Davide Balduzzi | Documentary, Portrait, Weddings and Videography (EP166)

[00:00:25] Speaker A: Well, good morning everybody and welcome to the Camera Life podcast. I'm Greg and joining me is my fellow co host, Justin. G', day, boss. How are you doing this morning? [00:00:34] Speaker B: Doing great. It's a wonderful day here in Bendigo. [00:00:38] Speaker A: I like how we color coordinated our lighting but not our tops once again. Maybe, maybe next time. And of course, being a Thursday morning, we are joined today by a guest photographer to unpack their craft, their journey and talk about the significant experiences that shaped them to be who they are today. Please join me in welcoming documentary, portrait, wedding and videographer photographer. I'm gonna, I'm gonna butcher the name straight away. [00:01:08] Speaker B: You can do it. [00:01:09] Speaker C: Do it. Yes, yes. Well done. [00:01:14] Speaker B: Thank you, David. I appreciate it. [00:01:18] Speaker C: Yes. [00:01:18] Speaker B: Give us the little, Give us the little lesson. Give everyone the little lesson he gave us just before we went live on how to pronounce your name so I [00:01:26] Speaker C: can say how to not pronounce it. So it's not David, it's not Dave. This fine, it's not David. But yeah, the stress is on the A and then goes till the last E. Davide. [00:01:44] Speaker A: Okay. [00:01:44] Speaker B: Love it. [00:01:44] Speaker C: Yes. [00:01:45] Speaker A: I hope everyone at home's got that because there will be a quiz later. Thank you. Great to have you on the show. Thank you so much for joining us today. [00:01:53] Speaker C: Thank you. [00:01:53] Speaker A: Really keen to unpack your story and I don't know if I mentioned this to Justin, but you're also a Fujifilm photographer and so already I knew it. [00:02:02] Speaker C: Yes, yes, yes, yes. [00:02:05] Speaker A: I, I cop a lot of flack because I'm, as you know, I'm a Fuji photographer as well and I cop a lot of flack on this show for being a Fuji photographer using crop sensors. [00:02:14] Speaker C: Yes. [00:02:15] Speaker A: And it's great to have, I mean back on the, on the show with me. [00:02:17] Speaker C: Sorry for interrupt, but I think we're, we can talk. I'm ready to talk about Fuji brand for two hours. I'm in love with my gear and yeah, it's. [00:02:31] Speaker A: We'll get to gear at the back end of the show. We won't dominate the whole time with the Fuji. As much as I'd like to, don't [00:02:36] Speaker B: get me wrong, I'm going to end up buying a camera after this episode, aren't I? [00:02:39] Speaker A: Quite possibly. But yeah. Great to have you on the show. Let's launch into a question. But before we do, Justin, do you mind bringing up Davide's website portfolio documentary? [00:02:55] Speaker B: I sure can. [00:02:57] Speaker A: Let's jump straight into a little bit of image. Image porn, because your use of contrast in how you create your portraits is quite pronounced. It's quite strong. More often than not, your subjects faces fill the complete frame, so there's no, there's no context behind them. The story is purely about them on that particular moment. Talk to us about that style and how you kind of arrived at that point where the punchy contrast became a bit. I guess you could call it a bit of a signature style. Is that, is that how you would identify with it? [00:03:36] Speaker C: Yes. Well, as, as you guys probably experience yourself in your creative journey, styles can change. And I think it is very related to the inspirations that. So when, for example, when I started, I was, I was aiming to do this dramatic contrast, high punchy style also because I was following certain photographers that I was getting inspired with. These things can change in a, in a creative journey. I do still feel that this aesthetic helps to, to don't give escape to the viewer and just like immerse into the subject's world for as long as they want to watch the image. Yeah. But I can do also use some sort of dreamy, vintagey and soft looks as well. Yeah, yeah, yeah, yeah. [00:05:03] Speaker A: No, I've come across some of those in your collection. [00:05:06] Speaker C: Yeah, yeah, I'm, I'm, I'm not stuck into this contrasty way of photograph. [00:05:15] Speaker A: Yeah, yeah, no, that's fair. I think what's, what's most compelling about these images with, with this use of the contrast is that you see every lifeline on the face. You know, you see the person for who they truly are. You see, yeah. You see the wrinkles, you. You see the, the bags under the eyes, you see the real person. And I think that's a really compelling way to tell a story about an individual where there's no distraction. It's just you really are head on with the subject when you view these images. Another thing I noticed with your body of work, both on your website and Instagram, is that some of your portraits have a very warm orangey red kind of feel to them and others have a very cool blue, green feel to them. How important is color in storytelling for these sorts of images for you? [00:06:09] Speaker C: I think color is very definitely is a language and it's good to master that language in order to communicate a certain things that you want to communicate. And also absence of color is another language. So I think the, the warm tones. It's funny because I, I don't, I don't think about it beforehand. It just comes. Comes naturally, comes from how I feel in that moment, how the skin tones of the subject are, how's the environment. And from there I can see which color tone or palette will work. [00:07:12] Speaker A: Yeah. [00:07:12] Speaker C: And is they already have a sort of color palette. I think the post production work is to give an emphasis on that or remove a bit. Yes. So yeah. [00:07:27] Speaker B: How much of the, how much of that process are you doing in camera while shooting? Like are you the sort of photographer that will set your camera to a black and white film simulation or JPEG profile even if you're shooting raw, but to kind of see the effects as you're shooting or do you just shoot in color all the time and then choose how you want to process the image later on? [00:07:52] Speaker C: I shoot usually in color. Classic chrome film simulation. Yes. [00:08:01] Speaker B: Fuji. [00:08:02] Speaker C: Yeah. It's interesting because when I was using as a main camera my XT2, the black and white will look better. I don't know why, I don't know how to explain it. But most of the portrait that you can see in my gallery that are black and white, they've been shooting shoot with the XT2. When then I got my XT4 didn't work that well, the black and white. And so I was going for the color and so I, I started shooting more like, like not shooting more color but keep the color as it was. And, and yeah, that's interesting. Did you, did you notice something like that as well with your equipment or. [00:09:02] Speaker B: Yeah. [00:09:02] Speaker A: Like earlier cameras like the XT1, XT2, I still shoot with a Fujifilm X70 which is quite old now. I think the image sensors back then had a little more character to them. They weren't as perfect as what we're seeing in the Gen 5 cameras like the XT5 and the XC5 and the X50 because you've got a high level of detail. You know, you tend to get less grain with those camera, those newer cameras, but the older cameras you tend to get a little bit more grain, a little bit more punchy contrast in the earlier sensors. So yeah, I think, I think that's definitely a thing. I, you know, I don't, I don't. Like I said, it's character. You know, some of those early Fuji lenses and cameras and even the film simulations had different character to what we're seeing now. So. Yeah. [00:09:53] Speaker C: Yeah. [00:09:53] Speaker A: All right. [00:09:54] Speaker C: Well, thank you. It's funny, it's funny you mentioned that the character. Because we are focused on getting the perfect gear, the perfect sharp lens and, and I shoot so many pictures, especially in my trip in India. One of those is the, the COVID photo that I've sent you. The image has been, has Been captured with a XT2 and a film lens from my dad's camera, which costs probably $40. [00:10:35] Speaker A: Yeah. [00:10:36] Speaker B: Oh, wow. [00:10:37] Speaker A: That's very. [00:10:37] Speaker C: Yeah, it's a beautiful. Yeah, that image has been exposed in few places. Also in a gallery in Rome and. Yeah, yeah, that's cool. [00:10:56] Speaker B: Justin, are you going to find it? I was actually just trying to find that image to pull it up, but I'm struggling to track it down in its. Because it's all over the place. Even though we used to make it thumbnail. That's right. I'll find it later. [00:11:10] Speaker C: That's all right. [00:11:12] Speaker B: Yeah, I love that. That idea of using old lenses different and not worrying about perfect sharpness, but about the feel, [00:11:23] Speaker C: embrace the imperfections and. [00:11:26] Speaker A: Yeah, for sure. Yep. And it's a tough thing to learn or actually it's tougher to unlearn the current expectations of tax sharp, you know, perfect pixels everywhere, excellent use of dynamic range. Like there's that pressure now because cameras are getting better and better and better at managing those things. But you know, even a friend of the show and someone who's been a past guest, Greg Carrick, he shoots with an X E4 and he's also got a GFX. But he often will adapt old lenses to his GFX. He's adapted cinema projector lenses just to get unique character and feel and experiment. He's never shy to try something adapted to his Fuji camera. So it's. It's interesting to hear you say the same thing. [00:12:12] Speaker C: Yeah. And. [00:12:14] Speaker A: Yeah, well, look, let's. Like I said earlier, we'll leave gear till the back end, but maybe we just want to say good morning to some people. Justin. [00:12:21] Speaker B: Yeah, I'll see you in the chat. There's a. There's. There's quite a few, even a few new names. We've got. We've got Matt. Matt Boyle. Good to see you. Saw him at the gym this morning. What's up? Matt Kerr says love. [00:12:34] Speaker C: Love. Oh, that's my friend. [00:12:35] Speaker B: Love classic chrome. I could barely talk. That's your friend? That's awesome. [00:12:41] Speaker C: Yeah. [00:12:42] Speaker B: Subscribe. [00:12:43] Speaker C: Yeah. [00:12:46] Speaker B: Philip Johnson. Julie Powell. Morning. From a gray drab Melbourne. Oh, Matt's from London. That's cool. Very cool. Must be late there. Or getting late. Philip Johnson's in Katoomba. Oh, this is her name. Gloria Balduzzi. [00:13:03] Speaker C: I don't know, it's my auntie. [00:13:05] Speaker B: That is cool. That's very cool. Paul's here. Felicity's here. David Mascaro says looking forward to this one. Rodney Nicholson, good morning from Byron Bay. You up there, Rodney? Very cool. He's normally from Geelong or somewhere that way. [00:13:25] Speaker A: Yeah. [00:13:25] Speaker C: Hi Rodney. I'm in Byron too. [00:13:30] Speaker B: And yeah, you get to swing. Swing past. Live podcast. Dennis Smith is on the road to Broken Hill this morning. Looking forward to having this to accompany me along the way. Hope the drive's going well. Yeah. Traveling podcast. Okay. So where to from here? [00:13:47] Speaker A: Well, let's roll back the clock a little bit and talk about your, I guess your earliest inspirations around either photography or art or just a creative mindset. [00:13:59] Speaker C: Yes. [00:13:59] Speaker A: Where did it all begin for you and when? You know, when did you realize that photography was something that you could pursue? [00:14:06] Speaker C: Yeah, so I've been, I've been lucky because I've been exposed to being creative since I was a kid. Had many examples of being creative. My mom, my dad, my uncle, auntie. So I grew up in a family of the creativity was high. That could be music, drawing or taking photos. My dad was taking photos with a Yashika. Yeah. Which I still have and I'm still using. Yeah. And my mom does clay and plays music and so the, the door was open from the early days and, and then just took me a while to, to understand which one was for me at this stage. I love everything. I love playing music, listen to music, drawing. So everything I think is important. I don't believe I have to focus in just one thing because creativity is something that you have to cultivate every day, like in my opinion. And, and so I like to freshen it up all the time. It doesn't need to feel like work. But I started taking pictures when I was on my 20s. I had few