EP129 What Lenses Do You Want? The Random Photography Show

[00:00:12] Speaker A: Snapping frames chasing light shadows dance day to night Lens sharp, soul in sight the camera whispers, hold it tight Click, click moments freeze time captured in the breeze the camera light, the flash. [00:00:42] Speaker B: The song just always keeps delivering. It's beautiful. What do you think, Andrew? Good intro song. [00:00:49] Speaker C: Look, a has come a long way. That's the only thing I can say. Imagine a couple of years ago, you don't. [00:00:56] Speaker D: You don't believe that Justin had like a reggae band perform that. [00:01:02] Speaker B: Yeah. Yeah, maybe. [00:01:05] Speaker D: We'll have to make it happen. [00:01:07] Speaker B: Good evening. It is episode 129 of the camera Life podcast. This is our random photography show on Monday nights. And I'm Justin, joined by Jim, as always. Hi, Jim. [00:01:18] Speaker D: Hey, how are you? Not always, but sometimes. [00:01:20] Speaker B: Well, as most of the time, sometimes. And special guest. Andrew. Andrew. Andrew. Andrew Rovenko. [00:01:27] Speaker C: Hey, guys. [00:01:28] Speaker B: Is here with us tonight to talk about his latest award because he's got so many. This is just the latest. The feather in the cap of the awards. He's looking at him. Yeah, sorry, sorry. Just hide. But just quickly. Before we do that, we'll say hello to who's in the chat and address the elephant in the room, that is. There is no Greg tonight. But that's okay. He'll be back. He'll be back. [00:01:52] Speaker D: He's been fired. Oh, he's not. [00:01:53] Speaker B: No, no, he's not fired. One night off. Okay, something. But he'll be back. Let's see who's in the chat. Philip Johnson. Happy Monday. He says Happy Monday to you. Philip. Nick Fletcher. [00:02:07] Speaker E: Holla. [00:02:08] Speaker B: What's this? Philip Johnson exert. I don't know what that means. Might be a code or something. Lucinda. Hey, gang. Lisa Leach. Good to see you. Scott Longdon. Hey, guys. And Bruce Moyle. Good evening. Now with that. Oh, quickly, I should do the thing Greg always does. This show is brought to you by Lucky Straps. You know, you know the deal. Good camera straps. You'll love them. Oh, Philip Johnson was a typo. Okay, cool. Oh, Paul's here too. What's up? Anglin Lavender. Only came to ask Greg a question. Well, stick around. He'll be here later at the end, so. [00:02:41] Speaker D: Yeah, maybe he'll call it. [00:02:43] Speaker B: Yeah. And apparently Elaine is taking a roll call of how many people are watching it versus how many people have commented. That's good. She says 15 watching. Only seven commented. Yes, she's. She's watching you. Come on, guys and ladies. Or hit the like button. Do that too. That's also fun. Yeah. Thank you. Make you feel like you're part of the show. As you are. All right, let's get into our first segment. I've titled it Andrew Ravenko because it's about Andrew. What's up, Andrew? You. So you've been on a recent adventure to collect a photography award. Tell us about it. What happened? [00:03:24] Speaker C: So there's a. There's a bunch of photography awards, obviously going like a bit of a. There's a bit of a cycle and a calendar of the photography awards. And when I do have time, I sometimes go around and look what is available for submission. And I missed the submission for the award ceremony that was called Sienna Awards. And I'm like, oh, them. But then I realized that they have multiple categories in it. So there are three. Three main categories. The main CN Awards, which is like more of a journalism and nature, like more of a general categories. There's creative awards and there's Drone Awards category. So they're like three main streams. And the creative Awards that are more about imaginary photography, they were still opened. And I'm like, oh, that's good. And they had one. You could submit one image for free because obviously some awards cover their costs by paid submissions. And I'm like, you know what? Free is free. I'll give it a shot. So I had. I only submitted one image and that was a picture of my daughter on the bus that I took during COVID I checked the conditions and you could send images, I believe, up to five years old. So it all seemed okay. So I submitted it and kind of forgot about it because as always, cycle go, there's a judging period, et cetera, et cetera. And then I think it was in late June or early July, I received this email from them saying, oh, look, you have got a place as a finalist and you will be. Your image will be recognized on stage in Sienna in Italy. And we invite you to come over. And like, sweet but caveat. None of the travel expenses are covered and you get a bit of an allowance if you win the category for just for the accommodation. I'm like, look, I live in Australia. It's pretty expensive and a long journey to go to walk on stage. And I knew about the city, but I never been there. And I'm like, look, can you give me a bit of a hint? Like what? Where do I stand with this? Because there are lots of categories, lots of nominees. Some people get a certificate for, I guess, highly commended and whatnot. And I'm like, should I even consider? And look, they get the response and they say, look, we cannot really reveal any official standings and results because it will be unfair. Everyone is on the same page. But on a personal note, we can say that Italy is beautiful this time of year to this kind of. [00:06:28] Speaker B: If you know what I mean, if you know what I'm saying. [00:06:31] Speaker C: So yeah, it is nice. And I'm like, look, I basically had to make myself an excuse to go there. And me being originally from Ukraine, obviously I have a lot of relatives who are all over Europe and I haven't been there for over 10 years. And my mom turned 80 this year and she lives in Germany and like, you know what, it's been a long time. And obviously I have a daughter who hasn't seen none of those relatives, some of those relatives. And like I'll, I'll make it happen. So I basically had to pull myself to get a bit of a. Get of a. I guess holiday time, let's put it that way. So I planned a big itinerary of visiting all the relatives that I haven't seen for a long time and make sure that I stop at Siena on this journey on the day of the award ceremony. So long story short, fast forward to September. We are going through travel experiences. I'm like not enjoying it because this is like me, an eight year old daughter traveling this far for the first time. Long like long flights, tantrums. And I'm like, God damn it, why did I get myself, what did I get myself painted? [00:07:57] Speaker B: I better win this damn it award. [00:08:00] Speaker C: I, I like, I couldn't care about because like you don't think about it in the thick of the journey. Why, why did I get into this? Anyway, we get to Siena. It's a beautiful city, a beautiful old city. They have very famous horse race on, on the main square and it is kind of, it's built on the hill. [00:08:19] Speaker E: And. [00:08:22] Speaker C: Our accommodation was on the outskirts. And you just like walk towards this through those like old medieval streets. It seems like nice small place. And then you walk into the main square which is called Piazza del Campo. And it's quite an experience because those streets kind of small and narrow. And then you walk into this amazing huge square with big clock tower, medieval buildings and you can see banners of Sienna Awards hanging of the like on a massive scale. And I'm like, you know what these awards seem like it's, it's quite legit exercise. So this like first glimpse of the. [00:09:08] Speaker B: Hang on, I'll see if I can find it. Is it like, like this? [00:09:11] Speaker C: Yeah, that's, that's it. [00:09:13] Speaker D: Yeah. [00:09:15] Speaker C: So you kind of, you get, you get into this thing and you're like, this is kind of mind blowing. So. And then they had a reception the night before and it was literally underneath that clock tower. There was a mayor. There was quite a turnout of people. There was Steve McCarry, the guy who shot Afghan Girl. So you're like, you know what? This, the, the perception for someone who hasn't been to this kind of thing before keeps kind of expanding. And then on the night of the ceremony, it's like black tie affair. Everyone is very well dressed up. It is taking place in a beautiful medieval theater. Like, or I guess Renaissance style theater looks like, yeah, crazy, crazy. And then we are sitting. Everyone has like allocated sport and there's choir performance. Like it's like Oscars kind of thing, but in the medieval Italian town. So very overwhelming. I was surprised that my daughter lasted throughout the ceremony without throwing them because it's, it's a big, it's a big ceremony. And as we're sitting through it, I hear what I remember as my category being announced about maybe one hour in. And I'm like, oh, yeah, that's good. Maybe they will like call me out. I'll get whatever it is. And off we go. I won't have to kind of see through it so that in case of me, I loses patients. And then my category passes and I'm like, hold on a second. I thought I was in that category. Did I forget something? And then I'm waiting throughout and like, ah, maybe, maybe I was in a different category because there are quite a few. And I'm like, oh no, that category passes as well. And then I'm like, maybe they forgot about me. But look, it's been nice. It's been a nice ceremony. It's. It's a nice place. [00:11:24] Speaker B: So you thought for a minute you were like, maybe I didn't win anything. Maybe I just got nominated and that's that. [00:11:31] Speaker C: Because you don't really know, like, what to expect. And I. There was no. Obviously they gave me the badge and they. I had an allocated seat, so I thought that there should be something, right? But as ceremony goes, nothing. And then it seems like they ran through all the categories and they kind of heading towards the end is like two, two and a half hours, perhaps almost three hours. And then the lady comes over, taps me on the shoulder because they had like a mapping of where everyone sits and she's like, come, come with me. Go behind, like at the back of the theater. You'll be going on stage. I'm like, oh, okay. Finally something that's cool. And I like, can I take my daughter with me? Because she is the one in the, in the photo. And she's like, I'll need to check with my superiors. And they're all like, mic top. They have headphones and they. Yep, but you have to be quick. There's not much time. So I take Mia, we go behind, and then there's a stage runner and I see his sheet of sequence of things and I am a little bit long sighted. That's why I need these. And I look at this sheet and I see my name as a creative category winner. And like, what? And that's like one of the three main categories of the whole awards. And then I start to get so nervous because I'm standing there, I'm. I almost like let go the whole ceremony. And now suddenly I realized that I will have to go throughout the whole thing on stage and maybe even say something. And I'm like, luckily my daughter, who is eight, she had all the composure and she's like, yeah, you'll be fine. Like, let's go. And then the stage manager is telling me, okay, you cannot go too fast because there's a guy with a camera in front of you. He'll be like going backwards. You need to go normal pace on my count. And I'm standing behind the curtains and they're like, three, two, one, go. And kind of push us out. And then you walk into the theater with all these people who like applaud you and you just. It's a blur. Like, I don't remember any of it, so. [00:14:04] Speaker B: But I'm going to pull. [00:14:05] Speaker D: Have you watched it back? [00:14:07] Speaker B: Well, there's a little clip on your. I'm going to pull up the one on your Instagram. [00:14:10] Speaker C: I cannot watch all of it, but the one from the Instagram is kind of tolerable. [00:14:16] Speaker B: Yeah, it's tolerable. Okay, well, we'll pull up. If you have to cover your eyes, that's fine. I don't know if we're going to have sound. The winner is of the creative best photo of the year 2025. Oops. [00:14:45] Speaker E: And the winner is the shuttle by Andrew Rovenko, Ukraine. [00:14:51] Speaker B: Congratulations. Mia, another question. What were you thinking in that moment? Do you remember? I think I was thinking if I could become a real astronaut and go into space. That's what they do. [00:15:19] Speaker D: Great. [00:15:21] Speaker B: That's lovely. It's a lovely look you have there. You look like an astronaut. Congratulations again, Andrew and Leah, much. Well done. That is crazy. That's. That's so huge. [00:15:48] Speaker C: Yeah. And I, I Kind of still don't remember much of it except for just being super nervous. And this, this is the thing, the crystal ball. And fun fact, it weighs with the box about 4.2 kilos. So when you're traveling, when you're traveling for Europe and obviously visiting family, I had to take some of the budget flights, otherwise it's impossible to jump around. You need to accommodate for a bit of a allowance for this kind of thing. But yeah, it's. It's beautiful. [00:16:37] Speaker B: So look at that. That is a nice award. [00:16:41] Speaker C: So that is something. And I hope Mia kind of will be funny enough. Mia used it as a crystal ball because she saw like fortune teller video somewhere. So she was like, so now, now I have my little personal crystal ball in case if I need to do some forecasting. [00:17:02] Speaker D: It's pretty cool that a photo made during times when you couldn't travel has taken you now all over the world when you can. [00:17:10] Speaker B: That's. [00:17:11] Speaker D: That's very true. Yeah. [00:17:14] Speaker B: Congratulations, like, congratulations are coming in everywhere. David Leporati, Rick Nelson, Bruce Moyle says, I was so excited for you when this was announced. Scott Longdon, what an amazing image. Congratulations. [00:17:26] Speaker C: Thank you so much. [00:17:27] Speaker B: Yeah, it's. It really is epic. But also congratulations on taking the, the chance to take the trip. You know, it, it would have been easier just to say, that's too far to travel. It's very expensive. Sorry, I can't do that. But that's a, that's a once in a lifetime moment. That, that's very special. So. [00:17:44] Speaker C: Yeah, you're absolutely right. And like, as, as a family person, you always have to balance your budget and figure out what's. What to do. But yeah, it's that side of things. I think experiences matter rather than, you know, so if, if you can make it, I'd say the lesson is always take experience because you never know where it might lead. [00:18:05] Speaker D: So. [00:18:06] Speaker B: Yeah, well, when the Sienna Awards get in touch with me, I'll be sure to, to make sure I travel across it now. Oh, man, I can't even imagine. That's so cool. For anyone that isn't familiar with the series, I'm sure there's not many that aren't familiar, but. So this was. Hang on. This was the image from the series that you decided to submit? Yeah. And that's the. Yeah, that, that's one of the most popular from, from the series, but there's tons in there that. Yeah, I just. Amazing. So if you