[00:00:01] Speaker A: Welcome to the Camera Life podcast. Tonight on the Random Photography Show, Leica takes the Rangefinder. Rangefinder. Well out of its rangefinders, Tamron releases a super zoom and Fujifilm forgets what model number it's up to.
And we're late.
Yeah, sorry, guys.
[00:00:23] Speaker B: We're consistent.
[00:00:32] Speaker C: Soul in sight.
[00:00:33] Speaker B: The camera whispers. Hold it tight.
Click.
[00:00:37] Speaker D: Click.
[00:00:37] Speaker B: Moments.
[00:00:38] Speaker D: Breathe.
[00:00:45] Speaker B: Remix.
[00:00:55] Speaker A: Well, well, well.
[00:00:56] Speaker C: Good evening, everybody, and welcome back to the Camera Life podcast, proudly brought to you by Lucky Straps. This is the Random photography show, episode 127 on the 27th of October. Where's October gone? It just feels like it.
It's gone.
[00:01:12] Speaker B: It's gone.
[00:01:13] Speaker C: It's done.
[00:01:13] Speaker A: It's gone.
[00:01:14] Speaker C: Yeah, it's done. Like Justin's song. It's skipping all over the place, boss.
[00:01:18] Speaker A: Is it? Hey, it sounds good for me. Must be the. The Internet.
[00:01:22] Speaker B: Me too.
[00:01:22] Speaker C: You've got a party going in your own head.
[00:01:25] Speaker A: What a shame, Skip.
[00:01:28] Speaker C: But yeah. Welcome back, everybody. Good to have you here.
G', day, Jim. G', day, Justin.
[00:01:33] Speaker B: Hey, Greg, how are you?
[00:01:35] Speaker C: I feel a little left out, but we'll get to that later.
[00:01:38] Speaker A: Why?
[00:01:39] Speaker C: I couldn't tell you.
Hey, boss, do you want to say good evening to some people?
[00:01:45] Speaker A: I do, I do, I will. First I want to find out what did the music sound like for you guys? Apparently was skipping everywhere.
Yeah, Dennis says classic. I'm on my own in the studio swaying like a nut. Hopefully it wasn't to to terrible music.
Glenn, Lavender's here. Hey, Glenn, Lavender. What's up? Paul's here.
Well, it took 19.6 hours, but something eventually good. Eventually came of a Monday. Oh.
[00:02:10] Speaker C: Oh.
[00:02:10] Speaker A: Have you had a bad day? That's no good.
[00:02:12] Speaker C: Sorry, mate.
[00:02:13] Speaker A: We're here now.
[00:02:14] Speaker C: Give us a call. Give us a call. We're at therapy line as well.
[00:02:17] Speaker A: Calling on the live.
Live calling number 048-55-13. 70. Do you think Leica should have a no range finder in its rangefinders? Ian Thompson. Good evening. Bruce Moyle. Good evening. Back from the USA and ready for the show. Good to have you back, Bruce. How was it? Yeah, how was Hawaii?
Philip Johnson just needs a new alarm clock. Look, we had some technical difficulties.
[00:02:42] Speaker C: You've still got tech difficulties.
[00:02:44] Speaker B: Yeah, you're glitch crackling.
[00:02:46] Speaker A: I'm glitching?
[00:02:48] Speaker B: Yeah, you crackle it.
[00:02:49] Speaker A: All right, I'll go out and come back in because I'm fine on my end. So it must be the Internet or something. You guys keep talking to the peeps.
[00:02:56] Speaker B: Yeah, it sounds like a you problem.
[00:02:59] Speaker C: Bye.
[00:03:00] Speaker A: Bye.
[00:03:02] Speaker C: Do you want to carry on, Jim?
[00:03:04] Speaker B: I don't know where we're up to.
[00:03:05] Speaker C: I don't know.
John Pickett. Do we say good day to John? Anyway? Let's say good evening, John. G', day, John.
[00:03:12] Speaker B: We're going up. We're going up. Sorry.
[00:03:14] Speaker C: All right, you take over because otherwise we're just doubling up on stuff.
[00:03:17] Speaker B: Oh, Seymour. Bushes here. Yeah, we got Dennis here.
You have me at likers.
[00:03:23] Speaker A: Am I better now?
[00:03:26] Speaker B: It wasn't all the time. It was just occasionally that you would.
[00:03:28] Speaker C: Yeah.
[00:03:29] Speaker B: Crackle.
[00:03:30] Speaker D: Yeah.
[00:03:30] Speaker A: Damn. Oh, well, we'll see what happens.
Where do we leave off? Have we spoke to Robert Varney yet? Hey, Robert. Early morning in New Jersey.
Even. Even your cock isn't awake yet. Well, that's okay.
Greg Carrick in the house.
Who else?
[00:03:49] Speaker C: That happens when you reach a certain age, so it's fine.
[00:03:52] Speaker A: Philip Johnson says. Oh, dear. I feel a Fuji overload is cometh. Yes, you know it, Philip. Probably is.
Neil Leach. Good evening. David Leporardi. Good evening. Oh, yeah, I've got to download your photos. If anyone has any more photos. Photos to send in.
We've got tons tonight, so send them on
[email protected]. we'll look at them at the end of the show. Got some very cool ones lined up for tonight.
You sent me some? Okay, well, yeah, we'll get that sorted. Lisa Leach. Thanks for sending your images through. Good evening. She says, good evening, gentlemen. We're gentlemen. Maybe that's because of our vests.
[00:04:29] Speaker C: Maybe I don't have one. That's why I feel left out.
[00:04:31] Speaker D: But it.
[00:04:32] Speaker A: John Pickett. And finally, the one and only Seymour Bush. Hey, Seymour, new camera I want.
[00:04:41] Speaker C: Which one we'll get to?
[00:04:42] Speaker A: Yeah, that's a good question. Which one?
[00:04:44] Speaker D: Yep.
[00:04:46] Speaker A: What's been going on? What have you guys been up to?
[00:04:52] Speaker C: I don't know. Well, I haven't been shopping at the same store as you two boys, but been getting out, doing a bit of street.
[00:04:58] Speaker A: The photographer store.
[00:05:00] Speaker C: The photographer store, yeah.
[00:05:02] Speaker A: Graphite.
[00:05:03] Speaker C: Legit. Legit.
[00:05:05] Speaker B: Genuine. Genuine.
[00:05:07] Speaker C: But yeah, no bit of street photography.
We're still doing renovations here. It's just. Goes on and on, and every time they peel back a layer of something, they find something new.
[00:05:18] Speaker B: I must say, the.
The.
The colors in the other shoot from the shoot the other day were quite nice.
[00:05:25] Speaker C: Oh, thanks, man.
[00:05:27] Speaker B: Disappointing to say, but they were not.
[00:05:29] Speaker A: What does that mean? Disappointing to say.
[00:05:31] Speaker C: It's a. It's a bitter pill for him to swallow to admit that Fujifilm colors are exceptional.
[00:05:36] Speaker B: Oh, I said Nice.
[00:05:38] Speaker C: Well, I heard exceptional. What did everyone in the chat here. I heard exceptional. Bruce, Dennis, help a brother out here. You heard exceptional, right?
We've got a big show tonight, lots of news.
[00:05:49] Speaker B: Dennis says still scratchy.
[00:05:52] Speaker A: Yeah, but that was from before. I might be. How do I sound to you guys?
Perfect.
[00:05:59] Speaker C: What have you been up to, Jim?
[00:06:02] Speaker B: Crazy shooting. Editing.
I just. Yeah, I haven't stopped, actually. It's been manic lately.
[00:06:11] Speaker A: What sort of shoots, other than our. Our moto shoot? What sort of shoots?
[00:06:16] Speaker B: I had headshots the other day for a real estate agent where we shot, I don't know, like 30 staff or something in a day.
[00:06:23] Speaker C: Wow.
[00:06:24] Speaker A: If this was a gun podcast, that would be. That would be terrible.
[00:06:28] Speaker C: Yeah. Horrible outcome. Oh, a good outcome. Who knows?
[00:06:31] Speaker A: Yeah, someone was gonna say, yeah, 30 headshots. I didn't realize it was that.
That's a decent amount.
[00:06:41] Speaker C: That's a decent office.
[00:06:42] Speaker B: Yeah, it was a lot. And we haven't finished. We've got to go back for probably another day or another, like, half day shots, so it's.
[00:06:49] Speaker C: Nick.
Sorry, what?
Why are you going? Because the first ones, you realize you're going back with a Fujifilm, no doubt.
[00:06:57] Speaker B: No, just because people are away and stuff. It's a lot of stuff to coordinate.
[00:07:02] Speaker A: Yeah.
[00:07:02] Speaker B: So we'll go back and. Yeah, shoot a few more.
[00:07:06] Speaker C: Cool.
[00:07:06] Speaker A: That would make it tricky.
[00:07:08] Speaker B: And then a wedding on the weekend, too, which is pretty cool.
[00:07:11] Speaker A: Oh, yeah.
[00:07:13] Speaker C: Was it a bit like a full day? Like a big day?
[00:07:16] Speaker B: Yes, 10 hours. And then I stayed for like an extra hour.
[00:07:20] Speaker A: He had his own place at the table. Like a little name placard and everything.
[00:07:24] Speaker C: Oh. So was it. Was it for a friend or. That's just.
[00:07:26] Speaker B: No, they rolled. No, no, it's just how they rolled. I got. I got an entree, a main, and dessert.
[00:07:32] Speaker C: What?
[00:07:33] Speaker B: Yeah, yeah.
[00:07:34] Speaker C: Did you get to give a speech? He must have given a speech at this point.
[00:07:37] Speaker B: Close to. Close to.
[00:07:40] Speaker C: Yeah.
[00:07:40] Speaker A: Yeah. Entree, main. What was the. What was the dessert?
[00:07:46] Speaker B: Well, I got the three. I know, three little tasting cakey things, but there was like an apple crumble, something with ice cream. It just looked pretty good.
[00:07:57] Speaker C: And what about the main? Did you get the chicken or the beef? I got the chicken or the vegan?
[00:08:01] Speaker B: No, I got the chicken wrapped in prosciutto. So look, it was meat and that's all I needed at that time.
[00:08:06] Speaker C: Yeah.
[00:08:06] Speaker D: Yep.
[00:08:07] Speaker A: Yeah. Not like when we used to both be there and he would make me swap the steak for the chicken. Every time he'd blame it on his Lactose intolerance tolerance.
It's got cream sauce on it. I can't have it. I have to have the steak. Yeah, well, I can't eat it. Next day, he's chugging a big M. I'm like, what?
That.
[00:08:27] Speaker B: That never happened.
I can't drink milk.
[00:08:30] Speaker A: Okay, yeah, maybe. I've seen you. I've seen you eat cheese.
[00:08:36] Speaker B: Yeah, cheese is fine.
[00:08:38] Speaker A: Okay.
[00:08:38] Speaker D: Yeah.
[00:08:39] Speaker A: The rules all seem to change around a little bit, depending on what they do.
[00:08:42] Speaker C: They do.
[00:08:44] Speaker A: All right, should we.
[00:08:45] Speaker C: What have you been up to, Justin?
[00:08:47] Speaker A: What have I been up to? Look, nothing super exciting.
I've been just recovering from a couple of big weeks and just trying to catch back up on stuff, so, you know, trying to make the podcast go.
Speaking of which, look at Elena. She's. She's upset. She says, speaking of headshots, why don't photographers often update their own? And that's a good question. I don't know when the last time I had a new photo taken was for photographic purposes. But, yeah, we should all. We should all do that for each other regularly, I think.
[00:09:15] Speaker C: I think while Glenn Lavender's in the chat, we should point out that the headshot that he sent us for his interview on this show was from about 20 years ago, because then when I met him in person, I didn't recognize him at all.
[00:09:27] Speaker A: Is this Glyn's dad?
Yeah.
[00:09:31] Speaker C: But, yeah, no, you're right, Yolani. We are terrible. Like, we do the headshots that we've taken or used for the thumbnails for the 10 years ago. He says, for the thumbnails? Yeah. I really dislike mine, but I haven't bothered to take new ones and send them through.
[00:09:47] Speaker A: We should try and update them, because it's like, my recommendation to any photographers, if they get a chance to update a photo of you holding a camera is brilliant for other people to use to market you. If you're going to be on a podcast, we all want a shot of you with a camera because it helps tell the audience you a photographer.
[00:10:06] Speaker C: So I still use that photo you took of me at B last year holding a camera standing in a river.
[00:10:12] Speaker A: I use the version that I recolored from black and white using AI. Yeah, I think it looks better than. It looks better than the original colors.
[00:10:20] Speaker C: Whatever.
[00:10:22] Speaker A: It's how I process all my images now. I shoot them in color, convert them to black and white, then put them into AI to bring them back to color, and it just gives them that.
[00:10:29] Speaker C: Extra pop, and I think the people can tell.
[00:10:32] Speaker A: Yeah.
All right.
[00:10:34] Speaker C: Should we get stuck into it.
[00:10:35] Speaker A: Yeah. We should quickly go through some comments and then going on here.
[00:10:41] Speaker B: This sounds like a lot of news and rumors.
[00:10:44] Speaker A: It's mostly new camera news.
[00:10:46] Speaker C: Yeah, it's just a lot of links.
[00:10:47] Speaker A: Jim, you're obviously right up with it all, Jim. All the new cameras that have come out.
[00:10:52] Speaker B: Yeah, I'm reading it now.
[00:10:54] Speaker A: I was gonna say, we'll get you to lead off the news segment for us.
Tell us about all the new cameras.
[00:11:00] Speaker B: That's all we should do. That would be funny.
[00:11:02] Speaker A: It would be funny.
Whoops. Sounds not.
[00:11:08] Speaker C: All right. There it is.
[00:11:09] Speaker A: There it is. Let me get to the YouTube comments first because there was only a few this week, but there were some good ones because, you know, the YouTube is a growing.
[00:11:20] Speaker B: Bruce says he hates photos of him holding cameras because it feels really cliche.
[00:11:25] Speaker A: We need them. It doesn't matter. It's not, you know, it's a podcast. It's not a, you know, an art project. Doesn't matter. It's allowed to be cliche.
Okay, let's start back.
[00:11:37] Speaker D: What do we got?
[00:11:39] Speaker A: Six days ago, Dennis Smith.
Loved watching this back. Great images, Greg. And the term cock and Cox have never been in the sentence with me in it before. Yay.
Never.
[00:11:52] Speaker C: We did use. We did use it a lot, I must say.
[00:11:55] Speaker A: That was on last week's random show. Yeah.
[00:11:58] Speaker B: Yeah.
[00:11:59] Speaker A: Thanks, Dennis.
At the Gaz 9. Three days ago.
The camera life. Oh, no, I have to start here.
So this was from our episode with Louise Sedgman, the art of equine Photography, where we spoke about way more stuff than just equine photography. If you haven't listened to that episode yet, definitely worth a listen. We basically. Louise gave us a blueprint for a profitable Christmas Santa photography business. High volume, walked through every step of it. We come up with ideas for mobile pet photography studios. We did talk about equine photography. What else we talk about, Greg?
Everything.
[00:12:42] Speaker C: Everything.
Very holistic person. So there was like, you know, she's got her photo creative, which is a workshop arm. She's got the Drew and. Drew and Santa photos. She's got.
[00:12:52] Speaker A: She's doing overseas. Overseas workshops. Yeah. For the first time. Two of them. For the first time. She doesn't have a passport. She's already sold out two overseas workshops. She will have a passport. It's in the works. Yeah, but the workshops sound or they're more like. They're like workshops slash tours. They sound like a.
An experience in. Where she going to. Starts with Brocco. I was going to say Madagascar.
[00:13:18] Speaker C: Close.
[00:13:19] Speaker B: So do you want to do a Santa workshop this year, Justin?
[00:13:24] Speaker A: I think we would need Greg to be Santa and we'd have to hit the button on that right now. But if we had a space to do it in, we could get a space. Because you'd want to do it in a space. The way that she talked about it, like inside controlled light, very fast, like one and done photo kind of set up. Not like mini sessions, which is a whole different thing. The mini session things is awesome, but it's a different offering from what she was doing anyway. Yeah, go back and listen to that. Very cool. But this comment from the Gas9 was sad face, no reggae rhythm. And yes, we did. I used the original intro song for that episode and I wanted to see if anyone missed our new AI song. And they did notice.
And Gaz says it's actually a good tune. Speaking as someone from that part of the world worried about the music industry right now. Yeah, I, you know, sorry that we're contributing to that.
On last week's show, David Mascara says, B FOB looks like a blast. I'm sure you meant befop. And it was a blast.
[00:14:26] Speaker C: It was. It was crazy.
[00:14:28] Speaker A: And.
Oh, what's this one? Louise Edgman, the music comment at Nikki C. Martin three days ago. It hasn't even started yet. And you've made my day watching you three swaying to the elevator music.
