one. [02:26:25] Speaker D: Yeah. [02:26:25] Speaker B: Bruce has just popped a comment saying that a bunch of areas. [02:26:29] Speaker A: Oh, sorry. [02:26:30] Speaker B: Stop it, Justin. It's My turn. A bunch of areas closed at Lake Mungo because they found a bunch of burial sites. [02:26:38] Speaker C: Amazing. [02:26:38] Speaker D: Hey. [02:26:39] Speaker C: Yeah, we have. We're quite lucky. There are not many people that have the access that Adam does. And so if there's certain parts that are. [02:26:52] Speaker B: I just. [02:26:53] Speaker C: I'm noticing a comment down there. Yeah. So if there's different parts that are closed, Adam has some quite amazing access. So we can go to certain parts. But the thing with Mungo is that's always a risk because it has such a ridiculous, just outrageous history of habitation, which means that, yeah, they're discovering all sorts of new things technically. Does Dennis have the copyright on this? If Dennis taught him everything he knows. That's so funny. I wish. Yeah. The answer would be a hard draw there. Let's. [02:27:29] Speaker A: I think this might be our last one, maybe. Yeah. From TW Productions. Jamie Van. Oh, no, Rodney's. Oh, I'll do that next. [02:27:40] Speaker D: All right. Second last one. [02:27:42] Speaker A: Yeah. Thanks, Greg. So, Jamie Vanderbrink, Tweak Productions. Here's a shot of a graphic flutterer Dragonfly. I've never seen one of these before. And yes, I had to Google it. Macro is my first love when it comes to photography. Mind you, this wasn't shot with my macro lens, but my EF100 to 400L is on the R5 Mark II. [02:28:03] Speaker D: Great camera. [02:28:04] Speaker A: Good choice. I love that I can get up close without disturbing the insect, but still [02:28:09] Speaker D: create a macro look. [02:28:10] Speaker A: Settings 400mil, 1,800f 11, ISO 1250. Hope everyone likes it. Feedback more than welcome. Well, my feedback is. Dang. It's sharp and it. [02:28:23] Speaker C: Yeah, that. [02:28:24] Speaker A: The framing is beautiful. Did you. Did you have to crop it much? I'd love to know. [02:28:29] Speaker C: Can you zoom in on there at all? [02:28:31] Speaker D: Oh, I can try. [02:28:34] Speaker A: Enhance. Whoa, hang on. [02:28:36] Speaker D: Where do we go? [02:28:38] Speaker C: Wow, look at that. [02:28:42] Speaker A: That is nuts. Look at it just hanging onto the little thing. [02:28:47] Speaker C: So many questions about nature, but yeah, that was cropped. [02:28:53] Speaker A: Was cropped. [02:28:54] Speaker D: Yeah. [02:28:54] Speaker A: But it's still got so much left in the file. [02:28:56] Speaker D: Like after cropping, it's still like. [02:28:58] Speaker A: That's crazy. [02:29:00] Speaker B: And. And yeah. [02:29:01] Speaker A: And you were able to shoot it with a non macro lens. [02:29:03] Speaker D: That's. [02:29:04] Speaker A: That's so cool. [02:29:06] Speaker D: It's super duper sharp. [02:29:09] Speaker B: Epic. [02:29:09] Speaker C: Well, the only other thing I wanted to say about John's images, how amazing that that was shot. Shot on a Nikon D7500. [02:29:16] Speaker A: Yeah. [02:29:17] Speaker D: A lot of people ripping out the. The crop sensor, whatever, and just getting. Getting it done, doing the work, making amazing images and not, you know, not stressing about it. [02:29:27] Speaker C: Yeah. That bug is amazing. Great angle, all of it. Yeah, Nature rocks, man. [02:29:34] Speaker A: Yeah, you reckon? So you reckon the depth of field needed to be a little bit wider? Are you saying because the tips of [02:29:40] Speaker D: the wings on each end are starting to fall off? [02:29:43] Speaker A: I. I mean, I don't know if [02:29:46] Speaker D: that's a macro thing where you want everything in perfectly sharp focus. I don't. It doesn't bother me at all because the. The body is so sharp and there's plenty of detail on the. On the wing. But. But maybe that's a thing where you want the entire insect to be in. In perfectly sharp focus. [02:30:00] Speaker C: But I think macro. I think, like light painters want to get everything in one