haven't seen any of the work that Andrew's made from this series, head to his Instagram and check it out. And otherwise we did a full interview on episode 80 of the camera Life podcast with Andrew. So go and check that out after this one if you want to go back and find out the whole story of this series, because it's pretty epic. What. Have you been doing any. Did you do any photography while you were traveling? [00:19:13] Speaker C: Not as much. Yeah, it's. I. Because most of my stuff, I shoot on film on this big, bulky camera and it wasn't a go when you need to jump around with a family. So I just left my film camera back home. I did take a few snaps. Didn't even look at them yet. But, yeah, with the slow photography. [00:19:40] Speaker B: You. [00:19:40] Speaker C: Can'T travel and do many things unless you immerse yourself into it, so next time I'll have to. [00:19:49] Speaker B: Next time, yeah, exactly. When you don't have to lug around a 4.2 kilo crystal ball trophy, you might be able to take a film camera. Yeah. Did you have to get extra luggage or did you just throw some clothes away to get that thing home? [00:20:07] Speaker C: We balanced. We balanced because we had allowance on me as well and she didn't have as much luggage herself, so we kind of pulled and manipulated and. Yeah, but it was very tight. It was very tight. [00:20:25] Speaker B: Awesome. All right, we won't keep you too long. Is there anything else you've been working on or anything else cool. Coming up that we should know about before we let you go? [00:20:34] Speaker C: Not yet, but if. If there's something that's ready, I'll definitely let you guys know. [00:20:41] Speaker B: Amazing. Thank you. [00:20:42] Speaker C: All right, thanks for coming, guys. [00:20:44] Speaker B: Cheers. Thanks for popping on. [00:20:45] Speaker D: Congratulations. [00:20:46] Speaker B: Good to see you. [00:20:47] Speaker C: Thank you. [00:20:47] Speaker D: Cheers. [00:20:48] Speaker C: See ya. [00:20:48] Speaker B: Bye. [00:20:48] Speaker D: Thanks, Andrew. [00:20:49] Speaker E: Bye. [00:20:49] Speaker D: Bye. [00:20:52] Speaker B: Jimbo. Hey, what's up? What's been going on? [00:20:57] Speaker D: I had a wedding. [00:20:59] Speaker B: You had a wedding? Did you. Did you post a sneak peek? [00:21:06] Speaker D: I haven't. Oh, no, not really. The bride's posted. I've sent her a sneak peek. Old bride and groom a sneak peek. [00:21:12] Speaker B: You've sent her some photos already? When did you. When was the wedding? [00:21:17] Speaker D: Saturday. [00:21:18] Speaker B: When did you send her photos? [00:21:20] Speaker D: This morning. Yeah, I was going to do it over the weekend, but I took a day off. [00:21:27] Speaker B: No, I think that's. That's pretty reasonable. This is. I think this is a good time for a public service announcement that I was trying to remember for this episode because friends of ours got married, destination wedding a few weeks ago today. Yeah, they did. And I won't say who, but Jim getting defensive. He's like, I took a day off right Come on, give me a break. No. So they have no photos whatsoever from their wedding photographer yet. And the wedding photographer said it'll be two to three months before they're ready. So they have one phone photo that someone else took to show people what their wedding was like. And this is my public service announcement to wedding photographers. Send five to, to 30 photos, whatever works for you somewhere in that range to them very quickly. If you want to take, if you're. [00:22:27] Speaker D: Going to edit all the, all the. [00:22:28] Speaker B: Photos within three days, unless you've got something. [00:22:33] Speaker D: There's a big trend at the moment where they're, they'd send it the same night of the wedding. [00:22:39] Speaker B: Hey, if you can make that work and it doesn't mess with your workflow, sure, I probably wouldn't do that. But I think it's because I'll be too f. I'll be too focused on. There's a few reasons. One, focused on the job at hand. Two, it starts to take over your life and if you commit to that and you go home and edit for two hours after a wedding, unless that's what you need to do to decompress. Sure. But committing to that I think is risky. But yes, as Lucinda is saying, send a bloody sneak peek. It can be five photos. I mean, gosh, if you really don't want to do it, send them one, send them one. But send them something that they can show their friends and go, this is where we got married. This is the dress that I wore. Yeah, these are, this is the suit that he was wearing. This is where I got married. And this was what it was like. Give him something. Especially unless you're going to edit the whole lot in a week. If you're going to do the whole thing in a week, then sure, you can wait till then. But if you're going to, if you're going to do. You could still give him a sneak peek. If you're going to do two to three months, which as Bruce says seems very long. But sometimes wedding photographers, when it all banks up in the very peak, peak peak of the season, you do end up with quite a long lead time of. Even if you're working hard, if you're doing double header after double header after double header that starts pushing your times out. Three months is pretty crazy though. But it does happen. But if you've given them, if you're getting to that three month point. Yeah, give them a 30 photo sneak peek and they'll be chilling, you know, because, because they've got most of the stuff that they really wanted. They've got the first kiss photo, They've got them walking down the aisle. They got the family shot with the parents. That's basically what everyone wants anyway. [00:24:22] Speaker D: You know, literally just give them that like mantelpiece photo, you know, looking at the camera. [00:24:27] Speaker B: Yeah, Just that, that. [00:24:30] Speaker D: Because they had to just do one. [00:24:31] Speaker B: Yeah. Bride and groom looking at a camera in focus, smiling. Done. [00:24:38] Speaker D: Yep. [00:24:39] Speaker B: Please, please do not wait for people to get photos. [00:24:43] Speaker D: And I'm assuming that they're a busy destination wedding photographer. [00:24:47] Speaker B: Maybe they're not. I mean, I don't know if they're taking. [00:24:49] Speaker D: Yeah, they must. [00:24:50] Speaker B: They got two to three months. Yeah. Yeah. So this. Give them something to put on social media to tell everyone that wasn't at the wedding that they got married. Particularly important for a destination wedding. [00:25:01] Speaker D: Yeah. [00:25:02] Speaker B: Rick Nelson says, I know wedding photographers that use AI culling software and editing. So the PC does it on the drive home and then he sends the sneak peeks from that goes through to polish the rest later. I mean, I wouldn't let AI culling and editing, I wouldn't let it loose on a wedding unchecked. But certainly to pull a sneak peek together, it probably could. It could probably get you pretty close on the drive home if you were. [00:25:27] Speaker D: Yeah. [00:25:28] Speaker B: Set up to do that. Not sure. [00:25:30] Speaker D: I haven't tried that for a while. [00:25:33] Speaker B: Nah, probably better. [00:25:34] Speaker D: But yeah. [00:25:37] Speaker B: Pretty crazy. Yeah. Lucinda, why is it taking two to three months? Correct me if I'm wrong, but most wedding photographers only shoot weddings. Work Friday to Sunday. You have four other days. Yes, but it does. I mean, you know this. Jim and I have time off. You have to. We usually used to take Sunday, Monday off, but. But there was the odd time when you had other stuff on the like. So maybe you do a triple header. Don't. But you could Friday, Saturday, Sunday, maybe end up with a job on a Monday or something like that. That happens. Commercial work sneaks in. But even if you do double header, Friday, Saturday, Sunday, Monday off. Because if you don't do that, you're probably insane because you probably worked 30 hours on Friday, Saturday, which is something a lot of people forget about wedding photography. It's like the hours add up pretty quick on the wedding day. So you've already worked a 30 hour week after two days. So you have to take two days off to reset and to have a life. And then these wedding photographers, a week bring it. And then. So then you've got Tuesday, Wednesday, Thursday. Right. Three days to do your meetings, paperwork, invoicing, all that sort of stuff. And it's about two sneak peeks because that is essential because you can't let let those go. So you have to do the two sneak peeks and then you're looking at hopefully probably getting a wedding and a bit done. On those other days you can't get too done. It's too like two, two full. In that week you die. Because if you could do that, you wouldn't have any lead time. You would just never get behind. You'd be like, cool. I shot two weddings on the weekend, then I edited two weddings. I'm caught up. That's the thing is you can't keep up. So that's why you end up with the having to have that lead time to make sure that you can get it done in a four to six week period. I think four to six weeks is ideal. Three. Three is great. If you can get them back in two or three, that's pretty good. I think sooner than that they're often on their honeymoon and tired and if they got a sneak peek, they're kind of like not ready for them anyway. [00:27:46] Speaker D: Well, I just finished a wedding. [00:27:50] Speaker B: From. [00:27:52] Speaker D: Early October and what are we early? Yeah, under four weeks. [00:27:56] Speaker B: Perfect. Perfect time frame. [00:27:57] Speaker D: But I'll probably hold it until maybe early next week. [00:28:02] Speaker B: Unless they're listening if you are. Okay. What else does everyone say? John Pickett. Could be worse. My mate had to do reshoots because their photos were so bad. Was also about a three month wait on top of that. Holy moly. Should we. Who was the photographer? Wasn't you, was it? [00:28:26] Speaker D: No, no, hang on. So as in the same mate shot it? [00:28:33] Speaker B: Oh yeah. Is it your mate that had to do reshoots or is it your mate that was in the wedding helping there for top? Yeah. What happened? [00:28:39] Speaker D: Maybe he had crazy. Yeah, we need more info. [00:28:42] Speaker B: We need more info. Lucinda. Eight shoots in seven days. All edits applied within two days. Okay, well, look, you're just amazing. We can't all be loose. [00:28:51] Speaker D: Tell us how. [00:28:54] Speaker B: Because you don't have to do. You don't have to. There's no brides in her photos. [00:28:59] Speaker D: That's how different. Yeah, it is different. [00:29:02] Speaker B: It's different. There's a different level of care that needs to go into music. I'd love to shoot music photos. Dang, be a dream. Except for how hard it would be in all the late nights. Rick Nelson. I've heard if you send the finals too fast, people get sus. If you could finish a full edited wedding in three days, how long would you hold to send? Yeah, I'd probably wait three weeks. [00:29:24] Speaker D: Yeah, three to four weeks. [00:29:26] Speaker B: Three weeks, I think feels like a quick turnaround. Four weeks is about. Is about really nice. And then like four to six weeks. I think anywhere in that timeframe, after six weeks, you've got us really communicate with your customers, your clients that that's what's happening because they probably expect it to be less than that. That's what I was going to say. Unless you set expectations, they're going to expect them faster than that. So. So if it's potentially going to be 6 to 8 because it's busy time of the season, you really got to lay that out early and make sure that you communicate and don't just let them sort of sit in there going, when am I going to get my photo? All their friends, like, when are you going to get your photos? We got ours in three days. Gosh. [00:30:10] Speaker D: Lucinda shooting? Yeah, the next day. [00:30:15] Speaker B: Festival edits the night of. Get back up at 9am to shoot. Okay. All right. Yeah. [00:30:21] Speaker D: Well, when we did that CF photo gig the other day, we were delivering I think the first day, like 450 photos. Two hours after the event. [00:30:29] Speaker B: Yeah, I did 650. And on the day. On one day longer than me. I'm not saying, I'm not saying it was a speed thing. I'm just saying that that was. So that was a one day shoot, shoot and edit. [00:30:39] Speaker D: Yeah. [00:30:40] Speaker B: But there was more downtime in that day than there was in a wedding. [00:30:44] Speaker D: Yeah. [00:30:45] Speaker B: In terms of like at lunchtime we were culling the images and stuff like that. Whereas. And I'm imagining. Don't know, it depends. Lucinda's covering festivals, but I'm imagining she doesn't get a ton of downtime. Maybe if she's doing certain bands. But I would imagine at a festival you'd probably be shooting all day and then editing after. I don't know. Elena almost offered my time for a Bendigo reshoot of this couple. I'll do it if they want to. If they want to put their gear on and get a shot of them in it and we'll just AI the background into it. Wherever they were and job's done. [00:31:22] Speaker D: Just do it somewhere cool. [00:31:25] Speaker B: How much retouching are you doing on a wedding? Bruce Moyle asks. Jim. [00:31:32] Speaker D: Not a lot of like retouching. Occasionally skin smoothing, getting rid of it. Just depends. It's flies and stuff like that. [00:31:39] Speaker B: Flies, honestly, are one of the ones that are. Because we're not doing a ton of. Well, we. I don't do it anymore really at all. But when I was doing it. And what Jim does now isn't a ton of skin stuff. [00:31:51] Speaker D: It can be a little bit changing people. We don't do anything like that. [00:31:56] Speaker B: No, we don't ever. We don't ever like mess with anyone's body or anything like that. The only time I've done body stuff is when there's been a great photo, but kind of like what I would consider like a wardrobe mal. Not malfunction, but like someone doesn't look the most flattering in their dress. But that's not how they looked all day. It's because their arm was in a weird position or something. But I love the photo too much too. But I won't give it to them as is because I know that's all they'll see and they'll be like, oh, I look, my arm looks terrible or something. I'll be like, well, it only looked like that for a split second, so let's get rid of it. But that's pretty rare. That would be like one in ten weddings. Maybe one. One photo from one in ten weddings. And otherwise. Whereas regional Victorian flies, on the other hand, it's 30 flies a photo for, you know, a two hour period during the day or something. [00:32:53] Speaker D: Yeah, we had one that was like, yeah, easily 40 flies in every photo for most of the day. [00:33:00] Speaker B: And it's just. You could just leave them and say that's how it was. And sometimes that's okay in, in for certain images, but like it's not how people want to remember their day. Unless it's like a funny, you know, remember all those flies kind of photo. Blah, blah, blah. I think three to four weeks is where it should be at for weddings. It's ideal, definitely. And, but, but you know, I've had them blow out to longer than that