hobbies, snowboarding with friends and all of that. But I still had to. I missed something like a hobby or a passion just for myself and not like a group thing to do. And my friend suggest me like why you don't get a camera and, and you go hiking and, and at that stage I was influenced by lots of photographs that my dad, my dad took and they were hanged in the house and yeah, I bought the first camera and I started playing. Of course I didn't have a style. I didn't know what to what picture to take. I was just like taking like lots of pictures of different things and, and it's funny looking back at those pictures like oh yeah, yeah, been there. Yeah, yeah, we all been there. [00:17:04] Speaker B: What subjects were you drawn to? Like the first thing you know, you get your first camera and you just want to take photos of things. What was it? Did you go to the beach? Landscapes. Was it straight away to people like, what did you experiment with in the real first days of, of that new camera? [00:17:22] Speaker C: I think because I grew up in the mountains, so, yeah. Hiking and taking some sort of. I wouldn't say portraits, but I would say, like, pictures of my friends that they didn't look like portraits, they weren't good at all, but was just like taking the habit to bring my camera along with me and just playing with this or, or maybe some. I don't know, I will drive, I will see a bunch of horses over there, so I will stop and take some photos of horses or whatever. Everything. And yeah, everything was, part of. Everything was good. I was experiencing also long exposure, like photos of the river with long exposure, trying to have that sort of silky water effect and all that stuff. And then. Yeah, and people were complimenting my pictures that I look back and I'm like, oh, my God, yeah. How? Why? But, yeah, and, but that helped me to like, build slightly like a sort of like, awareness of, like, maybe I'm built for this. You know, maybe I have a sense of aesthetic that I can cultivate. And. Yeah, but I, I think. Yes. [00:18:59] Speaker A: No, I was just going to say it's, it's an interesting. We often ask this question of guests because it's very interesting to see what, what led people to pick up a camera professionally and what that journey was before that, before that time when they stepped into, you know, professional photography life. And often it's about people that had influence from their parents, got a camera because they were going to travel and they just started documenting things and then all of a sudden they realized, or someone was telling them and pointing out that, hey, actually your photos are great, you should do more of that. It's a really interesting trend that we see amongst photographers that especially if you didn't do photography as an education, say in tertiary, often people pick it up and turn pro through that journey of traveling with a camera, documenting everything you see to define a genre. You, you mentioned your, your family and your father. And interestingly, today is Father's Day in Italy and I, I cleared this with you before we went live. So, viewers, please don't have a go at me. You've recently lost your father. [00:20:09] Speaker C: Yes. [00:20:09] Speaker A: And you thought, when we were speaking about you joining us today on this podcast, you talked about how this would be a good opportunity, especially given it is Italian Father's Day, to honor your dad and the influence that he had on you. A question that I'm interested in because I have had my own experience with Grief as a visual creative. How has your grief and your experience of losing your father influenced where your photography is now? And. And did it create any sort of temporary block to being creative? [00:20:46] Speaker C: It did, yeah, it did block. It did block me creatively, but. But it is a good block. And, and by that I mean like a slow down, regroup, and understand where I'm at and where I want to take my vision out of the world, because it made me question a lot of things. Also, when I experienced with grief, I lost the attraction to be with people too much. [00:21:36] Speaker A: Yeah. [00:21:37] Speaker C: So. Yes. So I'm trying to. What I'm trying to say is I'm taking advantage of this moment of like, I see it as like a season and an opportunity to be a. Be a me more quiet, less out there, but sort of reflect and be more intentional where I want to be in the last three years and, and working. I'm working a lot on my computer, so I'm building a sub brand of Balutsi Capture. And funny enough, like, as I said, grief. Push me more of like a quiet work that doesn't relate with people at the moment. So I started doing a lot of real estate and editorial photography, which doesn't require. Have that sort of intensity with the subject or. [00:22:43] Speaker A: Yeah. [00:22:44] Speaker C: And. Yeah, so I'm. I'm building some work on that and definitely. Yeah, creativity helps always. So especially in those moments. So I feel blessed that I'm a creative person and I can translate art from a place of nostalgia and, and, yeah, reminiscing and pain, and I think that's. That's where the real work comes from. So I'm gonna be definitely out there soon and do more work and interact with people and listen to their stories and share mine and. But not. Not yet. Yeah. [00:23:39] Speaker A: Yeah, that's fair. That's very fair. [00:23:41] Speaker C: Yes. [00:23:42] Speaker A: And, you know, on behalf of all of us here, we're so sorry for your loss, but I think that this is a. It's a wonderful opportunity for, you know, you to honor your. Your father and what he meant to you. [00:23:56] Speaker C: Absolutely, yes. I still remember when. When I started that I was in my room and I got into photography and so I was like obsessed and learning about all the components and. And so he was there. He was part of the journey. He gave me the equipment. He motivated me when I needed to be motivated or. Yeah, yeah. So big inspiration. Yeah, big inspiration, definitely. Yeah. And. And he. I think he. He got me also into the documentary style to document the real. The wrinkles, the. The rough documented life and not the stage part of which is fair. It's not a critique of course, but yeah, that's why I think I go. I think that's that direction. [00:25:01] Speaker A: That's great. Yeah. [00:25:02] Speaker B: Was it. Was that kind of active guidance in the sense that he was reviewing images and things like that and, and giving advice or was it just more conceptual? Just. Just chats about I guess creativity in a more broad sense? Or was it. Was he helping specifically with like oh, you should use this lens or this, you know, this is how you should take a photo like this. [00:25:31] Speaker C: Not necessarily. He was like a quiet, A quiet individual that like he will answer some questions if I had questions. But he wasn't guiding me too much. I was doing that job by my own. Yeah, but. But sometimes, you know, when I was sharing some sort of like oh, I feel a bit of fear or sort of a sense of uncomfort. Being uncomfortable to take my camera out and take a photo of someone and he will say, you know, it's just a camera, it's not a gun. It's not. It's. You know, it's. Just do it. It's fine. You know, it's. Well now nowadays is. Is definitely you need. You need to ask permission and all of that. But yeah, he will like yeah, got me on that as well. It's like don't take it too seriously. You know, you're making art and with other people and that's what I experienced, you know. [00:26:44] Speaker A: Yeah. [00:26:44] Speaker C: Lots of people that I thought I will disturb or I make them uncomfortable in. In my. In my journey like experienced that they were really surprised and appreciative of like being seen and been stopped by and so there was great. Sorry, I'm. I'm going. [00:27:09] Speaker B: No, this is what we're here for. Yep, definitely. [00:27:18] Speaker A: Thank you for sharing that. I think it's. I think it's always important to reflect back on how people have influenced you and you know, as a form of memoriam know, try to live up to that advice in some degree. And it sounds like you've had a. You had a wonderful connection with your father and. And I'm sure that your work will continue to be inspired by, you know, his role in your life. [00:27:44] Speaker C: Yeah. Oh, sorry. I want to also mention that a funny. A funny. An edit. I don't know if it's a word. An ed little story. So because of him they wrote an article of the Province magazine, the Journal. And it's funny because he was home and he was reflecting on what he could do to help my sort of career or help me. And he mailed the magazine and newspaper Ebergum is called and. And then they did an article about my journey and so he was all proud and had the article cut it out. So. [00:28:35] Speaker A: Yeah, yeah, yeah. I think my parents have still got some of my very early drawings up on the wall in frames and I feel embarrassed every time I see them. [00:28:43] Speaker C: No, you, you don't have to. [00:28:46] Speaker B: Yeah, exactly. [00:28:48] Speaker A: It's absolutely silly. Cool. Well, thank you for sharing all of that. Let's, let's move forward in your timeline. So you, you know, you're out and about, you're photographing everything with your camera. You're trying to define who you are as a visual creative and what your art represents. Talk to us about how that transition to documentary and portrait photography. [00:29:14] Speaker C: Yes. I think it was born. The seed has been planted from National Geographic and I was obsessed like since I was a kid I was obsessed watching documentaries and then looking National Geographic images and website and all of that. So there was like the foundation, you know, but at that stage I didn't know how to do it. But I think the practicality of, of the style was born in India and it was like an amazing journey that I still carry in my heart. It was my first solo trip and was right after seven years breakup. So at that stage it was like, okay, this is it. This is, this is the moment. I book a flight from Milan to Delhi and then I booked another flight from Cochin in South India to Thailand and I had two months time to go south and, and I didn't pack much and I had my XT2 Fuji with I think 1855. And then the two lenses that my dad used to use in his vintage Yashika, I bought like a chip adapter and yeah, and so yeah, the documentary style was born there. More in particular in Varnazi. When I was in Varnasi. I don't know if you know the history of what is about. [00:31:28] Speaker B: I know a little bit and it's on my, it's. I've got it up on my board up here. I want to get there. It was supposed to be happening this year, but I don't, I don't know if it will or not because I've been looking at flights and they're very expensive. But I'd love for you to. Yeah, tell us a little bit more because I've, I've watched a ton of videos and stuff about traveling there and I know a little bit about the history and why it's so special. But tell us like you've been there. So tell us what you know about Varanasi. [00:31:54] Speaker C: Well, Varanasi is a very special place and very unique. And for Indian people, being burned once they are, once they died being, being burned there is a very holy thing. And the more rich they are, the more wood piles they can afford. And so yeah, and, and you can see it like you go and, and there's the Ganja river and there's those stairs that are called guts. And you can see all this activity that is non stop of like people working, grabbing their wood and ceremonies and flowers and smells incense. And then they carry the body on the platform and then they burn it. And then, and it's, it's very unique. And the sky is always gray, it's always flat, probably because of pollution. And so I start using for the first time prime lenses, the, those little lenses that, that I was telling you right there. And right there I start taking these frame filling portraits. And the skin tones looked so nice because of the, the soft box, the natural softbox of the pollution and the clouds. And, and, and so I, in that moment I was like, oh my God, is this is working? Like I really got into that and I was satisfied and it was really fun and I was just want to stay all day out shooting and, and connected with people. Yeah. [00:34:01] Speaker A: And you said you were there for a couple of months. [00:34:05] Speaker C: Yes, traveling, but not in Varanasi. So I was just traveling all over the place from north to south. Yeah, yeah. I was exhausted in the end, but [00:34:15] Speaker A: I bet you were. What was the, what was it like in terms of, you know, you went from north to south and what were your experiences of how people accepted you photographing them? Did it change across the region or was it fairly consistent the whole way through? [00:34:34] Speaker C: Fairly consistent. And Indian people loves to be photographed like they really love and they love to have that dramatic look. So if you ask them then they won't pose like they, they look through the camera and you can see their soul, you know, say yes. [00:35:00] Speaker B: What, what year was this, this first, this trip? [00:35:04] Speaker C: 20. 