EP28 Heavy Metal Concert Photography with Shane Henderson (AKA Crimson Dawn)

[00:00:07] Speaker A: This is such a dog. [00:00:13] Speaker B: Good morning and welcome to the Camera Life podcast. This is episode 29, no, 28. I'm getting mixed up with the dates. The 29 August here in Victoria, Australia. It's episode 28 of the Camera live podcast. Welcome to the show brought to you proudly, brought to you by lucky camera straps from Bendigo, Australia. If you are new to the show or if you're watching along, don't forget to check out our back catalogue on YouTube on either the camera life. Yeah, we're on the camera life YouTube channel, and we're also live on Apple, Spotify and Amazon audio podcasts. If you want to listen along while you're doing your business. [00:00:57] Speaker C: Well, not live. [00:00:58] Speaker B: Not live, but sorry, not live. It will be there. [00:01:04] Speaker A: Yeah. [00:01:05] Speaker B: Thanks, Justin. Last week we had a wonderful chat with Matt Crummons, who is a photographer, a photography educator, and one of the directors of the bright festival of Photography. If you're watching that episode, you got to see Justin act pretty much exactly like the little boy who won the golden ticket in Charlie and the chocolate factory while he booked his befop ticket live on the show. [00:01:32] Speaker C: I'm going. [00:01:33] Speaker B: He's going. He's going. He might not have anywhere to sleep. [00:01:37] Speaker C: But he's going, I'll get a van. I'll sleep in the van. [00:01:40] Speaker B: Oh, he does. Yeah. So, yeah. Please be sure to check out the past live shows. But also, Justin's been posting a daily video with his straight out of camera challenge. How's that going for you, Justin? [00:01:55] Speaker C: Look, it's going good. It's going great, actually. But the last couple of videos have been distracted a bit because to start with, I was really focused on trying to push myself creatively straight out of the camera, find interesting things in daily life around town, which is not the sort of photography I'd usually do. But the last few days, I got my new canon five reals mark two reals. So the last few days have been videos, sort of focused around giving that a test. And those videos are going crazy. People are loving them, which is fun because I'm not sort of reviewing the camera. I'm literally just being like, all right, let's test out the eye tracking autofocus. And they're just me while I give it a test out and compare it to the old one and stuff. And, yeah, videos are going really well. So loving it. [00:02:37] Speaker B: That's great. I'll be sure to check those out, guys. [00:02:40] Speaker C: Yeah, lots of great support in the comments, so thank you, guys. [00:02:43] Speaker B: Lovely. And we're joined today by a mate of mine yes. Another Fuji shooter, Shane Henderson, who is a heavy metal concert photographer. He's from Melbourne, Victoria, Australia, as well. Welcome to the show, Shane. [00:03:02] Speaker A: Thanks a lot. Thanks for having me. [00:03:05] Speaker B: That's great to have you. Great to have you. [00:03:08] Speaker A: Awesome. [00:03:08] Speaker B: You might have noticed the different intro music. That was Justin's effort at finding something heavier than the usual kind of intro music that we play. [00:03:19] Speaker C: I think we're gonna keep it. I like it. [00:03:21] Speaker B: Yeah. All right. [00:03:22] Speaker C: Back to the old days. [00:03:23] Speaker B: Good choice. What was music for you in the old days? What were the. [00:03:27] Speaker C: For me? I played. I played in a heavy band. I don't know. The only one. The only band that we played with my claim to fame, we opened up for a band that I'm sure Shane's probably heard of. He might have even photographed them. Have you heard of Parkway Drive, Shane? [00:03:42] Speaker B: I. [00:03:43] Speaker A: Yes, I have. You have photographed them from an amateur point of view? [00:03:48] Speaker C: Oh, yeah, yeah, yeah. [00:03:49] Speaker A: Just from the crowd. [00:03:50] Speaker C: Yeah, we. Nice brought. We brought them to Bendigo. So we ran a gig back in the day before they were mega massive and brought them to Bendigo. They were the headline act on a gig we organized. And of course, as you do when you organize the gig, you make yourselves the opening act, because otherwise you're never going to get a chance to play with a. Play with a band like that. And we did, so. Yeah. [00:04:13] Speaker A: That's a good claim to fame. Yeah. [00:04:14] Speaker C: Great. [00:04:14] Speaker A: Looking at them now. [00:04:16] Speaker C: Yep. [00:04:16] Speaker A: What did you play, Justin? [00:04:18] Speaker C: Play guitar. [00:04:20] Speaker B: Nice. Wow. [00:04:22] Speaker A: There you go. [00:04:23] Speaker B: That's awesome for me. I. I remember I had some friends who were into heavy metal. Well, AC DC, Iron Maiden, Metallica. Listened to a lot of that in my teenage years. And this was back in the days wedding. I don't know if they still wear denim jackets with the big patches sewn on the back, much as you go. [00:04:46] Speaker A: To an iron maiden concert or the older bands. Yeah. The fans are covered in them. Yeah. [00:04:50] Speaker C: Well, I was gonna say it kind of went out and then probably came back in a little bit again, you know? Yeah, yeah, yeah. [00:04:57] Speaker A: It's more popular in the european shows. I found when I was. When I was living there, going to gigs. I don't think it ever went away there. [00:05:04] Speaker B: Yep, yep, yep. So, yeah, I was a bit of a semi metalhead for a little while until I found Pink Floyd, and then it was all over. [00:05:14] Speaker A: Nothing. Nothing wrong with Pink Floyd. [00:05:15] Speaker C: I was gonna say they. But they go well together, Greg, you. [00:05:18] Speaker B: Can kind of do. But I kind of transitioned as I discovered new and interesting ways to view the world. So, Shane, you're Shane, you're a heavy, heavy metal? Yeah. My children are probably watching. You're a heavy metal concept photographer. We want to hear about your story. But before we get into the photography side of things, tell us about your passion for music and heavy metal. [00:05:44] Speaker A: Music pretty much started from eleven or twelve years old. I think I've told you before, I saw this cassette in my local music store and it had like a zombie wielding an axe and it turned out to be an Iron Maiden albumen. I bought it purely cause I thought the COVID was cool and pretty much fell in love with the music. And they're still my favorite band to this day. I don't know if that's because they were the first band I discovered or not. And it just led on there, you know, discovering all the other music out there. [00:06:20] Speaker B: Okay. And for the kids listening along at home, a cassette was the first form of media, musical media, that we enjoyed. You know, our generation has really had it tough because we started off with cassettes and then we had to transition to, sorry, vinyl, then to cassettes, then to cds, and then we had to get rid of all of that stuff and go digital, whereas current generation have just gone straight to digital. So cassettes were a little plastic thing with a tape that ran through it. Google. [00:06:50] Speaker A: Yeah, I think it was probably 1988 when I bought that. So it was quite a while ago. Yeah. [00:06:55] Speaker C: Somewhere in there there was, I think it was called a mini disc player. I can't remember. Sony had a couple swings at new media in set to cd transition. [00:07:05] Speaker A: I have one in my storage there somewhere. They didn't do so well. Came out. Yeah, they remember they came out the same time as MP3 s kind of. [00:07:14] Speaker C: Yeah, yeah. [00:07:15] Speaker A: And I was thinking, who's gonna go into a shop and download MP3 s to his memory stick to take home? That's how I thought it would work. [00:07:22] Speaker B: Yeah. [00:07:23] Speaker A: So I went down to mini disc route and it didn't last too long. Any Internet. [00:07:28] Speaker B: It was big in Japan. [00:07:29] Speaker C: Yeah, that's where everything's big in Japan. [00:07:32] Speaker B: Yeah. But they loved and a lot of, a lot of people still use them in Japan. [00:07:37] Speaker C: Really? [00:07:38] Speaker B: Yeah, because you can record your own media onto them as well. And the clarity, well, it's really, it's. [00:07:42] Speaker A: Really high definition audio and you can put a lot of information on it. [00:07:45] Speaker C: Yeah, yeah, yeah, it's, yeah. So it's been an interesting ride and now we're here at Spotify and, and YouTube music and or, and all the stuff and it's different. Good morning, Tony. Get off my digital lawn. Morning, morning, Tony. [00:08:01] Speaker A: And also back to vinyl. [00:08:03] Speaker C: Morning, Elaine. [00:08:04] Speaker B: Yeah, yeah, I'm slowly building my vinyl collection. [00:08:06] Speaker C: Same. [00:08:07] Speaker A: Yeah, so am I. I always buy vinyl, at least of local bands, just to give, man. [00:08:11] Speaker B: Yeah, that's good. Yeah, that's cool. We mostly get vinyl. We get some soundtracks. We get popular stuff that the whole house is into because there's seven of us, so that's often hard. [00:08:23] Speaker A: Yeah. [00:08:23] Speaker B: But Sasha and I love japanese animation and. And also video game soundtracks, so we get a lot of those sorts of soundtracks. [00:08:32] Speaker A: Oh, cool. [00:08:33] Speaker B: The just is background music. It's really kind of. It's non intrusive. And there's a few neuro divergent people in this house, so kind of can. Heavy metal just wouldn't cut it here. [00:08:43] Speaker A: Yeah, that's all right. I mean, it goes with being creative anyway. [00:08:47] Speaker B: Yeah, yeah, very true, very true. So, Shane, your love of heavy metal music kicked off at a young age and what was the first concert that you actually attended? [00:08:58] Speaker A: I think. Yeah, Motley Crue was the first big concert and that was their doctor feel good tour in 1990. And I was living. I grew up in country, Victoria, so we had to buy a ticket, a bus ticket. And they took you to the Rod labor arena and back all on the same day and night. My parents surprisingly let me go because I was probably only 14 or something at the time. [00:09:24] Speaker B: Anyone on your own? [00:09:26] Speaker A: I had friends, so there was a whole bus of people from my local town that. That I was from. [00:09:31] Speaker B: So that would have been a bit of an eye opener for a country kid. [00:09:35] Speaker A: Oh, crazy. Yeah. Yeah. It made me want to be, you know, being a band and all that sort of stuff. [00:09:42] Speaker B: Yep. And you've never performed yourself? You'd never pursued that line of. [00:09:48] Speaker A: Yeah, I mean, I took up bass and we just played, you know, friends. Friends. Tin shed on a farm sort of thing. We didn't really have to do anything. Yeah. Few local things, but it was a lot of fun. Yeah, yeah. [00:10:03] Speaker B: And aside from your sticking with your love of music and putting aside the photography stuff, what's been the most amazing, intense, crazy heavy metal concert experience that you've ever attended? [00:10:17] Speaker A: Um, there's a few, but, um, probably the biggest one was Pantera when they first come to Australia in 94 because there was such a build up to it and I'd never witnessed anything like that. Yeah. It was just the. Just the atmosphere is amazing. Yeah. [00:10:35] Speaker B: Yeah. [00:10:35] Speaker A: And they were all young at the time and I was young and I had the stamina still to. Well, to get run around in the pits and all that. Not anymore. But. Yeah. [00:10:48] Speaker B: Not carrying all that camera gear anyway. [00:10:51] Speaker A: No. I'm in the safety of a barrier. So. [00:10:54] Speaker C: Yeah, the security. [00:10:55] Speaker B: Very true. [00:10:56] Speaker A: Yeah. [00:10:57] Speaker B: Now am I. Am I mistaken that you were involved or you were on. There was a flight that was piloted by one of the performers. One of the guys from Iron Maiden, was it? [00:11:11] Speaker A: Yeah, that's right. Yeah. [00:11:13] Speaker B: You on that flight? [00:11:15] Speaker A: I was. Yeah. He done quite a few. Yeah. So tell us a little bit about that. Yeah. Well, the singer from Iron Maiden decided he wanted to become an airline pilot as well. Commercial airline pilot. So what. What they eventually did was he would fly the band around the world. They'd take all the gear and that in the plane. But previous to that I was living in the UK at the time. And what would happen is he'd fly from London to various european concerts Iron Maiden were playing at. And part of the ticket prices you get on a plane of only iron Maiden fans and he flies you to the country you're going to see the gig at. In the case I went, it was Stockholm, Sweden. And then during the day you got a tour of the stage in the back. Back of stage area which Bruce Dickinson, his name is. Took us on and then basically saw the concert that night and he flew us back the next day. [00:12:14] Speaker B: That's amazing. [00:12:16] Speaker A: Pretty amazing. Yeah. That was the best 500 pounds I ever spent in my life. I think. [00:12:21] Speaker C: Is that it? [00:12:23] Speaker A: Yeah. This is back in 2006. I guess there's a fair bit of cash back then. But. [00:12:28] Speaker B: Yeah. [00:12:29] Speaker C: It still seems like not crazy considering that experience even. You know? [00:12:34] Speaker A: No. [00:12:35] Speaker C: Yeah. I don't even know what I mean. They're pretty like that these days. [00:12:39] Speaker A: Yeah. Probably quite a lot. Um. I don't think he flies commercially now because you have to retire at a certain age. [00:12:46] Speaker C: Yeah. [00:12:46] Speaker B: Right. [00:12:47] Speaker A: Um. That's the law. So that they don't do that anymore, unfortunately. But yeah. Yeah. That was experience I'll never forget. [00:12:53] Speaker C: That's pretty cool. I can only imagine how expensive it would be to get on a plane with Taylor Swift flying it to one of her gigs. It'd probably be 20 grand