Yeah. Intros are a bit weird for YouTube.
[00:14:44] Speaker C: Yeah.
[00:14:44] Speaker A: But that's okay.
[00:14:45] Speaker C: We love it.
[00:14:46] Speaker A: And finally, on a short that I made, is the Nikon Z8 actually worse than the Z7 II?
That was from our episode. A short from our episode with Ben Mays.
[00:14:58] Speaker C: Ben Mays, Yeah.
[00:14:59] Speaker A: Because he prefers the Z72 to the Z8 for his landscape photography. And this short is about why it is better for certain things. And I don't understand this comment. Z72 got 2 times 6x speed motors. Is that slower than the Z52?
I'm not sure. John Mulder. I don't know. Yeah, maybe someone that's tried the Z72 and the Z52.
Is the autofocus slower on one or the other or are they very similar? I'm not sure.
[00:15:29] Speaker C: And the other amazing thing about Louise is that she's only just gotten a Z8.
She's been shooting DSLR this whole time.
[00:15:36] Speaker A: She has.
[00:15:37] Speaker C: Pretty amazing.
[00:15:38] Speaker A: She's a holdout. A DSLR holdout. She's been shooting on the D5. Yeah, just. Just killing it on the big camera.
[00:15:46] Speaker C: Yep.
[00:15:46] Speaker B: Yep. So they're a good thing.
[00:15:50] Speaker C: Very interesting.
[00:15:52] Speaker A: All right. I've got to unplug my big lacy hard drive. It's making a weird noise. You guys might even be able to hear it. It's like buzzing.
[00:16:00] Speaker C: No.
[00:16:03] Speaker A: That'S better.
Come on.
[00:16:05] Speaker B: Camera as the focus.
[00:16:10] Speaker C: All right, let's talk about some new cameras, shall we?
[00:16:13] Speaker A: Okay.
All right, what's been released? What's been released this week?
[00:16:23] Speaker B: Which camera brand do you want to start with?
[00:16:25] Speaker C: I've got all the.
[00:16:27] Speaker B: The Fuji film.
[00:16:28] Speaker A: Let's talk about Fujifilm. Greg, what's going on there?
[00:16:31] Speaker C: Well, so Fujifilm, this has been long rumored and it's, it's something that I don't understand. Maybe other Fuji shooters. Greg Carrick, help a brother out, let me know what you think. But basically Fujifilm, back in the day, the XT series was their flagship model. So it started with the XT1 which came out after the X Pro one went up to 2, 3, 4 and 5. Is the current flagship photography Fujifilm X series APS C camera.
But then a little while ago they started releasing kind of entry level versions of the XT series. So for the XT1 they released an XT10. For the 2, the 20 for the 3, the 30, they skipped the 4. So they went from a 3 to a 3 mark 2, sorry, XT30 to an XT30 mark 2. And then they launched the XT50 which was so close to being flagship quality that it was almost the same price as the X T5 flagship cameras.
[00:17:25] Speaker A: Everyone keeping up in Australia, it was the same price for a little while because it was. Yeah. Where it was, they were literally the same price and everyone was like, which one do I buy?
[00:17:33] Speaker C: Yeah, well you go to the better one anyway, so.
[00:17:35] Speaker A: Okay, so you're up to the XT50. We went 30, 32, 50, 50.
[00:17:40] Speaker C: So then Fujifilm, it's been rumored for a while on the rumored sites and I'd heard some rumblings around the place that they were bringing out another entry level XT which is going to be the XT 30 Mark 3, which makes no sense to me. So they, they completely jumped the XT40, went to an XT50, now they're backtracking to an XT30 Mark III. And I don't know of many other brands that kind of, that sort of backtrack like that with, with their naming. I know it's just a naming convention and it really shouldn't matter, but it's, it's confusing for people that are looking at investing in the brand. Should I get an XT30 Mark III? T50 or should I go to, you know, whichever camera I go to. So it's. It's really quite confusing, you know, and obviously I love Fujifilm.
[00:18:28] Speaker A: Obviously.
[00:18:29] Speaker C: Obviously.
But it just baffles me sometimes when these sort of things come about that it just doesn't.
[00:18:36] Speaker B: Doesn't make sense to me is, forgive me, Greg, because I know nothing but.
[00:18:44] Speaker A: A long time ago, Jim's smartest thing.
[00:18:45] Speaker B: You'Ve ever seen is. Is like the XT30 similar to an XT3 and then is the 5 similar to the 50 or are they. Yeah, like, as in the comparable differences are like. Yeah, like a Z8 would be. And then if you had a D850, they're a similar, you know, similar sensor.
[00:19:06] Speaker C: Yeah.
[00:19:07] Speaker A: What are the. What are the differences between the XT33, which I like to call the XT33. Yeah. And the XT50.
[00:19:17] Speaker C: So the XT50 has an X Trans 5. It's the latest processor. It has a 40 megapixel sensor. And I'm pretty sure it's also got IBIS. The XT30 is sticking with the 26 megapixel sensor.
[00:19:29] Speaker A: The XT33.
[00:19:31] Speaker B: Is that what the XT3 had?
[00:19:33] Speaker C: Like, yeah, they've started 26, like Gen 3 sensors.
And so I think that's what they're doing. They just. It's like, we've still got this sensor.
We can't go to an XT40 because really we should bump up the sensor specs. So let's just keep it at the 26 megapixel foot. Like, you know, it's a great sensor. It's been in a lot of cameras.
[00:19:53] Speaker B: Sounds like it makes sense then.
[00:19:55] Speaker A: Yeah, but the naming conventions don't.
[00:19:57] Speaker C: Yeah, I skipped the 40 and went straight to the 50.
[00:20:00] Speaker B: But what the 40 got, like, sorry, what's an XT4 sitting between the 26 and the 40? Is it like in the middle somewhere?
[00:20:10] Speaker C: The XT4? I think it's still a 26. I don't think it jumped to the 30.
[00:20:13] Speaker B: It doesn't make sense.
But maybe they're selling, you know, they've made, they've built the XT30 name. So, like, let's just keep running that.
[00:20:23] Speaker C: I think, I think that makes the most sense. Jim, I think you've hit the nail on the head there. I think that people find that the XT30 series is excellent for entry level.
And so they're going, well, people recognize this.
They've had a lot of sales of the XT 30 mark 1 and 2 and it's like, well, let's keep the rhythm going, let's entice people to actually step up a little bit. But the problem is that the Jump from the XT30 Mark II to the XT30 Mark III is very minimal.
You get some sensor improvements, you get some more film sims, but mostly you're still kind of running with the same kit.
So it's a, it's a generational refresh, I guess.
[00:21:02] Speaker A: XT30. Rick Nelson says XT33 is placed between the XM5 and the X50. Weirdly. Exactly.
[00:21:10] Speaker C: Yeah.
[00:21:10] Speaker A: XT50.
[00:21:12] Speaker C: Yep.
[00:21:15] Speaker A: That's where it just doesn't fit the naming conventions at all.
[00:21:20] Speaker C: Yeah.
[00:21:21] Speaker A: So it's. XT5 is the flagship kind of. Of this product, of this product line. Essentially. Essentially the DSLR style looking. What do you call that, that shape. Not rangefinder style, the other style.
[00:21:35] Speaker C: Oh, well, it's got like the mirror box.
[00:21:37] Speaker A: Yeah, yeah. So. So that style body. There's the, there's the XT5 flagship, soon to be replaced, probably XT50, almost the same price as the XT5. Hard to know why to buy it.
Yep.
[00:21:50] Speaker D: So.
[00:21:50] Speaker C: So the XT5 has dual card slots and weather sealing. The XT50 doesn't have those things, but there's very little else different.
[00:21:58] Speaker A: Yeah. Then. Then you drop down to the new XT33 that doesn't fit in at all. And then you drop down to the XM5 that has no. When I say doesn't fit in. Doesn't fit in with its, with its own conventions, it's naming conventions, not its specs or whatever. Its specs probably fit in just nicely. And then the XM5 goes to. No viewfinder.
[00:22:21] Speaker C: The XM5. Yeah, no viewfinder, no viewfinder.
[00:22:24] Speaker A: And the XM5 is kind of below both the X E5 that you have and the XT33. It kind of both of those drop into that one model. No viewfinder. XM5, is that right?
[00:22:39] Speaker C: Give or take. Yeah.
[00:22:40] Speaker A: We need to build a Fujifilm family tree for them maybe. Or like one of those.
Well, we've got our vest on one of those detective show with the red string connecting all the different dots. And we like, we figured it out. This is how Fujifilm will name their future cameras.
[00:22:58] Speaker C: So the XM5 doesn't have the viewfinder, it's got a screen and it's got the screen that. It's video centric, basically a vlogging camera. It's got the screen that sort of folds out.
What's that Horizontally on a vertical axis. And that's why I didn't like it because it doubles the footprint of the camera when you're taking shots right from the screen. But it has the exact same sensor and processor as this new XT30 Mark III.
It's 100 bucks cheaper, give or take. Oh no, that's US dollars. So it's about 150 bucks cheaper.
[00:23:30] Speaker A: The XM5, it, it seems very.
This little product segment that they've got that, that 1500, basically everything above the X half.
[00:23:45] Speaker C: Yeah.
[00:23:46] Speaker A: If you lop off the X half at one end and just slide that away and then you lop off the X Pro at the other end and slide that away. They've got a very tight range of products in that, in that like a thousand dollar price gap in between those two cameras from 1500 to what sort of sells is two and a half thousand Australian dollars. But probably they probably retail closer to three. There's a lot of models in that area.
[00:24:13] Speaker C: It's really dense and I believe it is dense. And I reckon the reason why they're doing it is that there's different markets that take up different products.
So we know that the xm5 and the x half have actually proven to be quite popular, which surprised me.
[00:24:29] Speaker A: There's a lot of X halves for sale on.
[00:24:31] Speaker C: There is a lot for sale, but in Asia they're really popular.
So especially with youth markets. And same with the XM5. It's small, it's portable, it's a vlogging camera. What does it shoot like 6.2k granted, with a slight crop. But it's, you know, it's a handy and it's a portable camera. It's tiny.
[00:24:48] Speaker A: I use that same excuse about the podcast when people ask about our numbers on YouTube. I say, yeah, but we are, we're really popular in Asia.
[00:24:55] Speaker C: Yeah, with the youth. With the youth, yeah.
But it's true there are market segments and you know, Fujifilm is trying to eke out every little market segment that Canon and Nikon currently aren't dominant, dominating. They're trying to like pinch a little bit of market share here and there or enter new markets like China that traditionally didn't have this sort of retail experience. You know, it's only in the last sort of probably 10 years that they've really taken off in that space.
[00:25:21] Speaker A: Yeah.
[00:25:22] Speaker C: So yeah, I think what Jim said is probably the most accurate reason why they've stuck with the XT30.
He's got that photographer thing on. He must know what he's talking about. But look, at the end of the day, it's another great camera. It's, it's affordable. It's 1700 Australia for the body only. It does come with a kit lens. But I, I would say don't get the kit lens.
[00:25:45] Speaker A: Yeah, you would say get a nice little pancake of something.
[00:25:48] Speaker C: Just get a little, just get the 27 or the 23 pancake. Yeah, they're just, you know, they're good. You don't have to muck around with poor quality lenses.
[00:26:01] Speaker A: Yeah, just, just quickly before I lose this comment from Glenn before. You probably won't mention it in the new gear section, but the Tamron 25 to 200, 2.8 to 5.6 just arrived and it's a nice piece of kit. We will mention it because it's on our list because we're professionals and we go over all the news.
But when we get to that section soon, Glenn, you should call in and tell us all about it. Calling on the live calling and give us a little heads up. But not yet.
We'll tell you when soon.
[00:26:27] Speaker C: Because Glenn's a Tamron man now.
[00:26:29] Speaker A: He is, he always has been. But now he's a Sony man.
[00:26:33] Speaker C: Oh, that's right.
[00:26:34] Speaker A: So you can actually use mirrorless Tamron lenses because he was stuck with the like DSLR style stuff, you know, because he. Yeah, so anyway, because Canon didn't do Tamron. Long story. I'm sure he could tell us. But yeah, Sony man Greg Carrick says stock clearance. They've got too many 26, 26 megapixel sensors. Yeah, they're trying to get rid of them. Yeah.
John Pickett. What about the difference between the XT33 and the XE5? Is it just viewfinder location?
You're right. Fusi is quite. Fuji is quite confusing for non Fuji users.
[00:27:11] Speaker C: Can be, yeah. There's a lot of models, you know.
[00:27:14] Speaker B: Yeah.
[00:27:15] Speaker A: So. So the difference between the XT33 and the XE5 is more than that. The XC5 has the bigger, the bigger.
[00:27:23] Speaker C: Megapixel 40 megapixel X processor 5 and IBIS.
[00:27:29] Speaker A: So the X E5 is closer to the XT50.
Somewhere between the XT50 and the X T5. It sits in that range finder viewing viewfinder location, smaller body, smaller grip.
[00:27:47] Speaker C: And I've been out shooting with the XE5 a lot recently and obviously I took it to BFOP and used it there and I've been nothing but impressed with this little camera.
It's really, it's really Surprising me.
And it just, it just creates that joy of photography, you know, it's like running around with a, you know, like, I mean, I know when you get a, when you get a new camera, it's always exciting at the start, but it's really elevated my, my energy and what I'm actually doing when it comes to making images. So that's always a good thing. But yeah. So the, the XT30 only has a 26 megapixel sensor. No IBIS, same processor pretty much, you know, and it does all the usual Fujifilm simulations. And the new one has this XT 30 Mark III also has a, the new film simulation dial that they first started with the XM5 and then they put it on the XE5 and now they've put it on this one. So entry to enthusiast level. They're really flogging that film SIM dial because it is a selling point for Fujifilm, you know, and they should lean into and celebrate their color science because it's what saved them from going bankrupt when film died.
You know, they flipped all their factories from producing chemicals for film to making chemicals for cosmetics. And they already had the color science worked out and that's how they survived.
[00:29:01] Speaker A: Wait till they come out with us. A film dial for people's faces. You can just change their makeup with the dial.
[00:29:11] Speaker C: Shoes.
[00:29:12] Speaker A: That's right. They did.
Rick Nelson says, I was told the XT33 is for 20 to 35 year olds. I was told it was for 33 year olds.
[00:29:24] Speaker C: No, but I'd agree it is for, it's for entry level. Basically. It's for, it's like a bridging camera. It's to get people off their phones into the Fujifilm ecosystem. And then they start looking at things like lenses and, you know, better bodies and.
[00:29:37] Speaker A: Yep, yep, good on them.
Dennis says they should remove the LCD viewfinder and add a range finder. Then all the people that will never own a Leica complaining about the lack of viewfinder will have something to buy.
I'm looking forward to what you have to say about the Leica, the Leica that they just released. Dennis, sounds like you've been reading the.
[00:29:58] Speaker C: Comments, but it does have a leica. Look, the XE5, like, it's got that rangefinder styling. So I've had someone ask me, I could just put a little red sticker, couldn't I? Why would I ruin it?
[00:30:15] Speaker A: Okay, what else about the Fujifilm launch? Anything else exciting from Fujifilm?
[00:30:22] Speaker C: Well, they announced a new kit lens which is an XC instead of an XF. So all of the Fujinon lenses start with an XF like XF 27 millimeter f 2.8. This is an XC. So this is their cheap.
[00:30:34] Speaker A: I should have. Oops.
[00:30:35] Speaker C: It has a plastic lens melt. So it doesn't have a metal lens mount. It's still got the connectors and everything. But the core mount is actually plastic.
[00:30:45] Speaker A: Three colors in the XT30. Yeah, three XT33.
[00:30:50] Speaker C: So the XC 13 to 33 mil F 3.5 to 6.3 and it has OIS. Surprisingly, for such a little cheap lens, it's surprising that they put optical image stabilization on. But they did, which is great.
[00:31:04] Speaker A: Looks pretty small because they've used it in all the marketing shots obviously because it's like a co release. It looks pretty small, pretty compact.
[00:31:11] Speaker C: So what they're offering people is a really great little, you know, a first photography kit, you know. So what's that 13, what does that work out to be? Like a 20 to.
I can't do the math. 20 to 50 almost.
[00:31:28] Speaker A: Yeah.
[00:31:29] Speaker C: Oh, it's got a pop up flash.
[00:31:32] Speaker A: 20 to 50 is a pretty good one for.
Yeah, 33. Yeah, yeah.
[00:31:37] Speaker C: For travel, for just general stuff. It's wide enough for vlogging.
[00:31:40] Speaker A: So if you're vlogging. That's what I was gonna say. That 20 mil just gets it to that point where you can sort of selfie back at yourself.
[00:31:47] Speaker C: Yeah, yeah, yeah.
So yeah, it's another. It's another entry in the. And we're still waiting for an X Pro.
I think that'll be next year. I think though I think they really need to bring that out now. People have waited long enough.