before. [00:33:28] Speaker D: That's where I'm at at the moment and that's where I'll stay for the rest of the year. [00:33:32] Speaker B: Yeah. How about Lucinda does a wedding and the boys do a music festival. Trading Places and video. Absolutely we will. That's done deal. And that's how you know weddings are harder because Lucinda's like, you can keep your weddings. And we're like, what? [00:33:46] Speaker D: Festival day. [00:33:48] Speaker B: Get one glass of water at about 8pm we'll shoot any, any festival you want. Okay. I guess we should do the show. Sorry I had to do that. Public service announcement. Yes, we should do the actual show. I don't know. We got a big show for you. [00:34:02] Speaker D: Tonight for about a wedding. [00:34:04] Speaker B: I was when some two to three months and they've got no photos to show anyone. What? What happened? That's crazy. [00:34:12] Speaker D: Especially. [00:34:13] Speaker B: Yeah, I know. They aren't that different, Lucinda. There's just no brides at yours. Brides are great. I'm kidding. Everyone always asks when you say you're a wedding photographer, they always ask, oh, what are the bridezillas like? I'm like, not really. I haven't. [00:34:29] Speaker D: Never had one. [00:34:30] Speaker B: Never really had one. So I've had a groomzilla. Or maybe just a grumpy groom. Okay, we'll do some comments. So we're gonna do some comments. We've got the news. Even though Greg's not here, he's prepared the news for us. Greg Carrick's here, so now we can start. Greg Carrick sent through a cool photo for later on in the segment. We will be reviewing your images. We could review Jim's sneak peek images. We won't. We can. We don't need to. [00:35:01] Speaker D: Okay. [00:35:02] Speaker B: Greg clearly is the one that keeps on track. Yes, he is. [00:35:05] Speaker D: Well. [00:35:06] Speaker B: And we will be talking about lenses that we'd like to see. Jim doesn't know this. We'll be talking about lenses we'd like to see from our respective camera brands. I did. I thought you probably had a busy day, so I didn't know. If you chance. [00:35:18] Speaker D: I just started writing down before. [00:35:21] Speaker B: So yeah, basically I put a poll up. Anyway, we'll talk about that when we get to it. Let's look at some viewer comments. [00:35:25] Speaker D: Okay. I'll start running down some lenses I want. [00:35:29] Speaker B: Okay. You don't magically get them, but we'll do our best. Okay, few comments. Pull this up and do this. So quite a few comments because of the poll, but I'll skip past those. Where are we up to? Da da. So, quite a few comments from our episode 127, last week's random show where we talked about all the cameras that are coming and being released and all that sort of stuff. But we got a lot of comments about the your images section. David Mascaro, hero of the your images section, says thanks for doing the your images section in the podcast. It really makes us feel like we're part of the show and it's great to see the viewers work. I agree. So thank you for continuing to send the images in. We've got more from David this week and we've got more from other David. And Bruce Moore says I should send some photos again if this is your last chance. If you want some photos in tonight's show, email them to justinuckystraps.com au right now. Also, I should put the thing up. You can call in tonight, especially when we get to the. There's the number top right of your screen. When we get to the section about what lenses we'd like to see from our camera brands, just call us and tell us. That'd be great. You can call us and tell us. Greg Carrick, that you want a projector lens from 19 Dickity 2. Comment on episode 126 with Louise Sedgman from Felicity Johnson. Top interview. Louise, I always love your workshops. You are the best. And the Z8 rules does it correct? [00:37:21] Speaker D: It does. It's okay. I'm thinking about buying a day at 50. [00:37:27] Speaker B: Are you really? You're gonna go back in time? Why'd you sell your other ones? [00:37:33] Speaker D: I don't know. But yeah, thinking about buying one. [00:37:38] Speaker B: Really? [00:37:39] Speaker D: You want to talk about crazy? [00:37:41] Speaker B: Okay, I'll talk about another comment from last Monday. Andrew Connor. Loved all the images supplied. What an amazing world we live in and how lucky the technical technology allows us to capture these often fleeting moments. It does. It's pretty lucky. Our cameras are pretty great. They're getting real good. Even the phones are getting good. They're all from the poll. We'll talk about that later. Now, last Thursday show with Julie Powell. Very, very cool. Speaking of which, hang on, I've got more stuff to talk about. She's got some workshops coming up and she's put discounts on them for listeners. I should talk about that right now. [00:38:23] Speaker D: You should talk about it right now. [00:38:25] Speaker B: Yeah, before I forget. So if you check out in the comments of this show, you'll find links, but basically Julie Powell has a Cirque Noir and a Lavender Dreams workshop coming up. Let me bring it up. [00:38:43] Speaker D: Yeah, bring up the pages. [00:38:45] Speaker B: Bring up the pages. Coming up. When's this one? Saturday, November 15th. I think this is down at her studio in Dandenong. No, perfect studio. Yeah. Two hour hands on photography session, lighting, setups, everything. You can check this stuff out. I've put links in the thing, but they are discounted if you use the link in the show description. I think they're 10% off for the first five people that book. If the links don't work, use the code. Lucky strap should have an S on it, but that's fine. If that doesn't work, just contact Julie and say that you were listening to the Camera Life podcast. You want to go to one of her workshops? Either that one or the Lavender Dreams one, which is this one, which is on Friday, November 28, 5pm to 8pm Very cool. So check those out. Now back to this. Pete Mallow says, fascinating conversation, thoroughly enjoyable. And it was. It was a great podcast, I thought. [00:39:55] Speaker D: Thanks, Pete. [00:39:56] Speaker B: And another comment from Sammy Bulmer, 8380. Julie is a great teacher, fun, patient and thorough. I'm proud to call her a friend that one too. Now, episode 124 with Ben Mays. Got a comment from Hotrod Custom Images 254 this was an amazing interview. Thanks for sharing. I was in Scotland at the same time. The weather was incredible. I spent 44 weeks shooting the Highlands. I'm not a landscape photographer, but I found a new love for it. I just bought an XT52 and gave it a run over there. What a camera. Already booking another trip in September 2026. Yeah, Scotland looked pretty crazy. It's very cool. Great interview as well with Ben Maze. Go check that out. And finally with Julie. Julie Powell's interview again, David Leporardi, 1958. Hi guys. What a great chat. Julie has an incredible vivid imagination and it shows in her work. It is sad that Creative Live is shutting down as there was such a wealth of knowledge slash information on the site. I think that people don't want to pay for online photography education these days as there are so many YouTube videos on photography, but many people with different skills. By many people with different skills. Yeah, there is. There's a ton of. But Creative Live had it nice and organized and yeah, it is a shame. Did you ever do the creative life thing, Jim? Did I ask you that? [00:41:24] Speaker D: No, I didn't do it. [00:41:26] Speaker B: No, you never watched any of the stuff or no, you already know? [00:41:32] Speaker D: Definitely not. [00:41:35] Speaker B: Oh dear, that's funny. So who's been sending me photos? Let's see. Rick Nelson just sent an image through. No images from Lisa Leach tonight. My work life is disturbing my photography and I'm seriously restless to get out with the Nikon. You should see what it's like to have a Canon. Okay. [00:42:04] Speaker D: It's the same. But your camera sucks. [00:42:06] Speaker B: That's right. All right. Should we attempt to do the news without Greg? [00:42:11] Speaker D: Yeah, well, just you skipped the first one, I reckon. [00:42:14] Speaker B: No, no, I've got something to say about the first one. He's not here to defend it, so it's actually going to be wonderful. All right, let's do the news. Okay. I've just got to pull these up. [00:42:28] Speaker D: A certain brand. It won't be. [00:42:30] Speaker B: Take a while. A certain brand. [00:42:35] Speaker D: It's a Greg. Might be affiliated with Fujifilm. [00:42:39] Speaker B: Showcases a lensless camera prototype look at it. Look at that thing now. I was like, oh, that's interesting. Have you ever heard of the Industrial Romanticism exhibition? No. Well, me neither. It says which I was like, yeah. How did they. They read my mind. It's an exhibition where selected companies display their prototype creations. A blend of design, technology and concept. And guess what? Fujifilm is one of seven companies participating this year alongside Sony, Mitsubishi, Canon and others. [00:43:14] Speaker D: Well, there's not that. If there's only seven companies, that's not very many. [00:43:17] Speaker B: And others said others. [00:43:21] Speaker D: Anyway, it's one of the seven companies. [00:43:24] Speaker B: Oh, yeah, okay. That's not many. You're right. Sorry, I skipped past that. [00:43:29] Speaker D: Yeah. [00:43:30] Speaker B: Fujifilm exhibited a prototype of what they call a camera without a lens. And I was like, this is really interesting. Where's this going? A tool for reviewing photos taken with a smartphone. So it's a screen. It's a screen with no camera. It's a smartphone without a camera. It's not a camera without a lens. [00:43:54] Speaker D: It's not even a smart. It's just a screen. [00:43:57] Speaker B: It says if you select a category such as human faces or cars, the device will automatically extract and display relevant images. Like my iPhone does. [00:44:07] Speaker D: It already has that function. [00:44:09] Speaker B: This essentially sounds like a tool designed to review photos taken with a smartphone. The designer behind it is Taki Yoshimura, who joined Fujifilm in 2024 and is soon to be departing Fujifilm after making this product. I'm so glad Greg's not here. And is currently responsible for product design in the imaging division, including cameras, lenses, and print projectors. Anyway, so it's just a prototype. It's a design thing. Greg put this in the news, so I thought I better read it out. It's not a camera without a lens. It's a very cool industrial design screen. [00:44:45] Speaker D: That you can transfer your. Transfer your features to the front of the not screen. [00:44:50] Speaker B: I'm not sure. [00:44:51] Speaker D: Or the back of it, actually. [00:44:53] Speaker B: Anyway, let's move right along. [00:44:54] Speaker D: Okay. [00:44:56] Speaker B: Because now we're getting ads for the NBN because maybe I was surprised that storm didn't take this show out tonight. [00:45:03] Speaker D: Are you on? What's it called? [00:45:06] Speaker B: Let's just glaze over some of this stuff. Sony announced no Astro Hori 9mil 2.8e lens for Sony announced TT Artisan lens. [00:45:19] Speaker D: Is that what that is? [00:45:20] Speaker B: I have no idea. Let's. Okay, let's. I'll pull it out. [00:45:26] Speaker D: Astori. [00:45:29] Speaker B: Is it full frame? No, it's for APS C. So it's just a wide angle manual focus APS C cheap Lens. Yeah. [00:45:36] Speaker D: Okay. [00:45:36] Speaker B: Plenty of those. That's just. That's just what we need. Someone will probably be like, it's what I've been waiting for. But it's not what I've been waiting for. TT Artisans released a 27mil F 2.8 pancake polar white version so that it matches the white Sony's. [00:45:55] Speaker D: The white. [00:45:56] Speaker B: Okay. [00:45:57] Speaker D: Looks cool. [00:45:58] Speaker B: Cool. Next Hasselblad released which we know this already. Oh gosh. What is it? Toxic person inside me. Take that. Should we take the test according to your dopamine addiction type? Internet ads suck. This is. Greg's got all these links off Sony Alpha rumors. I'm boycotting these stupid rumor sites. They suck. Hasselblad released a camera backpack and I believe it sold out really fast. It doesn't look very good. What? Yes. [00:46:35] Speaker D: No, I'll see if I can find it. I have some news. [00:46:40] Speaker B: You've got news? Okay, I'll just keep doing this news. [00:46:45] Speaker D: Something we can talk about. [00:46:47] Speaker B: Okay. That's some lens stuff. That's some lens stuff. Canon teased. All right, I am going to share this. Bruce says they only made like 10. That bad probably if it sold out that quick. Canon teased the R6 Mark 2, which R6 Mark III. Sorry, which I think is coming out on Friday. I might do a live stream about it. They teased it with this image. Elevate your image. And I believe also a few dealers have published. Yeah, Canon pulled the teaser and then a few people published stuff as well about it that may or may not be accurate. Like dealers publish stuff and that sort of thing. But basically everything keeps floating around the 30 to 33 megapixel range for this new R6 Mark 3. And someone on the Internet, I think his name is ordinary filmmaker and actually quite like some of his stuff. I don't really like his all of his videos but he's. He's good with Canon rumors and that sort of thing. And they do live streams as well when the cameras come out, which I like. But he basically got some marketing information and his is speculating that it's going to be a major like leap forward because it's like never before seen autofocus speed and blah blah blah with the R6 Mark III. And I'm like. And it's marketing copy. I'm like that every camera brand says that about every auto fastest, most autofocus points and everything that's ever been released at every level. We know what the R6 mark 3 is going to be like for auto focus. It's not going to be faster than the R1. And he's saying it's going to be, you know, a next generation leap forward. It's not going to be the fastest. The R1 still going to be the fastest. That's how it always works. It gets trickled down. It'll, if they're lucky, it'll have the R1 autofocus, but it most likely will just have the R5 Mark II auto focus. But it'll have less megapixels and hopefully better low light. But that's, that's what it'll be. [00:49:03] Speaker E: Mm. [00:49:04] Speaker B: Don't get too excited. I think it'll be a great camera and I wouldn't buy an R6 Mark II right now unless you're trying to get a bargain. [00:49:12] Speaker D: I wasn't. [00:49:13] Speaker B: We've seen it. You're never excited about Canon stuff. What I am excited about is check this out. The Canon RF 45mm F 1.2 STM. Now I poo pooed this rumor a few weeks ago. I was like they're not making a 45 mil f 1.2, but it sounds like it's potentially going to be a real thing and cheap light like as in. So basically they're saying stm, what does it stand for? But STM is basically they're like cheaper auto focusing, stepping motor. So it's like it's quite good with video but it's not as smooth and as fast as like an L series. The corny. They've got so many different ones now. What they used to call