[00:00:11] Speaker A: Snapping frames chasing light Shadows dance day to night land sharp soul in sight the camera whispers hold it tight Click, click Moments freeze time captured in the breeze the camera light, the flash ignite.
[00:00:43] Speaker B: Good evening, everybody, and welcome back to the Camera Life podcast. This is the random photography show and we are joined today by Justin and Jim. We'll get to saying hello to those guys in a moment, but this is episode 134. How did it get to 134 episodes?
[00:00:59] Speaker A: Commitment.
[00:01:01] Speaker B: Skill. I was gonna say, but yeah, you're right. Commitment. That's very true. Two. Two shows a week, every week, live, no matter what.
[00:01:08] Speaker A: Sometimes more. Unless we're away, then we. Then we miss it. But most of the time, every week without fail. Except for that one time.
[00:01:16] Speaker B: Yeah.
But yeah. G', day, everybody, and welcome to the show. Today's episode of the Camera Life podcast, the random photography show is proudly brought to you by by Lucky straps. Head to Luckystraps.com right now. Have we still got a sale going?
[00:01:30] Speaker A: It's still going. It's got family sale. About 53 hours or something like that. Left to buy something. If there's anything you want to buy, it's all cheap. Now's the time of the year to buy it, which is actually kind of the theme of the show tonight.
That's what we're talking about later is what's on our list of things that we're keeping an eye on for sale season. But if a camera strap or a nice leather belt. Everyone needs to keep their pants up. And we make some of the finest leather belts around. Australian made brass, brass buckles. They won't wear out.
And what else we got hoodies, T shirts, T shirts. Not this T shirt, but other ones that are almost the same as this.
You can't have this one. Actually, you could buy this one, but it would be expensive.
[00:02:16] Speaker C: If you're a B, sign it and steal Justin's clothes.
[00:02:19] Speaker A: DM me. I'll send. I'll sell anything. Yeah, everything's got a price and it's probably pretty cheap. Stop.
[00:02:26] Speaker B: Just stop. Because now you've got to advertise your. Your boxes or your briefs or whatever it is that you wear.
[00:02:30] Speaker A: Oh, no, no, no, let's not.
[00:02:32] Speaker C: There's a story there.
[00:02:33] Speaker B: There is a story. I'm sure there is.
What's the story, Jim?
[00:02:38] Speaker A: I didn't sell my underwear. Why not? You were gonna put it down this. Yeah, if they wanted to. I did. Yeah. We gave away a hoodie with a strap at B fold.
[00:02:47] Speaker C: No, no, it can be what Lucky was Originally.
[00:02:49] Speaker A: Oh yeah, that's true. Lucky was supposed to be an underwear company.
[00:02:54] Speaker B: Wow. How did you pivot from underwear to leather straps?
[00:02:58] Speaker A: I convinced.
[00:02:59] Speaker C: You hadn't seen the underwear, Greg.
[00:03:01] Speaker A: No, the underwear was extremely comfortable. I had prototypes made. It was all. We had branding done. It was looking very cool. And I can. It was going to be because the only underwear that was around at the time really in Australia that wasn't just cheap underwear was bonds. That was like the thing that everyone bought. And then some people bought like Calvin Klein, which was weird, but some people at school that I went to with school had Calvin Klein underwear. I was like, okay. But it was mostly bonds. Everyone had bonds and at that time they were about 18 maybe. And I got the pricing back to get these. This underwear made and it was like $12 a pair cost price.
And I was like, oh, to sell these, that has pretty slim. They'd have to be like 25 by the time you like do everything, you know all the stuff.
And.
And I was like, no one will pay that much for underwear anyway. Fast forward and brands like Step One and Knobbies and other brands have done it way better than I ever could have done. And they've really done it. So really doing it.
[00:04:00] Speaker B: And what were you going to call the. Were they Lucky jocks? Lucky underwear, perhaps? Oh, lucky underwear.
[00:04:05] Speaker A: If I ran into the bit I did, I kept two pairs. They're just in the very bottom of my underwear drawer. Just. Just as like a reminder.
[00:04:15] Speaker B: Sure. They're at the bottom.
[00:04:17] Speaker A: They are. Because they're. They're. I did wear them. I wore them for quite a while because obviously that was the first thing I was like. I got to see how long these last. But the material was awesome, waistband was good, everything was styled.
[00:04:26] Speaker B: Who would have thought?
[00:04:28] Speaker A: Who would have thought?
[00:04:29] Speaker B: Plucky little lads from.
[00:04:31] Speaker A: We'll go back maybe. You never know.
[00:04:35] Speaker B: Probably knows. What about leather underwear? We could really just lean into it.
[00:04:40] Speaker A: That would be sweaty and not comfortable.
[00:04:42] Speaker B: It would be sweaty, wouldn't it?
[00:04:43] Speaker A: But if you want me to make you some, I'll see what I can do.
[00:04:46] Speaker C: Why not?
[00:04:46] Speaker A: Why not?
[00:04:47] Speaker B: Anyway, I don't know how we got down that path, but do you want to say good morning to some folks in the chat? Not good morning. Jesus.
[00:04:54] Speaker A: It's a good evening. It's a bit evening, E. But sure it is evening. Philip Johnson. Thanks for sending a photo in, Philip. If you want a photo in the your images section, it's not too late. You can still jump in my email inbox and I'll Try and get it into tonight's show. Maybe in the next 10 minutes. If you're listening later on, do it anyway for next week's show. Justinuckystraps.com and we'll have a look at them all later on. We've got heaps already.
Yeah. Tons of people remembered over the last couple of days. They've been just popping into the inbox. That was really good.
Thanks, Philip.
Dennis Smith, School of Light. Yee ha. But I mistakenly agreed to a dinner date. See, if I had smart glasses, no one would know. Yeah, you could be watching us. You could be watching us at dinner if you had those medical centers.
[00:05:38] Speaker B: Yeah.
[00:05:38] Speaker A: Craig Murphy, good evening.
[00:05:40] Speaker B: Hey, Craig.
[00:05:41] Speaker A: Got your photos, Lucinda. Hey, I got your photos. Elena Mega Pickle. Yeah. The emojis don't come through our system, unfortunately, but you guys can all see them in the chat.
[00:05:50] Speaker C: And we know what they are.
[00:05:51] Speaker A: Special emojis.
John Pickett. What's up?
[00:05:54] Speaker B: Hey, John.
[00:05:55] Speaker A: Who else we got? Who else we got? Scott Longdon. Good evening. Lisa Leach. Yeah.
Rick Nelson, Tweak Productions. Hello, everybody. First time in the chat that hasn't been BFOP related. Well, thank you. Thanks for joining us. We'll try and make it fun.
Tony's here. Are you sitting in the sim, Tony? Tony's built his SIM racer. It's all set up.
[00:06:17] Speaker B: You gotta send me a photo, Tony.
[00:06:18] Speaker C: I wanna see it.
[00:06:19] Speaker A: Hang on.
[00:06:19] Speaker C: One of us on each screen.
[00:06:20] Speaker A: How can I. I'll get it. I'll bring it up on the screen a second, Greg. Cause he was. Last week he was watching the show while driving.
He's got an iPad attachment for his sim. Hang on, I'll find it.
[00:06:31] Speaker C: Of course, three screens isn't enough.
[00:06:36] Speaker B: I think. I think it was editor Seb.
He was playing a bus. Was it a bus driving simulator?
[00:06:42] Speaker A: What?
[00:06:43] Speaker B: Yeah, a bus driver.
[00:06:44] Speaker A: Sounds like a very simulator.
[00:06:49] Speaker B: Stops head off, you know, get passengers to their destination.
[00:06:53] Speaker A: Really funny.
A walking simulator.
[00:07:00] Speaker B: There is one.
[00:07:02] Speaker C: There's a couple now, there is called a treadmill.
[00:07:07] Speaker B: Death Stranding 2 just came out. That's a walking sim, basically. There's a lot of other bits going.
[00:07:11] Speaker A: On, but yeah, I got to pull this photo up so we can see it. Hang on.
Window. This one. Ready?
So this was Tony trying to race his thing.
And look, if you zoom in, this is his racing.
Hang on. And then.
[00:07:28] Speaker B: God, that's amazing.
[00:07:29] Speaker A: This is us. Hey, that's awesome. And then he crashed. But yeah, check. Look at all of his screens.
[00:07:38] Speaker B: Yeah, that's.
[00:07:39] Speaker A: Anyway, that is.
No excuses. Anyone can watch this show.
No matter what you're doing, just maybe.
[00:07:46] Speaker B: No, Felicity. Felicity was watching it the other day.
[00:07:49] Speaker A: Oh, yeah, well, renovating the house there. Just drills and noise and stuff. Yep. She's just watching away.
Who else is here?
David Leporardi. Good evening.
[00:08:04] Speaker B: Hey, David.
[00:08:05] Speaker A: From underwear to strap. Sense of theme. Yes, yes, yes, yes. Digifrog. What about expanding into photo brand undies? No, I don't think that's a pretty niche market, Paul. What's that?
[00:08:16] Speaker B: The Canon ones would sell quite well.
Just saying.
[00:08:23] Speaker A: Trying to think of something small. Anyway, I can't think of anything.
Zachary Carr. Good evening. Good to see you.
And finally, Micro Four thirds. Ah, there it is. See, that's what I was trying to think of. I couldn't. You got it. That's a good one.
And Glenn Lavender. I watch even if I'm not doing something more interesting.
[00:08:44] Speaker B: That is the best way to watch it, Glenn.
[00:08:46] Speaker A: Yeah, yeah, yeah.
[00:08:47] Speaker B: Welcome, everybody. And please, if you're watching and you're enjoying what you're seeing so far, so far, we've talked about racing car simulators, we've talked about bus sim walking simulators, we're talking about leather undies. We will get to photography, but if you're enjoying the content so far, please give us a like. And don't forget to subscribe.
[00:09:05] Speaker A: Yes, please, please do. We're trying to get to 2000 before the end of the year and. And we do actually talk a lot about photography. This is just a bit of a weird start to the show. That's how we like it.
[00:09:14] Speaker B: Speaking of weird starts, Jim's with us tonight.
[00:09:17] Speaker A: Hey, Jim. But not for long.
[00:09:19] Speaker B: Not for long.
Jim's not the weird start. We're gonna. We're gonna. We're gonna pivot straight to a question that I think Jim wants to ask everybody. Is it. Am I reading the room right there, Jim? We want to put it out there.
[00:09:30] Speaker A: Yeah, let's do it out there.
[00:09:31] Speaker B: What's. What's the quandary, mate? Spill your beans.
[00:09:36] Speaker C: What's it. I want to know what, like, everyone's thoughts is on. Do you give a client, like, unedited or raw photos only?
[00:09:49] Speaker A: Like, would you ever. Not. Not always. Is it always, like, under certain circumstances, would you ever give them.
And you're not. You're not saying give them the raws as like a. Hey, you can keep these as an archive. I've given you the edited photos and these are like the negatives. If you want to hang on to them, you're saying no edits.
Here's raws. Or here's unedited JPEGs. What are you, what are you thinking?
[00:10:14] Speaker C: Yeah, so I don't know what they want because I shoot raw, so that would all be all I have and I have to convert it to a jpeg.
But, yeah, they want all the photos and I don't really think that they need all the photos.
[00:10:28] Speaker B: And.
[00:10:31] Speaker C: Yeah, I've had a look at some of their other work and they, they said that some of their other photographers just supply them with photos on the day. That's it.
Shoot. Give them the cards and I'll just.
[00:10:42] Speaker B: Hand over the cards.
[00:10:44] Speaker C: Apparently.
[00:10:44] Speaker A: Yeah.
[00:10:45] Speaker C: And I, I don't know, I don't like to work like that, like. So I, I did, yeah, I did a job, shot a lot of photos c it.
But yeah, I've had a look at some of their other stuff and I'm like, yeah, there's eyes closed and weird things that I would never supply.
[00:11:00] Speaker A: And I think the issue is, yeah, you know, that they don't necessarily have a quality post processing pipeline behind them because that was sort of my first question. I was like, hey, if they've got a grapho or something that's like, I'll just whip through these and dial in the way we like them to look.
You know, if you knew that you'd work with them, you'd be like, hey, all right, no problem. You guys sort of do your back end. You know how you like these things to look. That's fine.
Let's. Let's see what the chat says.
Here we go. This was. This should be good, Dennis typing this via voice to text while driving.
But absolutely, if a client pre negotiates with me, I would give them the rules for the right reason, the right client, so long as they weren't dick.
I think that's a good. That's a, that's a good way to look at it. Yeah, it's like, what are they. How are they approaching it? Do they understand and. Yeah. Will it be.
Will it be a good outcome for everybody? I guess is the other question. Are they going to get what they want?
You're. You're worried that they're going to end up disappointed with the images.
[00:12:04] Speaker C: Yeah. Because already they said, yeah. So, you know, I guess as most photographers know, they shoot things differently, depending if they're shooting with the sun, without the sun, you know, bounce light, you know, and they said, oh, these ones are a bit dark. And I was like, yeah, well, I've shot with the sun and I've underexposed slightly because that's what you do when you have a nick on.
You know, if it was a canon, you'd shoot it slightly differently. But that's how I shoot. I would underexpose and then bring that up in post to save those details.
[00:12:33] Speaker A: Yeah, because that's how you know you're not shooting if you were shooting for jpeg. So this is probably the thing is you didn't know in advance.
And if you, I mean, not necessarily shooting for jp, but if you're like, hey, I'm basically handing a card over, which is what we thought we were going to be doing at that CF Moto event on day one. We kind of went into that thinking we were going to have to deliver essentially JPEGs, kind of.
So we were shooting differently to how. Yeah, you would normally just go a little bit under if the sky's blind, shooting into the sun, stuff like that. You just go under a little bit and bring it back. I want to see. Okay, here we go.
Zachary Carr. If they pay for it, but also have done corporate jobs where they just want the raws with no edit never bothers me. And I think that so what I'd like to know. And I agree. I, I, that was one of the first things I said to Jim when he asked me was like, hey, I like, I don't have this, this like, hey, no, never thing.
But it depends on the circumstance and what the situation is. But what I want to do. You can give me your thoughts, Greg, while people chime in, in the chat.
I want to know what everyone said when they say, like, if they pay for it or whatever. Like, do you mean you charge extra not to edit?
Like you charge a fee? Like a. Because I saw someone else down here said something about danger money. Oh, here we go. I'll read Lucinda's out and then, Greg, you tell us what you think. Lucinda says, I had musicians asking for photoshopping and then told them they had enough res to told them they had enough res to fill in a background.
Oh, hang on, I must have missed what was before that. Oh, here we go.
The only person I've given given them to his photographer friend for their promo stuff to edit in their style. Yeah, exactly. Like, that's fine. You know what they're gonna do. And then she follows up later with, I'd add danger money to the invoice. So I wanna know, like, what's what, what's everyone's thoughts on that? Like, do you charge more to do less work and is that weird and why?
Oh, very quickly.
[00:14:31] Speaker C: Yeah, I'm in a weird spot just.
[00:14:33] Speaker A: Because Dennis is pulled over. Pulled over. All right. Yeah.
I'd not give the raws to that client. There would need to be negotiation, pre shoot, rare occurrence. I'd give Greg the rules.
Yeah. Someone you trust.
What do you think, Greg?
[00:14:48] Speaker B: Well, I mean, there's obviously needs to be a bit of context in there around.
What was the agreement before you. You showed up for the shoot.
Was it explicit what you'd be delivering? Had they made it clear what they wanted before you actually agreed to take on the job?
[00:15:02] Speaker C: They said that, like, they did say that. This is what they do. And I said, well, that's not like, I don't do that. And you don't want, like, I don't think you want that. You don't want. I shot 7, 000 photos.
[00:15:12] Speaker B: Yeah.
[00:15:13] Speaker A: I don't think they want that.
No.
Imagine if you just gave him the card and you're like, see ya.
[00:15:19] Speaker C: Okay.
[00:15:20] Speaker A: Have fun going through 7, 000 images.
[00:15:23] Speaker C: Yeah, like, I guess. And I'm fast.
[00:15:26] Speaker B: I guess the.
You know, and it depends on the client. It depends on your relationship with the client. You know, we. We chatted a little bit before we went live, and there were a couple of, what do you call them, red flags around this client potentially. But putting all of that aside, you know, you hand over RAW files, you've got all of your worst images in there just as much as your best. And they now have access to them. They can publish them. They can say that they're credited to you without editing them.
[00:15:53] Speaker A: They could imagine do a job of.
[00:15:55] Speaker B: Editing them and credit to you. When you cut this is your brand.
[00:15:59] Speaker A: Imagine like, if he cut it down to the worst five photos and you were like, shot shot by j.
[00:16:04] Speaker C: And that's the thing is, like, so I gave them a lot of photos to have a look through.
[00:16:11] Speaker B: Yep.
[00:16:12] Speaker C: But I got rid of anything I think they didn't want where, like, the model wasn't doing.
[00:16:15] Speaker A: You trimmed it down to like 20.
[00:16:18] Speaker C: Anything I thought they might want and.
[00:16:20] Speaker A: Then allowed them to select. So say you took it down 20% of the photos. So you basically got rid of the junk like that. Because Jim and I, we're kind of like what people would say are, like, overshooters. We.
We don't, like, wait for the. We're not Honore Cartier Bres Homme. We don't wait for the decisive moment. We just take all the moments and then we delete the crappy moments.
We've hopefully got a decisive moment every now and then.
Every time but anyway, like, so. So, like, you got rid of all the junk and then they essentially got to choose their selects that they'd like edited from.
From all of the good shots. Yeah, yeah, all of the shots. In focus.
