EP1: The Start of The Camera Life

[00:00:04] Speaker A: And we're recording. [00:00:06] Speaker B: I saw that. [00:00:08] Speaker A: Did you? [00:00:09] Speaker B: Cheeky little duck. [00:00:12] Speaker A: Episode one of the podcast begins now. So how was your wedding? [00:00:20] Speaker B: Was there an intro? Are you playing an intro before the podcast? [00:00:24] Speaker A: There's no intro. [00:00:25] Speaker B: We're just starting. No intro. [00:00:27] Speaker A: Episode one. There is no intro. [00:00:30] Speaker B: We probably should have a meeting about the intro. [00:00:32] Speaker C: Yeah. [00:00:34] Speaker A: All right, I'm cutting. [00:00:35] Speaker C: How's the wedding? [00:00:38] Speaker B: How's the wedding? The wedding was awesome, actually. It was a really good day. [00:00:43] Speaker A: Hot. [00:00:44] Speaker B: It was very hot. Super hot. [00:00:47] Speaker A: First time wearing shorts. [00:00:49] Speaker B: Yeah. Never worn shorts to a wedding. Um, it was breezy. Would very much recommend. [00:00:56] Speaker A: Is it going to be the norm from now on? [00:00:58] Speaker B: Uh, definitely not the norm. Um, but if it's. I think if it's over 35, I'm at. The call is for shorts. [00:01:05] Speaker C: Could you put it in contract? Yeah, 35. I'm gonna wear shorts. [00:01:11] Speaker A: Yeah, 35. In the country, degrees to australian degrees are hotter. [00:01:18] Speaker B: Or are they cooler? [00:01:19] Speaker A: No, they're hotter. [00:01:21] Speaker C: Okay. [00:01:22] Speaker A: Yeah, I think you end up rolling with. [00:01:25] Speaker B: I went with the Nike high top, all black, my custom ones. They looked good, actually interested. Look good. I didn't look like a skater. I didn't look like a skater. Justin. I had a nice, really good shirt on, so saves the outfit. Okay. What would you have worn? A black t shirt, black jeans, black t shirt, black shorts, and black knocks. [00:01:47] Speaker A: Black knox. [00:01:48] Speaker B: Not basically the same outfit, just hot tops. [00:01:53] Speaker C: I feel like you got to be comfy. [00:01:55] Speaker B: Exactly. [00:01:57] Speaker A: Had the bride and groom coat with. With the heat. [00:02:00] Speaker B: They did really well. They had super dupers and water and stuff. Yeah, they were well prepared. Lots of zooper dupers for everybody. [00:02:10] Speaker C: Was the venue, like, was it outside, like the reception? [00:02:15] Speaker B: Yes, yes. It was like on a deck. Murray river. So it was pretty hot, but it cooled down. We had some rain. Actually rained for probably half an hour. Missed getting a rain shot. We just missed out. We were on our way out and it just stopped, which sucked. But, yeah, that was fun. [00:02:34] Speaker A: Is that where this, that, was that where these cloudy photos are from? Is that from that wedding, like your most recent post? [00:02:41] Speaker B: Yeah. [00:02:42] Speaker A: Let me. [00:02:42] Speaker C: Was that the real. [00:02:43] Speaker B: Let me. [00:02:44] Speaker A: Let me pull this up. [00:02:45] Speaker B: Yeah, some of the real and stuff. So the. The, like the sunset photo and that. That's after it rained. [00:02:57] Speaker C: Did you have to go down the road for that, or was that near. [00:03:00] Speaker B: Yes. [00:03:01] Speaker C: The venue. [00:03:02] Speaker B: It's close. It's about five minutes from the venue, apparently. This is the owner of the venue's property on the, what they call the sandhill, which is probably the only bit of elevation, I think, in Mathara. [00:03:14] Speaker C: It's pretty flat out there. [00:03:16] Speaker B: Yeah, but it was good. That was, like, the perfect spot. Loved it. And there was so many dragonflies. It's crazy, I think, with all that water. So this. These photos we walked out to shoot in this exact spot in the rain because there was, like, crazy sun popping through the. Through the trees with this. With the, like, the rain. But, um, the rain stopped, so. [00:03:43] Speaker A: They still turned out good. [00:03:45] Speaker B: Yeah, they're pretty, like. Yeah, the light was beautiful, sort of popping in and out, but, yeah, it was nice. And then this is a bit earlier, like, in the day before the light got really tasty. [00:03:58] Speaker A: So this is the. This is the wedding. You made a reel. [00:04:00] Speaker B: Your first reel from my first real. [00:04:03] Speaker A: First real. [00:04:05] Speaker C: How many views? [00:04:06] Speaker B: Really long time. [00:04:07] Speaker A: It took a really long time. It's got. It's got less likes than the post where you just put. [00:04:12] Speaker C: I wonder how many views it got, though. Normally should get a couple hundred views. [00:04:17] Speaker A: Oh, should we play it? [00:04:20] Speaker B: Yeah, let's play it. [00:04:21] Speaker A: I don't know if I've got. Is he got audio? I don't know if I've got audio, but we'll see what happens. [00:04:27] Speaker B: It doesn't matter. [00:04:28] Speaker A: Yeah, we might have to note audio it, and then it's just images. This took an. [00:04:33] Speaker B: Yeah. Just to make it real. Yeah, took a while. Took longer than it should have. [00:04:39] Speaker A: There's no text on it. [00:04:44] Speaker B: Yeah. Okay. [00:04:45] Speaker A: An hour. [00:04:48] Speaker B: How'd you do it? I made it in canva. [00:04:53] Speaker A: Did you draw each photo, these paintings? [00:04:59] Speaker B: No, I made stock images. No, I. So I did make it an Instagram, but it wouldn't. It was not playing ball. I've learned that there's some easier ways to do it since making this one. But then I end up making in canva and then duplicated it in Instagram. That's why it runs through the same photos twice. I just changed the duration of, like, how long the clips would run on for. So it worked out all right, but. [00:05:25] Speaker A: Right, so it was not. [00:05:29] Speaker B: It was a learning curve. [00:05:31] Speaker A: Yeah. I mean, obviously, reels are getting a lot of action, but I think you, um. I don't know. People need to see more than the photos. [00:05:41] Speaker B: Well, it's like a little. Yeah. [00:05:43] Speaker A: Whether it's a little bit of behind the scenes stuff or, like, a slow motion clip you took on your phone mixed in with it, or. And then people, they want to see a bit of text popping up. That's like. I don't know. And then this happened. You'll never, you know, blah, blah, blah, click. [00:05:58] Speaker B: But does. Does that take away from, like, if I'm looking to get all this real footage on the day, is that just taking away from me actually doing my job? [00:06:07] Speaker A: It. It definitely takes the focus away. If you're spending most of the wedding day trying to market yourself, like, thinking about that in the back of your head, then you're not. You. You're not paying attention to what's happening. [00:06:18] Speaker B: So, yeah, I'm super mindful of that. I think I took one video on the day, and that was, um, when the videographer was, like, I'd finished shooting at sunset, and the videographer. [00:06:27] Speaker A: Yeah, just. [00:06:27] Speaker B: Just wanted to get, like, an extra shot, so. [00:06:30] Speaker A: Yeah, you had that. A little bit of downtime. [00:06:33] Speaker B: Yeah, it was literally when I was, like, walking back to get my lights, and I was like, oh, hang on, I'll just get a quick, like, 360 spin with the camera. [00:06:41] Speaker A: Yeah. Interesting. [00:06:43] Speaker B: Hmm. [00:06:44] Speaker A: Hmm. Do you do any shooting on the weekend, Grant? [00:06:51] Speaker C: No, no, I'm still just, um. Yeah, I was thinking about going out shooting this weekend, though. [00:06:58] Speaker A: Yeah. [00:07:00] Speaker C: Melbourne. [00:07:02] Speaker B: Just some street stuff. [00:07:03] Speaker C: Yeah, I want to, you know, try to do some street stuff just before I go to Japan, just so I'm prepared. And I was gonna take a bag full of stuff and just see what I use and what I don't use. [00:07:15] Speaker A: Ah, that's not a bad way to, um. To figure out whether you would use it or not. Um, it's. It's hard, though, because Japan. It's just so much easier to take street photos in Japan. I don't know. Yeah, it's like, everywhere you walk is a. [00:07:29] Speaker C: But is that because, like. Yeah, obviously. Yeah, it's, you know, Melbourne. Like, everyone's been in Melbourne plenty of times. Just looks standard. [00:07:36] Speaker B: But, yeah, there's more light, though, in Japan. [00:07:39] Speaker A: Not everyone, just. Just us. We've all been. [00:07:41] Speaker B: Yeah, but, yeah, there's more light, though, in Japan. [00:07:45] Speaker A: That's true for night. For night stuff. [00:07:47] Speaker B: Yeah, for night stuff, there's definitely more light and a lot more culture. Yeah. [00:07:54] Speaker A: Yeah. What are you thinking? [00:07:56] Speaker B: Well, maybe it's just a different culture to us, so it seems different. It seems more culture. [00:08:01] Speaker A: Yeah. Plus the colors there looks like everything's got, like, mint greens and, like, all the taxis and things. Anyway, it just looks. It looks better than Melbourne. [00:08:12] Speaker C: Yeah. [00:08:13] Speaker A: Yeah. What. What are you thinking of taking over there? [00:08:18] Speaker C: Day 850, probably 24 to 7016 to 35, GoPro. And I've been looking up their drone laws because I'm like, can I. Oh, yes. Sneak that in there. But then, I don't know, like, getting it over there, and I don't want to, you know, fly it. Then they come and tell me off or something. [00:08:42] Speaker A: Yeah, you'd want to do some research. I know when we were over there that we're flying drones at a lot of the resorts and stuff, but, yeah. [00:08:49] Speaker C: I think they're, like class four or something, so they can. Because they're pretty much, like, flying drones for deliveries now. [00:08:58] Speaker B: Yeah. Okay. [00:08:59] Speaker C: Really? Like anyone. Yeah. Like, the drone walls, I think they're pretty relaxed. [00:09:04] Speaker A: Okay. [00:09:05] Speaker C: From what I can see. [00:09:07] Speaker A: Yeah, well, you could get some cool. [00:09:09] Speaker C: Shots, but, yeah, honeymoon, too, so. [00:09:14] Speaker A: Yeah, it's not a photography trip. [00:09:16] Speaker C: Yeah, exactly. So I would just. If I. Least if I got a camera on my side of, I can be like, oh, take a photo here, turn around. Take a photo. But I'm like, oh, let me set up my DJI mavic air two s and. Hold on. [00:09:30] Speaker A: Yeah, it is a different thing, and it's like, it's another distraction, another thing to think about. [00:09:37] Speaker B: Yeah. Rather than just enjoying that keeps that. [00:09:42] Speaker A: Spot and keeping it simple. I mean, just taking one camera, even one camera, one lens, when you're on a trip, like, that can be a simple way, and you just don't worry about it. You don't have the stuff, so you don't have, you know, if you miss out, you miss out. [00:09:54] Speaker C: Yeah. [00:09:55] Speaker B: But Grant. Grant's also different to us, Justin, that it's still. Well, when I pick up my camera, it feels like work, whereas Grant, like, he loves it. Like, it's. Does that make sense? [00:10:11] Speaker A: Does it. So it feels like work for you now all the time? Cause I remember when you were running around Japan with a camera and didn't look like you were working. I remember when you offered to take a group photo of some girls that were in a sports team or something. [00:10:24] Speaker B: What? I don't remember. [00:10:26] Speaker A: We walked past them in Japan, and they were trying to take a photo, and you were like, I'll do it, I'll do it. Give me a camera. [00:10:31] Speaker B: Oh, I do that everywhere, though. [00:10:33] Speaker A: Exactly. [00:10:34] Speaker B: Yeah, I was helping. [00:10:35] Speaker A: Does that feel like work? You have fun? [00:10:39] Speaker B: Yeah. I don't know. Maybe just for me. Maybe my camera does. I don't know. [00:10:45] Speaker A: Yeah. [00:10:45] Speaker B: So if you were to get to. [00:10:47] Speaker A: So I was just gonna say, if you go on a holiday now, do you. Do you want to take your camera or not? [00:10:52] Speaker B: I always take it, and I never use it. I just use my phone. [00:10:56] Speaker A: Interesting. [00:10:57] Speaker C: Yeah. What if we would go down to Melbourne and we all take a. Took our camera? Would that feel like work? [00:11:04] Speaker B: No, because that would be like a purpose, I think. Yeah. So that would. That would work for me. [00:11:09] Speaker C: Yeah. [00:11:10] Speaker A: Need to have a purpose. [00:11:12] Speaker B: Like when we were doing the stuff on. On Hotham for lucky and we're doing some, like, you know, I love doing that. It's fun. But maybe just when it's for me, that. And there's no purpose, it doesn't, um. Yeah. Just not that enthusiastic sometimes. [00:11:33] Speaker A: Interesting. So if you were. If you were going on a trip and there was a specific, um, shot you wanted to try and get or something like that, then maybe you'd be more excited about it. But if you just. [00:11:45] Speaker B: Yeah, for sure. [00:11:46] Speaker A: Taking a camera