or something. [00:13:03] Speaker B: Yeah. It'd be pretty crazy. [00:13:04] Speaker A: Yeah. But acts like that, they'll charge you 20 grand for the seats up the front. Like there's such a variance in ticket prices. Like, I mean, I made the plane. They start their tour in Australia on Sunday and the ticket prices vary by about $20. Like. [00:13:20] Speaker C: They don't. That's awesome. [00:13:21] Speaker A: They don't have really expensive tickets. Um. They actually have a lottery if you're in the Iron Maiden fan club. You go into a draw and you got this thing called first of the barrier where, I don't know, maybe it's a thousand tickets. So you get to be right out the front. [00:13:34] Speaker B: Yep. [00:13:35] Speaker A: Of the gig. So instead of charging people stupid money, they do that. Which, you know, I respect them for. For that. Yeah, it's a lot of, a lot of the bigger bands. Look, it's a lot of the bigger bands that don't really need the money either. So that do that. [00:13:47] Speaker C: So, yeah, that's fans. [00:13:50] Speaker B: Yeah. They're not all striving to become billionaires again. Just jump into a couple of the comments. Jashani, who joined us last week. A Walkman was the ultimate cool status in early high school. I didn't have one for quite a while. Yeah, I'm the same. I think my parents bought me a, like a knockoff copy at first. [00:14:09] Speaker C: So I think that's, that's interesting with the age demographics because for me, early high school, it was a discman. [00:14:16] Speaker B: Yeah. [00:14:17] Speaker C: Like if you had the dismantle and you were on the bus and you had a dismantle, like you were the shit and. And you would share an earbud with someone else and then you had a friend. It was like. Yeah, it was a game changer. [00:14:27] Speaker B: Yeah. And then they brought out the distance that, that had the skip technology. [00:14:32] Speaker C: Oh. And you could shake it around. [00:14:33] Speaker B: Nothing in case you bumped it because for the kids watching along at home, Walkman took a cassette. Remember the little plastic box with a. Taped it so that it was like a portable listening device and you plugged headphones in. No, little tiny little ten millimeter cans with foam caps. But they were the bees knees, the shizzle. And then they went to when discs came in. But you could, you couldn't move too quick with them because. And then some of them came a little carry strap because if you bump them, it would skip. The laser would skip across the disc. [00:15:06] Speaker A: I remember buying this padded little bag. I suppose you call it a man bag now, but it was specifically for a Walkman. So when you walked, the padding helped shield it from jumping. [00:15:16] Speaker B: Yeah. [00:15:16] Speaker A: Otherwise you had to walk. Funny. [00:15:18] Speaker B: The lengths we went to, the cool kids. [00:15:21] Speaker C: The cool kids actually just jammed the discman into the pocket of their school pants. And it looked hilarious. But that's what the cool kids did. I remember that like it would just. There was just this giant sort of disc shaped bulge in their pocket. You know, they just strutted around. [00:15:38] Speaker B: Um, Yelena from, uh, from team Lucky straps has said that Jashani the Walkman cd style was on my Christmas list. I remember when I got that from Santa. That wasn't that long ago. Folks playing along at home and Tony said you had to have a Walkman to skateboard with because the discman would skip. Yep. [00:15:56] Speaker C: Yeah. [00:15:57] Speaker B: Yeah, that was pretty cool times. A different world, so. Very different world. Um, so, Shane, talking about your photography journey. What? When did you pick up your first camera? When do you remember picking up your first camera and going, ah, this is. This is something. [00:16:14] Speaker A: Yeah. Um. Uh, probably. Probably as a kid, my parents would have had a polaroid or a 35 mil film point and shoot. Um, so I just always. And especially, you know, a film, you don't know what you're getting back sometimes. So it was always like a. I wonder what photos. Photos I got, because you'd forget. So probably as early as that. I just really like looking at good photographs. [00:16:42] Speaker B: Yep. [00:16:43] Speaker A: Yeah. Not necessarily taken by me, but other people, of course. [00:16:48] Speaker B: So, Shane, sorry to put this out, but you're of an age where you might remember that some 35 mil cameras came with a flash cube. [00:16:56] Speaker A: Yeah, we had that. [00:16:58] Speaker B: Yeah. Do you remember, you wouldn't know about that, Justin being. [00:17:00] Speaker C: I know, I know he did. [00:17:04] Speaker A: Had a party back in the 80. Yeah. [00:17:08] Speaker C: Beautiful red eyes from it. And did you turn it to get another flash? [00:17:13] Speaker B: Yeah. So it had four flash shots, I think. Yeah. And it was. It was a cube. It was, you know, 3 cm tall, 2. It went into a special slot on the particular 35 mil cameras. This was before they made built in flash units. [00:17:31] Speaker C: You know, the flat. [00:17:32] Speaker B: Yeah, that's my name. Got me one of those. Yeah, the flat. [00:17:36] Speaker A: Yeah, I had one as well. Yeah. [00:17:38] Speaker B: But that wasn't 35 mil film, was it? That was. [00:17:40] Speaker C: Must have been the half. What's the half? Sort of size. [00:17:42] Speaker B: It was like. [00:17:43] Speaker C: It was like a weird sort of shaped. [00:17:46] Speaker A: Yeah, it came in a cartridge. Cartridge, that's right, yeah, it was too. Yeah. [00:17:52] Speaker B: Oh, back in the days, and then you'd go to Kmart. I remember we would go to Kmart and with my nan, because she kind of tried to get me into photography before, like when I was a kid. And you'd drop it, you'd fill out the envelope at the service desk, and you put the cartridge or the film in and seal it up. You'd probably lick the envelope, which you wouldn't dare do these days. And then. And they'd take it away, and then they. You come and get it, you know, a couple of days or a week later, or however long it was, because they would, they didn't have a photo lab in Kmart. They would send it away and would come back. [00:18:25] Speaker A: We had, we only had our local chemist. I think maybe there was a camera shop. Yeah. [00:18:29] Speaker C: 1 hour photo. [00:18:31] Speaker A: Yeah, yeah. If you pay the extra you could get it in an hour. [00:18:34] Speaker B: You could, yeah. Yeah. So you started off with it with a film camera, did you, did you study film photography or photography in school at all? [00:18:47] Speaker A: Well, funny enough I didn't really like it because I didn't like the dark room. I got too frustrated with having crap results. Also I liked, really like taking the pictures, but the dark, the dark room I found frustrating. So I, you know, I didn't really pursue it any more from high school. Yeah. At the time. [00:19:10] Speaker C: When did you then sort of like let that, that come back into your life then? If, so, if you didn't sort of high school didn't pursue it. When did you start? [00:19:20] Speaker A: Ah, well, I still had the point and shoot camera all the way up until I was early twenties. I actually relocated to the UK late in the late nineties and that's, that's when I thought, okay, I'm not happy with my pictures and I bought my first SLR and actually I actually did like some two week course and that had darkroom and I was actually better at it this time. And then the penny dropped off like, ah, this is cool. [00:19:50] Speaker C: A decade of life experience got you better results in the dark room. [00:19:55] Speaker A: Yeah, yeah, I think so. I don't know. Yeah. Yeah. [00:20:01] Speaker C: What was the SLR? [00:20:03] Speaker A: Ah, was it a canon a 3000 or something? I can't even remember now. It's long gone. It was the cheapest one and it came with the two kit lenses. Yeah. And I remember going into the shop no idea what to get. It was like, it was either get the Nikon or the canon. Could have gone either way. Really? Yeah. So I just decided to choose the canon. Maybe it was cheaper, who knows? [00:20:27] Speaker C: Yeah. [00:20:27] Speaker B: Well back then you had, there was no Google, you had to go by the, you had to go buy the advice from the camera store people and. [00:20:34] Speaker C: That depends on how they were feeling. [00:20:37] Speaker B: Yeah. [00:20:38] Speaker A: How much stuff they had left in the shop and what they wanted to get rid of probably. [00:20:42] Speaker B: Yeah. Or what sort of. Yeah. What sort of deal kickbacks are getting from the brands. [00:20:48] Speaker C: Yeah. I want to get on that, that trip that they send you on if you sell the most cameras or something like that. [00:20:54] Speaker B: Just one more cannon. Just one more cannon. [00:20:57] Speaker A: Yeah. So that's how it started. Yeah. Really? [00:20:59] Speaker B: So when you decided to photograph concerts at what stage. Was that. Was that when you'd gotten the. The SLR or were you shooting them with the point and shoot? What? No, when did. [00:21:11] Speaker A: I was on the digital. I was on the digital by then. Yeah. I think maybe 2005. I bought the Canon 350 rebel. [00:21:21] Speaker B: Yep. [00:21:21] Speaker A: I don't know if you remember that. And also bought a pretty decent 20th anniversary. Wow, okay. [00:21:30] Speaker B: Yeah, we're old, mate. [00:21:33] Speaker C: Yeah. [00:21:35] Speaker A: And I buy the Canon standard zoom that was made for the, you know, crop sensor and all that, so. [00:21:41] Speaker B: Yep. [00:21:43] Speaker A: So I was shooting for a while and also had just, you know, just all the travel and then I had, you know, young family was coming and I, um, obviously, you know, anyone that has kids. Everyone takes up photography when they have kids, pretty much. But I had a, had a friend that was in a band and, um, he said, oh, do you want to come to our gig and take some photos of us? Yeah. So it really just started from that. [00:22:07] Speaker B: And was that in the UK? [00:22:09] Speaker A: Yeah, yeah, yeah. So basically just pubs and small clubs in London. So it was only probably three different bands. They were all friends of mine and I would just photograph their gigs for them and took a lot of horrible photos and slowly got better and. Yeah, because back then trying to learn about that stuff is, you know, you pretty much had to buy book. I think YouTube might have started by then. It might have been in the very early days, 2007 or eight. [00:22:38] Speaker B: Yeah, probably, yep. It was nothing like, there was no, nothing like, you know, photography tutorials and, like composition guides and. But I remember you could get like books. [00:22:51] Speaker C: 2005, YouTube started. [00:22:54] Speaker A: Yeah. Interesting. Yeah. So I think. I think the concert stuff probably started in 2008, nine, something like that. I think by then, the Internet, we had forums from different photo sites and that used to just get on that nice small season forums, chat rooms. [00:23:13] Speaker B: Yeah, yeah. [00:23:15] Speaker A: Trying to get us. Trying to get as much information as I could because the concert stuff is pretty niche and you have to sort of apply different mindset to get good pictures there. [00:23:27] Speaker B: Yeah, very cool. And so today your, your primary photography focus is heavy metal concept photography. Yep. And tell us about how you kind of escalated from doing mates bands at pubs, local pubs and clubs up to photographing pantera, Motley Crue, Iron Maiden these days. How did you. What were the key learnings that helped you get up there? Like, if someone wanted to get into heavy metal or even just concert photography in general, what sort of steps did you learn? The hard way. [00:24:08] Speaker A: Probably the highways. Probably the only way is just to go, to keep going to small clubs and pubs. So there's no rules about shooting photography. Shoot as many local bands as you can, and even if the pictures aren't that great, they'll really appreciate the photographs of their social media. Once you've got a decent portfolio, um, pretty much go to, there's met quite a few online publications, um, and pretty much just present yourself to them. And, um, and that's what I did, I think it was seven years ago, and I got on board with one. And then they basically do, they're like the middleman between you and the band's management, I guess you could say. [00:24:48] Speaker C: Yeah. [00:24:49] Speaker A: And they, they get all the passes to all the shows. You can't normally get to the photograph. Yeah. So I think it's a lot easier these days to get into than it was, you know, ten years ago. [00:25:02] Speaker B: Yeah. Okay. And because I would imagine in some cases, bands, and maybe this is just a myth that I've learned from Hollywood, but bands will have photographers that they prefer to work with or they prefer to shoot them, especially behind the scenes stuff. Is that still a thing or is it? [00:25:22] Speaker A: Yeah. Bigger bands will have their own tour photographer or photographers they go to for their portfolio sort of stuff, the media. But it's really, most bands that size aren't even thinking about who's photographing them on the day. It's, that's going to be the promoter and the PR management and that, that's who. Like, if you're shooting for an agency or an online magazine, like I do, they, they're dealing with the promoter, basically, or the PR agency. Yeah. The band wouldn't even have any say in it. [00:25:55] Speaker C: Yeah, I'd say it's. Is it, is it sort of not dissimilar from, say, a sports, sports photography sporting event. A sports team might have an internal media or photographer or something that works with the team, maybe travels with them, gets those shots you're talking about that are for. Specifically for the team's media, probably have more access and a better relationship, and then there's going to be photographers from various newspapers and publications and shit like that all around. And they, and they're sort of