EP08 Weekly Live Photo Q and A Show

[00:00:03] Speaker A: And we're live. We're back, I believe we'll see. We're back a couple of weeks off, but we are here. How you guys been? [00:00:11] Speaker B: Well, how are you? Good, good. [00:00:13] Speaker A: You had a shoot today, Jim? [00:00:15] Speaker B: I did, I shot for seven and a half hours today. [00:00:19] Speaker A: Seven and a half hours. What sort of shoot? [00:00:21] Speaker B: Commercial shoot. I was shooting for a council, local council was about an hour away from my house, so literally shot everything for them. Like. Yeah, corporate staff out on the like, back roads with their like graders and graded drivers and stuff like that. It was very diverse. [00:00:39] Speaker A: Fun shoot. [00:00:41] Speaker B: Yeah, it was pretty fun, actually. [00:00:42] Speaker A: Yeah. Yes. Very good. If you're just joining us live, viewers, ask us questions in the chat. Let's get this thing rolling. We are live, episode eight of the camera Life podcast. I'm Justin and this is Grant and Jim. Introduce yourselves, Grant and Jim. [00:00:59] Speaker C: Jim, you first. [00:01:01] Speaker B: G'day. I'm Jim. As we've already worked out. Is that what you wanted or you wanted more? [00:01:08] Speaker A: A little more. A little more. [00:01:10] Speaker B: I'm a full time photographer, mainly shooting weddings, but also do a fair bit of commercial work like today. Yeah, dabble in a bit of action sports stuff as well. [00:01:21] Speaker A: How long have you been a photographer, Jim? [00:01:24] Speaker B: Full time photographer for 13 years. Which is. [00:01:27] Speaker A: Yeah, it's crazy. [00:01:29] Speaker C: That's a lot crazy. [00:01:30] Speaker B: That is long. [00:01:32] Speaker A: Very crazy. You started as a newspaper photographer? [00:01:38] Speaker B: I did photojournalist in. Yeah, well, I was to uni, which. [00:01:42] Speaker A: Is pretty fortunate back when it was a. Back when it was a career that was more possible. Seems pretty tricky now to be a full time photojournalist unless you're in a big city. [00:01:54] Speaker B: You could do it in the country, but it's not as photogenalistic as you, it once would have been. It's definitely changed a lot over the years. [00:02:06] Speaker A: Yeah, exactly. Hello, people. Hello, Melissa. Hello, Ryan. Ah, Melissa's question, starting herself. Well, hey, guys, hope you're all well. Question about gear. Is it worth the upgrade to mirrorless? [00:02:19] Speaker B: Okay, this is, this is literally. So we've got a group chat between Justin, Grant and I and we literally talk about this daily. [00:02:28] Speaker A: Yes, yes. All day, every day this week. Grant's gone from buying more DSLR prime lenses to flip flopping to I'm going all mirrorless. Um, I made the switch two years ago now from. Yeah, yeah. So I originally shot Canon DSLR for a while, then switched to Nikon DSLR when they were sort of leading the sensor tech race and they great lenses and Jim was also shooting Nikon, so it made sense for us to all be on the one system, stay with them for ages and then tried the Nikon mirrorless stuff and didn't really love it and made the jump to Canon, a full canon mirrorless kit and yeah, it's a complete game changer. The hard thing to answer is like, is it worth the upgrade? How big of an upgrade is it? Like how much DSLR equipment do you have and is it holding you back? I guess are the big questions. That's what we've been talking to Grant about. [00:03:31] Speaker C: And are you going to swap brands too? I think would also be another thing. [00:03:35] Speaker A: I think this is the thing, you know, obviously the adapters work really well to use older DSLR lenses with whatever new system you're going to go for. They, all of them seem to work great. But I started trying to use the adapted lenses and very quickly decided it's much better to just go the full native system, no need for adapters, obviously, that's more expensive. Way to go. But the lenses are, the new lenses are optimized for the new sort of mirrorless flange size and stuff like that. They're smaller and much better in my opinion. So, you know, if you were, in my opinion, if you were going to make the jump, I'd make, like Grant says, have a look at an entire new system. Potentially if you were going to switch brands that would be the time to do it. But it's a, it's a pretty big jump. [00:04:24] Speaker B: Yeah, maybe. Let's also find out, Melissa, if you're there, like, what are you shooting? [00:04:30] Speaker A: Exactly. [00:04:30] Speaker B: What are you shooting and how often are you shooting is probably the question because I think that that would also have some pull on. On what you need to do. [00:04:38] Speaker A: Yeah, definitely. [00:04:39] Speaker C: I mean, because if it's not much, you could pick up some secondhand gear and still shoot awesome stuff with DSLR. [00:04:46] Speaker A: Yeah, yeah, I mean, the quality, especially with, you know, like what you guys are shooting with the D 850s, they're still amazing image quality, amazing camera, but yeah, like if you're dabbling in video, if you like having the sort of the evf live view of what you're, the exact exposure that you're about to shoot, they really are a game changer. Currently shooting Canon five D Mark III with a ton of lenses shooting full time. Wow. You will notice a huge difference going to Canon mirrorless, just in the quality of the new sensors compared to the older. Like I had a III. Yeah. If you've got a ton of lenses shooting full time, I'd probably jump straight to a 60 mark two and use an adapter and then slowly roll your lenses over when you can afford to. [00:05:44] Speaker B: But yeah, also consolidate, like consolidate that kid. I've been thinking about that because I've got backups for backups for my lenses still shooting DSLR, but I think when I eventually do move over that I probably won't have so many like backups. I just like there's lenses in my kit that I never use. So maybe try and consolidate some of that and maybe don't need everything which might make it a little bit easier to change over. [00:06:09] Speaker A: Yeah, exactly. Yeah. I was able to downsize my Nikon kit massively when going to canon because of the lenses. Like the RF 28 to 70 F two that got rid of multiple primes that I used to shoot with. Being able to use the 70 to 202.8 all the time instead of never wanting to get the big heavy one out of the bag. Yeah, absolute game changers. So highly recommend. Also, just so everyone knows, the competition we're running, for anyone that asks a question, that gets featured, I'm literally writing people's names down and putting them in this little thing and we'll draw them out in about half an hour. [00:06:52] Speaker B: We're super high tech here. [00:06:53] Speaker A: Super high tech. Super high tech competition. Ryan. Hello. [00:06:58] Speaker C: I also think the problem I'm having is also what Paul's just saying. [00:07:05] Speaker B: How. [00:07:05] Speaker C: He'S got got on here. Missing the third party lenses. That's why I keep swapping with the idea of canon and Sony because Sony has so many lens options and they're a lot cheaper, but Canon just seems like a better option. [00:07:21] Speaker A: Hold the phone, hold the phone. One moment. And yes, Paul? Sorry, I was just going to say. Ryan was just saying he loves his Nikon Z seven two. Can't go back from I auto focus. I agree, I agree. [00:07:34] Speaker C: When I use that three reals. [00:07:35] Speaker B: Wow. [00:07:36] Speaker A: So cool. [00:07:36] Speaker B: That's pretty cool. I'm still not used to it, but when I've used like Justin's cameras, I. [00:07:42] Speaker C: Don'T think it would take long. [00:07:43] Speaker B: No, I'm still very old school though, so we'll see. [00:07:46] Speaker A: So let me just share my screen because missing the third party lenses. Sorry, just taking a second. So this has just happened. I don't know how accurate it is yet, but they're basically like Mikey have launched an 85 1.4 autofocus lens for rf mount. There was a couple of autofocus lenses earlier on for the system which canon sort of basically put a stop to, which put the big flag out there that there will be no third party lenses in the near future that are sort of officially work with canon cameras. But this has just been announced at the NAB show, which is like on at the moment and they're saying it's approved, but no one really knows much yet. So this could be a shift coming. So maybe, maybe Canon was working with a licensing sort of program or whatever for third party lenses, but they just hadn't nailed it down yet. And the other brands went around that and so they shut them down kind of legally. But there might still be plans for, you know, Tamron and Sigma and stuff to, to be able to start producing lenses like that. 35 to 150 that I want. Cool. Thanks, Melissa. Yeah. Now for the convincing look, get him to watch the show. We'll do some convincing. Get him on here. [00:09:21] Speaker B: Yeah. [00:09:26] Speaker A: Oh, is that. Hang on, Mike. Is it pronounced Mike? Why do I think it was Mikey? I don't know. [00:09:33] Speaker C: Oh, the k is a k, not a Ik. [00:09:39] Speaker A: Ah, well, something new every day. What else have we got here, Morningside? Are there any advantages to a full frame system now that we have systems like the Fuji XT four with 40 megapixels? I ask as an amateur, on an amateur's budget, that's something else that I've been, I've been digging into the Fuji stuff a heap lately. We've got a little system that we have in the office, a Canon RP, some Canon lenses. And I was thinking that Fuji might suit really well. And then I get tempted for sports stuff with that new the x, the h two S sports Fuji camera, which looks insane. Yeah, yeah, yeah. The. Yeah. And the XT five is even better than the X T four. Like that. Yeah, that thing's crazy. So I, it always, I haven't tested it and I'd really like to try. The hard thing is you're with crop basically as far as depth of field goes, you essentially lose a stop. So if you're shooting with a 2.8 lens, it looks like an f four lens on a full frame and you also lose about the same in high ISO performance, about a stop. So essentially I could shoot with all f four lenses on my full frame Canon gear and get a similar result theoretically to a Fuji system shooting all 2.8 SDE. Same goes with primes and things in the same sequence. So it's like, yeah, they're cheaper to get a Fuji with a 2.8 lens that is cheaper. When you're looking at comparing to 2.8 lenses with a sony system or a canon full frame system. Or something like that. But you need to compare it more so to f four lenses because that's the performance you're going to get. And once you look at it like that, sometimes the difference isn't that big budget wise. Now, the benefits that Fuji does have is, like, amazing colors and jpegs. There are benefits to crop. When you're talking about landscape photos, you actually get more depth of field for the amount of light that's coming in. So it's like sometimes you want more depth of field at 2.8, but you're still getting a lot of light in. So there's a. Yeah, there's pros and cons. Same with, you know, shooting wildlife. You're getting that extra reach. They've got some really cool lenses, some really small lenses. I don't know, it's a tough one, but they interest me a lot. I'd really like to buy a heap of Fujifilm gear and use it. [00:12:19] Speaker B: I think, as well you want to, like, what are you shooting as well? Is probably. [00:12:24] Speaker A: Yeah, yeah. [00:12:26] Speaker B: What's, what's the goal? Like, if you are shooting landscapes, then maybe that 40 megabits per second. [00:12:31] Speaker A: Yeah. And is lightweight important to you, you know, or is it, is it purely. And same with the. Just the, like, try and get into a camera store and use one because it is a different experience. Particularly the, the XT series, using the dials, the exposure control dials, as opposed to, like, the little jog wheels and stuff. So you can. You can get a Fuji with more sort of a more analog feel about it, or you can get a Fuji that feels more like, you know, more modern mirrorless cameras. So there are sort of options for both. And then there's the. I was actually. Yeah. Emailing someone today about the X Pro three s, which have the optical viewfinder and stuff, which is a whole different. Same as the X 100. It's a whole different feel. And. Yeah, really sort of more rangefindery style camera and shooting with that XD 100. I've got the original one, which I was playing around with again the other day. And. [00:13:26] Speaker B: Yeah, it is super cool camera, that one. [00:13:28] Speaker A: Still a cool camera. [00:13:29] Speaker B: Yeah, I've used that. [00:13:32] Speaker A: Let me just bring up another one and write some names. Put in this hat, Ryan. I've been reading a lot about creativity recently. What inspires you guys? You first, Jim. [00:13:52] Speaker B: I answered the question. [00:13:54] Speaker A: I knew you would because you'd be like, client outcome. [00:13:59] Speaker B: Yeah. [00:14:00] Speaker A: What, what inspired you on the shoot today? [00:14:04] Speaker B: Um, not, not a heat today. I did actually do some shooting for myself. On the weekend, though, which was the first time in a long time. I'm a massive motorbike fan, and I shot some. Some motorbikes, which was really cool and connected with some. Some industry people, which was nice. So that was inspiring for me to try and push and get some more work that is more aligned with my, like, core hobbies and that sort of thing. So that's sort of where I'm a job. Yeah, it's still. It's still work, and I can see if you were covering the event properly, that it would be a massive job, but it. I'd definitely be excited to do something like that. [00:14:51] Speaker A: Grant, what inspires you? [00:14:54] Speaker C: Um, I don't know, you guys. [00:15:00] Speaker A: Thanks. [00:15:01] Speaker C: Um, depends what I'm doing, though. Like, um, obviously, I've got a few weddings coming up, and I haven't really shot too many, so I would obviously jump on your instas or other local bendigo wedding photographers. But for my other stuff, you know, I think it's, um. [00:15:21] Speaker A: What about landscapes and stuff like that? Like, if you're going to go on a trip specifically? [00:15:28] Speaker C: Yeah, um, I think it's just how you're feeling at the time and obviously research all the locations and, you know, you always don't want to get the same photo as everyone else. So I think that's probably where I try to get some, like, creativity going, just, you know, just finding something else different that no one else has at that same location because they get shot so often now. [00:15:56] Speaker A: Yeah, it's actually, I was recently in Tassie, mainly for a holiday, but shot two mountain bike events down there. And I shoot a lot of mountain biking, but they were the first