along. But you always pack it because you have, what, FOmo or something. [00:11:51] Speaker B: Yeah, for sure. [00:11:52] Speaker A: Yeah. [00:11:52] Speaker B: Yeah. [00:11:53] Speaker A: Hmm. Interesting. What would you say if you were going to Japan? What would you take? [00:11:59] Speaker B: I've got a, like, different lenses to grant, but I'd be taking a 50 and, like, something slightly wider. Or for me, the 58. So for me, I'd probably take the 58. And you should. [00:12:11] Speaker A: You should nick on. So the 58. [00:12:13] Speaker B: Yeah. Yeah. So we take a dear 50. Yeah. And then either the 20 or the 28. But the 20 is probably going to be better for Tokyo. Yeah. The 28 is just delicious. [00:12:27] Speaker A: So 20 street. [00:12:29] Speaker B: Yeah, yeah, definitely. [00:12:33] Speaker A: Yeah. I took the 28 because that's my old lens. I took the 28 on a few trees. It really is the only. It is. It's actually my old lens. One of. One of a few, yeah. I took it as the only lens on a few trips. It's awesome. [00:12:49] Speaker B: Yeah. [00:12:50] Speaker A: Especially the deaf, if you see, because you can crop in. So you can still get 20 megapixels and shoot at 1.4. It's sharp. It looks like it's a YouTube, you know, a 45 mil lens or something. So. [00:13:02] Speaker B: And if anything super wide, you can just shoot like a pano or something like that and stitch it back later. [00:13:08] Speaker A: Yep. Unless it's like, if there was something you really want in traffic. [00:13:12] Speaker B: Oh, yeah. Sorry. [00:13:14] Speaker A: Within reason, but, yeah, yeah. A landscape or something. [00:13:18] Speaker B: Yeah. There's obviously limitations to packing limited amounts of gear. [00:13:26] Speaker A: Speaking of wide angle lenses. [00:13:29] Speaker B: Hmm. [00:13:39] Speaker A: This thing's cool. 16 mil, 2.8. [00:13:44] Speaker B: That's tiny. [00:13:46] Speaker A: Tiny. [00:13:47] Speaker B: That is tiny. [00:13:48] Speaker A: And without profile corrections on the. It's wider than my 15. It's. It's a little bit fisheye. And I reckon it's like a 13 or 14 mil. [00:13:59] Speaker B: Yeah. Okay. [00:14:00] Speaker A: And then. And then profile corrections, like, flattens it out, takes it to 16. [00:14:04] Speaker B: Yeah. [00:14:04] Speaker A: And then. [00:14:05] Speaker B: Yeah, it looks cool. It's so compact. [00:14:08] Speaker A: It's the same size as. Hold on. It's exactly the same body as the nifty 50 that. [00:14:24] Speaker B: Yeah. [00:14:25] Speaker A: You know, so the 51.8, it's. Yeah, it's exactly the same body. It's just a different, you know, internal. [00:14:33] Speaker C: Do you go down to the skate park with that, then? [00:14:36] Speaker A: I haven't, but I will. I've got to test it. I'm going to take it to Bulla this weekend to shoot some mountain biking. And then Jim and I have a wedding coming up on the fourth, and I think I'll use this. This in a pouch on my belt. The r five with the 16 as my wide, and then the 28 to 70 for everything else. [00:15:02] Speaker B: Yep. [00:15:04] Speaker C: Where's the wedding? [00:15:06] Speaker A: I don't know. Shadow dory, correct? Yeah. [00:15:12] Speaker C: How many times you've been there, Jim? [00:15:14] Speaker B: Um, a lot, I think, this past six months. Maybe like, ten or eleven times. There's a few weekends I was shooting there Saturday and Sunday, which is awesome. Was. Mmm, mean. [00:15:32] Speaker A: Wow. So, Grant, how many. How many weddings did you shoot last year? You're a part time hobby. Does some weddings, like, in the last twelve months, you did one? [00:15:46] Speaker C: Yeah, I've done two, I think. [00:15:48] Speaker B: Yeah, two. [00:15:49] Speaker A: Yeah, that's. I think I did. I did three. One of them being yours, Grant. [00:15:55] Speaker B: Yeah. [00:15:56] Speaker A: Which didn't really count. Cause I didn't take the 35 mil off the camera for the whole day. But Jim shoots, like, a million weddings. [00:16:05] Speaker C: Yeah, that's a lot. [00:16:06] Speaker A: And not. [00:16:07] Speaker B: Not that many. [00:16:08] Speaker A: Shoots more than we do, though. Like, more. He shoots more at shadow deray than we do in, like, a few years. Of all. [00:16:14] Speaker B: Yeah. Of all weddings. [00:16:17] Speaker C: How many did you do last year, Jim? [00:16:20] Speaker B: I actually don't know. 2022 was huge, though, so it was. It would have been over 50 in the, like, in the January to December. [00:16:30] Speaker A: Yeah. Because of COVID build up. Like, you're reshuffling weddings into. Into spots and. Yeah. And trying to get through everybody's wedding. So how do you then, if you are shooting at one venue, this. This one venue that we have in town that's. That's popular, how do you shoot there, like, Friday, Saturday, and then the next week again, and not get the same photos over and over again for the couples? [00:16:56] Speaker B: It's actually ridiculously easy. And it's. You just follow the light. Like, I don't like, you know, where spots work on certain days, but the fact. The number one thing, which is, like, what we've always done is just literally following what the lights doing in the day. So it's not trying to make spots work because you know that that's a shot. It's sort of just seeing what's happening on that day and kind of going with it. So I, every wedding I had there, I found a new spot and I've been shooting there for like eight years. And I'm a lot like, I shoot there a heck of a lot, but yes, finding a new spot every time I was like, I've never seen this before. Yeah, it just depends on the lights doing. [00:17:45] Speaker A: So you'll go to similar areas in the venue, but you'll look for a look for light on the day that, that might be coming through a different, you know, group of trees or something like that. [00:17:57] Speaker B: Yeah, definitely. It depends what the, like what the gardens are doing, what, you know, what season it is, all that sort of thing. [00:18:06] Speaker C: Do people book you though, like for like, they see that you've shot there and they see the photos and they're like, oh, gee, we really want like a similar photo. [00:18:16] Speaker B: Yeah. And there's definitely is some spots that you kind of have to do the same shot. They've been doing some sort of work in the cellar. So sort of most of the last twelve months has sort of been like only one little window of opportunity. Had to move some tools and stuff around to kind of get a shot and then move it back. And then you come back the next weekend and do kind of the same thing. But this. Yeah, but that's probably the only thing that's limited when you can't sort of physically. Yeah. Change too much because there's only one little hole. [00:18:57] Speaker C: And how'd you feel after 50 weddings. [00:19:00] Speaker B: For a year died? No, good, good feeling. Good feeling. Had a few weeks off over Christmas, so. Actually feeling super fresh now. Yeah. [00:19:14] Speaker C: I was listening to a podcast yesterday and the photographer that was being interviewed, Rick Liston, I think he's from Melbourne. [00:19:22] Speaker B: Yeah. [00:19:22] Speaker C: And he's. Yeah, he shot, he shoots over 100 weddings in a year. [00:19:27] Speaker B: Yeah. Wow, that's crazy. That's a lot. Heck of a lot of weddings. [00:19:32] Speaker A: And is he good? [00:19:34] Speaker B: Yeah, he's great. Yeah. Yeah. [00:19:36] Speaker A: So, so he's doing great work and doing a hundred a year. That's. Yeah, that's crazy. [00:19:40] Speaker C: I think he automates a lot of these. Um, like he just shoots nearly. [00:19:45] Speaker A: Yep. You have to. I mean that's, that's a lot. [00:19:48] Speaker C: Like two a weekend. [00:19:49] Speaker A: Yeah. Every week. [00:19:51] Speaker B: Yeah. [00:19:51] Speaker A: So, so he must be doing at least. [00:19:53] Speaker B: Yeah, you gotta have some weekends off. [00:19:55] Speaker A: Some weekends off. Yeah, yeah, yeah. Interesting. So, so you don't want to try and do another 50 next year? [00:20:04] Speaker B: Not at this stage, but, you know, maybe we'll see. No, I think for me, sweet spot, probably 35 to 40, depending how you can get them spread out. Or maybe, you know, even 25 big weddings and another 15 smaller allotments, or, you know, 20 allotments or something like that, you can, you know, knock out during the week. [00:20:30] Speaker A: Our elopement still happening, or was that really just a Covid thing? [00:20:35] Speaker B: They're still happening for sure. It doesn't seem to be as big in central Victoria at the moment. [00:20:43] Speaker A: No, well, we don't have. We're not a destination. You know, if you. If you were living in a destination kind of tourism location, Queensland or something like that. Yeah, Queenstown. [00:20:55] Speaker B: Yeah. [00:20:55] Speaker A: You might be able to make it more of a business, but even down. [00:20:59] Speaker B: By the beach, you know, where you've got. You can just go down and find a little patch. [00:21:06] Speaker A: Yeah. But, yeah, I don't think it's. It's definitely not really us. I actually had. I was thinking about this today, and if you. An easy win for getting yourself out there to book more weddings in Bendigo. No one's made a video of Bendigo wedding venues. And to do that, you wouldn't even have to film at the venues. Like, you could. [00:21:33] Speaker B: Photos. [00:21:34] Speaker A: Just use your photos and just film yourself talking through what you like about each venue. What it's like to have photos there, you know, and just pick. Pick five and make a video that's like Bendigo's five best wedding venues. And then do the same for a chuka. [00:21:51] Speaker B: And that's risky, only doing five. And there's so many. [00:21:55] Speaker A: Do ten. Yeah, and do them in no particular order. And just highlight what the unique features for each one are, and just show photos from different areas and stuff like that. But just do it all yourself. Talk through it. You don't have to go to the venue and interview someone and film b roll and do all that sort of stuff. Like, just. Just make it yourself. You just basically have to write a script, probably. [00:22:25] Speaker B: Yeah, and. [00:22:26] Speaker C: And you'd have to have the photos. [00:22:28] Speaker A: Yeah, yeah, but you put them in afterwards, you know, like, you highlight what you've said with the photos. That's easy. [00:22:34] Speaker B: Yeah. [00:22:34] Speaker C: How do you get yourself out there if you haven't been there before, though? [00:22:37] Speaker B: Oh, well, probably under the ones you've been to. [00:22:40] Speaker A: I was gonna say this is. That this is a strategy for Jim because he'd been shooting, so he's got this. Like, he's worked at all the venues, you know, but. But, so when you search Bendigo wedding venue at the moment, zero. YouTube results show up. [00:22:54] Speaker B: It's all. [00:22:55] Speaker A: Yeah, there's. There's nothing. So you would be on page one for Bendigo wedding venues if you made a video? [00:23:02] Speaker B: Yeah, I think so. [00:23:05] Speaker C: You could even set out a day and just go to them all, because you've obviously shot there and you know all the people behind the scenes. You just shoot some b roll and talk behind it. [00:23:15] Speaker A: It adds a lot of complexity, though, and you're just talking about it from a photographer's point of view. So why not use photos to highlight? [00:23:23] Speaker B: We could do both. [00:23:25] Speaker A: You could just do it from here. [00:23:26] Speaker B: Though, where I am. [00:23:27] Speaker A: That's what I mean. You can do it with the mic. People don't care. It doesn't like. It could be this, what we're doing now on the podcast. That could be your frame. You don't have to go and sit yourself up in a nice, picturesque location and put a lapel mic on and do all that kind of thing. You could literally just keep it simple. Yeah, keep it simple. You could even set up a little lightroom collection of the different venues and use that on your screen to click through as you talk. And then obviously, you'll put them in. In post, but it might prompt you to talk about the venues, features, and that kind of thing as you click through your own photos. What's great about it? What you love shooting about, you know, different spots. Anyway, just a thought. [00:24:15] Speaker C: How long would that take Jim to edit, though? [00:24:19] Speaker B: Judging by the length of my reel, probably four to six weeks. [00:24:22] Speaker A: Look, if he can talk in a satisfactory manner where you don't have to chop words out every 2 seconds, that should only take an hour or two to edit. [00:24:33] Speaker C: Yeah, you can get it would. [00:24:38] Speaker A: Yeah, definitely. But it would probably take longer for him to gather the photos. Really? Then to actually edit it. [00:24:46] Speaker B: It took me a while to talk, I think. [00:24:49] Speaker A: Yeah, potentially. But, you know, just need to pretend you. I mean, you would have no trouble talking to a couple if they came in to have a meeting. They sit on that couch behind you and asked you about the different venues in