[00:32:01] Speaker A: Yeah, they're ready.
They're already ready. I mean that was before COVID Greg Carrick says. Don't they have a new big Instax? Do they have a new big Instax?
[00:32:11] Speaker C: No, no, they just released. I think they just announced a new Lee Play, which is the one that we talked about it last week where you can, when you take. It's a digital hybrid Instax. So it saves photos and you can print from your phone to it and all that sort of stuff or from your Fujifilm camera. You can print directly to any of the Instax cameras. It's like a setting in the menu of the camera.
But yeah, the new one, it actually, when you take a photo you can set it to record a sound and then what it does is it uploads the sound to something like to a server and when you print out your Instax print. It has a QR code on in the corner and so you can, someone can, you can give them their print and maybe this is something Dennis can do in the future. You give them their print, it's got a QR code. When they scan the QR code it, it brings up and plays associated audio so you can record little sound bites to go with it, you know.
[00:33:07] Speaker A: Yeah, interesting. Well we, yeah, so that is the one. So that's the newest one, the one we talked about last week. Yeah, I'm just looking at now. Yeah, I can't see anything else new from them.
[00:33:16] Speaker C: But just quickly in terms of prices for the XT 30 mark 3, what do we got? Camera house have got it for $1700. That's in Australia without the kit lens.
So 6 or 16.79. And with the kit lens, have I got that price or if I put the body only in both links. Yeah, I stuff that up, it's about an extra 200 bucks.
[00:33:41] Speaker A: Yeah.
Don't get the kit lens.
[00:33:44] Speaker C: Don't get the kit lens. Do yourself favor, get yourself a little pancake or an F2 prime or go third party like there's so many lenses for. Or just ask Greg Carrick, he's probably bound to have some spare cinema lenses he can pop on there or projection lenses or something.
[00:33:58] Speaker A: Yeah, big old looking thing to hang off the front of it.
Okay, what, what next?
Should we talk about the Leica next?
[00:34:09] Speaker C: I think we should.
I think we should.
So Leica have released and if you on social media and look at anything photography related in the last 48 hours, you will have been flooded with Leica advertising and Leica you know, co. Co pages.
Shut up.
[00:34:32] Speaker A: Jim's algorithm doesn't have Leica stuff on it.
[00:34:34] Speaker C: Yeah, so the, The Leica M EV1, it's a, it's the first Leica M with an electronic viewfinder. They've removed the optical pass through that you traditionally see in that image on the right hand side.
Basically They've created an XM XE5 that costs four times as much and doesn't have auto focus, doesn't have autofocus or you know, any of the good bits.
[00:35:03] Speaker A: Nice try Greg, but it is a full frame. The XE5 is clearly cropped, whatever.
[00:35:08] Speaker C: But other than that.
[00:35:09] Speaker A: Yeah, it's an interesting camera. So if you're familiar with Leica's product range, it's essentially an M11 body and they've, they've taken the range finder out of it and put the electronic viewfinder I think it's the same electronic viewfinder as the Q3 series.
They've essentially wedged that in there.
So.
And I thought this was super weird, but I have seen a lot of people use the Visiflex electronic viewfinders that clip on top of Leicas for focusing. On top of the digital M series. Leicas for focusing. Because if they have eyesight issues or if you're using wide angle lenses, really wide or really telephoto lenses, it can be quite tricky to focus with with Leica's traditional optical rangefinder system.
So it has.
[00:36:08] Speaker C: So there are some framing lines, but when you get that, that little thing you can put on the top, it opens up your options a bit more.
[00:36:14] Speaker A: It does, but. So it's essentially, I've got. I've never touched this camera, I'll be honest, but I have. It's very similar to focusing with the Leica Q3 or the Q series. That's how this EV works. And manual focusing with it I don't like at all.
Oh, no. Dennis says he thinks there's a difference. He'll check. I think the refresh rate might be different to the Q3, but from what I can tell, it looks very similar in its form factor, size and stuff. They might have had to change some stuff to fit it into this body. Yeah, but it looks very similar to the Q3. First thing I don't like, obviously in the M series, have this Leica red dot in the center, whereas the Q3, because it's a smaller body, it's got the red dot. Sorry. Got a camera strap in the way off to one side, which that wasn't.
[00:37:08] Speaker C: Product placement, by the way, which I.
[00:37:11] Speaker A: Think looks way better.
Obviously they want to keep it traditional, but without the rangefinder thing, the window, it looks like a Cyclops. It looks.
[00:37:22] Speaker C: It feels off balance for sure.
[00:37:23] Speaker A: Balance. I don't like it.
[00:37:25] Speaker C: Yeah.
[00:37:25] Speaker A: I don't like.
[00:37:26] Speaker C: And you know.
And you don't like it. It for 14,000 Australian, it's a lot of money.
[00:37:33] Speaker B: Well, not.
[00:37:34] Speaker C: That's for body only. All right. So you can get from the Australian, like a store, you can get it with a 50 mil summicron M, which is what, an F2 for $18,500.
[00:37:46] Speaker A: So, yeah, that's a bargain. Especially when you can get a Q3 for ten grand. Um, like Dennis says, the key difference is the refresh rate. Q3 has 120Hz option, whereas the MEV one is only a 60Hz option. Yeah.
[00:37:59] Speaker C: Oh, wow.
[00:38:00] Speaker A: So. So the the difference is it's a worse viewfinder than the Q3.
[00:38:03] Speaker C: For $9,000, you're stepping back.
[00:38:06] Speaker A: You would really want to shoot with a variety of lenses and not because if you had any interest in shooting either a 28 or 43 mil lens, the Q3 seems like a far better option.
Yeah, you could. You could buy two of them almost instead of this and a lens.
[00:38:23] Speaker C: So much money.
[00:38:24] Speaker A: But it is an M and there are a lot of people that shoot with M's that were putting Visaflexes on them and this will be exactly what they've been looking for.
But it's just so weird that the M series is the rangefinder series and now they don't. They aren't a range find. This isn't a rangefinder.
[00:38:42] Speaker C: No.
[00:38:42] Speaker A: And it's. I think so. I've made some notes because I watched a lot of videos on this today, trying to figure out. Exactly.
[00:38:48] Speaker C: Big day for you.
[00:38:49] Speaker A: Massive day.
Someone's got to do the hard work. What did you guys do? Okay, so it is. It is essentially an M11. It's got the same everything as an M11, 64 gig internal storage. It's got obviously the same sensor and all that sort of stuff. And the body, what is it, like 60 megapixel? 60 megapixel? Yeah. Same as the M11 and as the Q3. Same sensor. All that stuff's the same.
But why didn't they call it the M11EV?
We've got an M11P and M11D. We've got the M11 monochrome.
Why isn't this the M11EV?
[00:39:32] Speaker C: Well, they've taken the 11 out of it, I think.
[00:39:35] Speaker A: Why? Why?
[00:39:35] Speaker C: I think they're trying to separate it because like you said, it's not a range finder. So they're trying to gently separate it from the rest of the M11 range. It's still an embody, right? It's an embody. It's got M workings and M internals, M color.
[00:39:49] Speaker A: It's just the M11.
It's the M11 sensor. Like the M10 is a different sensor to the M11. It's. It's.
[00:39:55] Speaker C: Yeah, but like you said yourself, they've got that sensor in the Q3 that doesn't make it an M.
Yeah, exactly.
[00:40:01] Speaker A: That's why it's called a Q3.
[00:40:03] Speaker C: Yeah, well, they haven't called this an M11, have they?
[00:40:06] Speaker A: That's what, that's what I'm saying. It's a very. That's a very.
[00:40:08] Speaker C: I don't know.
[00:40:08] Speaker A: What you're saying, you're continuing why it's.
[00:40:12] Speaker B: Why it's got the M there.
Is that what you say? Like it?
[00:40:14] Speaker A: No, no, I think because obviously they wanted. This is an M and they want to sell at M prices and so they had to call it an M. But the thing is, it's. It is absolutely part of the M11 series of cameras. Yeah, it is that family. It's like this stupid hex T33. Same kind of issue. It's like naming conventions don't make any sense. It's an M11. It is an M11. Just like the M11 with no screen on the back is still an M11.
[00:40:42] Speaker C: Yeah.
[00:40:43] Speaker A: And so they should have just called it the M11EV. And I'm wondering, is it just because this is going to be around longer, so when the M12 comes out, this will still be a current body or something? And they didn't want it to be an outdated name because it's going to be released too close to when the M12 comes out or something. Or like.
[00:41:04] Speaker B: Well, then they can just start rolling them out the EV2, the EV3. Like.
[00:41:09] Speaker A: That's right. But why wouldn't you just call the M11EV? So everyone.
[00:41:12] Speaker C: I don't know why they dropped the 11. I think. I think they're just gently distant, distancing it enough from the M11 range without actually saying it's not an M11.
[00:41:21] Speaker A: That's.
You know what else is interesting? It's cheaper.
It's cheaper than an M11.
Yeah. By a couple of grand.
Like it's a bargain.
[00:41:34] Speaker B: Maybe the person that works at Fujifilm also works at Leica in the name.
[00:41:38] Speaker A: It's just one person who does it.
[00:41:39] Speaker B: And they're just like, let's. I don't know, they just write things down.
[00:41:43] Speaker A: So here are some of my other notes.
It looks weird.
It's got a very slow startup time, close to two seconds, which is the same as the M11, which is insane. But the difference is the M11 has almost three times the battery life. And even if you do turn it off, if you switch it on, and it's still starting up with an M11 because it's a mechanical range finder and optical viewfinder, you can start focusing and composing while the camera's like booting up. So you could essentially be like getting your frame ready. When you switch the camera on this, you can't see anything. So you have to wait two seconds for this thing to turn on.
[00:42:21] Speaker C: But doesn't it play like a fancy graphic when you turn it on, or is that just the first time you turn it on?
[00:42:25] Speaker A: It does. No, it does. It can show you.
[00:42:27] Speaker C: I saw that on a video today, I think. I don't need that. I don't want that. I don't need advertising when I'm about to compose a shot in a hurry. Like it's.
[00:42:37] Speaker A: The thing is, Greg, it's not. It's not.
It's not putting the graphic up instead of just booting up straight away, it's putting the graphic up because it's booting up and it needs to display something, install. It's like stall, stall.
[00:42:51] Speaker C: Give me a minute. There's no excuse for that these days.
[00:42:53] Speaker A: That's.
[00:42:54] Speaker C: That's just. That's dumb.
[00:42:57] Speaker A: Dennis says it does. It reminds me. It reminds you how cool you are? Yeah, exactly. That's what I should just say you are.
[00:43:04] Speaker B: 14 grand should just come.
[00:43:05] Speaker C: Bottle of Sorbeling in a box of tissues this stage and.
[00:43:09] Speaker A: Yeah, so apparently the rangefinder component is super expensive. That would make sense. That's why it's a couple of thousand dollars because. Yeah, it's got an electronic viewfinder in it.
[00:43:17] Speaker C: The black paint edition is 15, 200.
The monochrome is almost 17. Sorry, 16, 800.
That's crazy. So it's actually quite cheap in comparison. That's Australian prices.
That's quite. It's quite a lot. A lot less, isn't it? Or you can get glossy black paint for 16,000.
[00:43:44] Speaker A: How much more are you saying it cost? Two grand to get glossy paint?
[00:43:48] Speaker C: Yeah. So you can get an M11 in glossy black.
[00:43:50] Speaker A: Oh, M11.
[00:43:52] Speaker C: Yeah, sorry, 15, nine.
[00:43:53] Speaker A: So, yeah, that's the M. Yeah, so. And that's just the difference of it being a range finder instead of electronic viewfinder. So the biggest thing I wanted to say is focusing with the electronic viewfinder for me on the Q3 is not a fun experience. And it's the thing that I really like shooting with the Q3 and I've almost wanted to try, or I do want to try, but I don't want to pay for it. An M11 because I've focused with it a few times that I've never spent time with it. But when people have let me play with their M11 that way that it focuses optically is so nice. It's just. You can see the whole frame. You can see what's outside your frame a little bit around the frame line and you just focus where the patch is and you know it's in focus. Whereas this with the Q3, which will be exactly the same as the way the MEV1 works.
When you're manual focusing, your options are it either zooms in to the center of the frame so you can't see what you're composing as a photo while you're like finagling the focus manually.
And then once you stop focusing, it pops back out into full focus and it's very slow. Cause essentially what you do is you lift the camera to your eye, you find your frame, then you focus. You can't see what you're doing cause you're focusing on a zoomed in bit of the thing. Then it goes back to the full frame again and then you take your photo and it's just a very slow and clunky process. The other way of doing it, it's very slow. The other way of doing it. Not zoomed in is yeah, do it. Not zoomed in. Use focus peaking. And I've never had much luck with that unless it's like when I have manual focus with this, it's usually like f 5.6 when I'm just. When we were cruising around the US and I was taking more landscapey kind of photos, it was fine because I would just every, you know, anything at a distance was basically in focus. It was very easy. But if you were trying to shoot at f1.7, you're trying to shoot people and moving street photos and stuff, I just don't think it would be a very fun experience. But again, but lots of people do it. Lots of people do it. That's why they get those Visaflexes and stuff. So I don't know. There's obviously a massive market for it, especially with people with bad eyesight.
A lot of Leica owners are in older age brackets and that's just probably a thing that's required.
So anyway, that's what I think.
[00:46:11] Speaker C: Please tell me it has a diopter.
[00:46:14] Speaker A: Yes, yes, has a diopter. Apparently it opens up a lot of options for telephoto lenses like 90 mil and over.
And also a lot of options for wide angles that you just can't use or. And also closer focusing. Because the closest you can focus with a traditional range finder on the Leica system is I think 0.7 meters or 70 centimeters.
This can obviously focus as close as the lens allows.
[00:46:37] Speaker C: Yeah, so regardless, having said all of that, it is a stunning piece of industrial design. Like it's just flipping gorgeous.
[00:46:46] Speaker A: I don't think so. It doesn't even have a flippy screen.
[00:46:48] Speaker C: Oh, come on. Just appreciate the quality of the build is amazing.
[00:46:55] Speaker A: I think Craig Murphy says, oh, look, it's. Look over here. A startup graphic.
Greg Carrick says, when you're actually cool, you don't need to advertise it. Les Okey says Leica owners are in older age brackets due to affordability issues. Well, that is a true thing. It's like your average. It's only YouTubers that can afford Leicas when they're younger.
[00:47:18] Speaker C: Yeah.
[00:47:19] Speaker B: Are you a YouTuber? We are.
[00:47:22] Speaker C: You are too, Jim.
[00:47:23] Speaker A: Moving on.
[00:47:24] Speaker C: We were recognized today as what is a top Australian podcast by someone who doesn't have many, many followers. But it's great. I got excited.
[00:47:33] Speaker A: We're totally famous.
[00:47:34] Speaker B: Good.
[00:47:37] Speaker C: Front page, apparently.
[00:47:38] Speaker A: Front page. It wasn't even our podcast.
Should we. All right. We should talk briefly about the. Like, before we get to the Tamron lens, I think we should talk briefly about the Ricoh GR4.
[00:47:53] Speaker C: Oh, God.
[00:47:54] Speaker A: Which. Which isn't even out yet.
[00:47:56] Speaker C: Yep.
[00:47:58] Speaker A: So he's teasing more.
[00:48:00] Speaker C: Here's the news story.
What? Let me talk about this now you're up to date.
[00:48:08] Speaker A: There's more, Jim.
[00:48:09] Speaker C: There's more gin. We talked about it last week. So the Ricoh GR4 has been getting a lot of headlines, especially here in Australia, because they've created the Ricoh GR Space in Brisbane, which is in Queensland. I don't know why they chose Brisbane, but there it is.
And no offense to Brisbane, it's just not, you know, it's. I would have thought Melbourne or Sydney.
Anyway, whatever.
So basically, Ricoh GR4, it's not out yet. They've announced obviously that it's coming. There's some demo units. Good friend of ours, Jason Lau, who's been on the show a number of times on the podcast, he. He opened the GR Space with special guest Chris Nichols from Petapixel, which was great. But Rico just announced that they're developing two more GR4s. So this happened with previous models, particularly with the GR3. They released the standard GR3. Then they released a couple of special editions. One was a street edition. It had slight of a blue finish. Then there was a diary edition which was aimed at female photographers.
And then they brought out the GR3 with the. Was it the. Not the HSP? That's Halal Snack Pack. What's. What's the HDF?
[00:49:27] Speaker A: Yes, the HD.
[00:49:28] Speaker C: It's very Brisbane. You pick up the camera like a roadside food truck.
[00:49:33] Speaker B: Yeah.
[00:49:34] Speaker C: Anyway, so the Halal Snack pack edition came out. Then they released a monochrome one. Then they released a new lens.
[00:49:42] Speaker A: They didn't have A monochrome three. Did they?
[00:49:44] Speaker C: I thought they did.
