Episode Transcript
[00:00:02] Speaker A: And we're live. A little late, but we're live.
[00:00:05] Speaker B: We are.
[00:00:06] Speaker A: Hello, Jim.
[00:00:07] Speaker B: Hello, Justin.
[00:00:09] Speaker A: How you going?
[00:00:09] Speaker B: Nice to see you again.
[00:00:10] Speaker A: I'm well, yeah, my day's been good. My day has been great. A little busy, but really, really good. That's awesome. I had, I had all of the notes for today's episode prepared to talk about the rumors of the canon r eight and r 50 launch. And then like 2 hours ago they launched. So instead of now got. We've got specs.
[00:00:35] Speaker B: Yeah, even better to talk about.
[00:00:38] Speaker A: Yeah, exactly. Exactly. On, on the show we're going to talk about those new releases, plus Nikon's new lens and Sigma's new lens or nicknames and lenses.
[00:00:51] Speaker B: Yeah.
[00:00:53] Speaker A: Exciting. And then we'll talk about AI and how it's not photography, but people keep calling it AI photography and have a look at an AI image that won a.
It won a prestigious photography competition here in Australia. Very prestigious.
From a panel of expert photographers. And then we're going to wrap up by going through what's in our bags at the moment. What's in your bag? What's in my bag? What gear are we using? Yeah, that's the plan.
[00:01:27] Speaker B: Let's jump in.
[00:01:29] Speaker A: I think we should. If you're listening along live, all three of you, jump in the comments, ask us a question.
[00:01:38] Speaker B: Is there three?
[00:01:39] Speaker A: I think there's no, there's no. It says zero. I just want to see if you're paying attention.
Hello, live listeners.
All right, so before we get started, I'm Justin, photographer, founder of lucky Camera Straps.
Mainly shoot action sports now, but have shot weddings and all sorts of things with Jim. This is Jim. Say hi, Jim.
Who are you, Jim?
[00:02:10] Speaker B: I'm Jim and I'm a photographer. I mainly shoot weddings these days. Used to do a bit of newspaper work.
[00:02:18] Speaker A: Bit of newspaper work. How long did you work as a photojournalist?
[00:02:24] Speaker B: Six years.
[00:02:26] Speaker A: Yeah. Full time.
[00:02:28] Speaker B: Yeah, full time for five. One of them was I was at uni or two of the years I was at uni.
[00:02:33] Speaker A: So started as a photojournalist before going out and doing your own thing?
[00:02:38] Speaker B: Well, yes, yeah, doing.
[00:02:40] Speaker A: Doing our own thing.
[00:02:41] Speaker B: Doing nothing. Yeah.
[00:02:43] Speaker A: Yeah.
So you've been shooting for how long?
[00:02:49] Speaker B: 13 years. 13 years, yeah.
[00:02:53] Speaker A: Nick on the whole time.
[00:02:54] Speaker B: Seems like a long. Yeah. Yes. On my first camera was a Panasonic. Like a mirrorless point and shoot, like when they were.
Yeah, way, way ages ago. It's shot raw, but it was. Yeah. Pretty limiting.
[00:03:11] Speaker A: Yeah.
[00:03:12] Speaker B: But yeah.
[00:03:13] Speaker A: Then.
[00:03:13] Speaker B: Since then, nick on all the way.
[00:03:17] Speaker A: All the way. Well until soon. When you change the mirrorless switch brands maybe. We'll see.
Okay so the, the r eight s out, which is canons, canon something. Not quite sure where it fits in. It's. The specs are 24 megapixel single card slot, very lightweight body.
Priced, we don't know exactly what in Australia yet but 1500 us which puts it at fair bit cheaper than an EOS R. Six mark two, dearer than an RP, which I actually own which is like the entry level full frame mirrorless which is also 24 megapixels.
Yeah. The EOS RP and the EOS R have been out for a long time so they're due to get replaced. So this is a replacement for maybe the RP. It's hard to tell. It has the same battery size as the RP I think, or similar. It doesn't have the full size batteries. You know, it's got like little, little square batteries instead of a full size DSLR battery. You know, the standard thing. So I don't know where it sits. It's, it doesn't have, doesn't fully frame. Full frame?
[00:04:38] Speaker B: Yeah. Let me pull one card slot.
Is it sd or like CF express?
[00:04:45] Speaker A: One SD card slot. Yeah.
[00:04:47] Speaker B: That's rough.
[00:04:49] Speaker A: Well look, it's, it is.
Let me bring it up on the screen.
So it's not going to be a main wedding shooters camera but it could definitely be a backup I think.
Yeah, I think it could definitely be a backup. Like if you were running an six reals mark two reals or MK one or whatever is your main camera or even r five or something and you were mainly shooting one camera, I think this would be a, a fine backup, six frames a second. But. So here's the thing, here's the thing.
[00:05:22] Speaker B: That'S slower than like a D 750.
[00:05:24] Speaker A: Not by much. That was 6.5. Were they?
[00:05:27] Speaker B: I thought they were.
[00:05:28] Speaker A: No, I think that was 6.5.
So the, here's the thing, it doesn't have a full mechanical shutter. You can either shoot electronic first curtain or full electronic shutter. But there's no full mechanical shutter.
[00:05:48] Speaker B: Yeah. So what does that mean for, what.
[00:05:52] Speaker A: Does, what does that mean? That means I think it might be limited to max shutter speed like four thousandths of a second. I haven't, I actually haven't had like this was only a few hours ago. I haven't dug into the specs much but basically it means with electronic first curtain you won't get rolling shutter and banding issues and stuff like that. Like you will with full electronics. So you can kind of eliminate that. But, yeah, it doesn't have a full shutter and it seems like that's where they're heading. Obviously anything that's mechanical is prone to failure over time. It's something else that can go wrong. It's more expensive to manufacture, so they're bringing the price down of their manufacturing by eliminating mechanical components and replacing them with, you know, faster reading sensors.
[00:06:39] Speaker B: So it looks tiny in that first photo. Like very thin.
[00:06:43] Speaker A: It wouldn't surprise me if it feels really like the, the RP because the RP is really thin. It actually feels great in the hand with the grip on the bottom. This, this little grip extender that you get for the RP.
[00:06:53] Speaker B: Yeah.
[00:06:54] Speaker A: And they have the same grip extender on the back even. It kind of looks similar. So you've got no joystick, less of the pro buttons, no jog wheel that canon has. That's amazing. So it's missing a lot of the good stuff, but it's going to be a cheap camera, photo video mode switch over there, which is good. Not great, but good. Better than not having a dedicated switch.
So yeah, it's not being not image stabilized at the center. It doesn't make it like an amazing video shooters camera or something in terms of this is going to replace as the cheapest, most amazing vlog camera you could ever get. It's still good though because it still does full log, ten bit, four k, sixty footage at full width. There's not many cameras that actually do that anywhere near this price point. So it just doesn't have stabilization.
Hang on a minute.
[00:07:54] Speaker B: Yeah. Jewel slots.
[00:07:55] Speaker A: It says it's got dual slots.
[00:07:57] Speaker B: Yeah, I just, I was literally just.
[00:07:59] Speaker A: Reading that and I was like, no, no, no. We need, we need to figure this out.
Let's, let's pull up another resource because I was under the impression it had single.
[00:08:10] Speaker B: I wonder if they've, if they've got that confused because it's uhs too.
[00:08:15] Speaker A: That's right.
[00:08:16] Speaker B: Like if it is, if it is singular card slot, but.
[00:08:18] Speaker A: Or if I'm just wrong, which is highly likely.
Let's see.
[00:08:23] Speaker B: Well it only got announced a few hours ago, so.
[00:08:26] Speaker A: I know. Let's use canon rumors. I like canon rumors. I should have used them anyway. Let's bring them up.
More pictures.
More pictures.
All right, so yeah, so what the electronic front. So basically it's the six reals mark, two reals sensor, essentially autofocus. Whether or not it's a snappy, we'll wait to see. But they're saying that it's essentially the same and has the same, you know, they say that all the time.
Whether it can do it with a battery that small and all that kind of stuff, we have to sort of wait and see. But 40 frames a second, full electronic, and a 60 shot raw buffer, which is pretty good for a lower level camera.
[00:09:17] Speaker B: Yeah, that's better than what I'm working with.
[00:09:22] Speaker A: Yeah. So the six frames a second frame rates probably hampers it a little bit. You can definitely shoot a wedding with that. I mean, it's fine. But if it was, say, eight or nine, you'd be like, that's amazing. For a cheap camera, you could literally do everything you need. But I'm just trying to see.
[00:09:41] Speaker B: Well, what, what's the D 850?
[00:09:45] Speaker A: Uh, nine. Oh, nine.
Or is it nine with a grip?
[00:09:51] Speaker B: Yeah, it might be nine with a grip.
[00:09:55] Speaker A: Seven. What is it with that without seven or seven and a half without the grip?
[00:09:58] Speaker B: Yeah, it's like, not a. It's a pretty good, like, it does most.
[00:10:03] Speaker A: Pretty good speed of. Yeah, I mean, yeah, so it'll. It'll be the same as, as the.