Bendigo you would have no problem telling about. [00:25:07] Speaker B: No, that's very true. [00:25:09] Speaker A: So just do that anyway. Just a thought. Easier than making reels, and they last a lot longer. [00:25:20] Speaker B: They do. That's true. [00:25:23] Speaker C: Unless you pin it. [00:25:26] Speaker A: That's true. Yeah. You probably could make a feature real, like actually film. Film you shooting and. And talking to the camera about what you do as like more of an ad than anything. You know that. A lot of work, but it would probably be worth it. [00:25:42] Speaker B: Yeah, I was gonna see if you want to come along and film me for a day or two. [00:25:47] Speaker A: Film you for a day or two? That's a lot of. It's a lot of money. I don't know if you can afford that. [00:25:54] Speaker B: I can't. I'll pay in gym money. [00:25:56] Speaker A: Yeah, I've heard about gym money. I don't want a big check that doesn't. You can't cash, but, yeah, I mean, we could. I can probably get some footage at this wedding that's coming up if it's not too hectic. [00:26:11] Speaker B: Yeah, if we get time at different points. [00:26:16] Speaker A: Yep, for sure. Did you guys see the lens that Sony just released? Do you even. Do you guys follow Sony stuff? No, they just released a. A 22, 70 f four. Like, lightweight, supposedly super sharp, 20 to 70. Like, that is a useful focal range. Like, you could take that. That's if you, you know, you could take that lens traveling. [00:26:48] Speaker C: That's like lens in it because it's. [00:26:51] Speaker A: Wide enough that you can do landscapes, but. Yeah, yeah, Sony, you've got some cool stuff that. And Tamron. Tamron for Sony, make the 35 to 150 f two to 2.8, which apparently is the ultimate wedding lens. Yeah, I see. [00:27:13] Speaker B: Are you 35 to say 35 to 150? [00:27:16] Speaker A: 35 to 150 f two to 2.8, yeah, that's one lens. That's. [00:27:25] Speaker B: That's a delicious lens. [00:27:27] Speaker A: It's tempting. [00:27:28] Speaker C: That's the good thing about Sony, though, you know, they got so many brands, they. With their lenses, like, what's Canon got? [00:27:35] Speaker A: Just Canon, the thing. Canon. Canon have, you know, outlawed third party lenses for now on the rf system. You know, we used to have lots of options with Tamron and Sigma and others and now. So if it's that you can't get an autofocus lens anymore for Canon RF mount. A couple of brands did an eight, a few primes with them, but they've been basically that they can't sell them anymore. Canon put a stop to that. And the autofocus is, I think, maybe no longer reliable, you know, with updates and that kind of stuff. [00:28:11] Speaker B: Be interesting to see how long that lasts. [00:28:13] Speaker A: I feel like Cannon. I don't know whether they'll stick with it forever or if they just want to get their, their full kind of lens roadmap out before they allow others to do it, which is. It's fair enough. It pisses. [00:28:28] Speaker B: Well, they've invested in the system. [00:28:30] Speaker A: Yeah, I know, but also like that 35 to 150. [00:28:35] Speaker C: But then everyone's already got a lens, so they don't have to go and buy a second. [00:28:40] Speaker A: Yeah, yeah. So if you. Yeah, exactly. And obviously, like, canons, prices and everyone else's prices have gone up heaps, you know, going into mirrorless, like, lenses now, you know, a four grand when they were two, two and a half for sort of similar lenses in DSLR systems. But that's obviously what the companies needed to do to stay profitable with, like, the shrinking camera market. But, yeah, the. I don't know, I. I understand why they've done it, but it pisses me off that I can't buy a 35 to 150 f, two to two without switching to Sony. And now I'm tempted to switch to Sony. [00:29:21] Speaker C: Are you? Because I just talked about that today. [00:29:24] Speaker A: Yeah, exactly. So, yeah, that, that's the question. Grant, if you were starting from scratch going from DSLR to mirrorless, what system do you buy into? [00:29:33] Speaker C: I don't know, like, I was looking at, like, you. The a seven r four. [00:29:37] Speaker A: Mm hmm. [00:29:38] Speaker C: Still an awesome camera. I'm not really shooting anything quick, but it's old. Yeah. [00:29:49] Speaker A: But, yeah, still an amazing camera. I mean, some people were doing some image, I can't remember where. I saw it somewhere on YouTube, image comparisons to, like, the a seven r. Just the a seven are the first one. [00:30:03] Speaker B: Yeah. [00:30:03] Speaker A: And they were like, it was fucking good, you know, like, it's still good. It's still good by today's standards. Same with the d 850 that you guys shoot with. Other. Other than the fact that it's DSLR and, you know, old school. [00:30:15] Speaker B: Old school, yeah. [00:30:16] Speaker A: Body, basically, the image quality is perfect and most people. Nothing more that you would want. [00:30:24] Speaker C: Yeah, most people look at a photo on a phone anyway. So how are you going to vote? Much of a difference? [00:30:30] Speaker A: Well, so the question would be for you, Grant, is what do you actually want? Like, what do you want to shoot? You know, like, before you pick what system you're going to buy, like what, what photography you sort of. Where are you heading? What's the output going to be? [00:30:44] Speaker C: Oh, probably, um, I've just put in my bio on my instagram that I want to do more like travel and adventure photography. So not so much just landscapes or. I got a fair bit of wildlife from my last trip. But, you know, incorporating people in, like, the landscape. So, you know, you get like a focal point of, like, you know, a person in the background, but it's like massive, grand, like, landscape. [00:31:17] Speaker A: Okay. And so. And what would the images be for? Would you be looking to do that for clients or just do it for your, your own work or like, what's at the start? [00:31:27] Speaker C: I'll, you know, try and build a portfolio, and then I'll, yeah, try and start pitching to tourism boards or adventure companies. [00:31:40] Speaker A: Okay. So the goal would be to get. To get paid work. [00:31:43] Speaker B: Yeah. [00:31:44] Speaker A: In that area. [00:31:46] Speaker C: Yeah, yeah. Cuz, like, unlike gym, I don't think I could do 30 to 40 weddings a year. Like, I'm like, if I'm doing a wedding, it's four, 6 hours max. Like, 6 hours would be my max. [00:32:02] Speaker A: Okay. Have you ever done a ten hour wedding before? [00:32:09] Speaker C: I think I've done two, yeah. [00:32:13] Speaker B: Yeah. [00:32:13] Speaker C: Well, like, I think it was my first one and it was a big day and we used to 12 hours. [00:32:21] Speaker A: We see 12 hours and they were, um. And that. And, like, always be hours away. So we. Yeah, we did some 1516 hours days easily. [00:32:34] Speaker B: Oh, I think we did more some days. [00:32:37] Speaker C: If you got someone there, it was. [00:32:39] Speaker A: It was better with two of us, but it was still. It was still a battle. [00:32:43] Speaker C: Yeah. [00:32:44] Speaker B: I had a Yarra valley wedding that was 12 hours, and I drove there and back, so it was like two and a half, three hour drive each way. That's insane. [00:32:55] Speaker C: After 12 hours, though, do the photos just start looking the same? [00:32:59] Speaker B: No, because you're doing, um, like, the party and stuff like that. So I guess because the day kind of progresses on. Yeah. Not sort of on portraits anymore, you're just kind of capturing what's happening. Yeah. [00:33:18] Speaker C: You can see who's had to one too many and so. [00:33:22] Speaker A: So do you, do you want to shoot weddings, but you just don't want to shoot long ones or you. You'll do them if they come to you? [00:33:30] Speaker C: Yeah, I advertise it, but, yeah, I'm not, like, going out seeking it. [00:33:36] Speaker A: Yeah. [00:33:37] Speaker C: I'm just trying to make a little bit of a kitty so I can swap camera systems and then sell my cameras after that because I don't want to be caught without having a camera. [00:33:49] Speaker A: Yeah. [00:33:50] Speaker B: That's easy to justify, too, when you've got work coming in. Yeah, yeah. [00:33:57] Speaker A: Would you, would you need two bodies or would you just use one body? I mean, if you have to shoot a wedding, it's. It's risky to not have two. [00:34:05] Speaker C: Yeah, I'll be. Yeah, I've got the 850 and the 750 at the moment. [00:34:09] Speaker B: Mm hmm. [00:34:10] Speaker C: But, like, I've seen people shoot, like, say, with a Sony, but then they've got a. I get a 6500, so just more. Yeah. As a second camera. [00:34:22] Speaker A: Yeah. It depends on the sort of, the sort of weddings you're doing. Like, if you're if you're gonna do those four hour weddings daytime, that's not too risky. I know, I know for me, and I'm sure Jim would say too, like if you were committed to a, to a big wedding and you lost the camera, you lost your main camera. [00:34:42] Speaker B: Yeah. [00:34:42] Speaker A: The start of the day and you only had an a 6500 or whatever, that would be a very tough and depressing day. And then. [00:34:50] Speaker B: Yeah. [00:34:51] Speaker A: Also be dreading trying to get those photos. [00:34:54] Speaker B: It's happened to me. [00:34:56] Speaker A: What's that? [00:34:58] Speaker B: I lost a camera. Camera during, not lost it like, it, it died. The shutter went. [00:35:06] Speaker A: Yeah. And so what did you, what camera was that? And what did you have as a backup? [00:35:10] Speaker B: Uh, it was a D 850. So at the time I was, I've had two, two day at 50. So I was always shooting with two cameras anyway. [00:35:18] Speaker A: Yeah. [00:35:18] Speaker B: Um, but thankfully I still had a D 780 in the car, so actually ran to the car, got that, dumped the other camera, changed my camera plate over and, um, kept shooting. So within five minutes I was back on deck like nothing had happened. [00:35:34] Speaker A: Yeah. And that's only so because you like to shoot with primes. You've got a wide and a tighter, like a portrait lens on a 105 or whatever or 58. Yeah, 100%. So that's the only reason. Otherwise you would still be fine with just one d eight hundred fifty. I mean, worst case, you would be fine with one d eight hundred fifty anyway. You would just shoot with one lens rather than two. Yeah. [00:35:56] Speaker B: And just shoot a bit slower or. [00:35:58] Speaker A: Shoot a bit slow. [00:35:58] Speaker B: Yeah. [00:36:00] Speaker A: But you still had a decent backup so you could keep using two bodies. But I mean, if you, if you were even just going from, say, D 850s, if you had to go back to a, you know, some, a crop like the D 500 or whatever that, that we use for the photo booth, like, that would be a brutal day shooting with, with something like that. [00:36:20] Speaker B: As you work. Yeah. [00:36:23] Speaker A: As your only backup. No, no, I'm not. Yeah, I'm saying if you had one cat, so say you had a D 850 and then you had one, one backup, and that one backup was sort of a entry level camera. Yeah, it would be, it would be rough. [00:36:36] Speaker B: Yeah, it would be. But so is, is my backup to like, do I need the 780 or should I just have the D 500 as a backup? [00:36:45] Speaker A: I mean, it depends what you want. You know, you're doing, you're doing big weddings, that, the other thing that you're doing that grant's probably not going to be doing is double headers. You know, if you've got a double header. It's. It's. It would be a big deal to go into the next day with no backup. Like, if you only have one. One body, one. Like two bodies, one backup. But that's what backups are for, I guess so. And there's always people you can borrow cameras off if that, you know, if that actually happens. But I, like, personally, I would be fine with just two bodies, but that's because I'm shooting zooms again more now. So, like, with the 28 to 70. So if I just have the three reals and the five reals, if I could shoot a full wedding on either of those bodies, no problem. Just one thing. I wouldn't. Wouldn't stress me out at all. Whereas, yeah, if you want to use primes, I guess it makes you. Yeah, makes you want to have two. [00:37:39] Speaker B: But then maybe only shoot with two lenses. [00:37:42] Speaker A: Yeah, exactly. [00:37:43] Speaker B: You know, maybe. [00:37:45] Speaker A: I was listening to the Taylor Jackson podcast. Just head butter my microphone. Listen to this podcast today. And he was talking about, like, what he takes on because he does. What are they called? Travel weddings. [00:38:03] Speaker C: Destination weddings. [00:38:04] Speaker A: That's the word. I think it's destination weddings. And he was talking about his destination wedding kit. And he often just shoots with like, 35 and 85. And he'll have a backup body, but he shoots a 35 and 85 often on the same camera. Like, he'll just. Just switch lenses and. Yeah, you know, because he shoots video as well. Like, he does unique coverage. He'll make them a video and shoot photos. [00:38:31] Speaker B: Yeah, it's pretty