[00:17:00] Speaker C: Yeah, in focus.
Eyes are open. The model looks good. Like, you know, I don't want to stitch her up and.
[00:17:08] Speaker A: Yeah, yeah.
[00:17:09] Speaker C: You know, because that's part of it too, is those moments.
[00:17:13] Speaker B: Yeah.
[00:17:14] Speaker A: Like making sure she's looking flattering in the way she wasn't halfway in between poses and making a weird face or whatever. Yeah, exactly. Which is. Which is. That's all that stuff's built into you from wedding photography. Muscle memory. Like what you leave in and what you leave out. You just know they're not going to like that. Get rid of it.
[00:17:29] Speaker B: Yeah. Like again.
Yeah. But I think it all comes back to. Well, I think there's a couple of things. You've got a brand to protect.
Okay. That's your business. That's your livelihood. That's what puts food on your table and pays the bills.
You've also got a reputation to uphold for future client work, you know, and so by retaining control of what your clients get, you are taking steps to ensure that future proofing and that you're protecting your brand and how your images come across.
But also, you know, it's about that, that upfront negotiation. If they're now changing where the goals are, where the goal posts have moved to after the shoot, after they've agreed to take on your service as you, with the way that you work, the way you edit, all of that sort of stuff, they're now shifting the goalposts. I would probably dig my heels in a little and say, no, that would be me. If it was a conversation before the shoot, then that's different.
[00:18:22] Speaker C: Well, there was a conversation, but I said, I'm not like, that's not how I work.
[00:18:26] Speaker A: It's.
[00:18:27] Speaker C: You're doing half the job.
[00:18:28] Speaker B: So you're ignoring that. And they're pushing. They're pushing back on you again to compromise your standards, your professional standards and your work ethic and how you like to do things. This is now the second time they're pushing on you with this question.
They obviously don't care about how.
[00:18:45] Speaker A: What you.
[00:18:45] Speaker B: What you view or how you feel about it. They just want what they want.
[00:18:49] Speaker A: I like to push back a little bit on this because. And play devil's advocate just because that's how my brain works. But if you can. If you can do less work and they can get what they want, who Cares.
[00:19:00] Speaker C: Yeah. And that's. That's where I keep rocking between now.
[00:19:04] Speaker A: Because let's put it this way. All right. I want to. I want to.
[00:19:07] Speaker C: They've said, oh, you know, these ones are a bit dark.
[00:19:10] Speaker B: Yeah.
[00:19:10] Speaker C: And these ones are a bit bright. And that's because I shot them. That's the problem specifically.
[00:19:14] Speaker A: That was the conversation Jim and I were having. And when he said that, he was. I was like, oh, okay. So now they. Now they want them edited. You know, it's like, what do you want?
[00:19:22] Speaker B: Or they're questioning why his images aren't perfect out of camera.
[00:19:25] Speaker A: Perfect. Yeah.
[00:19:27] Speaker B: You know, and it's like, well, that's not. That's not how most professional photographers work.
[00:19:31] Speaker A: Yeah.
[00:19:32] Speaker C: You know.
[00:19:32] Speaker B: Well, unless you're a Fuji shooter.
[00:19:33] Speaker C: It was anyway. Yeah. But it was confusing to me that some of their other photographers did that. And then I was able to find some of their work and I was like, in their lookbooks. And some of the photos selected are, in my opinion, not very good. And I don't think it's a photographer's fault.
[00:19:49] Speaker A: Yeah.
[00:19:50] Speaker C: I think that's. The client has just picked through the junk instead of only getting the cream.
[00:19:56] Speaker B: Yeah.
[00:19:56] Speaker A: Yeah.
[00:19:57] Speaker B: Well, it's fine for them to gatekeep their own products and their own services, but they don't get to control who. How you look after your stuff. That's just my view. Yeah. And I'm a bit of a crusty old man, so, you know, because I.
[00:20:09] Speaker C: Do agree with Justin that I could just do less work and get paid.
[00:20:12] Speaker B: I get that. I worry what that shortcut may cost you, so.
[00:20:17] Speaker A: And that's.
[00:20:17] Speaker B: You've lost control.
[00:20:18] Speaker A: That's where it comes to this question, which I. So I will read out. There's a lot of good comments in here, and we're going to read them out in just a second before we let Jim get back to work editing these photos.
Not these. Not these photos.
But there is a question here that I'd thought is important from Lucinda. No, not that one. No, not that one. Here we go. Can we have any more context of the type of job it was? Jim and I think. Don't know how much detail you want to go into, Jim, because I'm sure everyone's watching this podcast and who knows, might find out. But also, I guess, more importantly, how important is this job to building your brand? Is it something that's going to provide you networking opportunities? Is it more work you want to do more with this client? Is it more work you want to do with similar Clients in similar industry. I think that's actually an important thing because you might be setting yourself up either for failure later on with the same client or other clients they refer you to, or if you're like, this is a one off, never going to really be doing this again, then maybe it doesn't matter. So what, what, what are your thoughts on that side of it?
[00:21:24] Speaker C: So it was a fashion shoot. The client was shooting a, A winter collection. So, you know, we're what, six months out of when that collection's gonna be live.
[00:21:37] Speaker A: Oh yeah.
[00:21:37] Speaker C: As in Winter 26 collection.
[00:21:41] Speaker A: Yeah, but no, that, that would go to stores for ordering.
[00:21:44] Speaker C: Oh, yeah, no. So the stores already ordered. And then the way that it works is like the stores then use the photos to sell on their stores.
[00:21:54] Speaker A: Yep. So but I would need them by like March or something when they start receiving the garments for maybe because.
[00:22:00] Speaker B: Yeah.
[00:22:00] Speaker A: Maybe even sooner. Yeah, yeah, right.
[00:22:01] Speaker C: Because they're gonna want to start making lookbooks and stuff like that.
To the second question. Yeah, I do want to do more work in this industry.
[00:22:09] Speaker A: And.
Yeah, okay.
[00:22:13] Speaker C: And here's another good question that's definitely.
[00:22:16] Speaker B: Yeah, that's a fact, isn't it?
[00:22:18] Speaker A: Yelena asks, before this situation that you have found yourself into, would you have looked at the old images they've used and said, that photographer's not very good?
[00:22:29] Speaker C: Yes. And I told them that. They sent me a lookbook from 2020 and I said, like, these photos aren't very good.
[00:22:37] Speaker A: And you know what that means.
[00:22:38] Speaker C: Some of them are good, but some of them are not, like, really not good.
[00:22:41] Speaker A: So that means that photographer could be you in some sort of a time warp alternate reality that's you four years ago doing this shoot and agreeing to give them all of the photos and then them using the shit ones. And now adjust now future Jim is like, you suck.
Yeah, that's my concern.
[00:23:01] Speaker C: The first three photos in the lookbook is, I think the first one's out of focus, the second one's blurry, and the third one, like just the lighting is not great. And I don't know that some. Because some of them are actually genuinely great in the lookbook and some of them really aren't good. And maybe that was just when sometimes when we're shooting, we're figuring things out and we go, or there's someone else pushing you and saying, do it here. And you go, I'll do one. But I don't actually think we should do it here, we should do it over there. And maybe they've picked the first one. So yeah, it's like I was pretty on the day, like we should shoot here. And I say, well we can, but this is the reasons why we won't because we shot for 11 hours straight. So obviously the light changed significantly throughout the day.
[00:23:49] Speaker A: We were getting live updates through the day. Jim fell down a dam bank and I think, I think at like 7pm he was like, I'm not never gonna stop.
It was the shoot that didn't end.
[00:24:05] Speaker C: Yeah, it was good. Like it was a great day but I had to definitely stand my ground at times and say like, I understand you want to shoot here, but these are the reasons why I wouldn't recommend it.
As the professional photographer that you've employed.
[00:24:21] Speaker B: The thing to keep in mind. Sorry, I just want to throw in another point quickly, Justin, is that doing these fashion shoots, if every job was going to be a fashion shoot and you were just going to hand over the SD card straight at a camera and go, here you go, do what.
[00:24:33] Speaker A: You want with them.
[00:24:34] Speaker B: That's, that's one thing, that's fine. But you also have wedding clients and boudoir clients.
So you've got other people that could see this work and could make a decision on a ten thousand dollar wedding day as to whether they hire you or not based on some photos that you let someone else deal with and put out in your name.
See, once you, once you do that, you lose control over what they're putting your name to.
[00:24:56] Speaker C: So.
Last comment is interesting. Maybe show them a few, a few foreign afters. So I did that. I edited six photos and I sent them to them and one of the photos they said the, it's too bright. And I was like, I looked at it, I was like, what, what do you mean it's too bright? Like it's too bright. And I said specifically, can you tell me like the greens, like. Oh, okay. So maybe they don't like my editing style of like punchy greens.
Which, you know, we can easily fix that. But yeah, you know, the skin tones are great, the garments looked great, but they maybe want something a bit more subdued and they've picked a outdoor location with vivid, you know, that was from spring colors around.
[00:25:41] Speaker A: Yeah. The shooting conditions you're in, I mean you can, you can do a bit with an edit. But yeah, the greens kind of is what it is.
[00:25:49] Speaker C: Yeah. At that point we're shooting with the sun, the greens are popping.
[00:25:53] Speaker B: Yeah.
[00:25:54] Speaker A: I want to jump to some more comments. I have also opened the phone lines. If any of you crazy cats are just call in and Just unleash the fury on this fictitious. No, it's actually a real client. But this unknown client.
Let me go back a little bit here. Glenn says every moment is decisive.
Well, we try and capture all of them just in case and we never know.
[00:26:18] Speaker C: Maybe, maybe we're wrong. Like if that's. What if the client wants what the.
[00:26:21] Speaker B: Client wants, that's fine. But they needed to make that clear up front.
[00:26:26] Speaker C: And they like, they did. But I said like, no, and they.
[00:26:29] Speaker B: Ignored you and asked again.
So they had a choice there and then to say, you know what? We only will work with someone that gives us the RAW files. Sorry to waste your time.
Lesson learned.
They went ahead knowing what your. What your stance was.
[00:26:43] Speaker A: There's some interesting things about the RAWs too, because I think that is something you can say is like upfront, hey, Yep, I can give you the raws. It's this fee and then you can do what you want with them.
Zachary Carr says I charge extra if they want raws on top of edits. So he'll always give them an edited set.
By the sounds of it, with corporate gigs, they sometimes have in house marketing team or graphic designer to deal with the raws. Yeah. And I've experienced that before and I'm totally. I'm like, that's sweet because you don't have colors or whatever you want.
[00:27:12] Speaker C: Yeah, they don't have that. And there was also, like, we shot outside. There was a truckload of flies.
[00:27:17] Speaker B: Yeah.
[00:27:18] Speaker C: You know that.
[00:27:19] Speaker A: And you know they'll slip through and end up in the lookbook. Yeah.
If you leave them in. Because. Yeah. Not a lot of people spot those on first glance when they're looking through photos.
[00:27:29] Speaker B: No, but if you know to look for them, you find them.
[00:27:31] Speaker A: Yeah. And then they. Then they're there forever.
Rick Nelson says you would charge more as an add on to deliver raws with the edits. Yep. Same sort of thing. If just the raws, no edits, I charge time. Interesting charge. So like a bit of extra, like, RAW delivery fee kind of something.
Philip McCallum. I think it's your work. If they stuff it, it could rebound on your reputation. If you do cover it in your contract, like, if you are a dick, then I will be mean to you back.
[00:28:05] Speaker B: Oh, that's the solution. Tell them you've got a RAW fee and make it some exorbitant amount of money. Or you can have the edits for this price. It's like you kind of.
[00:28:15] Speaker A: I think the issue with that is it's. It's like you that they're not going to be happy. Yeah, well, you're not exploiting them. But it's also like, do you want their client to be happy?
Because if you were going to do that, I think you'd be better off just pushing back and being like, no, no, I want to make sure these images are great for you. They're all going to be edited. You just tell me which ones you want and you just have to push through that process.
[00:28:35] Speaker C: The other trouble is is they want a lot of images and I think I included like, I think in the end because you did some extra hours, like 250 or something.
But I reckon that they're going to want like 500 to a thousand, maybe more. And it's like, well, I can't. I can edit some extra, but there has to be. There's a line at some point where.
[00:28:56] Speaker A: That crosses and this is where it gets crazy. So you probably did what, 12 hour day.
[00:29:01] Speaker C: Yeah. Or 11 hours.
[00:29:04] Speaker A: 11 hour day. Potentially 500 to a thousand images. That's a wedding.
[00:29:08] Speaker B: Yeah, yeah.
[00:29:09] Speaker A: Like that. That's a three to four thousand dollar job.
[00:29:12] Speaker B: Yeah.
[00:29:13] Speaker C: Five, you know, over five.
[00:29:14] Speaker B: Five.
[00:29:15] Speaker A: Yeah.
[00:29:15] Speaker C: Yeah.
[00:29:15] Speaker A: Well, that's a Saturday, you know, a lot more pressure, but. But I'm saying like weekday less pressure.
3 to 4 grand reasonable fee to charge for that.
And that's not what you charged because that's not the job that you got booked for. The job you got booked for was like. And I quoted a couple hundred images and a lot more chill.
[00:29:33] Speaker B: So they keep moving the, they keep moving the, the goal.
And that, that just rings alarm bells to me.
[00:29:41] Speaker A: Yeah.
[00:29:43] Speaker B: And like I said at the start, if it was a, if it was a client that you knew and they came and said, look, Jim, sorry, I know that every time we get, we get your JPEGs and we love them, but this time around we want your, your raws. I'm sorry we didn't say it beforehand.
This is why, like, there was none of that kind of preamble and you didn't have that relationship because this is a brand new client for you.
But yeah.
[00:30:08] Speaker A: Interesting comment here from Jeff Weber. There's a lot of confusion with clients as to what RAW files are too. They often just mean all of the unedited files because they usually can't do anything with the raws anyway.
[00:30:19] Speaker C: Exactly.
They won't.
[00:30:21] Speaker A: They don't want the raws.
[00:30:23] Speaker C: They were asking us to.
What do you do when you airdrop? Can you just airdrop that and the video goes up?
[00:30:31] Speaker B: Sure.
[00:30:32] Speaker A: You should have you should have their phone. Their phone physically would have gotten heavier.
[00:30:37] Speaker B: Died.
[00:30:37] Speaker C: Yeah, it would have gotten heavy because.
[00:30:40] Speaker A: We were like 7,000 roars airdropped into their phone.
[00:30:43] Speaker C: Just put your phone against the Sony. The videographer shooting on Sony. Just put it against the Sony camera and, you know, it'll just airdrop.
[00:30:52] Speaker A: Okay.
Tony says if there wasn't an agreement before this. Also, Tony doesn't have a camera, but this is still quite accurate. If there wasn't an agreement before then. No, it's my reputation. I'm not doing the job. Whether it's photography or anything else.
I mean, solid, Solid statement.
[00:31:13] Speaker C: And that's where I.
Yeah, I guess.
[00:31:16] Speaker A: This is what Greg was sort of getting at, Zachary saying, just make the fee cost prohibitive. And if they insist. If they insist because it wasn't negotiated beforehand. So it's like if you really don't want to do something and they're pushing for it, you just price it in a way where either they're going to say no or you're going to get enough money that you're like, okay, this is worth it.
And that's kind of what you were getting at, Greg, where it's like, if I'm going to do something that I'm not keen on, I'm at least going to get paid for it.
[00:31:42] Speaker B: Yeah. I'm going to make sure that I feel comfortable with. With at least part of the outcome.
[00:31:45] Speaker C: Yeah, I don't think they're not going.
[00:31:47] Speaker A: To risk like that, though.
[00:31:48] Speaker C: They're going to think probably not.
[00:31:51] Speaker B: Well, I don't know.
[00:31:53] Speaker C: Because they're not like, we'll just pay. They're. Yeah.
[00:31:58] Speaker A: Okay, let's.
[00:31:58] Speaker B: This is.
[00:31:59] Speaker A: Hang on. I'm trying to catch up on you guys. You guys are awesome tonight. It's. It's a frenzy, everyone. Yeah, this is. We should just do this with every. If anyone's got any problems, you just come on the podcast and we throw it to the group and we'll figure it out together. I think this is how we should.
[00:32:13] Speaker C: All just navigate between, like, what you say. Justin is less. Just like, same. More money, less work. Don't worry.
[00:32:21] Speaker A: More money, less work. And. And the client is happy.
[00:32:26] Speaker B: Potentially.
[00:32:26] Speaker A: They're probably happier. They'll also be unhappy with the amount of work that's involved on their end, long term, you know, hey, here's a ton of photos that don't look amazing.
[00:32:36] Speaker B: Yes.
[00:32:37] Speaker C: Some are a bit dark, some a bit bright, some maybe a bit crooked.
[00:32:41] Speaker B: Or you tell them that they can have the raws but they need to Sign a new contract to say that they will not edit them because it's your image.
[00:32:49] Speaker A: But then they're unedited rules.
Like then. Then they would.
[00:32:53] Speaker B: No that they saying that they can't alter them.
[00:32:58] Speaker A: But then they wouldn't be able to use them.
[00:33:00] Speaker B: Yeah, that's right.
What's wrong with that?
[00:33:03] Speaker A: That's what I'm going for.
I like Paul's option. Just stick a big unedited watermark on all of them. You have to deliver them just so people know.
Now what else we got is John Pickett wants to know, is this the standard deal in the fashion industry? I give the RAW files and they edit.
[00:33:24] Speaker C: I don't feel like it is.