usm but now it's VCM is on the mid range L series like stuff that I've been buying, the lighter weight stuff. But yeah, anyway it's, it's. So it'll be not a high performing lens in terms of autofocus but they're claiming lightweight and they're claiming optical quality on par with. Oh, you've got my lens at the moment with the 50 mil. Yeah, the Canon 50mm 1.2. I think you've got it out there. [00:50:33] Speaker D: Sorry. [00:50:33] Speaker B: Yeah, it's on one of my film cameras. So basically which, which was a beautiful lens but not as sharp as the modern ones but beautiful soft like bokeh and stuff. So if it's that at 346 grams and at a good price, that'll be a really fun lens to have in the range. [00:50:55] Speaker D: I think that's like under a thousand Australian dollars. [00:50:58] Speaker B: Yeah, yeah, yeah. And, and lightweight and nice looking and F 1.2 which will be a big seller for people that just have always wanted a 1.2 lens, but they've previously been three or four grand. Yeah, yeah, yeah. [00:51:17] Speaker D: So you get her and see, I could get around be buying it. You won't be buying it. [00:51:23] Speaker B: I will buy it. If it comes out, I will buy it then. [00:51:26] Speaker D: Then do you? [00:51:27] Speaker B: I've been waiting to do the 50 mil test on Canon because I've got the EF 1.4, the EF 1.2, the RF 1.8, the RF 1.4, the RF 1.2, and then if I get this 45, I can just do the whole lot. [00:51:47] Speaker D: Yeah, maybe we could do a test. Maybe we just do it. [00:51:51] Speaker B: I don't know. [00:51:53] Speaker D: Big day. [00:51:54] Speaker B: We do a big test day on every style of photography. Rick Nelson says major braking leak on the R6 Mark II. It's going to fit Canon RF lenses and it will be black and have buttons. Lol. [00:52:10] Speaker D: Yeah, Rick. Rick also runs Canon Rumors. [00:52:14] Speaker B: He does. What else? Not much else really. Nikon. That's lenses as well. We could talk that insta360 launched a new lightweight X4, a360 camera. I would probably stick with the X5 though. DJI not releasing their vacuum cleaners in the US. That's a stretch to be photo news, but it's funny. And rode release of new wireless Micro. Micro. What are they called? Like a camera kit of. What am I trying to say? Microphones. What picks up sound? Microphones. Wireless microphones. But in a nice little neat case like DJI do. [00:52:59] Speaker D: Okay, so they're just trying to copy DJI now. [00:53:03] Speaker B: Lightroom update looks good. When did that come through? [00:53:06] Speaker D: I was like the last few days. I haven't done it yet. I don't like doing updates during busy times in case it sucks. [00:53:16] Speaker B: I saw the new. I saw the new Affinity suite is out, but I haven't dug into that because I've never actually used Affinity. I watched the keynote and they took some jabs at Adobe, like having corporate greed and stuff like that. And I was like, oh, interesting because I don't know, Canvas Canva's doing cool stuff, but I wouldn't be throwing the corporate greedstones around because one day they're probably going to start maximizing their profits once they've gone through their growth period. And they'll probably do the same strategy Adobe did. [00:53:52] Speaker D: Have you seen what the Canva people are worth? [00:53:55] Speaker B: Yeah, a lot. But they're doing good stuff. [00:53:59] Speaker D: Yeah, yeah, yeah. No, no, no. Not a bad note. I'm not saying I think they've done that. It's mind blowing. It's great. [00:54:06] Speaker B: Yeah. But I want to try Affinity and see what it's like. I've never actually used it. Greg Carrick says he dropped Adobe for it a few years ago. I should have done more research on Affinity, but I'm just not an expert in Affinity Photo. But basically there's a free version now, so. Affinity by Canva. Best photo editing software. But it looks like it's way closer to. Correct me if I'm wrong. But it looks like it's way closer to Photoshop than Lightroom. Am I, am I wrong or right? [00:54:49] Speaker D: I don't know. I know you're asking. [00:54:52] Speaker B: Photo editing. Let's learn together. [00:54:56] Speaker D: Okay. [00:55:00] Speaker B: Yeah. Bruce says Canva and Procreate, both Aussie companies. Yeah, Canva is an Aussie company and I proudly pay Canva my fee. That's how I make all the thumbnails for this show and all sorts of other crap. Actually, basically all the marketing material for Lucky Straps. I even created the new Lucky Straps logo in Canva. It's just a font, it's nothing special. That's where I created my logo. Okay, so they're saying I'm right. So it is more of a Photoshop replacement, which is not something I use, than a Lightroom replacement. Non destructive editing by default. Look at it. Serious power, zero cost. And that's the interesting thing. There's a free version which is quite interesting. [00:55:53] Speaker D: Maybe I have to check it out, report back. [00:55:55] Speaker B: Yeah, Affinity photo. Free. If you have a Canva account which is like, that's a Canva. So does it have to be a Pro Canva account or can it be a free Canva account? Because Canva there's free and Pro. I pay pro and I think it's like probably the most. [00:56:10] Speaker D: It's probably the problem. [00:56:11] Speaker B: No, I think there's a free free version. [00:56:14] Speaker D: Okay. [00:56:15] Speaker B: No, yep, Pro. Okay, so it's not free. Cool, that's good. [00:56:21] Speaker D: You can try it though because you've. [00:56:22] Speaker B: Got the Pro and yeah, they've like linked together. They have a photo editor, vector editor and layout editor which is yeah like Photoshop, Illustrator and indesign. But I think they've merged them all into one like seamless piece of software instead of having to launch each one and you can, you can move between each set of tools and you can customize your own tools. Yeah, I thought they made it free. The only cost is if you also get the Canva AI stuff. Well, so far Canva AI sucks balls, I can tell you that. But I'm sure it will get better fast. But so far, anything I've tried in Canva that was AI is horrendous. [00:57:06] Speaker E: All right. [00:57:06] Speaker B: Confirmation. There is a free version of Affinity and a free account, so anyone can try it. Might as well download it and give it a go. If you're on the hook for Photoshop and you're sick of paying the money. Yeah, give that a whirl. And I can't find any accurate details about what's going on with Lightroom, so I will go over all of that next week. [00:57:29] Speaker D: Okay, cool. Sounds good. [00:57:32] Speaker B: Sounds good. [00:57:34] Speaker D: Any other news that allow news and rumors? [00:57:37] Speaker B: I think so. Should we talk about lenses? Yeah, maybe someone will call in. Where's my poll? [00:57:49] Speaker D: Do we have enough time to talk about the lenses that you want? [00:57:54] Speaker B: I've got all the lenses they want for nothing. [00:57:58] Speaker D: That is not true. [00:58:00] Speaker B: No, it's not true. So I made a poll. I'm going to be making more polls because it was actually quite fun. [00:58:06] Speaker D: Where'd you make a poll? [00:58:08] Speaker B: On YouTube. Maybe I'll try it on social media, get more action. Our YouTube people are great. I just can't find the poll. Here we go. [00:58:24] Speaker D: Surely everything except for the 45.1.2. [00:58:28] Speaker B: What's not out yet and then I'll have it. Okay. Visit community. That's where it would be. Right? There it is. Here's the poll. What lenses would you like to see from your camera brand? And I only had four pole spots, so I couldn't put everything in there. But I said, do you want to see more fast aperture zoom lenses like Canon's 2870 F2? Sony's got a 28 to 70 F2. You know, do you want to see zooms with that f2 or wider aperture range? Or do you want to see smaller, lighter lenses that are still optically great? That got the biggest response. One lens to do it all, like Sigma's new 20 to 200, but you know, it's a f 3.5 to f 6.3, whereas I was suggesting something like a 20 to 200 f 4, which would obviously be insanely heavy. But do people want one lens to do it all or do they want cheaper lenses in general? Because everything is getting too expensive and neither of those got much action. So obviously I would have liked to put more stuff in. Let's have a look at what people said to start with Rick Nelson. I shoot Lumix, but I speak for every brand as this doesn't exist and could make me switch to a brand that does a 16 to 72.8. Basically combine the 16 to 35 and the 24 to 70. This would make work so easy. And I feel that if the brand that pushes this boundary will succeed. If I was in charge, I would run the show like Sigma or Yamaha companies and just make the stuff I love because I can. I should heart that. That's a good answer. That's actually a great answer. Let's talk about that for a moment. So canon made the 24 to 105 2.8. That has been a hit. But it's freaking massive. [01:00:25] Speaker D: Well yeah, but they ran the F4 for years. [01:00:29] Speaker B: I mean tons of people have got like, all the camera brands have got that kind of like F4 in that wider zoom range. And so Canon did it in a 2.8. They made it video friendly and that's what the Matthew was running around at. Beef up with. It was a beast of a lens though. But like it is one of those things that you could, you could basically cruise around all day on that lens and. [01:00:51] Speaker D: Yeah. [01:00:51] Speaker B: And do great work. Never, never take it off. But. And at 2.8. But do you think. I don't know much about lens design but do you think it would be possible to do a 16 to 72.8 in that same kind of size? It's like massive. But. But it could be done. I don't even know. [01:01:10] Speaker D: I don't know. Surely would close like, you know, or an 18 or something. [01:01:15] Speaker B: You know, I would be. I would. Oh, hang on, hang on. Tamron rumor. And this is coming from someone that should know. Tamron rumor of a new 24 to 70 F2. 24 to 70. That would be very interesting. See Glenn says if it was possible it would exist. But the Canon 24 to 105 F 2.8 didn't exist and then they made it. The 28 to 70 F2 didn't exist and then they made it. So I disagree that if it was possible it would exist. They're still figuring this stuff out because we've only recently moved to this new wider flange, mirrorless flange design of all the lenses. So we're still in the company. [01:01:58] Speaker D: Taking their time with it too. [01:02:00] Speaker B: They are to that. In a sec we'll get to the Nikon because you've got a list. Tim C. Armis has a list for Nikon. Nick Fletcher has a list. Apparently Nikon suck at bringing lenses out. So let's, let's start with. Hang on. Let's. Let's leave Nick on for a second. Greg Carrick. Hang on. He says. And an 18 millimeter pancake gf prime cheap. So gfx 18 mil would be. [01:02:29] Speaker D: They wanted a free one. [01:02:33] Speaker B: Gluten free prime gfx though medium format. Wouldn't 8ml be super wide? Wouldn't that be like the equivalent of a. No. Which way does it go? I'm confused. Someone help me. 80 mil would be very wide. Anyway, so Greg Carrick's wants cheap pancake gfx primes. I feel like most gfx people would be one. Yeah, about 15 mil. Good for landscapes in astro. How are they going to make it a pancake? Unless it's like F8 or if 16 wouldn't it be massive? [01:03:11] Speaker D: That wouldn't be ideal. [01:03:13] Speaker B: Maybe it's just a dream. The dream lens om system needs to make a 12 to 200 that is a pro lens instead of the 12 to 200 they have now which is too soft. Okay, so that's a vote for a do it all lens. But one that has the quality to match up with it because that's always been the point eight or something. Well, not even. I mean I think they just also assume that it's got to be sharp. Not because that was often an issue. You'd have massive distortion at either end. It would get soft usually at one end or the other or both or. [01:03:44] Speaker D: Yeah. [01:03:44] Speaker B: Depending on Bruce. Well, that would look wacky as a pancake. That's what I'm. I don't know if the. I think Greg Carrick wants something pretty wild. Okay, so let's go move on to Nikon. Tim Siamas says Nikon, other than the 26 millimeter pancake and 28 and slash 40 mil muffin lenses. Do you know what he means by muffin lenses? Are they shaped like. [01:04:12] Speaker D: Yeah. And maybe aren't quite as. They're not pancake. They're a bit longer, I'm guessing. [01:04:16] Speaker B: Oh, like a bigger than a pancake. I get it. Yeah, that's Nikon terminology. Canon don't make muffin lenses. There aren't many high quality small optics that go well with the zf which is my main daily family fun camera. And for the love of God, add aperture rings like Fuji to the small high quality optics and they'd be a perfect match. I agree. I want aperture rings too and not D clicked ones. Canon, I want ones like Fuji and Sony have where you can choose clicky or not clicky and they're on most of the lenses and you can just control your aperture on the lens like we used to. That would be great. Sigma makes some great smallish primes that fit the bill as part of the L series. But Nikon don't allow Sigma to make lenses for the ZED mount. They do not. Tamron do. [01:05:09] Speaker D: Yeah, I, I kind of in my list. I'm echoing what Tim said, that some wider angle fast primes would be great. [01:05:21] Speaker B: Fast primes, but with a priority on optical quality over size and cost. Or do you want like more manageable size? You're happy for them to be like the 35.1.2. [01:05:39] Speaker D: Maybe not big. Just give me a 28. You just want the same as the 28. But even that's pretty big. [01:05:47] Speaker B: Yeah. Slightly smaller I think would be better. Nikon is still missing a 120 to 300. Sorry, this is Nick Fletcher, the one and only. Nikon is still missing a 120 to 300F 2.8, a 300F 2.8 and a 200F. Two indoor sports shooters are crippled on the ZED mount. Laugh your face. That is true because yeah, I would. [01:06:12] Speaker D: Probably buy a 120 to 302.8 if they made one. [01:06:15] Speaker B: Did you see? What canon one. That thing's massive. [01:06:19] Speaker D: Yeah, but you could do everything with that. [01:06:21] Speaker B: I think he said it was 15 grand. Might have been more. [01:06:24] Speaker D: Probably would buy one though. [01:06:25] Speaker B: I don't think you would. Let's. Let's check the price. Canon 120 to 300. [01:06:33] Speaker D: It's investment though. [01:06:37] Speaker B: That's what photographers tell themselves. Oh no, no, I was wrong. They're 14,340. So you could, with the change you could buy. [01:06:48] Speaker D: Is that us? [01:06:49] Speaker B: A monopod? No, that's at George's cameras. [01:06:52] Speaker D: Okay. [01:06:53] Speaker B: Yeah, but it's a big lens. You could connect your lucky strap straight to the strap. Lugs on the side of it though. See? [01:07:05] Speaker D: Yeah. [01:07:05] Speaker B: She's a beast. Very cool lens. [01:07:10] Speaker D: But if you're sticking with a mounting system, you're going to have that forever now. [01:07:17] Speaker B: Yeah, yeah. That's a long term. [01:07:18] Speaker D: Like you're not going to be upgrading that. Yeah, yeah, yeah. [01:07:21] Speaker