Anyway. They had like seven or eight SKUs for the same camera basically and you couldn't get any of them. And my biggest argument when I was talking about this in news articles when I used to write for Shock Kit was the frustration that people can't get any of the SKUs. Why do they keep producing so many different SKUs that obviously require different manufacturing and shipping and boxing processes that are just going to delay getting a camera into people's hands and it looks like they're doing it again.
So with the GR4, they've announced the HDF version and a monochrome version in development.
In development.
So they are.
[00:50:24] Speaker A: It's not clear whether they'll. Because the 4 is not even out yet.
[00:50:27] Speaker C: No.
[00:50:27] Speaker A: So it's. It's not really clear. I don't know unless you saw it in a different spot, whether is the four. Are they all going to get released together or are they going to do the four and then the monochrome and then the AT HDF or in some order like that space?
[00:50:40] Speaker C: Yeah, I think they'll space them out, which is what they did with the threes. But I really hope that they just focus on getting enough fours, you know, in stock for people that actually, you know, like last year, perpetually and all of this year trying to get a three because I was interested, I was looking at them and they were always out of stock. They were always special order from retailers.
[00:50:57] Speaker A: And they're an old camera and they're still out of stock, which is.
[00:51:01] Speaker C: They're really popular. Compacts have taken off again.
[00:51:04] Speaker A: I'm almost 99% sure. Someone tell me if I'm wrong. There was no monochrome in the G. And that's why I think if it's a proper monochrome, I. That's going to be a massive seller because all of Leica's monochrome stuff has been huge sellers. But this is something you can slide into your pocket, hopefully unless they do what everyone else is doing and it's four grand or something insane. Hopefully it's. I don't even know what they are now. They used to be like a 1200 camera. Now they're like two grand.
[00:51:32] Speaker B: I think. Think.
[00:51:32] Speaker C: Yeah. Let me have a look on.
[00:51:35] Speaker A: I think the. The GR3 is like 1700 Australian, depending on which edition it is and all that sort of stuff. So it wouldn't surprise me if a monochrome edition is like two grand Australian.
[00:51:49] Speaker C: But so the GR3X, which was the one with the 40 megapixel lens that's 1240 mil.
[00:51:58] Speaker A: Yeah.
[00:51:59] Speaker C: Yes.
[00:52:00] Speaker A: Bruce is interested. Bruce says I'd be interested in a monochrome version because I would struggle to want to commit to a $10,000 monochrome camera. But a point and shoot sort of style one and if it does have significantly better black and white image quality than just doing your own conversion, I would be keen.
[00:52:20] Speaker C: Yeah, they're great little cameras and these things have been kicking around since the film days. Like the original GR was a film camera, 35 mil film camera and it was, you know, hugely popular in Japan as a street photography camera. And these have been too.
So. Yeah, I mean, I hope it does well, I really do because it will encourage other brands like, you know, Fuji and Nikon and Sony and Canon and all of them to look at smaller affordable compacts with high quality specs, which is.
[00:52:51] Speaker A: So it's very interesting because if they know this is going to have a more built out product range with a monochrome so that having these GR spaces around the world, they're obviously looking at really pushing hard into this line.
So it's actually quite exciting. And as Dennis says, that would be amazing actually. I could get nine for the price of a Q3.
[00:53:10] Speaker C: You could.
[00:53:11] Speaker A: Then I can imagine you with nine.
[00:53:13] Speaker C: Dennis GR4 at the moment. Oh, the monochromes listed on BH, no pricing. Yeah, it's already up.
It's under like, you know, new item coming soon kind of thing. Let's see if they've also got the black and white other monochrome.
No, I don't.
But the. The standard GR4 with the 28 millimeter f 2.8 lens is 1500 US dollars, so.
[00:53:44] Speaker A: Wow.
[00:53:45] Speaker C: Yeah.
[00:53:45] Speaker A: So they've gone up.
[00:53:47] Speaker C: They have gone up.
[00:53:48] Speaker A: Yeah, they've gone up like everything else.
[00:53:50] Speaker D: Awesome. Now.
[00:53:50] Speaker C: Well, that's American, don't forget. So everything going into America is a lot more expensive at the moment.
[00:53:54] Speaker A: Oh, that's true. The tariffs might have changed the. Yeah, that doesn't necessarily mean our price will be a direct conversion from that. That's a good.
[00:54:02] Speaker B: No, no, no.
[00:54:02] Speaker C: I've stopped doing that a long time ago because it just doesn't make any sense too. Let's see if Digi director got it. Rico. Gr. What do we say?
[00:54:10] Speaker B: The four that list it. Probably they won't have it.
[00:54:13] Speaker C: Yeah, yeah, they'll never have it. Two grand flat.
The standard GR4.
[00:54:21] Speaker A: Yeah.
[00:54:21] Speaker C: So it's, it's. Yeah, it's pushing it up into that almost. Not quite. But the, you know, the Fuji X100 price range and above.
[00:54:29] Speaker A: Yeah. Which I mean, it has a lot less features than the X100, but it has, it is an APS C sensor and it is a high quality camera. But yeah, it's. There's definitely. Although an X100 is actually isn't like 2700. Yeah, there's still a decent. Yes, decent gap there. But yeah, the X100 has a lot more features for.
[00:54:49] Speaker C: Yeah, 2800.
[00:54:50] Speaker A: 2800. Okay. That's probably a reasonable difference.
[00:54:53] Speaker C: Yeah.
[00:54:56] Speaker A: Cool. Should we talk about the. The Tamron lens?
[00:54:59] Speaker C: Let's talk about the Tamron lens. That popped up quite a bit when I was doing the research for tonight's news segment. So the Tamron have released a 25 to 200F. 2.8 to 5.
[00:55:11] Speaker A: That's what's crazy.
[00:55:12] Speaker C: Yeah, that's what's crazy.
[00:55:13] Speaker A: 2.8 at the wide lens. It's a shame they couldn't. They obviously just couldn't quite sneak that extra mill in there to make it a 24 to 200. Although 25 to 200 has a nice ring about does.
[00:55:27] Speaker B: It does.
[00:55:27] Speaker C: And it stands out as being different. It's not a 24 to whatever. It's. It's a little bit different. You know, it's kind of, it's a bit catchier, I think, but maybe they.
[00:55:36] Speaker A: Did it for, for like SEO purposes. Oh, oh, we got a phone call coming in. Let's see if the phone works. All right, hang on. Hold on, caller.
Hold on, caller.
Hang on. Can you hear us?
No, not yet. We're trying. We're doing this. Give us a second.
Why is this not working?
Wait there.
Don't leave.
Okay, hang on.
Can you hear us?
[00:56:06] Speaker C: No.
[00:56:07] Speaker A: Hang on.
Try now.
[00:56:10] Speaker D: Hello, Pizza Hut.
[00:56:13] Speaker A: Oh, we've got you.
[00:56:15] Speaker D: Hello, Peter?
Is this Pizza Hut?
[00:56:19] Speaker A: Is this Peter Pizza Hut?
[00:56:22] Speaker C: Oh, Pizza Hut.
[00:56:24] Speaker D: I'd like the 39.95 Special, please.
[00:56:27] Speaker A: Would you like the 25 to 200 Special?
[00:56:31] Speaker D: How about the 39.95, two pizzas, garlic bread, and a bottle of 1.25 liter fizzy chicks of your choice.
[00:56:37] Speaker A: Yeah, that'll be, that'll be 89 because it's 2025.
[00:56:43] Speaker D: Oh, I haven't got my glasses on. The 39 look like 89 look a bit like a 39.
Yeah, I think I've changed my mind. I'll just talk lenses instead, if that's okay.
[00:56:54] Speaker A: That'd be great.
[00:56:56] Speaker C: How are you, Glenn?
[00:56:57] Speaker D: Hey, guys. I'm well. Thanks, guys. Hang on now.
[00:57:01] Speaker A: Hold on. Your phone's going a little bit in and out of sounding goodness. Just make sure you hold us nice and close to that beautiful voice of yours. Oh, that's better.
[00:57:12] Speaker D: If I go closer, I get even deeper.
[00:57:14] Speaker A: Much better. Now tell us, tell us about this lens.
[00:57:18] Speaker D: What would you like to know?
[00:57:20] Speaker C: Have you tested it?
[00:57:22] Speaker D: Yeah, I've got one on my. In my hands as we speak, which is a complete lie because I left it in the other room. I meant to bring it in with me, but I left it. Yeah, I've got one. I'm using it.
Yeah, I picked it up on Saturday.
I run all my photo workshops out of Tamron Australia's headquarters and they were very nice on the table there to pick up on the way out, so.
[00:57:44] Speaker C: Oh, nice.
[00:57:46] Speaker A: How heavy is it?
[00:57:48] Speaker D: Yeah, oh, it's, it's light as. It's, it's, it's no bigger or heavier than like a 28 to 75.
[00:57:54] Speaker C: Cameron.
[00:57:55] Speaker A: Whoa. I just read it. It says it's 575 grams.
[00:57:59] Speaker C: Yeah, yeah.
And it's only 76 mil by 121 mil. So it's, you know, it's. Yeah.
Crazy small.
[00:58:07] Speaker D: Yeah. But it's not zoomed in. So it extends, obviously when you zoom out to 200, but when it's folded down in your bag, it's, it's very compact.
[00:58:15] Speaker A: All right, what about.
When does it go, roughly? Have you figured out when it goes from like 2.8 and starts going up in maximum aperture or minimum aperture?
[00:58:27] Speaker D: Unless. No, I haven't.
Daytime. I've actually shot with it so far. Is that the workshop that I was running? So when I'm trying to look after, look after clients, there's no time to really pay a lot of attention. And I only meant to take three or four photos quite quickly too. So I have sent you via email a photo taken with it though, just, just to.
So you have an exclusive shot for the show and.
Yeah, so. So look, I would imagine, yeah, somewhere around about near 50, it's dropping out to, yeah, 3.5 to 4 and somewhere sort of.
Yes, 70 to 80, probably 4.5, pushing 5 and then obviously up towards 275.6. But yeah, even at 5.6, I've shot some stuff at 256 and it's quite nice.
Those who like the how to focus background stuff, it's quite pleasant.
[00:59:21] Speaker A: Let me. I'll pull it up. I'll pull it up right now.
Here we go. Look at that.
Cool, beautiful shot.
[00:59:28] Speaker C: Oh, I saw that on socials.
[00:59:30] Speaker B: Yep.
[00:59:31] Speaker D: Yeah, actually, I think that's shot at 20. No, maybe about 50. I think meanwhile, I think about it, I thought somewhere around about 50 mil. I was just demonstrating the how to use wide wider angle lenses. Getting close to your subject blocks out background.
So yeah, the objective of that shot was to eliminate the crappy alleyway behind the subject.
So you know, wider closer is a good tip to do all that sort of stuff.
[01:00:01] Speaker C: Yeah.
[01:00:01] Speaker A: Digifrog would like to know, can it shoot in a cubicle?
[01:00:09] Speaker D: Well I think he means a toilet cubicle. Like we use the drug and I've been known to use every lens in a toilet, so. Absolutely.
People have said my photos are for years so that makes sense.
[01:00:29] Speaker A: Very cool. All right. Is there anything else that we need to know about it before we leave?
[01:00:32] Speaker D: No, I think look, I would say look, I mean if you're talking about quality, it seems nicely sharp. I would say its focus speed is extremely good.
It's silent. To my non video brain. As a non video user I didn't hear any focus noise so that's kind of pleasant as well. The weight was a hell of a surprise just how small it is.
I think as a travel lens, I mean I'm also shooting with the new 16 to 32 to 2.8.
Sorry, so it's F28 all the way through. I'm lying to you, but I've got. So. So with the 16 to 30 and the 25 to 200, it's a pretty decent little all around travel kit.
[01:01:13] Speaker A: Yeah.
[01:01:15] Speaker C: Under. Under a kilo basically.
[01:01:17] Speaker D: Yeah, yeah, it's pretty amazing. So.
[01:01:19] Speaker C: And it's got good macro too. It's got 1 to 1.9 almost 1 to 2 apparently.
[01:01:26] Speaker D: Nice and close. So it's not something I do a lot of that stuff too hard for my, my low level skills.
[01:01:31] Speaker A: Well, Bruce said. Bruce Moyle says the macro would come in handy while you're in the cubicle by the sounds of it.
[01:01:37] Speaker D: Well, and a magnifying glass but let's not go there.
And a big magnifying glass too as well.
But yeah, so it's. I would just say if you are looking for something that's a great travel all rounder.
The basket of consideration.
I know Sigma recently came out. I must, I must. For those who don't know who I am, I am a Tamron global ambassador. So I am biased to some.
Well I could be perceived as biased because I'm a Tamron ambassador but I always call things as it is and if something's crap.
So I've never been backwards in coming forwards that way. But so. But that's a Sigma themselves. Have also come out. I think it's a 20 to 200 lens at almost the same time. But the big difference is it doesn't. It doesn't open up to 2.8.
[01:02:30] Speaker A: No.
[01:02:30] Speaker D: I think that could be a nice little deciding factor for some as well, so.
But I would say, yeah, if that's the type of thing you're in the market for.
We're living in great times where we have options like we've never had before in the history of photography. So.
Happy times.
[01:02:47] Speaker A: Yeah.
[01:02:47] Speaker D: What?
[01:02:49] Speaker A: Same lens.
[01:02:51] Speaker D: It's Sony E mount only at the moment, but you can only imagine that the Nikon and the Fuji are on the way as well.
[01:02:58] Speaker A: So what about Canon? When do you think we'll see it in the Canon mount? The rf Mount? Soon.
[01:03:03] Speaker D: 2037.
[01:03:07] Speaker A: Damn.
[01:03:10] Speaker D: Knowing the way Canon require every single individual lens that wants to be released for their brand to go through. Stupid rigorous.
They're very proprietary. So yeah, it's kind of tough.
[01:03:23] Speaker C: I think.
[01:03:24] Speaker D: I think the Canon kind of bite themselves a bit on the. On the bum by reducing how many people will buy their gear by restricting how many lenses are available for People like options, people like choice.
[01:03:36] Speaker A: Yeah, Yeah. I think it was a smart strategy, but they might have. They might be running it a bit too long, you know, like. Like I see why they did it in the early days, but it might be. It's sort of. I think it's getting to that point where people will maybe start making decisions based around this as time goes on, so.
[01:03:53] Speaker C: Especially when third party brands keep bringing out lenses like this.
[01:03:56] Speaker A: Exactly. If they don't bring out competitive lenses, then they're going to so much cheaper too.
[01:04:01] Speaker D: Yep, absolutely. So got to give people options. Yeah.
[01:04:05] Speaker A: And.
[01:04:05] Speaker D: And then give people options and then give people a reason to buy your stuff over other people's. Make your stuff that much better. Make your packaging better, make your appeal better.
[01:04:16] Speaker A: Yeah.
[01:04:16] Speaker D: Don't just exclude people because that's the only option you've got. Make yourself better.
[01:04:21] Speaker A: That's right. Yeah. Make your lens is a good proposition. Exactly. Very well said.
[01:04:30] Speaker C: Just with regards to pricing, the Tamron 25 to 200 millimeter. The new 2.8 to 5.6 is 1700 Australian dollars.
And then the Sigma, the Signal, the Sigma, which as you mentioned, Glenn, it's. It's a little Darker. It's a 3.5 to a 6.3, but it's almost the exact same weight and dimensions as this new Tamron, which is interesting.
And this also has a one to two macro reproduction. It's very Similar in a lot of ways. It lens assembly and everything. So.
But yeah, look, like I said.
[01:05:09] Speaker D: Prices.
[01:05:10] Speaker A: Do we know or.
[01:05:11] Speaker C: I'm just gonna have a quick squeeze for that, mate. What is that? Sigma?
What? I say 1700 for the Tamron.
[01:05:17] Speaker A: Yeah.
[01:05:19] Speaker C: 20 to 200. 1600 for the Sigma.
Okay. So it's close.
[01:05:27] Speaker D: Market forces may force themselves to be a little bit closer to each other at some point. Point. So yeah.
[01:05:33] Speaker C: Yep.
Yeah.
[01:05:35] Speaker D: Yeah.
I think the 28 is nice.
Yeah. It's only half a shutter speed difference, but that can make all the difference.
[01:05:43] Speaker A: Well, especially as a travel lens. If you, if you glue this thing to your camera for travel, being able to walk around at night, shoot at 25 mil at 2.8. That's nice. That's a, you know. Yeah, you don't need to necessarily zoom in a lot at nighttime. I don't find. It's just nice to be able to take in a bit of an evening scene when the light gets low with. And let plenty of light in.
[01:06:05] Speaker C: Romantic idea.
[01:06:08] Speaker D: Nice color reproduction and nice just overall vibe. Nice feel from the lens.
[01:06:14] Speaker C: So.
[01:06:14] Speaker D: Yeah.