[00:33:26] Speaker A: I don't think so. But I think at that corporate, like it depends on what the fashion industry is. I think that there's a corporate level where it happens where say RAW files are delivered to marketing teams and graphic designers. And then I think there's a level above that where it does not happen unless they get paid a buttload of money. And I'm imagining like the.
The elite.
Elite fashion photographers. They would not be releasing Raw unless you give them all the money.
[00:33:55] Speaker B: Yeah. You got to make that is there.
[00:33:57] Speaker A: Also because that is their reputation.
[00:33:59] Speaker B: Yeah.
[00:34:01] Speaker A: If you're shooting Vogue covers and then someone puts your image out edited in a way that is not your style, that could be career affecting.
[00:34:13] Speaker B: Yeah.
[00:34:13] Speaker A: For a high fashion photographer.
[00:34:16] Speaker C: Back the same way that they wouldn't let garments out that they weren't happy with. Like if the colors weren't correct and the cuts weren't right, the buttons weren't in the right spot.
[00:34:28] Speaker B: Yeah.
[00:34:29] Speaker C: You know.
[00:34:31] Speaker B: It'S like asking their garment factory just to send a bolt of linen and a.
A pair of scissors, a needle and a thread.
[00:34:39] Speaker A: They would 100% do that. We'll take care of the rest for the money. They would 100% do that. Like, sweet. So we still make them. We still make the money though.
[00:34:47] Speaker C: Yeah.
[00:34:50] Speaker B: Lee Herbert raises a good question. So obviously Lee's a videographer.
Video may be different, but I'm okay with charging for RAW footage. And then I totally disavow any connection to it.
[00:35:01] Speaker C: Yeah.
[00:35:02] Speaker A: It is different with video, isn't it?
[00:35:05] Speaker C: Yeah, there's so. There's a point. So my. My friend on the day he was shooting video for them and he delivered everything. So no sound. Just. I think he has a basic camera. I don't know much about video. Can you put a camera like a profile in. In camera?
[00:35:20] Speaker A: Yes. So you either shoot C log.
[00:35:23] Speaker C: He wasn't shooting. He wasn't shooting. S log. He was. He was shooting.
[00:35:25] Speaker A: Yeah, you just. So that's how I would. If I was shooting that job and I knew that they were going to make reels and stuff out of it and they didn't have someone like Lee lined up as an editor after the fact. I would shoot it essentially with. It's. It's. The color profiles are like jpegs. It's like. So imagine it's like that. It's like he's delivered profile. I make sure it looks good on the back screen and then I just hand him that and I would.
[00:35:48] Speaker C: That's what he's done. He's done that.
[00:35:50] Speaker A: And that's what. Guess what. He's. He's on the couch, he's watching.
[00:35:54] Speaker C: He is.
[00:35:55] Speaker A: He's watching a show.
He's not.
He's not stressed about at all. He's got his money, he's got on, and he's like, I don't know. They'll make something out of those things. But I know that. I know what happened is. No, no one will care. And so why aren't photos like that?
[00:36:11] Speaker C: Maybe they are. Maybe I'm.
[00:36:15] Speaker A: Yeah, I don't know. It's. We. I love this conversation. This is great.
[00:36:18] Speaker C: I keep rocking back.
[00:36:19] Speaker B: I can see both sides.
[00:36:20] Speaker A: Yeah.
[00:36:21] Speaker B: Yeah.
[00:36:21] Speaker A: Yep.
Yeah. I'm just trying to see. So where are we up to? Gosh, there's so many comments.
Lisa's gone back and forth because up here she was like, going with Justin's devil's advocate perspective. Maybe a compromise.
You select the raw images you're prepared to share. But then down here, I don't know what changed.
She's like, my final decision. No, I can't see any comments in between there. So what changed in her mind between those two comments? I love that.
What else? The other thing.
[00:36:55] Speaker B: The other thing. We don't know about this client because it is a new client for you, Jim. Maybe they do this to every photographer.
[00:37:01] Speaker C: They do. Well, they have. And looking back in the lookbooks that I can find, there's photos in there that I don't think.
Like, I wouldn't have picked them, but there's other great photos in there that I. So I don't think that it's a great representation of that photographer.
[00:37:18] Speaker B: Yeah. Yep.
[00:37:19] Speaker A: I like.
I love this question from Neil Leach. Neil Leach is a smart, smart man. Have they paid you anything yet?
[00:37:27] Speaker C: No. So the videographer and the makeup artists have been paid because they've sent an invoice. I haven't sent an invoice because currently I don't know if I'm going to be editing 200 photos or 2,000 photos.
So I'm not going to send an invoice and then get paid some of it. And then they come back, want more photos. And then we're in this style. Mac is like, we've already paid you. And then. So I'll send one invoice when I know what my completed job is.
[00:37:54] Speaker B: Yeah.
[00:37:55] Speaker C: But they, they did, they did ask me to send one. They want to pay me straight away, so I don't think they're gonna dog dog me on that.
[00:38:02] Speaker A: And Lucinda might have got to where we were all slowly getting to.
Do we think they burned through photographers?
[00:38:11] Speaker B: I don't know.
[00:38:11] Speaker C: Because apparently the other photographers commented on their behind sneak peeks and were like, you know, oh my God, sad. We missed it.
[00:38:19] Speaker A: So they didn't get to go because we got the. Because Jim told me when I asked that Jim said no, they, they say that they like to mix it up with photographers each time. And I was like, mix it up? Do they? Or the other photographers were like, well, maybe not piss people off, but if Jim quoted this job again next year, I'm guessing Jim's gonna say that'll be $3,000.
And then they say we might mix it up and then they tell someone else what the job is. Which was supposed to be a, you know, seven or eight hour shoot.
[00:38:49] Speaker B: Yeah.
[00:38:50] Speaker A: Or whatever.
[00:38:50] Speaker B: 200 JPEGs.
[00:38:51] Speaker A: Yeah, yeah, yeah.
[00:38:53] Speaker C: And it's, it's hard because, like, it was a good day. Everyone was awesome.
There's just mixed.
They know what they want and.
[00:39:03] Speaker B: Yeah, but if they knew what they want, they should have asked for it up front.
[00:39:07] Speaker C: Well, they did, but I said no. Like, I don't. That's not how. It doesn't. It's half the job. It's half.
[00:39:11] Speaker B: I know, I know. But then the onus is on them. They, if they, if they didn't go. Well, hang on. We're at a stalemate here. We need to work out a solution because we really want the raw files and. I know, sorry, we've hired you. You know, with you thinking you're going to give us your full, you know, end to end service.
Yeah, that's on them.
[00:39:32] Speaker C: Yeah.
[00:39:33] Speaker B: It comes down to what, Is this client really worth it to you? Because all I'm hearing is heartache, you know.
[00:39:41] Speaker A: Yeah, there was, there was a lot of red flags, Lucinda.
[00:39:46] Speaker C: Yeah, there was.
[00:39:46] Speaker A: And I saw this job before he, before he took it.
[00:39:54] Speaker C: Yeah.
I was Pretty. I rang Justin this afternoon. I was pretty stressed. Like. Yeah, I was not feeling good.
[00:40:00] Speaker B: Yeah, I'm sorry, mate. That's.
[00:40:01] Speaker C: That's fine. It's. It's. Yeah, I saw the red flags.
[00:40:04] Speaker A: I.
[00:40:05] Speaker C: Or that, you know, maybe the differences of opinion.
[00:40:10] Speaker A: This is the best comment I think so far, Jim. Ultimately you have to make the decision you can live with, but also don't lose sleep over it. And that's. I think that's the important thing. Make a quick decision. Make something you're happy with. I think making something that the like pushing too hard against the client will make it worse for both of you. So finding a compromise that is smooth and easy, that's why I lean towards the like. Okay, what you cut it down to 1600 images. How hard would it be to throw a preset over those 1600. That's like a middle of the road preset.
[00:40:48] Speaker C: Keep it pretty light. Yeah.
[00:40:51] Speaker A: Build your previews in lightroom so that you can quickly look through the thumbnails like the, the grid view and just spot any that away exposures just way off or a skin's way off or whatever. And this is where it's hard because the wrong. Right work balance on the model skin and all of a sudden then the models get screwed over because of this process.
[00:41:10] Speaker C: Yeah.
[00:41:10] Speaker A: Well, that's because the skin looks weird.
[00:41:12] Speaker C: And this is their brand too. Like I'm. Yeah, I'm shooting for the fashion brand, but in doing my job, I'm making sure that the model looks like is the Photoshop. Does the model look good and do the clothes look good?
[00:41:29] Speaker B: Yep.
[00:41:30] Speaker C: But then. And then they can choose the exact way that they want the clothes. So that's why I gave them lots.
[00:41:38] Speaker A: The Oracle. Lucinda says you don't want this stress to linger for the next three weeks. Sometimes it's best just to let some of it go. Yeah. Agree.
[00:41:47] Speaker C: Well, yeah. I'm going to send them the other five and a half thousand photos that I haven't sent them.
[00:41:51] Speaker A: And as pro as proofs, though not.
[00:41:53] Speaker C: As proofs on Dropbox. And then they can check that I didn't leave anything out that they maybe did want. Which I'll find something because, you know.
[00:42:02] Speaker A: Yeah, of course.
[00:42:03] Speaker C: But then.
Yeah.
[00:42:07] Speaker A: Yep. Okay.
[00:42:09] Speaker B: That's a good compromise.
[00:42:10] Speaker A: I think so.
[00:42:11] Speaker C: Oh yeah, I'm gonna do that. And we'll see where we go from there.
[00:42:14] Speaker B: Yeah. And then you'll know from the response to that. Yeah. Whether you were kind of in the right ballpark.
[00:42:20] Speaker C: All right, so we'll see. Okay, thank you.
[00:42:24] Speaker A: We should probably get some of this work done. Yeah, yeah. 40 minutes.
Lucinda says have a beer.
[00:42:31] Speaker C: Yeah, yeah. I'm editing some weddings where people like my edits and my colors.
[00:42:35] Speaker A: Yeah, exactly, isn't it? It's nice. You'll just. You do what you want to the image and they're like, these look great. You like love them.
Thanks.
Yeah, that's how it should be, but it's not always like that.
Thank you.
[00:42:51] Speaker C: Thanks, Chat.
[00:42:52] Speaker A: Okay.
[00:42:53] Speaker B: Yeah, thanks everybody.
[00:42:55] Speaker C: Love you later. Because I'm sure.
[00:42:57] Speaker B: Yeah, there's some nuggets.
[00:42:59] Speaker A: There was tons in there. Thanks everyone for the comments. That's. We, we. I'm sure we missed some, but.
[00:43:03] Speaker C: Yeah, we missed lots. Yeah, but yeah, that's. Yeah gonna be helpful. I'll have another raid where I can just process it.
[00:43:10] Speaker A: Yeah.
And in this discussion, Tony has lowered his lap time by four seconds. Well done.
[00:43:15] Speaker B: Hey, Tony.
[00:43:18] Speaker C: I'll just ring you, Tony, when you're racing and give you my life problems and you'll just get faster.
[00:43:23] Speaker A: Yeah, soothes him.
Okay, well, all right, we'll move on to some viewer comments. Are you heading off, Jimbo?
[00:43:32] Speaker C: Yeah, yeah, I probably should.
Otherwise I'll just be here forever.
[00:43:37] Speaker A: Yeah, that's true.
[00:43:38] Speaker C: I tried to set it up so I could edit and podcast, but I don't have enough inputs.
[00:43:43] Speaker A: So what you need like a USB hub or something?
[00:43:46] Speaker C: Well, I've got that one you gave me, but it doesn't.
[00:43:49] Speaker A: Doesn't seem you need a beefier one.
[00:43:51] Speaker C: Yeah, I need like a powered one or something.
Probably the one you have.
[00:43:56] Speaker B: There's some good Amazon deals.
[00:44:01] Speaker C: That worm in your background. That's just the light's going up and down.
[00:44:05] Speaker B: Oh yeah, no, that's, that's Brendan's. Because this is his bedroom. Is it annoying? I can take it off.
[00:44:11] Speaker A: It's a bit more gaming. We're a step towards it being a streamers.
[00:44:15] Speaker B: I'll tell him. He'll love that. He'll be so excited.
[00:44:18] Speaker A: Oh, if only they were actually playing games.
[00:44:23] Speaker C: Cal digit. Put it on the list.
[00:44:26] Speaker A: Cal digit. Oh yeah, Hub. I think Rode released a Hub as well. I don't know what it's like, but I think Rode released just a USB C hub on.
[00:44:33] Speaker C: Pretty sure I'll have to.
[00:44:36] Speaker A: Let's. Let's finish off this with a. A Scott Longdon comment. If I've learned anything in business, you're allowed to say no. Often you're respected more for it. Worst case, walk away. Even if it causes you a short term loss.
[00:44:51] Speaker C: Yeah, thanks, Scott. That's. And that's what I did on the day when you know we should shoot this here. And I'm like no, that sucks. And I'll tell you the reasons why, like look at my face. That you know, the light was obviously terrible. Like they'll look like this.
[00:45:05] Speaker A: Yeah.
[00:45:07] Speaker C: So. But yeah, I agree.
[00:45:09] Speaker A: Craig says the road hub is cool. So yeah, I think that could be a good. That road hub is a lot cheaper. Like when I got my hub it was a full networky hub thing. It was like five or six hundred bucks. But I think the rode one has less features but just lots of USB C ins and outs or inside an ounce whatever they are in ounce and they're. It's half the price. I think it's 2 or 300 or something like that. So ah, donation 2.99 for more lights for Brendan. Elena says it's powering Greg's brain. Yeah, it might be a little bit into it.
Road hub.
[00:45:45] Speaker C: USB road hub.
[00:45:47] Speaker B: Here it is.
[00:45:49] Speaker C: 60 watts pass through six USB C ports.
Looks good.
[00:45:55] Speaker B: 260.
[00:45:57] Speaker A: 260. Is it?
[00:45:58] Speaker C: It's only got one USB A. Yeah.
[00:46:02] Speaker B: That's.
[00:46:03] Speaker A: Why would you want more USB A's? They're old school, just legacy products.
[00:46:07] Speaker C: I've still got some old hard drives.
[00:46:10] Speaker B: Same.
[00:46:12] Speaker A: Lucinda says Caldigit does the same one cable into my Mac for all my things. That's great. Yeah, I've got an OWC one that's got like, it's got network and some usbc some USB A's, Thunderbolt and you know like SD card and all that kind of stuff. But I think this, this road one just look nice and clean for just extra USB Cs.
[00:46:35] Speaker C: It does look nice. I'm just looking at the Caldigit one.
Caldigit.com.
[00:46:44] Speaker B: I'Ve never heard of that brand.
[00:46:45] Speaker C: Oh you can say you can shop direct or shop on Amazon.
[00:46:48] Speaker B: This is the.
[00:46:51] Speaker A: So very good, very clean. Yeah. So straight into your laptop. Oh, it's got a micro SD and an SD as well. Yeah, I didn't know that.
Okay, so it is a bit more feature packed than I thought but it's still not, doesn't. Still doesn't have Ethernet or. I think mine's a 90 watt power delivery. 60 watt would keep your laptop going but it's not ideal for running it while you're doing beefy stuff when you, when you're on a MacBook Pro.
Yeah, but certainly like a MacBook Air would be fine on 60 watt but it. That's what's crazy about the MacBooks is like, they can run on lower wattages now.
[00:47:28] Speaker B: Yeah, it's great.
[00:47:29] Speaker A: But, like, it's so weird. Like, it was so fixed for so long and now they're like, oh, I mean, it kind of likes having 100 or even 120, but I mean, 80 will do something. It's like. It's crazy.
[00:47:40] Speaker B: Yeah.
[00:47:40] Speaker C: Mine's powered by the screen. Like, my monitor powers my MacBook.
[00:47:46] Speaker A: Oh, okay. So you don't.
[00:47:47] Speaker C: Sometimes it won't connect. It took me ages to work out. But it only doesn't connect if the battery is low on the imac because it'll, like, jump there. With two screens. Back to 1, 2, 1. I've worked out it's only when the battery's low.
It's obviously a power.
[00:48:01] Speaker B: Too much power. Yeah.
[00:48:03] Speaker C: Pulling too much power to try.
[00:48:04] Speaker A: And your charge. Yeah. Your screen isn't putting out enough power for the MacBook especially. Yeah. With low battery. And if you're doing.
[00:48:11] Speaker B: Yeah.
[00:48:11] Speaker A: If you're doing anything Beefy Lee Herbert says my desk is more hubs than desk. Now that does happen.
[00:48:21] Speaker C: Caliber TS4. All right, I'm looking up those now.
[00:48:23] Speaker A: Okay.
We should. We should probably start the show.
[00:48:28] Speaker C: Yeah, Sorry.
[00:48:31] Speaker A: We'Re not going to get to our segments again.
[00:48:36] Speaker B: See you, Jim.
[00:48:37] Speaker C: See you, guys. Thank you. Thanks. Chat.
[00:48:39] Speaker B: See you, mate.
[00:48:41] Speaker A: All right, let's quickly go to some.
Hi, Jim.
[00:48:48] Speaker C: I'm trying to leave.
[00:48:49] Speaker A: I'm not leaving.
Okay, very quickly, some comments from last week's stuff. Let's have a look at what we've got here.
Where are we?
We had a great chat on episode 133 with Harriet Tarbuck on Thursday. We had a great chat going over, like, creativity and all sorts of stuff. David Leporati, 1958 says. Hi, guys. Another great chat. The discussion about artists is an interesting one. I think as photographers, we are all artists just the same as painters and sculptors. Traditional artists use a variety of brushes, paint media, substrates to create their vision, as do sculptors who use various tools to work with their materials into their vision. As photographers, we use various cameras, lenses, lighting gear, mediums, and processing to create our vision of art. The old saying goes that art is in the eye of the beholder. Beholder. That's why we all see differently.