cool. [00:38:32] Speaker A: So. And, yeah, I was like, so he often just shoots with one prime and has the other prime there, but he switches to it when he needs to switch to it. But on the other hand, he did also say he's been shooting with that 35 to 150 Sony Tamron on the Sony system heaps and loves that for ceremonies because you just don't have to take it off and one. [00:38:52] Speaker C: One camera. [00:38:53] Speaker A: Yeah, I do. I've really enjoy shooting one camera instead of two. It's. It's very. I don't know, allows you to focus in a lot more on what's going. [00:39:07] Speaker C: On and you don't have to, you know, juggle. [00:39:10] Speaker A: Yeah, juggle cameras and settings and I mean, obviously you can get really good at it where it becomes second nature, but going back from two to one, I enjoyed it. [00:39:21] Speaker C: Yeah. And I know, 50 or so. [00:39:25] Speaker B: Oh, no, that's all right. [00:39:26] Speaker C: I was gonna say with the day 850 and the 750, like, all the buttons are in different spots. [00:39:31] Speaker B: Yeah, that's what I hated. That's why I bought the second day at 50. [00:39:36] Speaker A: Yes. [00:39:36] Speaker B: Not that I couldn't get around. It was all right when I had the 750. We're not, because I used to run it, I had 750s for years, so I was fully all over them. And then we had that 850, obviously learnt that. But then when I got the 780, it was slightly different and it just wasn't as, um, easy to go back between them. Yeah, but now. Yeah, two dat fifties actually, sometimes for like first kiss and stuff like that, I actually shoot two cameras at once and shoot like, left handed with one, and use like my. This finger crab pleaser. [00:40:12] Speaker A: You end up with two photos that are almost the same. [00:40:15] Speaker B: Different focal lengths, though. [00:40:17] Speaker A: I know, I know, I'm just messing. But the crowd. [00:40:19] Speaker B: So one's what, one's wide gets a full ceremony in and the other one's taught. [00:40:25] Speaker A: Yeah. You can do a similar thing with the 850 just by cropping it in. So you get a 20 megapixel file. [00:40:32] Speaker B: Maybe. [00:40:33] Speaker C: But do you miss focus, though, on the one that you're not looking in? [00:40:36] Speaker B: No, so I pre focus the wides. Yeah. So the wides in my left hand, it's like, yeah, if I get it, I get it, if I don't, I don't. And then. Yeah, my main long camera is like the one. [00:40:47] Speaker A: So you're always, always now the long and then the wides, hopefully. [00:40:53] Speaker B: Yeah, and because the size of the camera is straight, I just butted up against the other one, roughly adjusted, take some test ones, look like. Just look before the moments happened to. And be kind of ready to go so that. [00:41:04] Speaker C: Yeah, so you'd be chimping chimpanzee. Isn't that what they do? Like the sports photographers, you know, they'll be out taking a photo and they'll be straight. [00:41:16] Speaker A: Straight back on. [00:41:17] Speaker B: Yeah, yeah, yeah. [00:41:18] Speaker A: Jim. Jim's a monster. Timber. I remember hearing that word. That's not. Yeah, I guess more snowboarding back in the day. Yeah, yeah, and it was a thing that people would talk about as if it was bad because you'd be missing you, like, every time you look at the back of your camera, you're missing action, you know? [00:41:35] Speaker C: Yeah. [00:41:36] Speaker A: And I think it came a little bit from like, the film photography era where it was like, you don't. You shouldn't have to look at the back of the camera to know you got the shot. You should know you've got the shot kind of thing. And then now it's funny how that's changed so much. Now, because it's like mirrorless. You're literally looking at the sensor readout. You know what the photos are you find. So you're basically chimping every time you bring the camera up to your eye. It's, um. Yeah, it's funny, but I'm the same. I like to, I like to look back and you want to make sure you got it. See if the photo looks good, you know, but they gotta be. Yeah, obviously. Gotta be mindful not to do it while the, while something fun's happening. But no, it happens. It happens. [00:42:19] Speaker C: Man. [00:42:21] Speaker A: So what are you gonna buy, Grant? You know what I was thinking you should get if you had a lot of money. [00:42:26] Speaker B: What's that? [00:42:28] Speaker A: Fuji. [00:42:29] Speaker C: Fuji? [00:42:30] Speaker A: Yeah. [00:42:31] Speaker C: Are they that expensive? [00:42:32] Speaker A: No, no, no. The GFX. [00:42:34] Speaker C: Oh, yeah. That's big though, isn't it? [00:42:38] Speaker A: Yeah, they're delightful. [00:42:39] Speaker C: Have you seen the likers? [00:42:42] Speaker A: Yeah, they're very expensive. Like what an not. Yeah, like you're thinking sl two, like interchangeable lens. Not, not manual focus. Like the m eleven or whatever they're up to now. [00:42:54] Speaker C: Yeah, I seen, I think was a Peter McKinnon had one. [00:42:58] Speaker A: Yeah. He's like a fanboy. I'm guessing they threw some cash all. [00:43:03] Speaker C: Definitely, but. [00:43:04] Speaker A: Yeah, but he's not, he's not actually a, like a fanboy, but he is shooting with it a bit. Cool. They do look cool, but I think if you look. Have you looked at those Fujis? [00:43:17] Speaker B: Um. [00:43:21] Speaker C: I reckon I was on a Nissi workshop and the actual Nissi supplier guy, he had one. Oh, this would have been a couple of years ago, so. But then I know there's another landscape photographer. He has like the X. [00:43:36] Speaker B: What are the XT? [00:43:39] Speaker A: Oh, as in the. The crop sensor ones? Yeah. Look at the food. [00:43:43] Speaker B: XD two, XT three, SDE. [00:43:45] Speaker A: Those crops, they look killer. They don't have the resolution. If you, if you want the crop sensor stuff, the X series doesn't have the resolution you would want for landscape, I'm assuming. Do you want high res? Are you going to be printing stuff? Like what are you going to be doing? [00:44:00] Speaker C: I want to print, I think most of my stuff from Japan I'm going to print. [00:44:04] Speaker A: Yeah. [00:44:04] Speaker C: Like all the cool landscapes. Like probably more sunrise, sunset photos. [00:44:10] Speaker A: So would you want to take a. Would you want to step down in megapixels from the D 850 or would you want to be similar or more. [00:44:20] Speaker B: Because. [00:44:20] Speaker C: Similar? Yeah, yeah. Like, I'm still leaning towards the r five. [00:44:26] Speaker A: It's a nice, good camera. [00:44:28] Speaker B: It's beautiful camera. [00:44:30] Speaker C: And this seems like everyone's shooting on it lately. [00:44:32] Speaker A: So remember you got to remember though, that and look, I'm shooting on it but you got to remember that canon does dominate the market in terms of numbers. So it was the same when, when Jim and I were shooting Nikon. Like, it seemed like everyone was shooting Cannon. Yeah, they were, but, but we were like at the time, like Nikon sensors were way better. Even, even the old D 750s that sucked as a camera body had amazing sensors in them compared to what Canon was using. And it's, it's kind of like that now. It's like, it seems like everyone's shooting with Canon but it's because Nikon's dropped off even more in terms of their, I guess, appeal in terms of mirrorless. So it's either Sony or Canon from for a lot of people and Sony are killing it too. But yeah, that, that makes it feel like that's the only camera that you should be using because everyone is using it. But, um, I don't know. [00:45:35] Speaker C: And maybe the people that I follow, you know, it's like when you see, you're like I'm gonna go out and buy a red car and you see a hundred red cars. Yeah, it could just be like that too. [00:45:45] Speaker B: But I don't know. [00:45:47] Speaker C: I don't know. I've been looking into like different cameras but r five is probably gonna be my go to. [00:45:55] Speaker B: Is that what I was shooting with Justin for the flow stuff? Yeah, yeah, yeah. So I picked that up and shot for three days and it was pretty good. [00:46:05] Speaker A: Yeah. [00:46:05] Speaker B: And I've used a mirrorless camera once before that. [00:46:09] Speaker C: See, I haven't used it. [00:46:10] Speaker B: It wasn't that, it was a Nikon. So yeah, it's good, good camera. I rate. [00:46:15] Speaker C: It was the Nikon one. [00:46:19] Speaker B: I used Justin's old z six when he had one. [00:46:22] Speaker A: I had a z. Yes, that and they're usability. They're the same as the z seven. It was before the twos had come out. [00:46:32] Speaker B: Early days. [00:46:33] Speaker A: Yeah. Look at this stage if you, it depends how much you love your Nikon lenses. But you know, I would. For Jim it would potentially be worth considering Nikon mirrorless. Especially if he was keen on the z nine because that thing does seem to be killing it. [00:46:52] Speaker B: Oh, the z nine, sick. [00:46:53] Speaker A: But, but price tags, price tag and I think, you know, everyone's the, the six and seven. Z six, z seven. The autofocus still isn't where Canon and Sony are and I don't know if I would buy into that system. If you're thinking of getting native lenses anyway. Cause adapting lenses does suck. It works great, but it's, it balances the camera like they sit out really far. [00:47:24] Speaker B: It's almost like, what's the point? [00:47:27] Speaker A: Well, I see the point because, say you could, you can slowly transition your system over. There's lenses that you can't buy in the new systems and stuff like that. So it's great. It's great to be able to adapt them. But I think. [00:47:38] Speaker B: But why, why would you even get rid of a de at 50 to buy a z seven two and then use the same lenses? Eve, sorry. [00:47:46] Speaker A: If you shoot any video, if you want, I order, you know, look, there are reasons for sure, but I think. [00:47:52] Speaker B: If you, if you're just shooting photos though, yeah. [00:47:55] Speaker A: You'd really want to be budgeting some money into lenses in the, in the near future if you are bothering to switch to mirrorless. I mean, if you needed a new body anyway, it's probably, you know, if you needed a d 850, it's probably worth considering, you know, getting a mirrorless. But that's if you wanted to slowly roll into the system. Whereas I think for Grant, like, you've only. What have you got three lenses? Yeah, they're expensive lenses, but four. Yeah. [00:48:25] Speaker C: Yeah. [00:48:26] Speaker B: Changing over is not as. [00:48:28] Speaker C: It's, it's not an easy thing. [00:48:31] Speaker A: No, but it's also not like Jim's got like, I don't know, dinosaurs and they're super expensive primes and stuff. And they're primes that you really like as well. So it makes it more compelling to stick with that brand. But I would still can, you know, I did the switch to canon and it was a. It was expensive, but I think if. Yeah, if you. I shot with Nick on mirrorless and Nick on DSLR at the same time for a while and I, I didn't really enjoy it, but then switched everything to mirrorless and got native lenses and stuff and I'd never go back. Oh, yeah, it's awesome. So it's almost like you kind of need to. But you know, this, these lenses that are out there now, like you could get a Sony, a 35 to 150 and a wide and that's it. [00:49:22] Speaker C: Yeah. [00:49:23] Speaker A: Lenses and one camera body. And if you could deal with a little bit of a hit on your, um, megapixels, you could get the a seven four. So what just come out so bad with Sony. [00:49:34] Speaker C: Five. They have to five now. [00:49:36] Speaker A: A seven, a seven, four, four or five. [00:49:41] Speaker C: I reckon that four, four. So that's the in between. [00:49:46] Speaker A: Yeah. Three and a three and a half thousand australian dollar reduce. [00:49:50] Speaker B: It's pretty good value. [00:49:52] Speaker A: Yeah, good value. [00:49:54] Speaker C: So that's in between. Is it r and c? Sony's got like ours. So a seven r and a seven. [00:50:01] Speaker A: C. I don't know if they have an a seven c, I think. [00:50:05] Speaker C: Or is it a seven s? [00:50:06] Speaker A: A seven s? Yeah, you won't want the s, it's. [00:50:09] Speaker C: No, that's like filming in it. [00:50:11] Speaker A: Yeah. And it's amazing. Then they've got the a nine, which is sports and you wouldn't buy that at the moment. I think it's in the middle of a cycle and it's a bit weird. And then they've got the a one which is what I would buy. And it's like, what is it? A 50 megapixel sports camera, basically, but it's 9000, 8000 australian dollar. It's cheap then. Cheap? Well, it's the same prices, basically the same price as the three reals. The r three is not 50 megapixels, but it does have some advantages at least. The r three is an actual pro body, whereas the a one is still the same shape as all the other Sony bodies. Like it's still a. You had to buy a grip for it if you want to grip. [00:50:57] Speaker C: Yeah. [00:50:58] Speaker B: Yeah. [00:50:58] Speaker A: And. [00:51:00] Speaker B: And that's the same price as