19. [00:35:06] Speaker B: 20. [00:35:06] Speaker C: 1918, 19. [00:35:09] Speaker A: Yeah. [00:35:10] Speaker C: Yeah. [00:35:11] Speaker A: Wow. [00:35:12] Speaker C: I was there for New Year's Eve. Yeah. [00:35:15] Speaker A: Yeah. [00:35:15] Speaker B: Nice. [00:35:16] Speaker C: Yeah. [00:35:17] Speaker B: Have you, have you been back since? [00:35:20] Speaker C: No, I'd love to. [00:35:23] Speaker B: Yeah. I was gonna say, is it something you want to do or have you got other, other places in mind? [00:35:29] Speaker C: I've got other places in mind, definitely. I, I haven't been to Japan or like to go Japan or Mongolia, New Zealand and yeah, there's heaps of places never been to, been to Morocco, but I Never been to Africa and. Yeah. So much places to visit and. Yeah. And photographic opportunities is. Yeah. So. But I wanted to go to Nepal as well, because I haven't been to Nepal. [00:36:08] Speaker A: Yep. [00:36:08] Speaker B: Yeah. And it's so close. Like, it's all. Everything. You start looking and you think, oh, I could go there too. And I could go there too. And then you start looking, looking up flights and things. And it's not. Nowhere's as close as you think it is. And it's like, oh, that how long am I going to need to do India and Nepal and, you know, start piecing this thing together and it just becomes too big. And that's why I keep pushing it, pushing it back. [00:36:31] Speaker C: And also because I believe India deserve, like. Like a trip just for India for a few months at least, because it's intense. Yeah. It's a huge country. It is a huge country. And if you want to take the most out of it and not just in. In terms of photographing, but spiritually and understanding the. The culture and the country, I think it deserves two, three months minimum. Yeah. [00:37:12] Speaker B: Any. Any interesting stories or crazy stories you can remember from that trip, whether they're photographic or otherwise. Any interactions or things that you saw or people. Anything. [00:37:25] Speaker C: Yeah. So I was like. The first story that comes to my mind was in Varanasi. I met this Nepalese guy and he showed me an ashram. So we went. We went inside this ashram and we were chatting about life. He told me his story and. And the sound was super relaxing. Was like this, like, meditation music going. And. And we've been chatting there for hours. And then he asked me if I wanted to get some street tandoori chicken. Like, yes, I loved some tandoori chicken. And. And so he escort me to this. To this, like, street food store that was run by children. Like, the. The. The oldest has, like, probably 12. And. And. And they were cooking up this food and. And he ordered for me. He asked me some coins for. For a drink. And he asked me, you know, he asked me that he could provide some drinks for us. And. And I never seen him again. So he didn't come back. [00:39:02] Speaker A: I'll say he took your money to go buy food. [00:39:05] Speaker C: No, the. The drinks. So he ordered food from. He ordered food for me. So I was waiting for the food, and then I gave him some coin to get some drinks for us. And then he never came back. And I start eating. And then I realized the chicken wasn't chicken, it was fish. There has been fish inside the Mekong river at the Ganja river, which is pretty gross. [00:39:39] Speaker A: All of the ashes flow into. Don't say. [00:39:43] Speaker C: Yeah, but I didn't go sick. I didn't go sick. [00:39:48] Speaker B: That's good. [00:39:49] Speaker C: The kids. Yeah, the kids did a good job to cooking it up. Oh, no. [00:39:56] Speaker B: Wow. And you were talking to him for hours before this for. [00:39:59] Speaker C: Yeah, yeah, yeah, for hours. Yeah. He told me the, you know, he's journaling every day and writing what every, you know, milestone of the day and which. With which people he talked to and because his wife was still in Nepal, so his plan was to retire in Nepal and then spend the last days in bed with the wife and reading her his journal and. Yeah, pretty sweet. Yeah, yeah, [00:40:40] Speaker A: yeah, yeah. [00:40:41] Speaker C: It's a very sweet story. [00:40:43] Speaker B: I mean, you know what's funny is I wonder if he's somewhere telling people this story. And he's like, yeah, so I went to get us drinks and anyway, I got mugged and they took me, me and I, you know, and. But by the time I got back, the guy was gone, you know, like he's got this whole other story. [00:40:59] Speaker C: Yeah, yeah, yeah. [00:41:01] Speaker B: You never know. [00:41:02] Speaker C: Yeah, never know. But it's. It's. It's part of it. It's part of it. And. [00:41:08] Speaker A: Yeah, yeah, yeah. We've got a couple of friends of the show, one of which is Dennis Smith, who is. Should still be listening on his road trip now. And he, he's done time in India and also Glenn Lavender, who he might even still be there or. No, he's on his way back. [00:41:25] Speaker B: I think he's been in Bangladesh. I don't know if he did India on this trip or not. I can't remember if he teed them up. But yeah, he does a lot of workshops in India and Bangladesh now as well, and tours and things. So I'm always hassling him for insider information about where to go and that kind of thing. [00:41:45] Speaker C: So have you, have you heard about Rajasthan? [00:41:50] Speaker B: No, tell me. [00:41:52] Speaker C: Yeah, let's hear about that. Rajasthan is a huge region on the west that goes basically the border of Rajasthan share the border with Pakistan. [00:42:07] Speaker B: Okay. [00:42:08] Speaker C: Yes. And. And there's this, like ancient cities, which is so worth to go and visit. And this Pushka, which is another holy city. And Udaipur, Mysore and Jaisalmer is the last city, which is called the Golden City. It has desert all around, so you can sleep in the desert. [00:42:38] Speaker B: I think I've heard of some of this area. Is there a popular kind of tourist route that. That includes maybe three cities or something over in that. [00:42:49] Speaker C: I'm trying to remember yes, yes. [00:42:51] Speaker B: Something triangle or there's something. [00:42:52] Speaker C: Yes. Jaipur. Jaipur, Udaipur, Pushka and. [00:43:03] Speaker B: Yeah, yeah. [00:43:05] Speaker C: And Jajal Mary is the last. [00:43:07] Speaker B: There's so much to explore because I was. The other places that I've looked at a Chennai. Sorry. Oh, okay. [00:43:15] Speaker C: Which one is the Blue City? It's pretty famous. Also like Steve McCurry shoot a lot in there. [00:43:24] Speaker B: Oh, okay. Where is. Where's that one? Where. [00:43:27] Speaker C: Still in Rochester. [00:43:29] Speaker B: This one? [00:43:30] Speaker C: Yeah, that one. Yeah. [00:43:31] Speaker B: Ah, yeah, yeah. Oh, wow. [00:43:33] Speaker C: Yeah. [00:43:34] Speaker B: Yeah, it's. [00:43:35] Speaker C: And Jaipur is the pink one because the buildings are mostly. Yeah. So it's pretty cool. [00:43:46] Speaker B: Yeah, it's. It's a. It's a huge country look at. [00:43:50] Speaker C: Yeah. And yet those castles around and. Yeah, it's beautiful. Yeah. [00:43:57] Speaker B: And then. [00:43:58] Speaker C: So you were saying before. [00:44:02] Speaker B: I can't remember. I don't know. So Chennai is on. Is on the list as well. And then otherwise, where's Varanasi gone? I've lost it. It's up here somewhere. [00:44:14] Speaker C: Is north east. [00:44:17] Speaker B: Yeah. So. Yeah. And it's all so spread apart that it's. It's basically plane flights. Unless you do trains maybe, but they. [00:44:26] Speaker C: Oh, trains. Oh, you have to experience the train. [00:44:31] Speaker B: Yeah. What's it like? [00:44:32] Speaker C: Oh, yeah. Oh, well, it's so cheap, first of all, like. And I don't know, it's so much to experience in the train because you see the real life of the people. [00:44:49] Speaker B: Yeah. [00:44:50] Speaker C: And. And then you can sleep in the cabin. I remember one time I was pretty sick on the train and I felt like I was going to speak all over the place. And so a friend of mine that was traveling that I met that we were doing that section of travel together, she guided me with this like breath work, sort of yoga style breath work to like just hold. Works. Yeah. But. But yeah, you definitely need experience the trance. Yeah. [00:45:35] Speaker A: Yeah. [00:45:36] Speaker B: Okay. I'm writing lots of notes. So what? Okay, so this was a quite a transformative trip from. For you, photography wise and probably personally and everything as well. But before this, had you done any paid work as a photographer before you did that India trip? [00:45:58] Speaker C: I did. I did a couple of weddings before that. [00:46:02] Speaker B: Okay, how did they come about? [00:46:05] Speaker C: They come about because my uncle and auntie got married and, and they asked me to do. To be the photographer. I was like, yeah, sure. That's a good thing about me is like I don't, I don't give a. You know, I'm. I'm not afraid of. I just do it, you know, Like, I'm not, I'm not shy on that. And it's like, cool. This is fun. Let's see what happens. Because lots of people, you know, it can be like a pressure. [00:46:36] Speaker B: Some weddings particularly. Yeah. People. Sometimes they'll even say yes. And then. And then they'll start worrying in the lead up to it, like, oh, you know, am I gonna. Am I gonna miss something? Am I gonna get something wrong or. [00:46:49] Speaker C: Yeah, exactly. So something that I appreciate of myself in that regard, that is, I. I don't. I don't get worse. I just go for it. And it's the only way to do it if you fail. Well, you're gonna learn something from that, right? [00:47:10] Speaker B: That's true. [00:47:12] Speaker C: They're probably gonna hate you forever. [00:47:15] Speaker B: That's what I was gonna say. You might not get to talk to your auntie and uncle again, but, you know. [00:47:20] Speaker C: Yeah, but. But yeah, it was a success. And I designed, like, a really beautiful album that they still have and they worship still in these days, and. And then from there, some friends showed the album and they really loved it. And I shoot a wedding for them as well. And then I also was. I was working hospitality in a beautiful place in Tuscany and as a waiter. And then so I started taking photos for them as well, which we made a little book, like a food photography with. With recipes, a recipe book, and, yeah. Pictures of the place, the rooms, and it's very luxury, very charming place in. In the middle of the hills and Beautiful. Stunning. So, yeah, those were, like, my first gigs. Paid. Paid work. Yeah. [00:48:44] Speaker B: At that point, had the idea of being a professional photographer kind of come into frame? Was it something you were pursuing or were these things just kind of happening and yet hadn't really given it much more thought beyond. I'll give that a go. [00:49:00] Speaker C: I love this question because at that stage, it was. I was a bit unsettled inside of, like, I didn't know what to do with my life, you know, and. And I had some pressure from, like, healthy pressure of family that was like, you have to decide what you want to do in life, you know? And I felt so bad because I didn't have that sort of clarity of I don't know what is my way. And then there was a small gathering and a friend of a friend. I don't know, somehow we ended up talking about me having to choose a profession or, like, a direction, even if I was working and everything. But in that moment, I'd be annoyed with her to. To put it out, like, in front of all the people. And that was the first time I stood up. And it's like I know what I want to be. I want to be a photographer. And it felt weird at the beginning, but it's like, oh, I said it. And from that moment, like, I feel like I put it there out there, and like, yeah, that's cool. That's