That was a tongue twister, David, but an amazing comment. Heart.
Yeah, we chatted about that for. For a while on the show. It was actually really interesting.
What is. What is an artist? And how do you become an artist? Because Harriet referenced the fact that it was only in, like, sort of three or four years ago that she started referring to herself as an artist despite being a photographer for what, well over a decade before that, I think.
[00:50:19] Speaker B: Yep.
[00:50:20] Speaker A: Trying to remember the timeline, but yeah, it was a fun chat. Really cool.
[00:50:24] Speaker B: Yeah, it was.
[00:50:24] Speaker A: Yeah, it was super interesting. And she's got her own podcast. If you in the need of more podcasting, check out the When Harry Met Sally photography podcast. Yep, Sally with an eye.
Another comment on that same show from Paul.
Great episode, guys. Was lucky to benefit from Harriet's wisdom at the Bright Festival of Photography when editing my photo project.
Watching her work in real time as she moves 6x4 prints around the table was fascinating.
And timestamp, hour and 38. I'm with you, Greg. I can't make the 50 mil work either. I had a week in Japan for work and took just the 50, but it was too constrained for street and didn't have enough reach for landscape. I regretted not bringing my trusty 24 to 105. Yep, that is a good description for a 50. It's like too tight. Too tight for some stuff, but not long enough to be long, you know, like it's just like nothing, but it's also everything. I don't know.
Yeah, it's a good lens. And same episode. Lisa Leach 3 comments on this one episode. How good? Great chat. I could listen to Harriet all day. Very engaging. Thanks.
[00:51:37] Speaker B: Thanks, Lisa.
[00:51:38] Speaker A: Thanks, Lisa.
Okay, that was quick. Done and done.
[00:51:43] Speaker B: On to the next bit.
[00:51:44] Speaker A: Onto the news, news and rumors.
[00:51:47] Speaker B: We'll fly through this because there's really not a lot of news, but do that.
And welcome to the news at the top of the hour.
Very quiet. Newsweek, I guess, because, you know, last couple of weeks we've had a couple of camera drops, we've had some. Lots of lenses being announced, released, all that sort of stuff.
It's been a crazy busy year, but now we've hit sale season and now all of the retailers don't want to hear about new products because they need to move stock.
And so there's not a lot going on in the camera world. There's a few bits and pieces which we'll cover off.
Quick little headline Canon. Here we go again. Canon apologises for the R6 Mark III and RF45 1.2 supply woes.
[00:52:32] Speaker A: Who called them woes?
[00:52:34] Speaker B: Well, some journalists, because it's.
[00:52:37] Speaker A: They're not woes.
[00:52:39] Speaker B: Aren't they woes? It's the woe is me. How long do I have to wait for my 15th camera?
I mean, seventh lens?
[00:52:46] Speaker A: I contacted my Canon peoples about these and they said, yeah, we. I think they're not even.
I mean they probably are for more, more fancy people than me. But it said they're not even taking pre orders or something yet. Like they've got me on the list but I'm not officially on a. I'm not sure anyway.
I just think they weren't shipping yet and so, and, and then they've had a ton of interest, especially in that 45, I'm sure because of the price point. I think it's a lens that everyone's going to take a chance on and just see if they like it. Because it's not $3,000, it's whatever it is, 700.
But yeah, I mean it is.
It's one of those things. It seems like every camera brand that releases something that people want immediately are like, sorry, we can't keep up with supply.
[00:53:38] Speaker B: Do you think there's. That there's just general caution on the part of brands that.
Not that they don't know whether it will take like the product, whether the product will actually be well received. I think they've pretty much got that soup cooked right. They fairly reasonably. You would hope that cannon know what people want and how well something that's going to do that they deliver. You'd like to hope.
But is it more about. You know, we've got, we've got some global, you know, pressures going on. We've got financial uncertainty in a lot of markets.
You know, it doesn't take much for things to fall into a heap, you know, I mean we all experienced that with COVID Brands were releasing products in the lead up to Covid and then they never sold them.
Is that what they're saying?
[00:54:26] Speaker A: Yeah, it's probably. I'm sure they're constrained by their total volume that they can produce out of their factories because otherwise people would be standing around doing nothing or they'd be producing too much stock and it not going anywhere. So when you've got this much capacity and then you release new products, you can't just instantly like have more capacity to build it. So it's. I think it's just one of those things where it's like, hey, we can only do so much. And if, yeah, if the, and the initial demand surge is always going to be like heaps of people on this lens and then now it's kind of like flat for years. Yeah. You know, like.
Yeah, it's just, it's just a bit of hype around the release and I think that's going to be natural for I Can't imagine many brands would have enough stock at launch to fill all orders. And unless it's a flop of a product that that's just how I think it just, I just don't know how they could, how they could have enough ready to satisfy a great launch.
[00:55:28] Speaker B: Well, I mean that's, that's what I, that brings me back to my first point around. Surely they've got a fairly good ballpark and they don't have to say anything to anyone about it's coming until, until they've, they're confident they can meet that ballpark requirement, you know.
[00:55:45] Speaker A: Yeah, but, but, but also it's always a race to release because you know, like they're not going to hold a product back for six months to have extra stock. When Sony was releasing this and Nikon's releasing that and then they're like oh we're behind. You know, like they can't just leave it. Obviously they probably will wait. You know, for example, I think Sony have waited to release the A7, A7 5 probably because they wanted to see what Canon were doing. But also they might be trying to build up enough stock in their supply chain after trying to get the thing developed to where they wanted it to. There's no way they wanted to release that in December. It doesn't make any sense. The December releases is very like, I mean a little bit odd I think.
But they probably were in that position where they were like hey, if we release it in November we've got no cameras so we need to wait until we've got some cameras. I don't know. It's interesting.
It is, it is very interesting.
Anyway, so.
[00:56:41] Speaker B: All right, moving right along.
Yeah.
[00:56:44] Speaker A: This comment from Greg Carrick. Good to see you Greg. Thanks for sending a photo in. Awesome, great photos. Because you went out and got that Aurora that I didn't get. Yeah, well done. We'll look at that later in the show. But he says you guys created a pre release draw. Did. Yes. It was definitely our hype for that 45 mil that, that sent the world into a tailspin and now can and can't keep up with supplied and they're in woes.
They're full of woes.
[00:57:07] Speaker B: Next comment.
[00:57:09] Speaker A: Fuji always. Fuji always runs short as they find it hard to focus.
[00:57:13] Speaker B: That's terrible coming from you of all people.
What else we got?
We can afford to skip that. Lexar launches a new 2 terabit capacity for its gold and silver CF Express 4.0 type A cards.
Okay, so 2 terabytes pretty massive. Yeah.
[00:57:31] Speaker A: Pretty big.
[00:57:32] Speaker B: It is pretty big.
What else is happening in the Sony mount world?
There's A new Lauer 35 MIL 2.8 tilt shift E mount lens on its way.
For anyone that shoots Sony and is into tilting and shifting.
There's a fairly solid rumor that the Leica Q3 monochrome will be launched in 3 days time.
With the 28 mil lens.
[00:57:59] Speaker A: That soon?
[00:58:01] Speaker B: Yeah.
[00:58:03] Speaker A: It's probably took longer to come out than I thought it would actually, to be honest.
You know, the Q3 has been out for a couple of years.
[00:58:10] Speaker B: Yeah.
[00:58:11] Speaker A: I would have thought they would have got that monochrome out a little bit quicker.
But anyway.
[00:58:17] Speaker B: Yep, we'll see. We'll see how. How it does. See if it actually does happen in three days time.
We can skip that. Drones and action cameras.
There's a new DJI Neo 2 that's kind of like an entry level.
[00:58:31] Speaker A: It's an entryway drone. But what's interesting is you don't need a controller for it. So the propellers have guards on them and they've actually introduced a screen. The screen doesn't show you. As far as I know. I haven't looked too much into it. The screen doesn't show you the image, but it shows you what mode you're in and stuff like that. Because it's basically set up so you can. It can follow you.
[00:58:52] Speaker B: Yeah. And uses hands. Lots of hand gestures.
[00:58:55] Speaker A: Gestures go away and.
[00:58:57] Speaker B: Yep, yep.
[00:58:58] Speaker A: So it's like, hey, we're going to go on a hike. Let's get it to follow us for a bit on the hike or whatever.
[00:59:01] Speaker C: Yeah.
[00:59:02] Speaker A: So you don't. Yeah, you don't need a controller. And it's got a little sort of status screen for. For what mode it's in. Stuff like that. It's pretty cool.
[00:59:10] Speaker B: You think that's our future?
That we'll all just have these groovy glasses that display everything. But we'll also all have an individual drone following us around, just recording our lives.
[00:59:20] Speaker A: Like a dash cam, but for humans.
[00:59:22] Speaker B: Yeah. Just constantly flying.
[00:59:25] Speaker A: Do you think those meta glasses that Lucinda's got, when everyone's got them, they will be like dash cam compilations. But it'll be the meta glasses.
[00:59:32] Speaker B: Yeah.
[00:59:33] Speaker A: Of everyone's just everyday fails and stupidity captured by meta glasses.
[00:59:38] Speaker B: I'm sure they're out there already.
[00:59:39] Speaker A: Probably.
Gosh, what a different world we're going to be in. Nothing will be. Nothing will be left to the imagination. Everything will be documented.
[00:59:48] Speaker B: Yeah.
[00:59:49] Speaker A: Yeah.
[00:59:50] Speaker B: Or will it?
I saw something in. Was it crackers? Was this in your photography? Group or someone posted. Maybe it was. It was in the Fuji group. Anyway, someone was saying that there's a. There's a potential change in law coming to Australia where you can't. You can't take photos of people in public and publish them online without their permission because those images are being harvested for AI and no one, you know, we're finally getting some regulation around AI. But basically what it does is it is. It impedes everybody's ability to publish online their document. Documentary photography or filmmaking or so. Yeah, it's tricky.
What else have we got?
Oh, the Ace Pro 2, we did the teaser last week. We had a little quick look at it and pretty much everything we saw in the teaser is exactly what.
What came to be. It kind of felt like a bit of a fizzle. Like the teaser felt more powerful than the actual release to me.
But the.
What is it? It's the Ace Pro 2. It's got yet another cage and the ability to connect a.
Like an Instax printer, like a Fujifilm Instax printer or a Polaroid Instax printer.
[01:01:06] Speaker A: Like a little bottom grip, little grip that turns it into the action cam. It's a little bit more of like a little camera with a shutter button. And then this underneath the shutter button is like a zoom in and out kind of dealy.
You know, like a TW thing, whatever they call those things.
[01:01:23] Speaker B: Yeah.
[01:01:24] Speaker A: And then, yeah, you can snap this printer onto the bottom of it and print these little instant prints and they would look like that. It's got nice, nice filter over everything to make it look like it's old.
And you know, see there? I mean the grip does look kind of cool.
Whether it makes it into a useful camera, I don't know.
[01:01:46] Speaker B: It's a lucky structure.
[01:01:48] Speaker A: It does knock off of peak design is whatever.
[01:01:52] Speaker B: It has made it basically the same size as like a decent Sony or a Fujifilm body. Like it looks quite chunky now.
[01:01:58] Speaker A: Looks chunky in that shot. I think it would still be.
[01:02:01] Speaker B: She might have small hands. It looks huge.
[01:02:04] Speaker A: It does look huge there. I think it would still be small. Ish. But it's hard to know because yeah, it does look really big in those photos.
It's all about the perspective.
[01:02:13] Speaker B: Right.
[01:02:16] Speaker A: What was I going to say?
[01:02:17] Speaker B: The.
[01:02:18] Speaker A: It's interesting. Speaking of action camera rumors, the dji, I think we've got an impending release of their action camera, the Osmo 5.
Because. Well, by impending release, I think it's already released in China.
[01:02:32] Speaker C: Okay.
[01:02:32] Speaker A: I think there's already specs and reviews floating around. But it's not. It's not. It's not released. But it's released. That's kind of weird, but I'm pretty sure it is.
Got a big sensor, big old sensor on it for an action camera. And it's one of the first action cameras, I think the first action camera to have a variable aperture from f2 or f 2.8 to f4. So it can actually close down a little bit.
[01:03:00] Speaker B: That's good.
[01:03:00] Speaker A: I thought that was interesting.
See what we can find of it. Was it the OSMO dji? Osmo.
[01:03:08] Speaker B: I see a little something about it. Six Other six.
[01:03:13] Speaker A: Yeah.
[01:03:14] Speaker B: No, where is this all?
[01:03:20] Speaker A: Yeah, it's like it's kind of out on phone. Arena.com.
[01:03:28] Speaker B: That sounds legit.
[01:03:30] Speaker A: Sounds totally legit. Let's have a look.
Okay. Osmo Action 6.
A glimpse of light in a small space.
Sounds like the start of a poem.
[01:03:41] Speaker B: Yeah.
[01:03:44] Speaker A: Yeah. One by 1.1 inch square sensor, variable aperture.
Introduces a variable aperture range from F2 to F4. This flexibility allows users to select an appropriate aperture based on their shooting environment and creative goals. Thanks for explaining that to me.
I appreciate it. I wasn't sure what aperture did, but yeah, I was googling it all. New sensor, lots of great sort of modes, different crop ratios, all that sort of stuff. You can pull 4K footage vertically or horizontally. All that cool new stuff that's in most of the action cameras. But 50 gig internal storage, that's very nice. Nice to not have to throw an SD card in or if you forget it, or if your sd, the micro SD fills up, it can connect directly with the DJI mics, which is very nice. It's. It's.
Yeah. Looks like a very good prospect. It'll be interesting to see some reviews coming out about it. But this isn't an action camera podcast, so we'll move on.
[01:04:48] Speaker B: Yeah, we will move on.
What else is happening? No, that's not worth it.
[01:04:53] Speaker A: Apparently Paul reckons that. Paul reckons that tagline was written like chat written by ChatGPT. A glimpse of light in a small space.
[01:05:02] Speaker B: Makes no sense.
All right, two little, little random news bits down at the bottom there, boss. This mind blowing photo shows a skydiver in front of the sun.
[01:05:11] Speaker A: Oh, I saw that. That was pretty cool.
[01:05:13] Speaker B: Yeah. I sent this to you.
Chat.
Sorry, our private chat. Sorry everyone.
I just like to boast that I'm in a private chat because I don't have many.
[01:05:24] Speaker A: There it is. But this is a crop, right? Is this the crop?
Which is amazing, but there's a Full. Yeah, this one. Sorry. Yeah. Isn't that insane?
[01:05:35] Speaker B: Yep.
[01:05:37] Speaker A: Holy moly.
I don't even. This is one of those things where I need it to be, like, on Petapixel and a few other places to know that it's not. AI.
[01:05:49] Speaker B: Yeah.
[01:05:50] Speaker A: And even still, how do they publish.
[01:05:52] Speaker B: A How they did it video?
[01:05:53] Speaker A: Okay, perfect. Yeah, that's what I mean. As in, that's why it's amazing that someone does this. And then they're like, yeah, there's no way that we faked it. Here's everything you need to know. And other smart photographers can be like, oh, yeah, that makes sense. Like, that would work so that fools like us don't get tricked into thinking that something's real when it's not.
[01:06:13] Speaker B: Because when they shot it, the photographer had his. He had cameras connected to the. To, like, telescopes.
And he was on. He was on. He had, like a headset on. He was. He was constantly live with the skydiver.
And then I think the skydiver had, like a helmet cam on or something. There was something of him jumping out, I think, or jumping off a ultralight.
So it all looks fairly legit, but pretty phenomenal.
[01:06:37] Speaker A: Six attempts.
[01:06:40] Speaker B: It says, oh, there's the video there. I think that's.
[01:06:42] Speaker A: Oh, can we. Can we watch it? How does that work?
Oh, that was it. That's a funny video. It's just like, okay, maybe that's not.
[01:06:55] Speaker B: The behind the scenes one, but there is a much longer video.
[01:06:58] Speaker A: Yeah, I'll have to check that. Oh, yeah, there it is right there.
[01:07:04] Speaker B: I see you.
[01:07:05] Speaker C: All right, that's good.
[01:07:08] Speaker B: Okay.
[01:07:09] Speaker A: Three, two, one, go.
[01:07:14] Speaker C: Oh, my God.
[01:07:19] Speaker A: He's so happy. I love it.
[01:07:20] Speaker B: He can't. He doesn't know what to do.
[01:07:22] Speaker A: He's so.
I got it. Dude, dude, dude.
How wholesome. She said, what the frick? I know.
He jumped on the right side. Perfect.
[01:07:41] Speaker B: Oh, my gosh. Dude.
[01:07:45] Speaker A: No way.
That's so cool. So Andrew McCarthy is the photographer's name.
Andrew McCarthy says, the moment I captured something incredible on Saturday.
These reactions were completely unscripted. I know. What the frick.
Just the sheer awe of the moment. I still can't believe it's real.
See what I'm reacting to tomorrow morning? No, we can see it right now, but, yeah, very, very amazing. Yeah, it's cool to see someone doing something new. Like. Yeah. I thought everything with photography had been done. You know, it's easy to fall into that trap of thinking, oh, everything cool has been. It's already been done, you know?
[01:08:28] Speaker B: Yeah.
[01:08:28] Speaker A: But, yeah, it's yeah, that's pretty.
[01:08:31] Speaker B: I mean, that's just genius, isn't it?
[01:08:32] Speaker A: It is. It is genius. It's something I never. I didn't even know that could be done.
[01:08:36] Speaker B: We need a. We need a really strong light source just for the backlighting. What's the strongest light we can get? Ah, the sun. Dude, what the frick? Like, you know.