two. The first mountain bike races I'd ever shot. Most of my work is, like, for tourism or reviews and that kind of thing. So this was the first. It was just a race, and I had to cover it with sort of more of a lifestyle feel. And that was my. For the whole thing, I was like, I'm just gonna be where everyone else isn't. Because there was like, there was hundreds of. There wasn't hundreds, but there was. There was 20 or 30 pro photographers there all over the place, and they were grouped. There was clumps of them. You know, we've got photos of six or seven guys, like, crowded around the one tree to get a specific angle. And I'm like, yeah, wherever they are is not where I'm going to be. And, you know, it's risky because maybe they're getting this. This banger shot that I'm not but I know I'm getting something different and actually always ended up. I was always working with the light, whereas they seem to be working with trail features. Even if the light was, you know, straight on directly, that was only worried about trail features, whereas I was only worried about light or the crowd. I wanted as much of the crowd in the shots as possible. So. [00:17:12] Speaker C: Yeah, yeah, it shows more of the feel. [00:17:14] Speaker A: So I definitely agree in terms of trying to do something different is inspiring. [00:17:19] Speaker C: And, you know, like landscape, you're trying to do sunrise, sunset, and you go to a spot and you see two or three or even ten other photographers at that one spot and they're all next to each other getting the same photo. [00:17:34] Speaker B: Yeah. [00:17:34] Speaker C: What's the point? [00:17:37] Speaker B: I think that some of those. What you just said, justin, as well, like, goes back to our rules of like, what we do in wedding photography. And that's like. Yeah, there's, there's locations and shots that, that's, that's where it has to be. But what the most important thing is light and then working the best location, background and everything else around the light. The light is number one. [00:17:59] Speaker A: Yeah, well, after the. After the subject having an awesome time. Oh, yeah, yeah, yeah, yeah. [00:18:05] Speaker B: For the photo. [00:18:07] Speaker A: Yeah, for the photo side of it. Yeah, yeah, yeah, yeah. I. Hang on just to jump back. I agree, Paul. It is an odd choice if this is the first official autofocus third party lens. Odd choice that it's not Sigma or I. Tamron. Really? So. Yeah. Strange. Cool. Lee's lens. Hey, guys, have any of you tried the new Tamron Nikon Zed mount lens? Which one? [00:18:37] Speaker B: Well, no, because I still trying to get my hands on some pro Z mount gear. [00:18:44] Speaker A: Yeah. You've been trying to get a test of the z nine. I. Before I switched to Canon, I had the, the six, the first version, the z six. And I had a few Zedman lenses, but I didn't get any. Third party ones are pretty new then. And I sort of stuck with the Nikon stuff. So I don't know which one you mean. If they are doing the 35 to 150 f, two to 2.8. That's just. That would. Yeah, very exciting. [00:19:13] Speaker B: That's it. [00:19:14] Speaker A: Yeah, just. Or you could. You could definitely get away with just two lenses or that. [00:19:18] Speaker B: Like a 20 or something. [00:19:19] Speaker A: Yeah. So, yeah, which, which lens would be my question. But chances are, unfortunately we probably haven't. There's a good chance. I've watched all the reviews on it, whichever one it is, because, I don't know, I'm weird like that. Morningside I've gone Fuji because the size and weight and the analog feel, the camera. But I shoot mainly portraits and street rather than landscapes. My kitten needs a nice rap. Well, maybe, maybe you will get one tonight for free. Well, it sounds like you are, you are definitely on the right system then. If you're shooting mainly portraits and street, like those Fuji f 1.2 primes, if you've got the 56, you're probably having the best time ever. The 56 1.2 I think it is. But yeah, I think, yeah, there's, it basically, there's no downside in terms of. Yeah, full frame offers slightly better image quality in low light. [00:20:16] Speaker B: Do you need that in street? [00:20:17] Speaker A: Like, you know, a bit of same with portraits. You're not shooting sports and you're not, like, you're not shooting indoor sports or low light sports, which is where you need that really good high ISO performance at high shutter speeds. And, and yeah, I think, I think you're on the right system and there is definitely, I mean, there's also, there's hundred this thousand, like pro surf photographer Russ Lord, he uses Fujifilm for professional water shots that are insane. And he is. Yeah, exactly. And plenty of wedding photographers, sports photographers that are using that system. So I certainly wouldn't let it hold you back in terms of wondering about crop sensor and that kind of stuff. I definitely want to try. Let me put another entry in while one of you guys reads out this question. [00:21:12] Speaker B: All right, thanks. Thanks, Grant. Here's my question from Claire, maybe for the next session. What's your post production workflow? Selecting, editing, naming, sorting, sending to clients. What do you save? What do you trash? [00:21:26] Speaker A: Good question, Gojim. [00:21:28] Speaker B: So everything I do I ingest through Lightroom direct to my laptop, and then I've got a copy there. I make multiple copies. At the moment I'm making four for every session, three on site, one off. [00:21:44] Speaker A: Site. [00:21:46] Speaker B: And then for culling, I'm culling in lightroom because I just bought spec'd out Mac. That is fast enough to do so. So that's been a big, like, big help for me that I'm not using multiple programs. Editing again in lightroom and then like naming just on export. [00:22:09] Speaker A: Yeah, we don't, I've never renamed, actually. In the early days I did. I don't rename raws going in to Lightroom, I only rename exports coming out of Lightroom. But I have thought about changing that. You know, you get a lot of duplicate names and stuff I keep, but everything's in folders, so it seems to never be an issue. But I have considered, um, introducing a renaming on. On import structure, but it hasn't been an issue for us in, you know, literally millions of. I don't know how many photos you reckon we've imported from weddings. [00:22:44] Speaker B: I don't even know. [00:22:46] Speaker A: Yeah, it's sad, but millions. [00:22:49] Speaker B: Yeah. Our, our raid is we'll have a crazy amount of photos in it. [00:22:54] Speaker A: Yeah. So. Well, actually that's. That's a. That's a good one. Like, what do we keep everything. [00:23:01] Speaker B: Yeah. [00:23:02] Speaker A: Long. [00:23:03] Speaker B: So we cull the wedding, deliver the files, you know, so on the day we shot 5000, cull that down to, say, 800. The customer will get those, will keep everything for six months. Like, even the ones we culled out in case, which has happened occasionally, someone's got back in touch and said, you know, that there's been a relative that's passed away or something we might go back through and be like, oh, there was actually two extra photos. They might not have been much different to other ones, but maybe just having a couple extra frames of them would be important. After six months, we'll delete everything else that we didn't deliver, keep the raws, and then after two years, we delete the raws of the ones in ones we delivered. But we still keep the jpegs of everything which we've been doing since the start. So it's a bit of a headache doing the backend stuff. All of our files are like, our folders are numbered in the american date system. So year, month, then day, which is really annoying, except for when you actually want to find something. No, it's annoying because it's not the way we were brought up. It was not how we learned to do things when we were younger, but it's amazing. [00:24:23] Speaker A: So, yeah, we also. I mean, and I've changed it now. Jim hasn't. But we also do separate lightroom catalogs for every major shoot. So every wedding, every major shoot has its own lightroom catalog. I've changed. A few years ago, Lightroom sort of did some major updates, got a lot faster, had less of those problems, and I was shooting a lot less weddings. So I went back to using just one lightroom catalog, and it's been absolutely fine, super fast. The speed improvements are much better, although my new laptop is a beast. But the only issue is I'm keeping a lot of previews in the Lightroom. Smart previews to have sort of a backup, something I've been testing out because they're essentially a mini backup photo. But it's getting pretty big. I think it's at like 400 gig or something like that. This one, catalogs preview. So, yeah, there's pros and cons to the single catalog thing. If you're not going to keep smart previews of everything, then it won't get that big. It's not a big deal, but, yeah. [00:25:39] Speaker B: If there's anything else that we've missed or brushed over. Yeah, yeah. Jump in again because we like to add sort of stuff, but make sure you're backing up. We back up to at least three spots. [00:25:52] Speaker A: Yeah, yeah. What's the better? [00:25:54] Speaker B: 1332 on site, one off site. So I keep one in my car all the time, and then at the moment I run three a working and two backups. So on site. [00:26:08] Speaker A: As for file delivery, everything I do now is digital. Everything's like Dropbox or whatever, but. And Jim mainly does the weddings. But weddings are still all usb. Something physical still feels right for us. For what the client's investing in those photos. And they get a nice package with some prints and some things as well that just feels a substantial delivery rather than just sending them a link to a gallery to download or whatever. But, yeah. Do not underestimate the fact that clients will contact you years later, saying they've lost their usb and they never backed up their photos. So while we have it in our contract to say that we're not an archive service and we don't guarantee backups for any period of time, we're doing our best to make sure that we keep them as long as we can. Yeah, yeah. And when they do come back to years later and they're sort of worried that you may not have them, it's. It's a really cool feeling to say, yeah, we got them. No stress. [00:27:15] Speaker B: No. And, like, knowing that you've got them. [00:27:17] Speaker A: Yeah. [00:27:18] Speaker B: And, like, not even got. We've got them once. We've got them in three spots all the time. [00:27:23] Speaker A: Ryan says year, month, day is the only way. I like that. You definitely get another. Another entry for that one. [00:27:30] Speaker B: Oh, double entries. [00:27:32] Speaker A: Double entry. You can get double entries. [00:27:34] Speaker B: You're lucky. I've been writing Justin. [00:27:36] Speaker A: I've been writing names down like crazy. [00:27:39] Speaker B: Um, I jump back up to Paul. [00:27:43] Speaker A: Oh, hang, uh, hang on. Well, I want to go. We'll do it. We'll get. We'll get there. We'll get there. I want to do a new. Okay, you want. What do you got? J Shani. J s. Hanny Jashani. I don't know. Either way, every system has its advantages and disadvantages. And the first question should probably be, what am I willing to carry? Good point. Size and weight flow from that, which leads to lens sizes, etc. I completely agree. But also, you can always get stronger. No, I'm just kidding. But so, yeah, it should definitely be a factor, especially if anything that you do, whether it's shooting weddings all day, hiking to landscape spots or anything that flying, like. Absolutely. Like if you were flying for all of your shoots, it would be a major consideration. So, yeah, definitely a very good point. [00:28:36] Speaker B: I think like with that as well, we used to carry like 7200, 2.82,472.8 and then like a 16 to 35 or like the cannon equivalent, just not when we first started. And I can guarantee none of us, that neither of us would carry that now. We would absolutely not shoot with either of those, any of those all day. [00:28:58] Speaker C: Look, that's what I'm doing. [00:28:59] Speaker A: I would, I, I wouldn't because there's options. But we, like, when we were shooting with those, we didn't do any exercise and now we do. Yeah, I think we would, we would handle it a lot better, but I would. We still did it. I would need to see, to carry that weight, I would need to see a significant benefit that you can't get from lighter weight lenses. That's, that's, yeah, that's the point. And now, now with. It's just that rf 70 to 202.8 is so light, it's crazy. [00:29:37] Speaker C: I've been doing bicep curls with my 70 to 200. [00:29:40] Speaker B: That's why I pressed a. [00:29:41] Speaker A: That's why they're so big. Back to Paul Henderson. Sorry, bad typing. We'll skip that other one. Finding time to shoot is an issue. How do you guys find new locations for your shooting that are different? Well, for street stuff, I mean, I don't. I don't. I only ever shoot what you would even consider close to street style photography? When I travel, um, yeah, it's, that's, for that style of photography, it's usually not an issue because it's so easy when you, if you're overseas in Tokyo, it's like you just, you want to just walk around everywhere and explore and so, so I guess that would be the. My tip isn't travel to Tokyo. My tip is walk. And I actually saw a really cool quote the other day that I can't remember where I saw it, and I'm probably going to get it wrong. So I'm sorry, but it was something along the lines of, if you truly want to be a great photographer, you'll use a bicycle and not a plane, which is basically like, if you travel around on a bicycle rather than a plane, you're going to see so much more stuff close up and explore places that you would never have seen that other people may not come across. Whereas if you jet to the tourist hotspots, you're probably not gonna uncover something special. So, yeah, my tip would be walk. Right. So maybe don't worry too much about finding spots. Just find the time and then just go somewhere you've never been before. That's within the time period that you've got. If you've only got half an hour, go for a walk. 15 minutes in a direction that you don't normally walk to see what you find. [00:31:23] Speaker C: Yeah. Be a tourist and you're in town. [00:31:25] Speaker A: Yeah, exactly. [00:31:26] Speaker B: I think that, like, as well, um, there is a lot of beauty in places that you would potentially be overlooked. If you just have to shoot somewhere, you'll make it work. There's always something there. [00:31:39] Speaker C: Yeah. Because, like, um, when I was living in bright, everyone comes to bright, you know, awesome colored trees in autumn. Walk around Bendigo at the moment. Have you noticed how many trees there are? [00:31:51] Speaker B: Yeah. [00:31:51] Speaker C: That