And I always say to anyone who's looking at buying new lenses up, take a memory card into a store and take both lenses out the front of the street and take photos and go home and decide which one you like the most, you know?
[01:06:27] Speaker C: Yeah.
[01:06:28] Speaker D: It's always a good way to trial stuff.
[01:06:30] Speaker C: Yep, yep.
[01:06:32] Speaker A: Love it.
All right, thank you, Glenn. We'll let you go. We've got it. Oh, sorry.
[01:06:37] Speaker D: And the pizza. The pizza will be here when.
[01:06:39] Speaker C: Sorry.
[01:06:40] Speaker A: It should be there when Canon starts doing letting third party RF mount lenses.
So I think it might be.
[01:06:46] Speaker D: I think it might be cold, but I'll go look. I'll go wait by the door now just in case.
[01:06:51] Speaker A: You did that.
[01:06:53] Speaker D: Not, not. Chaps, Good night.
[01:06:54] Speaker A: Thank you, Brendan. Yeah, he's a legend. Brendan Waits from Cameron Photo. Hey, that's a place where you could, if you want to get a price on this new Tamron lens, I'm sure you could give Brendan Waits at Cameron photo down in Ocean Grove a call and he would find out what the very best price possible is, which is, you know, whatever it should be.
He says, I've quickly become a fan of Tamron lenses since recently going back to Nikon full frame.
Nice.
[01:07:24] Speaker B: Yeah.
[01:07:24] Speaker C: And I like Rick's comment just before Brendan's.
[01:07:29] Speaker A: Yes, so, exactly. So instead of doing what Canon does, do what Sony does, they let anyone make a mount. Well, probably not anyone, but they let pretty much, you know, Tamron and Sigma and Whoever else make E mount lenses. But The G Master 2 lenses are spectacular and people pay the money for them because they want them. So it works. Oh yeah. Hit him up. Brendan Waits Cameron Photo Ocean growth.
[01:07:49] Speaker C: Yeah, and I think it also means that like brands like Sony don't have to spend as much time working on entry level lenses or mid range, mid range lenses, you know, I mean they've got them but it's not like they feel compelled to fill out the whole lens lineup, you know, because there's a lot of third party options and so let's just go with the premium product at the top end.
Yeah, with the G, the G Master lenses. The G. Yeah, the G, the G.
[01:08:15] Speaker A: The big G.
Is there anything else? Oh, there's one more because we really probably got to get to some images because I've got, I've got a ton of images from people to share. Plus we've quickly have a look at Jim and my images from the CF Moto shoot that we did and we'll look at Greg street images.
[01:08:34] Speaker C: So I'll give you a couple of quick headlines. Yeah, I'll give you a rapid fire.
Canon rumors have updated the EOS R6 Mark III latest specifications.
There's also an RF45F 1.2 lens coming. Apparently Canon has revealed that of The RF and EF lens production is exceeded 170 million units produced since the start of the EF mount, which is huge. That's, that's significant numbers. It's a lot of lenses, a lot of glass.
Canon Powershot users of the V1 have been advised in the States to take their cameras in and get them serviced because there's some sort of issue with, with some firmware that can't be done via a traditional firmware update. So if you're in the US and you're a PowerShot v1 user, contact Canon Nikon News. The Nikon Z ZR camera, which is the new kind of an entry level cine camera, it will get Apple ProRes 422 LT in a future firmware update. I don't know what that means, but.
[01:09:40] Speaker A: It sounds really fantastic to ask if you were excited about that.
[01:09:44] Speaker C: Don't ask me anything about that.
But yeah, yeah, no, I think the LT is a good option.
[01:09:50] Speaker A: I prefer anyway. No, go on, keep rolling.
[01:09:54] Speaker C: Last little bit of Nikon news. TT Artisans announced a new AF23 1.8 APS C lens for Z mount at US$127. Who can say no? From film photography, Lomography have launched a new 35 mil film camera for US$550.
[01:10:13] Speaker A: Which. Yeah, so 7.99 Australian. Hang on.
[01:10:17] Speaker C: So Solomo MCA.
It's a 35 millimeter film camera. Lots of people are doing this at the moment, even Jeff Bridges, famous American actor.
[01:10:28] Speaker A: Jumper. Hang on, I got that one too. There we go.
[01:10:30] Speaker C: I told you. It's quick fire. So he's, they've, he's working with a company to recreate the Wide Lux.
He's a, he's a, a huge photographer. He's been taking photos on film sets with a wide angle, with a wide, like a wide Lux format for years.
[01:10:46] Speaker A: Jim, have you seen what the Wide Lux is? No. So it's a film camera like turret thing.
It shoots like a panorama shot, but instead of having to have a crazy lens design to be able to try and have a clean panorama, the lens and shutter is one rotating thing. So when you press the shutter it does this and it projects the image onto the film across the back of the camera as it rotates and it rotates at the speed that the shutter is basically. I'm sure it's way more complicated than that, but that's the, that's my dumb version of it.
[01:11:28] Speaker C: So we brought this up probably about eight, nine months ago, maybe even a year ago originally. So now it's at prototype stage, which is amazing.
And they're forging ahead with it, which is wonderful.
[01:11:41] Speaker A: This, this little Lomo camera is, it's pretty interesting because it's getting up there in price.
So which, which probably means that it's, I'm hoping, of pretty decent quality. I can't tell if it's like an all metal body or if it's metal and plastic or what the deal is, but yeah.
[01:11:58] Speaker C: So it's available in silver and black.
[01:12:01] Speaker A: Yeah, a couple of colors.
[01:12:03] Speaker C: Yeah.
[01:12:03] Speaker A: It's autofocus and manual focus.
I don't know what you, what that is, but yeah.
[01:12:12] Speaker B: Red flash.
[01:12:15] Speaker C: Yeah.
[01:12:15] Speaker A: 799 Australian dollars and estimated shipping December. But I mean it looks pretty cool. But this is where it's hard because people will buy that because it's, it's safe and new. But you can probably, if you know film, you know, there's probably a similar camera. You could get cheaper secondhand. But then you take the risk of, of, you know, how well does it work and all that sort of stuff, what sort of condition it's in. But.
[01:12:40] Speaker C: Yep.
[01:12:41] Speaker A: Yeah.
[01:12:42] Speaker C: Yeah.
So that's pretty much it from the news. I think I've cut everything like Canon Nikon film.
There's Been a couple of photography awards. But we'll cover that another day if we get time.
[01:12:53] Speaker A: Yeah, we'll jump.
[01:12:54] Speaker C: No big deal. Let's look at everyone else's images.
[01:12:57] Speaker A: Yeah. Because we've got a lot of stuff. Bruce Mosley is that red eye reduction flash. I have no idea.
It's a red dot to make it a budget. M11 could be that. Craig Murphy says a Wide Lux looks very cool. David Leporati paints the image onto the film.
[01:13:11] Speaker C: Yes.
[01:13:14] Speaker A: And the promo video is insanely cool of the Wide Lux. And the Wide Lux remake should be cool. Dennis says wide Lux. Everyone's excited about the Wide Lux. No one's excited about the Lomo.
That is that you can get one of them. Greg.
[01:13:28] Speaker B: To replace your Fuji.
[01:13:30] Speaker C: What? Get a wide luxury?
[01:13:33] Speaker A: No, the Lomo. Similar image quality. I've heard.
[01:13:37] Speaker C: Whatever.
I was just looking at your motor. Your motorbike shots, Jim. They're really.
[01:13:43] Speaker A: Let's bring them up. Let's bring them up for everyone to look at.
Let's start with Jim. So I like the first one.
[01:13:52] Speaker D: That is.
[01:13:52] Speaker A: You bring that up.
[01:13:53] Speaker C: It's funny.
This is your dog. Come on.
[01:14:00] Speaker A: I'm getting there. Just give one moment. Start. Tell us about this shoot, Jim.
[01:14:04] Speaker D: What?
[01:14:04] Speaker A: What, what did we go and do?
[01:14:07] Speaker B: So we, we got employed by another photographer to go and shoot the CF Moto Adventure Challenge Australia.
[01:14:16] Speaker C: And there's Justin making sure they never get employed again.
[01:14:20] Speaker B: 80 riders doing this.
[01:14:23] Speaker A: Had a good giggle.
[01:14:25] Speaker C: Sorry, Jim. Go.
[01:14:26] Speaker A: Sorry.
[01:14:27] Speaker B: Yeah, there's 80 riders from 40 countries. So it's four riders per team.
[01:14:30] Speaker A: 20 countries.
[01:14:32] Speaker B: 20 countries.
[01:14:33] Speaker A: Yeah. 80 riders from 20 countries. Four per team.
[01:14:36] Speaker B: Is that what I said?
[01:14:37] Speaker A: You said 40 countries.
[01:14:39] Speaker B: I said it a couple of times so I probably stuffed it up.
But yeah.
Yeah. So we, we shot the two day event and there was I think seven photographers, which was insane.
[01:14:53] Speaker C: Yeah.
[01:14:53] Speaker B: So the first day was all challenges. So Justin and I were set on a challenge each.
[01:15:00] Speaker A: Yeah. Which sounds almost one photographer per challenge. Basically there was some that was smaller, but essentially they had all these different things and they, they assigned us to one challenge for the whole day.
Yeah.
[01:15:11] Speaker B: And Justin's challenge sounded the worst, but it was probably one of the best.
[01:15:17] Speaker A: I had a great time on my challenge. I'll show you.
[01:15:19] Speaker B: I think you made it work.
So.
[01:15:21] Speaker A: Yeah, I'll explain it when we get to mine. But. So your challenge was riding around a course with some.
We'll just have a look anyway. Explaining this photo, Jim. Jim was going to be taking photos of them going through the starting arch and I just Wanted to make sure he, you know, had his frame set up correctly. His exposure and stuff. He's just still new, so it's helpful. And he's shooting with Nikon to simulate a rider coming through so that he could make sure that he wouldn't muck up his photos.
[01:15:51] Speaker C: And just for some context, you. You guys went to this shoot. Well, Jim was already in Bendigo because he had the. The wedding.
[01:15:57] Speaker A: But you.
[01:15:58] Speaker C: You dropped me off at Seymour train station on the Monday after bfop. You drove to Bendigo, dropped everything out of the van, which was everything that we basically had in terms of the. The lucky strap stuff.
[01:16:09] Speaker A: Yep.
[01:16:10] Speaker C: Repacked and jumped in, and off you went again.
[01:16:14] Speaker A: And then.
[01:16:16] Speaker B: So Justin went straight home, I think, packed a bag, came here, we unloaded the van, and then Yelena drove the van home, and we left straight from my.
[01:16:25] Speaker A: After we unpacked.
[01:16:26] Speaker B: So, yeah.
[01:16:26] Speaker A: Yeah, I was home for 45 minutes.
So it was a big. And then. And then straight into this for a couple of days. But we did get. As you can see. Hang on, wait.
These amazing vests.
[01:16:42] Speaker C: Photographer.
[01:16:43] Speaker B: Photographer.
[01:16:44] Speaker A: Why would they do it like that?
I don't know. I love it so much. And it's actually got pockets in it.
[01:16:51] Speaker D: Yeah, Yeah.
[01:16:51] Speaker C: I was looking for my.
[01:16:53] Speaker A: Well, because photographers need a lot of accessories, and so I can put my filters in there like this. You know, just pop that in. Or a lens, you know, just need to carry an extra lens. Yeah, it's pretty cool.
[01:17:08] Speaker B: They thought about it.
[01:17:09] Speaker A: They thought about everything.
[01:17:11] Speaker B: I didn't use any of the pockets.
[01:17:12] Speaker A: But I did because I actually had to go and get two lenses. So I'll tell you this about it. Everything of mine broke my 24 to 105.
[01:17:22] Speaker C: What?
[01:17:22] Speaker A: It's. It wouldn't focus correct. Sorry. As I zoomed in, it was closing the aperture down, and I was like. I could tell the images were getting darker, but it was so weird.
I don't. I still don't understand it. Gotta send that to Canon. My R3 went through two batteries before lunchtime. It's never done that before.
Super bizarre.
[01:17:45] Speaker C: But you had battery problems.
Didn't you have battery problems before? Bright?
[01:17:50] Speaker A: That was the R5 Mark II battery.
[01:17:52] Speaker C: Oh, wow.
[01:17:53] Speaker A: Super weird.
Bruce's production vests are awesome. Yeah, they are awesome. Anyway, all right, let's have a look at some of Jim's photos.
[01:18:01] Speaker C: I want one now.
[01:18:03] Speaker A: The vest.
[01:18:04] Speaker C: Yeah, But I wanted to say photographer properly.
[01:18:06] Speaker A: No, no, I could say photograph.
[01:18:10] Speaker C: Can't do it.
[01:18:11] Speaker A: So tell us about your photos, Jim. What were you shooting with I was.
[01:18:16] Speaker B: Shooting with a Z mount 7202.8 borrowed from Nikon.
[01:18:22] Speaker A: You borrowed from Nikon at Ross? Nikon. Ross ran it out to us as we were packing the van. He was like, this is for Jim. I was like, thanks.
[01:18:29] Speaker B: Thank you very much, Nick.
[01:18:30] Speaker A: Thank you, Nick on Ross.
[01:18:33] Speaker B: Yeah. So I guess the riders ride around a little course and you just hope that you're, you kind of shoot as much as you can, but you sort of. There's different corners and points and you hope that you catch the carnage that happened.
You also don't know where they're going to fall off. If they're going to fall off. They're not. Some riders are really good, some are not so good.
[01:18:59] Speaker A: And it was, it was an interesting challenge because we obviously CF Moto, which is the brand that makes these bikes, they gave everyone these bikes to use during the challenge. These guys probably normally have their own bikes that are different brands, but for this like race or challenge or whatever you want to call it, they gave everyone a brand new CF Moto 800 to ride. Wow.
[01:19:21] Speaker B: Yeah.
[01:19:21] Speaker C: So they were all on all, all the same.
[01:19:23] Speaker A: All the same.
[01:19:24] Speaker B: Every bike was the same stock.
[01:19:25] Speaker A: This was a content generating and word of mouth generating social media exercise from what I can tell. And it's quite genius because now all these people are sharing all of the images and all of the footage with all their friends, but they're all riding this bike. And this is, this is an underdog of the bike brand. Like this is a Chinese bike brand not known in the world of bikes for. It's like the best brand in the world because it's newer and it's, and it's a Chinese bike rent, so it's a cheaper bike. So having all of these great riders on this bike and having their photos going out through all their networks of social media is going to boost the brand for sure a lot more than, than if they were all on a already popular bike brand.
[01:20:07] Speaker C: Yeah.
[01:20:08] Speaker A: You know, you know, be like if Fujifilm gave everyone a Fujifilm camera to use and then they got seen around the world and everyone would be like, oh, maybe they are. Okay, well, yeah, I guess I'm just.
[01:20:20] Speaker B: Kidding because the riders were of varying calibers.
Some of them were really good and some of them weren't. So you'd set up for a shot expecting something to happen and it just. Either that they wouldn't crash or that they weren't, they weren't fast.
[01:20:38] Speaker C: You were hoping for crashes.
[01:20:39] Speaker B: Well, not necessarily, but like you, you'd hope that they'd do a big roost or that, you know, be going really fast. And some of them were just kind of not very exciting.
[01:20:47] Speaker A: So the, the other thing was is obviously they wanted good content, but there was also kind of this expectation, whether I put this on myself or not, was all of the riders were kind of expecting to get photos of themselves on every challenge.
[01:21:02] Speaker B: So they wanted that TF moto.
[01:21:05] Speaker A: Yeah. So you couldn't just be experimental and aim to get, you know, a handful of epic shots that just being artistic that was. You needed to get a. Yeah, you needed to get a shot of every rider and you could try and push, you know, push things a bit through the day to get more and more interesting shots like this that Tim got this person doing a maneuver proper stunt. But yeah, the goal was everyone wants photos of themselves doing all of the stuff so that they can share them.
[01:21:36] Speaker B: On social media with branding and you know, trying to.
[01:21:38] Speaker C: Yeah, yeah.
[01:21:41] Speaker B: So this was day two now.
So day two, we got put out in random spots in the bush.
[01:21:47] Speaker A: We got lost.
[01:21:48] Speaker B: We got lost. We got sent to a private property that was supposed to be a road and it wasn't. So we had to find our own way to the points.
I dropped Justin on top of a hill and then I had to drive back up this four wheel drive track.
[01:22:00] Speaker A: We had two.
[01:22:03] Speaker B: Yeah, two video guys and Justin. I both got put in spots that if we had have probably wrecked it ourself and chosen the spots we probably wouldn't have chosen. Well, your spot was pretty good, but mine, like I wouldn't have chosen there simply for the light direction.
[01:22:17] Speaker A: The light was pretty rough because I think we made. Made good work of it.
[01:22:20] Speaker C: Oh, that's cool.
[01:22:21] Speaker A: These are great.
[01:22:22] Speaker C: That's really cool.