[01:08:46] Speaker A: It'S so cool.
[01:08:49] Speaker B: Also, I have a pet hate of people saying things like, what the frick? It's just lame. Just say it.
[01:08:55] Speaker A: But in that situation, I'll let it go. All right. Whatever.
[01:08:58] Speaker B: Okay. And the only other little bit of news that I wanted to bring up, a little random one. Photographer gets backlash for declaring vendors should be fed at weddings.
[01:09:08] Speaker A: Oh, this is. We should have had Jim on for this one.
[01:09:10] Speaker B: I know. Maybe we'll leave this for next week.
[01:09:11] Speaker A: Do I need to?
Maybe we should.
Yeah, we'll talk about that for next week. You know what, Parker? For next week, maybe I'll put a poll out on YouTube and see what everyone else thinks.
[01:09:23] Speaker B: All right.
[01:09:24] Speaker A: What the wedding photographers think. It's an interesting topic. Yeah, very interesting. You missed one.
The Fujifilm it 32 flash.
[01:09:34] Speaker B: I skipped over. It wasn't. Wasn't that big a deal.
[01:09:36] Speaker A: You didn't think it was cool?
[01:09:38] Speaker B: Yeah, it's cool.
[01:09:40] Speaker A: I actually think it's kind of clever.
I'm gonna put.
[01:09:43] Speaker B: It's a modular.
[01:09:43] Speaker A: Fun, isn't it? It's modular. And the thing that makes it cool is so. So the way Fuji Godox's flashes work is if you have any of their TTL slavable flashes. Like I've got the V860 or whatever over there, but it's the Nikon version V860.
But I can still use it as a TTL flash with my cannons. If I put a cannon, a Godox cannon trigger on my cannon and then just hold the flash next to my camera or put it on a bracket or put it on a stand and it'll work perfectly fine as a ttl. And so what they've done with this is they've made the trigger, which is the. Called the X5. You buy that specific trigger for Canon Nikon, Sony Fujifilm OM system. That's what those letters are for.
That trigger becomes the foot.
So you can either use the flash as a separate unit, which is nice and compact as an off camera flash with this trigger, or that becomes the foot. Look at this.
[01:10:49] Speaker B: Oh, modular.
[01:10:52] Speaker A: So it just, it's modular. And so if you have a different system, you just get A different foot for it or whatever. If you got multiple systems, it's quite clever. And it's clever quick to just, you know, swap them around. Switchy, switcheroo.
It's. I thought it was inventive. It's not something I need, but I think it's. It's clever.
[01:11:14] Speaker B: Yeah.
[01:11:15] Speaker A: See, look at that. Look. Just on camera. And then you can swap it from one camera to the other. You could have a trigger on each. You can pop it somewhere else and use it as off camera.
[01:11:25] Speaker B: What if you need to put modifiers on it? Wonder how it would cope with that.
With that white.
[01:11:30] Speaker A: How that was. One question I had was like, how strong is this thing? But I'm not a big fan of sort of mod on modifiers on camera anyway. But then also I was like, how do you attach it to a light stand? There's. There is a few things that I haven't looked into.
I don't. I think it's. That's where I was like, I probably wouldn't buy it because it's. It's sort of a level below the sort of lighting gear I would normally get, which is. Oh, sturdier. Excuse us, more powerful.
[01:11:57] Speaker B: Level below.
[01:11:59] Speaker A: I'm just being honest.
[01:12:01] Speaker B: Okay.
[01:12:01] Speaker A: Sturdier, more durable, more powerful.
So this is sort of. Not that, but if you just wanted one light and easy thing that you can just quickly pop off and sit over there and bounce it off a wall or something does make it super easy.
[01:12:16] Speaker B: It does allow for more creative application of flash too.
[01:12:19] Speaker A: Yeah. Having that flexibility, I mean, maybe not more creative because you could do that with other flashes, but it means you don't need more gear to do it. You don't need a separate trigger for your other flash or whatever. It's like, it's very easy to be creative with it. Oh, look, it's even got.
It's even got little gels and stuff.
Yeah, I think. Anyway, I just want to pull that up. Just. I thought it was a fun new take on flash and Godox are doing cool stuff and. Yeah, that's all.
Nice, nice.
[01:12:51] Speaker B: That's the news.
[01:12:53] Speaker A: That's the news.
[01:12:54] Speaker B: Go do the sound.
[01:12:54] Speaker A: Sorry, sorry, sorry, sorry, sorry.
I can't do the thing. Where is it now? Your things didn't download. I got to try it again.
Every time I try to download it. Oh, no, they did. It's all good. Never mind.
It's fine.
This is your segment, Craig.
[01:13:15] Speaker B: Oh, yeah.
So last Friday morning, I met up with Craig Wechin, a friend of ours, of the show. And also we Met Craig at befop. Hell of a lovely man, like, just such a generous, warm person, like, he's just lovely anyway.
And yeah, he holds a regular walk for wellbeing. He's got a Facebook group, photography walks for wellbeing. And he invited me to come along because I hadn't been out doing much. I mean, obviously recently I've been doing a little bit more street photography, but when we're at befop, actually, we sat down, had a bit of a DNM and about stuff and life and everything and he said, why don't you come along to the photo walks? I said, all right, I'll come along. And so, yeah, got to meet a few people, couple of familiar faces, met some new people, caught up with a couple of old friends who have been showing up to some of Craig's walks. And yeah, we did a walk around Melbourne CBD just for an hour. I think there's about 20, 25 of us showed up.
We just met at Flinders Street Station under the clocks.
And he just basically said, all right, you've got an hour. We're going to meet at Fed Square for coffee in an hour. And your theme is repetition. Everyone go. And so this was my first time I did. I thought we were going to do. Which is what usually happens in the, like the Fuji group photo walks is that we all just stay as a group and we all just move around and everything. Greg Carrick disappears. That usually happens every single time.
He eventually shows.
We don't have to send out a search party or anything for. For Greg.
But yeah, it was just really lovely. And we all met back at the cafe, just sort of at the front of Federation Square. I can't remember, I think it's called timeout or something. And yeah, yeah, we just. It was really lovely. It was a beautiful morning. Like, it started off cool but it got warmer and yeah, I took a few shots and a couple I was quite happy with. I think hit. Mostly hit the theme, but there's also some shots that I took on the way there and then on the way home. So there's a. There's a few. There's a handful of shots here that are.
That I took.
[01:15:21] Speaker A: Sorry, I was coordinating things. What was the theme, did you say? Repetition, repetition. Okay.
[01:15:28] Speaker B: Yeah, but this is not from that part of the day.
[01:15:31] Speaker A: Okay, so this is just some of the shots from. While you're out and about, not necessarily repetition. Themed.
[01:15:37] Speaker B: Yeah.
Yep.
[01:15:40] Speaker A: Let's have a little look. I like this one.
[01:15:41] Speaker B: Yeah, this is an alley just. Just at the Back of Chapel Street. I kind of walk past it almost every day when I go out. And every now and then you kind of get a certain, you know, certain lighting and it just rained quite a bit.
It was looking quite, quite gloomy and I just really liked the vibe of it.
So I photographed it.
[01:16:01] Speaker A: Well, I think it's a good photograph.
[01:16:03] Speaker B: Oh, I think so.
[01:16:04] Speaker A: It's a good vine.
[01:16:05] Speaker B: Yeah, I like it.
[01:16:07] Speaker A: I saw this one on, that was.
[01:16:09] Speaker B: The night before actually.
[01:16:10] Speaker A: Oh, was it? I see. I was gonna say, I think I saw it on, on the Internet and I was like, that's very cool. It's such a pub. Is it a pub?
[01:16:19] Speaker B: Yeah, it's a pub. Yeah, it's a good old pub.
[01:16:21] Speaker A: Yeah, it's just got all that vibe about it, you know.
[01:16:24] Speaker B: Yeah, it was in, we were in kind of Coburg area, Fitzroy. Is that Nick Coburg?
I don't know, I can't remember. Anyways, and there's so many, there's so many pubs in that area. Like old, old pubs, old school pubs that, you know, they support. They have a local footy team even and like not, not an AFL league, like just a VFL league or even like a, you know, like a kids league that they support and you know they do, they did really nice meals and we just met up there for a drink before we went to watch one of the kids end of year performances. And the light was good. The light was calling.
[01:17:02] Speaker A: The light was calling.
[01:17:03] Speaker B: I like it beckoned. And I looked across and this lady was just sitting there on her own, staring out into the world. And I took the shot.
[01:17:12] Speaker A: You captured it? I did the decisive moment.
[01:17:15] Speaker B: The decisive moment, as Glenn Lavender would say, this. Sorry, this was the day before the street walk. There's a bit of a mix in here, guys. I'm really sorry.
It's interesting because the day before the Thursday, I went out for a street walk and I just could not help but see red things. It was just red everywhere. And then the day of the street walk when I went out, all I could see was blue. It's just funny how it, how it catches your eye. Sometimes you see a certain color, especially doing street photography because you become aware of, you know, like signs and typography and how graphics interact with the scene. More than in most other genres of photography, I think.
Marketing.
[01:17:55] Speaker A: Well, yeah, but yeah, definitely once you start to. Your eye starts to get drawn to something, you do see more and more of it and you're like, oh that. Oh yeah. And that's why I think the themes on Things like the Walk for well being, the themes are really helpful sometimes if you're not feeling particularly inspired or don't know where to start, and you just get, oh, today's theme's blue. And you're like, oh, okay, that's easy. And you just start finding blue stuff.
[01:18:19] Speaker B: Yeah.
[01:18:20] Speaker A: Paul likes the way. Great. How the path curves towards the red. Yeah.
[01:18:25] Speaker B: Yeah. Thanks, Paul. Yeah, I was kind of just wandering, looking for shots, hunting light, but. And then I came across this spot, which I. It's. It's. It's our local shopping center. Basically, it's a little one in Prahran.
And it was on this particular day that I actually noticed that there's actually just these really strong lines leading around that corner was.
Yeah.
[01:18:52] Speaker A: Next shot is one of the classic shots, the foot shot.
[01:18:58] Speaker B: Yeah.
So this was the morning of the walk for well being.
So every time I go out now, I do this. It kind of just helps me get into a bit of a mindful. I just have to stop and find something that I can put at my feet that I can photograph. And it kind of. It just helps me connected, engaged with that mindful side of hunting light, you know?
[01:19:19] Speaker A: I like it.
[01:19:20] Speaker B: Thanks.
[01:19:21] Speaker A: I really like it.
You like to put a book out.
[01:19:26] Speaker B: Of your feet, maybe. Yeah. Or a website.
[01:19:30] Speaker A: There he is. I should have pulled this shot up first.
[01:19:33] Speaker B: That's okay.
So there's Craig. Craig Witchen.
[01:19:37] Speaker A: Always smiling.
[01:19:39] Speaker B: He's always smiling.
So this is. This is one of my repetition shots.
There was a lot of repetition in the lighting. There was a lot of repetition in the reflections. And then obviously our protagonist steps into the frame twice.
[01:19:55] Speaker A: Yeah. That shaft of light is just right there, isn't it?
[01:19:59] Speaker B: Yeah, it was really punchy. It was really, really bright.
Beautiful, beautiful Melbourne morning.
[01:20:06] Speaker A: Yeah. Well done.
[01:20:11] Speaker B: So this is. So, again, lots of blue. So there was blue in the. On the. In the previous shot, the guy was wearing a really kind of plain navy blue T shirt. We've got blue pants. The repetitions with the lighting in front and behind as well as the. The broken lines on the road.
[01:20:28] Speaker A: Yeah. I think the broken lines repeat with. They almost. They like the feet. I don't know why.
You know, I mean, like that on one side they're doing. They're doing that. And on the other side, the feet are kind of. Yeah, I don't know why it's.
Anyway, I like it. Great work.
[01:20:45] Speaker B: Thanks.
[01:20:47] Speaker A: Yeah, the walks. Well being, I think, is an amazing thing if you happen to be around Melbourne. It's very cool. I don't know if that sort of stuff happens in other large cities. I'm sure you're a photographer. Yeah, I think it's about doing that stuff.
[01:20:59] Speaker B: I think it does.
And if you're in a group, it's always good to do it in a group.
Apart from safety and numbers, it's just nice to. Because sometimes you'll walk, you know, I've hosted countless photo walks specifically for the Fujifilm group in Melbourne.
And sometimes I barely take a shot because I'm just engaging with people and helping answer questions and just chatting and catching up with friends and, you know, and every now and then you'll just stop mid sentence and lift your camera and. Because you'll see this shot will come out of somewhere and. And all conversation ceases. Everyone knows just to stop, you know, so.
[01:21:35] Speaker A: Yeah, they're good.
[01:21:36] Speaker B: I highly recommend it.
[01:21:37] Speaker A: Excellent.
Now what? Where was this good comment? Rick Nelson says, such great shots, Greg. You see, this was balance. Yes, balance.
Felicity Johnson says, I love your feet photos, Greg. I look forward to seeing them. Lots of soul.
[01:21:56] Speaker B: Saucy minx.
[01:22:01] Speaker A: What else? Okay, couple of book. Book recommendation from Lucinda. There's a great book, maybe add it to the wish list, called the Photographer's Playbook. I'm gonna have to check that out. Photographer's Playbook.
It has lots of great quotes and also great exercise and activities to do to spark creativity. I like it.
Felicity says, meow.
David Skinner says, you want to check out James R. Burns Street Photography. He's a damn good youtuber and I'm guessing good street photographer.
[01:22:33] Speaker B: Photographer's Playbook. You can get it tomorrow. It's $37.
It's on sale on Amazon.
Oh, hang on, there's two. Is it the Just the Photographer's Playbook or is it the Modern Photographer's Playbook?
[01:22:48] Speaker A: Guess it depends what you're into.
[01:22:52] Speaker B: Are you a modern.
[01:22:55] Speaker A: Okay, shall we. Should we quickly get. Get into this I Want it in the Box segment because we're running short on time again this week, but I think we can make it work.
[01:23:03] Speaker B: Yeah, let's. We gotta. Have to.
[01:23:05] Speaker A: We gotta kind of. I made a whole thumbnail.
Did you?
[01:23:08] Speaker B: Oh, you did too. Maybe we just make it our top three each.
[01:23:11] Speaker A: Yeah, we go. We can go quick.
[01:23:12] Speaker B: The red cover. All right, thanks. Listen, I'll have a look at it. I've got it here. I'm going to add it to my wish list.
[01:23:20] Speaker A: So I want it in the box. Normally we do the what's in the Box segment if we get some new gear, but this segment is about stuff that we want in our box. So things we'd like to order online during the sale season. It's a great time of year, this time of year, to buy stuff. Not that you are just buying crap for the sake of it because it's on sale, but stuff that you know you probably need or you've been waiting to buy, you might as well have it in your cart or like sign up to some mailing lists and just see if it goes on sale. Yeah, maybe if it doesn't go on sale, maybe that's a universe saying, hey, you probably don't need that yet. You know, that's. That's how I treat it. That's how you learn it does it.
[01:24:01] Speaker B: Very clever. So, because it is the season, isn't it? Because we've got, we've got Black Friday.
[01:24:07] Speaker A: Yeah.
[01:24:09] Speaker B: Cyber Monday, where, you know, borderline Christmas and holiday shopping, there's all sorts of sales going on everywhere. I mean, let's face it, there's always a sale, but this one happens to be really good for tech.
[01:24:20] Speaker A: Yeah, exactly. And most of the time it always happens. And it's just. Yeah, it's just one of those things. Yeah, Lucinda said it. Amazon is about to be the death of me. Yeah, exactly. Yeah, it's, it's. You want to sort of have a look around, write a list of the stuff you want, maybe even a spreadsheet. That's what I've got of the stuff that you want. It's such a nerd. Well, and then you can track, you can track some of the prices because this is the thing, there's no point spending dollars that you don't have to spend. If you need gear and, you know you need it and. But you don't need it today. If I need it today, I'll just find what's, what's the best place to get it from today, or trusted supplier or whatever. But if it's something that I don't need immediately, I'll.
I'll keep an eye on the process and wait for a deal.
[01:25:03] Speaker B: Yep, yep, I, I get that too. Because often those impulse buys, you can regret them. I have, we all have.
And if you chuck it in, it's like you said, if you chuck it in your car and you leave it for a couple of days because you know it's not going to disappear. Like, they're always going to be there, those products, you know, SD cards and, you know, SSD drives and all that sort of stuff, they're always going to be there. There's always going to be Sales.
[01:25:30] Speaker A: Well, one thing you learn is yes, sometimes you miss out on a deal, but when it comes to tech, it's moving fast.
And usually if you wait, it's probably going to be cheaper or there'll be something new out. It's pretty rare that you're like, oh, damn, I missed out on the deal of a lifetime and a year later everything's more expensive.
That's not usually the case with tech. Yeah, maybe with some other things, but.
[01:25:58] Speaker B: All right, so how are we going to play this? You want to go for like two low hanging fruit items? One big ticket item?
[01:26:05] Speaker A: No, I've just got a crazy list. So you just, you just tell me what, what your, what's on your list? Or you give me one thing and I'll go. Another thing, you just tell me.
[01:26:14] Speaker B: All right. Well, one of the first things that's on my list that probably won't happen this sale season is a new lens.
[01:26:21] Speaker A: Oh.
[01:26:22] Speaker B: From my Fujifilm X mount. So I'm looking at. So I got the XC5. And when the XC5 was announced and launched, it came. You could get it bundled with a. Their new pancake. 23 mil f 2.8.