I cannot find anything about the card slots.
Let's see. No, nothing else.
Okay.
We'll go somewhere else.
DP review. Oh, that will help us.
[00:10:39] Speaker B: We've got some, some viewers.
[00:10:40] Speaker A: Justin, perfect shots.
[00:10:43] Speaker B: Fire. Jeremy says, hey, legends. Hey, Jeremy. How you doing?
[00:10:47] Speaker A: Hey, Jeremy. Hey, Jeremy. Do you know if the r eight has one card slot or two? Have you heard yet? We're just trying to find. It. Got released two to 3 hours ago.
I'm sure it's one card.
[00:11:05] Speaker B: 1500 us is pretty good.
[00:11:08] Speaker A: Yeah, yeah. So we'll see where it lands. But mechanical. Sure.
Card slots.
All right. One. One card slot.
[00:11:24] Speaker B: Yeah.
[00:11:24] Speaker A: Okay. I'm glad we've sorted that out. So that really does sit it squarely in the. It's not going to be a professionals camera, but it can be in a professional's bag depending on, you know, if it's for a backup or something like that. But it's. And obviously, I'm not saying you can't do professional work with it. You can do it with anything. Do it with an iPhone. But that, that lack of a second card slot does.
[00:11:51] Speaker B: Yeah, but for. Maybe it's aimed at, like, videos.
[00:11:54] Speaker A: Give it again. No, no image stabilization. So that does hold. Gotta use stabilized lenses. It can be done, you know, shooting on a tripod.
Shots by. Jeremy just got off the phone with that cannon rep and he didn't tell me anything. Sorry. You will be sorry, Jeremy.
Okay, moving on. Well, for me, the r eight definitely does look like it would be a reasonable backup camera, but I don't know at the moment. I've got three cameras. I've got the three reals, five and RP. The RP is really just sort of sitting around to get used for some things. Every now and then the boys use it in the office for lucky.
It's a good camera. It definitely. I couldn't shoot a job with it without being disappointed on just the autofocus and stuff like that. It's very slow. It's fine, but it's just really slow. And I wouldn't be. I wouldn't be loving live shooting with it. It'll be interesting to see if the eight reals would be a far better camera to just have. Or are you better off to just spend the extra and have an r six as a real camera that you could literally do anything with. So.
[00:13:04] Speaker B: Yeah, well, it's probably just offering a different entry point to the market look.
[00:13:09] Speaker A: Hey, as an upgrade to an, like, as an I, a model upgrade to the RP, it's perfect. If it comes in at a similar price point or slightly dearer, it'll be a great new addition. Whether I would upgrade the RP to it, I don't know, but, you know, for a new buyer, it's going to be a great camera at that kind of price point because that sensor, the sensor. Same sensor as the r six mark two.
It'll take great photos.
Okay, cool. Thoughts? Any other thoughts? No. They also released an 50 reals little crop sensor camera. Not super exciting to me, but sits at a price point.
Moving on to your kind of side of the world. Even though you don't have mirrorless.
Don't have any mirrorless gear yet, Jim. But when you do change, if you go with Nikon, they now have an 85 f one two. The big beast of a lens.
Obviously very similar to the other 85 bokeh monster lenses that are out from other brands. It's a monster.
[00:14:22] Speaker B: Yeah. It looks delicious. That could be a 105 replacement.
[00:14:27] Speaker A: I was wondering that you shoot the 105 1.4 a lot. Yeah, I've shot it a lot until I changed from canon. But neither of us have really ever shot 85 a lot, have we?
[00:14:38] Speaker B: No, I used to have one. Like, I bought that odd lens off you. I had it for ages. Didn't really love the length.
But I also wasn't really matching it with like a 28 or a 35 that I would now. Yeah. And I have thought about maybe just jumping on the 35 85 bandwagon.
[00:15:00] Speaker A: It would be very interesting to see you sort of commit to that for a few weddings and see how you like it. Um, you know, I do love 28, but the 35, 85, um, that people work with is such a simple solution. And then you just need maybe something a little bit wider, um, you know, to throw on every now and then. This is an interesting one. It's probably not quite wide enough to be your wide lens, but how cool is this 26 mm, 2.8? It's apparently the lightest and thinnest full frame lens. Full frame autofocus lens ever made. I think. I think it looks cool on the street.
[00:15:36] Speaker B: You could run that and the 85.
[00:15:40] Speaker A: You could if you. Yeah. If you weren't after, you know, sort of that, you know, f 1.4 look from your 28, or this being a 26, you know, if you're happy to just kind of document with it, still get probably beautiful images. That would be that nice little pocketable camera, you know?
[00:15:57] Speaker B: Yeah.
[00:16:00] Speaker A: Oh, here's a nice question from f stoppers. This article. Which of these two or both do you plan to add to your kit? Jim, you'd have to upgrade to mirrorless first.
[00:16:09] Speaker B: Yeah, I'd have to have to jump into a z nine or two z.
[00:16:13] Speaker A: Nine s. Two z nine s, you think? Wow. They. They surely won't be far away from trickling that z nine tech down into a smaller body as well, with less speed, maybe more of a wedding focus thing. But. But that same kind of auto focus and electronic shutter stacked sensor.
[00:16:33] Speaker B: Well, the z seven and the z six mark twos are both, I guess, due for an upgrade soon. You would think that would be at the moment. Yeah, they're not exciting me enough to, like, those two cameras aren't enough to step away from the day at 50.
[00:16:49] Speaker A: Yeah.
[00:16:50] Speaker B: And obviously the z nine would be, but I. The cost is.
[00:16:55] Speaker A: Well, like we've talked about, you're looking at changing over a big chunk of your kit because I think just buying the body and adapting the older lenses, you don't get, even though they as well, and all that stuff, I don't think it's worth it for you yet when you primarily shoot stills and the dead 50 is still a workhorse with amazing image quality.
[00:17:16] Speaker B: Yeah, it's beautiful.
[00:17:18] Speaker A: Yeah.
Final bit of gear news before we talk about AI and AI, not photography, is the sigma 50 mil 1.4 that they've just released. Yeah. Don't care about it too much, because it's only available for Sony and I think Laika mounts. So it's. It's. There it's basically their art version of the. Like that. Sorry, their I. Mirrorless version of the 50 mil 1.4 art lens. It's been like a mainstay for. I don't even know how long that's been out, but.
[00:17:55] Speaker B: Oh, because they can't release it for Canon yet, can they? Because canon aren't allowing the tech.
[00:18:01] Speaker A: Canon aren't allowing the tech. And they haven't done anything for Nick on, from what I can tell, I think it's only Sony and like.
Yeah, so 670 grams, so similar kind of weight. That's what the art series is. We're weighing in at on the, the old mounts. It's pretty good.
[00:18:19] Speaker B: I still think that's pretty reasonable.
[00:18:21] Speaker A: Yeah, apparently, you know, new optical formula designed to take advantage of the short flange distance in mirrorless cameras. Cool.
That's what all mirrorless lenses do.
Improved.
[00:18:35] Speaker B: You can't have a long flange approved.
[00:18:38] Speaker A: I can't pronounce this word. Sagittal coma. That's an interesting word. Improved, sagittal coma. Flare. This is what's interesting is cleaner bokeh. Because that's what everyone always talked about with the, the old art series lenses was the bokeh. Because they were so sharp. The bokeh wasn't necessarily as bokeh licious as other lenses. And I don't know.
Yeah, just the back. I mean, maybe more like a.
I'm sure they weren't like this, but you know, like what a nifty 50 bokeh kind of looks like. Obviously it was better than that. But like, when things are kind of sharper and then compared to that 58 1.4 that you shoot with, which is deliciously soft, but also. Yeah, then, then the subject is also a little bit soft, whereas the art series lenses were super sharp. So I think people maybe got a bit excited about how. How the bokeh wasn't clean enough or whatever. But it's interesting to say that. See that these. I know they've tried to improve it on this. I'm sure it'll get rave reviews.
It's one thing that's interesting is it's got the, like, the aperture ring, which is not something that I'm too fussed over, you know, like the auto to manual aperture ring.
[00:19:55] Speaker B: I don't know, especially the mirrorless camera. It's not like you can adapt it back to a older.
[00:20:02] Speaker A: I think people like the shooting experience of setting their aperture that way and then being able to pop it in auto and stuff. And I. It's not something I definitely don't know. It's not my style, but it's cool that they're doing it. I prefer the control rings on the cannons, being able to set them to a white balance for video and stuff like that. But we can't get this for Canon anyway.
Yeah.
The gear news this week. Exciting week in cameras and lenses.
[00:20:34] Speaker B: Yeah. All the stuff we won't buy.
[00:20:38] Speaker A: I might now. I won't. I haven't got much on the list at the moment. I did buy something. I did buy something this week. I'll talk to you about it later.
I don't think a week has gone by recently when I haven't bought something. Especially with this, you know, setting this podcast up and stuff.
[00:20:54] Speaker B: So much gear to buy, so much.