B: Very long term investment when you're buying. [01:07:25] Speaker D: One. [01:07:27] Speaker E: M. [01:07:30] Speaker B: I'm not. I don't think I need it. I just get closer shoot on the front. Paul saying, how about a Canon? Oh, hang on, let's do. Let's do Jim's Nikons first. Let's. Let's really. So what, what don't Nikon have that you want? Especially if you think about it from like other camera brands. Is there anything you've seen in other camera brands where you think I would have that? I. [01:07:56] Speaker D: So I did Write down it like a 24 to 70. Like F2, maybe something, you know, like, kind of like. [01:08:03] Speaker B: Yeah, yeah. And Sony, I. I mean, Sony's is now the thing. It's like, it's lighter than the Canon by quite a good amount. It's still a 28 to 70. But I didn't find the 28 to 70 limiting. Obviously, 24 would be great if you could get it, but I wouldn't take 24 to 70 with a ton of extra weight over 28 to 70 lighter. [01:08:24] Speaker D: So, yeah, maybe that's the. The key is finding it happy medium there, whether it's 24, 28, 30. Like. [01:08:36] Speaker B: What else? [01:08:36] Speaker D: And then. So I've written down a few lenses. A 58, 1.2. [01:08:42] Speaker B: Really? So you've got the 51.2, but you miss. So this. The Nikon, Nikon 58 1.4 they had for a long time. It was a beautiful lens, but it wasn't very sharp. But it was nice and light and was great to shoot with. [01:08:56] Speaker D: It was sharp at the right spot. Yeah. [01:08:58] Speaker B: F 2.2. [01:09:00] Speaker D: Yeah, it was beautiful. [01:09:02] Speaker B: So would you be happy for it? Like, what about that? What if they just released it? F2.58. That was, like, nice and light and sharp at F2. Like, shoot it wide open. [01:09:12] Speaker D: If it was sharp at F2, then, yeah, that would be okay. So maybe it doesn't have to be 1.2. [01:09:17] Speaker B: So what about. [01:09:17] Speaker D: Maybe it's smaller than a 50. [01:09:19] Speaker B: Yeah. What about F2 primes? Like, we've got all these. Like. I would probably. If it was optically great, an F2 prime, I think optically great and compact. [01:09:32] Speaker D: Well, I don't often shoot well. I could very rarely shoot wide open. It's only on this issue that I can. [01:09:38] Speaker B: I shoot wide open a lot. But I would. I would be happy with F2 if it was nice and light and small and sharp. So you can just not have to stop down to get the sharpness. [01:09:50] Speaker D: All right, we'll change that. 58F2. Yeah, that's. [01:09:54] Speaker B: Oh, that's light. Yeah. So you. So you wouldn't want it to be heavy, like, you're 50. You want it to be. [01:10:00] Speaker D: Yeah, that would be like an everyday lens. But, you know, maybe. And maybe you ditch the 50. You would ditch it maybe if the F2 was, you know, great. [01:10:13] Speaker B: Good enough. Yeah. What else you got? [01:10:16] Speaker D: And I've written it like a 26 to 28. Like 1.2, 1.4 something. [01:10:22] Speaker B: So it's a yes. So they have to replace cakes, but. [01:10:26] Speaker D: Something to Replace the. Like the F mount. 1.8 mil. Yeah, something to replace that. [01:10:34] Speaker B: Now what. So what about that one? Would you want it to be 1.4? Or do you not care so much? Like, what? What. [01:10:40] Speaker D: What Would I just want to be as sharp? I want it to be punchy, like the 28 1.4 IS. [01:10:48] Speaker B: But what if? Would you. Would you. Would you like it to still be a 1.4, though, or do you not care? And he's. Again, F2 as long as it's sharp. [01:10:56] Speaker D: If it was F2 and sharp. If it was sharp at F2 and you could shoot it at F2, then I'd take that and. [01:11:03] Speaker B: And have it be smaller because of it. [01:11:05] Speaker D: Yeah. Yep. [01:11:06] Speaker B: Yeah. Okay. Are you guys listening? Nikon, Listen, we don't need all the 2.8 pancakes. Want some F2 muffins? If that's what they call, you know, like, they don't have to. Maybe. [01:11:24] Speaker D: Maybe it's a big muffin. [01:11:26] Speaker B: Yeah, it's just slightly bigger muffin, but it's like, give us Something that's like 280 grams and just. You don't notice it on your camera. But it's still F2, even F 1.8, if it's possible. But that's not essential. What else you got in your list? [01:11:43] Speaker D: I've got a 105, 1.2, and that has to be 1. [01:11:47] Speaker B: 1.2. Nice. [01:11:48] Speaker D: Yeah. [01:11:49] Speaker B: And you don't care what that weighs? It's a. It's a tool to do a job. [01:11:53] Speaker D: Yeah, but, like, I think that that's like, a necessity, I think, in their lineup. [01:11:59] Speaker B: Yeah. [01:11:59] Speaker D: In my opinion. Football. [01:12:01] Speaker B: Okay, well, I'm sure it's something like. That's got to be on their list. Do they have an 85? 1.2? [01:12:09] Speaker D: Yeah, they do have an 85. [01:12:10] Speaker B: They do. So they've probably. People are probably making do with that. Would you ever be tempted to try that? Or is it too close to 50? [01:12:16] Speaker D: That's too close to 50 for what? I would. To use them together, which is what I do. [01:12:23] Speaker B: I don't. [01:12:25] Speaker D: Yeah, it's too close to 50. [01:12:29] Speaker B: Yep. Couple of comments, Glenn. Lavender F2 muffin with an aperture ring that clicks. Yeah. This is what photographers want. That is what we want. Obviously. We. Everyone loves a 1.2 or 1.4 or whatever. But if it means it costs three to four grand, weighs 600 grams, plus sometimes a kilo, if it's Jim's noct thing, whatever it's called the 50. What do they call that thing? Planar? No, that's something else. I don't know. [01:13:03] Speaker D: It's not the noct. The noct is like the. [01:13:05] Speaker B: No, this is the 95. [01:13:07] Speaker D: Yeah. [01:13:08] Speaker B: Oh, yeah, that's right. [01:13:11] Speaker D: Yeah. [01:13:12] Speaker B: Yeah. The 58.95 manual focus, manual abomination that they released. Everyone was like, what a great. Who's gonna use this? Yeah, thanks. So good. That was a big miss funny. Okay, who else have you put? There was a few comments back here. Fuji rules. No, Greg's not here until they bring out the next mount. No, they. These mounts are around for a long time. [01:13:44] Speaker D: Yeah. I don't think that they've released these with plans to change them for the next 20 years maybe. [01:13:52] Speaker B: Greg Carrick says I used to use a Tamron 50 to 500 on my Nikon back in the day. Yeah, that was a pretty wild lens. That was a big, big range. But then they. It went to the 150 to 500. The image quality was way better. Correct me if I'm wrong, but I think so. Rick Nelson says, but people love the Tamron 35-150 F2 to 2.8 and it's not lightweight. Do you love the 35-150 F2 to 2Point8 gym? [01:14:18] Speaker D: Yeah, I do. I would love it more if it. It's just very. Yeah. Contrast, that's probably its only thing into. It's a good locations. [01:14:29] Speaker B: It struggles with flare in backlight. [01:14:31] Speaker D: Yeah. [01:14:32] Speaker B: Only like it's got contrast in a normal. Like in a. If you're just shooting in a cloudy day, not towards the sun. [01:14:39] Speaker D: But it just struggles sometimes. [01:14:42] Speaker B: Yeah. Compared to the way like a Nikon handles it. Like that 70 to 200. [01:14:47] Speaker D: But you like if I shot the 105, the old F mount versus the 35 to 1, it like did the same settings. It doesn't look the same. [01:14:55] Speaker B: Look, you have to pull the blacks way down, add some dehaze. [01:14:59] Speaker D: Yeah. And get out a lot of dehaze. [01:15:01] Speaker B: Then it's not clean anymore. The file's not clean. You're like trying to manipulate it later. Rick Nelson says a 70 mil F2 would be nice. I mean, yeah, if that was compact. But that sweet spot around 58 is very nice too. Surprised more brands haven't played with that. Glenn Lavender says 35 to 150 is my other go to travel lens. Sharp as a nun's tongue. [01:15:31] Speaker D: Yeah. I don't even know what. It's quite sharp. Yeah, it is. It's a good lens. [01:15:38] Speaker B: Yeah. But it does happen. [01:15:41] Speaker E: Yeah. [01:15:41] Speaker D: And that's probably why I don't use it that much. It's like I need to use it. [01:15:45] Speaker B: More a run around do everything lens. But you're probably now always thinking this photo is more important. I'm going to put the 105 on. [01:15:53] Speaker D: Yeah. [01:15:54] Speaker B: Kind of thing. Yeah because you know there's a difference. [01:15:56] Speaker D: It's always in my bag. Like I take it with me to every like it's on the bag that wheel around so if anything goes wrong I'd put that on like with my other lenses. [01:16:09] Speaker B: Okay. Where was this Canon comment? Up here somewhere from Paul. How about a Canon 1415 or 16F 1.4 prime for Astro. Yeah there's space in there for. For that I'm sure. [01:16:22] Speaker D: I think, I think same with Sony's got. [01:16:26] Speaker B: What does Sony have? What's their widest 14 and Sigma Sony 14 mil F 1.8 G master. [01:16:37] Speaker D: Yeah but 1.8 fine. [01:16:40] Speaker B: Yeah but that's. I mean like who's do we don't have that. [01:16:44] Speaker D: No. Look how popular like the Nikon, the 20 mil you know like on the F mount that was the go to Astrolands. [01:16:56] Speaker B: Yeah. Look at this bad boy. And like is. That's not right is it? No. Video Pro. Is that price right? 1500 bucks man. I might switch to Sony. 1500 bucks. That can't be right. Is that right? [01:17:14] Speaker D: Looks right. [01:17:15] Speaker B: Look it's. Look it's got an aperture ring. Look at that. Should we switch to Sony? [01:17:21] Speaker D: I don't know. I turned my aperture ring off on my 50 mil but it doesn't click. [01:17:26] Speaker B: Yeah, because it doesn't click. Yeah, yeah it's got to click otherwise I mean obviously you want it to not click if you're shooting video but you know, make it switchable. Third party manual. Manual focus version by Samyang yeah that doesn't count. That's right. That's so cheap. That price is so cheap. What other bargains does Sony have? [01:17:47] Speaker D: Their cameras. Are their cameras cheap? [01:17:49] Speaker B: The bodies they're comparable. I mean an A1 is not cheap but an A1's a pretty epic do everything body. A1 mark two 45 megapixel like it's equivalent of a Z9 but it doesn't have a grip. [01:18:03] Speaker D: Okay. [01:18:04] Speaker B: Pretty. Pretty mega. [01:18:06] Speaker D: Yeah. [01:18:07] Speaker B: What other bargains does Sony have? Their 50 mils are pretty cool like they're 50. What's their 51.2g Master cost? It's too just over two grand. [01:18:24] Speaker E: For. [01:18:24] Speaker B: The 51.2g Master Canon. [01:18:28] Speaker D: So you're buying a Sony kit. [01:18:30] Speaker B: 51.2 RF is currently three and a half. [01:18:38] Speaker D: Remember when you're trying to get Grant to buy Sony. [01:18:42] Speaker B: I wanted Grant to buy Sony so that we had Canon Nick on the Sony. Talk about on the podcast. He didn't fall for it. Curse you. Grant. Been great now. But that's all right. We got. We've got Bruce now. Bruce is a Sony man. 59 mil F.1.4 is crazy good. Does that mean the 50 mil 1.4 typo? Yeah, gotta be. Yeah. So the 50 mil. The Sony 50 mil 1.4 is even cheap. [01:19:10] Speaker D: Probably would get us there. [01:19:12] Speaker B: See that? Because that's the thing. They've got the 51.4 and it's. It's sharp and everything. So if you just don't need the 1.2 and it's so much lighter and it's even cheaper. 1800 at the moment. It's pretty cool. What does it weigh? I think it weighs not much. Which is what I always look at. Who would ever want to know the carton weight of a. Don't put that stuff on you. [01:19:44] Speaker D: Like what it weighs in the box. [01:19:46] Speaker B: Yeah. On your customer facing store. Like that's for stores and stuff. No one cares. Like it's not. I don't care. [01:19:54] Speaker D: When you pick up the bike from the post office. [01:19:56] Speaker B: See, even that can't be right. It says it weighs 0.96 kilos. No, it doesn't. Lens specifications. [01:20:05] Speaker D: No, it sounds awfully heavy for. [01:20:09] Speaker B: It doesn't weigh 0.96 kilos. Sony. I have to Google it myself. [01:20:16] Speaker D: What's the carton weight? [01:20:19] Speaker B: Like five kilos. What? I'll just use Google. 516 grams. Sony. Sort your website out. Sony Australia. Sorry, not you. Sony Japan. You're wonderful. Okay. Any other lenses? I mean lenses I want. I haven't even really talked about it. Yeah, Sony. So the cut. No, the carton weight. Do you want me to prove it to you? Clinton? Let's just. Let's just settle this. The carton weight. Look at this. Ready? Specifications. Size and Weight. Carton Weight 550. Weight 0.96. Sony suck at their specifications. [01:21:08] Speaker D: At their website. [01:21:09] Speaker B: At their website. No, just the carton. No lens. Okay. That's actually pretty funny. It's the box weight without the lens. Of course. That's what we'd need to know. It's a heavy box. I don't know. Anyway, it doesn't weigh that weighs 500 grams. It's a nice light lens. It's great. But Canon's got a competitive one in there, folks. They're 50 mil 1.4 vcm now, which is cool. What I would like to see is 20 to something. Zooms, I think, are really cool. Sony's got one, they got a 20 to 50 F4. [01:21:51] Speaker D: Like, how long? [01:21:54] Speaker B: That's the thing. So it all depends on size and weight versus aperture versus, you know, how far of a zoom range can we get. You know, a 20 to 85 F4. Like, let's just extend the 24 to 70 a little bit. That'd be interesting because I think the 24 to 105 is a super useful range, but a little bit wider. If you can get to 20, you can really leave that lens at home. 20 to 85 would be interesting range. You could do everything with it. 2.8 would be very interesting, but I bet it would be super heavy. So I would consider an F4 if it was the right. If it was super lightweight for, like travel maybe. [01:22:38] Speaker D: And sharp at F4. [01:22:39] Speaker B: It has to be sharp at F4. And that's the thing with that. So Sigma released the 20-200 F 3.5 to 6.3. And I think it's. I think it very quickly goes from F 3.5 up to like 5.6, like, almost immediately. So it's not F 3 for 3.5 for very long. But the reviews that have come out from it so far, like, yeah, it's pretty dark, but it's sharp, wide open, so you don't need to stop it down. And that's critical. Once you start going with these sort of super zooms with big, smaller apertures, not much light coming in. As long as you don't have to stop them down to sharpen them up, you can. You can definitely work with that, like F4, F 4.5. [01:23:22] Speaker D: You can also do something like that. The 35 to 150. Maybe it starts at 2.8, you know, 2.8 to 4 or something. [01:23:29] Speaker B: They've all. Tamron had that. That was the previous to the F2 to 2.8. They had a 2.8 to 4. Yeah, I don't think it was super lightweight, though. But they could probably do that now. Like, they could probably be like, all right, we've done this. Let's try and make it lighter. Glenn says Tamron have a lovely sharp 20 to 40, but it's just too short or not. Yeah, exactly. So it's like, I mean, you might as well have a 15 to 35 if you're gonna have a 20 to 40. Like, you might as well get real wide. But if so, Sony's got the 20 to 50, which is kind of like a vlogging lens. [01:24:06] Speaker D: Yeah. [01:24:06] Speaker B: And it's an F4. And it's like that's kind of nothing lens for me other than maybe a vlogging lens. But for photography, if it was 20 to 85, F4. Be super interesting. If they could do a 20 to 105 without it being too heavy, that'd be pretty cool. Variable apertures, I'm not a big fan of. No one is. But it. Obviously it is required once you start extending those ranges out. But yeah, that's what I thought I would like. I don't know. And obviously Canon, for the love of God, make a 28 mil prime, please. It can be an F2. You've got them. Sorry. They've got a 28 mil 2.8, which I do like. It's a pancake lens. Everyone wants a pancake lens. Give us. Give us an F2 muffin with a clicky ring. For photographers. Just make it for photographers, please. Here we go. Anthony Stonehouse. Love a zoom that starts at 20 mil. Sony has a 20 to 70 F4. I thought it was 20 to 50. Okay, maybe I need to switch to Sony. [01:25:15] Speaker D: Sony and Panasonic just released a 20 to 62.8. [01:25:21] Speaker B: Oh, Sony's is the 20 to 70. Okay. Well, I'm dumb. I could have sworn it was okay, so 20 to 50. Yeah. So this is perfect. This is per. And it's 488 grams. Let's start there. But let's just bring that out. Let's try and push the ranges of that. Iterate on it. The 20 to 70 from Sony F4. Let's make it 20 to 85. Who's gonna do that? Let's make it 20 to 90. Let's create the new standard zoom that doesn't have to start at 24 mil even. Ooh. You know, it'd be a nice, very Leica feeling zoom range. 