a Z nine? [00:51:03] Speaker A: Yes, I think. [00:51:05] Speaker B: Oh, they're nine grand, I think, on Nikon's website. [00:51:08] Speaker A: Are they? I thought they were cheaper than that. Uh, well they're all pretty close. [00:51:13] Speaker B: Seven and a half. Eight to eight. Three at George's. [00:51:17] Speaker A: Yeah. [00:51:17] Speaker B: Cameras. [00:51:17] Speaker A: So yeah, basically the same price. [00:51:20] Speaker B: Nine grand a digit to correct. [00:51:23] Speaker C: Do you know, got a Zed nine though. [00:51:25] Speaker A: I don't know anyone that's got one. [00:51:28] Speaker B: I tried to get one look. [00:51:30] Speaker A: Yeah, we tried to borrow to get Jim one for a test but they. [00:51:34] Speaker B: They didn't reply, couldn't, so. Yeah, yeah, but also shot with a canon five all week. [00:51:41] Speaker A: Yep. I'd, I'd love to get one of each. It'd be a fun test to do, like get a z nine. But then it's like you need a lot of lenses and time and also similar lenses like. [00:51:55] Speaker B: Yeah, comparable lenses. [00:52:00] Speaker A: Yeah. [00:52:02] Speaker B: I feel like that's where they're slightly let down is their lens roadmap and. [00:52:08] Speaker A: That'S where it's weird though. They've got some good stuff. The f 1.8 primes are really high quality for what they are then they. Great quality. Like I liked them when I was shooting on the system but yeah, they're also missing some things. I think, and I don't think they're 70 to 200 is as delightfully small as the Canon RF 7200 is. [00:52:37] Speaker B: No, that thing's tiny. [00:52:39] Speaker A: Really a game changer. So I don't know. I don't know if I could bind it. Nikon. At the moment, Canon and Sony are too compelling. [00:52:50] Speaker B: Mmm. [00:52:52] Speaker A: It depends on. [00:52:55] Speaker C: Even the people, though, that have been shooting Nikon. Like that I follow on Instagram, they're still shooting DSLR. Like, not many issued mirrorless. [00:53:05] Speaker A: Exactly. Because it's not. Most of them are photographers and it's not because Nikon never led the way in video. [00:53:12] Speaker B: Yeah. [00:53:12] Speaker A: So whereas Canon had that video early in then, Sony kind of a long time ago, people. But. But Canon started the DSLR video thing, you know, that. That ball rolling. So there were a lot of canon users that wanted to get to mirrorless ASAP. The ones that didn't jump to Sony and, you know, whereas, yeah, Nikon, it definitely sort of is a photographer's brand. So that's probably slowed down their transition a lot as well. But I don't know. Yeah, I'd be tempted on Sony. You know, the other cool thing about Sony is if you look at used stuff. So say if you wanted to get a backup camera for weddings, like, there's so many a seven s used, if you go, you know, you can go back as far as you want to go back in terms of which one will do the job for a backup. But they're all full frame cameras. That and Sony sensors have always been good. They've got their quirks when you get back older with autofocus and stuff like that. But, you know, if it's just for a second camera body, there's some pretty cheap stuff kicking around. But Fuji GFX. [00:54:24] Speaker C: Get a hold of one, we'll take it out for a shoot. [00:54:26] Speaker A: We should GFX the 50 megapixel one, the GFX fifty s two. I think it's under six grand. Or maybe you want the GFX 100s. It's 100 megapixels. [00:54:44] Speaker B: Oh, Jesus. [00:54:49] Speaker A: $9,000 more than full frame. What's a medium format? It's not. It's not a full medium format. [00:54:56] Speaker B: It's like, yeah, 102 megapixels. [00:55:05] Speaker C: How many megapixels do you need, though? [00:55:08] Speaker A: All of them. [00:55:09] Speaker B: Probably not 102. Well, not for me. Oh, that's insane. I don't know if it's just my screen, but the photos don't look that great. Or is it just the detail in it? [00:55:31] Speaker A: Maybe it's probably just you being picky. So this, that's the sensor size. So APSC versus full frame and then up to Fuji's medium format standard versus like, what Hasselblad call a medium. Yeah, but. Yeah, it's a big sensor. Huge. But I don't know how practical they are. Russell old shoots with them and the Fuji crop series, like, you know, uses them both for different things depending on what. These, the images look amazing, but okay. [00:56:07] Speaker B: These do look better now. It was just a portraits that. [00:56:12] Speaker A: Yeah, if you download full res versions too, they'll probably look. [00:56:17] Speaker B: Yeah, awesome. More bokeh, Justin Bokeh feel backgrounds. [00:56:23] Speaker A: Yeah, but you can get that with an f 1285 lens from canon. [00:56:29] Speaker B: Yeah. [00:56:31] Speaker C: So with the five reals and the three reals, do you shoot more video now? [00:56:35] Speaker A: Yeah, way more. Way more. I'm 50 50 video on photos now, for sure. Probably, actually, lately, probably even more video. [00:56:44] Speaker C: And the mirrorless made you do that more, or I. [00:56:51] Speaker B: Did it give you the tools to be able to do it? [00:56:53] Speaker A: Yeah, it allowed me, I wanted to do it more. And mirrorless definitely allowed me to, to get better at it. You know, this in body stabilization is way better. Makes life a lot easier. But just, I don't know, just the way everything works. Being able to switch back and forth. [00:57:11] Speaker C: It's. [00:57:12] Speaker A: Yeah. [00:57:13] Speaker C: I tried to do a video like the other week with the 850 and didn't like it. [00:57:21] Speaker A: Yeah, it's, it's hard. [00:57:22] Speaker B: It's got limitations. If you don't want to slow, you know, shoots, um, what's it called? Like, slow frame rate. [00:57:33] Speaker C: Yeah, slow mo. [00:57:35] Speaker B: That's what I meant. Yeah. If you don't want to talk, if you don't shoot slow mo, it's not too bad. But as soon as you. [00:57:43] Speaker A: On a tripod, I used it for a few videos as the main camera. And like Jim says, like, just in normal, what the people in the video world seem to call reg mo. Not really. Just if you're just shooting a normal frame rate, 25 frames a second, it's. Yeah, it worked fine. But, you know, when I was using that, I was using an Atomos external recorder, and I was using an external recorder for sound and all sorts of stuff. And now it's just, everything's just straight into the camera. [00:58:15] Speaker C: Yeah, don't have to worry. [00:58:16] Speaker A: The color that's coming out of the canon stuff like the log files and that straight out of the camera are way better than what I was getting recording into an Atomos ninja and doing all this stuff. And. Yeah, I can just. Extra stuff yeah, I can put it all in a backpack and ride a mountain bike and pull it out. No tripod. Like, all the videos that I've shot for flow. No tripod. Never a tripod. And they've got, like, talking to camera sections and all that sort of stuff. And I just hand hold all of it. [00:58:44] Speaker B: Yeah. [00:58:44] Speaker C: That's what you want. [00:58:45] Speaker A: Nothing. Yeah. [00:58:46] Speaker B: Yeah, I should have. [00:58:47] Speaker C: I done a video on the 850 at a wedding. [00:58:51] Speaker A: Oh, really? Like a wedding? [00:58:53] Speaker B: I think. I think I was there, wasn't it? [00:58:57] Speaker C: Oh, actually, I've done two then. [00:59:01] Speaker A: And. [00:59:01] Speaker C: I've done the other. Like, the other one. I had the 750 as well, just on a tripod. But, yeah, the, um. The photographer looked at me and he's like, I've never seen anyone do a video on a nickname before. [00:59:17] Speaker A: Yeah, it's uncommon. [00:59:19] Speaker B: Mm. [00:59:19] Speaker C: But it was. [00:59:20] Speaker B: There is. I've seen. There's one guy I've seen, he loves it. Like, he's got some old ones, some new ones. Just like a big mix of nick on stuff. [00:59:28] Speaker C: Yeah. Right. [00:59:29] Speaker B: Yeah. [00:59:30] Speaker C: Well, this was just like a friend. So there was no high expectations, I hope. [00:59:38] Speaker A: Have you made it for them yet? [00:59:39] Speaker C: Yeah, no, they've. They've got it. [00:59:41] Speaker A: They're happy. [00:59:42] Speaker C: Couple years ago. Well, they told me they were happy. [00:59:45] Speaker B: How did Warwick scare? [00:59:48] Speaker C: It was good. It wasn't like. Yeah, same sort of thing. They didn't. I don't think they really expected me to do much. It was kind of like when Justin shot our wedding. Like, you're there at the wedding, like, we don't expect you to. You to, like, be full work mode the whole time. [01:00:05] Speaker B: Yeah. [01:00:06] Speaker C: Even though he was. [01:00:08] Speaker A: It. Was it okay, though? [01:00:10] Speaker B: Yeah. [01:00:10] Speaker A: Good enough. [01:00:12] Speaker C: Um, yeah, the photos are right. [01:00:15] Speaker A: Thanks. I appreciate it. I tried. I put it on 30 frames a second and just held the button down. [01:00:23] Speaker B: I did it for 8 hours. [01:00:25] Speaker A: For 8 hours. [01:00:32] Speaker B: Do you. Do you buffer out, Justin? Does that camera buffer out? [01:00:38] Speaker A: Depends what SD card I've got in there. [01:00:40] Speaker B: Yeah. So you got the good ones. [01:00:42] Speaker A: If I pull the SD and just shoot to the CF, which I do a lot, because I just. I don't know, I don't seem to. The CF has been extremely reliable. And cf express and shooting sports and stuff, I just often don't see the need to shoot to two cards. And especially when I'm shooting hybrid videos and photos too. And not every video, not every video codec and rot simultaneously to two cards, even on the r three. So, no, I've got a new SD card for when I shoot weddings with you. [01:01:20] Speaker B: I don't know where to go on the 256 gig. [01:01:23] Speaker A: Yeah, this. This one here, the angel bird 256 v 60, which seems fast enough, but I can hit the buffer on it. It'd have to be a pretty gnarly part of the wedding to hit the buffer. And I'd probably have to be shooting in a frame rate that's not required for a wedding. But yeah, Cf express. I never hit the buffer. Shooting 30 frames a second on the r three, you can definitely buffer out on the five reals. The buffer is not as big. [01:01:52] Speaker B: How many frames did you shoot at the last wedding? Not grants, that we shot. [01:01:58] Speaker A: 7000. [01:02:00] Speaker B: I thought it was more. Or maybe it's grant. So you shot like eleven grants. [01:02:04] Speaker A: I shot 15,000. [01:02:05] Speaker C: Yeah, 15. I didn't go through, luckily either. [01:02:11] Speaker A: I was drunk. [01:02:12] Speaker C: Oh, and she went through every single. [01:02:14] Speaker A: Photo and most of them were at. Did she make you edit every single one but me? [01:02:22] Speaker C: No, I just put a preset on it and it's done. [01:02:28] Speaker A: Speaking of presets, Jim, are you still using the AI thing to do your, like, the thing that applies your basic edits? [01:02:40] Speaker B: Yeah. Imagine the wedding imaging. [01:02:42] Speaker A: Imagine imogen. Imagine imagin. Imagine imogen. [01:02:46] Speaker B: Imogen, yeah, still using imogen. It's been good using. [01:02:50] Speaker A: For every wedding. [01:02:51] Speaker B: Yep, every wedding. Basically anything that's like wedding or like a portrait, you know, couples portrait or something like that. That's a similar style. [01:03:00] Speaker C: So what does that do? [01:03:02] Speaker B: Um, it basically does what we used to get outsourced years and years ago when we're using a. Like a. An outsourcing editing place. So applaud your preset, which is close as an outsource. Yeah, it's pretty good. It probably gets 85% of it. Right. It struggles with artistic shots and stuff like that. Something that's, again, you know, against your normal kind of editing. But most of the day it's. It's pretty close. Yeah, the white balance is remarkably good. Sometimes it gets it wrong with some, like, reflected light in, like with some greens and stuff. So skin might be a little bit smidge green that you can just change the tint or something. But yeah, it's pretty good most of the time. And it gets. What it speeds up is just the photos that don't matter, that they, you know, might be a photovolt that matter, but, you know, like a musician or something that you can. You want to give them, but you don't have to spend time kind of editing, just quick crop maybe, and then sort of move on to the moments that matter. [01:04:16] Speaker A: Yeah. Okay. I'm excited. So you had to set up a profile by uploading, like, over 5000 of your edits to the system. And then it learned your editing style through those edits. [01:04:34] Speaker B: Yeah. So you got to upload 5000 photos through a lot room catalog. [01:04:39] Speaker A: Yep. And from different weddings, like from. [01:04:43] Speaker B: You can have the same wedding if you'd shot. Yeah, you could have the same wedding if you delivered 5000 edited photos. But you've got to give it at least 5000 photos to learn off you. [01:04:54] Speaker A: And then the more variety, the better. Like, right. Like, if you gave it