are changing colors. Like, yeah. Ever since I've come back, I'm like, whoa. Like, I've never noticed this. [00:31:59] Speaker A: Yeah. Yeah, they're everywhere. [00:32:02] Speaker C: Yeah. [00:32:04] Speaker A: Just a follow up from Morningside. Just for reference. For those reading, Justin mentioned the Fuji 56 1.4, but I actually prefer the Sigma 56 1.4. I didn't even know they had one for Fuji Mount x mount. It's become my preferred lens for portrait and candid street. Very cool. Very cool. Knowing sigma is probably cheaper than the Fuji two, which is always nice and sharp. Sharp as attack. All right. I don't know if Paul has mistyped, but pretty excites about the dentist in Lightroom. Haven't tried it yet, but from what I've read, it sounds good. Well, I don't. He could be making a joke because the. But no, but seriously, the masking is crazy. [00:32:51] Speaker B: Yeah, it's getting insane. [00:32:52] Speaker A: It's. I'll show you guys something in a minute, actually, that I tried to make a rain. Tried to make a YouTube video in the rain the other night. Didn't work, but I was playing with a rain photo and the masking is silly denoiser noise. [00:33:07] Speaker B: There we go. [00:33:08] Speaker A: Oh, yeah. Yeah. Okay. I haven't. I haven't tried it either. I, um. I honestly don't have that. I mean, I am shooting with the r three, which is amazing in high ISO. But, you know, like a lot of the stuff that I did in Tasmania for mountain biking during the race. Cause the shutter speeds have to be so high and it's in like a rainforest style canopy. It's so dark and green. And I like to shoot backlit a lot, which means even higher isos because the sun's behind the rider. So you gotta boost everything up a bit. I was shooting at, yeah, 3000, 206,400 all the time. I don't add any noise reduction ever. It's just like that. [00:33:47] Speaker C: And I said, yeah, hmm, yeah. [00:33:51] Speaker B: You know, you're not doing any, like, noise reduction. Yeah, I'm still doing our standard, what. [00:33:56] Speaker A: We used to do, 20 or something. [00:33:58] Speaker B: Yeah, yeah, yeah, yeah. Just some luminous reduction. [00:34:02] Speaker A: Yeah. Which we would usually do anything over like 3200 or if it was like, pushed hard, 1600 or whatever. But thing is, I guess with a wedding, you're talking about like skin and things like that, it can get. [00:34:15] Speaker B: Yeah. That's the main reason you're doing, know. [00:34:18] Speaker A: A bit of noise reduction on skin, you know, can look nice. But yeah, on sort of action sports, I want to retain as much detail as possible, and I find the grain sort of pleasing, so it doesn't matter. All right, Adam. [00:34:35] Speaker B: Adam scarier. [00:34:37] Speaker A: Yes. Famous photographer. For a total amateur person, what would be a medium quality point and shoot? All right, I'll throw this one over to Jim and grant, because I know they probably have no idea. [00:34:50] Speaker B: Yeah, I have genuinely no idea. [00:34:52] Speaker A: I have no idea. [00:34:53] Speaker C: Okay. [00:34:55] Speaker A: Medium quality, I guess, comes down to price, which is tough because it's like. [00:34:59] Speaker B: What'S your budget out of. [00:35:00] Speaker A: Yeah, what's it. What he said, followed by a good quality point and shoot price. Look, it gets tough because it depends what you want as a point and shoot. Some people want a zoom lens that you can travel with. Some people want compact, some people don't care if it's compact, but they just want it to be an easy, all in one point and shoot camera. There's options for all of those. I would basically say it's probably not worth buying if it's under dollar 500, and if it's over $1,500, unless it's the Fujifilm X 100 v. If it's over $1,500, you probably should be. Or a. Like a Q two or something. Anyway, you should probably be looking into. I wouldn't call him a point and shoot. Be looking into a interchangeable lens system or something like that. [00:35:49] Speaker B: Yeah. [00:35:50] Speaker A: So it's really like, you know, Sony's RX 100 series super small, they haven't updated in a few years. And it's super expensive. It's over 1500 bucks. Cannons got the g five x and the g seven x. Whatever series two or three. That. That. Either of those are up to both awesome cameras. They're all. They'll all either be one inch sensors, which are quite good, or you might, you know, be able to step into something with a crop sensor. But they'll be. They'll be significantly more expensive. If it's like the Fuji X 100 or. I've actually been looking at the. If I wanted a high quality point and shoot that didn't zoom, think at the moment it would be the Ricoh GR three. I wouldn't get the x, but Adam probably could. The. The non x is a 20 mil equivalent lens and the x is a 40 mil equivalent lens. Both 2.8 crop sensor all in one. They're tiny. Do you guys know what they. [00:36:55] Speaker B: Absolutely not. [00:36:58] Speaker A: Allow me to show you. [00:37:00] Speaker B: You could just. [00:37:01] Speaker C: IPhone. [00:37:03] Speaker A: I don't know, but I do. I keep thinking I really should probably start a YouTube channel and, you know, another one. Yeah, I'll probably do it on this channel, but I should probably get off my ass and make gear reviews. We gotta look at them. [00:37:20] Speaker C: What has Justin brought this week? [00:37:23] Speaker A: Maybe that's what the channel should be. [00:37:25] Speaker C: Yeah. [00:37:29] Speaker A: Sorry, just while my. While my Internet. So I. Look, Adam, I don't know if that answered your question, but I'm gonna. [00:37:36] Speaker C: When I lived in Scotland, my boss brought a Nikon. I'm gonna say it was like a P 950. [00:37:46] Speaker A: Yeah. So I think. Cause they're up to the P 1000 or something out there. The ones. Is that where you took the all in one super zoom? [00:37:52] Speaker C: Yeah, it seems like 80 times. [00:37:55] Speaker A: It's crazy. Yeah, yeah. And so that is what you would get if you just wanted. If you don't mind, if it doesn't need to be pocket sized, but you just want to be able to take, like, photos on holiday, family photos, all that stuff. And you want to be able to zoom in on the moon or like. Or something. Yeah, those. Those. I think they're up to the one thousands or. Yeah, 1000 or something like that now. And. Yeah, people that buy them just love them because they show photographers and they're like, you know, I think it's a six or 700 mil equivalent zoom. So, like, no photographer has that. [00:38:31] Speaker B: Hold that and just keep it. [00:38:33] Speaker A: Yeah. So the GR three is. It's small. Hard to see on this. [00:38:47] Speaker C: Yeah, no, it looks like a Sony. [00:38:52] Speaker A: But like, it's, you know, it's small enough that it fits in your pockets or retractable lens, but is a fixed. So 24 megapixel, fixed lens, 28 mm equivalent, which is my favorite focal length for that kind of walk around stuff, 2.8. So you're not going to get like Boker and stuff, really. But it's a. It's a quick point and shoot street lens. Street photographers love it. [00:39:12] Speaker B: Um, that'd be good. [00:39:12] Speaker A: Yeah, there is a 40 mil equivalent. Um, so, yeah, unfortunately, the thing that holds me back from it, I wish. The video is pretty average. Yeah. And if it. If it had good video, it would be a really cool sort of travel camera. [00:39:26] Speaker B: Well, there you go, Adam, by that, tell us how it goes. [00:39:30] Speaker A: Um, Jim might be able to help with this one. I know. I know a bit too. Melissa, what are the laws in Australia in regards to shooting in. In a public place, especially street photography? [00:39:41] Speaker B: Yeah. Essentially you can photograph anywhere in a public place and photograph to anybody if they're in public. [00:39:50] Speaker A: Sorry, Bernard. Melissa. Bernard, I think. Is it. Bernard? Sorry, sorry. Go on, Jim. [00:39:55] Speaker B: Yeah. You can photograph anyone in a public place. They might be upset with you, but. [00:40:03] Speaker A: I believe the law is in a public place, there's no reasonable expectation of privacy. I believe that that's sort of the thing that allows people to photograph you on the street. Now, that being said, do you really want to take a photo of someone that doesn't want it? If someone approached me after I took a photo and said, hey, what are you doing? Delete that or something, I would just delete it. I don't want someone to be upset, but legally you have a right to do it, you know? Yeah. I was gonna say whether or not you can do something commercial with it without the mod. The models permission, that's not. Not photo journalism, not news. I don't know that. That's where it gets a little bit trickier. [00:40:53] Speaker C: I think you gotta have a, like, they've got a sinner rights thing, like doing a ticket. [00:40:59] Speaker A: Yeah, yeah. If they're identifiable in the photo. [00:41:02] Speaker B: Yeah. But what about. If it's like a news story? [00:41:04] Speaker A: It's different news is completely different news. You can. You can take photos of anybody. Yeah. For some reason, that bit. Yeah. If you are doing something commercial, like fine art prints, that kind of stuff, or. Yeah. Like, you know, stock photography. Yeah. You need a model release. [00:41:22] Speaker B: Yeah. [00:41:23] Speaker A: So look, just to be clear, we're not lawyers nor experts on any of this stuff. That's just what we've learned over the years. But yes, certainly if it's something you want to know more about. I would hit up first, Google, and then second, maybe someone educated in the space. I'd love to have someone on that could maybe tell us exactly what the deal is. But, yeah, as far as I know, free to take photos wherever you want of whoever you want in a public place, but you may not be able to actually do anything with them if the person is identifiable. Anything commercially. If the person's identifiable. [00:42:05] Speaker B: We missed Melissa's first question too, which was, I think, a pretty good one. [00:42:09] Speaker A: Where was that? Oh, how often do you clean your gear? And do you clean it yourself or send it off to be cleaned? Not often. And, and both? [00:42:21] Speaker B: Yeah. Um, not often enough. I. Thankfully, I shoot fairly wide open, so any dirt and stuff isn't actually, um, noticeable on my, in my shots. Unless I went down. [00:42:35] Speaker A: I was gonna say, when you stop down, you realize how dirty your camera sensor? [00:42:38] Speaker B: Yeah, yeah, I'm now I'm trying to be every six months getting my senses cleaned and my lenses clean my, like, my main length, three lenses that I use. [00:42:46] Speaker A: So, yeah, yeah, if. Okay, so if. If you're not quite following what we're saying, if you haven't seen noisy sensor spots or maybe you've seen them, you didn't realize what they are. If you are shooting at a generally a wider angle lens, anything that gives you a large depth of field. So usually a wider angle lens at a higher aperture. So if you're shooting like a 16 mil at f eight or even, it could be a longer focal length. But if a high, you know, f 16 or something like that, and then you bring it into lightroom and you see this, these dots and the dots, all these little squiggles are in the same position on every single photo. That's dust on your sensor. It can even be worse. You can actually get oil on your sensor and stuff like that can be way worse. Now, sending it to canon or Nikon or whoever to be cleaned or camera clinic in Melbourne or wherever you live, there'll be someone that does it is a great idea and they'll do an awesome job and it's safe. There's liquid lens, liquid dust, cleaning kits and stuff, sensor cleaning swabs and that. I've never done it. Not a fan. But I'll show you a tip right now on how I clean my sensor. And it pretty much has always worked. You guys fill some time in the. [00:44:06] Speaker B: So for people in Victoria, it's not called camera clinic anymore. It's called imaging by design. But same place, same building, same awesome people. [00:44:15] Speaker C: How much per camera. [00:44:18] Speaker B: I'm an NP's member, so my bodies are actually clean for free and Nikon cover that. But my lenses I pay for myself and I'm pretty sure they're dollar 33 per lens, which. [00:44:31] Speaker C: That's pretty good. [00:44:32] Speaker B: Yeah. So for me to get my three done, it's a $100. Yeah, I just drive them down. There's some awesome food around the. The camera shop in Melbourne. I'm sure I could get it done in lots of other places, but that's just where I've been going. It's. It's good. The staff are amazing and super helpful, like, because I am out from out of town, they're like, yep, bring them in. We'll make sure they get them done promptly for me so that I can get back on the road. [00:44:57] Speaker C: Have you cleaned the D 780 since you want to sell it? [00:45:00] Speaker B: It is. Oh, it is cleaned. Ready to go. Actually, I only pulled it out of the bag after it got serviced six months ago. Just to take some photos to try and sell it. Yeah. [00:45:10] Speaker C: Nice. [00:45:12] Speaker A: All right, quickly. So first of all, most cameras have this probably won't focus, but let's see if it does. Oh, yeah, kind of. Most cameras have a sensor cleaning option in the menu. Most high end cameras, anyway. And it can work. So first thing you'll probably notice a lot of cameras will do it automatically on startup or shutdown or whatever. You can set that up. There is a manual cleaning option or a clean now option on a lot of cameras, and some of them even have like a clean, more aggressively option. But there is also the ability on either dslrs or mirrorless. If you can expose the sensor on mirrorless, you'll need to hang on. See that? That's. That's my sensor you can see reflecting there. So if I touch that, that would not be good. If that was a DSLR, you would see a mirror there covering the center. But you can lock that mirror up for cleaning in the menu of your camera and then you'll literally be able to see the sensor of your camera like that. Now, the best way that I've found to get dust out of it is get a nice rocket blower thingy that blows air out. And in a nice clean indoor environment, hold your camera so that it is open, pointing down to the ground, and then get the thing in nice and close. But do not touch the sensor with the blower, but get nice and close and blow in there all around the sensor like that. And that usually does the trick for a few dust spots or something. Like that. If it's more stubborn than that, I'll send it somewhere. [00:46:58] Speaker B: Is it, uh, is it bad that I don't have a rocket blower? [00:47:01] Speaker A: Terrible. You're not. You're not even a photographer. [00:47:05] Speaker B: Aren't I, though? [00:47:07] Speaker A: No. [00:47:07] Speaker C: You can borrow mine if you want. [00:47:08] Speaker B: You. [00:47:09] Speaker A: How do you, how do you clean your