[00:21:00] Speaker A: AI photography. What. What do you think? About what? Like, but, you know, excluding the news article that we saw last week of that photo that we're about to pull up, what did you think about it before that? Like, there's been rumblings on the Internet. You see it pop up in people's YouTube videos and things like that. But had you really seen anything from.
[00:21:24] Speaker B: Yeah, not like that. Your world, not quality. Like just weird things of like, make a random, like a creepy.
[00:21:34] Speaker A: Or someone would be like, you know, like, make a. Make a photo of Donald Trump riding a bicycle in it on the moon or something. And then it pieces it together or something weird like that. Yeah, yeah, yeah.
[00:21:44] Speaker B: Just that sort of stuff. And I was like, oh, yeah, that, that's interesting, though. That photo that, like, grant sent through.
About photo image. I think. I think you can call it an image. Like, it is an.
[00:21:57] Speaker A: It is an image. Absolutely.
It's not a photo. It's definitely not a photo.
I'll pull it up.
So here we go back to australian photography, the same amazing publication. I do actually love these guys, but they steered us wrong on the two card slots on the r eight. So we'll have to fact check this article, too. I'm kidding. I love you guys.
This photo here, this beautiful wave breaking at sunset with surfers to getting dumped and beautiful colors in the water. This one, a photo competition last month and it actually ended up making news. It was unlike news.com dot au, which is terrible australian news site, but it was on there.
[00:22:50] Speaker B: Questionable news.
[00:22:52] Speaker A: News is like, it's a, you know, loose description, but it was on there, which is not a photo publication, but yeah, basically a Sydney based company called absolutely AI submitted this without making it clear that this wasn't an actual photo, this was an AI generated image as a test.
They wanted to test out to see whether it could fool a panel of expert judges, of expert photography judges. And it did. And it won. After it won, they did give the prize back. Like, oh, they didn't even accept the prize. They messaged them and they put a public message out saying, hey, we just wanted to see what would happen if we entered this. Obviously, we don't want to take the prize. It's not fair, and blah, blah, blah, because it's not a real photo. It's not a photo at all, is what I'm saying.
Do you think this is a photo?
Is this photography?
[00:23:49] Speaker B: No, it's like photography. I'd say it's an image, but what.
[00:23:53] Speaker A: So why isn't it photography?
[00:23:58] Speaker B: Photography is like capturing a moment in time, and this is not a moment in time at all.
[00:24:03] Speaker A: Well, this moment never happened. Yeah, that's right. I agree. I agree.
Obviously, there's this gray area between an image captured on film or a sensor that's not been manipulated in any way other than from the intrinsic properties of that sensor or that film. And that's what it looks like.
There's that, and then there's all the way through to. You've taken ten images and stacked this on that and replaced the sky and done all sorts of manipulation. But fundamentally, it was still built from pieces of photographs that were captured by putting light onto either a sensor or photo paper.
What am I talking about? Film?
Light went through something and was exposed and then made a photo, and then maybe it got manipulated, and then there's a point where that manipulation turns into digital art, when you've gone past what is recognizable as a moment that was captured to literally just drawing with pixels.
And then this is the step, again, where a human didn't even draw it with pixels. A machine drew it with pixels.
And, yeah, I don't think it's a photo. I believe you're correct. Calling it a digital image or an artificially created image. Digital art, even artificial art. AI art, not a photo.
[00:25:34] Speaker B: Yeah, actually, you probably couldn't even. Yeah.
Lead with it, saying that it's an image or art. I think if you leave with AI and then say, art, image, I think that's probably a better representation.
[00:25:50] Speaker A: What? What?
Yeah, what. What makes it a little bit weird is the company that sort of put it out is. Yeah. Really saying that they won a popular photographer competition, beautiful image, but it's not real. And they've sort of put all that stuff out. But they wanted to prove that artificially intelligent technology could pass the ultimate test. Could an AI generated image not only slip by unnoticed, but actually be awarded the top prize by a photography expert? Now, this is where I'll push back a little bit. The competition was a photo of the month competition for Digidirect, which is a photo online and somewhat in store photo retailer in Australia.
I wouldn't say that they're free to enter. Monthly photo competition is really, you know, you're not really slipping past a panel of experts to be awarded top prize. I think it probably, someone probably looked at it and saw the colors and stuff and were like, yeah, that's a cool photo, but they probably didn't look any further. And looking, looking at the image further is where you can really see that it's in no way real in terms of the light isn't even coming from the correct direction to match the shadows.
Why is the light shining through with this beautiful sort of teal blue coming through the wave here, but not on this side?
Why is this shadow coming from this direction when the sun is over here?
Like, what? Why are these waves blowing this way down the ocean? This giant monster, uh, shore break is dumping on these surface with a strange rip thing in the middle. But there's no wave coming behind it at all.
[00:27:43] Speaker B: No.
When you break it down, there's actually a lot of, there's a lot of.
[00:27:49] Speaker A: Flaws in this artificially created image. It's cool that it's able to grab the things that our brain goes, wow, look at those colors. Look at those complementary colors and the wind blowing off the dynamic wave and all that sort of stuff. But it's not even close to being a real scene. And then even if it was close to being a real scene, it never happened. Like, the difficulty in capturing a great photo is getting those surfers at that moment when the wave breaks and the lights. Great. Like, if you can just conjure it up, what does that even mean? Then we just stay home?
Well, you can stay home, but. And then you're. You're conjuring up things that aren't real. And at some point, if the AI is not getting fed stuff by photographers, at some point it can't create anything new.
You know, we need to be out documenting the world, feeding it this new stuff. All right, that, that.
Thoughts, any more thoughts on this thing?
[00:28:53] Speaker B: No. I think it's gonna get you upset.
[00:28:57] Speaker A: I am upset now. I'm not really upset. I don't care. The main thing is I just want, because most people, this is great AI generated image. Perfect. Good job, australian photography. What I'm hating seeing is everyone saying AI photography? Because it's not AI photography, it's an AI generated image.
But what's super interesting is this.
Getty Images is suing stable diffusion, which is an AI image generator software company thing, for 1.8 trillion with a team dollars because they've stolen over 12 million of Getty's copyrighted photos and used them to educate its image generation engine to the point when you can even get it to generate Getty's logo because it's like the watermark has come in so many times. You can get it to. And the logo pops up. As you can see here, the logo pops up in this AI generated image of a soccer player. It's like, okay, you can't.
[00:30:15] Speaker B: Is that soccer player look real or is there something wrong with.
[00:30:18] Speaker A: Oh, yeah, that's AI generated. It's messed up. Like, look at this foot. Yeah, not even, but it's tried to, like, oh, sorry. Yeah, but he's turning very directions.
Yeah, basically they've just stolen the work of all of the photographers that have submitted work to Getty and then use that to try and train their engine. And Getty actually has a reasonable case by the sounds of it. Obviously, they're probably not going to get $1.8 trillion because that's a lot of money. But they come in hard and they'll settle for $1.8 billion, you know?
[00:30:57] Speaker B: Yeah.
Any, like that much?
[00:31:02] Speaker A: I don't think they have that much money. They wouldn't be making any money that would be in, I would imagine that would be in like the startup phase. So that would just have a lot of investment and that kind of thing. But yeah, like, look at, it's putting Gettys logo on.
[00:31:18] Speaker B: It's automatically putting it in the images.
[00:31:20] Speaker A: I have no idea. But these are, it's an AI generated image from stable diffusion. And it says with Getty logo. Whether someone typed in, put Getty logo in there. Dunno, but yeah. Crazy, right? So look at this. They're saying that, that AI is going to replace photographers.
Can you see that?
Yeah, it looks messed up. Yeah, yeah, it's not there yet. It's not there yet. We're all, it's okay, guys at the moment. Keep, keep taking photos. We're fine.
[00:31:56] Speaker B: Keep buying cameras.
[00:31:57] Speaker A: Yeah, keep buying cameras. It's okay.
[00:31:59] Speaker B: Yeah.
[00:32:02] Speaker A: Yeah, it's, it's, it's weird. It's cool technology. It's the same as jet chat, beats chat, GPT.
It's cool technology and you need to, like, learn about it. But I think people get a bit excited when they sort of say it's, it's the end of photography as we know it, or that kind of thing, like chat. GPT is going to replace.
He switched us around.
[00:32:26] Speaker B: Yeah. I think we work better on this side.
[00:32:28] Speaker A: Yeah, I like it. It's nice.
[00:32:30] Speaker B: I think we did this last week and then we did.
[00:32:33] Speaker A: We did.
I don't know. What do you think? Anything? Any other thoughts?
[00:32:39] Speaker B: I think that we're in a crazy time where AI is making soccer players.
[00:32:49] Speaker A: Well, smudgy soccer players. Yelena Jennings says, if you're worried about AI, you mustn't be a great photographer.
[00:32:56] Speaker B: I agree, but. I agree.
[00:32:59] Speaker A: But, you know, there is that. There's an interesting point to be made that, you know, maybe people will be less likely to want to take up photography because they think, you know, it's dying or, you know, why bother when you can just AI generate an image or whatever, but, you know, you can't AI generate something that's new.