ten weddings or 20 weddings, that's going to be better than giving it one wedding that had that you, for some reason delivered 5000 photos from. [01:05:04] Speaker B: Yeah. [01:05:05] Speaker C: And then, yeah, all the light would be different, too. [01:05:07] Speaker B: Yeah, 100%. [01:05:09] Speaker A: So that's the, that's the goal, to give it as much training as possible so that it learns your style better. [01:05:15] Speaker B: But it keeps training on the job. Like, you send it back, you finish the edit, then you send it back to it. [01:05:20] Speaker A: I do that every time I've missed a few. [01:05:24] Speaker B: And then because I make duplicates for black and white, for our black and white preset, I've just got to change some settings so that it only reads the colors because I don't want obviously learning. I don't need it to learn a black and white preset. It's not needed. It could be needed, like, maybe, but it's probably not. [01:05:46] Speaker A: What does it cost you roughly per wedding? [01:05:50] Speaker B: I think like 35, $40. Yeah, I think that's us. [01:05:55] Speaker A: Yeah. So a thousand australian dollars? [01:05:58] Speaker B: Yeah, at the moment, pretty much. [01:06:00] Speaker C: And how much to outsource then? Like, back in the day? [01:06:04] Speaker B: Back in the day, we were on a pretty good deal and it was. [01:06:07] Speaker A: We used a few different places and, yeah, it did vary. Like, there was. There was better for more money and then there was crappier for less money, but, yeah. [01:06:17] Speaker B: Yeah. [01:06:17] Speaker A: What, what, 300 to 500? [01:06:20] Speaker B: Yeah, just depend. It depended on the number. So if you. At the time, we were getting them to color as well. [01:06:27] Speaker A: Oh, yeah. [01:06:27] Speaker B: Just to try and speed up the process for us. But they had like a. If it was more than five, that 5001 photos to 10,000 was the same culling rate as also is a different coloring rate to, like, 4999. Yeah, it was a frustrating, expensive. Yeah. And then. Yeah, the same with the editing, you know, like, it was 100 to 200, 200 to 300. [01:06:54] Speaker A: I think I saw that. That image in place coming out with AI culling soon. Are you gonna try that? [01:07:01] Speaker B: Yeah. [01:07:03] Speaker A: Culling though, because you have to. You'll have to still go through it to see if it's anything. Yeah. [01:07:08] Speaker B: And I think when we did outsource our culling, we still went through it. We still went through it ourselves anyway. So it's probably just not actually saving us much time you think it is, but you then just second guess, like, have I missed, have I missed anything? [01:07:21] Speaker A: Yeah. [01:07:22] Speaker B: So, yeah, I think culling yourself. [01:07:26] Speaker A: I'm interested to see how well, if we upload all of our photos from that wedding together, how well it matches the edits from the two different camera systems. [01:07:39] Speaker B: I don't know if it will. I've got no idea. [01:07:41] Speaker A: It says, it says it can handle two different camera systems. Okay, so. But also, yours hasn't been trained with a second camera system, but I'll be honest, it'll be interested to see how well it does. So we'll give it a test, see if it can handle it, see if it speeds things up. And you're still using loop deck. [01:08:03] Speaker B: I am losing using loop deck. I love it. [01:08:06] Speaker A: Have you used loop deck, grant? [01:08:08] Speaker B: No, it's like a little DJ deck. [01:08:13] Speaker A: DJ deck for editing photos. [01:08:15] Speaker B: Oh, yeah, yeah. [01:08:16] Speaker A: No, and you can, you can reprogram it if you want things in different spots and stuff like that, but basically all your lightroom sliders and stuff become knobs. And, you know, you can program some buttons that program presets and. Yeah, there's good copy and paste buttons, which are really handy. That's what I use a lot. Just moving through copy and paste, copy and paste. If you've got the same situation happening. So. [01:08:42] Speaker B: Yeah, yeah. And just even, just if you just want to slightly bump contrast and stuff, you're not moving your mouse. [01:08:49] Speaker A: Feels nice. You can stare at the photo and turn a knob and watch it change if your computer's fast enough. It's actually, it's actually not that fun to edit with it if you've got a sluggish computer. But on the new, on the new max, it's, it's immediate. As you turn the knob, the picture starts to change, and it's kind of like, it's like back when I used to do audio editing and you turn dials and things change and you'd listen and stuff. It's the same thing with photo. [01:09:13] Speaker C: Yeah, watching. [01:09:15] Speaker A: It's fun. I'm not, I won't say I'm looking forward to editing this wedding, but I'll, I'll enjoy getting these AI edits back in and seeing if it's interesting to look at. [01:09:28] Speaker B: For sure. [01:09:28] Speaker A: Yeah. Seeing if it's good seeing what we get out of it. Seeing if they canon the cannon colors. Just smoke your old nick on dslrs. [01:09:37] Speaker B: They won't, you know. I already know that they weren't. [01:09:41] Speaker A: What about the skin tones though? [01:09:45] Speaker C: Maybe it might look a bit yellow. [01:09:49] Speaker A: I think Jim's will look a bit green. Nikon always looks a bit green. [01:09:55] Speaker B: Dunno, I don't think so. I think the dirt 50 is pretty spot on. [01:10:01] Speaker A: Sticking with him for another season. [01:10:04] Speaker B: Yeah. At least I'm like contemplating, do I buy another one and sell the 780? [01:10:10] Speaker A: So that. That's the other thing. You know, you can shoot electronic shutter with most of the new mirrorless cameras, so running like shutters dying becomes not really a thing anymore. [01:10:25] Speaker B: Yeah. [01:10:26] Speaker A: So you're not turning cameras over because they've got too much of a shutter count. Just saying. Just something to keep in mind. It's a financial choice. Yeah. I don't know. I don't know. Like, selling the 780 is probably a good idea, but whether to get a third D 850 when. [01:10:50] Speaker B: When orders run the D 500, literally just. [01:10:56] Speaker A: Yeah, run no backup. You still got a 24 to 70, don't you? [01:11:01] Speaker B: Yeah, everything. [01:11:04] Speaker A: You could shoot a whole day on a 24 to 70. If, like, if you smashed a camera, which is pretty rare. Depends. [01:11:10] Speaker B: Yeah, but if it dies, I got. [01:11:14] Speaker C: A 750 and an 850 you can buy. [01:11:16] Speaker A: Exactly. [01:11:17] Speaker B: Yeah. But if it's on a wedding day and I'm 3 hours away. [01:11:21] Speaker C: The chateau door. [01:11:24] Speaker A: But how often. How often do you not have time to change lenses? [01:11:28] Speaker B: You know, you've always got. You've always got time where you can just move. [01:11:33] Speaker A: You just move and get creative. You know, if you have to shoot a whole first dance with just the 28, it'll be fine. [01:11:40] Speaker B: I pretty much do. [01:11:41] Speaker A: Getting close. Exactly. Like, you probably need to look at how often you change. [01:11:46] Speaker B: Whether the 58 still my most used lens. [01:11:50] Speaker A: Yeah. Yeah. I don't know. Yeah. Shoot the ceremony and then. Yeah, you could chew the ceremony on 24 to 70 if you had to. Wouldn't be amazing. But you know, when you break a camera or a camera dies, it's sort of at the point where you're just trying to save the day and capture the moments as opposed to being, you know, super creative or anything. I don't know. Third day at 50 seems like overkill. When. [01:12:23] Speaker C: Yeah. [01:12:23] Speaker B: Oh, not a new one or Mar. No, I'm worried that mine, it's getting old. [01:12:30] Speaker A: I've got one shadow count. [01:12:32] Speaker B: Yeah. [01:12:33] Speaker A: By grants. [01:12:34] Speaker B: He's selling it. [01:12:36] Speaker C: I will be once I get my r five. [01:12:38] Speaker A: Hmm. [01:12:39] Speaker B: There you go. [01:12:43] Speaker C: So, Justin, 23 2023. What are you doing? [01:12:49] Speaker A: What's lucky doing? What's Lucky doing? [01:12:52] Speaker B: Lucky, I heard you're moving into a new space. [01:12:54] Speaker A: Lucky is moving into a bigger space. We kicked Jim out of the office. He works from home now, so. So now Lucky has room to breathe. [01:13:02] Speaker C: So we could be doing this podcast there. [01:13:05] Speaker A: We could, but it's fun doing it remotely. Like this means I can travel and we'll still be able to do the podcast. Plus we're gonna get guests on. Yes, that is the plan. [01:13:16] Speaker B: I can sit on the couch. [01:13:18] Speaker A: They could sit on your gas. Yeah, they could. Or they could podcast from the comfort of their own home, especially if they're in another country or something. That's. That's the plan. [01:13:27] Speaker B: We don't. We don't have budget to fly people in. [01:13:29] Speaker A: We don't have budget to fly people in. No. And then we'll be crank. Cranking up the YouTube channel is the plan. The Lucky YouTube, this YouTube channel, the camera life, will be doing more stuff. Lucky YouTube will be getting some new product videos and stuff like that. But I think I'll keep that, that stuff separate to, you know, the reviews and things that I want to do. Maybe some travel videos. Grant's gonna do a video when he goes to Japan. [01:13:57] Speaker C: Yeah, try to. [01:14:00] Speaker A: So that's the plan. What else is the plan, Lucky? We'll be hopefully doing some new things. We're making some space in the office at the moment to do some new stuff. [01:14:13] Speaker B: New products? [01:14:13] Speaker A: Maybe some. Maybe some new products. We're working on them. Just gotta, you know, catch up on making camera straps first. [01:14:20] Speaker B: Can you. Can you talk about them or not yet? No. [01:14:23] Speaker A: We're gonna keep them on the download. We'll see. [01:14:26] Speaker B: What about. [01:14:26] Speaker A: We'll see. They will be announced on this podcast first. [01:14:30] Speaker B: Will there be any new camera straps? [01:14:33] Speaker A: Yes. [01:14:36] Speaker B: Like mine? [01:14:39] Speaker A: Maybe we'll show. We'll show the world yours at some stage before. Before we actually make them, but we will. [01:14:48] Speaker B: He just added to the screen. [01:14:51] Speaker C: That isn't the one I've been waiting for for a couple of years now. [01:14:54] Speaker A: Yeah, exactly. [01:14:56] Speaker B: You and everyone else that's ever seen it. [01:14:58] Speaker A: The elusive look. And everyone else that's ever emailed us just, you know, if you do happen to be listening this, which I'm sure no one is, because it's episode one they're talking about the double camera strap. The elusive double camera strap. Jim's been testing one for three years. [01:15:15] Speaker B: Yeah, it's been a long time. It's awesome, by the way. [01:15:19] Speaker A: And it's the same one. And it's amazing. And I've got one, too, and they're the only two that exist, so. [01:15:24] Speaker C: And unfortunately, I had to buy a different brand. [01:15:27] Speaker A: Oh, sorry, Grant. That's all right. [01:15:31] Speaker B: If it makes you feel any better, Grant, I didn't pay for this one. [01:15:34] Speaker C: Yeah, I can't. [01:15:37] Speaker B: I've been trying to, though. I want to buy. I want to pay for one, but he won't let me. [01:15:41] Speaker C: With gym money. [01:15:42] Speaker B: Cause he won't make one. No, I'll pay for it with real money. [01:15:45] Speaker C: I can't remember how much mine cost, but it was a lot. [01:15:58] Speaker A: You know what else? I see a lot of shooting with one camera. One shooting with just one camera is actually nice. I really like it. [01:16:06] Speaker B: Unless you've got two cameras. [01:16:08] Speaker A: I have two cameras, but shooting with one is really nice. What else? Oh, more videography. This year, three big video product projects to finish off 2022, which is cool. So I'm learning. I'm learning what we shooting? I was shooting stuff for flow mountain bike tourism projects for Mount Buller and Lake Mountain and the gold fields, which is, you know, we live. [01:16:41] Speaker B: It's pretty cool. [01:16:42] Speaker A: And they were all. Yeah, ten to 20 minutes. Proper tourism videos, all on YouTube. Thousands of views. [01:16:53] Speaker B: Easy to edit. [01:16:54] Speaker A: No, no, I'm still learning the editing, but they were pretty good. I'm happy. [01:16:59] Speaker C: Just like mountain biking, though. [01:17:01] Speaker A: Yes. [01:17:02] Speaker C: Yeah, yeah. [01:17:04] Speaker A: So mountain biking, you know, eating, drinking, tourism stuff. [01:17:09] Speaker C: Ah, yeah, yeah. [01:17:10] Speaker A: But mostly mountain biking, like, centered around proper mountain biking. So, yeah, it was all on trail. Jim come along on one of them and shot the stills for it. Yeah, there was. It's mostly on bike. Like, we're not. It's not a. It's not a production where you've got. You're going from, like, location to location in a car and setting