sensor? [00:47:11] Speaker B: What? [00:47:11] Speaker A: That you go for a little Melbourne morning and have a latte and. Oh, you don't drink coffee. Take it. Take it down to newcomer chalky. [00:47:22] Speaker B: Yeah. Okay, I need to get a rocket ball. [00:47:25] Speaker A: Highly recommend a rocket ball for everybody. All right, let's. Let's keep on trucking because people probably need to, we need to draw out this, um, this is the last chance to ask a question to potentially win a $200 lucky straps voucher. Let's get through a couple more questions first. Get some. Let's get some praise from Andrew. [00:47:49] Speaker B: Yeah. [00:47:49] Speaker A: Thanks, Andrew. Thanks for the podcast. Great concept. Love it. [00:47:52] Speaker B: Thanks, Andrew. [00:47:53] Speaker A: It is literally nothing without you guys in the live chat, so thank you. More questions, please. [00:47:59] Speaker B: It's been lots of questions, which has been amazing. [00:48:03] Speaker A: Flynn Schilling, as a young person who's recently getting into photography and videography, how similar are they and are the skills learned from photography applicable to film? [00:48:16] Speaker B: Like some, some yes, some no. Some carry over and some don't. There's lots of, in videography, justin will know more, but there's lots of things to do with shutter speeds and stuff like that, matching your frame rate, whereas photography, that's obviously less critical, but obviously your shutter speed is still critical depending on what you're shooting. But you like framing and that sort of thing is probably similar. Your depth of field, that kind of stuff would definitely be similar, but you've got probably more of a crossover, Justin, of doing both. [00:48:54] Speaker A: Yeah, I mean, that's what I do. So most of my shoots now, I'm shooting both at once, but I only really learned. Yeah, yeah, two, two at once. No, what they call hybrid, which is why I've got the canon three reals. It's, I think, probably the best hybrid stills and video camera available. You know, switch from one to the other seamlessly. And they're both high performance, somewhat high performance video guys that would say the r three isn't professional, but for the level that I'm doing, it's certainly great. So I learned photography first, but I actually had a background in sound engineering. Sound is obviously one thing that's completely left out of photography, but that required for video. So that's something you'll have to learn separately, and I would encourage you to learn it as soon as possible. If you're trying to get into video, the sooner you can have nice sound, the quicker your videos will seem a lot more professional. The composition, lighting, all of that sort of stuff, other than the fact that you would need to use continuous lights with video, and you can use flash with photography, lighting techniques, all of that stuff crosses over and is great and exposure and that sort of thing. The only little quirky differences are, like Jim said, you know, you're working with specific shutter speeds for video that flow well with motion blur and things, whereas photography, you're choosing shutter speed for either exposure or creative expression. That stuff's a bit different, but it crosses over a heap. I would, you know, if I could have my time again, and especially these days, with how much video content is being consumed. Learn video as early as you can, even if it's just dabbling with it, you know, use imovie. You don't need anything fancy or DaVinci Resolve, which is a super professional production program, is free for the, like, the basic version, and it's good enough to do anything you would want to do in the early days. So get a copy of that, whatever camera you've got. It probably shoots video. Just use that and just start making a few and playing around with it, because I wish I'd learned earlier. It's taken me how long have I been sort of Devlin with video? Three or four years. [00:51:08] Speaker B: Yeah, it's been a while when I. [00:51:09] Speaker A: Think it has been a little while, but I felt like an absolute beginner. The amount of times I've been trying to figure out. Still can't figure out exactly the benefits of s log, c log and stuff versus bit baked in, you know. Anyway, I'm digging. I'm gonna try and do something with that, make a video, but I understand the concepts, but still, yeah, I'm now at the level where I'm comfortably able to do like tourism productions and things, where it's mostly what I would call run and gun style video. So it's not a high level commercial production. I'm not doing that kind of stuff, but I can make a video. Yeah, yeah, it's like I'm shooting action and some stuff's vlog style, some of its interview style, but it's pretty simple techniques. And yeah, it took a few years for me to kind of cross over, but I'm getting paid work in that now. And yeah, I wish I had done it earlier, so go for it. Andrew McKenzie if someone is interested in wildlife and landscape. What brand would you recommend? Oh, man. [00:52:27] Speaker B: How long do we have the deep dive? [00:52:29] Speaker A: Yeah, I don't know. We've got to draw this, we've got to draw this prize and I don't know if I am. [00:52:36] Speaker C: If it's wildlife, you definitely got to go mirrorless. [00:52:39] Speaker B: Yeah. So J Shani just also replied to Andrew. [00:52:46] Speaker A: Oh, yeah, because the crop factor. Absolutely, it does. And, and same with, um, so olympus is micro four thirds, but you know, the other, the disadvantages for wildlife is if you're shooting in low light with micro four thirds, you're gonna, you know, shooting at high isos and things. Um, fujifilm is going to be similar crop, crop cannon stuff, crop nikon stuff, you know, like. Yeah, like the crop cannon gear is, is looking pretty sweet as well. The seven might be an amazing camera for wildlife. It all, honestly, it. I don't know if you can just throw brand. [00:53:24] Speaker B: No, it's accessible camera to you with exactly, like, lenses, like your budget also, like what do you like to feel of? Like what, what feels nice for you? I think who was saying, I think it was a morningside before that was talking about like the feel of the camera. Like you want something that you want to shoot with that makes you want to be a better photographer, want to shoot more. So I think that that's also important that something that's comfortable for you because, you know, there's no one size fits all with cameras. [00:53:56] Speaker A: Yeah. [00:53:57] Speaker B: And what's better for you isn't going to be what's better for me necessarily. [00:54:01] Speaker A: But, yeah, definitely in terms of wildlife and landscape, you know, it's correct in saying that, like build quality and lightweight, you know, if you, if you are going to be out in the elements, like weather, ceiling might be a nice thing. Otherwise you got to deal with rain covers and that sort of stuff. And, yeah, lightweight for hiking. If you're going to be doing it that style. But also ultimately comes down to budget, it's like, what can you afford? Because if you can afford it, you know, get, you get any brand, but just buy the best stuff they've got for wildlife and you'll be stoked. It doesn't matter if it's Sony, Canon, Nikon, Olympus. If you buy their top range telephoto lenses like the canon, they're all amazing. The Canon Rf 100 to 500, like, for the weight that, you know, that is what I'd be looking at for Sony. I think Tamron's got a really nice super zoom. Yeah, so many options. It's a really hard one to answer. But yeah, without, without more context and probably budget. I mean, and the other thing is too, like if it's. If you're looking for that point and shoot style thing. Yeah, that Nick on PZ 1000 or whatever it is, if you want an all in one wildlife camera, that's probably the one. [00:55:20] Speaker B: Do it. Yeah. [00:55:24] Speaker A: Nina. Thanks, guys. Great podcast for that. Get an entry. Oh yeah. Miss Search. [00:55:36] Speaker B: Yeah, that's right. [00:55:37] Speaker A: Hey, guys, got a question. I've invested quite a bit of dollars into my gear over the years. EF lenses. Yeah. And recently got a canon r five body with eos R. Oh yeah, the control ring adapter. Should I just sell the Fef mount lenses? [00:55:51] Speaker B: What's the control ring? Is that like adapter to. [00:55:55] Speaker A: Well, I don't. I'm assuming. So with EOS R control ring, I'm assuming. Yeah, that's the control ring adapter. So basically you can throw ear flenses on your mirrorless bodies and the control ring just gives you the ability to. [00:56:08] Speaker B: Oh, you can change. You can. Like yours. You can. [00:56:10] Speaker A: Yeah, you can set it to aperture or I white balance. I've got mine for white balance on video, which I really like. Set it to ISO or whatever. It's a great thing. And it comes on all the RF mount lenses. Like, should I just sell the Af mount lenses? Look, Serge, if you can afford it, the RF lenses are awesome. And the other thing is, I think we're going to start to see a decline in price on the DSLR lenses secondhand. As more and more people change over, more and more of them come onto the used market and less and less people are looking to buy them, which drives the prices down. So the sooner you make the jump, in my opinion. On one side, you know, you'll get more money for your lenses secondhand, but on the other side, there's a good chance by being earlier adopters into the tech, you're probably going to pay more for the lenses. And over the years that the RF lenses, there'll be third party options, there'll be cheaper options, and maybe you wouldn't have to spend as much. There's, you know, potential both ways there. But I, I was very happy. I tried to assemble this half, half kit at the start and I think it only lasted like two or three weeks. And I sold all the Af lenses and just went full rf and they're so good. And like we were saying, you can consolidate the kit a bit because of the newer lenses. You might get away with less lenses. [00:57:33] Speaker B: Probably depends as well. Like if there's a. A lens in that kit, like in the EF kit, that is kind of doesn't cross over. There's no equivalent. [00:57:42] Speaker A: Yeah, well, there's still not a 35 1.4. There's not like, they haven't even brought that out yet. [00:57:47] Speaker B: So, um. And that's where, like, I'm at with a lot of my lenses and lens choices, that there isn't kind of an equivalent in the Nikon stuff that makes me want to jump over. So I'm still. Yeah. [00:58:01] Speaker A: All right, we're 58 minutes in and we will draw this prize at 60 minutes. So last chance for questions. [00:58:09] Speaker C: Two more minutes. [00:58:10] Speaker A: Two more minutes. And Paul Henderson says I've got the r seven with the. With the rf 100 to 400. Oh, yeah. So you said it's the crop sensor with the rf 100 400 and it's amazing. Good and light. It would be too. So there's a 100 to 400 lens that I think is only about $1200 or something. And. Yeah, that would give you like 150 to 600 focal range. [00:58:38] Speaker B: Was it like an f four to 5.6 or something? [00:58:41] Speaker A: It's probably like 4.5 to seven or something like that, but yeah, so it's, it's not going to be great in low light, but yeah, that's a super lightweight. Yeah. Hey, Lauren O'Brien. So sorry. Kids are a bag of rats and didn't get on until now. Do you have any questions? Still time. Jumping into the competition. [00:59:01] Speaker C: 1 minute. [00:59:02] Speaker B: It's not like we've ever been on and I've been on time anyway, so for a few minutes over, I feel like that'll be on brand for us. [00:59:08] Speaker A: This is true. This is true. I actually had a couple of news things we were going to go over, but this has been good, though. [00:59:22] Speaker C: I love on the questions. [00:59:23] Speaker A: It's awesome. Serge, thanks for your advice. Much appreciated. That's exactly my concern, was the EF lenses will lose value soon. I really think they will. I think you're already seeing it in certain models. There's some, you know, like, for example, the 35 1.4 mk two. That's still the most current lens. There is no updated one in the RF system. There's only the 1.8. So that's probably still holding its money. Well, but like the 51.2 EF, they're all sort of selling for $1,000. I think I've seen them for under a thousand and it's still a great lens. But the new RF 1.2, even three and a half grand people are just loving it. So they're all jumping across. Professional people are all jumping across. And there's more and more of those fifties that the only thing does mean is like, if you were, you know, if you're on a budget and you're not shooting video, or if you're happy to use adapters, like, you can pick up some bargains, like the Canon 135 F two prime lens, the, like that. [01:00:26] Speaker B: Yeah, you don't have to jump across. It's definitely, it's not. You're not gonna not be able to shoot or not run a business. Like, I still use a DSLR and yeah, I think my works current enough. It's not holding me back in any way. [01:00:42] Speaker A: Yeah, exactly. Oh, I'm running out of. Running out of battery. [01:00:47] Speaker B: Hold the fuck. I'll jump in. So Lauren has asked. She's pivoting on maternity leave and starting a whole new gig. Slightly terrified. Don't be terrified. It's. Yeah, it's fun. You got time to do it. Any advice? Well, you've now got someone that's, you know, gonna need a lot of photos. So I would just practice as much as possible. Work out like a lot, you know, how light works and all that sort of thing, and work out how you want to shoot, you know, build, create a shooting style and you've got time to test things and, like, testing things doesn't even have to be on, on anything interesting. You can test things on a rubbish bin in your backyard if you were trying a new lighting technique or, you know, shooting in the rain or something like that. Like, you don't have to necessarily test things with the perfect subject. It's just about, um. [01:01:44] Speaker A: Yeah, and try and find a community if you can too. Whether it's online or in person. Anyone that you know that's also a photographer, connect with them and, and, yeah, try and shoot, learn things, help each other. Yeah, that's, that's super important. [01:02:04] Speaker C: Maybe we should start a Facebook group. [01:02:07] Speaker A: Maybe we should. [01:02:08] Speaker C: The community. [01:02:10] Speaker B: Yeah, I like that. [01:02:12] Speaker A: Maybe we will. You guys get on. I do the podcast, you do the group. If you're shooting mirrorless now, are you finding a big advantage for weddings by viewing shots in monochrome through the EVF rather than guessing the outcome until post? Do you mean viewing monochrome as in black and white, putting a picture style on there? I do that sometimes. I love it. But if you just mean just viewing the exact image as it's going to be shot, I