like, say, the team doesn't even know their names, that they're just extra media people. And so this, they could potentially be similar setup in the music industry. [00:26:34] Speaker A: It's exactly that. Yeah, that's right. I mean, also shoot for some venues. So that's another way. Yes. So, um, shoot for venues. Shoot. So I still do shoot for bands direct sometimes, but they're not like the bigger ones, the more like local bands. Like, can you come shoot our show. [00:26:53] Speaker C: Yeah. [00:26:54] Speaker A: And you get a bit. Yeah, it is, yeah. [00:26:58] Speaker C: Can you, uh, can you make money from photographing bands these days? [00:27:03] Speaker A: You can make money, but I reckon you'd be hard pushed to make a living from it in Australia anyway. I think you pretty much have to be a tour photographer. Yeah. [00:27:14] Speaker B: Okay. [00:27:14] Speaker A: You got to have it. I mean, I've got a day job that's not photography related still, so it's quite a good mix to have, to be honest. [00:27:22] Speaker C: Yeah. So you can make, you can make some part time money, but the chance of sort of having a full time business that's dedicated to concert photography would be slim. You'd either have to supplement it with a day job or with an, another photography style of business. [00:27:39] Speaker A: Yeah, that's right. Yeah. I mean, I know music photographers that are wedding photographers as well. [00:27:43] Speaker C: Exactly. [00:27:44] Speaker B: Yeah. [00:27:46] Speaker A: Yeah. But to be honest, I think it's healthy if you shoot other genres anyway, I think you're only going to learn. It's only going to make you better. [00:27:53] Speaker C: Sure. [00:27:53] Speaker A: Yeah, yeah, yeah. [00:27:54] Speaker B: And you don't want to, you don't burn out from just doing it every. [00:27:58] Speaker A: You know, every night, which, which has happened to me. I actually don't shoot quite as much as I used to. Um, pre pandemic, I was shooting all the time. Um, yeah, but I just haven't. Yeah, I had two months off recently and then went and shot three shows in a row. So that's like. Yeah, I shouldn't have done that. Yeah, yeah. Because it's, it's not really, it's all the culling and editing the next day. That's probably where all your time goes. Yeah, yeah, yeah. More so than the shoot itself. [00:28:33] Speaker B: And so a few years back, you made the wise choice to ditch cannon. Sorry, Justin. Justin. [00:28:40] Speaker C: Here we go again. [00:28:41] Speaker B: Here we go, here we go. And you moved to mirrorless. Can I ask why you made that move to mirrorless? We'll get to the brand loyalty in a minute. [00:28:51] Speaker A: Um, I was getting, and I had little kids that my kids was, you know, young at the time, just sort of toddlers and, um, I kept dropping or my big dslr and big lens. I really need a small camera to just make all this more enjoyable. So I was starting to get annoyed by it. So I started looking. I kind of was. I think at the time, Canon and Nikon didn't do mirrorless and I didn't even really know what mirrorless was. I just happened to stumble on Fuji. I think it was either that or an olympus I was looking at. And I bought this little camera which is the Fuji Xe two. And I bought that, yeah basically just for everyday photography and my family. But I started taking it to shows. I thought oh, I'll give this a go. And when you can see the exposure live, especially in music photography, I was just sold straight away. I was like, this is awesome. And at the time I had an older canon. It was the II. Awesome, absolutely awesome camera. But even the little xe two was, I would say, outperforming it at that particular time. [00:30:00] Speaker C: Yeah. Much more modern, modern camera even though it's a small newer camera sensor and smaller body sort of thing. Less, less professional so to speak. Just much newer and more advanced. [00:30:12] Speaker B: And I watch it, I just like. [00:30:16] Speaker A: Little coming pancake lens on it, little f 2.8 pancake there, 27 mil and it. Yeah, yeah just. And I wasn't actually shooting for anyone yet. I was just still shooting for fun at the time. I was like, I think within six months I'd sold all my camera gear and gone to Fuji. Cost played a little bit of a factor as well. Um, so I thought what, bang for your buck? I could get more Fuji stuff than I could canon at the time. [00:30:44] Speaker C: Yeah, more isn't always better though. Quality, not quantity. Quality. [00:30:53] Speaker B: Really. How many cameras have you got mate? [00:30:55] Speaker C: Quantity and quality actually. [00:30:59] Speaker A: Yeah. [00:31:01] Speaker C: I was just gonna say what was your first fuji that you thought would be sort of the replacement for your. Like was it the XE two or did you then buy another body when you sold all your cannon gear? We like alright I'm gonna get this one and that's gonna replace my canon gear. [00:31:16] Speaker A: Um, yeah I did, I, I shot with both so I shot with the canon. I'd have, you know, I'd have one prime lens on the canon and one on the Fuji. Did that for six months but trying to do two camera systems I got really annoyed with it and even editing. You got different files. Um, and then I've got the xe two, uh, xt two. Fuji xt two camera. Yeah. When that come out. Yeah. And ended up buying the standard fast zoom that Fuji do 1655 f 2.8. [00:31:47] Speaker C: Yeah. [00:31:48] Speaker A: Which is a really fast focuser so that's. [00:31:51] Speaker B: Yeah yeah, constant f 2.8. [00:31:54] Speaker A: Yep, that's right. I should say that, yeah I do love shooting of prime so when I can. [00:32:00] Speaker B: Yeah I'm a prime shooter too. Jashani is the most important piece of equipment actually. A set of earplugs. [00:32:07] Speaker A: Oh yeah, yeah you definitely. I didn't. I do have a bit of tinnitus because especially from when I was a kid playing in bands in tin sheds in the country. Definitely damaged my ears. Yeah. [00:32:19] Speaker C: Yes. [00:32:20] Speaker A: And it does have a lot of shows. [00:32:22] Speaker C: It. It came back like, oh, sorry. It went away for me. You know, my. Oh, I had a little bit of. Little bit of hearing damage, and as I stopped playing in the band and wasn't going to as many live shows, it all just kind of faded away. [00:32:40] Speaker A: Okay. [00:32:41] Speaker C: It's really interesting. Yeah, yeah. [00:32:44] Speaker A: Good, good quality earplugs. [00:32:48] Speaker C: Molded ones, like the custom fitted, molded. [00:32:52] Speaker A: I am about to get some made, but yeah, I do. Look, I don't use those horrible foam ones, so I use better ones than that. [00:32:59] Speaker C: Yeah, yeah, yeah. [00:33:01] Speaker A: Those modern ones are the best. [00:33:03] Speaker C: They are. Because they're like, when we're performing it, it would cut down the music, but still sound closer to what it sounds like where she put the phone ones in. It sounds very muffled, still get very bass head and stuff like that, whereas this was a much more closer to life. Yeah, yeah, yeah. [00:33:23] Speaker B: Cool. [00:33:24] Speaker A: Yeah, because. [00:33:25] Speaker C: Especially. [00:33:25] Speaker A: Because if you shoot, especially photographing these days, someone's just standing in front of the speaker as well on the other side stage. So you really need it. Yeah. [00:33:32] Speaker C: Even. Even wedding photographers? Even wedding photographers. If you're doing the later night stuff with dj's there and bands and stuff like that and like, same. Same thing. You're shooting the dance floor. You're often just sort of standing to the side of the stage right next to a speaker. Get a set of earplugs. Yeah, definitely. [00:33:49] Speaker A: Yeah, yeah. I wish I had done it when I was younger, but. Really? Yeah. Damage. [00:33:55] Speaker C: Yeah, we don't worry about that stuff. [00:33:56] Speaker A: No one did. [00:33:58] Speaker B: Not at all. So, Shane, talk to us about when you're at a bigger concert. Obviously, you mentioned earlier that there's a barrier between you and the crowd. So how many photographers are working that space? Is it just you guys or is there security in there as well? Is there other stuff going on? What do you contend? [00:34:21] Speaker A: Usually? Yeah, usually. Ask some security. You might have the pr person there or who knows? But that's generally it, I think. I shot pandemonium earlier this year was an outdoor festival at Caribbean Gardens. It had Alice Cooper and Blondie. There's like 20 of us. There is like a bit crazy, a bit too many. So you're contending with, you know, you're trying to be good. Like, you don't sit in the same spot or not sit, stand in the same spot too long. You try. You keep moving around to get different shots because also, you know, I don't want to stop another photographer getting. Getting, you know, a chance to get the same shot. [00:35:02] Speaker C: Is there other than like a three song rule or something? Is that a thing or is that a myth? Is it real? No, no. Does that work? [00:35:10] Speaker A: It's real. Generally, you shoot the first three songs. [00:35:13] Speaker C: Yeah. [00:35:13] Speaker A: And then I ask you to leave the photo kit. Pretty much. [00:35:18] Speaker C: And that's always. [00:35:19] Speaker B: Photographers leave. [00:35:20] Speaker A: Yes. Unless you triple. Triple a pass. Maybe if you shoot him for the band or whatever, then you can do what you want. [00:35:26] Speaker C: Yeah, but they say, is it because it's a little bit distracting for them and they just. They just want to be able to sort of focus on the crowd rather than this. This sea of photographers in front of the stage. Is that. That what it's for? Do you know what it's for? [00:35:40] Speaker A: Well, I think. I think that's probably where it came from. But a lot of bands, not all bands care. I mean, some will play up to the camera for you. [00:35:47] Speaker B: Yeah. [00:35:47] Speaker A: Some totally ignore you. I mean, I try stay inconspicuous as much as possible. [00:35:53] Speaker C: Yeah. But also, I was just sorry that I just. I've always thought about it and I've thought if they've got some, like, epic finale thing towards the end of their show where the drummer spins upside down and gets dunked in a tank of water, you know, like, with sharpness. Yeah, yeah. With sharks, with laser beams on their heads and there's a. A pentagram behind them that's on fire. You don't get photos of that. No, that's right. Yeah. So, yeah, I would have their own probably. [00:36:22] Speaker A: Yeah, they're probably. Yeah. I mean, to be honest, I'd rather the middle three songs because the band are really worked up by this time and there's more sweat and things, crowds. [00:36:31] Speaker C: Going, but they're not too tired. [00:36:34] Speaker A: No. Well, I think the other reason, there's three songs, especially for metal concerts, you're gonna get the crowd surface coming over the front. Yes. And sometimes we've been asked to leave before three songs are up because this is too chaotic and security have a job to do to help these people over. [00:36:50] Speaker C: Yeah. [00:36:51] Speaker B: You become a liability. [00:36:54] Speaker A: Yeah, basically. Yeah. But they're. They're great shots as well. Shooting people coming over. [00:36:59] Speaker C: Yeah. Barrier. [00:37:00] Speaker A: If you can get in the right spot and not be in the way. [00:37:03] Speaker C: Really cool. [00:37:04] Speaker B: Yeah. [00:37:05] Speaker A: Yeah. I think I got one a while ago of a yemenite. The guy kissed the security man on the head as he was coming over because he basically saved him from pulling on his head, you know. Yeah. [00:37:16] Speaker B: I'm going to bring up some of your photos, if that's okay with you, Shane. [00:37:20] Speaker A: Yeah. [00:37:20] Speaker C: While you do that, I'm just going to bring up a couple of comments just to fill in some moments when, in reference to quality versus quantity for camera gear, Tony says castles has both. And he is correct. [00:37:33] Speaker B: Is that how we pronounce your name? Castles? Not castles. [00:37:36] Speaker C: Oh, it's castles for sure. [00:37:37] Speaker B: Is it? [00:37:38] Speaker C: Yeah. I'm not fans. [00:37:40] Speaker A: I still say castle because I was in the UK. Courageous. [00:37:43] Speaker B: It's like dance and dance. [00:37:45] Speaker C: Exactly. Dance, mate. We dance, we go dancing. [00:37:50] Speaker B: Little segue. [00:37:51] Speaker C: And my name is JS Henny. As a motorcyclist, the molded ones are unbeatable. Yes, I agree. Not, not a motorcyclist, but I agree molded ones are worth the investment if you spend a lot of time with, in high noise environments like concerts or weddings. And from the homebrew network, I like peas. [00:38:11] Speaker B: That's peas in place of earplugs. [00:38:14] Speaker C: Oh, I thought it was just like a, you know, the snazzberries taste like snozberries. Like kind of just off the wall comment, but. Okay. Peas could work, I think. You want to put peas in there. You might lose them, get lost in your brain. I don't, don't recommend peas. No. [00:38:32] Speaker B: Actually, a little side story on that. I had my son. I had a son. My son. That sounded terrible. Greg. My son has a habit to chew things and he's a bit absent minded. And he managed to chew the end off his glasses. We've been through several pairs, and he somehow managed to absent mindedly pop the little plastic bit into his ear canal. And then he didn't tell us about it. And he got a cotton bud, thinking, I'll just scoop it out. [00:39:01] Speaker C: Oh, no. [00:39:01] Speaker B: She shoved it further down into his middle ear. And so we had to take him to hospital. And they tried to get it out without sedation. Didn't work. They tried it with laughing gas. Didn't work. They ended up having to put him under just to get this tiny little piece of plastic out of his ear canal. So just for all of you at home, don't stick things. Don't stick peas in your ear, for one. Yeah, don't. Don't go sticking things in your ear. There's a life lesson for, for you