21 to 90. [01:26:05] Speaker D: Maybe it's only for lockers. Maybe I can try a million dollars. [01:26:09] Speaker B: Or you guys could buy maybe. Maybe. I don't know. We'll have to revisit this one day. I can't believe I thought that was a 20 to 50. I'm glad Anthony joined us. Appreciate it. [01:26:24] Speaker D: So is next week's what's in the Box going to be your new Sony kit? [01:26:28] Speaker B: It could be. I get tempted sometimes, but Canon are nicer to me and I like their ergonomics better. And. Yeah, 21 to 90. 1.3 mil. Leica. Yeah, exactly. It weighs 1.5 kilos in this. Slow to focus, but it has micro contrast. It's beautiful. 3D pop. [01:26:52] Speaker D: And it's 28,000. [01:26:55] Speaker B: Yeah, exactly. [01:26:56] Speaker D: Is that what it would be? [01:26:57] Speaker B: Probably. Should we look at some images? [01:27:07] Speaker D: Yeah, let's do it. [01:27:09] Speaker B: Okay. [01:27:10] Speaker D: Damn. [01:27:10] Speaker B: Phoenix slides is. [01:27:11] Speaker D: What are we gonna. What are we gonna do? You want to start with Greg's? [01:27:16] Speaker B: Yeah, I got them. I got them here. Oh, no. We'll see. Let's save Greg's to. [01:27:20] Speaker D: When Greg's on. [01:27:21] Speaker B: When Greg's on. Like, I'm just trying to make Phoenix slides work because that's where I've got everyone else's. Oh, I need to download some people's, too. Oh, God. Everyone's been sending more through. Okay. [01:27:32] Speaker D: Should have it cut off it before the podcast. [01:27:34] Speaker B: I should, but then they get pushed to the end. But I know I should. But this is. This is fun. So let's. I just got to do some stuff, so. Okay. Let's continue talking about lenses while we do that. Either that, or do you have some. You want it? You can show. [01:27:50] Speaker D: Yeah, I could show. Can do that in Lightroom. [01:27:55] Speaker B: You can try, but it has been working very well. That's why I moved to Phoenix. [01:27:58] Speaker D: Or I can do it on Dropbox, because it is on Dropbox, too. [01:28:03] Speaker B: Yeah, just pull up a Dropbox link in my life. Look at this. Anthony just summed it up perfectly. Canon ergonomics and feel are much nicer than Sony, but Sony does have a lot of lenses, and. Yeah, they do. And then you add to that Tamron and Sigma and then all the other crazy Viltroxes and whatnot. It's. It's. It's compelling proposition. A lot of clicking going on, not a lot of talking. What a podcast. [01:28:39] Speaker D: Oh, sorry. I was getting. [01:28:41] Speaker B: I was talking about. I was doing exactly the same thing, trying to download Bruce's images. Okay. [01:28:47] Speaker D: Do you want me to go? [01:28:48] Speaker B: Yeah, bring him up. No, I might have to remove this. I add that. [01:28:53] Speaker D: Let me work out how to get them. [01:28:55] Speaker B: Just make your window the shape of. [01:29:02] Speaker D: I don't know how to do this. [01:29:05] Speaker B: This is why I run the show. And you all make fun of me because I don't know what I'm doing. But I know more than you. [01:29:12] Speaker D: How do I just view them as, like. [01:29:17] Speaker B: Not so easy now, is it? [01:29:29] Speaker D: If I can do it in Lightroom. [01:29:31] Speaker B: By the time you get that sorted, we'll bring up everyone else's shots anyway. [01:29:35] Speaker D: Okay. See, I'll see if I can Stop screen. New screen. Share screen. We're gonna get this. It's gonna work. Window, entire screen. Here we go. [01:29:50] Speaker B: Hang on. You're stuck all the way over there. What's happening? We need Greg. [01:29:56] Speaker D: All right, I go. [01:30:00] Speaker B: You're in. I mean, why does your lightroom work and mine doesn't? That's so weird. [01:30:04] Speaker D: And yours has got the black things down the side. [01:30:07] Speaker B: Yeah. Bizarre. [01:30:10] Speaker D: All right. Had a wedding on Saturday. It was out. They did a first look. They got ready at, like, a little church. They did a first look out. It's like in the, I don't know, yard next to this country church. The daughter wanted to come along, which was fun. Why do I like this photo, Justin? [01:30:30] Speaker B: Because the daughter's peeking through between them. Yeah, that's nice. [01:30:34] Speaker D: Yeah, A. [01:30:36] Speaker B: A crop in of that would be awesome as well. [01:30:38] Speaker D: Yeah, I was gonna square crop it. [01:30:40] Speaker B: But I thought, oh, no. I mean, but not crop. Sorry. Like, you know, whip out a zoom lens and. And like, just be focused in on her head. That would be pretty cool. But obviously those moments happen and then they're gone. And that's, that's, that's that. Yeah, but, yeah, like, if you had something like that, that'd be pretty cool. [01:30:59] Speaker D: Yep. And then just some little moments. [01:31:06] Speaker B: What were you shooting these on? [01:31:07] Speaker D: 50, 50 and 28 would have been, but most of them would have been on the 50. Yeah, I'm just banging through these because these are all, I guess, pretty stock standard kind of stuff. [01:31:20] Speaker B: And so you were happy to just send them a sneak peek with the stock standard photos because that's all anyone really wants. Quickly after. [01:31:26] Speaker D: Yeah. And we just. Yeah. And these are from a first look. So a bit earlier in the day, I didn't set this up. And for the lighting. [01:31:34] Speaker B: Oh, look at all the fence poles, Jim. What's happening there? [01:31:37] Speaker D: Not that it's the light sort of side lit. And I didn't. I said this. [01:31:42] Speaker B: You didn't even want to zoom in. You just went straight past the fence poles. The. [01:31:48] Speaker D: The videographer set up a group photo after this as well. And they were in completely dappled light. And I was like, how is this. How is this okay for you? [01:31:56] Speaker B: What is it with videographers and dappled light? Is it because they can move so that they're like, they're happy, they don't care because you only see it for a few minutes and then like, you know, for a few seconds and it's moving so it doesn't really matter. [01:32:07] Speaker D: Whereas for us, this is forever. That this head is burnt from the sun. Anyway. [01:32:14] Speaker B: Yeah, look at those fence Posts. It's like he planned it. [01:32:19] Speaker D: The fence. [01:32:20] Speaker B: Yeah, Coming out of the bridesmaid's heads. There was two of them. It's pretty hard to get two. [01:32:25] Speaker D: Oh, and the sides. Yeah. Anyway, did my two camera trick. Holding two cameras to get a wide shot and a tight shot of the first kiss. [01:32:38] Speaker B: Prove it. Show us the metadata that shows that they were taken at the same time. [01:32:43] Speaker D: Okay, so 4:52:15pm 4:52:15pm I can't read. [01:32:52] Speaker B: It from here, but I'll have to take your word for it. [01:32:54] Speaker D: How do I. I can't zoom in on that, can I? [01:32:56] Speaker B: I don't think so now. [01:33:00] Speaker D: But it's at the same time. [01:33:02] Speaker B: Oh, look, Greg. Greg's in the chat. Hey, gang. Sorry I missed you all tonight. Jim looks tired. [01:33:07] Speaker D: Gee, I think my eyes just get squinty when I'm looking at the screen. I scream because my lights here. I don't know. [01:33:15] Speaker B: Yeah. Ah, here we go. Rick Nelson wants a behind the scenes shot needed for that trick. [01:33:19] Speaker D: Yeah, I should have the two cameras. [01:33:21] Speaker B: Yeah, maybe. I mean, doing videos, huh? [01:33:25] Speaker D: Maybe we can do a video of it. [01:33:27] Speaker B: Yeah, I was gonna say, but doing it at a wedding is a bit distracting. You know, like someone. We'll just do it. Like, we'll just show how it's done. Yeah, we'll do that. [01:33:36] Speaker D: It doesn't always work. It didn't work the last wedding. I did the one like, the one before. This one didn't work. Like, the. The white. Wasn't it like. [01:33:48] Speaker B: Yeah, you missed one of them. [01:33:49] Speaker D: Yeah, but like, the main camera is always in focus. [01:33:53] Speaker B: Yeah. So it's like one main camera that you know you're getting, and the other ones are. It usually works, but if it doesn't, no one knows. And there's nothing missed. Now I understand why it takes three months. Fence post removals, left hand camera. I'll do it as a short. That's a good idea. Okay, we'll do that. [01:34:14] Speaker D: All right. So this shot, the. So we did, like, the daughter's only 22 months old. We did photos before the ceremony. She obviously lasted the ceremony. And then we're doing family photos, and she was getting pretty tired. And then I just decided that, no, she's gonna go back to be looked after by someone. And they were just walking out with her. And I was like, hey, why don't you just, like, you know, I. I guess I've been around kids a little bit. I was like, why don't you just do some swings? She'll have a great time. And Then we got some, like, really nice, I guess, extra shots that, you know, weren't part of. And yet to the right of this is like, a food truck and bins that I cropped out, like, down here. [01:34:55] Speaker B: Oh, yeah. [01:34:55] Speaker D: But it just didn't matter. [01:34:57] Speaker B: I would have left him in. No, I'm kidding. [01:35:01] Speaker D: Yeah. [01:35:02] Speaker B: Yeah, that's a great shot. [01:35:06] Speaker D: I mean, what do you do? Yeah, yeah. And we didn't really. And. But just to get something nice on the. You know, and make it kind of a nice moment for them as well. [01:35:14] Speaker B: Yeah. [01:35:15] Speaker D: And then we kind of shot golden hour. Ish. It's pretty early because they're in a valley, so. Yeah. But yeah, working with a videographer and a content creator on this day, so. And she's pregnant as well. Right. [01:35:38] Speaker B: Busy day then. [01:35:41] Speaker D: Yeah, it was. Oh, and then the groom. Justin. [01:35:44] Speaker B: Hang on. Did you say videographer and a content creator? [01:35:48] Speaker D: Yep. [01:35:48] Speaker B: What does a content creator do? [01:35:50] Speaker D: They shoot, like, iPhone clips. [01:35:55] Speaker B: Okay, that's interesting. What's this? Bin Zara sweating photography. Oh, you know what I was doing today? I should pull this up in a second. I was playing with our AI music thing, and I might have typed in something about you. Should we play that song? I'll see if any. Does anyone in the chat want to listen to an AI song about Jim, let us know. [01:36:25] Speaker D: I don't think I want to listen to it. [01:36:27] Speaker B: Lucinda says, are you seeing more content creators at weddings, Jim? [01:36:32] Speaker D: That's the first one I've seen, but I've been seeing a lot of them on everyone else's socials, so I'm guessing. It's coming. [01:36:41] Speaker B: It's coming. [01:36:42] Speaker D: But, yeah, she was awesome. Like, so she. Her partner was the sack. Like, the musician. [01:36:50] Speaker B: Yep. [01:36:51] Speaker D: So I don't know if she was doing. Working for him or working for the couple, but, yeah, she was really good. She was great. She stood it, like, stayed out of the way. She was just. Yeah, she wasn't, you know, like, wasn't noticeable, but doing, you know, seemed to be doing a great job. [01:37:05] Speaker B: Did she even. Did she make the day more fun? Like. Like, sort of. [01:37:11] Speaker D: Not really. Okay. No, no, it didn't, like, do it. She was just talking behind the scenes, essentially. [01:37:17] Speaker B: Yeah. [01:37:18] Speaker D: Not really, like, in being involved in the day. This is a groom. He played four songs. [01:37:25] Speaker B: Oh, that's cool. [01:37:26] Speaker D: Did you. Did you see the story? He'd, like. He'd played. He's like. He's old high school band. They got up and played four songs. It was pretty cool. [01:37:34] Speaker B: I love that. Yeah, that is awesome. Yeah, that's how this was shot up. [01:37:41] Speaker D: I think this was shot at 1.2. Yeah. [01:37:42] Speaker B: Was it heavy? [01:37:43] Speaker D: That was nice. [01:37:44] Speaker B: So, like, punk music, Heavy music. What was it? [01:37:46] Speaker D: He played Panic at the Disco. I don't know what the song is. [01:37:49] Speaker B: So he played it crowd pleaser. Because it's a wedding. [01:37:52] Speaker D: Yeah. But it was, like, a pretty heavy song, I think you'd say. I probably can't play it through the phone, but. [01:37:59] Speaker B: Yeah, no, it's okay. We get copyright stricken anyway for it. [01:38:02] Speaker D: Yeah. [01:38:03] Speaker B: We can only play AI songs on this show. [01:38:06] Speaker D: And this is 8000 ISO at 1.2. [01:38:10] Speaker B: Nice. See, in the dark with that. That setup. [01:38:14] Speaker D: But, yeah, we didn't. Didn't do, like, normal, sort of dusky. They didn't really want too much. Didn't really want to be posed stuff, so. [01:38:20] Speaker B: But when you've got stuff like this, like, you don't need to. [01:38:23] Speaker D: Yeah. [01:38:23] Speaker B: When you've got a groom. Yeah, exactly. The real moments. That's awesome. [01:38:28] Speaker D: Yeah. So. Yeah. [01:38:31] Speaker E: All right. [01:38:31] Speaker D: It was pretty. Pretty doctor. Anyway, enough of my stuff. [01:38:36] Speaker B: Great work. Before we. Yeah, we'll just. Before we move on to your images. [01:38:46] Speaker D: Not my images. [01:38:48] Speaker B: Well, to everyone's images. I'll just quickly play this. So, look, it's not ideal because it's very American, but I'm just gonna play it anyway and you guys just see how it goes. Hang on. I have to rewind it. How does this work? You hear that? [01:39:19] Speaker A: Green trailer hitch gear inside. [01:39:24] Speaker B: Not a. [01:39:24] Speaker A: Hammer, not a