find it definitely. I get my exposures closer because you're seeing exactly what you get so I do find it an advantage for post processing and things. You're definitely much closer to the final outcome in camera, I wouldn't say maybe. [01:02:58] Speaker B: For an amateur like you. [01:02:59] Speaker A: Oh, ouch, ouch. I taught you everything you know. I wouldn't say it's the game. I wouldn't say it's the game changer, you know, like, for weddings, eye autofocus is a bigger advantage than that. You know, like, I wouldn't say it's, it's that big of an advantage that it's critical. I didn't, I didn't had no problems really, exposing DSLR. It was just a little bit easier with mirrorless. But, yeah, the big advantages, you know, in, yeah, in body stabilization for video focus for, like, for shooting stills of weddings, eye autofocus is just, I think. [01:03:43] Speaker B: As well, like, take advantage of your camera. Before I started working as a photographer, just when I was learning ishot manual started working, and I, it was a lot to try and work out exposure, focus, you know, subject, all that sort of thing. So I actually shot for a lot of years using, like, aperture priority, so I could control my aperture. I can control my shutter speed that I needed by using my ISO, but it left me in between shots, not having to go all the light slightly changed. I need to adjust my shutter speed. Yeah. Or everything so that, you know, so you can use things like that to help you out and make it a little bit easier so that you can work on composing your images better. [01:04:30] Speaker C: And when I was in Japan, I done aperture, most of it. [01:04:35] Speaker A: Aperture priority. [01:04:36] Speaker C: Yeah, just mainly just a street photography because just because you, everything's happening so quick, you just quickly want to whip around and quickly take a photo and make sure it's, you know, exposed. Right. And with aperture, then you can notice, like, when you're looking through, you're like, all right, my shutter speed is a little bit too low. I need to bump up the ISO. [01:04:56] Speaker B: Yeah. [01:04:58] Speaker A: Um, good question from Peter's picks, which is kind of a few. I mean, we've been talking about this in our every episode. Message thread in every episode. Hi, guys. The Canon RF 2.8 lineup is really expensive. I agree. Do you think as an amateur, the f four lineup would be as good an option? It's not, it's not as good. If it was as good, it would be the same price. Yeah. [01:05:26] Speaker B: Is it usable? Yes. Can you, Frank, credit images? Yes. Like, yeah, you absolutely do not need 2.8, you know, 1.4 lens of 1.2 lenses. It makes, it does make better images. But having a lens would be better than not having one, just because. [01:05:42] Speaker A: Yeah, in my opinion, I. I've. I've had, you know, it, Jim. I've had, therefore, like, I've had back. Going back into that. I had the f four 7200 because it was half the weight. Um, I use that for some snowboarding stuff and used on a heap of weddings. [01:05:56] Speaker B: So we shot side by side and I had the 2.8 and we couldn't tell the difference ever. [01:06:01] Speaker A: No. And you'll find if you're talking about, um, if you don't need the light gathering, critically. So it's not a super dark venue or something like that. The depth of field difference between f four and 2.8 is really hard to tell at 200 mil, like, most people aren't going to see it. You might be able to go back and forth and be like, oh, yeah, I see it. But knowing that clients are never, ever going to know. And the f four s, especially in the rf cannon stuff, the rf 7200, particularly, is awesome. I've got the 20. I. I want that. I want the 7200, but I've already got the 2.8, so can't justify having both of them. But it's so small and light. [01:06:41] Speaker B: Even smaller than the 2.8. [01:06:43] Speaker A: Yeah, it's. It's 600 grams. It's like. Yeah, I looked it up the other day, 700 grams. It's tiny. It's the. It's. I want one, but the 24 to 105 is super sharp. Awesome lens the whole way through my. If my recommendation for it's not. I wouldn't say it's a budget kit, but if you're not going to just buy 2.8, you know, everything in the RF range, 24 to 100, and 550 mil, 1.8, which is like $300.16 mil, 2.8, which is like 450, I think, in australian dollars. [01:07:20] Speaker B: Yeah. [01:07:21] Speaker A: That kit will get you, because basically you've got the wide at 2.8, perfect 24 to 105 across the whole range at f four. Still going to give you great shots. Really sharp, not great in low light. Even in a wedding or something like that. If you get in a dark venue, then bust out the 50 mil, 1.8, off you go. That would be a great all round kit. That's not going to break the bank. Compared to buying the 16 to 35, 2.8, the 24 to 72.8, they're all like three and a half, four grand apartment. [01:07:55] Speaker C: It's crazy. [01:07:57] Speaker A: Yeah. [01:07:59] Speaker B: Better put this last questions for you, Grant. [01:08:03] Speaker C: Peter, this is the last question for the drawers? [01:08:06] Speaker A: Yeah, yeah, it has to be. Has to be. What is your take on AI creeping into photography? I'll get an article up here in a minute, but, yeah, go, Grant. [01:08:14] Speaker B: Did you guys see that latest, that latest one? [01:08:17] Speaker A: I'll bring it up. I did. [01:08:20] Speaker B: Oh, you haven't seen it. Grant, you love this. How have you missed this one? [01:08:23] Speaker C: I hate it. Is this another one that they want? [01:08:26] Speaker B: Yeah. [01:08:26] Speaker A: So AI art piece wins Sony's photography contest. It was the World Photography Organization Sony World Photography Awards, which is very global. And Boris and his AI generated piece actually won without anyone knowing that it was AI. That's the photo. And he said, sort of similar to the other guy, that it was the other comp that we discussed three or four times, the Digi direct one, that it was kind of an experiment. He wanted to bring light to AI image making. He doesn't. I think he actually said, I don't call it photography, because it's not. It's. It's something different. But I wanted to call attention to it, and I'm. And he refused the prize, which is cool. [01:09:18] Speaker B: That's good. [01:09:18] Speaker A: You know, like, he didn't, he didn't take the prize. I think it was a. So that side of it's good. On the other side of it, entering at all seems like a bit of a trying to get notoriety and stuff by beat and I don't know. Yeah. But still, what I think that is very cool is the AI tech that's creeping into photography as much as it man is making editing easy. The stuff that, that's coming up in lightroom and that kind of thing, it's gonna blend into, you know, can you just bring your wedding photography into lightroom and just AI insert a sunset rain night sky photo that would never have ever been possible, and people are gonna believe it's real. That's gonna get weird. Maybe that's what people want. I mean. Yeah, it is. It is just automated Photoshop. Like I put it, I put a transformer in the back of a wedding, of a wedding photo as a special request. I need to dig that out. What if we bring that in the. [01:10:22] Speaker B: Two thousands and start having people running away from dinosaurs again? [01:10:26] Speaker A: Yeah, exactly. Exactly. But instead, you'll just be able to type into lightroom, put a dinosaur in the background of this photo, and it'll do it. So that's going to get dangerous. The art side of it will certainly become its own thing. I think that'll pretty quickly steer away from, you know, photography. It's gonna stop being in awards and it'll certainly become its own thing, and maybe it'll become better. But the, the one thing that's never gonna get replaced with photography is you're not gonna get AI sports photographers. You can't, you can't artificially intelligence generate, you know, the, the winning grand final goal kick. You're not gonna get AI wedding photography unless it's to put a transformer or dinosaur in the background, because you can't generate the day and people's emotions. So the memories there. [01:11:17] Speaker B: Yeah, yeah. [01:11:18] Speaker A: So. But, yeah, it is. It's weird. And we certainly would talk about it almost every podcast because it just seems to keep popping up at the moment. So it's an interesting topic. And I don't know, I just hate when, when people call it AI photography because it's not photography, it's. It's image making or something different. Hmm. Yeah, I agree. World photography, it's very global. Such a. The Sony, the World Photography Organization Sony World Photography Award. [01:11:47] Speaker B: That's very, very world war. [01:11:48] Speaker A: Very worldly. Too many ads on that website. Let's draw this prize while there's still anybody watching. Okay? Do one of you guys want to draw it or should I do it? [01:11:58] Speaker B: Can I, can I show you? [01:12:00] Speaker A: Shake it. Hang on. All right. The winner of. Yeah, in case the winner of the $200 lucky straps voucher donated by me. These guys. Dan, what are you guys donating? [01:12:19] Speaker B: I'm selling a camera if someone wants to buy that. [01:12:21] Speaker A: Oh, you know, you're gonna give away your d 780 on live get away. [01:12:26] Speaker B: For 2000 australian dollars. [01:12:29] Speaker A: The winner of the $200 200 australian dollar lucky camera straps voucher is not us dollars. Lee's. Oh, hang on. Lee's lens. Lee's lens. If you are still watching, you are the winner. You are the winner. To claim your prize dm lucky straps on Instagram or reply to the email that I sent out today, and then I'll figure out some way to verify that whoever has emailed me is actually Lee's lens. Because any, any of you in the chat could pretend you're Lee's lens. [01:13:05] Speaker B: Maybe I'll do it. [01:13:06] Speaker A: No, but yeah, you are the winner. Lee's lens. Congratulations. [01:13:11] Speaker B: So just to go back, Lee's wants to know about the Tamara Nick on Z. [01:13:15] Speaker A: And we weren't able to at least this, this is a. The consolation prizes. You get a camera strap. So that's nice. But yeah, you guys have all been awesome. Feel free to ask any more questions. We might chat about some more gear, things that I wanted to tell these guys about. [01:13:36] Speaker B: Thank you, Melissa. Thanks for jumping in. We actually really appreciate that. There was so many questions that made this super fun for us. [01:13:43] Speaker A: It was great fun. [01:13:44] Speaker B: Yeah. Really good. [01:13:46] Speaker A: Can't wait till, uh. Can't wait till the next one. Get some more. Maybe we'll do some themed shows. [01:13:52] Speaker B: Yes. [01:13:53] Speaker A: And I've got some guests coming on in the next few weeks, too. [01:13:57] Speaker B: Oh, exciting. [01:13:58] Speaker A: Yeah. I've been reaching out to people behind you guys backs. [01:14:02] Speaker B: Yeah, I feel. I feel that knife. [01:14:05] Speaker A: Secret squirrel stuff now. Um. Yeah, I can't say anything just yet, but, yeah, next couple weeks, few fun guests. Going to be cool. [01:14:13] Speaker B: But, um, what. What color light should I get from my background? [01:14:17] Speaker A: You can't have a lot. [01:14:18] Speaker B: Why not? [01:14:19] Speaker A: Because Grant and I already have the lights. [01:14:21] Speaker B: Well, granted. No one another way. [01:14:23] Speaker C: Very dark. [01:14:24] Speaker A: You know what's cool about mine? [01:14:25] Speaker B: It's normally a lot brighter. I think it's because it's. I think it's winter now. [01:14:28] Speaker A: Mine can change. [01:14:30] Speaker B: Ah, it's a clap, Justin. Remember, like, Japan. It's clap lights. [01:14:37] Speaker A: Clap for me again. No, it's broken. There we go. Just had a bit of a delay. [01:14:43] Speaker C: Mine changes. It's just on my phone, but I'm currently streaming through that. [01:14:48] Speaker A: Thanks, Claire. Thanks for joining us. Thanks for your time. [01:14:51] Speaker B: Thanks, Sergey. Search. Surge. Search. [01:14:55] Speaker A: Oh, Paul should do it. Oh, you click. Oh, no, we've got some. [01:15:02] Speaker B: There we go. [01:15:03] Speaker A: Should do a photo walk in central Vic. We definitely should. [01:15:06] Speaker B: Yeah. We've been talking. We've talked about this for years, about doing, like, a lucky night walk, like, around Bendigo or something. So maybe make it happen. [01:15:17] Speaker A: We should do that. You know the other thing that I've been experimenting with, I'm not ready to unveil it yet. I have a photography bingo that I'm working on because I thought the three of us could do it as a challenge, but maybe we could do it with a group of people where we get bingo cards with different sort of ideas on them, and you've got to get at least one of the rows of ideas, but it's timed, you know. [01:15:41] Speaker B: So you're like, you know, find a person. Take a straight. Like, take a portrait or something. [01:15:45] Speaker A: No, I'm gonna. It's more vague. So it'll be like. Like, one of the themes might be, like, just. It might be water or wet. Or wet. And so find a photo that, to you, is that, you know, like, you can interpret it however you want, but if we see your photo later and we're like, dude, that's not. It's got nothing to do with it. It's a stretch. Yeah, that was my plan. But yeah, we should definitely do a photo walk. Will you email reminders for your next podcast? Even better if you go to YouTube and click the. There's a subscribe button, but there's also like a notification bella for the whole channel. If you click the notification bell every time we go live, it'll. It'll tell you. And I'll also start putting upcoming episodes on the channel sort of earlier so you can see when they're going to be scheduled because the interviews might be at different times, whereas this one will hopefully be at the same time every week. So. Yeah, and we'll just sort of wing it from there. But I also will probably set up a separate email list because I don't know if I'll email the lucky straps list every podcast, but I'll certainly, certainly do a few of them, especially while we're getting it up and running. So search. Should I'll come to Melbourne for that? Yeah, we definitely should do some. Do some walks. Plus we want to do that trip to bright to take in all of. Yeah, let's do autumn glory in the next. [01:17:10] Speaker B: We need to get that booked in. Yes. [01:17:14] Speaker C: Early May. That's the time. [01:17:16] Speaker B: Purple. Well, it's almost early May, Grant. [01:17:20] Speaker C: I know. [01:17:21] Speaker B: Need to get that sorted. [01:17:24] Speaker A: What was I going to show you guys? Just wasn't here. Yeah. [01:17:28] Speaker B: Yeah, there's been. I've been saying more z. Eight rumors. [01:17:32] Speaker A: There are definitely a lot of rumors. Please use your social media more. Which. Which ones? All of us. [01:17:40] Speaker