what I'm gonna do. [00:50:33] Speaker B: I love that. [00:50:35] Speaker A: That's [00:50:37] Speaker B: so. It was. It was kind of like it was bubbling under the surface or kind of like, you know when water boils and it's getting hotter and hotter, but it. But it hasn't boiled yet. And then suddenly, bang, bubbles, water's boiling. You're like, okay, exactly. I'm a photographer now. That's what I'm going to do. [00:50:53] Speaker C: Yes, yes. Which at that stage I was doing, I was more like an amateur. There was experiencing few paid stuff, but I didn't feel the confidence to call. To call myself a professional, you know, and so when I said that wasn't like, I am now. I'm gonna be, you know, and so. And, you know, I never had, like a photography course in my life, but I always started and kind of trained the eye and. And everything. And I was pretty obsessed to get the perfect shot, which. You guys want to know my quote? [00:51:49] Speaker B: Yes. [00:51:50] Speaker C: The perfect shot is the one that you don't take it. [00:51:57] Speaker B: Yeah, explain, explain. Go. Tell me why. [00:52:02] Speaker C: Oh, because sometimes when you know that would be the perfect shot, that's like, there's fear creeping in and there's fear because you know that that thing will matter more than something more irrelevant and then. And is mixed with a sense of awe and being present. I'm like, oh, I love this so much that I feel like if I take a photo, I ruin the moment. [00:52:44] Speaker A: Okay. [00:52:45] Speaker C: If that makes sense. Yeah, it does. [00:52:49] Speaker B: I don't know if I could. I don't know if I could hold back. I think I'd have to take the photo and just ruin everything. [00:52:59] Speaker A: Yeah. Yeah. [00:53:01] Speaker B: Very cool. Okay, so you. You decided to be. To become a professional photographer. [00:53:10] Speaker C: Yes. [00:53:11] Speaker A: What. [00:53:13] Speaker B: What did you do to make that happen? Did you try and find a mentor to learn from? Did you. Were there any courses that you did or online resources or in person stuff? [00:53:28] Speaker C: No, none of that. I believe if I would have done that, maybe I would be more sort of. I don't know. Never mind. I'm just reflecting that just after years and like a decade that I'm doing the photography, I mean, the photography game, I just started to send emails out there to like, to potential. To reach potential clients. I never done that. I was like, why haven't done that? And probably if I will have a mentor, he will tell me like, that's what you should do. And so my, my journey was just like, don't think about the business, just go out there, take the best picture pictures you, you can and show it to the world. And then the events kicked in and then I started doing events and then with Dave and also music videos and start making. And that was the shift that got me passionate into filmmaking as well. And. Yeah, and so events and then it was just like a snowball of word of mouth and headshots for people and. Yeah, and also being here in Byron is like, it's a small community and there's lots of creatives and it's pretty easy to, to get into the loop of word of mouth if you're good. And so that was like my only way to promote myself, which I didn't have to. Like, jobs were just coming to me. But now I'm like, I don't want to sit there and wait. I want to create and I need to create more possibilities for myself around even Sydney, Melbourne and just travel and. Yeah, yeah. And so I'm emailing and spreadsheeting everything and. [00:56:03] Speaker B: Oh yeah, technical. Technical business. I like it. [00:56:07] Speaker C: Exactly. [00:56:07] Speaker B: Exactly my world. [00:56:09] Speaker C: Oh yeah. [00:56:10] Speaker B: So is it, is it mainly. So when you're talking about trying to expand and do more work in, in Sydney and Melbourne and things, is that you're talking about with the, the real estate type work or is this, are you thinking more for weddings and things? Is that what you're chasing to go outside of Byron with your work? [00:56:29] Speaker C: Yeah. Oh, so I have different avenues, so I will arrive to that. But just let me explain something. I think the most, the biggest block, creative block that I had was the lots of paid work, didn't fit into my sort of Balutsi Capture brand and put everything in one place. Didn't feel good. Didn't feel that I would give the. The right importance to. Feels that they need some sort of professionality and legitimacy. You know, I don't want to be seen as like, oh, this guy's doing everything. But. And so, yeah, it took me a while to understand which direction I want to take. So at the moment I'm building three, like extra two brands, like one for real estate and editorial work that definitely will allow me to travel, do it here, do Melbourne, Sydney, then a separate one for weddings and then the Balduzzi Capture, which is mostly documentary that will basically fit into as a commercial work, will fit into a sort of traveling with business owners, entrepreneurs and documenting or artists and documenting their own journey or sort of like documenting experiential brands and that sort of documentary. Still documentary, but with like a business to it. Like some commercial. Yeah. [00:58:47] Speaker B: And so say if I was, if I was going on a, a trip around India with our camera straps, I could pay you to come and photograph me. [00:58:56] Speaker C: Exactly. [00:58:58] Speaker B: And I can. And then I can use that in marketing materials and things like that kind of thing. So that would be this, that would be the commercial side of your documentary, which is more probably towards your more personal work. Like, like Balduzzi Captures is kind of like a home for your personal work, but it still has a little bit of a commercial element to it. Yeah. [00:59:20] Speaker C: Yes. Which is, it doesn't, doesn't dilute the, the brand, you know, like doesn't deliver. You know, is, it's legitimate to get money from your work. It's not just for sure. [00:59:35] Speaker A: Yeah, yeah, absolutely. [00:59:36] Speaker C: Yeah, yeah, yeah, yeah. I, but I, I will do a lot of filmmaking too. Like for example, for you camera strap in India, I would provide filmmaking as well, you know, so like a promo, behind the scene documentary. Like a documentary sort of. Yeah, all these things. Yeah. [01:00:00] Speaker B: Oh, oh, sorry, sorry. [01:00:01] Speaker C: You go, you go. No, no, no, no. [01:00:03] Speaker B: I just want to find out how you, how you got into. So into filmmaking. So you were stills photography first. Did someone just say, hey, can you make a film clip for my band? Like how did, and then, and then did you have to learn editing and what, what frame rates are and you know, what log footage is and all that kind of, you know. Did you just throw yourself in there the same way you did with the first wedding? [01:00:30] Speaker C: Yes, exactly. [01:00:33] Speaker B: Crazy. [01:00:35] Speaker C: Yeah, but, but that was a bit different because basically I was experiencing a bit of video before, but no, no, professional was just like a little documentary clips of some sort of journey, like, I don't know, in Lao or some sort of filming a street performer in Perth. These little things, but they weren't that good. Then I was sharing the house with my friend Kenny, AKA Kenzo Cruz, which is a super talented musician. And then we start playing together because I play percussions too. And so one day I throw the idea out there to him, like, hey, what about you create some, some beats and, and, and I'll play along. And then he was just focusing on his own things. It's like, I don't know, maybe. And then it was a dinner party and I cooked. I don't remember if it was like fresh pasta or something like that to friends and, and they start chanting my name and, and from there, he found himself singing a whole song while driving the car. That was just like chanting my name. And so. And so we start. Actually we created a band right there. And the first song was called Davide. And he made the. He made the song. And then we figured that we needed a music video. And so. Yeah, and. And he's on YouTube, so listeners, you can check it out. Kenzo Cruz, Davide. And that was like the first experience with like music videos. And he was directing it. We were co directing it, I guess. And at that stage, I didn't know anything about frame rates or as you said, f log and all that stuff. I was. Yeah, very fresh. But it turned out really good. And I'm like, oh, this is fun. And so we start making more music videos. And then every, every project was like something new that I was learning and I was getting faster and faster on editing and. And then. Yeah, and then I start bringing those skills into the event, in the event realm. And so, yeah, so I become that guy that can do photos and videos at the same time. [01:03:47] Speaker A: Justin's like that. He can do both, [01:03:51] Speaker B: allegedly. That's. [01:03:53] Speaker C: Yeah. [01:03:54] Speaker B: Hybrid shooting is definitely something that is a big advantage for. It does mean that if you're trying to do both things, sometimes you can't be as great at either one as if you were just focusing on one. But it's a big advantage if you just want one person to cover an event and get a little bit of video as well. Make a clip or something. And. Yeah. Yeah, totally huge. [01:04:17] Speaker C: I capture my sister's wedding, both video and photo. I was like hand handling everything because the XT4 has an image stabilization to it. [01:04:29] Speaker B: Yeah. [01:04:31] Speaker C: And which is really good. So I was like holding the video, the XT4, with one hand like that and then taking the photos with the other one like in moments of like ring sharing or those things. And it turned up. That's good. I'm like, oh, my God, that's crazy. [01:04:54] Speaker B: That's crazy. Have you heard of. Have you heard of this? Actually a new thing you can get. It's called a tripod. And then you can just pop the camera on it and point it. So you didn't. You didn't even think to do. You were just like, I'll just hold both. Hold two cameras. One's filming. That's crazy. [01:05:11] Speaker C: It's more fun the way make a challenge. [01:05:16] Speaker B: That's crazy. I thought, I thought my. My old business partner Jim, who's a host on this podcast sometimes as well, he still shoots weddings now. I don't shoot weddings anymore. He does this thing. This is only with stills, though, which I think is way easier. When he shoots the first kiss, he holds both cameras. One with a, like a 105 mil lens or whatever. Super shallow depth of field, nice and close. And then one with a wide angle lens that can get the whole bridal party. He holds both of them and shoots both at once and you know, gets the, gets the first kiss close up and wide. And I thought that was crazy. But to film, to film though is because. [01:06:02] Speaker C: And also was filming with manual lens. [01:06:06] Speaker B: Oh. [01:06:06] Speaker C: As well. So. Yeah. Yeah. [01:06:10] Speaker B: That's nuts. [01:06:14] Speaker A: That look, you know, if, if the customer was happy, then you got the job done. [01:06:18] Speaker C: Yeah, that's right. I mean, I did it for my sister, so. [01:06:23] Speaker A: Yeah. [01:06:24] Speaker C: Yeah. So I was like, okay. They were even thinking about the video. The photos were enough, so it was just like an extra thing. I was like, okay, I'm gonna do it and turn up really well and. But if I will book a wedding now, I will partner with a cinematographer. Yeah, definitely. Yeah. [01:06:48] Speaker B: So be a lot of pressure on the day, I think try. And depends on what the couple's expectations are too, because if they're expecting like a ton of audio and all that sort of stuff, like trying to manage. [01:07:00] Speaker C: Yeah. [01:07:01] Speaker B: Wireless mics and all that sort of stuff and shoot stills at the same time, it would be. Yeah, that would be. [01:07:07] Speaker C: Yeah, yeah, yeah. And things can go wrong really quickly. So. [01:07:13] Speaker B: Yeah. [01:07:13] Speaker C: Yeah. [01:07:14] Speaker B: Oh, yeah. Do you have any advice for photographers that haven't really stepped into the video world, but they're a bit curious about it, but also just worried about how complex it seems? Like how do, how does a stills photographer get started in video without feeling overwhelmed? [01:07:40] Speaker C: So I see it as like an evolution from stills. Right. Because