saw no wrench inside but he's fixing memories and he frames. [01:39:31] Speaker D: Them right. [01:39:34] Speaker A: No more blades, no chainsaw. [01:39:36] Speaker B: Or. [01:39:39] Speaker A: Just lands his clicking open doors Jim's photography Snap it clean Every shot a master's precinct he ain't mowing, ain't drilling Ain't painting the wall he's freezing time he captures it all Tripod stands where a ladder might be his flashlights up Not a burnout tree no toolbox clatter no grease Stainless steel man yes. But he'll build your memories across the land no duct tape fixes no drywall screws Just focus and color the perfect hues, gems, photography Snap it clean Every shots of Master's racer He ain't mowing, ain't drilling Ain't painting the wall he's freezing time he captures it all Jim's photography Jim's photography shouldn't be this good. [01:41:01] Speaker B: I told you it shouldn't be that good. Oops. Now I've got more stuff finding my ears. Okay, cool. That's so funny. I tried to get it to. The problem is with These AI things like the first ones. That was the first one and it's like, it's, it's got something and then you like make it more Australian and don't, you know, change. Don't put the word wrench in there. And then the next one was just no good. And I'm like, all right, it's, it's like a one hit wonder and then you can't tweak it. You just gotta, it's gotta make magic. [01:41:28] Speaker D: So it's not like the images where you can kind of like improve it on. It almost just gets. [01:41:33] Speaker B: Yeah, yeah. Rick Nelson says, Jim, you need to make one about Justin. Now you know the problem that this is a paid service and Jim won't spend money on jokes. So I'm always going to win this competition. [01:41:49] Speaker D: Maybe I'll get a real musician to do it. [01:41:52] Speaker B: Well, that would be funny. A lot more expensive, but that would be funny. [01:41:55] Speaker D: I think it Ryan to make one. [01:41:57] Speaker B: Yeah. So apparently we're going to do a Eurovision boot scooting shuffle to be choreographed or something. Anyway, we should get to images so we can look at the, you know, do the actual photography stuff of this show. [01:42:12] Speaker D: We were doing really well for time early on. [01:42:16] Speaker B: We were. And then I had to ruin everything. All right, let me just get rid of this and bring up who we're going to start with. Start with Rick Nelson. Where are we? Ta da. Just takes a few clicks. Look at that Rick Nelson photo taken with the Fuji XE1 and a TD Artisan 27 mil, 130th of a second. F 2.8 ISO 1600. Brisbane Sunset Shot from Kangaroo Point cliffs before a late thunderstorm rolled through. Beautiful. [01:43:11] Speaker D: Great timing that over there. [01:43:17] Speaker B: Sorry, just organizing my screenshot. I need more screens. [01:43:23] Speaker D: Need a Tony setup. [01:43:25] Speaker B: Yeah, I might actually. [01:43:26] Speaker D: That'd be good. [01:43:28] Speaker B: Three monitors that wrap around for the podcast. Okay, next up. This was a good one. So from Paul. Paul Carpenter had a chance to wander around Melbourne last week armed with only my first phone. No, R5 was a fun exercise to see what I could find. [01:43:55] Speaker D: So. [01:43:58] Speaker B: Black and white phone shots and they look great. Yeah, these are, these are really good. [01:44:16] Speaker D: All iPhone shots and just edit in the iPhone app. [01:44:21] Speaker B: So just, just straighten it in the regular photos app. No fancy Leica photo app or anything like that. That's cool. What was the experience like, Paul? Would you ever. Oh, what are you gonna say, Jim? [01:44:36] Speaker D: I was gonna say I find it really difficult shooting my phone. I don't feel like I can control enough. [01:44:40] Speaker B: Yeah. [01:44:41] Speaker D: Things to make it Interesting for me. [01:44:44] Speaker B: Yeah, I was playing. The Leica app is actually good. But like it does make it feel more camera like. But I. There's. You sort of have to pay to get the most out of it and I don't. And it's. If it was a one off payment, I'd probably do it. But it's. It's one of those like 10 bucks a month thing and I'm like, I don't need another subscription in my life. I would pay. I'd probably pay 50 bucks for it as a one off after being able to test it. But anyway, but now these are, these are great. And the photos app obviously good enough to edit some nice black and white. So well done. Good little challenge. So if you leave your camera home, doesn't have to be a non photography trip. Take the challenge. What's everyone saying? David Leporati says no, nice one. Rick from before. Lisa Leach. Very nice. Paul says it was quite liberating, just different. But an X106 would be fun too. Yeah, exactly. That's what. And apparently this is about the 27 mil that Rick was using. Keeps the kit light. Focus is slower than Fuji lenses. But I usually shoot manual anyway. Wow. Slower than a Fuji lens. That must be like slow. [01:46:04] Speaker D: That is. [01:46:05] Speaker B: Stay forever. Bruce Roll says nice Rick. Okay. [01:46:09] Speaker D: Better be careful. Justin. Greg's in the chat. [01:46:11] Speaker B: Oh yeah, I forgot. Sorry, Greg. John Pickett. Here's a shot I took on Friday night, Halloween at a photo shoot in Melbourne. CBD. This was at Parliament House. R3 coping well with ISO25600. Yeah, that's. That's getting up there. [01:46:32] Speaker D: That is getting up there. [01:46:34] Speaker B: But yeah, very cool. 25,600. The thing is, that's hard too is I find like the R3 can handle that and it could even have it. It would look less noisy. There's just not much light in that spot. You can tell, you know, when like if the light's hitting the face, it looks. It'll work. Yeah, it'll work. [01:46:55] Speaker D: Even if it's still in a shadow. [01:46:57] Speaker B: Exactly. [01:46:57] Speaker D: Just injured. [01:46:58] Speaker B: Yeah, you can tell like you got the highlight on the hair and stuff, but the face is just. Is that getting the light sucked away from it from whatever's on this side? There's nothing really getting reflected. So. But yeah, very nice. Scary color palette. That's a. Yeah, it all kind of works. It's very cool. Okay, moving on. [01:47:24] Speaker D: Bruce said the noise is part of the aesthetic. [01:47:28] Speaker B: Well, yeah. Is the, Is the noise noise part of the aesthetic? Question mark. It's a good question. Yeah. John says, yeah, I was in a corner there. Yeah. You can tell there's something that's, like, flagging off all the light. Sort of a dark, little. Little hole, but it still works. Don't get me wrong. Just saying, like, the R3, like 25. You shouldn't be scared of 25,600. And I'm sure you're not because you've used it. [01:47:51] Speaker D: Yeah. [01:47:51] Speaker B: It can handle it. Cool and spooky in equal amounts. And the noise was part of the aesthetic. And also did color grading. And Bruce says, cool. I like reading out the comments. It's good. So just do the whole show. We should do a show one day where we can only read comments. Like, we can't say our own words. [01:48:16] Speaker D: Okay. [01:48:17] Speaker B: We just. [01:48:17] Speaker D: Maybe it should be allocated. Allocated people. [01:48:20] Speaker B: We'll have to make sure that. Oh, yes. So we're characters we have to do. [01:48:25] Speaker D: You can only read Bruce. [01:48:30] Speaker B: Will Bruce type something out? [01:48:32] Speaker D: No, no, but we might have, like, 10 people that, you know, like, say every. You get the first one, I get the second. Greg is the third, fifth, sixth. [01:48:40] Speaker B: You know, that would get real tough. All right, let me bring up our next one. [01:48:53] Speaker D: Bruce said, oh, that's a great idea. Sounds so dangerous. [01:48:57] Speaker B: I think it is a great idea. All right. David Leporati. I enjoy shooting a variety of subjects. Please find some lighting technique, images, sport, and aircraft as well. Where are we? Superbike images shot with Fuji XT1 and the Fuji XF100 to 400. Very nice. [01:49:20] Speaker D: The repetition there is very cool. [01:49:23] Speaker B: These two. Oh, there's three. I thought there was two tripping me out. [01:49:30] Speaker D: No, there's three. [01:49:32] Speaker B: Yeah. Wow, that's very cool. I didn't even notice the third one until then, but yeah, and they're all almost equally, perfectly stacked. The leg, like the rear wheels and the knees and the boots. Yeah, it's awesome. It's like they're riding a triple bike. A trandom. Yeah, Very nice shots. Superbike shot. Biplane avalon Air Show 2019. Fuji XT2. Fuji XF100 to 400. That. Oh, look at the people in there. That's pretty cool. Terrifying, but cool. [01:50:10] Speaker D: Yeah, I want to do that. [01:50:13] Speaker B: Why would you do that? [01:50:15] Speaker D: Yeah. [01:50:17] Speaker B: Yeah. I thought there was three on one bike, too. [01:50:19] Speaker D: Lisa. [01:50:23] Speaker B: What else? This one is. Hang on. Oh, wow, that's cool. RAAF C27 prop swirls. Backyard 2024. Does that mean it was shot from your backyard? Dude, Fuji XT5 and XF70 to 300. [01:50:48] Speaker D: Yeah, that's. [01:50:50] Speaker B: Glenn just made a biplane Joke. [01:50:54] Speaker D: I was trying to work out what he was saying. [01:50:56] Speaker B: Get it? Yeah, you'll have to read that one. Wow. So this was from your backyard, David. That is insane. That is just. Where do you live? [01:51:08] Speaker D: Is very cool. [01:51:09] Speaker B: I know how good is that? That is such a cool photo. I don't know if that's. Is that something that happens normally or. Yeah. [01:51:22] Speaker D: Or has it just come out of a cloud or something. [01:51:24] Speaker B: I live near Amberley, Ipswich. Don't give your exact address out on the Internet the life photographers door trying to learn things about area like airplane photography. Okay, moving on to what I'm sure will be an even cooler photo. Yep. Flaming match ignition shot with Canon EOS 400D an EF28-105 lens with a close up filter. Wow, so you don't. And a Canon EX 480 480X flash. So that's a crop sensor camera from the 70s. A kit lens 28 to 105 lens with a close up filter. Not a macro lens, a close up filter. This is amazing and it just proves that we should not have a segment to talk about what lenses we want. We should have a segment on how to take cool photos hosted by David. Oh man, that's great. [01:52:35] Speaker D: Is it still David Laporati? [01:52:37] Speaker B: Yes. Yeah. Very very cool. [01:52:42] Speaker D: Imagine how long it took to time that. [01:52:47] Speaker B: But that's. Yeah, exactly. That is a very cool shot. But that's okay. I'm sure he won't have any other good shots in his series tonight except for this one. You might be familiar with this Jim. [01:53:03] Speaker D: Yeah, it's a flash bulb. [01:53:04] Speaker B: The flash tube ignition. A xenon gas ignition on a Godox AD 360 flash tube. Yes. We've had those two exposures shot with Fuji XT2 Nikon 60 mil f 2.8 micro lens 125th of a second at f 11200 ISO flash tube 10 stop ND filter flash power manual 121 over 256 so the lowest power flash body, two lights, cross lighting. [01:53:37] Speaker D: Beautiful shot. [01:53:38] Speaker B: There is a small blue spark around the diode in the flash tube. Oh fuck. There is two. Hang on, I'm zooming in. Where are we? Look at that. That's nuts. [01:53:58] Speaker D: That is very cool. That's some crazy detail. Yeah, like. And I'm seeing that through a screen. [01:54:07] Speaker B: Yeah, yeah. [01:54:08] Speaker D: Through the Internet and you're. Yeah, that's. That's crazy. [01:54:11] Speaker B: It's awesome. Yeah, that's what I thought Bruce when I saw these face like. Okay, now you're just Showing off. [01:54:20] Speaker D: That details. Insane. [01:54:23] Speaker B: It is insane. All right. It's okay. And last one from David. We have aerial refueling US Air Force F15 and RAAF Mirage 1979 Nikon FM. Not sure what lens slide film. [01:54:55] Speaker D: Amazing. [01:54:58] Speaker B: Amazing. Looks like a scene out of Top Gun. [01:55:05] Speaker D: Literally. [01:55:10] Speaker B: Anyway, epic. Epic. Thanks, David. Always love seeing it. And then from one David to another David, if I can find it, where is it? Stall. Stall, Jim. Stall. [01:55:27] Speaker D: Okay, stall is a town or stall is in like a market store. [01:55:33] Speaker B: Worst stall ever. [01:55:35] Speaker D: Bruce did ask for a joke. I just. I feel like I just did a joke. [01:55:40] Speaker B: Okay. The one and only David Mascara from San Francisco. Hi, guys. So last year I gave myself a project, or should I say a challenge to photograph 36 strangers on one roll of film, also with one lens. I used a Nikon F5. Great camera with Portra 160 and a Sigma 50 millimeter art lens. To my surprise, the camera and lens did not pair. It literally dragged into focus. But I had started with it, so I just dealt with it. I ended up with 29 out of 36 portraits. I had a few misfires and one person was so into it that I took two photos. These were all on the San Francisco streets. I know there's this ongoing discussion with the decisive moments, but sometimes I want this. It's awesome to meet and get to know other human beings. Thanks again, guys. And see you on Wednesday, which is our Thursday, because, you know, different parts of the world. Look at these. You can't tell there, but like, it's. [01:56:48] Speaker D: Sharp and shot on film. [01:56:51] Speaker B: Like shot on film. But it looks. Yeah, it looks great. Yeah. Interesting using the. Yeah, not all lenses, especially third party work with those sort of older film cameras in different ways, but I didn't realize that autofocus would be an issue. But yeah, so good. I'd love to hear some of his tips about, you know, talking to people on the streets and that sort of thing to, you know, to just walk up to somebody like, do you want to. Can I take. And he's shooting film too, so they don't even know what. They can't see the photo. It's just like, thanks, see ya. Goodbye. Yeah, I wonder if he contacts them to send them afterwards. Yeah. Do you. [01:57:35] Speaker D: Do you email them photos or how does it work? [01:57:38] Speaker B: Leave a comment on the episode, David, and let us know, like, what your process is with talking to them and more. So like, what do you do afterwards? Great. And then, yeah, Greg Carrick says, cool project. Bruce Moore, beautiful work. It is beautiful work. I really liked this one. Yeah, I really like that shot. Just the color, the lighting, and it's just. Yeah, you can't see it. [01:58:03] Speaker D: Oops. [01:58:04] Speaker B: Can't see it through the Internet. But it is really sharp and just. I don't know what that would say. Is it great rendering? I don't know. Just like the transition from in focus to out of focus just looks awesome. Okay. Awesome work, David. David's both. David's really bringing it this week. I think we need some balance the world out with some more amazing photographers. Not. [01:58:32] Speaker D: We only accept David's from now on. [01:58:33] Speaker B: Oh, we only accept. Okay, we'll go that way. We'll go that way. [01:58:35] Speaker D: New followers. David's only. [01:58:37] Speaker B: All right. And finally, Bruce. Bruce says about this one. GFX100 