from Greg. [00:39:27] Speaker C: I'm a sucker for using, like, a cotton bud to clean my ear, and I have been told that that is a bad idea. A doctor once told me, never put anything smaller than your elbow into your ear. [00:39:42] Speaker A: Okay. [00:39:42] Speaker C: And then I was like, I can't even get my elbow to my ear. Anyway, back to photos. [00:39:49] Speaker B: Let's. Let's take a look at some of Shane's work. This is on his Instagram feed. You guys all see that? [00:39:58] Speaker C: Oh, yeah. [00:40:01] Speaker B: So, yeah, it's. [00:40:02] Speaker A: That's pantera. That was not fest earlier this year. [00:40:12] Speaker B: That's a great shot. [00:40:13] Speaker A: Yeah, yeah, yeah. Zach wild, famous for Ozzy Osborne being Ozzy Osbourne's guitarist, but now playing the pantera. Um, you can't get a photo of his face because his hair is always in the way. [00:40:27] Speaker C: I always wanted a Gibson. Zach wild les Paul with the EMG 81s in it for any of you. Guitar out there. Yeah. Oh, that's cool. [00:40:39] Speaker B: That's really cool. [00:40:41] Speaker A: Yeah. Tell me that's from Ginger. Yeah. [00:40:44] Speaker C: What's your current. So, like, we're looking at some pretty recent stuff, I think. Oh, no, this is 20. [00:40:49] Speaker A: That's pretty old, that one. [00:40:51] Speaker C: It's pretty old. Like, what's your kind of go to kit currently for bigger concepts like what's. What do you take? What and what do you use the most? [00:41:03] Speaker A: I always shoot with two bodies. So we've got a Fuji xh two and Xt three at the moment. What lenses I take. It's pretty much fully decided on what venue we're going to shoot. So if I'm shooting on a big. If it's a big venue of a big stage and it's high, I'm not going to shoot too wide, because basically you're only going to be shooting the top of the stage in the foldbacks. So I'll usually take a standard zoom and then a standard tally zoom, all f 2.8, of course. [00:41:38] Speaker B: So what focal ranges of those, if you don't mind me asking. [00:41:41] Speaker A: So in APS C terms, 16 to 55 and 50 to 140. If for most clubs and smaller venues, I shoot my favorite lenses, I love to shoot ultra wide. So it's an eight to 16 f 2.8. And then I'll have that on one camera and then I'll shoot prime on the other, basically for the shots longer. [00:42:08] Speaker C: What would you go to prime be for that? [00:42:11] Speaker A: I have been shooting mostly the 50 f one, which is great for low light, but I recently got a Viltrox 27 f one two. And I'm finding that that focal length suits me better. And I've been using that one. Yeah, I think that that'll be the viltroxy you just had before. Yeah. [00:42:32] Speaker C: What made you choose the xh two instead of the xh two s? I would have thought that maybe for low light and you know, speed and stuff like that, that the s would be more suitable for concert photography. [00:42:47] Speaker A: Yeah, I had a. I thought about that for ages actually because I mean did the s come out before the two, Greg, they didn't come out the same time, did they? [00:42:59] Speaker B: No, they didn't. [00:43:01] Speaker A: Yeah. [00:43:01] Speaker C: Was. [00:43:02] Speaker A: I think that's who know. [00:43:05] Speaker C: I don't know. [00:43:09] Speaker A: Marketing the um, the two s for videographers more. And I thought the 40 megapixel probably will come in a bit handy for cropping because you do sometimes the actions happening pretty fast, you don't, you don't have, you know, you can't get your crop, you reach exactly how you want it on the night sort of thing and you find you have to crop in post. It's always better to shoot a little bit wider so you've got room to crop later on. [00:43:40] Speaker B: Yeah, very cool. [00:43:44] Speaker A: Depends on the formers, how fast they're moving around. [00:43:47] Speaker B: Yeah. And so how do you find the low light and ISO management of the Fuji kit for concert photography? [00:43:59] Speaker A: Yeah, I mean we always want a better sense of it. Yeah. And I'm quite happy with it. Um, I often don't even apply, you know, anything under 3200. I don't even apply any noise reduction, I just leave it. [00:44:11] Speaker B: Yeah, yeah. [00:44:13] Speaker A: Um. 6400. You can notice it a bit and sometimes I'll put it into um. Like a separate program like to take the noise out. But um. I've got a mind blank now what one I use to. I'll just check. Yes, Topaz. Yeah, Topaz. Yeah, the noise. That's the one I use. But you do have to be a bit careful. Sometimes it takes away too much detail from faces. [00:44:40] Speaker C: Yeah. [00:44:40] Speaker B: And you lose some of the atmosphere as well. [00:44:43] Speaker A: You do, yeah. [00:44:44] Speaker B: I mean some of these pyrotechnics and this smoke and there's sweat and. [00:44:50] Speaker A: Yeah. You want all that, you know. Yeah, yeah, yeah. It's more. More. The smaller gigs, but I mean heavy metal, the lighting in the smaller venues that sometimes they, they want the atmosphere and I just want it all red or all blue. But you know, that sort of sucks a bit if you're a photographer and requires a fair bit of effort in post because, you know, the camera doesn't come close to recording what. What was happening on the time, like the look of it. You do have to put a. You're trying to. I guess you could say it's more of a feel. You're trying to recreate the atmosphere in your picture. [00:45:24] Speaker B: Yeah. [00:45:25] Speaker A: In post production and every photographer, you could have ten shooting the same thing. And everyone's gonna edit it different. [00:45:32] Speaker B: Yeah. And have different angles and of course. [00:45:35] Speaker A: Yeah, everyone's got their own flavor, so. [00:45:38] Speaker B: Yeah, and so when you shoot a typical, like a larger, larger gig, how many photo, how many shots are you taking? Like when you get home and you plug in your sd card, what are you looking at in terms of workflow? [00:45:51] Speaker A: Most gigs are probably three bands, like usually two supports in their main act. Geez. If, if they're moving around a lot, I'll take more photos and yeah, I could have a couple of thousand photos to go through. [00:46:04] Speaker B: Yep. [00:46:05] Speaker A: Yeah, I'll try shoot as least as possible. But if you. Yeah, you gotta shoot enough so you got something to play if. And I'll generally delete 80% of my images after finish processing as well. I don't hang on to them. [00:46:20] Speaker C: What software are you using for your like, workflow? [00:46:24] Speaker A: Like all lightroom. [00:46:26] Speaker C: All lightroom. Yeah. [00:46:27] Speaker A: Yeah. [00:46:28] Speaker B: What about you, Justin? When you shoot a mountain bike day, how many, how many shots are you. Because you're obviously using some burst as well. [00:46:36] Speaker C: Yeah, depends on the type of thing that we're doing. It wouldn't be unreasonable for. Yeah, sort of. It's hard. A lot of the bigger shoots that I do, a hybrid photo and video. So I'm shooting photos and video and I'd still potentially come home with 3000 images plus. [00:46:56] Speaker B: Yep. [00:46:57] Speaker C: Hours and hours of video. I mean, a wedding is probably better example. It would not be, it would not be out of the ordinary to shoot five or 6000 frames at a wedding. Oh wow, that's on a lower. Like we wouldn't shoot. We're not shooting like 15 frames a second or something at a wedding. That would, it would just be images. You just gotta get not single shot. I do a lot of bursts because. [00:47:24] Speaker B: Oh you do? Okay. [00:47:25] Speaker C: Yeah. Cause we don't do a lot of setups. So trying to get natural reactions while people are talking and laughing and stuff like that. We always were like, hard drive space is cheap, cards are cheap. We don't want to be like, oh, exactly. Oh, if only we had taken a frame a split second later, they'd all be happy. But one of them looks weird or whatever. So we're not sort of precious in the fact that we definitely overshoot. When I say we, I'm talking about me and Jim. And it's mostly in our Jim because I don't really shoot weddings anymore. But yeah, while I was doing that a lot, I think if Jim and I both shot a wedding, probably the most images we come home with once was 12,000 between two of us for, for a twelve hour. Yeah, that's a lot. [00:48:14] Speaker A: How do you get, how do you, what's your process for culling through that much? [00:48:18] Speaker C: So lightroom, we used to use fast raw viewer and before that we use photo mechanic. [00:48:23] Speaker A: Yeah, I tried to use photo mechanic. I couldn't get into it. [00:48:27] Speaker C: Yeah, it was, I mean, it was essential for us when lightroom was slow. Lightroom used to be slow. If you import now with Lightroom on a good computer with, and you have embedded previews on your import, make sure you have that option selected. If anyone's listening. Embedded previews, when you import, it'll pull the jpegs because when you shoot on the back of your camera, you might be shooting a raw image. Even if you're only shooting raw, not raw plus JPEG, it still writes a small JPEG file alongside your raw as the preview. And that's why, that's what you see on the back of your screen. That's why picture styles, when you're shooting, even if you're shooting raw, picture styles do actually matter in some small way, in the sense of it's going to reflect what you see on the screen. If you shoot black and white, even if you're shooting raw, you'll see a black and white preview on your back screen. And then when you put into Lightroom, if you use these embedded previews and stay in the library module, not the develop module library, you will see those previews. It'll say embedded preview down the bottom and it will be fast to flick through because it's just loading that lightweight kind of low res jpeg file for you to preview and cull and we can whip through the images in. [00:49:48] Speaker B: I. [00:49:48] Speaker C: Don'T know, 4 hours or something like that for a wedding to do a first. Pretty good. Yeah, first pass, you get fast at it and then you would probably either, probably wouldn't do a second pass. But we'll just remove images while we're editing that are unnecessary or whatever. [00:50:09] Speaker A: Yeah. [00:50:10] Speaker C: It's faster to remove a few extra images than it is to go back and find a shot. If you like, say selected one, you're like, oh, actually that one's not quite sharp when I loaded the raw. And then you have to go back and find a replacement for that image or something. It's faster just to include both of them. And then when you're editing, be like, oh, that one's better. Get rid of the other one. [00:50:28] Speaker A: Yeah. [00:50:28] Speaker C: And that I usually do about four. [00:50:31] Speaker A: Passes when I'm editing. Do you, you just use a star system basically. Yeah. [00:50:35] Speaker B: Interesting. [00:50:37] Speaker C: Yeah. [00:50:39] Speaker A: Because I shoot in low burst, which is good because you can still shoot singularly without changing the setting, you know? [00:50:47] Speaker B: Yeah. [00:50:48] Speaker C: Yes. That's the key. There's a balance there. I can get at about nine or ten frames a second and up to twelve. It starts to get very hard for me to shoot one frame. [00:51:00] Speaker A: Yeah. [00:51:02] Speaker C: If I really concentrate, I could maybe get it right at 15 frames a second. On the cannon gear, it's minimum two frames if I touch the shutter. [00:51:10] Speaker A: Yeah. [00:51:10] Speaker C: Okay. Which obviously basically doubles everything that you're doing if that's not what you want. So yeah, it's like we, I found that sweet spot of, for weddings and stuff like that. Seven to nine frames a second is like fast enough that if someone throws confetti, you're getting like action and a lot of choices. But you can still change your frames. Yep, yep. That's exactly what I do. Do you know what your low burst like? What the radius on those. Odd. [00:51:38] Speaker A: It's probably only five, four or five frames, but that's more than enough for me. Yeah, yeah, yeah. And then, then basically I'll just do the first pass and I'll just pick everything that looks okay. Because you don't know if there's going to be a money shot coming down or not. Although often, you know, you've taken it for a really cool, epic shot, you already know it's there. But yeah, because you're shooting burst, you, you know, the, the one, either side of the one you thought might be better. So that's why I do about four passes. So I get, get to my five stars and they're the ones I issued at the publication. [00:52:14] Speaker B: So yeah. [00:52:16] Speaker A: From say a 2000 shot shoot, I'm going to issue 30 or 40 images. [00:52:20] Speaker B: Yep. [00:52:21] Speaker C: Every time you whittle them down, it's harder and harder and takes more time. Absolutely. Yeah, that's the thing. And that's, that's something that I don't think we maybe as photographers we practice enough, which is like depending on what the goal is, less is more. When we were doing weddings, we would not, we would never leave out photos that they might want from the main set of images, just trying to make ourselves look better. We would never do that. We wouldn't be like, oh, let's just leave those out because then the other photos will look more special. But we would always then cut down their whole wedding day to an image set of, because we would deliver probably 500 to 800 images. Of a wedding day. Finished files. [00:53:04] Speaker A: Yep. [00:53:04] Speaker C: But we'd cut that down to like 150 to 250. As they're like, this is, this is like the gallery you would look through with some friends or something like that. Like, don't subject them to 800 images. Here's exactly. Here's a more sort of selective gallery of the day that that took. It didn't take a long time, but it still takes time because it's a little bit more thought, oh, is this one better than that one? Or should I leave this in or leave it out of. Yeah, and, and then culling that down to something