[00:33:17] Speaker B: So, yeah, it's definitely on my mind with say, like the editing and that sort of thing.
[00:33:23] Speaker A: Well, you're using an AI editing software, testing it out.
But the, you know, it's basically saying exposure and white balance and applying a preset. Like, there's a big difference, big gap between that and, like, I don't know, uploading a photo of the bride and the groom and then just getting it to AI, generate their wedding day.
[00:33:46] Speaker B: Yeah, maybe.
[00:33:50] Speaker A: Maybe that means they don't even have to, don't even have to have a wedding. You know, they can have like a metaverse wedding or something where the whole thing is just AI generated and then they just.
[00:34:00] Speaker B: Everyone plugs in.
[00:34:01] Speaker A: Yeah, maybe matrix.
[00:34:05] Speaker B: Let's stay out of that.
[00:34:10] Speaker A: What's in your camera bag, Jim?
[00:34:13] Speaker B: Doing it. Doing to get it?
[00:34:15] Speaker A: Yeah, get your camera back.
[00:34:16] Speaker B: I've got two.
[00:34:18] Speaker A: All of our viewers will wait. They're fine.
I'll just, I'll just talk by myself quietly.
[00:34:26] Speaker B: I can't, I can't reach.
[00:34:27] Speaker A: Okay.
Fast moving sports photography. Yeah, it's. AI is not going to be able to do, I mean, the thing is, AI can't do anything with sports photography anyway because you've got to capture the moments that are happening live.
That's why the Olympics and the photographers that do giant sporting events. There's so many photographers there, and they're just under pressure to pump images out and get them to news publications within ten minutes. It's crazy.
[00:34:57] Speaker B: Yeah, they got their little laptops and the little hoods and stuff, and they're just pumping through it and it's like. But this is this crazy world that we live in. Wherever, um, everyone needs everything 10 seconds.
[00:35:08] Speaker A: Ago, you can't read about it in the newspaper the next day. It has to be like immediately on social media.
[00:35:15] Speaker B: Yeah.
[00:35:15] Speaker A: Otherwise they miss out on the clicks.
[00:35:18] Speaker B: Yeah. I'm kind of with our weddings and that sort of thing. I was chatting to some people the other day and, you know, wedding photographers, apparently. I haven't heard of anyone doing it, but apparently this is what some people are saying at a wedding event I was at the other day, that this photographer's delivering like 250 images on the day.
[00:35:39] Speaker A: I mean, it's possible.
We used to, we used to print an album out on the night telling to beat that.
[00:35:48] Speaker B: Yeah. But we did like twelve photos and we stopped doing it because it was taking away from what we were there to do.
[00:35:55] Speaker A: Yeah, that's right. Um, yeah, 215. I mean, that's, that's saying a step towards the, the TikTok weddings that we looked at where they just get a TikToker along to literally live. Live TikTok the day and then it's done by the end of the day. They've got their content, you know? Yeah. I don't know. There's a lot of options, but.
[00:36:15] Speaker B: Can you still hear me? Okay, sorry.
[00:36:17] Speaker A: I can hear you. Okay, look, it's not amazing, but we'll deal. What's in your bag?
[00:36:21] Speaker B: Moving.
[00:36:21] Speaker A: Show us. Show us some stuff.
Cameras. What? Cameras. You look, there's. I'll take the plug. I'll take the plug. We better put the banner up. Yeah.
[00:36:35] Speaker B: I just had to put it on, actually, because I had a commercial shoot this morning where I was shooting with two bodies, so I was using my pre production dual camera strap. The camera strap? Yeah. That's been in pre production mode for a while.
[00:36:52] Speaker A: Yeah, but maybe, maybe we get, maybe we get at least five emails a week about dual camera straps. Yeah, though. And they're coming. They're coming. They're just, you know, not a problem.
[00:37:09] Speaker B: Good. I've been using.
Yeah, they're battling.
[00:37:14] Speaker A: Yeah, we both, we've both been using them. They just. Yeah, we haven't been able to squeeze them into the production schedule just yet.
[00:37:20] Speaker B: Yeah, the tooling is not done anyway.
[00:37:23] Speaker A: Not done. So what am I using?
How many?
[00:37:29] Speaker B: Two. I got one with a 58. Yeah.
One with a 58. One with a 28.
[00:37:36] Speaker A: Yep. So.
So you would primarily shoot with two bodies exactly the same. Both D 850s. No grips on them.
[00:37:45] Speaker B: No, I've got a grip and I haven't used it in probably three years.
[00:37:52] Speaker A: Yeah, it's good.
[00:37:53] Speaker B: It's handy to have as like a spare battery, just not that I don't have enough batteries, but just like a fail safe.
[00:38:00] Speaker A: And it speeds up. It speeds up the frame second frames per second and. Yeah, gives you, obviously double the battery life in that grip. So you can not change batteries as frequently on a wedding day, which the main thing I liked about the grip, other than the extra speed, was it's more comfortable sometimes with, with certain lenses, but that's less of an issue on the D 850 because they're quite chunky and nice in the hand anyway.
[00:38:24] Speaker B: So, yeah, I. On the. Maybe the 100. So the 105 as well. That's my three main lenses. 100, 528, 58 one.
[00:38:33] Speaker A: So 105. 105.41.4. Yeah, 1.4. The 58 1.4. Oh, yeah. Show us all. Not too close.
So 105 1.4, the 58 1.4 and the 28 1.4, which are three lenses that. That I used to shoot with a lot as well. And so the.
Yeah, yeah. Try to test it. Of those three lenses, the 58 is the oldest of. It's noticeably different to the other two, whereas the other two seem to be, like, similar.
[00:39:04] Speaker B: Tack sharp.
[00:39:05] Speaker A: Yeah, tack sharp. The 58 is not tack sharp. The 50 eight's a little. A little soft, but still delight. I know you can't hear me, but that's fine. I'll just keep talking to the people. Hello, people.
The 58 isn't tack sharp, but it has a very smooth roller from, from in focus to out of focus. That transition, it just has a really nice look about it. What, like, what aperture would you normally shoot the 58 at at a wedding?
[00:39:35] Speaker B: I. I know you've had some better luck than me, but I can't shoot it below 2.2.
[00:39:40] Speaker A: It just.
[00:39:41] Speaker B: It's just out. It doesn't matter what I'm shooting. It's just out of focus. It's always soft. Yeah. At 2.2, it's. It's sharp. Like, I shoot it almost all day at 2.2.
[00:39:53] Speaker A: And one thing which we tested a lot in the, in the early days, I mean, you probably haven't even used a 24 70 for a long time since you're mainly shooting weddings. But the look difference, if you put that 58 at 2.8 and compare it to a 24 to 70 at 2.8 at a similar focal length, they look very different. The 58 has a much nicer quality to the image.
It's just more pleasing. I don't know what it is about it maybe it's that bokeh, softer, smoother bokeh, something like that. But it's great. But it isn't tax sharp. Whereas the 28 and the 105 tack.
[00:40:32] Speaker B: Sharp.
[00:40:32] Speaker A: Sharp.
[00:40:33] Speaker B: Yeah.
[00:40:33] Speaker A: And how often. So would you say you can shoot those at 1.4?
[00:40:40] Speaker B: Yes. Yeah. Depending on the situation.
[00:40:43] Speaker A: But I wouldn't shoot them all. Yeah. How often would you shoot them at 1.4 on say a wedding day?
[00:40:49] Speaker B: Maybe each of them. Maybe once a day. It'll be like a specific shot that I'm like, I really, you know, I've got a bit of time. No one's moving. It's a, you know, things have slowed down a little bit and I can take some time and like really nail it. Like the 28 at 1.4, you're getting nice and close.
It just has, but it just, you got to be the right angles and everything because it really just throws that background.
[00:41:14] Speaker A: Yeah. And then what about, um, what about what would your average sort of aperture be cruising around with those two lenses during the wedding day? The 28 and the 105? Like, what are you sort of hovering around most of the time?
[00:41:30] Speaker B: The 105 is normally at 2.2 as well. And I should the 28 a lot at 2.8.
[00:41:36] Speaker A: Okay.
[00:41:37] Speaker B: Just to give me a slight like bigger depth of field.
[00:41:41] Speaker A: Yeah. Interesting.
[00:41:43] Speaker B: Just for you. Say if you're doing a ceremony photo or something, you just want a bit of depth.
[00:41:48] Speaker A: Yeah. And so of those three lenses, you carry the three of them usually the whole day?
[00:41:54] Speaker B: Yes. I don't have it here, but I run a little hip packet, a little think tank. Little hip just connects to my belt. And I just cycle those three lenses.
[00:42:04] Speaker A: With the two camera bodies, lens pouch. So yeah, dual camera, dual camera harness made by lucky straps. Not available yet. Probably not available ever. We'll see. And so dual camera harness, two cameras with lenses and then one lens patch with the additional lens. And that's, that's you for most of the day?
[00:42:23] Speaker B: Pretty much all day, yeah. Yeah.
[00:42:25] Speaker A: What you got in your bag then? What else?
[00:42:29] Speaker B: We got 21.8.