video is a bunch of stills. Put it together and I think it, it definitely contribute to both. Like if, if you're learning video is, is not that you are running away of or you're forgetting about taking stills is, is, is, is an evolution that helps to be. Also helps you to be a better photographer too also. Because I think it helps and train your brain to sit down and have a vision beforehand. Because you know, you need an opener and you need, you need a story. You have to build a story and you have to plan. And so I would say for people that they don't know anything about video, like you can like online. Of course we know there's lots of resources and YouTube videos that explain the technicality. But to get into the habit just with the phone, but not like be more intentional and just train with your phone but not as we used to do it with the phone like that like be more intentional and take like 10 seconds clip minimum and you can use like a steel frame and hold it for 10 seconds and just like capture what is happening there and. Or experience it. Experience some sort of movements and. But keep it 10 seconds every shot and then put it together and see what happens. Put some music and more you go. You get more critical and you can see what is working, what is not working. And yeah, there's a ton of inspiration also like watching movies and. But it's definitely something that I would recommend because it's also very fun to do it. Like I almost enjoy more the video work than. Than the photo. It's more challenging. [01:10:15] Speaker B: Yeah. The, the finished pro, the finished product of an edit that comes together well is very satisfying. It's very. It's very frustrating in the edit process. Yeah. But it's very. When it comes together and you play it back and it's all, you know, it's synced up to the music exactly where you wanted it to and you, you know, it's very satisfying. [01:10:39] Speaker C: Yeah, that's. [01:10:40] Speaker B: That's amazing advice using your phone. That's not something I'd thought of before but I think the cool thing about that is that takes away. Because there is a lot of technicalities to learn with your. With your camera shooting video on manual and frame rate and the 180 degree shutter rule and all that stuff nd filters. Slide all that over to the side for a minute. Put your phone on video mode but on auto. Yeah, you can. You can choose from the wide angle lens or the regular lens or if your phone's just got one lens that doesn't even matter too. But I love that idea of just doing like a few different shots. An establishing shot, a closer up shot, you know, and then just put it together to some music. There you go. You made a video. [01:11:24] Speaker C: Yes, exactly. Yeah. [01:11:26] Speaker B: Yeah. That's a great and idea. Yeah. [01:11:29] Speaker C: And then you learn also the, the different way of communicating things related to the lens you are using and related to the movement that you are doing. Because the movement can be also something that used to your favor. If you want to express some sort of an inch feeling or tension, you can do that. So yeah, I think not thinking too much, just do it with the. Be more intention and. And again keep it 10 seconds. Take. Take the habit to minimum 10 seconds a shot. Because from my personal experience while I was taking videos, I was like why I didn't hold that beautiful shot for longer that it should have been. [01:12:27] Speaker B: Yeah. [01:12:29] Speaker C: So I think it's a good habit to have had. [01:12:32] Speaker B: I've had that exact thought many times during the edit. Like, I need this clip to be two seconds longer. Why did I just put my camera down or press off on the record button or not hold it steady? You know, like, you hold it and then you. The last bit that you really need. You, like shook at the camera and you're like, what was I doing? [01:12:51] Speaker C: And maybe not even press the record button. And then you realize you. You were recording the floor. Oh, [01:13:01] Speaker A: I got. Not recording. [01:13:02] Speaker C: Yeah, no. [01:13:03] Speaker B: So, yeah, on the canons, there's. There's a decent recording indicator, but sometimes you can't see it, especially when it's really bright in the viewfinder. It's like a red line that goes around the outside. It's better now, actually. I can't remember maybe it was worse on the first R5, but there was one whole, probably an hour of a shoot, I reckon, where I was shooting mountain biking and I got out of sync. So I thought I was pressing record, I was pressing stop. And then when I thought I was pressing stop, I was pressing record for a ton of clips. So every clip was like the camera going back into my bag. And then I'd take the camera out, frame up a shot, and then press stop. It was the worst. [01:13:51] Speaker C: I mean, you could. You could probably like edit a video of that and make it as a story. [01:14:00] Speaker B: I don't think the client would have liked it. For the, for the. For the mountain bike review. We were filming at the time. It's like, oh. So I noticed. I realized that I'd done it because I like mid shoot, so I could. We could quickly redo some of the shots that I didn't get. But yeah, I pulled the thing out of the bag once and I was like, oh, it's been recording this whole time. And then I was like, well, I better just check the clip before that. Oh, no, the clip before that. Oh, no, I'm going back anyway. That's it. That's a rookie video mistake. [01:14:38] Speaker C: Did you. Did you get drunk for Desperation? Yeah. [01:14:45] Speaker B: Yeah, there was probably. There was probably a couple of beers after that shoot, I'd say. Should we. Should we, Greg? Should we talk a little bit about gear maybe? Or should we do an ad read first? What do you reckon? Where are we at? [01:14:59] Speaker A: Do you want to do this one? You do this one? [01:15:01] Speaker B: Oh, I can. Yeah, of course you can. This podcast is brought to you by us because we also make leather camera straps, Greg and I. No, we don't actually make them. We just use them and tell you about them and stuff like that. But they're made in Australia. They're beautiful leather camera straps with a wonderful quick release system that we designed so that you can attach it to your camera pretty quickly, but you can also just take it off and leave nothing on the camera as well. And it fits Canon slots, which are obviously superior to everything else. And. But it does also fit the little Fujifilm triangle rings too. The Nikon ones fits almost all cameras except for a couple of Canons that have really little slots on them, like the R100. We won't talk about those. So they're very comfortable. They're great for taking your camera everywhere where you're on a trip. Like, if I was in India and want to walk around with my camera, I would just take the camera out. And this is often what I do. When I was in Vietnam, I go out with my camera strapped across my shoulder and that's it, and just wander the streets. I don't like to carry a camera bag and things like that. I like to have the camera out and that's what our straps are designed for. So head to Luckystraps.com and check out the range. If you would like to support the podcast or just get yourself a better, more comfortable leather camera strap. [01:16:17] Speaker A: Add over and Greg. Oh, yeah, Greg. For a discount. [01:16:23] Speaker B: Yes. What will it get you? I think it'll get you 15% off, which is pretty good. It's the max discount. You could use Code Justin too. If you want to annoy Greg, that's fine as well. Up to you. Anyway, how professional are our ads? Do you like them? They're pretty good, right? [01:16:41] Speaker C: Love it. I love it. [01:16:43] Speaker A: No script. [01:16:44] Speaker B: Yeah, yeah, no, no script. [01:16:47] Speaker C: I love it because it sounds like a friendly neighbor. [01:16:53] Speaker B: Yeah, well, it's. It is what it is. We often. We've done a lot of podcasts. We forgot to even mention them. We're like, whoops. I guess that was [01:17:05] Speaker C: next week. [01:17:06] Speaker B: Next week, exactly. There's always next week. All right. So, yeah, Gear, Fujifilm. How did you. How did you fall into that world? [01:17:18] Speaker C: Well, I was using a Canon before getting system. Yeah. But then my friend almost is a photographer too. Shout out. I don't know if he's with us, but he's like, oh, I bought this camera. I think he should take it because you should get an XT2 because those cameras are amazing. Like, they really fit into your hand and. And you've got the dials, you can see where the settings are. And, and like. Okay, cool. And then I was working in that place that I was saying in. In Tuscany, and I met this great photographer. I think I lost contact with her, but she was a client and we start chatting and. And then I saw her stuff and they were amazing. Like, she was doing like documentary work in South America, I think, for like, violence against women. So she was photographing women and sending up like a black backdrop and, and. And she was like, well, I've got an XT1 with me. I can, I can lend it to you for a few days if you want to try it, which is. It's pretty bold thing to do, right? Like, I don't, I don't, I don't land my gears. Like, there's no way. But she, but she did. And I started playing around with the XT1 and yeah, it was just like, okay, this is like a totally different experience. And then I bought the XT2, went to India, and then. And then I got the XT4 and I started making. Well, the first videos that I did was with the X T2. And. And then the XT4 was a game changer because with image stabilization make my life really easy in that regard because I don't like to use the gimbal. I. I hate the gimbal. [01:19:51] Speaker B: Me. Me too. [01:19:52] Speaker C: I don't. I don't know. Yeah, and especially if you're a hybrid in events, for example, you don't like. I like to have the double strap and be able to switch to video, to photos when I want. Yeah, yeah. And yeah, I've got a bunch of lenses. Do you know one of my favorites. [01:20:17] Speaker B: Tell us, tell us. [01:20:19] Speaker C: Which is not Fuji, though. [01:20:21] Speaker B: Oh, yeah, go on, tell us. [01:20:23] Speaker C: Anyway, it's the Metacon. Metacon. 0.95. [01:20:32] Speaker B: Oh, is it manual focus? [01:20:36] Speaker C: Manual focus. 35 mil. And it's great. [01:20:42] Speaker A: F. F 0.95. [01:20:45] Speaker C: Yeah, it's amazing. [01:20:49] Speaker B: 35 mil. So it's close to a 50. 50 mil equivalent. [01:20:52] Speaker C: Yeah. [01:20:53] Speaker B: On a full frame. Yeah. [01:20:54] Speaker C: Right. Yeah. And. And I, I use it for video because it has sort of like a vintage flair to it that sort of. It's not. It's creamy, it's not clinical. And yeah, for my taste, like some people prefer the, the sharp. Yeah. [01:21:22] Speaker B: Is that it? No. [01:21:24] Speaker C: Yes. It's this one. Yeah, yeah. This one. [01:21:27] Speaker B: Yeah. Okay. [01:21:28] Speaker C: Yeah, yeah. [01:21:31] Speaker B: Interesting. Is it hard? [01:21:32] Speaker C: I mean, that's in focus. You. You get used to it. Also because with Fuji, you can have a focus peaking Set up so you. You can see where the focus sits. [01:21:51] Speaker B: Okay. [01:21:53] Speaker C: Yeah. And there's. There's other lenses that they basically cover the same focal length and the same aperture, which is one is the Seven Artisans. And the other one, I don't remember the other one, but yeah, yeah, yeah. [01:22:14] Speaker A: I've been having fun shooting with an F 1.4. I couldn't imagine shooting with like less than an F1. [01:22:22] Speaker B: And manual focus, like. [01:22:24] Speaker C: Yeah, and manual focus. Yeah. [01:22:25] Speaker B: Which crazy. [01:22:26] Speaker C: Like the 0.95 would be like 1.4 in full frame, if I'm not wrong. Yeah. But at least you can. You can get to that bokeh and. Yeah, yeah, yeah, yeah. It's not for everyone, but. [01:22:46] Speaker B: No, but it is. It is super cool because it's also not by the look of looks like on the Internet here. It doesn't look very easy to get these. I don't know if they're not sold much anymore. Like, they're not. It's not popping up on any camera stores, but it looks like you can get it on like AliExpress. That would be. But yeah, I can't see it. Yeah, it's not. It's not popping up on any camera store. So I don't know, maybe they stopped selling them. But it's reasonably priced, [01:23:16] Speaker C: so I can sell mine for 20 grand. [01:23:20] Speaker