that we would post for social media or whatever, an album of 20 or 30 images takes even longer because then it got to the debate of, like, which image is worth it, which image is really better. Jim, your images suck. Mine's better. And Jim be like, no, no, you're suckmind are better. And then it was so funny. Like, we, we got a lot better working together because it was always a competition, you know, I would shoot more frames, and Jim be like, you just spray and pray and take way too many shots, blah, blah, blah. And then we'd get through, and I'd be like, how come, you know, 65% of the selects in our, in our sort of featured album are mine? And he's like, meh, whatever. And then, you know, like, so it was, it. It made you a better photographer. And going through those processes of cutting out images and working your way towards what. Yeah, what you would call, like, your five stars makes you a better photographer, for sure. [00:54:28] Speaker A: Yeah. You get emotionally attached to your images as well. [00:54:32] Speaker C: Of course it's hard. [00:54:33] Speaker A: I've got my kids in before and said, here's five similar ones. You pick the one you think is best, and that's usually the correct one. [00:54:43] Speaker C: You know, it's interesting. This isn't actually, this isn't that useful for that type of thing. But, you know, when you're saying there's like, there'll be one either side of a hero image or something like that, or you can't decide between two hero images or something like that. This is another thing that I learned from a wedding photographer. I think Jerry Jonas, I'm pretty sure, said it. And he's like, if you're struggling to pick between two images, just pick one. They're both basically identical. [00:55:08] Speaker A: Fair enough. [00:55:09] Speaker C: I was like, yeah, that's a fair point. He's like, he's like, don't go back and forth trying to figure out which one's better. He's like, if you can't decide they're both basically identical. Just select that one and move on. [00:55:20] Speaker A: Like often, your first choice is the best one as well. [00:55:24] Speaker B: Yeah, true. Go with your gut. I mean, you invested the time to get to the event venue, shoot whatever it might be. You know, you've. You're confident enough in your skills to take the shot, then just trust your gut instinct. Yeah, I find I've become more ruthless with my editing process. So when I was running on my iMac, I was running old or not old, but Lacy hard drives, and I had to keep buying new ones because I'd run out of space and I would keep every shot I ever took because I. I was in that mindset of, oh, well, you know, especially my photos from my trips to Japan. You know, my first trip to Japan, I was there for. I think I was in country for eight days, and I took 7000 shots, you know, and. And I kept them all. All the raw files, all the jpegs I've got, you know, and backups, because I just became very paranoid about losing them. But now that I've. Since I've invested in a new MacBook and I've gone with a sandisk portable SSD as my lightroom drive, I'm really selective about what I keep and everything else. I just delete it because I figure I'm not going to look at it again. I'm not going to, unless it was for a job. But most of my photos at the moment are either for articles or for fun, you know, for personal projects, and I've just become really ruthless about. [00:56:45] Speaker C: Yeah. [00:56:46] Speaker B: But if I do get stuck between which one of two images that are almost identical, then I'll keep one in color or with, you know, whatever color profile I put on it. And the other I'll put in black and white. [00:56:57] Speaker C: Yeah. [00:56:58] Speaker B: What's that thing I said last time? Make it black and white, add a little grain, call it art, you know? [00:57:04] Speaker C: Exactly. [00:57:06] Speaker A: Yeah, I. I pretty much deleted anything under a four star, which will be 80% of my shoot. Yeah. [00:57:15] Speaker C: Yeah. Especially, I was gonna say, once you start doing the volume and stuff like that as well, even for paid jobs like weddings, that we were paranoid about what to do, we sort of devised. We started off just keeping all the raws for quite a while, like, everything we shot. And then we devised a sort of a process whereby, you know, we'd have timelines. We always end up keeping a full set of raws and jpegs for everything of what we delivered. But, like, at trigger marks, we'd be like all right now we no longer keep the full set of raws after twelve months. We delete them. Like the additional shots that we didn't deliver and things like certain times. Yeah. Just because we wanted to have that, not just delete them the week after because we have had people say, hey Auntie so and so was there something's happened? Any photos, even if they're out of focus, would be appreciated or something like that. And then we can go back through and, and stuff. But yeah, beyond twelve months we're like, all right now we. Because it was just too much data. Like, it was an insane amount of data. [00:58:27] Speaker B: Yeah. [00:58:28] Speaker A: I've only ever had it once that I had to come back and find a picture that was, I actually shot a wedding earlier in the year with Ian tan actually. And the photo, the photo I deleted, one person had their eyes shut. It was like a group shot. [00:58:47] Speaker C: Yeah. [00:58:47] Speaker A: So I just binned it and then, but then they were asking for it and I, thankfully all I had left was the smart preview from Lightroom. So it's more than enough. It was more than enough for, you know, Instagram and things like that. [00:59:02] Speaker C: Yep. [00:59:03] Speaker A: Yeah, yeah. I've got to be a little bit more careful for that sort of style. [00:59:08] Speaker C: It's happened to us like, we've shot a lot of weddings but it's happened to us a few times, you know, couple and being able to, to either check or to deliver something that they didn't get or something like that is. Yeah. Is well worth it. So yeah, I'll have to double check with Jim. I don't know if he's lowered it to six months after the deliver the files are delivered, but certainly for a while it was twelve months. We would make sure we kept all, every single shot we took. Backed up in three places for twelve months. And then after that it started filtering down and down and down to the point where we just had a, the set of delivered images, delivered images backed up in three places. And because we have had more, a lot more people come back to us that have lost their USB. That happens a lot. And like to the point of ten wedding I shot ten years ago. [00:59:59] Speaker B: Oh wow. [01:00:00] Speaker C: And being able to say, yep. Well I don't say yet. First I check, check and make sure that the files are there, that they're not corrupted, that I don't know, like everything's all good and then I be able then say to them hey, no problem, I'll have them on a USB for you soon. And they're like fuck yeah, yeah. And then I'm like, now back these up when you just leave the USB. Yeah, I think we did that for the last person. I think we're like, yeah, just now, put one of these somewhere special and then use the other one. [01:00:32] Speaker A: Yeah. I back up to the, to the web. Full res jpegs of my final selections, but everything else. I've just got a raid drive at home, so. [01:00:44] Speaker C: Yep, yep. [01:00:46] Speaker A: It doesn't stop theft or fire, but if a drive breaks down, then I've got it in the other one. [01:00:52] Speaker C: Yeah, well, that and the raids can be funny. We got a big, a big raid and it's done some weird shit over the years. Like, we thought we'd lost the whole thing a few times. [01:01:01] Speaker A: Oh, wow. Okay. [01:01:02] Speaker C: Yeah, because once they get old. Yeah, it's an older synology raid with, yeah, geez, I don't know what we've got in there. [01:01:08] Speaker B: Ten lots of moving parts. [01:01:10] Speaker C: Exactly. And everything starts to get older and yeah, software is a bit older. And it's at that point now where it's like, I hope, I hope just. [01:01:20] Speaker B: That's part of the reason why I went to a portable SSD. I'm gonna get another one for backup. That's on my to do list. But my lacy drives were old spinning discs and I've already had one of them fail. [01:01:35] Speaker C: Yeah. [01:01:36] Speaker B: And I just figured, look, they're, they're getting on to six, seven years old now. I think I'm just going to start fresh with a brand new lightroom catalog on this. I've still got my iMac, I've still got those drives, I've still got the backup. So if I need to go back and find those old photos. But the chances of me actually wanting to go and find my old Tokyo holiday snaps when I've got them on my blog site, I've got them on cloud. It's very minimal. [01:02:01] Speaker A: Yeah, that's right. [01:02:02] Speaker B: For those of you listening at home, just a reminder, you're listening to and watching, sorry, the Camera Life podcast brought to you by lucky camera straps. If you've had an experience of a hard drive fail, or you finally decided to delete the shots only to have a client or a friend ask for a shot back, or anything around that whole anxiety that storing and keeping data producers, please drop a comment either now live or if you're watching this at a later stage. And we'll get back to you in a future episode of the Camera Life podcast. So Shane, you're currently working with obviously the best gear for the job. Fujifilm X series, have you? I know people have. Ian Tan, who's an alumni of the camera life podcast, shoots with X series, but also shoots with a GFX. [01:02:55] Speaker A: Yep. [01:02:56] Speaker B: 100. I think he's running the think. Yeah. Does the g. Does medium format ever tempt to. [01:03:06] Speaker A: Of course, but I don't think it's suited to event photography. Certainly. I would love to shoot a low light image, though, on a medium format and just see what editing potential I've got to pull back, you know, missing shadows and, you know, highlights and things like that. That'd be really interesting. So I would love to try it. Um, I think it'd be great for studio and portraiture, anything like. Things like that. [01:03:31] Speaker B: Yeah. [01:03:32] Speaker A: But, um. [01:03:34] Speaker B: What is that? [01:03:34] Speaker A: The r three, is it. [01:03:36] Speaker C: This would, uh, tear up concept photography. [01:03:40] Speaker A: Oh, absolutely. Yeah. [01:03:41] Speaker C: It is epic. [01:03:43] Speaker A: Yeah. [01:03:43] Speaker B: And your bank balance. [01:03:45] Speaker C: And your bank. But hey. [01:03:46] Speaker A: Yeah, yeah. [01:03:51] Speaker B: I don't know about that. [01:03:55] Speaker C: I think you can get them on a deal at the moment for like, under seven grand. [01:03:58] Speaker B: Oh, deal. A deal doesn't count. Yeah, you can't then change the. Change the. [01:04:04] Speaker C: Then if you pair it with this, the 7202.8, which I'm pretty sure is smaller and lighter than the Fujifilm equivalent. 2.8. That would be shorter. Yeah, it's, it's. And I think it's Ida, which is crazy. [01:04:19] Speaker A: But when you zoom, does it protrude out? [01:04:21] Speaker C: Yeah, but, yeah. [01:04:23] Speaker A: So the Fuji one doesn't. It's all internal. [01:04:27] Speaker C: What's. What's the benefit of that? It's a grower, not a shower. [01:04:32] Speaker B: It's a compact. The compact experience. So how old's the three reals now, Justin? [01:04:39] Speaker C: Is it three years? Two or three years. [01:04:42] Speaker B: Okay, so retails for roughly 7500. And for that you get a bonus battery, the GFX, the brand new II, which is 102 megapixel sensor. Fujifilm unicorn magic on board is 8700, so it's not that far off. [01:05:00] Speaker C: But it's cheaper. [01:05:02] Speaker B: Yeah, but it's also for a lot. [01:05:05] Speaker A: Of things as well. Yeah, I mean, it's designed for events. [01:05:09] Speaker C: So is the GFX 100. [01:05:10] Speaker A: Of course. That's why I wouldn't use it. [01:05:13] Speaker C: Yeah, yeah, yeah. I mean, in all serious. No, yeah. GFX 100 paired with like an XH two s or something like that. Or XH two is. [01:05:24] Speaker B: That's pretty cool balance. [01:05:25] Speaker A: Cool. [01:05:25] Speaker C: Cool combo. Although the biggest downside, and obviously there's nothing they can do about it, even though you're still on a Fuji system, you're still running completely different lenses, which is obviously that it is what it is. You know, it's medium format versus crop. But, yeah, that's. That's probably the only downside of, like, you sort of, you could essentially be running Fuji and Sony or, you know, Canon and Nikon. Like, they're almost two different systems other than the fact that the interfaces and everything. And I'm assuming, like, how do the colors, do the colors the same between GFX and. [01:05:59] Speaker B: Yeah, well, the exterior, the GFX is running the X processor five. So it's using the same brain as an X t five. And the image sensor itself, I mean, they're different sensors, obviously, but it's pretty much the same tech like there is. [01:06:17] Speaker C: I was going to say, obviously there'll be differences because it's a different sensor, but. But it's similar color science. [01:06:22] Speaker B: Yeah, it's pretty close. I mean, people pixels will always point out the differences in white balance. [01:06:28] Speaker C: Did you say people? People pixars. [01:06:30] Speaker B: Did I say people pictures? [01:06:32] Speaker A: Maybe. [01:06:33] Speaker C: I'm getting that t shirt. T shirt made. Are you people pixing? [01:06:39] Speaker B: Yeah. And then on the back, brought to you by lucky Straps camera podcast. You know, people are always going to know. People will always pick out, I mean, people will buy two, you know, have two versions of the same camera and say there's differences, but I think for the most part, the Fuji color science and Ian would be someone more placed to talk about this because he often does. I've seen a presentation of his