[00:42:32] Speaker A: I like that one.
[00:42:33] Speaker B: Yeah, that's a good lens.
I use it. And the 16 to 35.
[00:42:39] Speaker A: Yep.
[00:42:40] Speaker B: F four. This is like a great, a great lens. Dance floors. I normally stop, I don't normally shoot it other than say maybe a sunset or dance floors.
[00:42:50] Speaker A: Yeah, but, and then it'll be stopped.
[00:42:52] Speaker B: Down to like 7.1 for sunset photos.
[00:42:57] Speaker A: Yeah.
[00:42:57] Speaker B: And for dance floor.
[00:42:58] Speaker A: Oh, and dance floor. Yeah. Yeah.
Obviously the commercial work and stuff like that, it will get a workout as well that, that sort of lens and sports. Sports photography. Yeah.
[00:43:11] Speaker B: Yeah. But I haven't. Yeah. Haven't used it on a commercial shoot in ages.
[00:43:16] Speaker A: Okay.
[00:43:16] Speaker B: I'd probably go to the 20 before I'd go to that.
Unless I really needed the extra width.
[00:43:24] Speaker A: Yep.
[00:43:26] Speaker B: Hiding back here, Samyang?
Twelve minutes.
[00:43:31] Speaker A: Yeah. Fisheye. Delightful.
[00:43:33] Speaker B: Yeah, it's a cool little lens. It's a manual focus. I don't get it out often. If it's a crazy party at a wedding, I definitely will get it out.
[00:43:43] Speaker A: Yeah. Like a. Like a big dance floor.
[00:43:45] Speaker B: Yeah. If it's a pumping dance floor, I'll get it out because it's like, all right. These people are, you know, fun and crazy, so I'll get it out for that.
[00:43:56] Speaker A: Just trying to find some photos to test your skills. So something like this. What, what lens you reckon you shot that with?
[00:44:04] Speaker B: 16 to 35 maybe?
[00:44:06] Speaker A: Yeah. Okay. Interesting.
[00:44:09] Speaker B: All the 20. It might have been the 20.
[00:44:11] Speaker A: This 121.8?
[00:44:13] Speaker B: Yes, definitely.
Yeah, probably.
I think.
[00:44:18] Speaker A: Yeah, looks like it looks like.
[00:44:20] Speaker B: Yeah. I don't think it would have been the f four.
[00:44:23] Speaker A: No, there was like.
[00:44:24] Speaker B: See how there's like a bit of red on her dress? Yeah. So this was a photo on a farm. And the farm had a weigh bridge. And on the way bridge is a red scales numbers, which was hundreds of meters away.
And the red numbers, that's what showed up.
[00:44:46] Speaker A: Yeah. Because that would have been like a 15 2nd exposure or something like that.
[00:44:50] Speaker B: Yeah, I think it was like ten.
[00:44:51] Speaker A: I reckon from ten.
[00:44:52] Speaker B: It wasn't super long because there was still a fair bit of ambient light.
[00:44:56] Speaker A: Yep.
Yeah, I'm just trying to see. Yeah, like your wider stuff.
[00:45:02] Speaker B: Yeah. Yeah, that would have been.
That's pretty wide.
[00:45:07] Speaker A: Yeah.
[00:45:08] Speaker B: He's still 20. Yeah. 16 maybe.
[00:45:11] Speaker A: Maybe we'll have to do this in lightroom one day.
[00:45:14] Speaker B: Yes. Probably easier.
[00:45:16] Speaker A: Check some checks and data. Just tells me I like playing the game. Like the.
[00:45:21] Speaker B: Yeah, this would have been 28, I reckon. Oh, actually that's pretty wide. That's a cool photo.
[00:45:26] Speaker A: Yeah, that's pretty wide.
[00:45:29] Speaker B: Yeah.
Love a pool photo.
[00:45:38] Speaker A: Always fun. Um, I wish I could on Tom's face.
[00:45:48] Speaker B: So this was, um, a shoot for culture hitch at Camp David farm. And so it was like a styled shoot. And this is the end of the night, and I wasn't even shooting, obviously, Tom wasn't a bride, but he wanted to jump in too. And, um. Yeah, we made it happen. I think we made a joke earlier in the week that we could do it. So.
[00:46:15] Speaker A: Very cool.
[00:46:16] Speaker B: Do you want to ask?
[00:46:17] Speaker A: Yeah. What else is in your bag at 7202.8.
[00:46:23] Speaker B: That is since I got serviced. And that's how long it's been since I've used it, which is forever. I don't actually use it anymore.
[00:46:31] Speaker A: Why don't you use it?
[00:46:34] Speaker B: I just don't really find the need to shoot at 200 mil anymore.
[00:46:38] Speaker A: We.
[00:46:39] Speaker B: I used to use it every wedding, but now I sort of do everything with the 105 that needs to be.
[00:46:46] Speaker A: You just. If you need to get in closer, you just zoom around with your feet. Yeah.
[00:46:52] Speaker B: Okay. And this, uh, this is just a little f stop insert backpack insert, isn't it, Justin?
[00:46:58] Speaker A: Yep, yep, yep.
[00:47:00] Speaker B: Actually large.
[00:47:01] Speaker A: I see.
[00:47:02] Speaker B: Yeah.
I run it in a drawer. I've got a canopy on the back of my ute and I run it in there so it just sort of pulls out and everything's accessible. I think you've got a photo.
[00:47:14] Speaker A: There was one in the thumb. In the thumbnail of this? Yeah. Check the thumbnail out. You'll see it's not a very good photo.
[00:47:21] Speaker B: Yeah.
[00:47:23] Speaker A: So you. You leave that in your ute all the time. You just grab the lenses out that you're going to use and put them on your cameras, on your harness and walk inside. And that. That ICU, that case just stays in your ute.
[00:47:39] Speaker B: Yeah. All the time.
[00:47:41] Speaker A: But you have another bag with like batteries and stuff like that in it.
[00:47:46] Speaker B: Yes. Yep. So I use that to sort of get out what I'm going to need. And then I run a smaller think tank bag, which is over here. And it has. Yeah. Lenses. Has like a 24 70 in it all the time. Mainly just because it doesn't fit in that bag. But it's also the do everything lens that if one of your anything fails, it'll kind of do it.
[00:48:07] Speaker A: Yeah.
[00:48:09] Speaker B: It'S got some flashes.
[00:48:12] Speaker A: What?
Yeah, go docs.
[00:48:17] Speaker B: Yeah, go docs. Yeah. So I'm running two ad 200 SDE and then a broken 860 at the moment, but. And a Nikon SP 910.
[00:48:29] Speaker A: Yeah.
[00:48:30] Speaker B: For on camera work. So.
[00:48:33] Speaker A: Okay.
[00:48:34] Speaker B: That seems to do everything.
[00:48:36] Speaker A: I need enough lighting for pretty much anything.
[00:48:40] Speaker B: Yeah, just about.
[00:48:43] Speaker A: How did you like this photo?
[00:48:49] Speaker B: So there was a.
Sorry.
[00:48:53] Speaker A: Or did it not need any lighting?
[00:48:55] Speaker B: No, no, no. So that's.
That was like a super flat lighting day.
[00:49:03] Speaker A: Yeah.
[00:49:04] Speaker B: At the end of it. And then. Yes, that's just one light off to the left and another light off the bottom of the dam bank just behind them. Popping him off the background a little bit.
[00:49:16] Speaker A: Yeah. So it does have a little rim light behind them there and then.
[00:49:19] Speaker B: Yeah.
[00:49:19] Speaker A: And then there's just over here somewhere there's 200 just.
[00:49:24] Speaker B: Yeah, yeah, I might have snooted it.
[00:49:29] Speaker A: Yeah.
[00:49:29] Speaker B: To try and just get it to. With the grid as well, probably.
[00:49:33] Speaker A: Yeah.
[00:49:33] Speaker B: If you get it to only hit.
[00:49:35] Speaker A: Them if you're not aware of what a snoot is.
It's like a tube that you put over the end of a flash that most of them will like, close down progressively or whatever. But it's basically a snoot and a grid are two different ways to try and focus the light on the subject so that it doesn't spill and flash all around this area and light up all this grass and stuff a lot. And especially closer to the flash because you'll have way more light power hitting here than you would over here. So you've got to be careful not to make sure that it doesn't spill out the light and just blast this area. So you do that by sort of tilting the flash up and. Yeah, maybe grid and a snoot and or both to try to isolate the subject to get light on you.
Cool. So that bags basically. Is that the bag that you would take into a reception or something that with all your lighting gear and stuff in it?
[00:50:27] Speaker B: Yeah, it's kind of like the bag that's ready to go. So it's got some spare cards, um, all that sort of the. Some snoots, some grids, um.
Some flash, what do you call them, little sender units, the godox transmitters.
[00:50:47] Speaker A: Transmitters, yeah, yeah, yeah, those things.
[00:50:49] Speaker B: Yeah. Put that in there. And actually, as well, some ziploc bags which are super handy for when it's raining and you want to do photos outside, drop them over a, um. Over the flash and it's. It's essentially waterproof. It's like a little umbrella for your camera.