B: Because we actually. Other than Grant. Grant uses his a lot. Justin and I both suck on basically every account that we, we have control of. [01:17:49] Speaker A: I'm not a good. I'm not a good social media or even for lucky, I. We. Yeah, we struggle to post as much as we should, but for my own work, I'm terrible. I'm always delivering stuff to flow and things and I very rarely put it on my own. [01:18:04] Speaker B: That's a cool photo. I should post that and then never do. [01:18:07] Speaker A: Yeah. And even all the. All the videos. Oh, yeah, lucky. Yeah, we def. Look, we're. We're working on it. We are working on it. You'll see it ramp up a bit now. Um, taking more photos of the cool straps that we're creating for people. [01:18:19] Speaker C: Any collabs happening or. [01:18:22] Speaker A: No, nothing. Nothing lined up. Oh, my marketing makes you sad. Do you want it? Are you available? Would you like to join the team? [01:18:32] Speaker B: Yeah. [01:18:33] Speaker A: Need someone? [01:18:34] Speaker B: Lauren at lucky straps? [01:18:36] Speaker C: Yeah, it's got a ring to it and she has got on maternity leave. [01:18:40] Speaker A: Need to use the scheduler. Yeah, we probably do. Yeah. [01:18:44] Speaker B: Yeah we do. [01:18:44] Speaker A: Yeah. No, we look. [01:18:46] Speaker B: Yeah we need to allocate time to post regularly and I think just slotting it in would actually just make us do it. [01:18:53] Speaker A: Yeah. Have. Yes. Just made a. Hi. Join the team. You're on. Did you guys see this? I have no the m eleven monochrome. So it's the black and white only. M eleven. Do you know the Leica M series? You familiar range finder manual. Manual lenses everyone loves. [01:19:17] Speaker C: How much is that look? [01:19:19] Speaker A: I haven't even looked. I'm guessing it's somewhere between ten and 15 grand. And yes, black and white only obviously. [01:19:26] Speaker B: It's probably stupid grand. [01:19:28] Speaker C: It'll be something stupid like stupid. [01:19:33] Speaker A: But yeah it's uh. [01:19:35] Speaker B: Hang on, hang on. Can we go back? [01:19:37] Speaker A: No, that's them shooting with the camera. [01:19:39] Speaker B: I know but that's. [01:19:40] Speaker A: They're not black and white. [01:19:41] Speaker B: That's just. [01:19:42] Speaker A: It's odd. They're not black and white photos. Yeah you're right. Um. But here's one. I don't know if that's. I don't know if that particular photo is good enough for me to buy a $15,000 black and white only camera. But look, it's 60 megapixel, right? It's. It's the m eleven but specifically black and white. It'll be interesting. It'll be interesting to see. Yeah. That's how they. And they do crops and stuff. As I two or three. Probably not. Not my kidneys. I don't think I could even get a q two for my kidneys. Yeah it's interesting. [01:20:22] Speaker B: There's not that many streets. [01:20:24] Speaker A: I was gonna say it's just the one. [01:20:25] Speaker B: There's only one street. [01:20:26] Speaker C: They've got that cool botanical garden right near the of viaduct. [01:20:31] Speaker B: Yeah. And like we said before there's always something interesting. [01:20:35] Speaker C: They get southern lights there too. [01:20:37] Speaker A: Oh yeah. Interesting. I really want to photograph the northern lights. Oh yeah. So. So now that. So. Okay so m eleven monochrome. Amazing camera. I'd probably still get the m eleven regular because if I was going to spend that much money I'd probably want to be able to shoot in color too. But I would. I would really like to see images from this and see what they're like you know compared to say if I shot them on the five reals next to it and convert into black and white and see what it's like. [01:21:09] Speaker B: But. [01:21:10] Speaker A: But check this out. The Pentax K 32 monochrome was also announced this week. [01:21:19] Speaker C: Is that a high generated. [01:21:22] Speaker A: That is a real camera. Unless they were late to April fools. But this is the real camera. They actually. It's so Pentax K three. It's like a super popular, but kind of. It's like they're fully committed to DSLR, still crop, they still sell them and they sort of got a cult following of users. One of the. [01:21:46] Speaker B: Why? [01:21:47] Speaker A: One of the awesome. You know what's. What a funny story. One of the awesome Australia post guys that picks up our camera straps and delivers them to all of you wonderful people. He. He has Pentax K three cameras. He's got molt, he's got like three or four camera straps. Yeah, loves Pentax, loves that camera straps. And he was telling me last week, he's like, I dream about this Leica monochrome camera that I played with in Perth. It must have been the m ten because the m eleven wouldn't have been out yet. And he said that's his dream camera, is the Leica monochrome. But he didn't know this was out. I can't wait to talk to him again because this is his dream camera because it's in his Pentagon system, but he wants a monochrome camera because he said it just looked so different. He loved the idea of only black and white. Yeah. So super weird. Interesting. Like, no other brands have done it. [01:22:43] Speaker B: So what's the difference between shooting that and then just switching? Like. [01:22:49] Speaker A: Yeah, before I go into that, Andrew, thank you. Enjoy your whiskey. We'll catch you on the next one. It. So not having to have the. This is. This is my ill informed version of it. I need to do more digging. But not having the filter that splits the light into red, green and blue, I think, in separate colors, allows there to be a sharper image across all ISO ranges when it's black and white over. So black and white only. So basically you're just recording light value, light levels and you're not having to split it and record color values. So it allows better detail, better detail, cleaner, crisper image, less in the way. You know, it's more. Yeah. There's less for the camera to do to create the final image. So, I mean, look, it'd be cool. I mean, at least that their photos look cool. [01:23:52] Speaker B: Yeah, look, to be fair, their photos are cooler than what was on the, like a page. [01:23:56] Speaker A: I wasn't gonna say. Yeah, I was, but Pentax did it. Look at that. [01:24:00] Speaker B: Yeah, their photos are much better. [01:24:03] Speaker A: Well, there was only one on the, like a page over the back of a hat. [01:24:07] Speaker B: Yeah, it wasn't. It wasn't great. [01:24:09] Speaker C: Maybe there's ten of them. [01:24:12] Speaker A: So that was. That was. That was interesting. What else was interesting that's happened recently? Oh, the canon just announced the 100 to 302.8, so instead of 300, I think they're kind of like. Instead of a 302.8 prime for the RF mount, they're committing to, like, 100 to 300 instead. And, uh. [01:24:35] Speaker B: That's sick. [01:24:36] Speaker A: Yeah. I think sports photographers are going to love it. Sigma used to have a 120 to 302.8, but it wasn't. It was pretty big. This looks pretty big, too. Really? But it was pretty big. I don't think it was a sharp. You know, it was a bit of a compromise. People still preferred the big white 302.8 over the sigma with the flexibility. But, yeah, this is gonna be. You know, if you're shooting like, that's awesome. [01:24:59] Speaker B: That gets me excited. [01:25:01] Speaker A: What are you gonna do with it? [01:25:03] Speaker B: I don't know, but I like to look at it. Everyone needs 302.8. [01:25:07] Speaker A: I know, it's pretty cool. It's pretty cool. It's tax deductible. Shoot weddings of that. I'd shoot weddings of that. That'd be cool. [01:25:15] Speaker B: From the car. [01:25:17] Speaker A: Yeah, yeah, yeah. High level shooters and videographers. [01:25:24] Speaker B: Awesome lens. [01:25:25] Speaker A: Particularly those working in low light, seeking hand holdable solutions. Lens provides the total answer. Yeah. [01:25:31] Speaker B: And an three reals is, um. Yeah, that's gonna be. [01:25:36] Speaker A: It's only nine and a half us. Bargain. So it's at like 35 australian. [01:25:42] Speaker B: Yeah. [01:25:46] Speaker A: Yeah. Bargain. The other thing, I just. It's just. It's been a week of gear with. With nab on. Um, DJI, inspire three. Once again, something that. 25. Starting from Australia. No, australian. These. The eight k at 75 frames a second. Full front. It's a full frame camera. [01:26:13] Speaker B: Yeah. Okay. [01:26:14] Speaker A: Like. Like, it's. [01:26:15] Speaker B: That's big. [01:26:17] Speaker A: It's big. Oh, yeah. There's no. This is not a. This is a professional. [01:26:21] Speaker B: Yeah. [01:26:22] Speaker A: Piece of equipment. Yeah. Well, wait, like. Ah, there's. This is all. Look at it. Amazing. Amazing. I want one grant. I'm gonna buy one. Grant's gonna pilot it and I'll operate the gimbal. That was our plan. But let me get down to the. Like, I just love. And I know that all one used to be able to do this, but, like. So in this mode, tilt, boost. Like, it can shoot up. [01:26:47] Speaker C: Yeah, that's cool. [01:26:49] Speaker A: At like, 80 degrees. [01:26:51] Speaker B: Yeah. [01:26:51] Speaker A: And then in this mode, you can 360 pan with the legs not getting the way. So that. So the pilot. So there's an FPV camera on the front for the pilot. Let's find some things. [01:27:04] Speaker C: Oh, yeah, there it was. [01:27:06] Speaker A: Was it? [01:27:07] Speaker C: Yeah. [01:27:08] Speaker A: Oh. Oh no, that's the RTK positioning thingy, but yeah, that's the fPv. But there's a picture of it somewhere. What? You can see so many things. It's full on pro. [01:27:20] Speaker B: Yeah. [01:27:21] Speaker A: Like this will be. They'll be shooting movies with it and stuff. But I still. It just makes me want to be a drone operator. I dreamed about it. I even had one of those old. When they used to strap like cameras to the actual, like petrol helicopters. You know, the petrol, you know, remote control helicopters that were really hard to fly. Yeah, I had one of those helicopters and I just crashed it. [01:27:42] Speaker B: You do the same thing with your drone. [01:27:44] Speaker A: So this is the camera at 1080 60 FPS, which. So, yeah, so it's like this. So that's the new one. So you can see that as a pilot straight out the front and then the camera operator, or you can operate the camera too, can be like just doing their thing and you're just. You're essentially just flying the fpv drone. Yes. So. So cool. [01:28:10] Speaker B: Like, yeah, that'll be insanely good. [01:28:16] Speaker A: We need it. [01:28:18] Speaker B: Yep. Oh, let's, um, get the podcast. Big enough. We can get one. [01:28:23] Speaker A: Get one. Yeah, definitely need it. What's cool to me is obviously it's a long ways. A long way away. Yeah. Because it's the DL mount, like, because they've got a. These crazy gimbal cameras, you know, that you can run around with. Basically. It's basically like a handheld drone camera that all this stuff's getting used on feature films. It's, yeah, pretty amazing. But the tech slowly filters down, you know, like, it wasn't that long ago that the inspire was similar quality to what a mavic three is now. Maybe not similar, but yeah, actually not that far off. So, you know, how long until we've got a full frame camera in a $3,000 drone. [01:29:09] Speaker B: Yeah. [01:29:10] Speaker A: That you can fold up the legs, you know. Will that. Will that ever happen? [01:29:15] Speaker B: Definitely wouldn't say it won't. [01:29:18] Speaker A: Yes. See, see, Grant, this would be me and this would be you. We could even have the headsets. [01:29:27] Speaker C: Yeah, cool. [01:29:29] Speaker B: We were gonna get headsets Justin, for wedding, so we could talk to each other. [01:29:32] Speaker C: Hahaha. [01:29:34] Speaker A: Yeah, we did. [01:29:34] Speaker B: We talk about it for ages because we were like. Because then we could just be like, you know, are you gonna get the tight shot? [01:29:40] Speaker A: Yeah. Instead of having to sign language that we don't know because there were some spy kids. Yeah, there were some venues where you just. It was very hard to get to each other, so it was just easier to kind of. Yeah, I just thought we could be secret squirrels and be like, Jim, I'm gonna get a shot from behind the altar. Out now. Did you see this? [01:30:16] Speaker B: I did see that. [01:30:17] Speaker A: You did? Did you read the messages? Woman demands refund from wedding photographer because she's now divorced. Check it. Check it out. So this is the. This is the photographer. I swear, my life is a movie. You can't make this stuff up. Hi, Romeo. How are you? I don't know if you still remember me. He did a photo shoot for me at my wedding in Durban in 2019, which is in South Africa. Hey, smiley face. Ah, I'm okay. Thank you. Trust you're well? Yes, I remember. How may I be of service? He's so, like, polite. [01:30:50] Speaker B: What a good guy. [01:30:51] Speaker A: What a good guy. Well, I'm now divorced. And those pictures, I and my ex husband don't need them anymore. You did a wonderful job on them. But they went to waste as we are now divorced. And I'll need a refund of the amount of money we paid you because we don't need them anymore. Pardon me. This has to be a joke, right? I. Hang on. And then, yeah, he. He thought he was being pranked, but he was like, no, you will not be getting a refund. And she was like, you'll be hearing from my lawyer. I afforded everything him. Everything sharp, which is weird, but funny. Yeah. [01:31:34] Speaker B: Four years later. [01:31:36] Speaker A: Yeah. Where are you? And I'm in Joburg. Can we meet and discuss the issue way forward? No. Tell your liar to call me. [01:31:49] Speaker C: I love how unprofessional I got. [01:31:51] Speaker A: I know. It's so great. And then he posted it on social media. Yeah, weird stuff happens. I just love how lovely and professional he was at the start. Like, how may I be of service? Like anything. What do you need? Right. I refuse to believe this. That is real. I. Yeah. Look, I don't know. I did my due diligence and read two articles on it. They both said the same thing. It could definitely be fake, but it was funny. But I'm gonna. [01:32:21] Speaker B: His business will, like, boom because of that. I reckon. Look at a lot of. [01:32:25] Speaker C: Maybe it was a stun. [01:32:26] Speaker A: Yeah, it is. Strange things do happen. I did get once a customer who emailed me, they left a one star review because their camera didn't arrive. Because in the pictures of the camera strap, there was a camera showing the camera strap, and they said they thought they were buying a Nikon Z six with lens for a $149, so. And obviously refunded them because I don't want anyone to, you know, be unhappy or whatever. But, yeah, people make mistakes and get confused and ask for refunds for strange things. So maybe she thought that every divorce, you know, refund, you'd have