B: Yeah, exactly. [01:23:23] Speaker A: Yeah. [01:23:26] Speaker B: Now this isn't. Is. This isn't a question any of us will be able to answer. But I'm gonna pull it up anyway just so people know that if you want to upgrade, ask questions in the live chat, you can. And we will pull them up. Even though this is our Thursday interview show. On. On Mondays we pull up lots and lots of comments, but on Thursdays we don't pull up as many because we try and get into the interview with our wonderful guests. But this was a question from Chris Visuals 09. What lens do you recommend for portrait and cinematic videos? The Viltrox 51.4 Pro or the Sony 50mm G Master 1.2? Yeah, yeah. Other. Other than. I don't have experience with either of them. My. My recommendation would be have you shot with a 50 mil prime at all before. It can be very cheap to just try out the most Systems have a 1.8 nifty 50. Yeah. They won't be anywhere near as good as the 1.4s or 1.2s, but you'll be able to create some great work with them and see if you like that focal length. If you know you like the focal length and you're comparing these two lenses. This worries me because the Viltrox 50 is like an 800 lens. The G Master 1.2 is the flagship 50 mil from Sony and it's like two and a half grand or something like that. They're very different. The 100% the Sony G Master 1.2 is going to be better. It will be, I guarantee it. Even if that Viltrox is great. A native lens from their flagship line being the G master and a 1.2 is going to be a better lens. So yeah, comparing those two is if [01:25:06] Speaker A: you are precision and technical prowess. Yes, that is the case. But if you were looking for a bit more character, then that's when the [01:25:12] Speaker B: Viltrox maybe play because it had as [01:25:16] Speaker A: corrected as the Sony. [01:25:18] Speaker B: Yeah, but is a good character or is this because like the canon. The canon 1.2 has amazing character. It's got a very beautiful look to it sort of thing. So that's where it gets really tricky because character's not always just it being worse sometimes. You know? You know what I mean? Like a great lens can also have great character as well. Yeah, you would have to try both of them. Sony do also make a 1.4g master which is cheaper and lighter. So I would be looking at that probably if it was me anyway. [01:25:52] Speaker C: Or neither. And get Fuji. [01:25:56] Speaker B: Someone had to go there. Swap. Swap your whole. Swap your whole Sony system for. For Fuji and yeah, you. It'll be all light and. And you could shoot with two cameras at once. [01:26:08] Speaker C: Like. [01:26:09] Speaker B: Like. [01:26:11] Speaker A: Yeah, cuz two, two Fujis weigh as much as one Sony. So. [01:26:15] Speaker C: Yeah, but they. [01:26:16] Speaker B: Yeah, don't know if that's true. [01:26:21] Speaker A: I would know. [01:26:23] Speaker B: So okay, so you've got an X T4. There's an X T5 out. Are you the sort of person that once you've got a camera you're happy with, you just don't even look at new models you don't like. Do you even know what the X T5's got that the X T4 doesn't have? Or do you care or what's your thoughts around upgrading cameras? [01:26:47] Speaker C: Yeah, I always look, I always fantasize but I'm quite broke at the moment. [01:26:59] Speaker B: Right. [01:26:59] Speaker C: But I will, but I won't be in a few months so I'll definitely have to get new cameras. Because. Yeah, because the, because sometimes like I've for example I have the XT2. Like I bought it in 2018 and I. I'm still using it but sometimes like words me like I don't Know, I turn it on and does like weird stuff. [01:27:35] Speaker B: Oh, that's all food. [01:27:43] Speaker C: I was like, okay, I think it's time, but I'm not sure if to go to, to get the XT5 or to get the X. What is it? H, H2XH2. Yeah. Or that one. Yeah. Because he's very good for videos. [01:28:09] Speaker A: It's very good for hybrid. [01:28:11] Speaker C: Yeah. [01:28:12] Speaker A: And I think a friend of the show, Ian Tan, he, he now shoots with gfx but previously he was shooting, I'm pretty sure he was shooting with XH models and he would do video and stills as well and just really, you know, really love the system for that, for that side of it. [01:28:31] Speaker C: Yeah. [01:28:32] Speaker B: So I, this is a tough one because the XH2, XH2s, which, there, there's two models there, one's lower resolution, sort of more speed. Is that, that's right, Greg, isn't it? One's high resolution, not quite as much speed. And, and yeah, so XH2, XH2s and the XT5 are all fair chunk into their life cycle. The, the plus side of that is they're cheap. Like the XT5 has been priced pretty well for over a year now because, because they're, it's been out for a long time. So they start to get discounted more from all the retailers. So it's pretty affordable. But on the other hand, there's a solid chance that any of those cameras would, would be, I mean, correct me if I'm wrong, Greg, but what any of those cameras could get upgraded in the next six to 12 months probably. [01:29:27] Speaker A: Yeah, yeah, for sure. I think especially, I think the X T5 needs to move to the next generation because they're releasing almost entry level cameras with the same specs. You know, XE5 is kind of an enthusiast level camera. XT50 is more of an entry level camera, kind of a step up from the X T30 Mark 3 in terms of resolution. But the XT5 is getting on in age and it should stand apart from the others. You know, it should stand apart from [01:29:56] Speaker B: an XE5 and wow, wow, the XC5's down. [01:30:02] Speaker C: You're saying that it doesn't. [01:30:05] Speaker A: It does. There are certain things and again it depends on what you use it for, you know, whether you need all of the bells and whistles. But you know, the, the entry, because of the way that they're releasing cameras at the moment, they're their enthusiast level and entry level cameras are coming out and they're amazing. You know, they're they're on par with flagship. They had the same flagship image sensor and processor, they have the same ibis. So it's, you know, and they're three really core parts that Fuji have always focused on in terms of. This is what you're getting. You're getting a better sensor, better processor and stability. The XT6, I think, needs to really step up from that in some way or another. Whether they go to a 60 megapixel sensor like a lot of other brands are starting to move towards, or whether they just optimize what they've got now, make it faster. But you know that. But I, I think it's, it's coming up to. Due to be. Due. [01:30:57] Speaker B: The XT5 is currently 21.79. Yeah, that's amazing. Like, it was, it was two and a half grand a little while ago and that was cheap. So. [01:31:07] Speaker A: So when they dropped the XT50, it was almost the same price as the XT T5. [01:31:12] Speaker B: Yeah. [01:31:13] Speaker A: And so. [01:31:14] Speaker B: Yeah, questioning exactly. [01:31:16] Speaker C: Well, I bought, I bought my XT4 for 1600 bucks. Brand new. [01:31:23] Speaker B: Yeah, yeah, but, but cameras have gone up a ton since then, like all, all, like cameras across the board. And lenses particularly seem to have gone up quite a bit as well. I don't know, It's. So an XH2 is 2200. So it's essentially the same price, but the XH2S is 3200. [01:31:47] Speaker A: Yeah. [01:31:49] Speaker B: So it's. [01:31:50] Speaker A: Yeah, it's a nice expensive X series. [01:31:53] Speaker C: Yeah, but, but, but I believe that one is pretty solid. Right? [01:31:59] Speaker B: It's like a text, the XH2. [01:32:02] Speaker C: Yeah, that one. [01:32:02] Speaker B: Yeah, yeah, but it doesn't have the dials and stuff on it. You would probably want to. You'd probably want to have a good play with that and make sure you [01:32:09] Speaker C: like the feel at this stage. I'm actually, I can go with no dials because the XT4, he never done it before, but now the XT4 star, giving me a hard time with the dials, you know, like I'm. I'm turning the, the ISO and. And all of a sudden I realized that he changed the modality as well, because it has like a second bottom dial to it. Yeah, yeah. [01:32:41] Speaker A: So you've got a little. [01:32:42] Speaker C: It gets clogged up. Yeah, so they can go. They can get clogged up. Yeah, but, yeah, so. [01:32:51] Speaker A: But there are customizable command dials on the front and rear of the camera [01:32:57] Speaker B: as well. On the XT5. [01:32:59] Speaker C: Yeah. [01:33:00] Speaker A: Right. Yes, yeah, on all of them. Basically. Like my X, E5. My front dial is my ISO and the back is shutter speed. Should I not want to use the shutter speed dial on the top? You know, it's just under my thumb. It's quick and that sort of thing. But yeah, you can always customize those dials to whatever you need to be. [01:33:20] Speaker C: Yeah. [01:33:22] Speaker B: Have you thought about switching back to Canon? Was worth a shot. It was worth a shot. [01:33:33] Speaker C: No, I, I saw, I thought. What's the name of it? FX3. Sony. [01:33:44] Speaker B: Oh, yeah. I thought about video. [01:33:46] Speaker C: I thought about that. Yeah. Yeah, I thought about that one. [01:33:49] Speaker B: What, what made you, what, what makes you think that a dedicated video camera would be a big benefit for your commercial work? [01:33:59] Speaker C: Yeah, yeah, because. Because I see cinematographers, what they do with the FX3 and yeah, it's a really good. I really like it. But very expensive as well. [01:34:20] Speaker B: Yeah, yeah. [01:34:21] Speaker A: What's the next 3 app now? [01:34:25] Speaker B: Sony. Let's. Let's have a look. Let's just look at gear for a while. Let's just do some shopping. Let's do some shopping. They're 5,500. [01:34:34] Speaker C: Yeah, just, just the body. [01:34:37] Speaker B: Yeah, yeah, for an FX3. A body. And then obviously. Yeah, that's the problem is you've also got to, got to find lenses for that system. Then do you run, do you run Fuji and Sony or do you switch everything? Yeah, it's a whole. That's a big, big kettle of fish. [01:34:52] Speaker C: But I guess. Do you know this little lens called Helios 44? [01:35:01] Speaker B: I don't think so. Helios 44 lens. [01:35:05] Speaker C: It's a, it's basically like an anamorphic lens, but it's very affordable and he is amazing. And some cinematographer, yeah, some cinematographers are using that one with the FX3. So let's say FX3 is like five grand and then the lens is like 400 bucks, something like that. But has been used to shoot Batman as well. The last one. Batman. Batman, yeah. [01:35:42] Speaker B: Have you heard of it? I'm Batman. You know Batman. I'm Batman. [01:35:47] Speaker C: That's the one. You could be Batman. Well, you know, you remind me a little bit as a compliment. Thank you. [01:35:58] Speaker B: Maybe I'll get, maybe I'll get a suit. Batman. The next podcast. Podcast. I would just be in a full Batman. Yeah, probably get pretty hot. [01:36:11] Speaker A: Yeah. [01:36:12] Speaker B: Okay. That, yeah, it's super interesting. So yeah, Fujifilm don't really have a. Other than the XH2s, they don't really have a dedicated, dedicated video centric camera in their X like their Crop series line, do they? They have it in their GFX now which is crazy. [01:36:32] Speaker A: GFX has the Eterna 55. [01:36:34] Speaker B: Yeah. Which is, but I mean the, the X series. [01:36:37] Speaker A: I guess if, if you were, if you were a pro videographer and you were using Fuji, you would go for the XH2s. Yeah, yeah that would be the top of the line option for you. Or then step up to GFX where you've got, you know, so much more detail. Good luck with your hard drive storage. [01:36:57] Speaker B: Matt Kerr is going to offer you $1,999. No $19,999 for your lens and call it the Maticon rather than the middle, which is brilliant. He also says, he also says I've got the XH2. Great K, great camera Davide. And the G. The GFXs I use regularly on set too. Oh nice, you've got the full kit. Jealous. [01:37:26] Speaker C: Oh, look at you Matt. [01:37:28] Speaker B: Yeah get all the good stuff. [01:37:30] Speaker C: Yeah, living the trim. [01:37:33] Speaker B: Matt, if you're listening, tell us, have you tried the XH2s compared to the XH2? Do you have any thoughts on, on the difference between those two cameras? Paul Henderson says if Fuji would improve focus for sports and wildlife it might be really interesting. Greg, can you get that done? [01:37:52] Speaker A: Well I can't personally, I