about Fuji color science, and it's, you know, it's. [01:07:04] Speaker C: I love it. [01:07:05] Speaker A: That's one of the other reasons I love Fuji as well. So the color simulations are amazing. [01:07:10] Speaker B: Yeah, yeah. Just before we jump onto that point, J's Harney, which I think we've just. His name is Jason. Not an equipment failure, just a Jason failure. I have a hard drive somewhere. Hopefully with everything prior to about 2013 that went missing in a house move, and I'm sure it's here in a box. And they. Jason goes on to say, it's awkward. When do you have those photos of the kids handy? Comes up. [01:07:35] Speaker C: Oh, yeah. Well, AI. AI could. You could potentially, you know, whip some outlandish if you need to, and just say, yeah, you found them. They're just a bit weird, actually. [01:07:46] Speaker B: Make your kids better. Looking at. [01:07:48] Speaker C: I'm gonna. I've got to get this. This queued up. But at some stage, I'm going to show you guys why AI isn't as good as it's cracked up to be. Because when I was making the thumbnail for this particular episode. I had a bit of a laugh, actually. Maybe I'll bring it. I'll get it here. Before we get into Fuji color science in more depth. This was great. Okay, so we're in canva, right? And I had to try and make this thumbnail work. And I normally prefer to, like, where am I? [01:08:27] Speaker B: That's a great photo of you, by the way, mate. [01:08:28] Speaker C: That's awesome. Yeah, it's a really great photo. [01:08:30] Speaker A: Thank you. [01:08:32] Speaker B: Actually. [01:08:33] Speaker A: Yeah. Wedding photographer took that for me. [01:08:37] Speaker C: So I'm gonna. So obviously this is canva, which is not Photoshop or whatever, so I've never heard of it. What? Canva? Really? [01:08:46] Speaker A: I've just downloaded it. Yeah. But I haven't used it yet in. [01:08:50] Speaker C: Terms of, like, quick graphic design and stuff. It's quite. It's really good being able to, like, make YouTube thumbnails and stuff like that. It's all I use. I don't like using Photoshop. I never learned it. So. Yeah. [01:09:04] Speaker B: Why does our son have seven fingers? [01:09:05] Speaker C: Jason has seven fingers in this shot. Okay. So I wanted to. So usually I'll, like, remove the background and you can just do that in canva with this, like, background remover and stuff like that. All works pretty well. Yeah. But I thought it'd be really nice if I could just extend this texture through for the background and do the thing. But I'm nothing, you know, graphic designer, so I'm not going to do that manually. I was just like, oh, yeah, I'll use one of these new AI tools. And there's this one here called magic expand. So I was like, boom. Magic expand. It's AI. They're all raving about it. I'm pretty sure Photoshop and stuff have that too now, I think. And you just. And it just works. So I was like, boom. Okay, so I want it to fit the whole page. Magic expand. Let's go. And this is why AI is not taking anyone's jobs just yet. [01:09:59] Speaker B: Magic expanse should be the shelf name for Viagra. [01:10:07] Speaker C: Takes a little while, so just talk amongst yourselves. Here we go. Magic expand. So. Oh, hang on. Canvas had it. Canvas had a meltdown. It actually just says there was an issue on our end. Damn, that's not good. Look, just. You won't. You guys won't be able to see it. [01:10:25] Speaker A: That photo up the top, right looks. [01:10:27] Speaker C: Yeah, well. Well, last time it put. I'm going to do it again. I'm going to see if I can get it to come up big because there's obviously something going wrong with there. [01:10:36] Speaker B: Didn't, um, oh, no. Wasn't there a huge. I mean, anything a royal does in the UK? There's a controversy. Wasn't there a controversy over Princess Kate? Was it Kate who edited that photo of her kids? And everyone spotted that it was a little too corrupt and perfect for. For reality. [01:10:56] Speaker A: I think she shoots Fujifilm as well. [01:10:59] Speaker B: Yeah. And then. And then everyone criticized it of being an AI fake. It was around the time where she had disappeared for a bit because she had cancer. You know, heaven forbid she had some privacy. And she published a photo of her with the kids or someone. [01:11:11] Speaker C: They said it was AI. [01:11:13] Speaker B: They said it was AI because she wasn't. She looked weird. And the kids look weird. [01:11:17] Speaker C: Weird. Yeah. [01:11:20] Speaker A: Yeah. [01:11:20] Speaker C: Here we go. This is what happened when I tried to expand it. [01:11:22] Speaker B: Look at that. [01:11:24] Speaker C: But every time. Every time it's like a different person. What's it. Look at this. [01:11:30] Speaker A: Holy crap. [01:11:31] Speaker C: And then sometimes it tried to do the wall, but, yeah, this. Some of these characters that you hang out with in AI land. [01:11:39] Speaker B: Uh, this one. [01:11:40] Speaker A: Yeah, that one I don't like. [01:11:42] Speaker B: That's a lot. [01:11:44] Speaker A: I was about to say that dude looks dodgy. [01:11:46] Speaker B: That could be Jim's brother, the flenny on. [01:11:50] Speaker C: Yeah. So, Matt magic expands. Just. It didn't quite read my mind. It. It thought that we. Scary. [01:11:59] Speaker B: That is very scary. It's like a character from a villain movie. [01:12:04] Speaker C: Yeah, it's. It's so funny. It's like you. I don't know, you see all the stuff on the Internet about how great the tools are and this and that, but then every time I've gone to try them, I'm like, this is useless. [01:12:16] Speaker B: Yeah. [01:12:16] Speaker C: But I'm sure it's all progressing along. And if you know how to use the tool. Oh, sorry. It's. Yeah, it's glitching out. Obviously, the neural network or something isn't, you know, something. Singer for Queens. Queens of the Stone Age. Yeah, I saw them. [01:12:40] Speaker A: Yeah. I think that's Gavin at Homebrew network. I think one of my friend. [01:12:49] Speaker B: Welcome, Gavin. So we were talking about the wonderful and uncomparable Fuji color science. And, Shane, when it comes to your concept photography, obviously you're shooting in raw, as we all do. Do you shoot with a JPeG backup or do you just shoot? [01:13:12] Speaker A: No, just the raw and pretty much classic chrome as well. My go to simulation. [01:13:20] Speaker B: Yeah. I've always loved that. [01:13:22] Speaker A: Love that simdead. It's a good start for you. [01:13:24] Speaker B: Classic Chrome is a color simulation. Justin has one of the original Fuji X 100s. [01:13:31] Speaker C: Yes. [01:13:32] Speaker B: Somewhere I think it's a Jim's place last I saw it. [01:13:35] Speaker C: It's a Jim's place. But yeah, I do. And I've had, I've had various. I've had an x 100s as well. And I've done a little bit of shooting with Fujis over the years but. And I've been tempted and if they brought out a new x pro four, I would probably buy it and have a play with it. But yeah, that's where I'm at with my Fuji. And other than getting tempted by GFX's every time we have someone on the show that shoots GFX. Thanks, Greg. [01:14:04] Speaker B: So Shane, do you use Fuji's film sims on your. So you just said use classic chrome. Is that kind of a blanket rule for you? Is that part of your editing workflow that you just drop classic chrome on your raw files in lightroom and stick with it? [01:14:21] Speaker A: I have a bunch of presets that I've created over the years. I've got one that's called shit red lighting. And if that. And that, that'll be then my starting point. It'll still be classic chrome in that. [01:14:35] Speaker C: You should sell that preset. [01:14:36] Speaker B: Yeah. [01:14:38] Speaker C: Shit red lighting. $20 solves all your problems. [01:14:44] Speaker A: Yeah. So I probably are name six or seven different presets for different lighting situations and concert photography. It's never, you know, it's never 100%, but it's always a good starting point. [01:14:57] Speaker B: Yeah. [01:14:58] Speaker A: And I've just made those up from experience. Really. [01:15:01] Speaker C: Yeah. [01:15:02] Speaker A: You get sick of doing the same process over and over, so. [01:15:05] Speaker C: Yeah, exactly. [01:15:06] Speaker B: I do like creating custom presets. I created my own for street photography. So I use either classic chrome or classic negative. I've started to get into classic negative a bit more in the Fuji sim space, which is on the xe four and all. Everything after that. And then I kind of adjust a little, depending. And I'm constantly updating my preset. And I've got one that I call Tokyo Chrome that people in the Fujifilm group will know. I've used that quite extensively, but I constantly update it just. And again, it depends on lighting and mostly depends on lighting because sometimes you'll create a preset for daytime shoots, it's gorgeous, and then you'll drop it on something that's shot in darker settings and all of a sudden everything's blue and you have no idea why that's happened. But yeah, presets is a really handy way to, like you said, streamlined your workflow, get a quick drop of color on everything that, that appeals to you and you think suits the setting. And I think classic chrome is a good choice for concept photography. [01:16:15] Speaker A: It's the one I found works the best for me. So. [01:16:18] Speaker B: Yeah, yeah, yeah. Very interesting. And so what, Justin, what, what looks or color profiles to cannons have, like, what you've just got the five reals mark, two reals. Does it come with preloaded profiles? Can you make your own? [01:16:38] Speaker C: You can see, you can load your own now on the. You've always. It's funny, you've always have kind of been able to load your own, but you can load your own luts and stuff. Now with Canon, which is not something that I've really gotten into, I'm sure influencers will be making them and selling them soon, but basically it's just your regular, you know, picture styles, landscape, portrait camera standard, which is like supposed to be very close to, you know, true to life lighting. There's usually a flat profile, which is quite lack of contrast kind of thing, and then there's a monochrome profile and with canon you can tweak them. And I think a lot of cameras don't in. Yeah. Yep. So I don't know if I'll be able to show you guys, but I don't think enough people play with that stuff and I guess because they're not shooting JPEG, but I would challenge anyone to shoot JPEG for a while. Shoot raw as well. So you got them and you can edit them and all that stuff. I keep getting the comments on my daily videos. You know, if you shoot JPEG, you can do a lot more with the files after. I'm like, yeah, I know, I know, sorry, raw. Yeah. But getting it right in camera is fun and it pushes you to improve your photography and like making a choice, as in I'm changing to black and white to color. I'm going to shoot this in black and white and stuff like that. I know I can later on with the raws do whatever, but maybe you'll be able to see the back of this camera. But basically this is the control that you get. Those numbers represent settings under that particular profile. And if I punch into that, I can change sharpness, strength, fineness, threshold of sharpness, and then contrast saturation and color tone. And I often will increase the contrast a little bit on the black and white preset, things like that. And there's also a clarity setting as well for the jpegs. So I. Yeah, I like to tweak them. I like to get it. I like the back of my camera to look close and what I love is if. What I love is if I could just use the JPEG is wonderful. I feel like I've accomplished something just getting just, oh, yeah, that looks good. Looks great. Just the way it is, the way I took the photo. I do enjoy editing as well. And, you know, for weddings, we always made our own presets and were constantly refining that preset. But we pretty much had one preset. We put on a whole day and then tweak to suit. We want our images to match. And then when it comes to sort of more personal stuff, I actually really like the mast and labs presets for Canon and Nikon and Sony. I don't think they're as popular with Fuji because Fuji have the film style looks built into the cameras. But for Canon and Nikon, if you're sort of into film stuff, I haven't found anything as good as Masten labs. You'll probably look at it and go, three presets cost $100, but that's because they're usually three really great. You don't need 100 presets. Don't buy 100 presets off someone unless you. Unless. Unless they're really cheap and you just want to see like, a whole heap of different styles and have a play with them. But, yeah, if you want something that looks great, go to Masten Labs, have a look around, find a film profile that you like the look of, and then just buy that pack. I've got the adventure everyday pack, I think the one that comes with Ektar. And I use a modified sort of version of that Ektar profile for a lot of my personal stuff, travel photos and things like that. I love it. [01:20:30] Speaker B: I'm gonna share a picture on my screen. Where'd it go? This is a shot because of the Fujifilm XT 50, which is their latest APS C CMOS sensor camera. It's basically a, it's a slightly paired back version of the X T five, but not by much. But one of the things Fujifilm. Fujifilm on every X series camera have added film simulations, which is the kind of looks. And I think, like, it has looks. Is that right? [01:21:07] Speaker C: Yeah, like, it looks. It's cool. Which is. Yeah, I mean, obviously Leica have great images and amazing image quality, but it does seem like they're kind of following Fuji's lead in terms of the, the looks, you know, thing with the film sims and stuff like that. [01:21:25] Speaker B: So this is their latest X series camera. It came out only a couple of months ago, earlier this year. And one of the key differences they've made with this camera is they've put a film simulation dial on the top so it's easily accessible. So what it comes with is eight of their, I think