Okay, so I've already got the 27 pancake 2.8, but I really, really, really like the 23 mil focal distance. I like the field of view. I kind of, I know it backwards. You know, I can pretty much hold my camera anywhere and know what's in frame because I've shot with that lens so much. Because I've got the 23F2 as well.
So many 23s.
And when I ordered the camera, I decided that I didn't need the 23F 2.8, the new one that came out with the camera, because I already had the 27 2.8 and I already had a 23 2.
You with me so far? Staying up, Keeping up.
[01:27:15] Speaker A: Well, that just sounds like me talking about Canon 50mm lenses, but go on. Okay, good.
[01:27:20] Speaker B: Well, yeah, see the, and the 23 is my weakness. That's my crypto night. Right. And so I thought, no, I don't need it. It's 700 bucks you don't need to spend. But I really like the idea of a compact, really ultra compact 23 mil.
And rarely do I shoot wide open when I'm doing street. I'm mostly shooting at kind of, you know, F8, 5.6, F8.
But then I thought, well, I've got this brand new Fujifilm camera that's got like amazing autofocus speed for a Fujifilm.
And maybe I, I should step up the game a little bit and get a better performing 23. Like the 23 1.4, but it is twice the price. Not, not necessarily on. Oh, no, actually it's got, it's got a cashback. I think there's a Fuji cashback on at the moment.
So that's kind of like, that's my big ticket, pie in the sky kind of dream thing that I, you know, I'm still toying up with what I'm, what I'm gonna get.
[01:28:20] Speaker A: So you went from the, the smaller, cheaper 2.8 to like, oh, maybe I just need the even better, bigger, heavier 1.4.
[01:28:27] Speaker B: 1.4, yeah, I like it.
[01:28:30] Speaker A: That's exactly the sort of stupid thing I would be like, I, I want this.
[01:28:33] Speaker B: Why not get both?
[01:28:35] Speaker A: Maybe I want the opposite. Yeah, why not get both?
Glenn's.
The size, the weight.
[01:28:40] Speaker B: Yeah, it's quite a bit bigger.
[01:28:42] Speaker A: 1.4 is bigger. How much heavier is it, do you know?
[01:28:45] Speaker B: The 2314.
What is it? It's a standard prime, the 2314.
See, it's twice the price and in terms of weight, it's 370. It's a whopping 375 grams.
[01:29:03] Speaker A: The 1.4.
[01:29:04] Speaker B: The 1.4.
[01:29:05] Speaker A: Oh, that's not so bad. Yeah.
[01:29:09] Speaker B: Where's the new, the 23? 2.8? I don't know. I've got specs out yet. It's only like 90 grams or something.
Like, it's crazy.
[01:29:20] Speaker A: Interesting.
[01:29:20] Speaker B: Anyway, that's the big ticket one.
What about you? What have you got on your list?
[01:29:25] Speaker A: Well, before I say that, if you're in the chat, actually, let's just see who's in the chat. Paul says maybe I need something for Street.
Need something for street, like an XT30. If you're in the chat, tell us, is there anything on your list or that you think you should put on your list?
Apparently I'm a nerd. Jim said nerd. Nerd.
And apparently I'm real serious as well. Yeah, Jim, you should be editing images.
That's what you should be doing instead of typing on here. But yeah, if you have something, we want to hear about it. What are you looking for? What are you buying? What are you iron off? Anthony Stonehouse says as soon as you go with the Fuji 1.4 range, he's had the 18, the 23 and 33, you may as well just get full frame camera, same size, stick with the small primes and take advantage of APS C.
Interesting.
[01:30:14] Speaker B: No one needs A full frame camera.
[01:30:16] Speaker A: It's just Greg Carrick says the price per gram is cheap.
[01:30:20] Speaker B: It is. It's like going to Woolies you buy in bulk.
Yep.
[01:30:24] Speaker A: So yeah there's that cute factor.
[01:30:26] Speaker B: Yeah that's the other thing I'm enjoying the form factor of the XE5 with the 27.2.8.
Most people think it's a assume it's a 35 mil point and shoot film camera or not a point and shoot but like it looks like an old school camera so and I do like the weight of it and the size of it so yeah it's, it's, it's quite the quandary.
Said no photographer ever.
[01:30:54] Speaker A: So I'm going to group all of my, my first stuff which is a lot of stuff into one so that if we're only doing a few each then I can get away with this and it's lighting gear and I think I mentioned this last show but I want to take photos of dogs in a studio environment Also if anyone's got a good idea for a pet photography business name come at me. I'm trying to figure it out so just put in the chat $100 if I use it $200.
[01:31:32] Speaker B: Just pause the show when you're happy.
[01:31:34] Speaker A: With the price everyone.
So I need lighting gear and I've procrastinated on upgrading my lighting gear for a few years because I broke a few Godox lights on a few shoots and I just didn't replace them because I wasn't shooting as much with off camera flash. I've been doing more with continuous lighting with video and stuff like that so I just kind of let it go and I always had a lot of gym and mines that I can use and I can borrow some of Jim's other lights so I just never worried about it but this has got me kind of looking back at like okay I probably need to have an actual lighting system so I've been eyeing everything else off and try to figure it out as much as some of the cheaper options looking pretty good even like niwa do a 600 watt second sort of nice looking battery strobe but I think I'm going to stick with Godox because that's got what we've always had and that's what Jim's got and it's obviously cheaper but it's very very robust and proven for what it is. I can't afford Profoto, that's insane. So I'm looking at the Godox AD 600 Pro 22 Godox AD 200 Pro 2 S1 Godox V100, which is an on camera flash with a round head. That can be used off camera, obviously, but I do need it new on camera. I haven't got one that works currently with Canon, so I do need one just for like a random event thing that I might have to shoot with on camera and a new trigger. That's basically what I'm.
What I'm calling my light kit. And I've got some soft boxes and stuff like that, but I would really like. I've never had two strip boxes for side lighting, you know, with grid.
[01:33:24] Speaker B: Yeah, okay. Yep.
[01:33:26] Speaker A: So Lucinda says, I love my Godox 600s. I got the two a few months back. What's the recycle like, time on the two? Lucinda, you got the. The Pro one, the TTL one, because I was going to get the manual one, which is cheaper, but apparently the recycle time is slower, which is no gooder.
And the 200 and the V1. Yeah, that's. Yeah, that's kind of the set. And so the two two hundreds, you can actually get a bracket, which I've already got that you can put them on that makes them 1 400, which is very handy. So it's like quite modular.
So. Yeah, yeah.
[01:34:06] Speaker B: And so what about for modifiers? You talked about the strip ones, but have you got other modifiers that you can employ?
[01:34:12] Speaker A: Yeah, I've got a big softbox which Jim broke, and a small softbox which he hasn't broken yet.
So I'll probably just buy. So they're. They're like round softboxes. I might buy a.
They're kind of like an umbrella style softbox. They've got a block for the light. So it works more like a beauty dish, like a normal softbox. They've got double diffusion, but you can essentially shoot the light shooting through both layers of diffusion.
[01:34:41] Speaker B: Yep.
[01:34:41] Speaker A: There's one where the light is effectively blocked by a metal reflector and then it reflects into the entire softbox. I want to get one like that so I can use it without the diffusion material and get a bit more.
[01:34:54] Speaker B: Oh, like it shoots backwards and.
[01:34:56] Speaker A: No, it shoots forwards into the softbox like normal. But it's got a cover over the bulb like a beauty dish would have. So it softens it and spreads it. Exactly. So you're not seeing that direct flash of the bulb, even through diffusion panels. With a normal softbox, you see the direct flash of the bulb. This would be blocking that bulb and then sort of reflecting it out into the box. So that's what I'm thinking.
And so I might. I probably need a square softbox because I don't have one of those at the moment.
All right, they're all coming in. Let's see. Everyone's going to be. Lucinda says, justin, I'm going to send you the strip boxes I got. Perfect. That'd be amazing. How much do you want for them?
I was just going to get cheap Godox ones or something because I probably won't use them a lot.
Zachary Cars is just in frame. Pet photography.
No, but good. But what else we got? Paw print photography maybe.
Apparently does recycle fast. Bruce says, I've got the 600. It's good, but if you're doing really silly stuff like me, then the AC adapter is king. This is the thing, Bruce KL have it listed on a deal with a free AC adapter at the moment. And those things are normally over 200 bucks. Yeah, but it says no stock, so I've got to call them and be like, are they waiting for stock? Can I backorder it? Or is this deal hasn't started yet and they'll add stock when the deal starts or something. It looks like they've preloaded up some deals because it's discounted and with a free AC adapter. I think it comes with an AC adapter for like 1250 bucks.
With the Pro 2, I was like, that could be very handy.
[01:36:40] Speaker B: Yeah.
Especially setting up a studio. Yeah. Like, it just makes sense.
[01:36:45] Speaker A: Well, yeah, I mean, just to have that option. I'd like to use battery most of the time, but to have that option would be very good. Oh, Felicity. This is a King Doggy style studio.
That's a great one. Love it.
Just in the doghouse photography.
Like it?
Oh, Jeff Weber. I literally got a 600 Pro2 last week from a BFOP special. Nice. What did you pay for, Jeff? What did you. What was the price on that bad boy?
So I know what I should be aiming for when I'm hunting for deals.
Quick release softboxes. Yeah, Pull XLITE is good value softboxes and modifiers. All right, I'll write that down. X Lite.
This is perfect. Just shop with a team.
Anyone else is throwing shade? That softbox works perfectly. No, it doesn't work perfectly. It. It's broken.
And no, you are not getting new softboxes, Jim. I'm getting you softboxes.
That's not how this works.
Toothy greens photography. What else we got?
[01:37:57] Speaker B: I like Paul's latest one, Dirty Dogs done dirt cheap.
[01:38:02] Speaker A: I actually really like that one. Maybe I won't call it that, but I need to write that down for a promo in the future. Like. Yeah, yeah, for sale. Yeah, yeah, yeah.
What? Jeff, where, where, where, where can I get that from? Is that from. Should I call Croydon?
[01:38:19] Speaker B: Yeah, you should, you should.
[01:38:20] Speaker A: Anyway, I really should. I didn't even think about those. Those guys always would be wonderful.
Croydon camera house.
I sort of forget that they do Godox and everything.
Yeah, they do so much stuff.
Yeah, of course I'm going to call Croydon. Let's give him my whole shopping list.
[01:38:40] Speaker B: Yeah, just give me a credit card. Justin, just say, just keep sending me stuff.
[01:38:44] Speaker A: Yeah, Nigel is the king. Okay, yeah. Problem solved. We don't even need to do this segment anymore.
[01:38:49] Speaker B: No. All right, everybody. That's all. We've had time.
[01:38:53] Speaker A: What else do you want, Greg?
[01:38:55] Speaker B: What else do I want? I do have a little list here in the old Amazon now. I've got a book photographer's playbook that I've added to it. Where's my list? Greg's camera stuff.
I've been looking at a pelican case.
[01:39:10] Speaker A: Oh, you know what? I got a pelican case. That was my, like, I'm a professional now.
Yeah, I only got a couple of years ago and I was like, yeah, I've made it. And you know what, it's probably been one of my most used bags over the years. And that says a lot because I've had a lot of bags and I've had a lot that I've used for a long time. Yeah, I do really like it. And you know what? This is the biggest compliment.
After a while, Jim was like, I think I might look at pelican cases. I was like, yeah, yeah. It's just they, they just, they're very cumbersome. But it's one of those things, if you buy it once, if it fits most of your gear in it, it's kind of like you got it for life.
[01:39:52] Speaker B: Yeah, I just, I, you know, I've always, I mean, I've bought cheap.
I haven't got a couple from Bunnings, the hardware store.
I had toolboxes that were basically knockoff pelican cases with the foam, the pluck out foam and everything.
[01:40:07] Speaker A: Oh, yeah.
[01:40:08] Speaker B: But you know, they didn't last and they're full of other now.
[01:40:11] Speaker A: So mostly I kept my foam always in those ones. It always just ends up. You sort of think you're going to make the perfect, like holes and then it all ends up kind of wonky and doesn't and it all starts kind of deteriorating. Exactly.
[01:40:23] Speaker B: When you put your camera in and out. Anyway.
So at the moment I keep all my camera gear. Most of my camera gear, like my cameras and lenses are in a wandered provoked 21.
[01:40:35] Speaker A: So.
[01:40:36] Speaker B: Which is fine, they're safe. Yeah.
[01:40:39] Speaker A: But do you run into the problem? I run into where you don't always want everything in there and then you're like, well, where do I put this into? And that's why I got the pelican case. It's like, that's the storage. And I know if I throw that whole thing in my van, all my stuff's in my van.
[01:40:53] Speaker B: Yeah, that's what I need. I need a van. I need a van.
[01:40:57] Speaker A: A Pelican van.
[01:40:58] Speaker B: Third thing on my list is a Mercedes Sprinter.
No, yeah, it's exactly right. Like I don't have, I don't have storage for my gear because I used to have a cabinet, used to have all my camera gear in the other room in the, in the main living room. And now it's all. I've got this corner of Brendan's bedroom that I rent from him.
[01:41:20] Speaker A: Twice a week. Twice a week.
[01:41:23] Speaker B: I make no money off this podcast business because it all goes to my son in ranch. No, but.
And so, yeah, I just, I need something to store my gear in properly. And so if we do go on a shoot or if I come to Bendigo, I can just grab it and just bring the whole case or if we go to beef up or we go to something else or, you know, whatever, or. And just to keep it safe, I've spent all this money on something that is really important to me and it's really precious to me. And I don't have the sort of income where I can just replace everything quickly.
And so I want to look after it properly. And so a little bit of a, you know, investment in a pelican case makes a lot of sense to me.
[01:42:00] Speaker A: Totally agree. They're expensive though.
[01:42:02] Speaker B: But.
[01:42:02] Speaker A: Yeah, they are, but it's, it's a one time kind of thing. Although I broke mine like two weeks after getting it. It's like these aren't that strong.
Snapped one of the little fins off the back of it. Anyway, okay, so pelican case. Bruce Moore swears by his pelican case and Lucinda says, get the photo dividers. Yeah, you don't want the, you don't want the little pick out, pick apart stuff. It just doesn't.
[01:42:29] Speaker B: But they're still, you can still change them and arrange them, can't you? To suit your gear. Yeah.
[01:42:34] Speaker A: Look who's. Look who's keeping an eye on us.
[01:42:37] Speaker B: He is, too.
[01:42:38] Speaker A: Yeah.
What's he editing?
But look, he said. What do you say?
Dennis messaged and said, You guys are always such a nice addition to my editing nights. That's a nice softbox, Dennis. Can I have that softbox?
There it is. Look at that.
[01:43:00] Speaker B: Oh, yeah, it is a nice one.
[01:43:01] Speaker A: I'll have that one. Thank you.
Podcast mic and everything. I could just set up in there. It's perfect.
[01:43:06] Speaker B: Yeah.
[01:43:10] Speaker A: Dennis says I can count 16 pelican cases in eyesight in my studio. Bloody hell. Cheap knockoffs, mainly.
That's funny.
Okay, back to it. What else do I want? This is a quick one. I want a large, fast SD card, but I can't afford one.
I want. I want. Ideally, I want a 512, but I'd accept the 256. But I want a V90.
And last time I checked, they were outrageous.
I don't even know if you can get a five. Can you get a 512v90 SD card?
Because that.
Oh.
[01:43:56] Speaker B: Oh. How much is it?
[01:43:58] Speaker A: Pro grade is 899.
[01:44:02] Speaker B: That's the cost of a lens.
[01:44:03] Speaker A: That's what I said.
Because the thing is, when you. When you look at them close, they're all V60s. So to get a V90 at 512.
Yeah, you're looking at close to a grand.
So I could go down to a 256 and they're like 399.
Does that Lexa have one?
339 maybe.
But because I've got 512 CF expresses, I don't have like a matched SD to shoot dual cards on. Like a really. Like a serious job where I. Yeah. If I don't want to switch cards at all all day and I want to shoot raw to both cards and have it be fast, that's sort of what I need.
[01:44:50] Speaker B: That's a lot for an SD card.
[01:44:52] Speaker A: Yeah. That's why I haven't got one. If I was shooting weddings, I would have already got one. Basically, I use 128s that are V90 speed and swap it out if I have to.
And on the shorter shoots that I'm doing, that's fine.
[01:45:07] Speaker B: What size are those?
[01:45:08] Speaker A: 128.
[01:45:10] Speaker B: Yeah. Okay.
[01:45:10] Speaker A: But they're this. They're the, like 300 megabytes a second read and write. So they're the fastest ones.
But yeah.
[01:45:21] Speaker B: That'S hurtful.
[01:45:23] Speaker A: What's hurtful?
[01:45:23] Speaker B: So much money.
[01:45:24] Speaker A: The price. The price Yeah, I know. That's why I don't have one. Every time I look at them, I'm like, I really should do this. It's another one of those things where it's like, I kind of need it. But not critically. Not critically for any jobs. It's just, you know, it would make workflows better for big jobs that are quite rare.
[01:45:41] Speaker C: Yeah.
[01:45:41] Speaker B: It elevates your workflow. It's.
[01:45:43] Speaker A: Yeah. And then every time I look at the price, I'm like, not urgent, definitely not urgent. And I'm like, they'll come down a year or two then still same.
Yeah.
[01:45:54] Speaker B: It's crazy.
[01:45:56] Speaker A: Yeah. And I think that CF Express and stuff has kind of slowed down that evolution of the SD maybe or something. Yeah. I don't know. It's weird. Yeah.
Glenn says apparently we used to sell four megabyte cards for 699.
[01:46:13] Speaker B: Yeah.
[01:46:13] Speaker A: Okay.
[01:46:15] Speaker B: Those Sony cards, they were expensive.