up tripods and doing all that sort of stuff. Like, it's like you get on your bike, and then you finish at the end of the day and you still on the bike. [01:17:37] Speaker B: Yeah. [01:17:38] Speaker A: So you have to be able to carry everything on your back. [01:17:41] Speaker B: For some of the projects. Were you shooting, like, stills and video? [01:17:45] Speaker A: Yeah, for center. I do that for most of the reviews that we do, and I did that for the goldfield track shoot. I did all the still send video. [01:17:52] Speaker B: So how do you go, like, with that? [01:17:56] Speaker A: It's hard. [01:17:58] Speaker B: The two kind of shots. [01:18:00] Speaker A: Exactly. Well, the hardest thing is, it's. Is the freaking nds. I hate nd filters. I hate managing them and take them on and off. And I've tried magnetic ones, and I've tried screw on ones and I've just bought, I've just bought these new ones from Nissi. They're, they're true color ones. Look, I mean, hang on. [01:18:22] Speaker C: Is that a variable? [01:18:23] Speaker A: Yeah, it's, yeah, look at dark. [01:18:26] Speaker C: I was thinking about taking one of those to Japan. [01:18:29] Speaker A: Yeah. These, these, you should check the Nissi ones out because they've actually got this thing called the Swift system. And you can, you can push another filter onto the front of the variable. Nd it's interesting. So you can add like filters to it, but. Yeah. Like, what filters do you use for landscape stuff? What do you like? This is, obviously I use this. These are purely for video just so I can cut the light down so I can use the shutter speed that I want to use. So it's, yeah, you know, um, I. [01:18:59] Speaker C: Just got the, like the hundred by 100 Nissi, like the square. So I've got like, yeah, it's like a landscape kit. So I've got the polarizer. I think it's like a three stop, six stop, ten stop. As well as a graduated. Graduated, yeah. For sunsets and sunrises. [01:19:20] Speaker A: Yeah. [01:19:20] Speaker B: So that just go on the front of your lens. Hmm. Like I've seen it, but I've never, never used one. I've got no idea. [01:19:27] Speaker C: Kind of, you can sort of stack them on like it's like a system and it screws onto the front of lens. Kind of like what Justin's got there. But then the actual, the system, I got like eclipse onto that. And then you just put the arm filters in front of that. [01:19:43] Speaker A: So it's like, yeah, I've got like. [01:19:47] Speaker C: One of the older kids. [01:19:49] Speaker A: Oh, yes. That's changed a bit. [01:19:51] Speaker C: Yeah. [01:19:52] Speaker A: Show us more things. Where is it? On a camera? [01:19:56] Speaker B: Hmm. [01:19:57] Speaker A: So is it kind of like that? [01:20:00] Speaker C: Yeah, same sort of setup. Yeah. And then the filters just slide down. [01:20:05] Speaker A: They slide, slide in. Yeah. And so what, like, so that's a graduated. This is a terrible website, missy. Just saying, like, to have to change the, to change them and then. [01:20:16] Speaker C: Yeah. [01:20:16] Speaker A: Back up to see it. [01:20:17] Speaker B: You can't, can't press right or left. [01:20:21] Speaker A: If I make it bigger, I can, but not if it's still, there's no right or left here. [01:20:26] Speaker B: Can you just click right or left? Look at your keyboard. [01:20:31] Speaker A: I'm not using my keyboard just to navigate this website. Do better. Just do better, Nissi. Do better. Sorry. [01:20:40] Speaker B: I'm sure they're listening to our podcast. [01:20:42] Speaker A: They, they will be. You just wait. This will be sponsored in six months. Yeah. [01:20:47] Speaker B: We love you. We love you. Nissi. [01:20:49] Speaker A: We love you, Nissan. [01:20:50] Speaker C: I use it all the time. [01:20:51] Speaker A: Yeah, I buy all your stuff. Come on, sponsor us. Yeah. So what, out of that kit, what, like, what do you use mostly? Is it mainly just to cut down light so you can do, like, seascapes and stuff like that or. [01:21:08] Speaker C: Well, towards sunset you sort of, like, for me, if I was doing like, a seascape, you, you don't need to put a stop on there because you don't want it to be too long. You'd only want to be like, you know, one to 1.3 of a second of a shutter. [01:21:24] Speaker A: Yeah. [01:21:24] Speaker C: Because otherwise it just looks too flat to. It's more just like the graduated filter. It's more like if you shoot in a waterfall in the middle of the day, you would have, like a three or a six on, depending how light it is. And most of the time then you'd be pretty secluded, so you wouldn't have a graduated on because there's not really much sky when you're shooting waterfalls, depending where you are and always got them. The polarizer on. [01:21:54] Speaker A: You always use a polarizer? [01:21:56] Speaker B: Yeah, yeah, yeah. [01:21:57] Speaker A: I barely ever use one. [01:21:59] Speaker C: It just gets, they think I should just, um. That glare, depending on what you shoot, though, like, it gets the glare off the water or pops colors in the sky sometimes if you need it. [01:22:09] Speaker A: Yeah. So this is this swift system that, like, these push on, they, like, stack on to these variable nds, and so you can add another four stop, and then this black mist, which I've never used a mist. Does your kid have a mist thing in it? [01:22:29] Speaker C: No. I've looked at it, though, and I've seen a few people shoot with it and actually looks pretty cool. [01:22:33] Speaker A: What does it do? [01:22:35] Speaker C: It's like you say, it would be awesome for Japan. So it all, um, like, so it's more like if you shooting, like, neon signs and that, it just gives you that a little bit of, like, gaussian blur kind of look to it, I guess you would say. [01:22:55] Speaker A: Let's see this DP review. They always know what, what it is. All right. [01:22:59] Speaker B: Yeah. [01:22:59] Speaker A: Yep. Okay, so it looks bad, basically make your camera look old. Yeah, it's like, if you use a. Yep. Uh huh. [01:23:11] Speaker C: You need to see it, like, shooting, like, a city or something where it's got some neon lights. [01:23:17] Speaker A: It makes a flag move. Yeah, I was gonna say. So it's like, it must have wind. It's got, like, a wind system built into the. Yeah. Oh, so see the lights? See the lights down near the entrance, they get glare and blurry. That's the only difference I could see. [01:23:36] Speaker B: Is that better, though? [01:23:37] Speaker A: I don't know. [01:23:40] Speaker B: Do what? [01:23:43] Speaker A: I can't tell which one has the mist on it. [01:23:46] Speaker B: I think the one that's. That's like the lights of blurry. Oh, has the mist. Yeah. [01:23:51] Speaker A: Is that more mist? That's more mist. Isn't that so less. Missed and, uh. Hang on. No, missed. Missed. [01:24:02] Speaker B: Someone's calling me. [01:24:04] Speaker A: Hang up. [01:24:06] Speaker B: I can't. [01:24:07] Speaker A: Yeah. Okay. Maybe I'll have to try that one day. [01:24:11] Speaker C: Yeah, I'll see if I can find the one I was talking about. But. Yeah, actually, like, I guess if you're shooting that style, you know, it's same as using AI, but just on the front of your camera if you go on for that. [01:24:22] Speaker B: Look. [01:24:23] Speaker A: Interesting. [01:24:29] Speaker C: I think I seen north borders use it. Like, they might use it because they shoot a fair bit of street photography. [01:24:35] Speaker B: Mm hmm. [01:24:40] Speaker A: We. We definitely need to come up with a little photography trip to go on, though. Maybe we'll have to wait till you get back from Japan, though, Grant. [01:24:51] Speaker B: Yeah. [01:24:51] Speaker C: Cool. [01:24:52] Speaker B: We go to Japan. Hey, come now. I can't go to Japan. It's your honeymoon. [01:24:58] Speaker A: I guess we could. Now we could crash the honeymoon. [01:25:01] Speaker B: Yeah. [01:25:01] Speaker A: Oh, hey, do you. Do you. So you said you're just going to take a regular bag, not a camera bag. Mmm. Do you want to borrow a bag? [01:25:13] Speaker C: I've got a camera bag. [01:25:15] Speaker A: Yeah, but do you want to test a camera bag? [01:25:18] Speaker C: I could test the camera bag. [01:25:19] Speaker A: It's a very casual camera bag. I'm going to take it on some trips this year. It's actually. I'll put it a different way. It's actually a pretty bad camera bag, but it's a great travel bag that is also a camera bag, but it's not my favorite camera bag. [01:25:35] Speaker B: How many camera bags do you have? [01:25:37] Speaker A: I don't want to talk about it. [01:25:46] Speaker B: And how many of you sold? [01:25:48] Speaker C: Did you just bump your audio up, Jimbo? [01:25:50] Speaker A: None. [01:25:51] Speaker B: No. No. [01:25:53] Speaker C: You sound very good. [01:25:54] Speaker B: Oh, do I? [01:25:56] Speaker A: This is the. It's the wotencraft backpack. [01:26:00] Speaker B: Oh, yeah. [01:26:01] Speaker A: And it's interesting. [01:26:03] Speaker C: Yeah. [01:26:03] Speaker A: It's got all these add ons and stuff. It's really, like. It's very travelly. It's. There's a lot of flappy bits. [01:26:11] Speaker C: Would you get a travel tripod in there and. [01:26:14] Speaker A: Flappy bit? Yeah. It's got a tripod holder inside it or on the side of it? [01:26:18] Speaker C: Oh, either. I'm only taking a, like, a small one. [01:26:22] Speaker A: It's a tripod holder on the side, but. So it's basically. It's side access. Yeah, it's not. It's not the widest side access. It's. It's sort of hard to get into. But you can also see, like, unzip the sides, or you can unzip the top to get into, like, the bag and the laptop spot and stuff. And you can unzip both sides or the whole thing. It's weird, but. Looks weird. [01:26:51] Speaker B: I can open it. So you could run it, like, a back access. [01:26:55] Speaker A: You could. I don't think you would, but you can. Depends where you end up attaching your dividers to. I think you. If you attach your dividers across ways to access it sideways, then you wouldn't be able to pull it open like that. [01:27:08] Speaker C: I'll give it a go. [01:27:10] Speaker A: Is all the add ons. Like, this is, like, this pocket on the front is a completely separate pocket that adds on, and there's other ones as well. But then also, this whole front bit is completely. It opens right up, and you can add more stuff on the inside of where this front bit opens up, where you can stuff. Stuff in there. Like, I was putting a helmets in there and tails and stuff, you know, like, for traveling, it was very. You can stuff handy. This flap. Yeah, under this flap, there's, like, a passport pocket in here that you don't even know because it's. There's a zip, and it's, like, really flat. And then when that zipped up, you don't even know that that's a little flat. [01:27:52] Speaker B: Yeah. [01:27:53] Speaker A: That no one would. Yeah, it's. It's a very cool travel bag. It's not the most accessible camera bag. [01:28:01] Speaker C: Well, I wasn't gonna take. [01:28:03] Speaker A: Yeah, I was taking that much stuff. [01:28:06] Speaker C: Like, a day con heli bag, like. [01:28:09] Speaker A: A 28 liter, because you're gonna snowboard. [01:28:11] Speaker C: Oh, but, like, three or four days. Yeah. [01:28:15] Speaker A: You're gonna take a backpack. It's probably not the best snowboard backpack. [01:28:18] Speaker C: I was gonna take a backpack snowboarding. [01:28:21] Speaker A: Oh, you weren't gonna bother? [01:28:22] Speaker C: No, that was just gonna be my carry on. [01:28:25] Speaker A: Oh, yeah. Well, you can check this out if you don't take it. Um, that's. Yeah, it's what I plan to take on some trips with. If I'm taking. Just travel. I want to try and make a travel video this year. Like a travel vlog, because. [01:28:37] Speaker B: Yeah, I've always. [01:28:38] Speaker A: I've always watched them. [01:28:39] Speaker B: Yeah. [01:28:40] Speaker C: That's what got me like that. [01:28:41] Speaker A: Well, I think that would be really hard to make and annoying, but I need to just do one and see if that's true or not. [01:28:48] Speaker B: Would it be a van? Life one? [01:28:50] Speaker A: Oh, fuck. I don't even know. I was thinking like, you know, an actual airplane trip. But I do say I am the only photographer who makes videos and has a van in the world that hasn't made any content about it. [01:29:06] Speaker B: Yeah, he didn't. Did you film any of the build? [01:29:11] Speaker A: Nope. No build? No. No van walkthroughs? No. I should probably do something. [01:29:19] Speaker B: You should be good. [01:29:21] Speaker A: You can't really thought about that. I always think about a travel vlog would be like a. Yeah. Would be on an. In an airplane. On an airplane going. [01:29:28] Speaker B: So. [01:29:30] Speaker C: So I'll do it with you. [01:29:32] Speaker A: Oh, yeah. Where we gonna travel to? [01:29:36] Speaker B: Mmm. [01:29:36] Speaker C: Depending what time of the year. [01:29:38] Speaker A: New Zealand. Heli. [01:29:43] Speaker C: That could work. [01:29:44] Speaker A: Helly boarding. [01:29:48] Speaker C: Like, what kind of travel, though? So it would