to. Yeah, well, that you'd have to factor it in. You'd have to do. You have to go see an accountant and do. Do your finances and some Big maths in that one. Yeah. [01:33:29] Speaker C: So no one here had to ask a question. They could have just, you know, brought a strap and then left a one star review saying I wanted a camera. [01:33:36] Speaker A: Oh, he. He returned the strap. [01:33:39] Speaker C: Oh, did he? [01:33:40] Speaker A: Yeah, he did. He just said, look, I thought I was getting this, and I was like, hey, no problem at all. But, yeah, send the strap back. I'll give you a refresh. Yeah, yeah, it was a bargain. What else did I see? I think that was. I don't know. Do you guys see anything fun stuff this weekend? [01:33:57] Speaker B: No, that was the AI thing, was the thing that I saw that. And this is. [01:34:04] Speaker A: We should have talked about this before lonely redditors duped into paying for nude pics of AI generated women. I'm guessing that's on only fans or something. So that happens. So. So. [01:34:19] Speaker B: That is an awesome. No, it is like, what a business. [01:34:23] Speaker A: Oh, I guess they could pay for the drone. [01:34:27] Speaker B: You literally just pay for the drone. [01:34:29] Speaker A: Wouldn't our drone business help pay for the drone? [01:34:32] Speaker B: Yeah, but to get. That's like, that's. That's good. [01:34:39] Speaker C: We know what Jim's doing now. [01:34:40] Speaker B: Yeah. [01:34:42] Speaker A: Pictures. Yeah. Selling them on Reddit. [01:34:48] Speaker C: What is that? Oh, Justin. Jim on instagram mean. [01:34:54] Speaker A: Um. [01:34:59] Speaker B: Yes. [01:35:00] Speaker A: Hilarious. Oh, that was the only other thing I wanted to talk about, was. So you. You've been getting hit up by. You're trying to sell some gear, Jim, and you've been getting hit up. Hit up pretty hard by the scammers on Facebook Marketplace, which I love. I also have. So I just wanted to quickly shine the light on secondhand gear. I've bought a lot of secondhand gear and sold a lot of secondhand gear, and it's a good way to legitimately save some money and usually, hopefully get what you think it is and it's right and stuff like that. But if you're selling gear, if someone says, I want to pay you, and FedEx will pick it up, like, FedEx will bring you the money and pick up the item. It's a scam. They what they'll do is say, oh, look, because it's such a large amount of cash, FedEx need to. It needs to be insured. And you can just pay for the insurance via a link and they'll email you a link that looks like it's from FedEx, but it's not, and off they go. Steal your card details, blah, blah, blah. So don't do that. If they say they want to pay with pay id, also don't do that. Or if their brother's gonna pick up. [01:36:14] Speaker B: You can pay a pay id, though. [01:36:15] Speaker A: Oh, yeah, but. Yeah, but I haven't encountered anyone that want. No, no, sorry. They want someone else to pick it up. And because of that, it needs to be with pay id. If that person comes to look at the camera and says, I'll transfer it to you using power d, completely different story. You know, if they're there and it's all happening or whatever, or if they want to pay with pay id and then they just pay you, that's fine. But if they say pay id because it's such a large amount, they need to verify your identity and they'll send you an email from pay id. That's a scam. So just watch it. [01:36:57] Speaker B: Can you, if these are scams, because. [01:37:00] Speaker A: Hey, can you bring it up on screen or something? Let's do it. Just hold your phone up in front. Let's see. [01:37:05] Speaker B: No, my phones. [01:37:07] Speaker A: Lauren? I bought a second hand camera from a dude in Melbourne. Funniest experience in my life. Why was he weird? What happened? Tell us the story. [01:37:14] Speaker C: Well, I just saw my 105 lens. [01:37:17] Speaker A: If anyone's still watching, tell us, how crazy would it be? What do you guys think? If I. If I got the equipment to make this a live call in show, would anyone call in? How good would that be? Imagine if Lauren could call and tell us the story about the second in Camry guy. I think I should. I don't think it would be that expensive. Photographer friend suggested this particular item, Olympus Omd em one. He thought I was a scammer because it was such an old camera and I needed it shipped to me in New South Wales. Yeah, it's. Yeah, look, some. I guess some people are over cautious on the scammers. I don't know, but do it, mate. All right, I'll do it. You've convinced me. I know. Because the road. Oh, that was more stuff. Got road announced stuff. So rode maker procaster for podcasters, and they're just doing a smaller one called the Procaster duo. And I think I'm going to buy it because I don't need full mic inputs because we're doing this all remotely and it can bluetooth to a phone. So I can put my phone number up. Maybe I'll have to get different phone number. I think I'll get different. [01:38:25] Speaker C: Yeah. [01:38:26] Speaker A: Okay. I can get a burner phone and then it bluetooth to the procaster and when people ring, it literally just rings and we answer it. Yeah. [01:38:35] Speaker B: Yeah. [01:38:36] Speaker C: Does that mean we can all be together and do it? [01:38:38] Speaker A: Yeah. It would be this. So right now? Right now, Serge could just ring us and we would hear it ringing and I would press. [01:38:46] Speaker B: That'd be cool. [01:38:47] Speaker A: And we would talk to him. [01:38:49] Speaker B: That's awesome. We need that. We need that. [01:38:51] Speaker A: I think we need it. Um, I. A huge blurb of how's I'm attorney leave needed this to shoot in Jim's. I scared him, paid him. He sent it. So you bullied him into. Into accepting the deal even though he thought you were a scammer. Great work. Great work. I mean, if you need it, you need it. Gotta get it done. It is weird because I have bought and sold a lot of stuff where it was. Yeah. Sight unseen and just trust in both directions. It's hard to establish that trust. I mean, it has been easier for me because of. We had Justin and Jim as a business and I had lucky straps as a business. And if I was buying and selling camera gear, I could basically point to people and say, hey, like, look at the about us page on lucky straps. Look at Justin and Jim. There's pictures of me all over both of them. I'm a real person, you know, like, I'm not going anywhere. And this is a real item. I can send you a video of me chatting about it. You know, like, it's. It's sort of easy to build that trust, but, yeah, if no one wants to build the trust on the other side, then there's a good chance maybe they're trying to. To be dodgy. So I was in analysis paralysis and outsourced to my pro friend who said, buy this, it's a good deal. So is that what you. Is that what you're still shooting with? We're all silently waiting for the answer. It might take a while to reply. [01:40:25] Speaker B: So. My. My scam. You guys need to help me with this. [01:40:28] Speaker A: Oh, yeah. Tell us about your scam. [01:40:29] Speaker B: So I won't bring it up on the screen because there's like, other chats and it's probably, like, there's emails and stuff that probably doesn't. [01:40:34] Speaker A: Oh, I see, I see. Don't. You don't want to go. DM's what we'll find. [01:40:40] Speaker B: No. So, like, this person wants to buy it, and they're like. They've negotiated slightly on price, which is like, I guess everyone does that, which is good. But he says he lives in Sydney, he's currently out of state, but he wants to ship it to his stepson overseas for his birthday, but he's willing to cover the shipping cost. Wants to pay through PayPal. [01:40:58] Speaker A: That's a pay. Oh, it's same. So that. That PayPal scam is the same as the pay id scam. So. And then you'll get a spoofed email that looks like PayPal and you'll put your credit card details in it and blah, blah, blah. Or they do like, a refund trick and they. They make it look like you've paid too much and you need a refund or something like that. Yeah, yeah, yeah. [01:41:17] Speaker B: Okay, so what about. So that's probably. [01:41:21] Speaker A: No, Jim. No. [01:41:23] Speaker B: What about this other one? This one? [01:41:25] Speaker A: Okay, I'm gonna go out on a limb and say no, but tell us anyway. All right. [01:41:33] Speaker B: Offered a price slightly lower, which was good. Um, does want to pay through PayPal, but doesn't. Just wants to send it. I don't know where he wants to send it. I think. [01:41:44] Speaker A: Read the. Yeah. [01:41:46] Speaker B: He says, is this item still available? I said, yes, it is. [01:41:49] Speaker A: Usually. Usually. Oh, that's good. Usually when it starts with, is it still available? I'm like, oh, this isn't a good sign, because if I. If I message someone about a bit of gear, especially if it's like, legit gear, I will say, hey, interested in your 51.2? I'm from Bendigo, so I'd have to get it posted. Can you tell me? Blah, blah, blah. And then they know that I'm like that. It's real. Like, it's. Anyway, so go on, tell me, tell. [01:42:17] Speaker B: Me, tell me so I can see both screens. Um, and then he said, can you post it tomorrow? And I said, I can't. I'm out of town for work. But most. Friday. They said, Friday's fine, mate. What's your PayPal email? I sent him that. He sent me an email. He sent me an email and said, so he sent me an email and where is it? [01:42:40] Speaker C: But why paypal? [01:42:43] Speaker A: Some people just prefer, like, it's a sort of a safer payment method for some people because they can try and do, like, a paypal dispute if they don't get the item and stuff like that. But cosmonique costs. Costs. [01:42:56] Speaker B: Yeah, there's a bit of money, so there is. [01:42:59] Speaker A: So. [01:42:59] Speaker B: Yes. And they sent me an email and said, can you just confirm that this is a correct PayPal email address for the picture attached? So I think you know that. So say, if I was dodgy, he had like, an email chain of. Of me saying that that was the correct thing. [01:43:13] Speaker A: If. [01:43:14] Speaker B: I think so. This one maybe isn't dodgy. And he said it's getting sent to New South Wales, not to. To the USA. [01:43:21] Speaker A: Yeah, yeah, yeah. Look, I would. I mean, you can always just say, just. [01:43:26] Speaker C: Can you ask for his phone number? [01:43:27] Speaker A: Yeah, I was going to say, just. Just jump on the phone for five minutes and say, hey, just wanted to make sure you're a real person and stuff. And. But always, I mean, at the end of the day, if it's. You've just got to be careful that the website, that everything you're doing is legit, because the only thing they can do to you is give you a link that is. That looks like PayPal, but it's not. And then you somehow end up entering details in it. Yeah, that's usually the biggest risk. I mean, they could try and do other stuff, but that's usually the biggest risk. So make sure everything's done through something that can't. That you're not clicking a link on. You know, you go to PayPal, you go to my. Yeah, you log in, you get in there and you send a request or however you're gonna do it. And if you get paid, then send him a thing. If you don't get paid, don't do it. If he says, I couldn't pay. So can you just do this or that or whatever. Only do it if it makes sense and question everything. Yeah, this is a straight up. Swapped my Pentax 67 for a Hasselblad with a random dude on Facebook photography group. And it actually wasn't a scam. I would not suggest that for everyone, though. So did you do it? Did you do it in person? Which is. I mean, that's okay, as long as the person weirdo, but. Or did you do like a swap? Like a mail swap? That's scary. Just like, Pentax off and just wait and just hope a hassle arrives. I was like, please. But cool. Hey, it worked out. This is the thing. There's legit people everywhere. Most people are legit. It's just, there's a lot. I mean, I got, when I was trying to sell my DJI, my air two s. I think it was in the sweet spot of like tech gear that lots of people might buy. You know, it's not specific camera gear. Lots of people to buy drones. It's about that thousand dollar price point. I think it was an easy target for them. I think I got that pay id scam. Probably 2020 times. [01:45:17] Speaker C: Yep. [01:45:18] Speaker B: Oh, my God. [01:45:20] Speaker A: Mailed it to us. And you're from New Zealand. We need a live calling show. There's no way I do that. [01:45:30] Speaker B: How did you. [01:45:30] Speaker A: How did you verify that it was a real or you just were you like, ah, if it's ah, you know, I don't even want this camera anymore. It doesn't matter to. [01:45:40] Speaker B: That's great. [01:45:41] Speaker A: Wow. That's insane. [01:45:44] Speaker B: That is so cool. [01:45:46] Speaker A: Yeah. Impressed? Impressed. That's insane. Lauren, you shoot content as pics for video clients. DJI pocket arrived today for TikTok reels. Are you gonna be lucky? Can you, can you teach us about TikTok once you. Once, you know, once you've nailed your reels down? We all need a master class. Oh, yeah, here we go. They exchanged photos in the DM's. We sent each other photos of the items. That was about it. It was a different time. They were the best of times. Yeah, it was back before all these scammers. [01:46:25] Speaker B: Yeah. Back when you could trust people. [01:46:27] Speaker A: Yeah, the good old days. [01:46:29] Speaker B: Actually, I did get one. One guy jumped in my DM's earlier trying to buy something. Yes. [01:46:38] Speaker A: Teach us. Teach us the ways. Elevate. [01:46:41] Speaker C: I just literally go straight to their facebook profile and if they, like, if it says they're from, like, I'm not clicking on it, I just delete. [01:46:51] Speaker B: I had this random guy called Grant who, like, he had a look, legit profile, but he said, do you take pay id? I can't get it, but my brother's partner is in vending tomorrow. I don't know, it seems pretty dodgy to me. I just look through my credit card. [01:47:05] Speaker A: Details tiktoks for and he just brought an five. [01:47:10] Speaker B: You just bought an r five? [01:47:12] Speaker C: Yeah. [01:47:12] Speaker B: With your credit card details. Oh, yeah. Sorry. [01:47:16] Speaker A: You know who I want to try and get on? He's way too busy. He's big time now. But Jason Morris, he's a, like a cinema guy in Queensland. He's jacked. He's like shredded enormous. But he. He did some stuff for Lucky, bought some lucky strikes. He'd been an awesome supporter, but he's sort of grown his cinema business and got really good. Like, he works. He's got some pretty high end cameras and he uses small cameras too. But he, he's YouTube. He started doing like, Instagram reels and YouTube shorts. He's got like 80,000 subscribers on YouTube or something now. And his Instagram has blown up, too. He crushes like, real 