muck around at BFOP in my workshop. A bit of fun. Sent it in this week because Greg isn't in your workshop. Would have been awesome. I'm sad that I wasn't able to get in there. I don't even know how you start to put a photo like that together. [01:59:07] Speaker D: What? Tell us what's happening, Bruce, because I also wasn't there. [01:59:12] Speaker B: Yeah, it's. I'm trying to figure it out just. [01:59:15] Speaker D: By Bruce said, zoom in. [01:59:18] Speaker B: Okay, enhance. Oh, wrong button. [01:59:21] Speaker D: It's crazy, that. Whoa, whoa. [01:59:23] Speaker B: I've got. I can see a person. [01:59:26] Speaker D: Okay. That's a lot of detail. [01:59:27] Speaker B: But have I gone in too far to, like, look around here? [01:59:36] Speaker D: Bruce said, should I call you? [01:59:39] Speaker B: I mean, you can try end the show on a live call, and we should see if the number's gonna work. I put it up there. Let's see. What's the worst that can happen? [01:59:50] Speaker D: Nothing. [01:59:55] Speaker B: Nope. I'm waiting. My zoom on this Phoenix Slides app doesn't work too well. Oh, here we go. But we're not getting it through the phone. Let's see. Hold on. Bruce, hold the line. Is it coming through? No. Hold on. Don't go anywhere. Just wait. Best part of the podcast. Every time. [02:00:28] Speaker D: Yeah. [02:00:29] Speaker B: Hold it. Here we go. We're almost there. [02:00:33] Speaker D: What? What are you doing? [02:00:35] Speaker B: I'm reconnecting the Bluetooth. Look, there he is now. [02:00:38] Speaker E: I can't hear you at all. [02:00:39] Speaker B: Have you got me now? [02:00:41] Speaker E: Yeah, now. [02:00:44] Speaker B: You'Re live. [02:00:46] Speaker E: Oh, hello. [02:00:48] Speaker B: Hello. [02:00:48] Speaker E: I'm sitting. Sitting in the lounge room. I have a daughter who's kind of waking up from a nap, a cat beside me and my partner. [02:00:57] Speaker B: Well, tell them we're sorry to have interrupted their peaceful evening, and we won't keep you long. We'd just like to know how you created this image. [02:01:06] Speaker E: That'S from the workshop where sort of near the end where I'm using a combination of constant light through a gobo. Actually both of them are using spotlight so constantly and a strobe. So the dotties are from the constant light and Amaran 300C. And the stripe across his face is a. What do you call is a Godox 600 AD Pro or whatever the terminology with the spotlight mat on it. And then cutting. Cutting the actual into a stripe using the leafs in has got a bit of post production in it. It has color through it but I've tweaked it to give it more color. Just more of a gradient across it. And it's long shutter, long exposure with. With the stripe going off. Yeah, yeah. The lights are being moved as well. So everything's sort of moving. But I don't. I've never used this camera before. And so the controls are really odd in the way it was set up. So I didn't get the actual right ISO or anything like that. But the latitude in it's pretty amazing. It is pretty noisy because it was a dark room. I probably could have done better with it, but for a first time go at it, it was pretty fun. And yeah, the files are ginormous. Like 212 megs per each image for each raw. [02:02:46] Speaker B: That's crazy. Lisa Leach says hi, Bruce. [02:02:51] Speaker E: Hi, Lisa. [02:02:55] Speaker B: Right. Does it. Does it make you want a GFX100? [02:02:59] Speaker E: Well, I was actually trying to find out. I talked to him about sending me down a kit to have a play with in my workshop the end of the month, but I've lost their email. [02:03:12] Speaker B: Whose email? Fujis. [02:03:15] Speaker E: Fuji's email from New Zealand, not Australia. [02:03:19] Speaker D: Just email. [02:03:21] Speaker B: Yeah, I was gonna say. I'm sure we can find the right person to talk to. Yeah, we'll figure it out. Greg will know. I've got a Fuji person or two in my email that would be out at. Surely figure that out. I mean it can't be that hard for him to get you a GFX system. When. When is your workshop full? [02:03:38] Speaker E: The 29th. [02:03:39] Speaker D: Yeah. [02:03:39] Speaker B: Is it. Is it already sold out or you got spots left? [02:03:42] Speaker E: God, no. But I've still got spots. It's actually really hard to do workshops down here, I find. Unless you're doing like the landscapey stuff. [02:03:51] Speaker B: Yeah, people won't travel. They'll travel for a few days of adventure on the landscape, but they won't for a portrait. [02:03:59] Speaker E: Yeah, exactly. So no, that's all right. I've got a few in so I'm covering Costs, but a few extras would be good. Plus it's nice to have extra bodies in there. But the people who already signed up are going to get a great show because, you know, more, less people, more time. [02:04:14] Speaker D: That's right. [02:04:15] Speaker B: But if you're listening and you're anywhere within striking distance, get on. Bruce, you're in Australia. [02:04:21] Speaker D: Travel down. [02:04:22] Speaker B: Yeah. Anyway, I mean from the other side of the world, it would be worth it, I think. [02:04:27] Speaker D: Definitely. [02:04:28] Speaker E: Thanks. [02:04:29] Speaker B: We should quickly look at your other photos while you're on the line too because we've got this one which was from Hawaii. [02:04:39] Speaker E: Yeah. So every time. Every morning and night generally was in Honolulu the other week. I was working during the day at a conference doing. Working with indigenous groups and doing interviews. It's all video based stuff for the most part. But I'd get up in the morning, go for a swim and then I'd go walk around and do street photography in the morning and in the evening, late in the evening and this was one of the evenings just seeing the people and that. There's a tourist area, a long part of it and then parts of it fall into like just the people who live near to the tourist area, the back streets and that. So I sort of. I crisscrossed Waikiki, the whole part of the city I think about five or six times over the couple of days. [02:05:30] Speaker B: Like every. [02:05:31] Speaker E: Pretty much every street. I reckon if I had a game and it would have like just true lines everywhere, huge amounts of K's on it. But yeah, just finding these little moments of people doing things. And this one I used to note about having this color or black and white, kind of like the texture but it's. They're all bracelets. [02:05:50] Speaker B: Ah, right. [02:05:53] Speaker D: For sale. [02:05:55] Speaker E: Yeah. Yeah. This is just like a little shop in between a couple of hotels I walk past. [02:05:59] Speaker B: Yeah. [02:06:00] Speaker D: Cool. [02:06:02] Speaker B: When you do walks like this, you're using your A7S3. [02:06:08] Speaker E: No, usually my. Because this is only 12 megapixels. So I use my R3 which is 42 or 43. [02:06:15] Speaker B: Ah, right, right, right. I forgot you had that one. I don't know why I thought you are mainly doing stills with the A7SIII. That was silly. [02:06:22] Speaker E: I. I do a lot of the pro stuff on the S3. Like any. Any event work and stuff like that. It doesn't need high resolution and quick Turnaround. Yeah, the S3 is just awesome. It's just got great auto focus and it's fast like stupid past. [02:06:37] Speaker B: So a 7R III and what. What would your go to lens be for Just strolling around. [02:06:42] Speaker E: This is the. This was the 50F 1.4. [02:06:46] Speaker B: Yeah. Did you basically use that every time or did you switch it up? [02:06:51] Speaker E: Used it every time. The only time I. You I brought my 81.8 which is one of my video lenses. I did use that a few times from the balcony and stuff, but pretty much everything was just a 50 on the walk. Walk arounds. [02:07:07] Speaker B: Yeah. And we can confirm that that is does not weigh 0.96 kilos, that lens does it? It's less than that. [02:07:15] Speaker E: It's. It's a lot less than that. I'm pretty sure I could go away, but I'm not going to. [02:07:19] Speaker B: I think Sony need to sort their website out. Okay, last image of the evening is. Hang on this one from Melbourne. Very cool reflections. [02:07:33] Speaker E: And yeah, this is pre be up. So the day before I drive up with Craig. With Craig win because we tend to always go together. I went for a walk for like five hours, four and a half hours in Melbourne CBD because Craig was on. On a job for the whole day. And so I just caught it training. You guys are already buggered off up to bright. [02:07:59] Speaker D: So we did. [02:08:01] Speaker E: So yeah, I just walked all around down to the Docklands and back and I was slowly going through and processing images out of that. And I put this one together this morning. I thought, oh, I'll send that in. [02:08:10] Speaker B: It looks good. I love it. [02:08:14] Speaker E: So that's the library. I didn't know there's a library. The Docklands. So if you zoom in a little bit, you can see all the books running through the guy. And that's the pages of the books. They're open to the zooms in a long way. [02:08:26] Speaker B: But yeah. Yeah, I love that. [02:08:31] Speaker D: That's cool. [02:08:32] Speaker E: Yeah. So I really dig the. The person just sort of being almost a silhouette, but not. But then you've got all this writing over him. [02:08:41] Speaker B: Yeah. [02:08:42] Speaker D: Some great lens. [02:08:44] Speaker B: And the fact that the face is discernible, you know, just. It happened to just be in the right sort of part of the reflection that you can quite clearly see the sunglasses and stuff. [02:08:56] Speaker E: Also helps with the writing. Right. Because him being dark brings that writing back up. So map of something there. Yeah, things like that. So yeah. So from a distance it looks more like just a person, like a silhouette. But when you zoom in you got all those details, which I kind of enjoy. [02:09:14] Speaker B: Very nice. [02:09:15] Speaker E: And that's a crop. And that's cropped that image because it's actually a lot wider and taller. There's more stuff in the clouds and stuff But I kind of like having a little bit cropped. [02:09:23] Speaker B: Yep. [02:09:24] Speaker D: Nice. [02:09:26] Speaker B: Beautiful express. Wonderful work. Thanks, Bruce. Thanks for calling in. [02:09:32] Speaker E: It works. [02:09:33] Speaker B: It sometimes works. It does work. It just every time I have to disconnect, reconnect then and then do it again. And then it'll work sometimes. Awesome. [02:09:44] Speaker E: All right, guys, have a good night. [02:09:46] Speaker B: Good night. You too. [02:09:47] Speaker D: Thanks, Bruce. [02:09:48] Speaker B: Thanks. All right. Is that anymore? Is that the end of our show? I think that's all of our. I think I've got everyone. Let me know if I somehow missed your images. I'm sure I didn't, but I might have because it's pretty wild in my inbox at the moment. Hopefully I didn't miss it. [02:10:09] Speaker D: I think that's all of our segments. [02:10:12] Speaker B: You reckon? I wonder if there's a way I can do. Hang on. I got an idea. How should we end the show? I have an idea of how to end the show. [02:10:21] Speaker D: What is it? Is it going to be that song again? Maybe. [02:10:27] Speaker B: I feel like we can. Oh, how. No, Greg. Harry. Damn it. Yours is in here. How did I miss that? There is one more. I knew it. It can't be next week. No, wait, we haven't done. There's one more. Because this one. How did I skip? Oh, because I skipped Greg's macro images and I then skipped the other. Greg got it. So this one is taken with a wild lens. [02:11:04] Speaker D: Where is it? Yeah, where's my. [02:11:08] Speaker B: Now I've lost everything. It is taken with some sort of wild projector lens. Here we go. Sending this to you as you're talking about lenses tonight, here's a portrait shot I took with one of my favorite lenses from a slide projector mounted to a Fujifilm XE4. Gives some marvelous swirly bokeh specs. The swirls are awesome. It looks like those pets for lenses that everyone used to buy for a little while that was selling, you know, like lomography or someone made them. They're like brass and you see them on social media in, like, flat lays. Everyone had so much trouble shooting with them. They end up, you know, selling them because they're manual focus. But this, this is that swirly effect that they used to get. But yeah. 16 mil projection, 3 inch. I don't know what that means. F 1.8 fixed aperture made by Taylor, Taylor and Hobson, which is an amazing brand. I wish there was a real current lens brand. That was Taylor, Taylor and Hobson. [02:12:13] Speaker D: Yeah. [02:12:13] Speaker B: Like, how cool. Yeah. Yeah. That is. That is such an interesting effect. It looks so cool. [02:12:27] Speaker D: It is. [02:12:27] Speaker B: And it's it's very like soft rendering through the hair and the skin and stuff. It's. Yeah, it's probably not translating much on the. [02:12:39] Speaker D: It looks nice. [02:12:40] Speaker B: Yeah, it looks really nice. I bet it was hard to focus, though. $20 at an op shop bargain and then six hours of custom milling. Mount for it or something. Make it work. Yeah, but worth it. I love it. I think there should be more of that. Experimenting with lenses. That looks really fun. Great work, Greg. And sorry I missed you. I skipped both Greg's. Now, apparently there's only one way to end the show. Jim song. But I have to queue it up, so. Hold on. It'll be worth it. [02:13:23] Speaker D: It won't be. [02:13:24] Speaker B: It might be. [02:13:25] Speaker D: It probably won't. [02:13:30] Speaker B: Let's see, where is it? [02:13:32] Speaker D: Here it is. [02:13:41] Speaker B: Wrong button. It skipped to the wrong track. [02:13:46] Speaker D: We didn't notice that because we're too tired. [02:13:48] Speaker B: No, I was like, what is happening? This isn't the right song. All right, good night, everybod. Paul says, nice work, guys. Cheers, David Leporardi. Good night. Thanks so much. Oh, how good is this song? Good night, Paul Henderson. Good night, Lucinda. Greg Carrick says slam that like button. We'd really appreciate it if you do. It helps a lot. Please give us a like and send him pictures next week. Justin Luckystraps.com are you sending me now? I'll get him ready. Good night, Bruce. Thanks for the call. John Pickett on who else who was here? Lisa Leach. I love this. Glenn Lavender. [02:14:34] Speaker D: I need to make a real for this. [02:14:37] Speaker B: We probably should. Thanks, everybody. Anthony Stonehouse. Appreciate your comments. [02:14:44] Speaker A: Tripod stands where a ladder might be. His flashlights up. [02:14:50] Speaker D: Not about. [02:14:52] Speaker B: It's so good. Oh, Thursday. [02:14:56] Speaker A: Yeah. [02:14:56] Speaker B: Thanks, Lucinda. Thursday is. Oh, it's Alex Cerns if you want to see epic pet photography but also learn how to run a crazy business. Super successful pet photography business. This is the one for you. Alex earns on Thursday and she also Reviews movies, about nine or 10 movies a week and has her own movie podcast. So there's that. It's gonna be fun. [02:15:26] Speaker A: He captures it all. Jim's photography. Jim's photography. [02:15:38] Speaker B: See Grant just, I don't know, doing. [02:15:42] Speaker D: Things in this video.