it has 22 film simulations on it in total. And it has the eight most common or popular that they've chosen. And you can see there that, you know, there's a, for Akros, there's, there's a. Can't quite read them. Classic Chrome is the little CC in the top left. There's Velvia, is the v, and then there's some custom ones. So you can actually either add other existing Fuji created film simulations or you can play around with your own in camera and you can actually create your own in the Fuji X Raw studio desktop application, which is a raw conversion software, and then download those back onto the camera as custom film settings. So you can actually play around with how your own custom film Sim looks on your desktop computer, create the look that you're happy with, and then import that into the camera as a film sim, which I think is really cool. You can also do it in camera. You can create obviously custom settings in camera, but I like the ability to. Let me just get rid of that screen. I like the ability to sort of play around with it on a desktop. [01:22:53] Speaker A: Be a good travel camera with that. Yeah, I reckon, yeah, be good travel camera. Having that option to quickly change film sims. [01:23:01] Speaker B: And on the back, when you change it on the back screen, it, it comes up with a visual graphic of the actual film canister. I like dial on the screen, it turns. [01:23:12] Speaker C: Yeah. [01:23:13] Speaker B: And shows the actual film canister. It's really cool. [01:23:16] Speaker C: The X Pro three had the graphic on the back of the camera, didn't. I was a sucker for that. I never like, I never bought one. That was one of the things where I was like, oh, that's lame and cool. I want it because I like the idea of the film graphic coming up on the back. [01:23:29] Speaker B: It's really cool. I played with that at the launch of the X Pro three in Sydney and. Yeah, because in old film cameras, it used to have a little metal bracket and you'd tear the end off your film canister box and you'd slide it into that. So you knew what your film was, you knew what your ISO was of the film and what film you were shooting with. And you would just slide that little cardboard bit in the back of camera so it was always there. And Fujifilm created a color, really low res lcd, but enough, bright enough and sharp enough so you could see the details of the film, the film sim that you were using. I think it was a really clever little idea, but I don't know, it added a lot of cost to what was already an expensive camera and I think that. [01:24:13] Speaker A: Wonder if they'll keep it if they do a fall. [01:24:17] Speaker B: Oh, yeah, they might do a top dial, a top lcd, like they've got on the X. Yeah, XH and the GFX. [01:24:23] Speaker A: Yeah. Okay. [01:24:24] Speaker C: That would make more sense. Probably save them some money and start to match in with this style if they're going to put that dial on, on things. Yeah, I, I've, um, programmed a, you know, on the back of the Q three. There's, there's not a lot of buttons. You can't really see that, but anyway, you know, there's only a couple of buttons. But I've, I, I've taken a button for film styles on the Q three or whatever Leica looks. I always have that. And I've got the same thing on the canons. I've got a button dedicated to changing picture style. So you can do it nice and fast. [01:24:55] Speaker A: So you could probably sell that Leica and buy a GFX. Could you? [01:24:59] Speaker B: Yeah, easily. And the lens? [01:25:01] Speaker C: Yes. Yeah, I might. Look, the thing is though, there is no, like, nothing that is this small with that much image quality. There's just nothing. I don't want to own this camera anymore. It's way too expensive. But the quality that comes out of this thing for the size and how light it is to carry around, it's pretty insane. [01:25:23] Speaker B: Question from Jason. Are the masten labs presets for the older DSLR models as well, or only the new mirrorless sensors? [01:25:31] Speaker C: Yeah, for sure. I was using them within the Nikon, the D, stuff like that. But yeah, they're totally fine. Um, jump on their website and have a poke around. If you've got, like, if you, if there's a specific pack you're thinking about, um, getting asked me, I might already have it. I think I've got three of their packs. Um, yeah, they're not, they're not magic or anything like that, but they, they're the nicest film simulations I've found in. When it comes to presets. Most presets are pretty, most preset packs are. [01:26:00] Speaker B: Yeah. [01:26:01] Speaker C: Honestly pretty shit. Um, yeah, well, they look great in. [01:26:04] Speaker B: The preview, but then they're also taken with quality cameras by professional photographers who get the right composition. The overall image looks good, they just apply a color simulation that enhances what they've already done. [01:26:16] Speaker C: You'll often find that you can have quite a, I mean, unless you're really looking for that like film style or a heavy color grade, like a blue out of a Sci-Fi movie or something like that. If you just want like a nice looking preset, set your camera profile to the appropriate thing. Like if it landscape, portrait standard, something like whatever your camera profile. Because if you're not shooting fuji, you can't select, you know, film simulations as your camera profile. So select the right camera profile, apply a medium or strong contrast curve in the curves in lightroom, reduce your highlights, increase your shadows, set your black point, increase your saturation to taste. Then from there, if you really want to play with things, get into the HSL like color section and play around with the individual colors. Other than that, the photos are the photo and that's going to get you to 90% of where all of the presets are. Unless you're looking for that super heavy affected color grade or something like a specific. Like, I say that, you know, that Sci-Fi like blue shadows kind of look that people use sometimes with heavily affected street photography and stuff like that. Yeah, maybe buy a preset or if you want the film, look by a preset, but buy it from somewhere reputable. [01:27:34] Speaker B: I mean, Lightroom does have some built in sets, presets that you can then customize yourself. But I encourage everyone to just, you know, play around, grab a couple of images that you love that you would like to apply some sort of special look to create a copy in lightroom and play around with every, every feature in that right hand control panel. See what happens when you play with saturation, you know, vibrance, detail. Play around with the curve and see how you can control your highlights and. [01:28:09] Speaker A: Shadows because it'll make you better photographer and editor. [01:28:13] Speaker B: Yeah, yeah. It'll teach you what you can actually, how far you can actually push your, your image. I mean, a lot of people will come at you with, oh, that's just heavily edited. But the editing process in, even in every professional genre of photography is just as important as the taking of the photos and the setup process. It's, it's an end to end workflow that, you know, pro and enthusiast photographers have to master if they want their stuff to work. So I think there's nothing wrong with enthusiasts playing around with creating their own sims or even just, you know, playing around with the, with the, the editing tools that are at your disposal. You paid for a subscription? Have at it. [01:28:53] Speaker C: Yeah. And learn about it. I think that's, it's important. Like, I would say these days I've got a fairly light handed editing style. I prefer things to look closer to natural, maybe a little bit more vibrant than natural, but like, I'm not trying to color grade images to look completely different. I'm just trying to make them look kind of like what they were, but maybe a bit punchier or something like that. Yep. So, but don't use the excuse of, oh, I just like my images to look unedited. Don't use that as an excuse to not learn how to do it. Like, I spent years probably trying to over edit shit, learning about how it all worked to only then look at it and go, I probably shouldn't have been doing all that crap, but at least now I know I know how to do it so that I can choose not to do it. And I often think the same thing about photographers that say I'm a natural light photographer, I'm a natural light wedding photographer, which to me says I don't know how to use flash. How to use flash, exactly. Because all photographers that use flash are also natural light photographers when they choose not to use Flash. There's not many photographers that only use flash. Yeah, that's right. It's like, learn the process, learn the editing process, and then you can choose to be less heavy handed or selective or whatever during your edit. But you at least have to know what, not what you're not doing, you know? [01:30:15] Speaker B: Absolutely. [01:30:15] Speaker A: Yeah. I even use Flash occasionally in music. Yeah. [01:30:19] Speaker C: Nice. [01:30:20] Speaker A: Yeah, it went aloud. Yeah. [01:30:23] Speaker C: Yeah, true. Yeah. [01:30:25] Speaker B: Don't want to dazzle the headline. Jason said, thanks. I picked up a D 800 and Nikon processing colors is a new thing for me. [01:30:33] Speaker C: D 800, wonderful camera like image quality considering probably how cheap they are now. Yeah, that'll be epic. I don't know what you came from to Nikon, but. Oh, maybe it was micro four thirds. But when I shifted from canon to Nikon, I had a lot of trouble with skin tones and had to rework all of our presets to get skin tones. And greens were really different from Canon to Nikon. I don't know why, but, yeah, you'll, you'll figure it out. Just have a play around. [01:31:05] Speaker B: Absolutely. Now, just before we jump into the news of the day of the week, one last question for Shane. Shane, your instagram handle is Crimson dawn photo. Where did you get Crimson dawn? From? [01:31:18] Speaker A: The Star wars nerd. So it's from Star wars universe? [01:31:23] Speaker C: Yeah, I was think I'm enough of a nerd to know what it means. [01:31:30] Speaker A: So it's, it's a name of a criminal organization in the Star wars universe. That's where I stole it from. Yeah. [01:31:37] Speaker C: You. If you seen I as a villain a little bit. Are you a bit of a. You on the dark side of the things? [01:31:45] Speaker A: Probably, yes. Yeah. Goes with the music. Goes of the music. Yeah. Yeah. [01:31:51] Speaker B: That's a hard reputation to shake. [01:31:55] Speaker C: What? Hey, is there anything crazy ever happened while you've been shooting a gig? Like, anything weird happened on stage, in the crowd, other than the security guard getting kissed on the head? What's the craziest thing you've seen happen or you've been shooting? [01:32:10] Speaker A: Nothing out of the ordinary because every most concerts have crowd surfers and moshes and stuff. The odd stage diver, but no, nothing really. [01:32:20] Speaker B: Um, like, well, he's only there for three. [01:32:23] Speaker A: Nothing weird. [01:32:24] Speaker B: Anyway, if that's weird enough. [01:32:27] Speaker A: Yeah, nothing weird. I mean, the worst thing, I've probably. [01:32:30] Speaker C: Fallen off the stage or something, or. [01:32:32] Speaker A: Oh, actually, earlier in the year, I was, there was one girl in the front was, um, pretty drunk, and she, she had just done a shoey with the bass player of the bandaid, which you might. I don't know if you have to explain that for any international guests, for. [01:32:50] Speaker C: International people, a shoei is when you fill your shoe up with alcohol. Usually after you've won a sporting event, you'll fill it up with probably beer because anything else is a little bit un australian. And then you'll drink out of that stinky, sweaty shoe while the crowd cheers for you. And it's called a shoe. [01:33:08] Speaker A: Yeah, yeah. And she'd got herself, she'd stood up on the barrier and was going to fall forward into the crowd, but she fell back and I had to drop both cameras to catch her so she didn't hit her head on the stage. Luckily, I had a harness. Well, her dad was there and he bought me a beer. He goes, oh, thanks so much. [01:33:30] Speaker B: So that was more alcohol because that's you. [01:33:35] Speaker C: No, no. [01:33:36] Speaker A: Well, the shoe was his shoe as well. So there you go. Who was that? A chat skig. It was, yeah. [01:33:45] Speaker C: So you're the chats. No strain. [01:33:50] Speaker A: Yeah. [01:33:51] Speaker C: Australian band. So you're using a dual camera harness, usually on these shoots. [01:33:57] Speaker A: Yeah. I've gone through a lot of different camera harnesses and straps and things, but it's a, it's the hold fast system. [01:34:04] Speaker C: Yep. Yeah. [01:34:05] Speaker A: If you know that. [01:34:05] Speaker C: Yeah, I know the one. Yeah. [01:34:07] Speaker B: Boom. [01:34:08] Speaker C: Look. Hey, they're okay. They, they make a nice harness. It's. They're a little bit heavy. It makes you kind of feel a little bit like a Clydesdale or something. When you put one on, there's a lot of, there's a lot of metal bits. We redesigned or not redesigned. We designed a dual harness, but it's never been released. [01:34:25] Speaker A: I was about ask if you, if you have one. Yeah. Because I don't really like neck straps. [01:34:30] Speaker C: Yeah, yeah, no, I have one, but we've got, I've got one, Jim's got one, and a guy in the US has one. And that's it. [01:34:39] Speaker A: Yep. [01:34:39] Speaker C: And use a quick release system that goes onto tripod plates, which is way better than the big buckles that you have. They're a lot faster. You can attach quickly. They're really reliable. [01:34:51] Speaker A: Well, I had a boo boo recently, which I told Greg about, I think. [01:34:54] Speaker B: Yes. [01:34:55] Speaker A: I was at a gig, I'd finished, I was walking down some stairs, and the little screw that goes into the camera had worked itself loose and the camera fell