234. [01:48:00] Speaker C: I just looked him up. [01:48:01] Speaker A: 234,000 on which. Yeah, so, yeah, exactly like, I reckon he had. I don't know, maybe I'm wrong. I reckon he had like 10,000 or something when I was talking to him. Like when he helped help me out with some stuff for Lucky and awesome guy. But I think you'll probably be too busy now. But I'd love to get him on the podcast and be like, like, I think he just, he works hard. Like, every shoot that he does is making reels of him doing the shoot. And then he's also, like doing like reels of gear, unboxing and mini reviews and all that stuff. Like every day he is just pumping content out. He is the person that could teach us how to do TikTok or shorts. I want to do shorts. I like you choose way more fun or reels, I guess. But, yeah, I. We will try and get someone on, right? We'll do our best. [01:48:55] Speaker B: Yeah. [01:48:55] Speaker A: Make it a live calling show. Social media is so underrated. Hey, it's free advertising if you do, right? Exactly. [01:49:01] Speaker B: Just like a. Yeah, yeah, we did do social media. [01:49:07] Speaker A: Well, well, this is one thing that, that, you know, I've been in the game for a little while now. Lucky's been doing the social media advertising thing for a long time. [01:49:17] Speaker B: Long time. [01:49:18] Speaker A: And what I figured out for me, being a small business owner, is I want to do more marketing through channels that I spend time on and enjoy. And at the moment, I don't do as much on Instagram. I'm not as much of an Instagram user at the moment, but I consume YouTube, like, all day, every day, podcasts all day, every day. So I'm like, I should be marketing in those channels. So that's, that's where my head's at. But I do agree. Yeah. TikTok reels and shorts are something that everyone should try and master and see. [01:49:58] Speaker C: If they like it so much time. But if you can do it, lucky. [01:50:04] Speaker A: Lucky was a difficult Google for me when I was looking for a strap, to be honest. [01:50:08] Speaker B: Yeah, no, be honest. We want you to be honest. That's it. [01:50:11] Speaker A: We've done so much. I've done. I've. We're on the first page for camera strap in the US. Are you sure? [01:50:22] Speaker B: Sure. [01:50:23] Speaker A: It wasn't bing Duckduckgo or something. Oh, good to know. But yeah, I thought we were doing pretty well on the old. On the old googs. Yep. Okay. [01:50:37] Speaker B: Glad you found it though. [01:50:38] Speaker A: Yeah. Well, hey, at least you found us. [01:50:40] Speaker B: Yeah, you wouldn't be. [01:50:41] Speaker A: Now look at it. Now look at this go. We definitely. We might it. You'll have to jump on a live call and show. I can't wait to get this set up. I was very specific what I wanted. Maybe we didn't have what you wanted. It's like a type in a ten word key phrase or something into Google camera strap with pink and purple stitching and this and. Yeah, maybe. [01:51:04] Speaker B: Yeah. [01:51:06] Speaker A: Oh, I only found it when canon were doing lucky straps. Yeah, I know, that was cool. [01:51:10] Speaker B: Five strap and the canon collective. [01:51:13] Speaker A: I think I first saw lucky in a Facebook ad but have been looking for big serious leather straps for a while. Interesting. There's an email in your inbox from when I was searching. I'll look. So interesting. This is great. [01:51:30] Speaker B: Yeah, this is good. [01:51:31] Speaker A: Yeah, live calling is coming on. [01:51:33] Speaker B: Yeah, this is. This has been a good episode. Lots of chats, which is awesome. [01:51:38] Speaker A: Chats to get a bit of a crew going. [01:51:43] Speaker B: Yeah, for sure, for sure. [01:51:45] Speaker A: Yeah. Here we go. See? Pink stitching embossed. Exactly. [01:51:50] Speaker B: That's my bag. [01:51:51] Speaker A: Yeah, well, bag, it's gotta do it. [01:51:54] Speaker B: I like it. [01:51:55] Speaker A: Exactly, exactly. Glad we could help. Glad you found us. I'll put some more work into Google. [01:52:04] Speaker B: Or maybe, maybe like custom leather camera strap isn't. I don't know what Lauren was searching like if you. [01:52:11] Speaker A: We rank for a fair few of those words. Yeah, we put a bit of work into it, but it definitely could be better. I mean, yeah, it is hard with, you know, it's a small business time stretch. Between that and shooting and everything. You can't do everything. So thanks, we'll stop. [01:52:26] Speaker B: No, no more. [01:52:29] Speaker A: Love the comments of the comments. Been great. I don't know, do you reckon we should wrap it up? I should probably eat some food. [01:52:37] Speaker B: Yeah. Oh yeah. Well, we are australian. It is amazing Australia. It's actually also very cool. Lackey straps are made in our hometown where we live. [01:52:49] Speaker A: Yeah, where all three of us live. That's the funny thing. Where we're on a remote podcast, we all live within ten minutes of each other, which is a bit funny. But the reason. The reason we did that is I wanted to be able to bring guests on. I wanted guests to be able to be from all over the world and I wanted us to be able to continue the podcast. No matter who was where, traveling and that thing so makes it a lot easier for us. We all live in Bendigo and that's where lucky straps are made, which is awesome. Strain was a bonus for me too. Awesome. It's good to hear. [01:53:19] Speaker B: Thanks. [01:53:20] Speaker A: My pro friend lives there too. Ah. [01:53:24] Speaker B: In Bendigo or Australia. Look. [01:53:27] Speaker A: Just got my order today. Thanks, guys. Love my new camera. Thank you. [01:53:32] Speaker C: So I've just made a camera life group. I'll, um. [01:53:36] Speaker B: We'll probably. So, yeah. [01:53:38] Speaker C: So next episode we'll throw out the link. [01:53:42] Speaker A: So the group is on the Facebook's. [01:53:44] Speaker C: Facebook. [01:53:44] Speaker B: Yep. [01:53:45] Speaker A: Interesting. [01:53:46] Speaker B: I love it. Do you still have a Facebook login, Justin? [01:53:49] Speaker A: I think so. I do. I do. I'll find my way there somehow. [01:53:53] Speaker B: Bendigo. Who's the. Who's the pro. Yeah, who's your pro friend? Eagle hall. The center of Bendigo. It's. It's the center of. Just out of. Yeah. There you go. Cool. Who's your friend? Lauren. [01:54:09] Speaker A: Pro photographer. I have to get some Bendigo photographers on, but we need to get. [01:54:16] Speaker B: There is a lot. [01:54:17] Speaker A: Wow. I said. So who. Who I'm really keen to get on is Richard. Richard. Taddy. [01:54:22] Speaker B: Yes. [01:54:23] Speaker A: And he's busy, but is in about two weeks. And everyone can learn all from the master of night sky photography. [01:54:31] Speaker B: Yes, he is the most. [01:54:34] Speaker A: See you in the DM's. [01:54:35] Speaker B: Yeah, jump in our DM's. We do. Just for everyone wondering, we do have an instagram the camera podcast. [01:54:46] Speaker A: I post on it. You guys should post on it. I post on it. [01:54:49] Speaker B: We don't have a login for it. [01:54:50] Speaker C: Just. [01:54:52] Speaker A: Sorry about that. I'll look you up. Yeah, I post on it when we've got an episode. I'm still figuring out sort of the whole plan, but there'll be a. There's going to be a newsletter with. Yeah. Each week's episodes. Episodes from the week before. Some sort of thoughts on the state of the photography industry and so, yeah, newsletter. I'll set up a website at some stage, but, you know, I got to focus on the. Just the podcast to start with. And you could probably get that set up pretty. [01:55:25] Speaker B: Pretty easily. [01:55:26] Speaker A: Yeah, it'd be pretty basic to start with. And just. And I'll probably start putting the episodes on the lucky website as blog articles as well. I just haven't had a chance to sort of get that dialed in yet as well. But that's. That's the plan. We need to make that some merch. [01:55:39] Speaker B: We drop some merch. [01:55:41] Speaker A: Well, look, once we get. Once we get to a hundred subscribers, we'll make some merch giveaway. Shit or something. But, yeah, until then, my focus is on. I really want to just get. I want them. Yeah, I want people to be able to jump on this any week and ask any question. And that's why. So we'll get more photographers on as co hosts and. Yeah. And then do special episodes with guests at least, hopefully at least once a week as well as this episode. That is my plan. [01:56:10] Speaker C: That I think also, too, with like, the Facebook group. They, like, if they can't get on, they can drop it down like a question. We can address it or even comment on it. [01:56:21] Speaker A: Yeah. So that we can just build, build the questions through the week. So if you can't get on live and then they can hear their answers later on. [01:56:28] Speaker B: Well, actually, and a good point is to that if you are on the Facebook week. So Yelena actually jumped in at like 09:00 this morning and dropped a question in then, which he did. [01:56:40] Speaker A: Yeah, you can. [01:56:41] Speaker B: Oh. [01:56:42] Speaker A: Which we didn't even answer. She's probably nothing. We're good. Oh, yeah, here we go. Ah, we might. We're gonna. Let's save. [01:56:49] Speaker B: Yeah, let's save this. [01:56:50] Speaker A: Let's save that for the next episode because. Yeah, sorry, Elena, there's a bit of stuff to talk about with goals, so. But that is a good topic. [01:56:59] Speaker B: Yes, it is. Maybe we can come in with some, have a bit of a think about it. [01:57:04] Speaker A: Have you ever wanted to throw the camera in and quit photography? [01:57:09] Speaker C: No. [01:57:15] Speaker A: I'll quickly answer that. I've never wanted to completely quit photography, but I did. Even I put in our chat the other day was, I wonder what photography would be like if I decided I was never, ever going to earn money from it again. What gear would I want and what, like what. How would I think about it? That was. It was fun to think about, but no, I don't think I'd ever quit photography. All up. But, yeah, potentially. [01:57:39] Speaker B: Question paid worse on Insta. [01:57:41] Speaker A: Oh, yeah, yeah, yeah. I've. I did try that on the lucky stories one day, but no one, no one asked any questions except for my sister. So. [01:57:49] Speaker B: Yeah, so look, thanks, Emma. [01:57:51] Speaker A: Sometimes social media doesn't work. [01:57:53] Speaker B: Yeah, we posted it everywhere and you got no responses. But to be fair, it was like week two or three and we hadn't had launched it yet through the lucky. Like. Like what? It got launched today. [01:58:05] Speaker A: So, yeah, I was terrified to email the lucky list and, and have everyone, and by everyone, I mean a handful of you amazing people jump on us because we are pretty new to this and I'm terrified of public speaking. So you know pretty well, you know. [01:58:22] Speaker B: You'Re actually just chatting to us. So you don't really publicly, like, you. [01:58:25] Speaker A: Can'T see anyone else, but there's other people listening. That's what. [01:58:29] Speaker B: Listening, but you can't see them. [01:58:30] Speaker A: You know the scary part, though, because it goes on YouTube forever, so who knows who will listen to it in the future? I don't know. [01:58:37] Speaker B: Yes. [01:58:38] Speaker A: Yes, I know, Lauren, you're right. Post more. You'll probably involve people. See, I know. If you saw our analytics for our organic reach, you'd probably be like, oh, that's not good. But. Yeah, I know, I know. We need to. We need to work on it. Maybe invest. Maybe. [01:58:53] Speaker C: I think I showed Jim, like, I've got a. An instagram for my dog that I just wanted to test out. It was like a more of a tester. I posted every day for three weeks and it jumped up to, like, I was reaching 80,000 people from what went from zero to 80,000 in three weeks. Just a real every second day and a post every day. Every day. And just stories. [01:59:20] Speaker B: Yeah. Is a cute dog, though. So. [01:59:23] Speaker A: It is a cute dog. Yes. You would cry. You would cry if you saw our analytics look. Our main focus is amazing straps. That's what we do. That's what we put all of our effort into, making sure that the quality of the straps are good. And then we get five star reviews, which is wonderful. And that's our main focus. And then from there, we try and a little bit on the socials. [01:59:47] Speaker C: How many folds? [01:59:49] Speaker A: How many followers? Yeah, it's crazy. [01:59:53] Speaker C: I think she's on 600, maybe 600, 700. [01:59:56] Speaker B: That's probably less. Pretty big. [02:00:00] Speaker C: I think she's got more than my photography page, which is sad. [02:00:04] Speaker B: Great. Can you post a photo of the dog with a lucky strap? Oh, yeah. [02:00:09] Speaker A: Now we're talking. [02:00:12] Speaker B: What is she actually, Justin, do you want some organic reach? You need to post head. You need. [02:00:18] Speaker A: Yeah, I have. I have posted Ted in the past. He hasn't been. He hasn't been featured for a long time, actually. He doesn't like the camera. Yeah, he doesn't love the camera, but. [02:00:29] Speaker B: Yeah, if I can get it a. [02:00:30] Speaker C: Sit still, I will do it. [02:00:32] Speaker A: I know, Lauren, and that's why we're doing this podcast. [02:00:34] Speaker B: Yeah. [02:00:35] Speaker A: It's gonna be. You will see. Just give me ten years and you'll see how big this could be. [02:00:40] Speaker B: In ten years. We'll be in overnight success. [02:00:43] Speaker A: Thank you very much. That's very nice. It's nice to hear. We're trying. It's good getting there, but it's so. It's so much better when we've got people in the chat to chat to. [02:00:55] Speaker B: Yeah. This has been awesome. Thank you to everybody who jumped in, who asked a question. It's been amazing. [02:01:01] Speaker A: Yep. You're all legends. But we better leave it there because it is 730. [02:01:06] Speaker B: And granted, very hangry. [02:01:08] Speaker A: Yeah. He's a hungry man, so. [02:01:11] Speaker C: Gotta get to the gym in the morning. [02:01:13] Speaker A: Thank you. [02:01:14] Speaker B: You're committing now. Yeah. Yeah. I'll see you there. [02:01:18] Speaker C: What time? [02:01:20] Speaker B: Six will be 06:00 party for the podcast. [02:01:26] Speaker A: We'll chat about the episode then. But all of you legends in the chat, thank you. Can't wait. [02:01:32] Speaker C: To our legends. [02:01:34] Speaker A: Can't wait till you can call in, catch up. Yeah, we will. We will do a photo walk. But we will definitely see you next week. Next Thursday. 530. [02:01:45] Speaker B: Let's do it. [02:01:46] Speaker A: Lock it in. All right. All right. Good night. Hang on. Thanks. [02:01:55] Speaker B: Still on? We're still. [02:01:56] Speaker A: Okay. Okay. Officially. Good night. Goodbye. [02:01:59] Speaker B: You got me not leaving. [02:02:03] Speaker A: I'm not leaving.