can only upwards but you know, to that point Fuji have always had a reputation for, you know, but slow autofocus and I'm going to mute you in a minute and then. And they have, look, they have improved it, they have worked on it a lot. My xc2 sorry xc5. Xc2. My xe5 is quite fast especially with the right glass on it, you know and look, plenty of people shoot sports and wildlife with Fujifilm and don't have an issue. [01:38:29] Speaker B: Andrew Hall. [01:38:30] Speaker A: Andrew hall shoots motorsport. [01:38:34] Speaker B: His main cameras are the XH2s I think. Yeah, he's like they're his go to's. I think they're more comfortable in his hands as well. Yeah, they're a big, he was saying bigger grip and stuff like that but yeah he shoots like 24 hour motorsport races at night and all that sort of stuff with, with those in JPEG [01:38:54] Speaker C: and I think is it matters also the settings that you. [01:38:58] Speaker A: Yeah. [01:38:59] Speaker C: That you have. I think that's critical as well. [01:39:02] Speaker B: Yeah the autofocus settings or. [01:39:05] Speaker C: Yeah, yeah the audio. Yeah the auto focus seconds. [01:39:09] Speaker B: Yeah. What. How does Fuji work with that sort of stuff? Greg now and your. Because you, yours is essentially. Would you say your, your XE5 has the most up to date auto focus system because it's the newest one, it's the newest generation. [01:39:24] Speaker A: It's basically, basically got the flagship body sensors, sensor processor and IBIS again and the autofocus. It's, it's, you know, it's the latest algorithms and subject detection, subject tracking. [01:39:38] Speaker B: Do you, do you have to switch subjects? Do you, do you select like cat or. [01:39:45] Speaker A: Sometimes I did. [01:39:46] Speaker B: Or car so. Or does it do auto or is there. But like. Yeah. How does it work? [01:39:52] Speaker A: I'm not sure if there's an order. There's individual subjects you can select. One of them is animals and then there's, you know, there's bikes, I think there's airplanes, motorsport, all of those sorts of ones. But I, I, I rarely use that, that side of it. But I use the subject tracking for eye and face detection. So like when I'm doing those shots at the skate park, I'm, and, and you know, I find that the focus performance on the XE5 with, with that new 23 mil lens that I'm using is incredibly fast. You know, I'm standing a meter away from subjects that are about to come past me from right to left across the screen at speed while they're launching in the air, you know, on skateboards and you know, the, the subject face and eye detection is grabbing them really clearly. I mean, yeah, it misfires sometimes and, and you know, some shots don't come out great but it's, it's fairly effective. And again, as the other day said, a lot of it comes down to settings, how you've set up the focus performance and tracking and continuous focus and those sorts things of things that can make all the difference. So. Yeah, but yes, Fuji could also improve autofocus. [01:41:10] Speaker C: Yeah, but also I believe some sort of challenge is good because if it, you know, we want to have like the quickest autofocus, like all the specs and out. [01:41:23] Speaker A: Yeah. [01:41:24] Speaker C: But back in the days when they were doing it with film, they didn't have auto focus. [01:41:30] Speaker B: And this is where it gets tricky because I do, I agree with that a little bit and I agree with it until I'm on a sports shoot and I'm trying to get like, so sometimes I'll shoot mountain biking and, and this is with the, the flagship, well actually not the flagship cannons. No, I don't have an R1, but I've got, I've got other like some of the fastest performing Canon cameras that have ever been made with great lenses, but still trying to get, if you imagine like this is a tree and the trail, the mountain bike trail comes around like this and there's a jump behind the tree. And so basically the subject is coming like out like that from behind the tree fast and trying to. Trying to like lock on to acquire the subject quick even. I can. Sometimes I'll even have three or four goes at that and then give up because I can't do what I have in my mind because the camera just can't keep up with it. Manual focusing is impossible because they're going through. Because I'm trying to shoot shallow, like they're going through the. The plane of focus so fast that I can't even set like a manual focus and capture it. Maybe someone better can, but I can't. So, yeah, like, there's still times when the. I mean, the system can't keep up with what I'm trying to do. And then you just work to the system. And I guess that's what we used to do with film. You would just work to the system. You'd be like, okay, I can't do that. I'll go off to the side of the feature where they're coming directly past me, preset a manual focus zone that they're going to ride through and yeah, like try and time it or whatever. You kind of work. Work to your limitations, I guess, which can force creativity as well. [01:43:11] Speaker C: Yeah. And also you can close the aperture a bit and raised. Yeah, and. And raise the ISO and. Because, you know. But by now it's. It's easily adjustable. [01:43:31] Speaker B: Yeah, it's. It's tricky because, yeah, it's a very specific. These are very specific things that I have trouble with because it's very specific to the, to the sport that I shoot regularly. But in the pine pocket plantations where I shoot some of these mountain bike shoots, even in the afternoon, say three hours before sunset to get the rider sharp, I probably have to shoot it around 1600. 1600th of a second shutter speed to. To freeze the action, which is often at 6400, ISO at 2.8 in the pine plantations. So I'm already at 6.6400 at 2.8 on a 7200. And so my option then is like, do I whip out like a 50 mil prime and try and shoot it even shallower and bring the ISO down a bit or. Yeah, yeah. So it's. [01:44:27] Speaker C: Yeah. [01:44:29] Speaker B: They're also all just problems I cause for myself because I could just, yeah, shoot on a wider lens with more in focus and yeah, just change it. So it's usually just things where I'm like, oh, this would be Cool. And then it might work or it might not, but it's not. Yeah, yeah. It's sort of like I'm causing my [01:44:48] Speaker A: own frustration, you know, that it doesn't work. So it's teaching you to look for an alternative solution. [01:44:54] Speaker C: Yeah. [01:44:55] Speaker A: Which is great. That's what it should deliver constantly. [01:44:59] Speaker B: It's fun to find the limitations. [01:45:01] Speaker C: Yeah, yeah, exactly. There was my, there was my point. Because limitations are so helpful in, in creativity. Like, it's really. [01:45:15] Speaker B: It. [01:45:15] Speaker C: Yeah. It take, take you places that you wouldn't go. Yeah, yeah, yeah. By the way, I believe guys like you should invite the gentleman Matt Care that it is with us to your podcast because he's a great photographer too. [01:45:38] Speaker B: It sounds like it. It also sounds like he's got, he's right up Greg's alley when it comes to gear. [01:45:43] Speaker C: Yeah. And he's a, he's a very funny and handsome dude. [01:45:47] Speaker B: Oh, and handsome. Perfect. [01:45:48] Speaker A: Well. Oh, yeah, that's what we're looking for. [01:45:50] Speaker B: Fun and handsome. It's like Tim, that's what, that's why I picked Greg as the co host. I was like, who's the, who's the most handsome person I can find? [01:45:59] Speaker A: Funny. [01:45:59] Speaker C: You're very funny, Craig. [01:46:04] Speaker A: I'll have a look into Matt. Have a chat to Matt. But, but conscious of time. We are coming up to the two hour mark. So what is next for you with your, your pursuit of photography and videography? What, what have you got on the horizon that you're looking forward to? [01:46:22] Speaker C: Yeah, so I'm about to finish and launch my second brand, as I was saying, for real estate and editorial work. And then in the horizon would be connecting with clients and travel with them, supporting them to tell their stories, their own, their brand, their service and, and do more weddings. Also, my partner is a wedding planner, so. [01:47:01] Speaker A: Oh, handy. Yep. [01:47:03] Speaker B: Yeah, that's very handy. [01:47:04] Speaker A: Yeah. [01:47:05] Speaker C: Yeah. She doesn't push too much. So it's like, oh, push me a little bit more. Come on, come on, do it. Trust me. [01:47:23] Speaker B: You need to set up, instead of setting up three different brands for the different arms of your business, you should have set up three, three different wedding photography brands. And then she could be like, here are the top three wedding photographers that you could pick from. [01:47:37] Speaker C: That's smart. [01:47:39] Speaker B: Yeah, yeah. [01:47:40] Speaker C: See? [01:47:41] Speaker B: Genius. [01:47:42] Speaker C: Yeah, you are. Yeah. [01:47:48] Speaker B: And it's, it's, it's okay if you don't have an answer to this question yet, but of the, of the different initiatives that you've got, out of the three of those, if there was one that you were like, I'd love to just. That if, you know, if I could just have as much work as possible in this arm of the business, I'd be stoked. Like, is there one of them that really lights you up more creatively or just that you're more excited about currently? Which. Which not to take away from the other ones, but is there one that you're like, oh, this is. This one's exciting. Exciting. [01:48:22] Speaker C: Yes. Well, that's the. That's the documentary one. [01:48:27] Speaker B: Yeah. [01:48:27] Speaker C: Because. Yeah, that. That's. That's my main. The other two, I'm passionate about it. I can do it really well. They are. I consider them as a bread and butter. [01:48:42] Speaker A: Yeah. [01:48:44] Speaker C: Till. Till a point. Because in order to have a sustainable business with. With my favorite one, I have to, like, there's time. Because you have to find clients with a certain budget that they have a certain intention and. And they can see the value. And so it will. It. It will. It will come. And also, because I stay also in the realm of the music as well, so I can work with artists and. Which I'm in touch. And so, yeah, that one. That one is. Is my favorite. And also it connects the documentary and document connects the traveling part that I'm passionate about. And. Yeah, but as I said before, the other ones, I don't mean offense to the saying. No, it's the bread and butter. You know, it's not that I undervalue or I consider them as. As less. [01:50:04] Speaker A: We've all got bills to pay. [01:50:05] Speaker C: Yeah. [01:50:05] Speaker A: And often it's those bread and butter tasks that contributes to that over the artistic side of things. So. Yeah, no, we fully understand that. That side of it. [01:50:15] Speaker C: Yeah. [01:50:16] Speaker B: Yeah. And you can still find joy and creativity in those other genres and other pursuits. It's just. Yeah. Usually there's always. I often find with people, there's always one thing that's currently kind of like the obsession or the. You know, it's like, it's. There's more fire to get this thing going. And it's always interesting to me to find out what that is. Like, there's something that sort of burning and you're like, I really want to do this thing. [01:50:40] Speaker C: Yeah. And. And also I'd like to. With my friend Roberto. We want to do a short film soon. He lost his partner, Craig. Craig Ry. He won the Archibald Prize for painting and. Oh, wow. Yeah. He passed away a few years ago. And so we're gonna make a short film about that, about Roberto's world, Roberto's experiences, and. And that connects also of what I Experience, Experience with my loss. That lights me up as well. To create short films and filmmaking. Intentional, emotional, slow. Yeah. Because I've been doing lots of high paced stuff, events and music videos and I kind of wanna. I'm interested to bring it down and slow it down. Yeah, yeah. Would. [01:51:54] Speaker B: Would that be the first. I guess I know you've made lots of videos, but would that be the first thing that you would class as a short film? You know, like a, like that's sort of, I guess more structured, more planned, has a purpose and an intention behind it. [01:52:11] Speaker C: Yeah. Yes. [01:52:12] Speaker B: Yeah. [01:52:13] Speaker C: Yes. [01:52:13] Speaker B: Yeah. That's exciting. [01:52:14] Speaker C: Yeah, yeah, yeah. Because all my videos, I tried