[01:22:25] Speaker B: So.
[01:22:25] Speaker C: Oh, I love that.
[01:22:26] Speaker A: Yeah. The dust.
[01:22:28] Speaker C: Yeah.
[01:22:28] Speaker A: Whereas the light. The light's rough for these, for these panning shots.
[01:22:33] Speaker C: Amazing.
[01:22:33] Speaker B: That shot's in there and it's what I. I would call it a fail because. So that's the Chinese team. It's the Chinese bike brand trying to get two riders. So these guys are just racing through the bush. There's no setup.
This would have been like the shot had it have been sharp. Which I got other shot shots sharp in this spot.
[01:22:52] Speaker A: But.
[01:22:53] Speaker B: But yeah, I left a fail in just to show you that sometimes we mess up. So the pant like none of the pants were sharp on these guys.
[01:23:02] Speaker A: Yeah.
[01:23:02] Speaker B: But that would have been the team to get. So with two riders in the shot was.
[01:23:06] Speaker C: Yeah.
[01:23:07] Speaker B: Rare to get on where I was.
[01:23:09] Speaker A: Yeah. And because it was coming through. They were coming through in dribs and drabs and kind of spread out. They weren't usually riding side by side on these fire trails.
[01:23:16] Speaker B: So.
[01:23:16] Speaker A: Yeah.
[01:23:17] Speaker C: What would your settings have been for that sort of shot? The previous one. Sorry, Jim, you said you struggled with the light and the panning. What were your settings, roughly?
[01:23:24] Speaker A: I can tell you.
Do you remember, Jim?
[01:23:28] Speaker B: I've got it here.
[01:23:29] Speaker A: Okay.
[01:23:29] Speaker B: But you can.
[01:23:30] Speaker A: You can tell I've got it here. Look at my. I bring it up on an overlay. I'm quite clever, by the way.
[01:23:34] Speaker C: I'm currently googling photography vests.
[01:23:36] Speaker A: So Jim was shooting at a 60th of a second at f 7.1 at ISO 64. Because Nikon does the ISO 64 thing, which is pretty cool.
So. Yeah, 60th.
Yep. Which is. Yeah. Anything lower than that and you're going to really struggle to get anything sharp and anything above that because they were probably going quick, but not quick enough that you could get a really nice pan shot at like 125th or.
[01:24:02] Speaker C: Yeah.
[01:24:02] Speaker A: Or whatever.
[01:24:03] Speaker B: You know, I shot some other ones at 100 and they were better. This was a bit slow and they're like the guys lifting the front wheel. So then.
[01:24:10] Speaker A: So like. Like this one.
[01:24:11] Speaker C: Let's see.
[01:24:12] Speaker B: Yeah. So if you zoom in on that, he. The CF Moto should be pretty sharp.
[01:24:15] Speaker A: That was at a 60th.
[01:24:17] Speaker B: Okay.
[01:24:19] Speaker A: How does zoom on this? Let's see. Oh, there we go.
[01:24:23] Speaker B: So the bike should be sharp.
[01:24:24] Speaker A: Oh, not bad, Jimbo.
Slight bit of. No, it's actually really, really.
[01:24:29] Speaker C: Yeah, it's really good.
[01:24:30] Speaker B: It's like Chris bass out of 60 and he's like. They're going up a hill, like an off road. That hill.
[01:24:35] Speaker C: Yeah, yeah, yeah. So you. Yeah. And you're dealing with, like, you're paying it at an angle. You're kind of going across and up, aren't you?
[01:24:43] Speaker B: Yeah, it was a steep hill, like where I was parked. I was like, actually a bit worried about parking my car on there.
[01:24:48] Speaker A: And it wasn't a smooth hill. It was like there was g outs every so often and they're bouncing around and. Yeah. Like a washout. A drain for the. That you like to stop the water, go through a big bottom out and then you keep going up the hill.
[01:25:04] Speaker C: Yeah, yeah.
[01:25:07] Speaker A: So. Yeah.
[01:25:07] Speaker C: Oh, that's cool.
[01:25:09] Speaker A: Yeah, these are great.
[01:25:10] Speaker B: Kind of like working with the dappled light, you know, because it was.
Yeah. Super dappled.
[01:25:16] Speaker A: Oh, here we go. Technical term. Spoon drains. Is that what they're called?
[01:25:20] Speaker B: Yeah. Spoon drain. Washout. Erosion bank.
Erosion jumps. Everyone calls them something different.
[01:25:27] Speaker A: Sick jump.
[01:25:30] Speaker B: Then.
[01:25:31] Speaker A: This is finish line.
[01:25:32] Speaker B: The end of day two, we were back at the.
[01:25:34] Speaker A: You got the basic back at a 60th. Just get a little bit of motion there, and that was it. Does that give me your. Oh, yeah. 200 mil. Nice.
[01:25:44] Speaker C: Yeah, that's really nice.
[01:25:50] Speaker A: Good job.
[01:25:51] Speaker C: Yeah, that's cool.
[01:25:52] Speaker A: So you're gonna buy that lens?
[01:25:55] Speaker B: Yeah, maybe. We'll see.
[01:25:57] Speaker C: What was the lens? Sorry.
[01:25:59] Speaker B: 7202.8.
[01:26:00] Speaker C: Oh, that's the one you borrowed?
[01:26:01] Speaker A: Yeah, yeah, the new Z mount one.
[01:26:04] Speaker B: Zoom in on his eyes, Justin.
[01:26:06] Speaker C: That's pretty cool that you got to borrow it and take it to the job straight away.
[01:26:12] Speaker B: Yeah.
[01:26:12] Speaker A: Look at that.
[01:26:13] Speaker C: Oh, that's awesome.
[01:26:16] Speaker B: And that's already. That's already cropped that as well. I left it wide for CF moto, so it had the banners on the right.
Otherwise you probably would crop it a lot tighter to get more of that.
[01:26:26] Speaker C: Yeah.
[01:26:26] Speaker B: Face if you're cropping it for personal.
[01:26:31] Speaker A: All right, we'll quickly flip through some of mine.
[01:26:35] Speaker C: Yeah, just quickly.
[01:26:36] Speaker A: Where do we want to start? I'll have to go back and forth. Let's start here.
This is Jim in his photographer.
[01:26:43] Speaker C: Vesta Flanny. What a surprise.
[01:26:48] Speaker A: Do you have the group.
[01:26:49] Speaker B: Is the group photo in yours?
[01:26:50] Speaker A: Yep. Yeah, I'll bring it up in a sec. This is the video rig that was there.
[01:26:55] Speaker C: Told me about this.
[01:26:56] Speaker A: How sick is that?
[01:26:57] Speaker C: That is crazy. That's like.
[01:27:00] Speaker B: Sounded insane, didn't it?
[01:27:01] Speaker A: Yeah. This is a Batman Mad Max video rig. Had like, four guys in it. Just. Just zooming around and.
Yeah. Just hooking this thing up and doing awesome jib shots and. And stuff. And then they just bang off somewhere else. And they're having a good day. Yeah. So I had to get a photo of that.
[01:27:21] Speaker C: That's cool.
[01:27:23] Speaker A: Bruce Moore says it's a Russian arm. How do you know?
Can you tell by the accent?
Anyway, the.
Okay. Group photo.
This was intense.
[01:27:41] Speaker C: How many bikes did they bring over?
[01:27:44] Speaker B: There's 80 riders. They probably bought about 100 bikes.
[01:27:47] Speaker A: Probably 100.
[01:27:49] Speaker C: That looks incredible.
[01:27:51] Speaker B: So they set up this group photo, and the only. And I put my hand up early in the piece and said, we can do the group photo because none of the other photographers really want to do it. So that's. Group photos are easy. We'll do it. And I said, the only thing is make sure the sun's behind them. It's all the only thing we ask.
And we came there, and they'd set it up and the sun was directly behind where this. Where Justin would have been in the photo. Like, you're taking this exact photo. And they said, we really want the banner in it. You've got to have the banner in the shed.
[01:28:22] Speaker A: Yeah. So if the sun was out, which it was up until was 60 seconds before this photo, it. I almost would have been casting a shadow onto their bikes.
It would have been directly behind me.
[01:28:35] Speaker C: Yeah.
[01:28:35] Speaker B: And at the time, they were like, no, no, we have to do it. And then when we got there in the morning, they said. And they could see how squinty everyone would be and how, like the blur their eyes out.
[01:28:46] Speaker A: Yeah.
[01:28:47] Speaker B: They said, okay, we'll turn it around.
[01:28:52] Speaker A: So in the lead up to this, we'd negotiated, okay, we can't have the banner in the background. Everyone's going to look terrible. We have to shoot it away from the banner and we'll just take some photos of the banner later, but it just won't look good.
And then we finally convinced them that that's what we have to do. And they were like, yep, okay.
[01:29:10] Speaker B: And the sun. It was 8:30am so sun was low, and it was literally directly behind.
[01:29:15] Speaker A: And they'd worded. They'd worded the MC guy up and stuff that this is how we're going to do it.
And then.
And this is also. These guys are all getting ready to, like, race today. So they're all. They don't care about this photo. They're all ready to, like, they got their gear on. They're, like, ready to go. They don't stand around. And then, like, just after this, they're like, all right, it's time. We're going to do a group photo. But we've seen that this band of cloud is coming across, and it was thick enough that it was going to cover the sun enough to be able to shoot it for enough time to shoot it in this direction. And we're, like, waiting. We're going to change it around. We're going to get the shot that you want. Like, this probably come together in what, two minutes?
[01:29:56] Speaker B: Two minutes.
[01:29:57] Speaker C: Yeah.
[01:29:57] Speaker A: Yeah.
[01:29:58] Speaker B: And then everyone, like all their friends were in the front row of bikes, like, trying to take photos. So I'm, like, talking to Justin or yelling. Justin's yelling to me.
And I'm kicking all the other people out of the photo.
[01:30:11] Speaker A: Yeah. I'm on a ladder. I'm on the ladder. Just doing the. The easy bit. And Jim's running around trying to organize.
[01:30:17] Speaker B: All the people closer and.
[01:30:19] Speaker A: And make the flags are at the Back of the group and all that sort of stuff. And then. Yeah, I'm sure it would have been less than two minutes before we had it done and dusted and ready for them to, to go.
[01:30:32] Speaker B: That's pretty cool.
[01:30:33] Speaker C: That's really cool. Well done. Well done, guys.
[01:30:37] Speaker A: It was fun. So.
[01:30:38] Speaker C: Oh, that's a crazy shot.
[01:30:40] Speaker A: Hang on, hang on, hang on, hang on.
Look, there he is judging me.
[01:30:50] Speaker C: Yep.
Why haven't you taken the shot yet?
[01:30:53] Speaker A: Yeah.
So anyway, that was that Dennis says, did you have walkie talkies? That's all that really matters. We did not, not.
[01:31:03] Speaker B: Not at that point of the day. But we did later.
[01:31:05] Speaker A: We got them later when we didn't need.
[01:31:07] Speaker B: We got like earpieces. We looked like.
[01:31:08] Speaker C: Yeah, we photo with you with the earpieces.
[01:31:10] Speaker A: Yeah, we had earpieces.
[01:31:11] Speaker C: Now I want to look up one of those. Amazon.
[01:31:14] Speaker A: Right?
So my challenge, they didn't. They weren't even allowed to turn the bike on.
They had to push it up a hill as a team, a group of four of them, and then pull, bring it down the hill through these rocks as a team. They could have someone on the bike or not, but they couldn't start the bike.
And that was it. It was, that was the challenge. So.
[01:31:36] Speaker C: Wow.
[01:31:37] Speaker B: I got told it sounds horrible.
[01:31:39] Speaker A: Yeah. I was like, okay, so my challenge is no riding, just pushing the bikes. But it meant that most of the time.
Hey, Nick, what's up? Gosh. Late to this. Motorbikes. Yeah, motorbikes.
So what it meant was though, everyone else, Jim and all the other guys are shooting guys with their helmets on all day. Whereas I had the opportunity to take shots of them with their helmets off while they're doing silly stuff like dropping their bikes in mud with their helmets off or having a laugh because the guy dropped his bike in the mud.
And so this is basically what it was like half the times. Like they're just pushing and running through rocks and like. And they got into it. They were going. Yeah, they were going hard. I think the slowest team took four minutes. The fastest team took like 35 seconds.
So the fastest team was like sprinting and it was like.
[01:32:36] Speaker B: I heard, yeah, 20 meters.
[01:32:41] Speaker A: Yeah. A 200 kilo bike up an incline and then get it back through these rocks. Actually, this might not have been the fastest team, but they were up there.
[01:32:49] Speaker C: That's a great shot.
[01:32:51] Speaker A: Yeah. And get, just getting the, like, you know, the afterwards because the dude fell over and they're all. They're happy because they got a good time and. And then luckily I Was next to another track that had some water splashes. So when there was nothing happening on my one, I still got to take photos of people splashing, splish, sploshing, which is.
And then day two, Jim dropped me up on this hill with these power lines and I would take photos of them on that and then run down the other side and get another shot of them coming through. And it was good. It was fun.
[01:33:21] Speaker B: Very fun of it.
[01:33:22] Speaker A: And then we did the finish line as well, which was pretty hectic.
Yeah.
Yeah.
So anyway, good times.
[01:33:29] Speaker C: Very cool, guys. Well done.
What an interesting job. Like just.
[01:33:34] Speaker B: Yeah, it was fun.
[01:33:35] Speaker A: It was a fun job to get. Like they're the sort of gigs, you know, if you could do that every week as a job.
[01:33:40] Speaker B: And same day we had photos delivered within like an hour and a half, two hours. Yeah, it was an editor, actually. That's how big it was. There was an editor there and this is just a photo team. There was also a video team that had like three editors and like.
Yeah, crazy.
[01:33:56] Speaker C: They didn't muck around. Hey, this brand really wants in.
[01:33:59] Speaker B: Yeah, there's gonna be like a 30 minute doco coming out on it.
[01:34:04] Speaker C: Oh, really?
[01:34:04] Speaker A: Really went for it.
[01:34:05] Speaker C: Oh cool. I'll make sure you share it when it. When it comes out.
[01:34:09] Speaker A: We'll probably be in it.
[01:34:11] Speaker B: We probably won't.
[01:34:12] Speaker A: Probably not.
We should keep moving right along because it's getting late.
[01:34:18] Speaker C: Yeah, we should.
[01:34:19] Speaker A: And I forgot to do this before, but I call this segment 21. Greg Straight.
Because Greg, Greg shared some images, some street images the other day which I really like now. Greg, I didn't. I just grabbed the ones out of. I didn't. I haven't got all of yours out of the folders that you sent. I just.
So this is a bit subjective. I just picked the ones that immediately grabbed my attention. So this is like my picks from your couple of shoots that you did last week.
[01:34:50] Speaker C: That's presumptuous of you.
[01:34:51] Speaker A: Yeah, I thought so.
[01:34:53] Speaker C: Yeah.
[01:34:54] Speaker A: So I'll bring him up and you can tell us about them.
[01:34:57] Speaker C: So all of these are shot on the new Fujifilm XE5 Cha Ching for Greg. And the.
I'm really loving once again the little pancake 27 millimeter F 2.8 that came out with the XE4 or the RE. The weather sealed version came out the XC4. I'm just loving that 40 mil field of view for some reason. It's just really grabbing me at the moment. So.
Yeah. So earlier in the week I woke up and the light was Beautiful. And I just felt the need to get out and take photos. Like, the light was really compelling. It was. It was like, you know, early morning, lots of deep shadows, and I really wanted to play with that and lean into that sort of that contrasty. And so I walked down to my local train station, sunny, 100 meters away, and jumped on a train to the city.
[01:35:49] Speaker B: This. This photo feels. I know it's. They're holding phones, but it feels like an 80s image. Like, I think it might just be the. What, you know, the guy's shirt tucked in kind of look.
Other than the phone, it. It feels like an old image.
[01:36:04] Speaker A: Yeah, he does.
[01:36:05] Speaker C: Yeah. Like, if you put a paper there or like a. Yeah, like a something, it would just feel right at home. Yep.
[01:36:11] Speaker B: Yeah, it's a great shot. Thanks, man.
[01:36:15] Speaker C: Yeah, this was just on the train platform. I was just harassing people and making them feel awkward.
I was trying to be very discreet.
[01:36:25] Speaker A: Yeah. The way that he. He's highlighted. Both of them highlighted by light. But the way that he's highlighted. But his head is sort of poking into the black frame. I just. Yeah, I really like that shot. And the angle. I think the way. The angle of his elbow and arm and then this line of the shadow, I just. It all kind of worked. And the way.
[01:36:42] Speaker C: Yeah, I'm really happy.
[01:36:43] Speaker A: His head's tilted at the same angle.
[01:36:45] Speaker C: As the shadow, so I'm standing sort of almost.
[01:36:50] Speaker A: Yeah.