exposure. I think macro people like to have everything. The whole thing sharp. And I think that's where the focus stacking stuff comes in. Personally, I actually quite like it when it's a bit shallow like this. [02:30:18] Speaker B: Yeah, it's cool because [02:30:21] Speaker A: it is the thing, though. Do you think it's because we always [02:30:24] Speaker D: chase what's hard to get? So with macro, depth of field is hard because that's. It's inherent physics of being up so close to the lens trying. So then you're always chasing more depth of field and then, you know, with. [02:30:36] Speaker A: You're always chasing better high ISO performance [02:30:39] Speaker D: when you shoot Astro and you're, you [02:30:42] Speaker A: know, it's like, whatever the limitation is, [02:30:43] Speaker D: you're like, I want more of that. [02:30:46] Speaker C: Great point. [02:30:47] Speaker D: Yeah, yeah. And which is why OM systems can take great macros, smaller sensors, more. More depth of field. You can have that working distance and. Yeah. [02:30:57] Speaker C: And they stack really beautifully. Yep. To do jewelry stuff with my ollies, which are amazing. [02:31:08] Speaker A: What's happening here? Final one for the night and it [02:31:10] Speaker B: doesn't want to work, but Rodney's. [02:31:12] Speaker A: Yeah. Oh, there we go. [02:31:13] Speaker B: Oh, here we go. My photo only taken on an iPhone on my way to surf. Wish it was on my PENTAX, but information ISO 50 14mil f 2.21 5000 of a second. Boy, the lights show clouds and colors and clarity of water. So beautiful. I'm in heaven. Yeah. [02:31:34] Speaker D: Yep. [02:31:35] Speaker B: That's very cool. [02:31:36] Speaker A: Sometimes it's just whatever phone, whatever camera, whatever you got. [02:31:41] Speaker D: Yeah. [02:31:42] Speaker A: The cloud replicating the shape of the rock. That's the. That's the ticket. [02:31:46] Speaker C: Yeah, True, bro. [02:31:52] Speaker B: It's almost like a painting, isn't it? It's almost. Yeah, yeah, yeah. It's amazing. Rodney, well done, mate. [02:32:03] Speaker C: He shot it with his phone. Did he say? [02:32:05] Speaker B: Yeah, yeah. [02:32:05] Speaker C: Yep. [02:32:06] Speaker A: Yeah. Take taking on my iPhone. [02:32:07] Speaker D: Wish it was on my Pentax. [02:32:09] Speaker C: That's amazing. [02:32:12] Speaker A: Every time I go for a surf [02:32:13] Speaker D: or a dive, some amazing light appears. [02:32:15] Speaker B: Nice. [02:32:17] Speaker D: Living the dream. Absolutely. [02:32:20] Speaker A: All right. That's it. [02:32:22] Speaker B: Cool. [02:32:23] Speaker A: Done. So next week, next week, toy photos. [02:32:27] Speaker B: Come up with something new. [02:32:28] Speaker A: Take a toy down the beach, Rodney. [02:32:32] Speaker C: It's amazing. [02:32:35] Speaker A: Yeah, it's gonna be fun. I don't know what I'm gonna do, [02:32:37] Speaker D: but it's gonna be fun. Yeah. [02:32:40] Speaker C: Hey, what a cool night. Thanks so much for having me on. It's always such. I always feel such a. It's such an honor to be. [02:32:47] Speaker B: Oh, no, look, pleasure's all ours, mate. It's. It's always great to have you on the show and we love that you're available for tonight because we thought it was timely to have this conversation about, you know, how do we protect ourselves? Because there is so much information and misinformation out there about what especially social media platforms can and can't do with our images. You know, often you see these things that people do where they'll. My lawyer told me to copy and paste this statement onto my feed. You know, meta. Don't give a. About that stuff. They're not. They're not out there looking for. Oh, they've asked us not to do it, so we won't do it, you know, so it's good to know. It's good to know. And I think I've certainly taken away a few things. I'm going to check out the Arts Law site about street photography just to brush up on that stuff. And I think it's probably all in our best interest to just do a little bit of research to make sure that we're doing what we think we need to