to make them cinematic, but in that one I could consider the first short film because it will be lots of slow tempo, lots of space and silence and introspection and emotions and. Yeah, yeah. So I'm pretty excited about that one. [01:52:41] Speaker A: Yeah, no, that sounds amazing. And we certainly look forward to. To seeing it at some stage. [01:52:46] Speaker C: Yes. [01:52:48] Speaker A: Now, as is custom on the Camera Life podcast, every Thursday morning, Justin asks a critical, pointed question about how you would survive an apocalypse. Justin, do you want to take it away from here? [01:53:01] Speaker B: Oh yeah. If it was an end of the world situation [01:53:07] Speaker A: at the moment. [01:53:08] Speaker C: Exactly, exactly. I'm already in action. I'm already in action, guys. [01:53:15] Speaker B: What do you mean? [01:53:17] Speaker C: Oh, I'm making the garden. Oh yeah, yeah, yeah. We got chickens in the property yesterday. Yesterday I digged a hole in the chicken coop and in order to make some sort of like. Yeah. Like a compost inside the chicken coops that is free fertilizer for the garden and the animal close the cycle and then I want to get into rabbits and. [01:53:52] Speaker B: Rabbits. [01:53:54] Speaker C: Yeah, yeah. [01:53:56] Speaker B: What do you mean? [01:53:56] Speaker C: For the protein? For the protein. [01:53:58] Speaker A: Really? [01:53:59] Speaker B: Like breeding? [01:54:00] Speaker C: Yes. Yeah. I mean it's pretty easy and doesn't cost much money and space and you don't have to look after them too much and they. They make lots of rabbits. In one minute. In one minute time. [01:54:20] Speaker B: Wow. [01:54:22] Speaker C: Yeah. [01:54:22] Speaker B: And then farmer. [01:54:25] Speaker C: Well, this book and some YouTube videos related to this book. The basically it's all about. It's all about this. How to be more independent. [01:54:42] Speaker B: Yeah. [01:54:43] Speaker C: In sustainable. How you say. Yeah. How would you sustain yourself and. [01:54:49] Speaker A: Yeah, [01:54:51] Speaker C: yeah. So it teaches you lots of things that you actually can do and you. And you don't need a big space for it as well. You can do it in your backyard or, you know. Yeah. [01:55:06] Speaker B: Yeah. So it's not suggesting things that are just not possible. It's suggesting things that you can actually. [01:55:13] Speaker C: Yeah. Because you know, like having a cow or Like a cows, like, of course, is huge challenge and commitment. And rabbits are way more easy to have around and feed them. Yeah. And because, because we think about veggies, right. Like the garden, but then you still have to buy the protein. [01:55:43] Speaker B: Yeah. It's like you can have, you can have chickens and eggs, but that's a lot of eggs each day that you've got to be able to eat if you didn't have anything else. [01:55:53] Speaker C: Yeah. Yes. And apparently he's teaching the rabbits. They have, they're pretty easy and quick to, I mean, to reach to that point that you can eat them. And also you have to take the responsibility to kill them. I was gonna say, which sounds cruel but like, if you eat meat, someone does it for you. So if you can't do it, you shouldn't eat meat. [01:56:29] Speaker B: I, I heard that suggested once and I, I think it would actually change society in a, in a way. Someone suggested once, if you want to eat meat, you should have to go through that process of, of killing an animal. Two times they said that, that was their suggestion because they said anyone can do something once, but if you could do it a second time, then you've kind of, you know, that way you value each piece of meat that you get because you know exactly what's happened to produce it, you're not going to waste it, you're not going to leave half of it on your plate because you, you have no, no concept of what went into someone preparing that for you to be able to eat. And I was like, that's a, that's a very interesting concept. Obviously it never happened, but it's an interesting concept to be like, aware of what has gone on. [01:57:23] Speaker C: Totally. And I think it's very empowering as well. And it grounds you. Right. Like it really grounds you to take the responsibility and have control on what you feed in or what you bring to your table and you eat. Like, it does feel challenging. Like, but like I did a trip on a sailing boat with my friend Orion. We've been sailing around Fiji and I was fishing all the time and fish. Yeah, lots of fish that I was killing. I was having nightmares in the night, looking them in the eyes in my dreams. Yeah, yeah. But, but at the same time, like, I was really grateful for them to provide the energy and, and I think it's very important, especially in this like, fast world that we are living and everything is so accessible and you don't even think what was. Yeah. And also the. Affects your body in a different way. Like when we were eating fish that was just cold. We were buzzing. Like, we. We couldn't sleep at all. Like, not all, but, like, I was struggling to sleep because, like, I had so much energy and. Because if you think about it, like, the animal was alive one hour before. Yeah, yeah. [01:59:11] Speaker B: More wild, more fresh. More, more. [01:59:14] Speaker C: Yeah. And by the way, another project that I'm. That I'm on is with my friend Orion, and he's gonna be. He has a mentally disabled son and he's gorgeous. His name is Koa. Has autism and severe adhd, and he's making his life and mom's life and sister lives really hard. And so his. He's thinking to set the sales with him and. And start a YouTube channel and. And call the YouTube channel Bella, which is the name of the boat, and Bella and boy. And. And I'm involved into that to make it happen and to. To pitch for sponsors to this project and teach him how to edit. I will probably edit remotely at the beginning and all that. So that's also another meaningful project that I'm looking forward to. [02:00:35] Speaker A: Yeah. That sounds amazing. That sounds absolutely incredible. [02:00:39] Speaker B: It really is. [02:00:41] Speaker C: Yeah. [02:00:41] Speaker A: Go on, Jimmy, ask the question. [02:00:44] Speaker B: Oh, yeah, well, that is. That is where we were getting to with, so. So if you were rabbit farming and. And eating your own chicken, eggs and things in the end of the world, Byron Bay has been overran by zombies. Zombies dressed in really fine linens, I guess, or whatever they have in Byron Bay. [02:01:06] Speaker C: White and beige. [02:01:08] Speaker B: White and beige zombies with really nice hair and everything. [02:01:14] Speaker C: Yeah. [02:01:16] Speaker B: What if you. If you had to quickly grab one camera and one lens to document the end of the world? What. What would you go for? [02:01:26] Speaker C: Oh, maybe 16 mil. 1.4. [02:01:34] Speaker B: Oh, interesting. Get up close. [02:01:37] Speaker A: Nice. [02:01:38] Speaker C: Yeah. [02:01:39] Speaker A: Yeah. [02:01:39] Speaker B: Scary. [02:01:40] Speaker C: Yeah. And then just, you know, I'll probably take a photo and then we'll get beaten. That's it. [02:01:48] Speaker B: That'd be the end of it done. [02:01:57] Speaker A: I think that might be a good place to tie a bow in this episode of the Camera Life podcast. What do you think, boss? [02:02:03] Speaker B: I think so, yeah. What an episode. [02:02:06] Speaker A: It has been an episode. [02:02:09] Speaker C: It was really fun. Yeah. The beginning, I was a bit tense because. But Danny became sort of a very. I feel like I'm. I'm hosting you guys in my home sort of thing, you know, and we're just chatting, so. Yeah, thanks. [02:02:25] Speaker A: Yeah, lovely. And I don't mind eating rabbit, so that's even better, you know? [02:02:29] Speaker C: Yeah. But apparently. Apparently is not a thing in Australia. Right? [02:02:35] Speaker B: A little bit to be. [02:02:36] Speaker A: Yeah. It used to be. [02:02:37] Speaker C: Yeah. [02:02:38] Speaker A: Yeah. My dad, when. When I was a kid, my dad every now and then would come home with rabbit, with a. Like a whole rabbit. And it used to freak me out because you'd open the freezer to get an ice cream and there's a carcass in there. [02:02:50] Speaker B: You know, my. My pop and my. And my great uncle. Yeah, they would eat rabbit all the time. And I. I went shooting when I was a kid and we shot rabbits. [02:03:02] Speaker A: Yes. [02:03:03] Speaker B: And then. And then it seems like it's. It's drifted away. I'm sure it. It happens still in. In maybe more rural communities and things, but it seems to. It doesn't get talked about as much. It doesn't. Yeah, it doesn't seem that common anymore. [02:03:18] Speaker C: Yeah, yeah, yeah, yeah. [02:03:20] Speaker B: I don't know. [02:03:21] Speaker A: At my local market, at Prahran Market here, some of the butchers sell more exotic meats. And I think every now and then they do rabbit. [02:03:29] Speaker B: Exotic rabbit and go. [02:03:31] Speaker C: Yeah, exactly. [02:03:33] Speaker A: To dwarf lop. But anyway, enough. Enough about rabbits. [02:03:41] Speaker C: Rabbit casserole. [02:03:43] Speaker B: Yeah, scissor. [02:03:46] Speaker A: Now I'm pretty hungry again. But look, let's wrap up here so we can all run off and eat. But on behalf of the Camera Life podcast, thank you so much, Davide, for sharing your story, your inspirations and your journey. And it's amazing to see the work you've created just with Fujifilm cameras, as Justin would say, with a little crop sensor. But it's been an absolute pleasure talking to you, getting to know you and sharing some of your story. I'm sure there's many other stories and anecdotes that we just don't have time for today. But where's the best place for people to find your work and to find you? [02:04:24] Speaker C: At the moment, on Instagram, Baldu Cicapture, Balduzzi Capture, and Balduzicapture.com but I'm currently working on getting my website better. Add in like a proper print store and everything. And. Yeah, and then I'm gonna. Yeah, and then I'm gonna put through Link Tree, the links of my other brands on. On Baldu's Captures page. Instagram page. [02:04:59] Speaker A: Yep. [02:04:59] Speaker C: Yeah, so that's. That's the place. [02:05:02] Speaker A: Very cool. Well, you going to say something, Justin? [02:05:06] Speaker B: No, I said that's awesome. That's all. [02:05:07] Speaker A: Okay, sorry, I misheard. Well, look, once again, thank you so much. It's been wonderful to hear your story and, and to learn a little bit about you, and we look forward to seeing what it is that you can achieve in the future. And we have no doubts that, that you. You'll be a success. But thank you. [02:05:25] Speaker C: Thank you. And thank you, guys. Thank you for, for being interested and for being warm and. And, yeah, it was such a pleasure. Yeah. Thank you. [02:05:36] Speaker A: Cool. Thank you. Love what we do. It's a lot of fun. [02:05:38] Speaker B: Absolutely. [02:05:39] Speaker A: Yeah. We get to celebrate our craft, so. [02:05:42] Speaker C: Yeah. And I will follow your journey, too. [02:05:45] Speaker B: Yeah. You never know who's going to pop up as a guest. [02:05:50] Speaker A: Eventually. I will get him to buy a Fujifilm camera. [02:05:53] Speaker B: It's gonna buckle. Do it one day. [02:05:56] Speaker C: Do it. Do it. [02:05:57] Speaker A: Yeah. [02:05:57] Speaker C: And then. And then we go to India together. [02:06:00] Speaker B: Oh. Let me know if you're going back. Let me know if you're going back. I'll come. [02:06:06] Speaker A: But on that note, we'll say farewell. We'll say good day and farewell to some people in the chat as we roll our outro music. But this has been the Camera Life podcast, probably brought to you by Lucky [02:06:15] Speaker B: Scraps, who is in the chat. Paul Henderson says thank you. Another great pod. Julie Powell had to go. Great session. And thanks, Davide. Matt Kerr says, talking about limitations in tech, I'm using a Sony RX100 Mark VII, which is actually the latest version, and a Sony RX1R Mark II, which both come out 2015. Nice work. Very nice work. Luis Sidgman. Good to see you. Who else was here? Matt Kerr. Oh, yeah. Chris visuals 09. Matt Boyle was here. Philip Johnson was very quiet through the middle. Everyone was listening intently. Rodney Nicholson. Thanks, everybody. Thanks for joining us. Thanks. David Mascara. Thanks, Dennis. Hope your drive's going well. And we'll. We'll see you guys on the next one. [02:07:05] Speaker A: Be safe, everybody. Bye for now. [02:07:08] Speaker C: Bye.