[01:36:50] Speaker C: And I just. Just. Because he was wearing a lot of black, so I just had him peeking through. But what first caught my eye, obviously the light was great. But then when I looked around and saw this shadow, this beautiful angular, geometric shadow, I just went, oh, I've got to. I've got to do something with that. So I kind of just slowly move position myself until these guys were where I needed them to be in the frame.
[01:37:12] Speaker D: But.
[01:37:13] Speaker A: Yeah, very nice.
[01:37:15] Speaker B: Yeah.
[01:37:16] Speaker A: All right.
I just like this one.
[01:37:18] Speaker B: I like this shot.
[01:37:19] Speaker A: I like the colors with the color of your shoes.
[01:37:22] Speaker B: The colors don't look as good on here as they looked when I saw it.
[01:37:27] Speaker A: I edited them. No, I didn't. This is exactly. No, I don't know what's different.
[01:37:33] Speaker C: The colors just pop. And I. I dropped a Fujifilm SIM.
[01:37:36] Speaker B: When I was editing my normal screen.
[01:37:39] Speaker D: Yeah.
[01:37:39] Speaker C: And it just really makes those colors pop. It's beautiful. I love it.
[01:37:45] Speaker B: Yeah.
[01:37:45] Speaker C: I think it's nostalgic negative I used.
[01:37:51] Speaker A: I think this is also a shot that.
I don't know. I don't know what I liked about this one. I think it's The.
The girls, like. I'm like. What is she listening to?
[01:38:01] Speaker C: Yeah, her eyes are closed and she's.
[01:38:03] Speaker A: Yeah.
[01:38:03] Speaker C: Tilted her head up to the sun.
[01:38:05] Speaker A: Yep.
[01:38:06] Speaker C: And there's. There's just this pause.
[01:38:08] Speaker A: Whereas everyone else is looking down at their phones.
[01:38:10] Speaker C: Yeah, that's what I learned. Yeah.
[01:38:13] Speaker A: It's hard to get a photo of someone that's not on their phone these days.
[01:38:16] Speaker D: Yeah.
[01:38:17] Speaker C: It's crazy in the city. It's just everyone.
And sometimes that works, you know, because everyone's distracted as well, and they don't see what you're doing.
[01:38:29] Speaker A: But, yeah, for some variety.
[01:38:31] Speaker C: Yeah. You find someone without it.
[01:38:33] Speaker A: It's nice when they. Yeah. When they don't have it.
I like this one, too.
This guy just chilling smoke.
[01:38:43] Speaker D: Yeah.
[01:38:44] Speaker C: He's trying to find his lighter.
[01:38:46] Speaker A: Yeah. Did you give him one?
[01:38:48] Speaker C: No.
[01:38:48] Speaker B: Did you get any shots with him, like, exhaling smoke?
[01:38:53] Speaker C: The next shot that I took, yeah, he'd lit it, and it sort of puffed out, but he was looking at me by then. I didn't want him looking at me.
[01:39:00] Speaker B: Yeah.
[01:39:01] Speaker C: In the shot, so I just.
[01:39:03] Speaker B: Yeah. Yeah, Because.
[01:39:04] Speaker C: Yeah, a lot of. Yeah, because of the black. It would have.
There's a. There's a color photo a little bit further on where someone's had a vape and they're kind of exhaling it. But, yeah, it's just time. And I'm moving, too, at the same time, you know.
[01:39:23] Speaker A: Sorry, I'm just bringing up. I'm downloading more images.
This one I went back and forth on a few times.
Yeah.
[01:39:31] Speaker C: I don't know what it is about it, you know? And you know what? When I went out this day, I had in my mind, oh, God, his name has just left me. Fill the frame.
Andrew Chapman.
[01:39:43] Speaker A: Oh. Yep.
[01:39:44] Speaker C: I had his voice in my head. Fill the frame. Fill the frame. Like, just add the. Like, make sure the elements are there. And so this was kind of a bit of an experimentation with that, that, you know, I've really packed in the composition, that there's a lot to kind of. To cast your eye around.
[01:40:00] Speaker B: And.
[01:40:00] Speaker C: Yeah, I had Andrew Chapman in my head while I was shooting these, which was lovely. You know, like, it was just giving me a different kind of different guidance as to how I was composing shots.
[01:40:11] Speaker B: And have you corrected the line, like, the straight lines in this?
[01:40:15] Speaker C: No, no, I never do that. No. I don't know how it.
[01:40:20] Speaker B: Like, it's like. It looks perfect.
[01:40:23] Speaker C: Everything looks.
That's the Fujifilm, Jim. That's why it looks perfect.
[01:40:28] Speaker A: I think I liked. I really Liked the red stop and the red sign and the way that. Though the building and the lights had the same shape. But the only thing that pulled me away from this image a couple of times and I. I went back and forth on it was the. Her foot disappearing out of the frame.
I had longed for that foot to be visible.
[01:40:49] Speaker C: There's only fans pages.
[01:40:53] Speaker B: We don't. We don't like to crop out anything.
[01:40:57] Speaker A: John Pickett would like to know, are you shooting from the hip or is the camera up at your eye?
[01:41:02] Speaker C: I think in this one I brought it up to my eye and I was also very conscious of.
Typically street photographers will only shoot in landscape. There's this thing that a lot of them. If it's not in landscape, it's not street.
I don't agree with that and I've been through that phase myself, but I was really pushing myself to take more vertical orientation. And when I turned and looked at her as she was walking towards me, I thought she looked like a well balanced character. And I lifted the camera and took the shot. And by the time I'd sort of framed and composed and.
And shot, she'd already sort of gotten a bit closer. So we lost the foot, unfortunately.
[01:41:37] Speaker A: Yeah, it's. It's. Yeah, exactly. I'm not saying it's one of those things. You can't.
[01:41:41] Speaker C: Yeah.
[01:41:41] Speaker A: Control that stuff. It's just.
Yeah. Looking at the image after the fact, it's. I'm like, oh, I wish that was there.
[01:41:48] Speaker B: But, yeah, I think that's. Yeah. Maybe this side that we come from, Justin, that we're looking for that. But I think from. For what it is in the street. It's not.
[01:41:58] Speaker A: It doesn't matter.
[01:41:59] Speaker D: Yeah.
[01:42:00] Speaker B: Yeah, it doesn't matter because it's not like we're delivering it as a.
Yeah.
An image in that sense. It's a street portrait.
[01:42:10] Speaker D: Yeah.
[01:42:11] Speaker A: This one's fun. Black and white.
[01:42:13] Speaker C: Yeah. Just playing around.
[01:42:16] Speaker A: Happy looking, man.
[01:42:19] Speaker C: This was on the second day. No, this was. I can't remember which day I took this, but I really like this one. This is next to Maya. It's in like that. What is it? Little Lonsdale.
[01:42:29] Speaker B: He's coming out of like a prison or something.
[01:42:31] Speaker C: Yeah, it's like a staff door.
It's in between like, Maya and another building in that lane. Not the Laneway. What is it? The one that Chinatown's on.
Is that Little Burke?
[01:42:41] Speaker A: I don't know. You're the Melbourne.
[01:42:43] Speaker C: I should know that. I'm sure it's Little Burke.
[01:42:44] Speaker A: Anyway, Golden Terrace.
[01:42:47] Speaker C: And.
And. Yeah. So he's come out of this door and he's walking towards me, and he's got nowhere to go. So I've got all the time in the world to compose and frame this shot.
[01:42:56] Speaker A: Did you pick this one specifically because of he was. The way he was like, he's taking a step, which I think looks really cool, and he's tucking something into his jacket or his fix.
[01:43:05] Speaker C: There's more interest. And he's also like, really in that space that's really confined for him. But it was all sort of like this polished metal, so it was just light bouncing everywhere. It was really cool.
[01:43:17] Speaker B: Greg, when you take a shot like this, are you shooting one frame and you're kind of like waiting, waiting, waiting. That's the shot.
[01:43:24] Speaker A: Or are you taking 40 frames?
[01:43:27] Speaker C: It's on a tripod. I'm not even there. It's just on base mode.
I tend to take. I don't know why, and I can't explain why I do it, but it must just be habit. I always double tap.
[01:43:39] Speaker B: Yeah.
[01:43:39] Speaker A: Okay.
[01:43:39] Speaker C: So I do two shots every time I take a shot. Every time I take a shot, I take two. Because in the street, you get moments like this, you know, and. And that half a second later, it might have been a slightly better moment. And then I'll wait. And I. I think I've got other shots of him coming closer. Yeah, but I just like the framing of this one.
[01:43:58] Speaker B: No, I. I think this is correct.
[01:44:01] Speaker A: That's great. I like it.
Straight out of zombie land. That's smart.
[01:44:05] Speaker C: Yeah.
[01:44:06] Speaker B: If. If I took one, Greg, It'd probably have five shots. And if Justin took it, it'd have 14, eight shots.
[01:44:12] Speaker A: That's not true, Jim.
[01:44:13] Speaker C: On two cameras, you know, when I'm not.
[01:44:16] Speaker A: When I'm not working, I set my camera to single shot and then go.
[01:44:25] Speaker C: Yeah, but it's just. It's just a muscle reaction. For me now it's just double shot. Double shot.
[01:44:30] Speaker B: Yeah. I think it's a good way to do it, especially for straight as well, where you don't get the moment again.
[01:44:36] Speaker C: Yeah, because I'm not opposing anyone. It's just. They're just moving through the world.
[01:44:41] Speaker B: And I guess it probably gives you a better percentage of hit rate with Fuji autofocus.
[01:44:46] Speaker A: Yeah.
Justin's battery wouldn't be working. Let's be real.
Or Justin would have had the liker and missed the shot by the time it's starting up, I thought, yeah, anyway.
[01:45:00] Speaker C: Great, great purchase choices.
[01:45:01] Speaker B: They're just.
[01:45:02] Speaker A: My photos.
[01:45:02] Speaker B: Start a podcast.
[01:45:03] Speaker A: They said, yeah, yeah, Everyone will love you. They said you'd be famous.
Last one.
[01:45:11] Speaker C: That's my dad. I thought so. I don't have many photos of my parents.
We just don't. I mean, there's family shots and stuff like that, but I don't have any portraits.
And so he's in hospital at the moment. He's had some heart issues, and Sashi and I went in to visit him. That was part of the street walk. So I. I went on the. I can't remember if it was. That was the first day or the second day, but I went on the street walk, took a bunch of photos, met Sash because she works right near where he was in the hospital.
And then we walked over to meet him and we went to the. We went to the gift store, and they had soft toy crab. So I thought, oh, yeah, I'll get him a crab. Like most people get a teddy or a bunch of flowers or a balloon. And I showed it with a crab, and he thought he's been scaring nurses ever since with.
[01:45:56] Speaker B: Looks like a real. Like, it looks like it's claws are, like, tied up.
[01:46:01] Speaker A: Yeah.
[01:46:02] Speaker B: From this. From where I am.
[01:46:04] Speaker C: Yeah. I visited my dad and took him a live crab, but.
But no but. Because it's. It's like fabric, but it's got the crab shell printed. Like, it's not like. They're just trying to make it look like the crab shape. They've actually printed a crab design on it.
He's called it Claude, and he loves scaring the nurses with it.
[01:46:23] Speaker D: But.
[01:46:23] Speaker C: Yeah, I thought it was a lovely portrait of my dad. He wasn't having such a good day, but we gave him crabs and it seemed to lift him a little.
[01:46:31] Speaker B: Yeah. So, you know, that's cool. Yeah.
I like the arms and I like the claws in this.
Yeah, yeah, yeah.
[01:46:42] Speaker C: And again, this is the nostalgic neg film simulation. I just love the way that it brought out the color, especially with the.
That sort of salmon color in the background and the green of his chair. It just. It just works.
[01:46:52] Speaker A: It does. The color palette all matches. It looks like it could be a scene, a movie scene or something. Like, it looks color graded.
[01:47:01] Speaker B: Yeah.
[01:47:02] Speaker A: Very cool.
[01:47:03] Speaker C: Yeah.
My poor old dad.
[01:47:06] Speaker A: Yeah.
Well, that is all of your shots that I selected.
[01:47:11] Speaker C: Thanks, boss. Good selection.
[01:47:12] Speaker A: I thought so.
[01:47:13] Speaker C: Happy with that.
Maybe a bit emotional.
[01:47:16] Speaker A: No, it's okay. It's all right.
[01:47:20] Speaker C: Yeah.
[01:47:21] Speaker A: But now we've got to get onto everyone else's images because.
[01:47:24] Speaker C: Yes.
[01:47:24] Speaker A: So many images. You guys have been sending tons through, and now I've Got to quit the thing and bring it back up so that it reloads with everyone.
[01:47:31] Speaker C: This could take some time for. It's like photographing with a Leica.
[01:47:36] Speaker A: It's a two second startup time.
Don't worry about that. Just pay the money.
And your photos.
Let's find them. Where are they? Where did I hide them? Here, here, here. And who are we going to start with?
Let's start with.
I'm gonna start from the top of.
No, that's a bad idea. I'm going to start from here.
Let's start with Bruce Moyle.
[01:48:12] Speaker C: Hey, Brucey.
[01:48:13] Speaker A: Bruce Moyle.
Share screen images for the show.
[01:48:23] Speaker B: Share.
[01:48:25] Speaker A: Okay.
Bruce Moyle says a week in Hawaii.
Look at that.
Yeah. Street photos, morning and night. Plus the Pride Parade on the day I arrived. 18km on my feet the first day, 10km most days. Just shooting and watching. When not working on the actual shoots I was paid to be on. None of that is included here.
Pride Parade. I just walked around like an official photographer and owned the whole thing. Didn't get questioned once. Crazy.
Yeah. Did you have a photographer vest? You should get one.
[01:48:58] Speaker B: Other side.
[01:48:58] Speaker A: Yeah, yeah, yeah.
[01:49:00] Speaker B: You just got to look like you're meant to be there.
[01:49:03] Speaker A: Yeah. Crazy amount of images, but only processed a few.
[01:49:06] Speaker C: That's Greg Carrick's trick. He puts on a high vis vest and just behaves like he's meant to be there.
[01:49:11] Speaker B: And he carry a ladder or a camera. And you can look at that.
[01:49:16] Speaker A: Yeah. Hawaii. That's crazy.
[01:49:18] Speaker C: That's a stunning shot.
[01:49:20] Speaker A: And then this is the one that we saw on social media, which this, you know, doesn't do it justice. It needs to be printed enormously because there is. Where is that? Oh, hang on. Where's that person? They're in here somewhere.
I can't do this.
[01:49:33] Speaker C: Oh, my God.
Jim, can you take over?
[01:49:36] Speaker A: It zoomed in too far.
[01:49:37] Speaker C: There it is.
[01:49:38] Speaker A: There he is.
It's a beautiful shot. It needs to be printed. Massive.
[01:49:44] Speaker C: Yeah. It's a paddle border, isn't it? In the middle.
[01:49:46] Speaker A: Yeah, yeah, yeah.
[01:49:48] Speaker C: That's crazy.
So cool.
[01:49:51] Speaker B: And with the light like that too.
[01:49:54] Speaker C: Yeah.
[01:49:55] Speaker A: No vest. Wow. Just no vest. Good job.
Access all areas and. Yeah, that's sick.
What else have we got from Bruce?
Oh, the cats.
You see him?
[01:50:16] Speaker D: No.
[01:50:18] Speaker C: Oh, look at them.
[01:50:20] Speaker A: No trespassing.
[01:50:21] Speaker C: Must be dinner time.
[01:50:26] Speaker A: That's great.
[01:50:27] Speaker C: Yeah.
[01:50:28] Speaker A: Padlocks, Airbnbs.
[01:50:30] Speaker B: I guess the color.
[01:50:33] Speaker C: Yeah, the color is stunning.
[01:50:42] Speaker A: Beautiful work, Bruce.
[01:50:44] Speaker C: Look at the light, like the layers going back. That's crazy. Bruce.
[01:50:48] Speaker B: And then the person. People. Two People in the background too.
[01:50:51] Speaker C: Yeah.
[01:50:52] Speaker B: One in the window, one behind the bush.
[01:50:54] Speaker C: It just.
[01:50:55] Speaker B: Not behind the bush.
[01:50:57] Speaker C: It just pulls you. It just pulls you right into it, doesn't it?
Steps of light too. Like it just. Yeah. Well done.
[01:51:04] Speaker A: Brucey says I have many stories. Maybe we'll have to do a podcast episode.
[01:51:08] Speaker C: Yeah, I think we'll might.
Can't you hear?
[01:51:12] Speaker A: Hang on? Why? Oh, yeah, there they are. Coming up next, the one, the only, David Leporati who says, I thought you might like some more infrared images, but with a different system.
The macro images were all taken on a Fuji XE2 IR converted 590 nanometer, which records from orange, red to infrared.