be like, you know, you're out exploring a jungle or just anything. [01:29:58] Speaker A: Anything. I just want to see how hard it is to make a travel vlog and whether it consumes your entire trip and makes it less fun because you constantly think about filming stuff or I. If it leads you on more fun adventures because you're forced to get out. Yeah. Doing stuff, filming stuff, because that. That's usually the case if you, you know, your camera makes you go places. That's what this whole podcast is supposed to be about. So does that happen when you try and film a travel vlog or does it end up just feeling like work and you just relax? [01:30:33] Speaker B: Probably. Depends. [01:30:36] Speaker C: If you enjoy making videos. [01:30:38] Speaker B: It is. Yeah. [01:30:41] Speaker C: And if you enjoy traveling, it's like, you know, you don't work a day in your life if you enjoy it. [01:30:48] Speaker A: It's true. [01:30:49] Speaker B: That's right. [01:30:50] Speaker A: It's true. That's right, isn't it, Jim? You don't work a day in your life. [01:30:56] Speaker B: I don't. [01:30:58] Speaker A: Unless it's a really tough wedding. [01:31:00] Speaker B: Or really hot. Hot. Or. Yeah. Or any other. Very, you know, weather. Variable weather. Very. [01:31:08] Speaker A: Or you don't get fed. [01:31:10] Speaker B: Oh, don't. [01:31:11] Speaker C: Is that a deal they gave me? [01:31:14] Speaker B: That's not a deal. Buy just a gym breaker. Just breaks me. [01:31:17] Speaker A: He just dies. He dies. [01:31:19] Speaker C: Do you see the news article the other week? And the photographer deleted all the photos after he didn't get fed. [01:31:26] Speaker A: Yeah, I didn't see that. [01:31:28] Speaker C: I've seen that. [01:31:30] Speaker A: Yeah, right. [01:31:31] Speaker B: I've been close. [01:31:31] Speaker C: Very, very hungry. [01:31:33] Speaker A: Yeah, I. I could see Jim doing that. [01:31:36] Speaker B: No, I feed myself way too much food before I start. [01:31:41] Speaker A: Yeah. Just in case. [01:31:42] Speaker C: Just where does the best food. [01:31:46] Speaker B: The best food I've had was actually, um. Actually, we were. There was great. There. No, Grant wasn't there. The wedding we had the other day, um, it was pies and salad. It was like gourmet bakery pies and salad, and that was definitely the best wedding feed I've had. I've had some pretty good ones. I was also very hungry, so it could have been that, but I was super stoked. [01:32:16] Speaker C: Yeah. All right. [01:32:18] Speaker A: That was pretty good. They're pretty good pies. [01:32:20] Speaker B: I had two and a half pies, though, so there. [01:32:23] Speaker A: There is something. Yeah. I think one of the big pluses for that is when you're really hungry and you can just get another one instead of just being like, well, that's my meal. [01:32:32] Speaker B: You've got a plate. Yeah, yeah. [01:32:34] Speaker A: And there's different flavors and stuff. It's like, I'll just go, I'll try a different flavor, you know? [01:32:37] Speaker B: Yeah. [01:32:39] Speaker A: Yep. Pies for the win. If you're getting married, just get pies and. And book. Gym. [01:32:45] Speaker B: Good, good pies. Nothing. Not average boss. [01:32:47] Speaker A: Or book grand if it's only 4 hours. [01:32:50] Speaker C: Exactly. [01:32:50] Speaker B: Yeah. [01:32:51] Speaker A: Or book. Book. Don't even do it. Somewhere cool. Like New Zealand. [01:32:57] Speaker C: Just New Zealand destination wedding. [01:33:00] Speaker A: That's right. [01:33:02] Speaker B: Just book me for everything else. [01:33:04] Speaker A: Yep. [01:33:06] Speaker B: Everything. [01:33:07] Speaker A: Yeah, anything. [01:33:10] Speaker B: I will. It's got a paper. [01:33:15] Speaker A: Do you think. Do you think both you guys will be shooting mirrorless before the end of 2023? [01:33:19] Speaker B: Yeah. No. [01:33:23] Speaker A: Gonna get another year out of it. [01:33:25] Speaker B: Yeah. [01:33:27] Speaker A: Drive it. Drive it into the ground. [01:33:30] Speaker B: I'm pretty content. [01:33:33] Speaker A: Drinking, shooting DSLR when. When the next thing comes out, whatever's. [01:33:38] Speaker B: After mirrorless, maybe the day at 50 is pretty good. I'll just be finding them on marketplace for like, a $100 getting them. Because they'll be that old. [01:33:49] Speaker C: You'll be. No, they'll be worth another ten grand in ten years because they've come back around. [01:33:55] Speaker B: Yeah, you gotta. [01:33:57] Speaker A: Around. [01:33:58] Speaker B: They will. [01:33:59] Speaker A: Well, like, film cameras, point and shoots are digital. Point and shoots. People starting to pay more for them because they're like, they've got they vintage look. [01:34:08] Speaker B: Yeah. Like, yeah, okay, now these, like, the good ones, you know, like flagship models and models that kind of changed. [01:34:19] Speaker A: I've got a couple old flagship models right here on my shelf over there. [01:34:25] Speaker B: What is. What have you got? [01:34:27] Speaker A: D two h, d two x, something like that. D two h. I think a canon one. D mark four. [01:34:34] Speaker B: Hmm. And one day mark four? [01:34:37] Speaker A: Yeah, yeah, yeah. One day mark four. They suck. Like, they're fucking terrible cameras. Yeah, they were great when they were out, and they still feel awesome in your hand, but if you try and shoot with one now, you'll be like, like, maybe. [01:34:56] Speaker B: Maybe needed to do a comparison on the d two h versus the dear. [01:35:00] Speaker A: 50, if you want. It'll be a pretty straightforward comparison. Comparing. I don't know. I don't even know what to compare it to. But, yeah, it. I get nostalgic and I'm like, they're still good cameras and you don't need more than, you know, twelve megapixels or whatever, so what does it matter? And then you shoot with it and that you remember, like, how bad the ISO, you know, like anything over, like an 800, 800 and then. Yeah, and it's slow. And I, you know, just how you have to navigate the. Anyway, it's how tightly grouped the focus points are in the center of the frame. [01:35:38] Speaker B: It's this tiny little thing. [01:35:41] Speaker A: And it's sad because photography, I can imagine what people that shot mostly film in their career would be thinking. They're like, these. These people have no idea how hard it used to be. And that's 35. Near as bad. But. But even going from DSLR, like, old dslrs to mirrorless now, you're like, you could literally just. You can see exactly what you're about to take a photo of. And then you can put it in auto at 30 frames a second with no buffer and just, just blaze. Just blaze away and there'll be a photo in there somewhere. So the hardest part of modern photography is literally culling through the photos. [01:36:24] Speaker B: Hmm. But you definitely get different moments, though. [01:36:29] Speaker A: Yeah, yeah, I think so. [01:36:32] Speaker C: But to double back, though. Sorry? With your travel video. [01:36:40] Speaker A: Oh, yeah. [01:36:41] Speaker C: What do you want to get from that? Like, do you just want to see how hard it is or do you want to get into that? [01:36:47] Speaker A: I would get into it if it was fun. And, like, part of me always wants to do it. When I. When I watch other people's travel videos, I'm like, I should do this. I could make these videos and it would be fun, and I like to travel. But then I tell myself they would work really hard to do this, and a lot of it wouldn't be as fun as they make it look because they're constantly having to set a camera up and then walk back and then walk past the camera and then walk back and pick the camera up and then walk away. And then they have to film themselves opening a door, and then they have to go inside and put the camera somewhere, and then they have to go back out the door and then walk through the door and get the other shot and all that sort of crap. I don't really want to do that. [01:37:26] Speaker B: Why don't you do more of like a vlog style? [01:37:28] Speaker A: Yeah, well, and that's, and make it. [01:37:30] Speaker B: Like a less, make it easier. [01:37:32] Speaker A: Hard to film. They're still hard to film and they still take a lot of energy and you can't just go about your day and have a good old time and also capture the whole thing, so, but I do want to try and do it, so I've got to the point where I just, I have to make one because I keep talking myself out of it and then I fell back into it. The only way, you know, is actually you've just got to do it. You got to make one and then see if it was hard or not or see if it was fun, see if the work was worth it when you press upload. And because that's what, most of the time whenever I upload a video, I'm like, that was fucking so worth it. Very excited for the outcome of video. Even though the editing takes forever and they can be really hard to shoot, I still love it. [01:38:19] Speaker C: Do you get nervous, though, when you upload it? [01:38:23] Speaker A: No, not usually, because I've usually watched it 16,000 times, so it's just time. It's not, not so much nervous, it's more like excited. Like, you want to see if anyone else likes it. Does it get many views? And, you know, it's fun to see if they're, if they're getting views because. [01:38:42] Speaker C: I definitely know when I press send, if I do a wedding, I'm like, I'm terrified. [01:38:49] Speaker A: Wow, that's kind of different because, yeah, it's their special day and you, as much as you can communicate with them, you don't know exactly what they're thinking and what they want, whether you've captured it or nothing. So there is always that little bit of, well, I hope, I hope I did what they wanted. I did what I can do and what I always do, but I hope that's what they wanted, because sometimes maybe they had a different expectation. Yeah, it's always a bit scary. [01:39:16] Speaker B: They also see things, like, differently. Like, they have experiences on the day that they saw things through their eyes, and then you're trying to, like, you're seeing it through a camera with lenses and stuff where there's different perspectives and. Mmm. [01:39:30] Speaker A: Yeah, yeah. That, that cascades trail video that, that I made for flow has 27,000 views. [01:39:39] Speaker B: So that's, whoa, that's awesome. [01:39:41] Speaker A: It's them most viewed tourism one. [01:39:45] Speaker B: Mm hmm. That's great. [01:39:46] Speaker A: Like, it's like, yeah, 20 00 30 00 50 00. It's gonna play. [01:39:52] Speaker C: Hidden thousands, though, is pretty good. [01:39:54] Speaker A: Yeah. I mean, it's not on my channel, but. Yeah. [01:40:00] Speaker B: You did good work, though. [01:40:02] Speaker A: It was a good video. Yeah. Of the three that I did, that was definitely my favorite one. [01:40:08] Speaker B: The other one, if it was just a company you had, maybe. [01:40:12] Speaker A: Maybe it was because you were there. I don't know. [01:40:14] Speaker B: Maybe I bought your shooting up a level you met. [01:40:17] Speaker A: You might have. Maybe. You'll have to do more mountain bike shoots next year. Just quick. [01:40:21] Speaker B: I mean, the next year. This year. [01:40:25] Speaker A: This year. Yeah. [01:40:26] Speaker B: I forgot this. [01:40:28] Speaker A: This. [01:40:29] Speaker B: Yeah, next year. 20. 23. 23. [01:40:33] Speaker A: Yeah, this year. [01:40:34] Speaker B: Yeah, next year. 2023. I'm down. [01:40:43] Speaker A: Should we leave it there? Is that it? Is that. Is that an episode? Should we wrap this thing up? [01:40:48] Speaker C: Do we get a guest next time? [01:40:50] Speaker A: Look, we might have to do a few of these. We'll be doing weekly. For those of you listening, we didn't do the intro. [01:40:59] Speaker B: They're like, who are we? [01:41:01] Speaker A: We don't do that on this podcast. They'll figure it out after ten or 20 episodes. I'll start. [01:41:05] Speaker B: Why did you make it a dot point? You did this. [01:41:10] Speaker A: I'll be bringing it up in the next few episodes. At some point, I'll introduce you guys and maybe myself. But for those of you that did make it this far through the episode, we'll be doing these episodes weekly until Jim or Grant stop coming, in which case it'll just be me. [01:41:25] Speaker B: And then we'll also, hopefully, between all of us, we'll all be here. [01:41:29] Speaker A: We'll be getting guests. We'll be getting guests that specialize in different types of photography, like nightscapes, landscapes, people, all the scapes. And that's the plan. [01:41:44] Speaker B: Maybe some video people, too. [01:41:46] Speaker A: We will be getting a video person on. We hitting a real estate photographer on who's built a business of real estate photography. Yeah, I know a guy. We're getting everyone we can get and then more. It's gonna be fun. [01:42:04] Speaker B: I got some. Yeah, I got some fun people ideas. I like this. [01:42:07] Speaker A: Mmhmm. All right, put them in the notes, and we will see all of you next week. [01:42:15] Speaker C: Goodbye. [01:42:16] Speaker A: Goodbye. [01:42:18] Speaker B: Goodbye. Bye.