do to look after our work, but also be aware of how our actions impact others. You can certainly deal with a lot more of that in the world right now. [02:33:49] Speaker A: Oh, yeah. [02:33:50] Speaker B: But, Dennis, thank you as always. Always great to hang out with you and, and, and it's been a wonderful ongoing conversation since late last week about you joining the show. And, and I love the amount of research and effort you put into the topic. [02:34:04] Speaker D: Yeah, thanks so much for that. Yeah. All that work. I know you put a ton into it and you are not a lawyer, [02:34:11] Speaker A: but you are very, very clever. Also, just Quickly, we are 2 hours [02:34:15] Speaker D: and 34 minutes in, but Glenn's just arrived. He wants to know if he missed anything. I don't know if anyone can just do a quick. [02:34:20] Speaker A: Do a quick recap or something just to. [02:34:23] Speaker D: No. Catch him up. [02:34:28] Speaker A: No. [02:34:28] Speaker B: No more words. No More words, no notes. [02:34:31] Speaker A: Oh dear. [02:34:34] Speaker B: That's a great place to tie a bow. In tonight's episode of the Camera Life podcast, this has been the random photography show proudly brought to you by Lucky straps. Head to Luckystraps.com and check out everything we've got on offer there. We make handcrafted premium leather camera straps and there is a perfect strapped out there for your camera. So that's all I've got. [02:34:55] Speaker A: I should make this clearer too. Okay, so if you're new to the show and you've made it to the [02:34:59] Speaker D: 2 hour and 34 or 235 minute [02:35:02] Speaker A: mark, which is awesome. If you want to submit a photo [02:35:06] Speaker D: to the your images section next week, [02:35:07] Speaker A: toy photos, the week after that we'll [02:35:09] Speaker D: probably just go back to just whatever. [02:35:10] Speaker A: If you want to submit an image, [02:35:12] Speaker D: just email it to me justinuckystraps.com that's how you get your images into the your image section and then you can [02:35:18] Speaker A: join us in the chat live if you can. If not, listen afterwards, comment down the thing or listen on Spotify, whatever you like. We're everywhere. [02:35:26] Speaker B: Yeah, yeah, we're like a rash. [02:35:29] Speaker A: All right. [02:35:31] Speaker B: But on that note, we're going to say goodnight. We're gonna say goodbye to some people in the chat. Thank you to everyone who has watched, sent in images, commented, hung out, whatever it may be, we love you all for it and you know, here we're all about community and, and it doesn't happen without you guys. So thank you very much. Please like this episode. It helps us out a bunch. And also if you're new here or if you haven't done it so far, subscribe and that way you'll get notified of every upcoming episode. But on that note, let's roll the music. [02:36:00] Speaker A: Bruce Moyle says just put the podcast into AI for a summary. That's a smart way to do it. Fun show as always. Brett Wooderson. Thanks Team Nev didn't get eat by a great white shark. That's pretty cool. Craig Murphy. Not folks, great show as always. Thanks Dennis for all the talk about copyright laws. David Skinner says Nighty Night Tweak Productions. Another great show. Gathering up my toys and brainstorming. [02:36:23] Speaker D: Oh, it's going to be a fun week. [02:36:25] Speaker A: Phil Thompson, thanks again, Justin and Greg, great to hear what you had to [02:36:29] Speaker D: say, Dennis, about copyright and AI. [02:36:31] Speaker A: Philip Johnson says great show gents. Lisa Leach, thank you as always. Thank you. Rodney Nicholson, you're a legend. Thanks to the non lawyer. Thanks for joining us at the end, Glenn. It's wonderful to see you and everyone else that was here. [02:36:46] Speaker D: You're all awesome. [02:36:47] Speaker A: And we'll catch you guys next week. [02:36:50] Speaker B: Yeah. [02:36:50] Speaker C: Thanks, everyone. Amazing. [02:36:53] Speaker B: See you, guys. Be safe. [02:36:58] Speaker A: I'll leave this one on screen for anyone watching. What?