All plants reflect infrared light, which can cause issues with lots of light white images and lens flaring. I didn't know that shot, Ant shot was taken with a Nikon 60 mil micro lens plus two Godox MF12 macro flashes.
And the B shots were taken with the Nikon 60 mil micro lens plus a Godox V480 with diffuser.
How crazy. The colors.
[01:51:59] Speaker C: That is insanely good.
[01:52:02] Speaker A: Oh, conversion done.
[01:52:06] Speaker C: No, I've been seeing people's macro, especially from the BFOP workshop, people that did the macro and some of the images are just crazy good. This is stunning. Absolutely stunning, David.
Imagine that printed.
[01:52:20] Speaker B: Oh, that's cool.
[01:52:26] Speaker C: Yeah, that's nuts.
[01:52:28] Speaker A: Jesus.
[01:52:30] Speaker C: I can't imagine how that looks on your screen, Justin. I mean that's, you know.
[01:52:33] Speaker A: Yeah, you can see it way better in the actual third hand information, isn't it? Yeah. Crushed. Crushed via the Internet.
[01:52:41] Speaker B: Yeah.
[01:52:42] Speaker A: So thank you, David, for stoking the fire of me getting one of my cameras converted. I appreciate it if you can do that regularly. Every time. I'm sort of starting to forget about it. Just send them on through.
I'd appreciate it.
So amazing. And then from one David to another David, another famous David.
This one from David Mascaro.
These are just a few of the veteran portraits I've taken with their consent. I post the stories, they share with me. Some crazy stuff, stuff I've heard spending time with these guys.
Let me find the appropriate ones for some of the stuff that he said. Some of these are film and a couple digital.
I hope to do a book on veterans soon. I have close to 100 photos.
[01:53:38] Speaker B: Oh, the lightings.
Yeah.
[01:53:44] Speaker C: But also the framing. Like it's just. It's so sensibly done.
[01:53:50] Speaker A: He's got such a skill.
[01:53:52] Speaker C: Yeah, yeah.
Oh, wow.
[01:54:01] Speaker A: Yeah. Just the eyes, I don't know.
[01:54:04] Speaker C: Yeah, but the images are telling a story without even knowing the, the context, you know, there's, there's real depth in that.
[01:54:19] Speaker A: Here. He says the man holding the photo was of him as an 18 year old right out of basic training. He lost an older brother in Vietnam after his tour.
[01:54:38] Speaker B: Yeah.
[01:54:39] Speaker A: Great work, David.
[01:54:40] Speaker C: Very powerful. Yeah, well done, David. Gosh.
[01:54:43] Speaker A: Both Davids.
And then move on to the one and only Dennis Smith.
Some images shot from when he was at Beef up, splashing around in the water, which I think, Let me just check. What do you say? 1.6 second exposures.
[01:55:12] Speaker C: I've always loved the ball of light stuff and all of the light painting Dennis does when there's water involved because of the reflection.
[01:55:20] Speaker A: Yeah.
And it's just like he was saying, it's so. Yeah. 1.6 seconds. It's so unrepeatable. Yeah, you just can't. It's going to happen once like that and then. Yeah, you could try and get something similar. But yeah, it's not, it's not going to be the same with the splashes.
[01:55:38] Speaker C: And the reflection and the flowing river as well.
Yeah, yeah, yeah.
[01:55:43] Speaker A: So, yeah, those, those were cool. And then he also sent this one through, which he posted on social media the other day, along with a behind the scenes shot of the camera. It was taken on his.
His Q3, basically in the water.
Basically just scratching around in rocky mud water to get shot.
[01:56:06] Speaker C: That's a stunning shot.
[01:56:08] Speaker B: That's cool.
[01:56:12] Speaker C: I just can't stop looking at it, you know?
[01:56:14] Speaker B: Yeah, beautiful.
[01:56:16] Speaker A: It's looks like so much fun. I just want to do it. So. I've never done it like this. This with the.
[01:56:22] Speaker C: Yeah, yeah.
[01:56:24] Speaker B: Can you zoom in like that?
[01:56:25] Speaker A: Which part?
[01:56:27] Speaker B: Down the. In the left a bit more. The square. It looks like a person is in and. No, it's not in the reflections on the left.
[01:56:37] Speaker A: That's as far as I can go.
[01:56:39] Speaker B: Back to that little squir. See the little square with a light in it?
[01:56:42] Speaker C: Oh, okay.
[01:56:43] Speaker B: Yeah, that looks like it.
I know it doesn't in the top one, but it kind of does. It kind of looks like a purse from where I can see it with the, you know, the res I've got here.
[01:56:55] Speaker A: All right, up next, more podcast royalty.
Where is he?
[01:57:01] Speaker C: Great work, Dan. Love it.
[01:57:02] Speaker A: Great work, Dennis. Thank you for sending those through.
[01:57:05] Speaker C: Is that a great Carrick?
[01:57:06] Speaker A: Greg Carrick lightning strike taken with the Fujifilm GFX50R Pentax 18-35 plastic fantastic lens. Of course.
How else? He just literally gaffer taped it on there and. And a strike finder two.
Yeah, the trigger thing and says Lilydale Lake. Two seconds. Oh, Lilydale Lake. Nice.
[01:57:35] Speaker C: Yeah.
[01:57:35] Speaker A: Two seconds F16. ISO 50.
Yeah.
[01:57:40] Speaker C: So two seconds F16. Oh wow, that's gorgeous.
[01:57:45] Speaker A: That's another one I think would need to be printed big to really get the most out of it because it looks very cool on my screen.
And yes. Dennis Bendigo Light Madness. I wonder what we could do. What could we light paint? Be crazy.
[01:57:59] Speaker B: The mel's got a lot of lights in it at the moment.
I don't know if that would work.
[01:58:04] Speaker C: Who's.
[01:58:04] Speaker A: No, no, we need somewhere dark. We need to like and we'll just light paint something cool. Maybe I should light paint my dad's car or something.
[01:58:09] Speaker C: What about that old, big old crane that's up on the. Near the mining site.
[01:58:15] Speaker A: Oh yeah, yeah, yeah. You could do some fun stuff up on the hill up there.
[01:58:19] Speaker C: Yeah.
[01:58:19] Speaker B: Victoria Hill won Justin that, that poppet head at Victoria Hill.
[01:58:24] Speaker A: Just do the whole thing.
Have Dennis running up and down like the stairs, doing up like four stories of poppet's head and then back to it again and then he'd be like oh, didn't quite get it right. I'm gonna do it again.
Okay.
Greg Street. We've been through that gym Jim.
Hope I've. I hope I haven't missed anyone because it's. There was a lot today.
Where are you?
Lisa Leach, the best one year photographer in the world.
Look at that.
[01:59:03] Speaker C: It's like a. It's like a painting, you know it's got that old sort of landscape painting look to it. It's just magical.
[01:59:13] Speaker A: Let me see. There was some.
[01:59:15] Speaker C: And the contrast between the textures of the rock and the water.
[01:59:21] Speaker A: This one.
Oh, Liz is already onto it. Bombo quality Bombo quarry in New South Wales.
[01:59:30] Speaker B: Very cool.
[01:59:31] Speaker A: And then was this one.
[01:59:37] Speaker B: The layers, another layers high country somewhere.
[01:59:45] Speaker A: Diamantina Hut Hotham maybe if I'm good at talking.
This one's pretty cool.
It's lovely, isn't it?
[01:59:58] Speaker C: Yeah.
[02:00:00] Speaker A: The view from Della Tight winery of Mount Buller Mansfield.
[02:00:05] Speaker B: Cool.
[02:00:06] Speaker A: That's clever.
Yeah.
[02:00:08] Speaker C: Clever framing Lisa. Really clever.
[02:00:10] Speaker B: Lisa's 15 months now so that explains why she's so good, you know. You know. 15 months. Yeah.
[02:00:16] Speaker A: No one could be this good in. In just two years or just in, in just 12.
[02:00:21] Speaker B: Yeah, that's extra.
[02:00:22] Speaker A: Three months extra makes all the difference.
[02:00:24] Speaker B: Huge difference.
[02:00:26] Speaker A: And then this one.
[02:00:28] Speaker C: Nice.
[02:00:28] Speaker A: Sydney. Beautiful.
[02:00:30] Speaker C: Go you get about Lisa.
[02:00:31] Speaker A: Yeah.
[02:00:32] Speaker B: Busy.
[02:00:34] Speaker A: Great.
[02:00:35] Speaker C: The lighting is amazing.
Oh they're lovely.
[02:00:41] Speaker B: Yeah.
[02:00:41] Speaker A: Very, very cool.
Nick Smith.
Some flowing water. Beautiful. Where were these taken?
I don't think they were in my.
I don't think. Yeah, it wasn't in the email. Where were these taken?
[02:00:59] Speaker C: I think this was up at Bright, wasn't it?
[02:01:02] Speaker A: Maybe.
I mean, that would make sense.
[02:01:07] Speaker C: Yeah.
[02:01:08] Speaker A: Nice colors.
[02:01:09] Speaker B: Yeah.
[02:01:14] Speaker A: Very nice.
Let's see if there's any info.
13th of a second.
F14.
[02:01:26] Speaker B: The texture in the water, it's not full.
Fully gone.
Like.
You know what's crazy? Nick is so. Migraine has just moved out of the Promise, like out of Bellingen. And I thought that when I first saw that first photo, I was like, really? It would. It wouldn't be. It wouldn't be.
[02:01:45] Speaker C: Oh, wow.
Where is that? I don't. I. Why is it called Promised Land?
[02:01:51] Speaker B: It's over the river in Bellingen, the Promised Land. And there's heaps of like, creeks and rivers like this. It's beautiful. Beautiful place to swim.
[02:02:02] Speaker C: So cool.
[02:02:03] Speaker A: And then next to.
At the Uruban river, near where we did the reflection perfection course.
[02:02:11] Speaker C: Ah, okay.
[02:02:12] Speaker A: Bruce Moyle says cannot be bright. Dennis isn't in it.
[02:02:15] Speaker C: It was Dennis. It's flowing water.
[02:02:18] Speaker B: I feel like the rocks look different too. They look different to bright rocks.
[02:02:25] Speaker A: And finally.
Yeah, great.
[02:02:30] Speaker C: Really nice work, Nick.
[02:02:34] Speaker A: Where's Tim's.
Can't find it.
Can't find Tim's email. I've got his images though.
I think these were from befop.
[02:02:46] Speaker C: That was a workshop. Yeah.
Was that photographing working people?
[02:02:52] Speaker A: Yep.
[02:02:52] Speaker C: You wouldn't know what that's like, Justin. So I'll send you an email.
[02:02:55] Speaker A: Oh, no, no, I've photographed them.
[02:02:58] Speaker C: No work. I mean, you've never done work.
[02:03:00] Speaker A: That's what I mean. I'll photograph working people, though. Okay.
[02:03:04] Speaker B: Lots of it.
[02:03:04] Speaker A: I just haven't been one.
[02:03:06] Speaker C: Yeah.
I love your comment earlier. I spent all day watching videos about this.
[02:03:13] Speaker A: It wasn't all day. All right, all right. I'm just going to prepare for the podcast. Someone's got to do it.
[02:03:18] Speaker B: Yeah, it's true.
[02:03:20] Speaker A: Yeah. These are great, Tim.
That would have been a fun workshop.
[02:03:24] Speaker C: Oh, that's lovely. That's so cool. Let's.
[02:03:26] Speaker A: Let's see if it.
No metadata.
Got us.
Yeah, very nice.
[02:03:34] Speaker C: I wonder if people sent these to.
To the. To the models, like whether the. The models got sent these images.
[02:03:43] Speaker A: Yeah, I don't know. It's usually something that they try to figure out after. After bfop, but it can take a while for everyone to get edit their images and then start sending them around.
Environmental portraits with Marcus Bell. I'm not sure. Was that this one? I can't There was a few.
It must have been.
[02:03:59] Speaker C: Probably was, yeah.
[02:04:02] Speaker A: Very nice. Now, let me just check if I got everyone's done. Greeks. Yep, yep, yep. David Leporardi. Yep.
Mascara. Yes, yes, I think that's everyone. If I've forgotten yours, please email me and let me know and I'll bring it up next week. I'm sure I've got a. Everybody's. I did my very best.
Well done. Amazing images tonight. What a set.
[02:04:24] Speaker C: Yeah, very cool.
[02:04:25] Speaker B: Great.
[02:04:27] Speaker C: Very cool.
[02:04:30] Speaker A: Anything else? Photographers?
[02:04:32] Speaker B: No chat. Should we. Should we make some vests?
Camera life.
[02:04:39] Speaker A: Camera life. Merch vest. We could find out where they got these done.
[02:04:43] Speaker B: Yeah, we could just make our own. But it has to say photographer. It can't say photographer.
[02:04:48] Speaker C: Yeah, yeah, but I've been looking on Amazon. I just need your credit card, Justin. But we'll do that after the show.
[02:04:52] Speaker B: For the $4.
[02:04:54] Speaker C: Yeah, the $4, Timu.
[02:04:56] Speaker A: Yeah, when you get it and it's only this big.
[02:04:58] Speaker B: Yeah, they are one size fits all, Greg.
[02:05:01] Speaker C: They are quite literally one size fits all.
[02:05:03] Speaker B: Yeah, yeah.
[02:05:03] Speaker C: You know, I'm fussy about that sort of stuff.
[02:05:06] Speaker A: Yeah, we'll get you a vest, Dennis.
[02:05:09] Speaker C: But, but, yeah, we've got a couple of things coming up in the. In the. In the weeks ahead.
[02:05:14] Speaker A: What do we got coming up?
[02:05:15] Speaker C: Well, we've got. Julie Powell's joining us on Thursday to have a chat, uncover everything about her craft and her work and her workshops week after. We've got Alex Cerns, which I know Justin's going to be particularly excited about because Alex seems to be quite the gun at running a photography business.
She actually coaches and mentors people with that.
She does dog photography, she's got an oam, she does keynote speaking. Crazy. Crazy.
[02:05:44] Speaker A: She's a Tamron ambassador too. She is just like Glenn. Yep, she's very. Yeah, she's done quite a lot of stuff around the world. All sorts of different accolades and awards and. Yeah, and Savage does business mentoring, she buys belts, she sells belts. She's great.
[02:06:04] Speaker B: She's great.
[02:06:06] Speaker C: But next Monday night we've got another random photography show, but we do have a quick special guest, Andrew Rovenko, who you guys may recall from the Rocket Girl series. We interviewed Andrew a number of months ago and during COVID he and his young daughter would go out and she would wear her spacesuit that he and his wife made for her and he would take photos of her in these abandoned places at the height of COVID lockdowns, when we were allowed to walk around.
He has won an award, but we'll leave that for next week. But really amazing magical outcome that, you know, someone who created this project with his family during really dark time, like we were in lockdown for, you know, longest, longest, longer than anywhere else in the world and created these magical moments that people gravitated towards. And it's been recognized once again just recently with an International Photography Award. So we'll cover that next week along with all the usual random photography show bits and pieces. So please make sure you send your images to
[email protected] Is that right, boss? Yeah.
[02:07:07] Speaker A: And ideally, if you send it through the week, that's better than on the night because it's just a little bit easier for me to.
To get them done.
[02:07:16] Speaker C: No, just hold it on to them until like 7, 7 31. Send them through.
[02:07:22] Speaker A: Then Bruce says, yeah, Andrew just won the major award, so good.
Bruce also says, use code Jim. That'll give you 15 off anything on the Lucky Straps website. So do that.
Greg Carrick says, smash that like button. I think that's a great idea.
[02:07:37] Speaker C: It is a great idea. And make sure you hit subscribe and hit the bell notification because we go live two times a week and you'll get notified in your time zone as to when we're about to assault your eyeballs. So, yeah.
[02:07:52] Speaker A: And finally Bruce says, rightfully so. Alex Cerns is also a movie critic and has her own like movie review thing and she watches like 10 movies a week and reviews them. It's quite crazy, which you were making fun of me before of watching videos all day, Greg. But she's also very successful and she does that.
[02:08:07] Speaker C: So yeah. Yeah.
You're the TEMU version though.
[02:08:13] Speaker A: Lisa Leach. Thank you guys. Good night. See you Thursday. Rick Nelson. Thanks. Thanks for being here.
Philip Johnson. See you on Thursday.
[02:08:22] Speaker C: Good to see.
[02:08:23] Speaker A: Lisa Leach wants a leather camera life vest.
Saucy Paul wants a vest too. I think it's time with the Fujifilm logo maybe.
Dennis, thanks for joining us.
You're editing a video. A lovely side mumble. I'm glad we could keep you company while you're editing your video. Thanks, Bruce. Thanks, Les. Who else?
Nick.
[02:08:46] Speaker C: Craig.
[02:08:48] Speaker A: Yeah, Nick Fletcher was here for a bit. Lays everybody. Good to see you all. Bye, Paul. See you in the next.
[02:08:54] Speaker C: Thanks everybody. Be safe.