[00:51:10] Speaker A: It's a good idea.
Clever idea for you to come up with there, Jimbo.
[00:51:17] Speaker B: I think I made it. Yeah. There you go. That would have boring rain. Yeah, it was actually really wet, that one. Did you.
[00:51:26] Speaker A: Did you put them over your flash on that day? The.
[00:51:28] Speaker B: Yes, I did.
Yeah. So that's the. The flash behind them is probably 20, 30 meters away to try and catch as much rain as possible.
[00:51:38] Speaker A: Yeah, very.
[00:51:40] Speaker B: That might have even been two back lights maybe.
Okay. Yeah, might have just been one.
[00:51:48] Speaker A: Nice.
Cool. Any other gear things? Anything else in your bag that you want to tell us about? Tell the world?
[00:52:01] Speaker B: No, I reckon that's about it.
What about you? What are you running at the moment?
[00:52:07] Speaker A: Too much stuff, so I can't really.
[00:52:10] Speaker B: It's gonna be a long podcast.
[00:52:12] Speaker A: Can't really show you guys.
It will be.
I want to bring the case up here but it's too heavy. I won't be able to. I won't be able to do it. Maybe I'll try. Let's see. Hang on.
[00:52:44] Speaker B: Nice.
[00:52:45] Speaker A: Some of the gear isn't in it because I have it set up for the podcast and I also have a shoot in the morning that I'm packing for. But this is my pelican case and I've kind of limited myself to only having an amount of gear that fits in this case.
And then I've slowly bought more stuff and just gotta get better at packing so that I've changed the rules so that lighting doesn't have to fit in this case because actually don't use lighting much anymore anyway, so. But all my camera gear that I own has to fit in here that I use, otherwise I've got too much shit. That's, that's my current plan.
[00:53:25] Speaker B: Yeah. So how long till you buy a bigger case?
Hang on, how long do you buy? How long do you buy a bigger case?
[00:53:33] Speaker A: Ah, look, I'm trying to be good. Trying to be good. So far it's working quite well. It's nice. Basically I want a case that I can put everything in it and drop anywhere and do a photo or video job with anything. Everything in that case and including charging, I've set it up for charging.
[00:53:55] Speaker B: Yeah, that looks pretty cool.
[00:53:56] Speaker A: Yeah. I'll do a whole other video about but basically I've set it up so I can charge all my cameras and stuff in the case with USB C charging and the drone and everything, but. All right, I'll talk to you about things. So I can't show you my five reals because it's this camera here.
So the five reals and my wide angle enter out of the frame being used. But. So my five reals was the first Canon mirrorless camera. I switched back from Nikon to Canon, bought the five reals after it got released, but shooting mainly action sports. When the three reals come out I got very, very tempted and I ended up buying it.
[00:54:36] Speaker B: It's a pretty cool camera.
[00:54:38] Speaker A: This camera is now my main camera and I love it. It's a full size body so it takes the nice big batteries. They last all day.
The video specs are awesome. It shoots at 30 frames a second and its auto focus is super snappy.
It's the perfect camera for me. One tiny downside is obviously the size it doesn't fit in, you know, backpacks and stuff as easily as a non gripped body, but the pros definitely outweigh the cons. That's the only con. Everything else is awesome. Love this camera. Love it.
[00:55:19] Speaker B: Yeah, it's a cool camera.
[00:55:20] Speaker A: It's a cool camera. It's just the autofocus is so good. Image quality is great. It's only 24 megapixel, but 26, 24 something.
But it's fine for everything that I do.
[00:55:35] Speaker B: Yeah, the, like that kind of enough on a full frame body.
We shot D 750s for a long time. You shot the D five, which is only 20, wasn't it?
[00:55:46] Speaker A: It was only 20, yeah, 20.9.
[00:55:49] Speaker B: Yeah, it's a. It's enough that speed.
[00:55:54] Speaker A: Yeah. The difference is if you have to crop, and obviously having the five reals, like, you got so much cropping power, you can crop verticals out of it and do all that sort of stuff and. Or if you just want. Someone wants just a huge image, really high quality. I would grab the r five for like a commercial shoot. I did a big group photo the other day and stuff like that. I would use the r five, but I find myself reaching for the r three like 90% of the time or more.
It's my favorite camera. Definitely moving on.
[00:56:28] Speaker B: Is there more?
[00:56:31] Speaker A: Oh, cameras. No, no, that's all for main cameras. We'll get to action cameras later. Lenses. So my wide angle lens, the 15 to 35 canon rf 2.8 is on the five reals.
Doing this photo. Doing this video. What are we doing? Podcast.
I use it a ton for mountain bike photography. It's just. And videography, because it's so versatile. It's like 15 to 35 at 2.8, obviously can get that super wide shot. But 35 mil at 2.8, I can shoot in video mode, video crop mode, and it's kind of like closer to a 50.
And yeah, it's a pretty versatile lens.
It's fast auto focusing. It's.
I don't know, I really haven't seen too many problems with it at all. It's probably not the perfect lens. Any wide zoom is going to have sort of funny things in the corners and stuff like that, but it's pretty damn sharp.
[00:57:27] Speaker B: It's a nice lens.
[00:57:28] Speaker A: It's a great lens. Yeah, I'm pretty happy with. It's not too heavy, it's up around 900 grams or something like that, so it's not too bad.
So, yeah. Taking me back to the days where you can just use two zooms and sort of get away with everything.
[00:57:43] Speaker B: Yeah.
[00:57:44] Speaker A: What else do I have?
I've got the 16 mil, 2.8 that I'm testing, and it will find a place in the bag as a backup for the wide and a lightweight option for certain shoots.
It's good. It's not great, but for the size, it's really, really good.
And so, Justin, I think, yeah.
[00:58:16] Speaker B: Something we didn't sort of touch on earlier was like, you've got backups, like, so obviously, keeping that, you've got a 15 to 35.
[00:58:25] Speaker A: Sorry. Yeah, probably something I should have. I should have mentioned is, yeah, I. You're exactly right. The whole kit that has to fit into this bag.
The other thing is everything needs to be redundant. So I have to have two cameras. I can't have just one camera.
I have to have two wide lens options. They don't have to be perfect. And the same, I'm not going to have 215 to 35s. So I want to pair something that brings a useful element to certain shoots, like a lightweight 16 mil, and pair that with a high end, versatile 15 to 35 owl lens.
That's. That's. Yeah. The exact way that I've sort of designed this kit on purpose.
[00:59:09] Speaker B: And my bag's the exact same.
[00:59:11] Speaker A: Yeah. You want to make sure if anything goes down, it may not be exactly the way you like to work, but you can easily do any job still.
Yeah, yeah. So.
And that's also why. So the 35 mil, 1.8 image stabilized lens, really great for video. I don't use it a heap, but if I was going to just do. I actually use a lot for personal stuff, like if I was just going to throw a lens on a camera to travel with or something like that, it would probably be this. And I could shoot anything with it. I shot.
I shot grant's entire wedding with this. Maybe not entire. That's not true.
Some of the ceremony, I didn't shoot with this, but basically the whole day, really.
[00:59:56] Speaker B: And, yeah, I think we had the 28 to 70.
[01:00:02] Speaker A: No, it's too heavy.
[01:00:03] Speaker B: Yeah. Fair.
[01:00:05] Speaker A: No, I do, I do. Yeah, I would often use that, and I think I use it in the ceremony, but, yeah, once it came to outside of that, you can just walk around with this little lens. It's a great focal length. You know, I used to love the 28. The 35 is a little bit more cropped in than I would like, but I'm getting used to it.
[01:00:21] Speaker B: And I.
[01:00:21] Speaker A: It's nice and light, so very handy lens to have, obviously good backup in case something around that range goes down. And it's super light.
This is probably the one where most people say, I'm an idiot, but I don't care.
24 to 105 f four and 28 to 70 f two.
[01:00:49] Speaker B: Yeah.
[01:00:50] Speaker A: Most people would either say, why didn't you just get the 24 to 72.8? It can do both.
And my reasoning is, thus, this lens is amazing, and it replaces my main primes for shooting something like a wedding, which I don't do much of anymore, but I do, and I still need to be able to do it.
And also, I've used this for mountain bike shoots, and it creates an image that you don't see that often. Most people shooting mountain bikes are using. Yeah, like an f four wide angle lens and then a 70 to 200 or something. They're not using this mid range and definitely not an f two because Canada, the only ones that make it. It's really heavy.
It's great for video, other than a little bit of focus, breathing, but it's. It's a beast. But you could shoot anything with this, though.
[01:01:39] Speaker B: Like, anything. Any job.
[01:01:41] Speaker A: If you. If you just had this one lens, you could get away, other than, like, really getting stuck in a wide angle thing. But, you know, it'd be cool.
Just bring the little 16 mil 2.8 along with it.
Then you could basically do anything.
[01:01:57] Speaker B: Yep.
[01:01:59] Speaker A: So the f four and the 2.8. Similar but different. They're backups for each other. The f four is an awesome, lighter weight, do it all lens. So if I had to just take one lens to, say, shoot a full mountain bike job, I could probably get away with it for this, especially if it was mostly video.