[01:46:17] Speaker A: Yeah.
Like SSDs. But it hurts.
[01:46:22] Speaker B: It does hurt. I'm looking at an SSD as well. That's next on my list.
I'm just looking at like a sandisk Extreme. I've already got one, but I just want to get a backup, which is a one terabyte SSD.
[01:46:38] Speaker A: Yeah.
[01:46:38] Speaker B: It's 150 megabits a second read and a thousand megabits. Right.
So they're fast, but it's just more for backup. It's just insurance.
[01:46:49] Speaker A: Yeah. Jim's just got one of the. What are they called that, like the raw stick ones, like the NVM.
What are they called?
[01:46:57] Speaker B: Oh, yeah, yeah. Like those two. Yeah, those 2.0 ones.
[01:47:00] Speaker A: He's just got them in a. That in a case.
[01:47:02] Speaker B: Yeah.
[01:47:03] Speaker A: And it worked out cheaper or whatever. Yeah.
[01:47:06] Speaker B: Because there's a lot of them. Because a lot of gamers use them.
[01:47:09] Speaker A: Yeah. And it was. And it was significantly faster, I think, than what was available at any reasonable price in the, you know, enclosed ones. But yeah, I always, I think the Samsung, I've always sort of gravitated to the Samsung ones, like the T9 or whatever they are. Yeah. Jim, your homemade SSDs.
[01:47:27] Speaker B: Yeah, yeah.
[01:47:32] Speaker A: Samsung T7 Shield. That's. I think. Yeah. The T7, T9.
They've always been pretty good.
But yeah, Jim went into the computer store and they were like, yeah, sure. But you could also get this one in this case, which will be faster and cheaper. And I mean, it's been working for a while. Jim uses it for his weddings.
Used it for a couple of years now.
[01:47:56] Speaker B: Yeah.
[01:47:58] Speaker A: Bruce says SSD and hard Drives littered all through my workspaces. It's frightening how much I've sitting around. We'll just go to Bruce's house and grab something.
[01:48:06] Speaker B: Yeah.
[01:48:08] Speaker A: Dennis says I shoot raw 6k video directly to SSD. That's wild. And have half a dozen 128v90 video rocks. Yeah, video requires the speeds and the sizes.
Oh, glenn saying the T7 is faster and more reliable than the T9. Is that true?
I didn't realize. I thought the higher number was always better. Unless it's a Canon or a Nikon.
Bruce, I feel you. I've got about eight on my desk currently. Yeah, Jim says it's been flawless.
Hey, Bruce, hold my storage beer. Yeah, maybe we need to have a storage off.
[01:48:48] Speaker B: Maybe we'll have a ranking like Top Gear too, for the fastest lap. Yeah, I used to.
I've only got one other thing or two other things, but they're kind of related. Have you got anything else on your list?
[01:49:07] Speaker A: It's not. No, because it won't get cheap. Actually, there's some photo books I've got in my cart, some pet photography photo books I found of a really ever famous animal photographer from Austin, Texas, whose name escapes me. We'll try and get him on the podcast.
[01:49:23] Speaker B: But.
[01:49:23] Speaker A: So some photo books, but they won't go cheap. And also the other thing that won't get cheap is a infrared conversion because I'm pretty sure they don't do Black Friday sales. Yeah, but that's. It's, you know, it's on my list, but it's also on that list of like, it's not really urgent. So that probably will happen when it happens one day.
[01:49:42] Speaker B: Yep, fair enough.
The only other thing I've got, I was looking at getting an anchor desktop, like a powered charger, a powered hub, USBC hub, and a couple of new USBC to USBC cables because I just upgraded to the iPhone 17, so I don't need lightning anymore.
[01:50:04] Speaker A: Oh, yeah? Yep.
[01:50:05] Speaker B: But then you showed me the road hub and now I'm really. I'm really in love with the road hub.
[01:50:12] Speaker A: It does look nice.
[01:50:13] Speaker B: It's a sweet little box.
[01:50:15] Speaker A: I'm pretty sure road will end up sponsoring this podcast.
[01:50:17] Speaker B: I'm pretty sure they should.
[01:50:19] Speaker A: We're kicking goals.
[01:50:22] Speaker B: Yeah. So I'm looking at something because, you know, I mean, if anyone saw my pre befop images that I posted on socials of me charging everything, the kitchen bench just.
It was like a. Like a scene from Back to the Future where, you know, they're Jerry rigging the DeLorean to make it work in the. In the Wild West. Yeah, it's like that.
But this road hub looks pretty good and it's an Australian brand.
[01:50:45] Speaker A: Yep.
[01:50:46] Speaker B: So, you know, shop local and all that, but it is 260 bucks.
[01:50:51] Speaker A: Yeah.
[01:50:53] Speaker B: Anyway, so that's it for me.
[01:50:55] Speaker A: All right, well, I'm just going to bring this up. This was sent by Dennis.
SSD Storage. Is that a.
It says, beat that Madness. Is that a 3D printed case for your Samsung SSDs? And if so, did you 3D printed or did some crazy person on the Internet 3D print it? Because that's pretty awesome. Also, Lee Herbert says, greg, check your DMs.
Cinder says where we're going to place a bundle deal on all these purchases. That's smart. We should start a photography buying group.
Once a month, everyone puts their items in and then we go to Croydon and we say, hey, we.
We've got a $40,000 order. What can you do for us?
[01:51:41] Speaker B: Yeah, we buy in bulk, split it up.
[01:51:45] Speaker A: Dennis says, Yep, 3D printed. And I have four of these. I 3D print everything.
That's very cool.
Very, very cool.
[01:51:53] Speaker B: I'm just going to bring up these photos of Lee's.
[01:51:55] Speaker A: Yeah, I'm going back through to see Scott Longdon says, unfortunately, memory isn't going to get cheaper anytime soon.
There's a worldwide shortage, and Mr. Trump isn't allowing China to access the faster tech. Oh, interesting.
So then who's got the faster tech? Will Mr. Trump start selling like Trumper bites?
It's 500, 512 trumpabytes probably will.
Oh, I mean, if they're fast, they're fast.
They're the greatest. They're the biggest. Trumper Bites. Our chopper bytes are bigger than your Tropo bytes.
Did you get them? You got the images?
[01:52:37] Speaker B: Yeah, I'm just putting them in that same drive folder.
These are Lee Herbert's images. Have you still got that drive link?
[01:52:49] Speaker A: Oh, no, no. That's not easy.
Let me see if I can find it. I've closed.
[01:52:56] Speaker B: It's on the running sheet.
[01:52:58] Speaker A: Yeah. Oh, yeah. Let me see if I can find that.
There we go.
I'll get rid of this and I'll share that instead.
I'll never find it.
[01:53:16] Speaker B: Oh, shit.
[01:53:17] Speaker A: He sent more.
[01:53:17] Speaker B: I can't. I can't bring them all up.
[01:53:18] Speaker A: We can't. No, we. We can't. We're too slow. We're not fast enough. So what are these? These are like.
Oh, I see. I see what we're looking at down Here, they're all synology raids.
So it looks like, master, Master. I can't tell how many of them are masters and slaves, but that's a lot.
That's a lot. And then let's have a look at this.
[01:53:46] Speaker B: And then he just sent me it.
[01:53:48] Speaker A: This one's. That's more like. That's more like the reality of. Of photo and video storage at the professional level. The other one's like, look at my raids. And then this one's like, I've been busy. Just. I'll sort them out at some stage.
That's classic. It is. It's so real. Like, that's. We. We all want it to be neat all of the time. And then you do a big refresh and everything, isn't it? But, yeah. Second one is way more real. It's.
It's life.
[01:54:23] Speaker B: And then he's got boxes. Lee sent me another photo. He's got boxes and boxes of these.
These tape reels.
Are they 12 terabyte each or 30? I can't read the text anyway. Yeah, there's a lot. There's a lot there.
[01:54:43] Speaker A: All right, what is happening here? We need to.
We need to get onto these image reviews, I think. Is there any.
[01:54:47] Speaker B: Yeah, let's go on. Images. No, that's it. That's it. I'm broke.
[01:54:51] Speaker A: You're right, you're broke.
Don't even know what we can afford, but we'll see.
All right, let us go to this and this.
Getting some weird. You getting my weird feedback.
Anything weird. Okay.
This is becoming a storage measuring competition. It is Lucinda saying, I text your mind. I don't even know. Did we get it? Is it. Did you text it to the show number? Lucinda? I don't think I got it.
No, not that I can see.
Everyone's happy to text in. Everyone's too scared to call in these days.
All right, let me pull up some images. Oh, let me first change the thing so that we're very professional.
And let's have a look at some images.
I think this is the very. The very first time, potentially from the one, the only, the great Philip Johnson.
Hey, I know. Is this the first Philip Johnson image?
[01:56:10] Speaker B: Maybe.
[01:56:11] Speaker A: I can't remember. Or have we had another one?
[01:56:13] Speaker B: I'm not sure.
[01:56:14] Speaker A: I can't remember, but I love it.
[01:56:15] Speaker B: In a while if we have.
[01:56:17] Speaker A: There's actually three in the series. I don't believe. Let me have a look. Pretty sure they didn't come with any additional information, but it is a beautiful shot.
[01:56:29] Speaker B: It is a beautiful shot.
So much Mood and atmosphere, isn't there?
[01:56:34] Speaker A: Yeah.
And then this one.
[01:56:39] Speaker B: Oh, I love that.
[01:56:41] Speaker A: We got any info? Oh, look at this. Oh, yeah, look at all this info.
Sony F16, 1/40 of a second.
125 ISO.
Beautiful. And then.
Getting a little buggy.
[01:57:05] Speaker B: A little buggy. First timer, he says in the chat.
[01:57:09] Speaker A: First timer.
[01:57:10] Speaker B: These are beautiful.
[01:57:11] Speaker A: Finally, we're excited. Yeah.
I think I like this one the most.
Although the. It's hard at first. The tree one is really. Is very cool.
[01:57:21] Speaker B: I think they're all great, but I don't know.
[01:57:23] Speaker A: I don't know why this one. I really like the color palette.
Very, very nice. I wonder if we get any info on this one.
Very nice.
Very, very nice.
We're getting some dog names, paparazzi.
[01:57:42] Speaker B: They just keep coming.
[01:57:43] Speaker A: I think that's been done.
There's so many of those ones of, like, portraits, you know, like portraits and stuff.
Amazing work, Philip. Thank you very much. Don't be a stranger in the. Your images section because, you know, we want to see you.
[01:57:58] Speaker B: Absolutely.
[01:58:00] Speaker A: All right, moving on to Lucinda.
Good one.
Let me bring this up and let me see what she said. Yeah.
A few snaps from a show I shot last week.
And there's also a video pov POV of the last shot from my Ray Bans. And I'll have to try and make that work somehow. I'm not sure how I'll do that yet. We'll try that in a second.
[01:58:34] Speaker B: But.
[01:58:35] Speaker A: Let'S check these out.
[01:58:36] Speaker B: That's very cool.
Oh, wow.
[01:58:40] Speaker A: Yeah. That's awesome.
[01:58:41] Speaker B: Yeah.
[01:58:43] Speaker A: That's not your standard.
Nah. Your standard live photography shot.
[01:58:52] Speaker B: Oh, that's epic. Look at that.
[01:58:57] Speaker A: PP settings. Can we.
Yep. R5 mark II F 3.5, 125th of a second at ISO 40,000.
Poof.
Try that on your Fuji, Greg.
[01:59:12] Speaker B: I have. Whatever.
[01:59:16] Speaker A: Was that noise reduced? Was that like, AI noise reduced or is that just camera?
Yeah. So good.
[01:59:29] Speaker B: Yeah. Oh.
[01:59:31] Speaker A: Oh, I love that. Yeah.
[01:59:33] Speaker B: Yeah. A little bit. She said a little bit of noise reduction.
[01:59:35] Speaker C: Yeah.
[01:59:43] Speaker A: Heck, yeah.
Great shot.
[01:59:46] Speaker B: Yeah, that's really cool.
[01:59:48] Speaker A: What band was this?
[01:59:52] Speaker B: And are you in the wings or out of sight or are you actually on the stage inside?
[01:59:56] Speaker A: She's famous. Famous enough that she gets to roam around with the band on the stage.
[02:00:00] Speaker B: Yeah.
[02:00:01] Speaker A: I guess, by the looks of it, to get the shots.
Jeremy Zucker. Oh, yeah, it's right there in the. In the file name.
Jeremy Zucker. And I'm on the stage. Yeah, she's on the stage.
Oh, yeah, I like this one. David Skinner. Very cool. Lucinda could have been taken in the 70s. It really does have that vibe, it's.
[02:00:20] Speaker B: Time nostalgic vibe, doesn't it?
[02:00:22] Speaker A: Nostalgic. And with those stars, I assume you're using like a star filter thing or whatever they're called.
Very, very nice.
I'll see if I can make this video work.
Will this work?
[02:00:44] Speaker B: Yeah, Lucinda says yeah, it's very in at the moment. And a moody filter from Prism fx, Black Mist as well as Star.
[02:00:58] Speaker A: All right, we're going to attempt.
We're going to attempt to watch this meta Ray Ban video.
I think that would actually be better quality than what it's showing there. It's showing blocky. I don't think it's.
Let me download it, but, I mean, I'm blown away at how good that sounds.
[02:01:51] Speaker B: Could you have the audio?
[02:01:52] Speaker A: Yeah, the audio wasn't like.
[02:01:54] Speaker B: Yeah.
[02:01:54] Speaker A: Blowing out or anything?
[02:01:56] Speaker B: No, it wasn't terrible at all.
[02:01:57] Speaker A: How's it doing that?
Yeah, that's amazing. These things are cool.
[02:02:06] Speaker B: Yeah.
[02:02:07] Speaker A: Oh, yeah. Okay. So it hadn't downloaded properly. I don't know if there's another way that I can do this. I'll try one more way because we just want to see how good this thing is, because it is our future.
It's the future of the world.
Not that this.
There we go.
I'll start it from here.
Yeah, that's way better.
Yeah. Gosh, the quality's great, isn't it?
[02:02:36] Speaker B: And there's so much going on in that, in the scene. Like there's lighting and low light.
There's mist.
It's only 1080.
Oh, that's so cool.
[02:02:58] Speaker A: How good is that?
Wow. It looks great. It looks great.
Yeah. And it sounds great. And you didn't have to do anything. You just had to wear it and do your job and look like you need reading glasses.
[02:03:12] Speaker B: And other than that, you'd content made for you instantly.
[02:03:15] Speaker A: Yeah. Yeah, that's amazing.
[02:03:16] Speaker B: That's really.
[02:03:17] Speaker A: David Skinner says pretty fast card in Lucinda's camera. Yeah, there was some. There was some shots being taken at that.
[02:03:23] Speaker B: Yeah.
[02:03:23] Speaker A: But when there's those moments happening, you got to go for it.
[02:03:28] Speaker B: On your wish list. There you go.
[02:03:30] Speaker A: Yeah, I think they might have to be.
A friend of mine can get the Oakleys cheap, but I don't know about the Ray Bans.
Hang on, let me just get back to our photos.
Amazing. We bring that up and that and move on to LTK Liam from LTK Photo.
Let's see what Liam had to say.
I think he might have just said some Photos from this weekend at a drift event.
Dark. Look at it.
[02:04:12] Speaker B: Oh, I wonder if Curtis was there. He likes his. Jeez. Working on a car at the moment.
[02:04:21] Speaker A: What are we. I wonder how dark we're talking here. Look at these.
F5 12,800 at F5 at 1/70th of a second. That's at 125th 1 over 100th.
Yes. It's pretty dark. Yeah.
Great work.
I don't know if you can tell there but like the car is sharp.
The, like the car is shut with this. Plenty of motion blur. Yeah, it looks great.
[02:04:55] Speaker B: They're really cool.
[02:04:56] Speaker A: I would imagine in that light that this would not be easy.
Awesome work.
Thanks for, thanks for sending those in. Ltk.
[02:05:11] Speaker B: It makes you realize that, you know, you've just got to be a little creative to think of like, you know, let's say I really want to work on my low light photography. You know, you can go to these events even if you're not a car person. It will teach you so much about your craft and your camera and you'll make a shitload of mistakes but you'll learn from it.
[02:05:31] Speaker A: Yeah. Provided you can get access to somewhere we could shoot from which. Yeah, these events. Yeah. As long as you, you know, these aren't like this wasn't the F1. So it's, it's like, you know, if they're, if it's a local event and you can get into the, the safe spots to shoot from. Yeah, LTK says. Yeah. Pushing ISO to the max. Yeah.
All right.
Up next, Tweak Productions, otherwise known as known as Jamie Vanden Brink Tweak Production Photography.
Where do you send images, David? Send them to
[email protected] but unfortunately I can't pull them up on this show. But I can pull them up on next week's show.
Justinuckystraps.com Send them through. We'll pull them up next week. We do it every week because it's fun.
We like to look at photos.
Oh, look at this.
So would love to have some thoughts on flash versus natural light when it comes to macro. Maybe Greg might have some thoughts since he has started to delve into this. Here are two shots I took of a rubber fly.
One with flash and one without. I don't have the fancy diffuser. Diffuser and not sure if I should invest. I usually just use natural light or an LED panel. Haven't really delved into anything into using flash or focus stacking. I really like the softer look of natural light. But maybe I need more practice when it comes practice and better gear when it comes to flash. Would love some thoughts or feedback. Okay, so this is image number one.
This is image number two.
So this would be natural light?
Yeah, I reckon this would. And this would be flash? Yep. Yes.
[02:07:17] Speaker B: Did the settings come through?