Again, pair the 16 mil 2.8 with it, and you got a super lightweight travel kit that you could do anything with. 24 to 105 and a 16 mil 2.8. Done. So. So that's why I own both of those lenses, because 24 to 72.8 on the long end just doesn't have enough pop. For me, it's not exciting enough. 70 mil at 2.8, whereas 70 mill at f two is really great looking. And then 24. Sorry. 105 at f four looks pretty cool, too.
[01:02:50] Speaker B: Yeah.
[01:02:50] Speaker A: Starts to get range. It's exciting enough. Not great, but you can get that.
[01:02:55] Speaker B: Stuff that was at the 24 to 120 that nick onion do.
[01:03:02] Speaker A: Yeah. Yep, exactly.
[01:03:03] Speaker B: That's exciting enough.
[01:03:05] Speaker A: Even better. Yeah. The Nikon one, unfortunately, was a little bit.
It had a lot of flaws. This has a few flaws, but it's. It's much better. And I think that's just cause the mirrorless design allows for a bit different sort of optics that were sort of struggling to fit all that stuff. But 24 to 120, that Nikon range, I would prefer that even more than 105 having that little bit longer.
And then the awesome, awesome 7202.8. That's so small. It fits in my new mine shift belt pack thing. It fits like vertically in my pelican case. It's awesome.
[01:03:48] Speaker B: That's tiny. It's a cool lens.
[01:03:50] Speaker A: It's like the 28 to 70 f. Two is a reason to switch to canon. The 7202.8 is also a reason to switch to canon. It's so small. I mean it gets bigger.
[01:04:01] Speaker B: Yeah, but it's. Anything I don't like about it but.
[01:04:06] Speaker A: Well you can just walk around with it like that if it makes you feel better.
[01:04:09] Speaker B: Yeah.
[01:04:10] Speaker A: You can have it extended all the time.
[01:04:12] Speaker B: No.
[01:04:12] Speaker A: And then you just zoom it back in to take a photo if that makes you. Is it like a confidence thing or.
[01:04:19] Speaker B: No, that's. No.
[01:04:21] Speaker A: If you need it to be larger.
[01:04:23] Speaker B: No, I just. The fact that it zooms out, I just, I don't like, I don't love my um, my 24 to 70 tamron I think does it as well. And I just don't love lenses like that. But what, why it is, I don't know.
I feel a bit cheaper.
[01:04:44] Speaker A: I shot with this in the rain for 2 hours straight. In the rain? Like no, no cover, nothing for 2 hours straight. And it was fine.
[01:04:54] Speaker B: Pretty good.
[01:04:55] Speaker A: I think it's fine. I haven't shot with it since but I'm pretty sure it's fine.
Grant's commenting in the grower, not a shower.
[01:05:05] Speaker B: Yeah.
I think you've probably just blown a lot of people's minds that you would shoot in the rain for one, let alone for 2 hours.
Well, probably give some people a fit.
[01:05:18] Speaker A: We're trying to get some cool mountain bike shots and it's turned out great.
It did mess with the camera a little bit. We talked about on the last show one of the buttons stopped working for a little while and then it dried out once I got it home. It works fine. But yeah, it definitely puts a bit of pressure like when they talk about weather sealing and these are like canon's, our lenses and the r three are their highest level of weather sealing.
And I think I was probably pushing the limits of it because. Yeah, the camera.
[01:05:48] Speaker B: Yeah.
[01:05:48] Speaker A: Started glitching out. It was wet like.
[01:05:51] Speaker B: Yeah.
[01:05:52] Speaker A: Oh, you're in the rain because there's. Yeah, there's a difference between being in the rain for like five minutes or ten minutes during a shoot than, than just being out there for 2 hours.
[01:06:01] Speaker B: Yeah, it's soaking into everything it take.
[01:06:03] Speaker A: It gets time to get in. Yeah.
All right. What else is in my bag? I keep this rolling.
So that's essentially all the lenses in my bag. I've got two other lenses that are on the chopping block at the moment. The 51.8.
Look, I'll probably keep it. Maybe I just hide it in a drawer instead of having it in my bag. It's really small. It's the same size as the 16 mil, 2.8. This is where I'm pushing the limits of my kit rules.
[01:06:32] Speaker B: Do you leave that on, like, the RP or anything? For the lucky boys?
[01:06:36] Speaker A: Now they've got a 50 older EF 51.4 with that.
But now it's like, I've shot some stuff with it, and it was actually really fun, and it satisfied my need for a 50, so that I didn't buy the 51.2 for three and a half grand, you know, this was all I needed, really.
But I just. I've shot it at a couple of jobs, and I would rather use the 28 to 70 if I was gonna use that kind of focal length. Otherwise, I just work around it and haven't found the need for the 50. That often doesn't focus fast enough to do sports. I was surprised. It was actually a little bit slow. But it's probably because I've been spoiled by, like, the 28 to 70s. Like, lightning. Sorry, not the 28, 70, the 7200s. Like, lightning. 28 to 70 is a little bit slower, but it still works. This is slower again. And it's just gets the point where it's like, I can't make people go back and do stuff over and over again to get.
[01:07:30] Speaker B: No, they were going to get hurt or something, so.
[01:07:33] Speaker A: Yeah, or just tired filters. Variable Nd filters from Nissi. No particular reason, but they had a 95 mil, which almost no one has, which is required. This giant thing is required for the 28 to 70.
Not many people do a 95 mil lens filter, but you need one for the big front element.
Huge 95 mil. Trying to get it into the face area doesn't do lens tracking, just face tracking.
So those are a necessary evil. They're super expensive. It's annoying. They're like. It's like a $1,000 worth of variable ND filters, but australian dollars. Australian dollars, not american dollars. It's like twelve american dollars.
[01:08:32] Speaker B: There's more.
[01:08:35] Speaker A: Microphones, rode videomic pro plus, which is rechargeable. I've upgraded it from the foam to the dead cat, which is way better for wind.
And the reason I've stuck with this, despite it being extremely large, is it seems to be pretty durable and I'm very hard on my gear. And also it has a safety channel and a good, good preamp and stuff in it. But a safety channel, the safety channel basically allows people to be really loud. And I've still got a backup channel that's, I think, twelve decibels lower in the recording. So if someone screams, I can use the lower decibel recording side of it in the other side. So use that all the time when I'm shooting video.
And then the DJI mics, which I used to use the rode and I upgraded to these, I'd probably go back to road if they had a case like this, because I really like the case. It's a charging case, tells you how much is left in the charging case, charges, the mic, their receivers. It's all really easy and neat.
[01:09:39] Speaker B: So you're always ready to go.
[01:09:41] Speaker A: You're always ready to go.
[01:09:42] Speaker B: Super good.
[01:09:43] Speaker A: So charge the case, put them in other eyes. I'm always a road fiend. They're the best. This is a road mic? Yeah. That's a road mic that you're using?
Yeah. Much before road, but DJI, these were pretty good.
[01:09:58] Speaker B: Yeah.
[01:10:05] Speaker A: Djihdev mavic three classic with the new remote. It's freaking awesome.
That's it.
[01:10:13] Speaker B: How many trees have you hit with this one?
[01:10:15] Speaker A: None. I don't think I hit a lot with the last drone you did. Have you still got that? No, I sold it to a guy he stoked with. He was doing a trip around Australia. First drone.
The air two s was great. The biggest reason to upgrade to the mavic three classic for me, because I shoot hybrid all the time. So photo on video. On almost every shoot. This has variable aperture, whereas the air two s doesn't. So the air two s I had to fit nd filters to. So I had to put a different nd filter on and then take off and fly. And then trying to get the shutter speed right for photo versus video, because you want the shutter speed for video at say a 50th, and then the shutter speed for a photo, obviously at a lot higher.
It was a freaking nightmare. So having a variable aperture, I can get away with no nd or maybe I'll get a really light NDE, but I can use the aperture to compensate from going to photo to video. Get a decent shutter speed on my photo. And that's a game changer, because I don't have to land to go photo to video.
[01:11:15] Speaker B: Yeah. Is that also the other one didn't have the remote like the other one.
[01:11:21] Speaker A: Had the old remote. But I could have bought this remote with the screen for $400 and it used it with the other one. So that was an option. This is heavier than the air two s, but this. The image quality is better and the variable aperture is a game changer. It's also faster and longer. Battery. Basically, with the air two s, I would travel with three batteries in my bag. Now I've just got two. One in the drone and one spare because it lasts for 45 minutes, whereas the air two s lasted for like 33. So, yeah, one and a spare is plenty.
Moving up, all that stuff's boring.
Action cameras GoPro hero eleven recently upgraded. Loving it. Ten bit color instead of eight bit.
Much nicer looking footage. Other than that, it's pretty similar. It's actually got a new.
It's got a new full frame option, which is like.
It's hard to explain. Basically, it's almost square. It's like eight by seven or something.
Image area almost square, but not quite.
So normally it squishes that into 16 by nine. And that's why you get such a wide angle look. That's what they call.