[02:07:19] Speaker A: Yeah, let's have a look.
Or did they?
Yeah. F14, 1500 of a second. ISO 800.
And then this one is F14, 1500 of a Second. ISO 800.
[02:07:36] Speaker B: That's really bright at F14.
[02:07:38] Speaker A: No flash. Flash.
Yeah. That's weird.
It doesn't seem right, does it?
[02:07:45] Speaker B: No.
[02:07:47] Speaker A: 14 ISO. Oh no. ISO 1200. 12,800. Sorry. Versus ISO 800,12,800.
[02:07:55] Speaker B: So yeah, I mean the natural light is good. I think it's, it's slightly overblown for what it is.
I'd probably drop it down a little bit, but it's really interesting.
I never understood why you needed flash for macro until I started doing it. And you're so close to the subject with your macro lens that you, your camera, everything casts a shadow and everything blocks light.
The other thing with the macro lens is that unless you want a paper thin slither of in focus like a focal plane, you need to go for obviously a really narrow aperture. As narrow as your lens will allow in most cases.
[02:08:35] Speaker A: Well, yeah, look at this background. This background look looks like it's the most blurry, bokehlicious blown out background. But it's F14, you know, like it's, it's, it's just such a different.
It almost turns everything you think you thought about photography on its head even though the physics all makes sense but it's like yeah, F14 is no longer everything in focus.
[02:08:56] Speaker B: Yeah.
And then having your ISO crank so high, you know, current gen cameras are great at dealing with higher so but it does degrade your image even with you know, AI, what do you call it? AI Noise reduction.
And I think for me I like the whole idea of using the flash because then I can shoot at lower ISOs and you know, narrow aperture and a fast enough shutter speed under 125 usually and you get that nice sort of separation of background and foreground as well. And with mine I'm going ultra, ultra dark wherever I can because I really like that really dense black backgrounds and things just slowly appearing out of it just to create contrast. So there's nothing wrong with shooting it with, with natural light. I think it's a great looking image. It's amazing.
Do what makes you happy, you know, play around with both in a whole range of different scenarios. If you're happy with the noise recovery, the noise reduction that you're getting out of your natural light photos and stick with it, I think it's great. I just think the ones with the flash offer more punch because the flash will create little micro shadows and contrast on the actual insect itself. And that can often help to elevate detail as well because that contrast is picked up by the camera.
[02:10:19] Speaker A: I'd like to throw my two cents in, but keep in mind I do not shoot macro. But here's what I'm going to say. One, I think this image is a better image than the flash image. But that doesn't mean that it's natural light versus flash is any. It just means I think this image, I like the composition, I like the color.
I think just this particular choice of two images and the way they were shot, I prefer this one, but that doesn't mean that I prefer natural light macro image over flash. Just this is personally a more appealing image to me.
What I think you can experiment with is so you've shot this at ISO 800, you've shot this at 12,800.
Experiment with flash photography if you like this look, but crank the ISO up to 4000.
Get more of the natural light, less of the flash, balance it out a bit more. This is something that people learn when they're shooting flash. With weddings and stuff like that. It's often heavy handed to start with. And then you realize like if you're shooting a wedding reception, like crank your ISO up a bit. Don't make the room look completely different to what it is. Just give it a little bit of fill. Just like, you know, light the skin a little bit, but don't obliterate everything and have the background be dark.
So basically what I would consider doing, try it with natural light.
Bring, get it the way that you like it to look. Maybe bring the ISO down a bit and add flash and see what that looks like. Yeah, just a little bit of fill flash. It might give those catch lights in the eye. It might darken the background a little bit, but still give you a bit more of the look that you used to. And you can start playing around with it rather than having it look like a stark contrast of it's either this or this.
Yeah, there might be some in betweens. You can also, if you're using flash on ttl, I don't know if using it on TTL or manual, but just dial down your flash exposure compensation, put on minus 1 minus 1.5. What? Like, how do you normally do that? Do you use manual, Greg, or.
[02:12:31] Speaker B: No, I use TTL mostly.
[02:12:33] Speaker A: Do you change the exposure compensation?
[02:12:35] Speaker B: Yeah, sometimes. Yeah. I'll drop it a little.
[02:12:38] Speaker A: Drop it a little?
[02:12:39] Speaker B: Yeah, yeah, yeah, okay. And because I'm using now, I'm doing more of my macro work on the XE5. I've got bigger files to work with, so I can.
I can be more brutal with how I edit them as well.
That makes a big difference.
[02:12:56] Speaker A: Very cool.
[02:12:56] Speaker B: Yeah, keep at it. Like Justin said, just experiment, find. Works for you.
[02:13:02] Speaker A: Yes. And it doesn't have to be one or the other. It can be. Just how much flash do I want to add to this scene to get the look that I'm looking for?
Yeah.
All right, up next, a man that needs no introduction, Craig Carrick.
[02:13:18] Speaker B: Hey, Crackers.
[02:13:20] Speaker A: And Greg says fireworks at Lilydale Show.
Pulling focus while shutter is open. Start out of focus, then pull into focus while shooting.
That's cool.
Yeah, very, very cool.
And then we've got Flinders Aurora. 20 seconds.
Look at that.
Yeah, the Aurora Hunter.
It is beautiful. Is this the one that. Oh, hang on. Maybe it's the other one. Light painting where I saw. Didn't he get famous? Was he on the news? Yeah, on the news.
[02:13:58] Speaker B: One showed up on the news. Yeah. Was it this one, Greg?
[02:14:02] Speaker A: This one. Or then there's light painting Aurora, which I'll just skip a couple of photos when some clown walked around in front of the photographers waving his torch everywhere.
[02:14:21] Speaker B: That's amazing.
[02:14:22] Speaker A: Craig was on. Yeah. Weather on Channel seven.
[02:14:25] Speaker B: Yeah, that's right. Yep.
[02:14:27] Speaker A: So cool. Congratulations, you're famous. And then three black and white photos, street style at Lilydale show. Added some grain and vignette. Let's have a little look.
Grainy.
Oh, I like it.
[02:14:46] Speaker B: Yeah, that's cool.
[02:14:46] Speaker A: Isn't it just So I just. My brain doesn't think in these ways, you know, I would, I just wouldn't, but never gets outside of the box with that kind of stuff of how to, how to.
I don't know.
Amazing. I love it.
[02:15:05] Speaker B: Yeah, that's really cool.
[02:15:07] Speaker A: Let's see if we got any settings here.
XE4, of course, who knows what else because it says F0, so it wasn't a real lens.
Hit a lamp taped to the front of his little camera.
Yeah, amazing, amazing work.
All right, who else we got?
Getting close to the end of the show, I'm positive I can hear some sort of a weird humming in my microphone.
It's killing me.
[02:15:53] Speaker B: Yeah, I can't hear It.
[02:15:54] Speaker A: You can't hear it?
[02:15:56] Speaker B: No.
[02:15:58] Speaker A: Oops.
[02:16:00] Speaker B: All of these look familiar.
[02:16:01] Speaker A: Yeah. The one and only David Mascara. I've just got it. They're sized a bit differently this week, I think. I'm not sure, maybe the download didn't go well. I'll change it.
Hey, guys. These are not from the previous challenge I gave myself.
These are digital and I think I was using the D810 at the time.
They go back a few years.
Interesting stories take too long to explain each encounter. I did a brief response to Justin and Jim's questions on episode 29. I didn't because we're asking about how, like how he interacts and stuff, but I don't know if I saw that. I'll have a search for that comment thread and see if I can find it for next week's show because we're interested to know how he talks and interacts with his subjects.
[02:16:51] Speaker B: Yeah.
[02:16:51] Speaker A: And gets them comfortable and then whether or not he gives them images. Actually, I do remember him saying he does, does give them images if they want them, but.
[02:17:03] Speaker B: Yeah.
[02:17:04] Speaker A: Is it great street photography Portrait master. Yeah.
[02:17:13] Speaker B: Oh, wow.
Yeah.
[02:17:16] Speaker A: I love these shots.
Just imagine he's got this room with just like a million six by fours, you know, just every, just like, like can remember that was this person. He used to do this or you know that. This. This person.
Yeah.
Very, very cool. Always great to see these images.
Hard style of photography.
[02:17:47] Speaker B: Yeah. Very Nick.
[02:17:49] Speaker A: I don't know if it's something I would be excited to try. I'd be scared.
But I guess you just got to walk up to that first person and ask and realize all they can say is no. I guess.
[02:18:02] Speaker B: Yeah, but it's just making that bridge, isn't it? It's just.
[02:18:05] Speaker A: Yeah.
[02:18:06] Speaker B: I find it really, really difficult.
[02:18:12] Speaker A: Just quickly. LTK says, are my images too dark?
Let's have a quick look.
The drift photos.
I. Well, this one. Yes.
[02:18:26] Speaker B: Yeah, I think.
[02:18:27] Speaker A: I think we'd need to see a little bit more detail in the car and even the foreground if possible.
[02:18:34] Speaker B: Well, you want to just separate the car from the road a little bit more.
[02:18:37] Speaker A: It's tough. Black car, black background. You're always going to have trouble. That black's not getting a lot of light.
I would love to see a little bit more light on it. I'd be interested to know what lens doesn't say what lens you were shooting with. I don't think it says it's at f 4.6 on the X T2, but.
[02:18:57] Speaker B: Yeah, if the telephone that starts at 4.6.
[02:19:01] Speaker A: Yeah, it's a. It's 115 mil.
[02:19:04] Speaker B: Focal length 100 to 400.
[02:19:07] Speaker A: I mean, at 12, 800, like, you're already pushing things hard, so it's going to be tough, but a little bit.
Yeah, a little bit more in that. And then let's just hang on.
Have a look like this one for the vibe of it on a dark night. That. That's fine. I think, like, you could. You could play around a little bit, but I think that's okay. Yeah, it's. It's a dark scene. It's always going to be a dark scene. These ones are where it gets a bit trickier. It's like, I would be nice to see a little bit more.
I would even experiment with, like. These ones are good.
They're not. They're not as. See, this one's like significantly darker in the foreground and stuff. Whereas you've got some light through the.
[02:19:51] Speaker B: Yeah.
[02:19:52] Speaker A: On the surface of the road on this, which is great.
The car's got lights underneath it, which helps, but. Yeah, you could play around potentially with a mask or a brush in lightroom and see if you can bring the car up a little bit. Yeah, yeah, that's. That's what I would try with.
[02:20:10] Speaker B: Have a look at Andrew Hall's photos. He's a Fuji shooter. He's actually a Fujifilm ex Ambassador.
He shoots all of the big, like the. What do you call them, the endurance races all around the world and.
Yeah. Have a look at some of his stuff. The way that he lights and kind of lifts details.
It's worth just checking it out.
[02:20:32] Speaker A: Yeah.
All right. David Leporardi. Oh, my gosh.
[02:20:39] Speaker B: Jesus. Here we go. What's going on here?
[02:20:42] Speaker A: All right, which one's which? The foggy morning sunrise with sea mist images were shot with a Fuji XE2 and the XF55 to 200 mil lens. Beautiful image.
Love it.
Great colors.
What else have we got?
Storm cloud images. I'm not sure which ones are going to be which.
[02:21:05] Speaker B: Oh, God, look at the layers.
[02:21:08] Speaker A: That water looks.
[02:21:09] Speaker B: That looks. Drawing your eye back and then it draws you back into the shoreline.
[02:21:13] Speaker A: Yeah, that is. That is a great one. The green at the front was.
Yeah. Dennis. Like. Damn.
[02:21:19] Speaker C: David.
[02:21:21] Speaker A: Yeah, he's a good photographer.
Stop it.
Yeah, beautiful. What?
[02:21:32] Speaker B: It's like a scene out of a Dune movie or something.
[02:21:36] Speaker A: Yeah.
[02:21:36] Speaker B: That's insane.
[02:21:41] Speaker A: Yeah, beautiful shots. And then the infrared images were shot with a Canon EOS 400D IR converted. So that's this one.
I really want an Infrared camera or full spectrum?
Beautiful.
It just makes simple scenes. I think it would just be fun, like seeing what it looks like. You're like, oh, that looks cool. You know, it looks different.
[02:22:11] Speaker C: Look at him.
[02:22:12] Speaker A: Look at him. I was lucky with the morning mist. Yeah, yeah.
Just one of those lucky photos.
You get lucky a lot.
Speaking of getting lucky, he also sent through some photos of his new camera strap.
[02:22:31] Speaker B: Hey, I'm the Fujifilm. Nice.
[02:22:35] Speaker A: What does it say? Let's have a look.
I would like to thank you all at Lucky Straps for my new Lucky Straps. They are great quality and look fantastic. I have attached a couple of photos I shot this afternoon using LED lights where he continued to get lucky because they also look great.
[02:22:57] Speaker B: We didn't even make a strap that looks that good.
[02:22:59] Speaker A: No.
Yeah. Look at this Prismo every week. David. It's just like I took these casually. No big deal.
Yeah. Maybe I should send him the underwear as a surprise.
Finally.
Last one. Lucky last. I think. Unless I've missed someone. If your name is Craig Murphy, I didn't miss you. But if your name isn't Craig Murphy and he sent me photos, then I might have missed you. So sorry.
Let me know.
Craig Murphy says.
Oh, excuse me. Some more dawn pictures from this year's Bathurst 12 Hour in February. These are not. These are probably at the limit of my trust. This trusty Olympus EM1X. Both taken at dawn at the end of Conrod Straight. Mixing landscape and motorsport photography. My two favorites. Yeah.
Oh, I think I like that one. That. That one's. I don't know what it is. It's just got lines.
Yeah, that's cool.
[02:24:12] Speaker B: Yeah.
[02:24:13] Speaker A: So you got no information.
Em1x beast. Yeah, look at it. It's just great colors.
It'd be a tough shot to get.
[02:24:29] Speaker B: And you can't look at this image without looking right to left.
[02:24:34] Speaker A: Oh, interesting. I look left to right.
[02:24:37] Speaker B: Well, you know what I mean. Like vertically.
[02:24:38] Speaker A: Oh, horizontally.
[02:24:40] Speaker B: It just draws your eye across, back and forward.
[02:24:42] Speaker A: Yeah, I was like, oh, that's interesting because I definitely started at that, at the left side and sort of panned across. But yeah, definitely horizontally. You're scanning. You're scanning each layer, basically being like, oh, oh, yeah, I see that, I see that.
[02:24:54] Speaker B: Yeah.
[02:24:55] Speaker A: Like the streak and the brakes and everything. It just looks. Yeah. Great photo.
Great photo, everyone.
The movement really draws you in. And as David Leporati says, it's all about the light.
All right. We should probably call it because that was an insanely long show because the short. The short sort of stuff we had set up and then a 45 minute conversation about whether Jim should or shouldn't give all the files to a client.
[02:25:25] Speaker B: But that's a good conversation. That was a good conversation. It's an important one to have.
And part of what we do here is we create a space where people can ask these sorts of questions and people can live, you know, live respond. I love it.
[02:25:38] Speaker A: Yeah, it's great. If you got a. If you've got a weird situation or something, you can even anonymous it if you want. But, you know, email it to me. Justinluckystraps.com if you want something that wants to bring something up on the podcast. Or you can always call in, tell us what you're up to.
[02:25:54] Speaker B: But not now. We're going to bed.
[02:25:56] Speaker A: Yeah, we're going to bed. We're going way past.
Join us on Thursday or if you can't join us, watch it back later. But we have music photographer Lucas Packet. Lucas Packet. There it is. It was on the tip of my tongue. Yeah. Yeah. Should be a great show. Heaps of fun.
[02:26:14] Speaker B: Yep. So otherwise, but on that note, that's about it.
Yeah, I think that's it until. Well, I've run out of words and thoughts and awakeness.
I'm ready for bed.
[02:26:28] Speaker A: Me too. Tired.
[02:26:30] Speaker B: But this has been the Camera Life podcast, proudly brought to you by Lucky Straps. We've got a family sale on right now. Do you want to be part of a family? One that loves you no matter what you do? You could walk in the door with your face covered in dog shit. We will still love you from a distance. But head to Luckystraps.com we have a family sale going at the moment. There's massive discounts on everything, even valorant gloves, so make sure you jump on the site. Check it out.
If you're new here, thanks for joining. Give us a like. It helps out a lot. But also subscribe and tell your mum. Get your mum to subscribe.
[02:27:02] Speaker A: That would actually be helpful if you could.
[02:27:04] Speaker B: Yes, very helpful. We hope to get to 2,000 subscribers by the end of the year. We're well on the way. We're getting pretty close. We're almost at 1.8. Almost a little bit further, but let's do it. Yeah. Or just create a bunch of burner accounts and just subscribe. Either way, we don't care.
[02:27:19] Speaker A: Also very helpful, especially if they're funny, a little bit dirty. That's always good. We're Seymour Bush. We haven't seen her tonight. All right, let's roll some music and talk to everyone in the chat.
Paul says see everybody ltk. Appreciate it, guys. Great show as always.
Dennis, good to see you, man. Yeah, love you too. Tweet Productions. Good night. Light Gatherers. Bruce Moyle, thanks all. Thank you, Bruce. Felicity Johnson, good night. Hope the Renaults weren't too loud tonight. Felicity, thank you for joining us.
Greg Carrick says smash that, like button. He's always on it. Yes, please, just give us a like, it'll help us in the algorithms. Craig Murphy, fun night. Thanks, folks. Lucinda, thanks for joining us. David Leporati, thanks for sending all the photos in. And the photos of the straps are amazing.
Philip Johnson, until Thursday. Thank you.
Greg Carrick. Cheers. David Skinner. Yes, everybody. See you in the next one.
[02:28:13] Speaker B: See you guys. Be safe.