That's why you see so much in the frame. But you can just record it unsquished at like five, seven k or something. And then you can crop verticals or horizontals out of it. So if you're doing a lot of like reels and stuff, you could leave it on square and crop verticals out of your footage and get a lot higher resolution and a lot more to work with. So that's an interesting feature that I haven't played, I tried with at a bit, but for point of view footage on mountain bikes and that kind of stuff, it actually works better to keep it squished for me. But yeah, the big upgrade was the ten bit color instead of eight bit color is much nicer to work with in post production. And it's actually nicer straight out of the camera too.
Upgraded from the nine to the eleven.
And a chest mount was it, and a chest mount. I've got other GoPro mounts like handlebar mount and stuff, and a few other bits and pieces that I carry with me, depending on what we're filming, just to try and get a few extra shots. But most of the time I'll either have it on a stick for like a follow shot, or I'll put it on the rider as a chest mount or something like that, just to get some point of view footage.
[01:13:44] Speaker B: Yeah.
[01:13:46] Speaker A: New purchase of the week, thanks to Lars.
Hang on, hang on. Technical difficulties.
No.
[01:13:58] Speaker B: You really have been shopping.
[01:14:00] Speaker A: Ba ba ba ba is a insta 360 cameras. Yeah. So I'm gonna try that out. Try and do for when I can't fly the drone. I think I can do some drone like shots, but I also want to use it for.
Thanks, Grant. Grant says. Anticlimactic. Yeah, I know. It was stuck on the battery I was charging. The battery was stuck on the battery door. Okay.
Yeah. We'll use it to either fake drone shots, do some follow stuff, or I will hopefully use it to make some videos for this channel. So stick it and, you know, film myself doing a shoot and that kind of stuff. Different situations. You might be able to test it out too. It's on a cool stick.
[01:14:48] Speaker B: You'll whack people with that.
[01:14:50] Speaker A: Yeah, good. Whack and stick. Whack. Some essays.
Do I need to explain to the listener what an Esha is?
[01:15:00] Speaker B: Nah, I don't think we'll leave it.
[01:15:07] Speaker A: These bags. Velcro off the top of the lid. And this one's got. So basically this has got all the batteries that I need for all the spares that I need. Batteries, drone battery, gopro battery or two spare camera battery. Really need that. But I always take one just in case something goes wrong with the battery and spare blades for the drone. So as long as I grab this, which velcros to the side of the case and then it velcros to the side of my bag, that's all I need.
[01:15:40] Speaker B: On the inside or outside?
[01:15:42] Speaker A: Inside, yeah. So like where the packet dividers are. Just velcro to those and then. Yeah, that's like my. Yeah. If I need batteries, I know I've got spares for everything in there. And the spare drone blades.
[01:15:55] Speaker B: Yeah. Nice.
[01:15:56] Speaker A: And then probably I'm coming.
Probably. Almost. Last but not least, other than like cleaning stuff and bits and pieces and a card wallet is lens hoods. I don't always take them out on shoots. I don't shoot with them very often at all because they get in the way of nd filters and stuff like that. And they just make the lenses bigger to fit in my bag. But if it's raining, these are. Or it might rain. These are basically essential to keep water off the front element of the camera. Makes it much easier to shoot, especially when you're out for 2 hours shooting in the rain. So I always have them in my main kit, but then I'll rarely pack them into my actual backpack or whatever, depending on what shape, just if you take your ladle, if it's going to rain, I'll definitely put them on the lenses that I'm taking. So do you shoot with lens hoods?
[01:16:54] Speaker B: Yeah, broke my 28 mil. One. It broke and then it fell off, so I need to get new on them. But, yeah, the 58 and the 105 both have lintards.
[01:17:09] Speaker A: Yeah.
Nice.
Well, apparently Yelena tried to cook food and burnt it to finish off.
If you could.
If you had to choose one camera and one lens from your current kit to document the end of the world, because, I don't know, there's a zombie apocalypse or something, what would you pick?
[01:17:40] Speaker B: I'd like to take the 28 because it's lovely, but I don't want to be that close to a zombie, so I'd have to take the 7200.
[01:17:47] Speaker A: Oh, interesting.
[01:17:48] Speaker B: I could stay a little bit further.
[01:17:49] Speaker A: Away if it's not just zombies, you know, like you're documenting people, you know, the end of the world, everything. You have to take photos.
[01:18:00] Speaker B: If I wanted it to look nice, I'd take the 28 if I wanted to.
[01:18:05] Speaker A: You can't answer like that. You just have to pick one and tell us why you have to pick one. Which one?
[01:18:11] Speaker B: Probably the 28. I think this looks cool.
[01:18:14] Speaker A: Okay, so you take the D 850 and 28 mil 1.4, and you document the end of the world with that.
[01:18:20] Speaker B: Yeah, yeah, probably.
[01:18:22] Speaker A: It's pretty good choice. Yeah, pretty.
[01:18:25] Speaker B: 24, 70 or a 7200 would be smarter, but they don't look nice, so.
[01:18:31] Speaker A: Yeah, that's a solid choice.
[01:18:35] Speaker B: Yeah. What are you grabbing?
[01:18:38] Speaker A: Look, do you want the real answer or the answer that I'd like to tell people?
[01:18:51] Speaker B: Give us both.
Okay, what's the real answer?
[01:18:58] Speaker A: Gopro.
Yeah, I just. I just carry. I just carry it around everywhere. I'd probably wear it all the time, and I just. Yeah, yeah. Grant, you're a smart dude. I didn't even think about that.
[01:19:10] Speaker B: Yeah.
[01:19:12] Speaker A: Ah. Drone.
Okay, you win. You win, Grant. Smart. I was gonna say GoPro, because I can just wear it and document and stuff like that. If I actually had to answer the question the way I intended it, which is pick a camera and a lens, it would be the r three with the 28 to 70, which is like.
[01:19:29] Speaker B: It's a big lens to run away from zombies, though.
[01:19:32] Speaker A: Yeah. You could bash along. I could bash a zombie with this. Answer with this. You could. I could swing it around on a lucky camera strap. Because if you grab a lucky camera strap and then have your camera and swing it around like this, that is a deadly zombie killing weapon.
[01:19:48] Speaker B: Oh, yeah, yeah, for sure. Especially, like, the bottom of an r three. Just like a zombie in the head.
[01:19:55] Speaker A: With the extra weight of the 28 to 70. And then with the whip you get from genuine australian made leather camera straps, from lucky camera straps that.
[01:20:03] Speaker B: In long length.
[01:20:04] Speaker A: In long length with the quick release system, and then lucky camerastraps.com. correct.
That's that. Honestly, in the intention of that question, I would pick the r 328 to 70 because you could kind of get plopped anywhere in the world and document very well with that combo.
[01:20:23] Speaker B: Yeah.
[01:20:27] Speaker A: It's not battle tested yet. Grant is not battle tested. I haven't actually used it. I did a quick test with it, and that's it. Maybe. Maybe next week I'll upgrade to the Insta 360 so that I can, like, have the stick and then run away from zombies and then put the stick near the zombie and then back again and. Yeah, that could be. And the stick. I've actually got a really big Insta 360 stick that Lars sold with it. That would be a good zombie stick.
[01:20:51] Speaker B: So how'd you get that off Lars?
[01:20:53] Speaker A: Yeah, he.
[01:20:55] Speaker B: Has he upgraded or just not using it?
[01:20:57] Speaker A: I think he's changing to something else. It wasn't working for, like, the big stitched images and stuff. I think, like, it does them. It didn't work with his software or something, so.
Yeah, he just said it wouldn't suit, so I grabbed it.
We're gonna have to. We have to have Lars on the podcast one day. Talk real estate photography and stuff.
[01:21:16] Speaker B: Yeah. I've got a few people have been thinking about getting on, so, yeah, we'll do it.
[01:21:23] Speaker A: But for now, that might pretty much wrap it up. Is there anything else you want to see?
Dinner time?
[01:21:29] Speaker B: No. Yeah, I think it's dinner time.
[01:21:32] Speaker A: Yeah. I wonder what Grant's having for dinner in Japan. Probably some delicious karagi chicken Gyoza, something from.
[01:21:41] Speaker B: That's all you need. That's all you need.
That's all. We actually know how to order is Karagi and.
[01:21:49] Speaker A: Pork katsu. All the good stuff.
[01:21:51] Speaker B: Oh, the Katsu.
[01:21:53] Speaker A: Yeah, don't forget.
[01:21:54] Speaker B: Yeah.
[01:21:55] Speaker A: Well, we'll have to go back.
All right. We'll leave it there. Enjoy.
[01:22:00] Speaker B: Thank you. You too. Enjoy your burnt veggies.
[01:22:04] Speaker A: Yeah, I'll get on it. I'll go and see what Yelena's done. Hang on. We're getting updates. Home cooked meal from his host. Mmm.
Delightful.
[01:22:13] Speaker B: Yeah.
[01:22:15] Speaker A: All right. Goodbye.
[01:22:17] Speaker B: Thank you. See you guys.