off. And I didn't have the safety, little safety thing on. No, yeah, of course I do now. And it bounced down the stairs. But both camera and lens are fine. [01:35:15] Speaker C: Oh, that's good, because they're Fujifilm, so I was lucky. [01:35:17] Speaker A: Yeah, they're really tough. Yeah. [01:35:20] Speaker B: You can hammer and nails. [01:35:22] Speaker A: Yeah, they are a strong camera. Yeah. [01:35:25] Speaker B: Speaking of fujifilm, small segue, Adobe, we're jumping into the news, by the way. [01:35:32] Speaker C: Oh, yeah. Cool. [01:35:34] Speaker B: Adobe announces we need, we need to get some musical introductions so people can follow along at home. Adobe announces integration of frame IO. Now, I heard about frame I o when the Fujifilm x 100 mark six launched. Let me just bring up the screen for one to see. So I don't know who this guy is. You must be like the head of. [01:35:56] Speaker C: Yes, there we go. [01:35:58] Speaker B: That explains everything. Yeah, that must be AI for sure. So Adobe's now integration of camera, of the camera hardware and software that will. I'm just reading basically what frame IO is. It's a camera to cloud service. So it allows you to upload images straight from your camera through a connected smart device straight to a cloud service. And frame IO is the cloud service. And what they offer is the ability for people to join, to collaborate on, say, let's say I'm at a gig, I'm shooting photos, or, Shane, you're at a concert, and your publication wants to access the images immediately and be the first to publish. So you use frame IO on your Fuji camera once it's integrated, and it will go straight to a Adobe lightroom service in the cloud, and you have an editor who will instantly edit those photos in Adobe straight from your camera, and then obviously they can publish them, share them, whatever. And so I heard about frame IO when Fuji launched the X 100 Mk six. So despite being a pocketable, technically a point and shoot X series camera, it was the first Fuji camera to introduce frame IO and Fuji at the time when they launched the camera, they said that they would be pushing it the service to all Fujifilm cameras. And I'm pretty sure the GFX 100s Mk two also had it. But this is the frame IO list of services for camera to cloud connection. At the moment, it's only Fujifilm and Panasonic working with frame IO. And obviously there's some other, like Atmos, Teradek Red Digital, which is Nikon owned now. Is that right, Justin? [01:37:49] Speaker C: Yep, now it is. Yeah. [01:37:51] Speaker B: So more and more services are signing up to this sort of cloud system where you can have instant access of your files, a collaboration for someone to edit or work on or whatever it may be, straight out of camera and lightroom and getting on board. So they're seeing that there's future in this cloud based service. And I guess for them, teaming up with someone like frame IO, it means that someone's already done the hard work on establishing a crowd, an effective cloud media solution, because Lightroom's not that. Not that great yet. [01:38:30] Speaker C: It's all weird. It seems like it need a lot of, like, data upload. [01:38:37] Speaker A: Yeah, I can't imagine uploading 20 megapixel files. [01:38:43] Speaker B: Well, I mean, it's working with the GFX, so. [01:38:46] Speaker A: Oh, wow. Okay. [01:38:47] Speaker B: It is. There it is. [01:38:49] Speaker A: The rules. That's uploading or a JPEG. [01:38:52] Speaker B: Yeah. It is raw file compatible. So I think because you can already do it with your, with your X series cameras, you can already use the new Fuji X app on your phone and it will automatically, as you take the shots, it will transfer them to your phone, JPEG files. It will transfer jpegs to your phone and then you can upload them to whatever you want. You can set that to do that automatically. But this is for more, for serious pro workflow kind of stuff. And I guess in a way that what they're doing is they're removing, or maybe not removing, but they're supplementing tethering shoots. [01:39:34] Speaker C: Yeah. [01:39:35] Speaker B: You know, whereas if you're out in the field, let's say you're at the Olympics and, you know, Cannon dropped the one with their kind of Olympics release with the r five mark two. And the r one has a, still has an Ethernet port, doesn't it? [01:39:47] Speaker C: Yep. [01:39:48] Speaker B: Yeah. So it's, you know, for instant tethering or uploading to a server. What else is making the news this week? Let me just have a look. Sam Young. Sam Yang. Sam Young. Samyang. Let me just share my screen again, guys. Sorry. Samyang and Unvias, the world's first ever optical exchange autofocus lens. So this is a crazy little device. So basically, let me. This is the lens here. It's currently for Sony only, and it's only available in Korea south, not north. So basically it's, it's. Hey, it's a lens. It looks a little like Justin's 28 mil pancake that he loves so much. But what happens is the. No, don't, don't worry about that guy. There it is on an a seven. So it's a full frame lens, but I'm trying to find the picture of it. Sorry, guys. But there are three interchangeable inserts. So basically there's a lens assembly, but the focusing system is inside the larger part, which is this big ring here. And there's three different focal ranges that you can just drop in. [01:41:10] Speaker C: Right. [01:41:11] Speaker B: So rather than carrying a bag of kind of bigger primes, you keep the prime ring attached to the camera and you just drop in the little lens assemblies. [01:41:22] Speaker C: Interesting. [01:41:23] Speaker B: So at the moment, it's the world's first optical exchange autofocus lens. So it will work with autofocus. They're available in 20 1 variants. And Sam Yang's reasoning. Sorry, mate. [01:41:40] Speaker C: It's not really a wide enough focal range to bother carrying all three, but. Yes. [01:41:45] Speaker B: No. Well, I mean, I think they're planning to expand upon it, but they went with, they say that they went with these focal ranges because they're similar to point and shoot film cameras of the past and digital, some digital cameras of the past. So it's just another way of looking at, you know, we're so used to traditional lens styles, and I think Greg Carrick, another alumni of the show, would love this concept because he's always into crazy, wacky, you know, lens choices and lens that are adaptable with, you know, 3d printed mounts and all sorts of crazy crap. But it's, it's an interesting. Hmm. It's an interesting. [01:42:27] Speaker C: It is an interesting solution. I mean, it would be. Would be pretty sweet if they somehow figured out a way to, like, I know this, this can't work, but, you know, we. [01:42:38] Speaker A: 200 mil there. [01:42:39] Speaker C: No, well, that would be cool. No, no, I'm just thinking, you know, so say you have two or even three lenses mounted in that lens itself, so you're not actually taking them out and swapping them, but just kind of like rotate them or something. It's like, yep. Now I'm shooting with a 20 mil. Even if it was just 20 and 35, it's like, hey, 20, click on the 35. [01:42:59] Speaker B: So you mean like the zoom lens? [01:43:02] Speaker C: That's what I was about to say. You think about this little lens. Obviously, it's going to be lightweight and cheap, which is sweet, but that's a very. If the. If the image quality sucks, which it probably will, just, based on the optical design in those pictures, it's probably fine, but it's not going to be like epic glass. And then you compare that to, like, a small light zoom lens that covers a small focal range, like, which one's more useful? And. Yeah, I mean, it's. It's cool because the more stuff like that, that is out of the box, new style lens designs, the better. Yeah. And the big brands don't seem to be. To be pursuing anything like that, so. [01:43:39] Speaker B: No. Well, this. This is called the Samyang remaster slim, and it's selling for 230 us. So it's about $400 here. [01:43:51] Speaker C: Yeah, I guess so, yeah, yeah. [01:43:52] Speaker B: Which is pretty cheap for a Sony lens, but it's only available in South Korea at this one. [01:43:59] Speaker C: Flight to South Korea. [01:44:01] Speaker B: Yeah. [01:44:01] Speaker A: Doesn't the X 100 have attachments, Greg, like, to make it wider and longer, because. [01:44:10] Speaker B: Converter. Yeah. That still work with the autofocus system of the X 100 series. They've had that since the first camera. At one point, they even might have been the s. The 100s. You could get the option to buy a kit that included the two teleconverters. [01:44:27] Speaker A: Does it keep the same f stop or do you lose it? [01:44:30] Speaker B: No, you lose a little bit of light. [01:44:32] Speaker A: Yeah. Okay. [01:44:33] Speaker B: It says it keeps the same, but you lose a bit of light, but it basically just magnifier lenses. Okay. That you put in front of it. So, you know, you could. There are some filters you can get that kind of do a similar kind of trick of light. But speaking of older lenses with a fresh coat of paint, there's another bit of news I want to share with you. Came up, actually came up last week, but we ran over time talking to Matt. Let me just see. Polar pro, you guys seen that? Polypro have announced a new series of pinhole lenses named Light Leak. Try saying that five times quickly. So these are. There's a 16, a 28 and a 50, which is a much greater focal range, f eleven. But these are basically pinhole cameras. There they are. They're on a Sony. Let me just have a quick look and see what. I can't remember what they're for. I remember shooting with a pinhole camera, I think in art school we made them. [01:45:38] Speaker A: Yeah, I think. Yeah, we made them out of a cardboard box, I think. [01:45:41] Speaker B: Yeah, I think we just use a shoebox and blacked it out. And so these basically have a fixed focus of 1 meter to infinity. They're available for Sony, Canon RF, Sony E, Canon RF, Nikon Z and Fuji X. Are they off filter compatible? And they have a fixed f eleven aperture. So I think it'd be fun. I think it'd be a fun experience. I don't know if it says what they're worth. Might have to look that one up. No, doesn't say anything about price, interest. Polar pro. I've got anything on their website. [01:46:23] Speaker A: Okay. [01:46:25] Speaker B: Yeah, 129 us. [01:46:27] Speaker C: Okay. So they're cheap enough to have a play for experiment. [01:46:32] Speaker B: Yeah, but I think they're a really cool little idea. [01:46:36] Speaker C: Interesting. [01:46:38] Speaker B: Did you shoot pinhole photography ever, Justin? [01:46:42] Speaker C: No, not really, no. I'm trying to think there's something I've bought that had a high f stop, like that wasn't a Holger lens, something like that. Something that was essentially not much bigger than a lens cap. [01:46:59] Speaker B: Yeah. [01:46:59] Speaker C: And I bought it and I was. I was at the point where I was like, when the Holga stuff was coming out and then this came out and I sort of thought I'd give it a try. And then I looked at, and I was like, fuck, it looks terrible. The image quality shit. [01:47:11] Speaker B: Yeah. [01:47:11] Speaker C: So at that point of my photography career, I was just looking for better and better image quality. Not going backwards. Not going backwards. Which, you know, is very different to sort of, you know, Greg Carrick style of like, wanting to explore different lens styles and looks and feels the gritty of the best. Exactly. Not necessarily like, I just want it to be an amazing optical quality. But, yeah, the point that I tried something like that, I think I had no interest in. In images just looking worse than they would on a regular, you know. Yeah. [01:47:49] Speaker B: Didn't make sense. [01:47:50] Speaker C: Didn't make sense. Jason. [01:47:52] Speaker B: Yeah, Jason said that. I've got a feeling that, like, I used to produce something along those lines. The trialma, perhaps it was three primes in one lens, manual focus only, of course. So that's not surprising that Laika would make something like that. [01:48:05] Speaker C: I've just searched it. Let's have a little look because it's nice and cheap. I think there's, there's many. I think it looks like, they've produced many, but this one that's coming up on the store is a bargain at $10,090, and it's 16 1821. So you get three Elmar's for the price of one, which I think is a pretty good deal any way you look at it, because, you know, one Elmar is not enough. And. Yeah, so it sounds like you can look at it two ways. It's like it's a three prime lenses in one, or it's a zoom lens where you can't stop in between three different focal lengths. [01:48:48] Speaker B: So it's sort of like, okay. [01:48:50] Speaker C: You know, like it's just, it clicks from 16 to 18 to 21. [01:48:54] Speaker B: So it's almost like a digital teleconverter that some cameras have, I guess, where you can get like a, you know, you can get a 23, a 35 and a 50 mil crop. [01:49:02] Speaker C: Yeah. Yeah. Like the Leica. Yeah, like the q three. [01:49:08] Speaker A: What would this, what would the Leica zoom lens cost, though, of a similar focal range? [01:49:13] Speaker C: So if this is an m, I don't know if they do a lot of m zooms. Usually they're m there. Hang on. What do we got? So try Elmer, and then it's mostly. Maybe there are no zooms for the m system. That might be why. Whereas if you. So if you, if you go, which the m systems like their m m eleven, stuff like that. If you go to the sls and go to an sl zoom lens, but. [01:49:40] Speaker B: You could adapt for your m bout and mount. [01:49:42] Speaker C: Can you? I think I know you can go sl. You can get, you can put your m lenses on an sl. I don't know. Interesting. I'll have to do some googling. Not that I'm buying any of this stuff, because. Holy shot. Yeah, I'm really, I'm trying to figure out whether these apo sum across lenses that everyone raves about. [01:50:08] Speaker B: Like Jason said, m zooms don't work on rangefinders. [01:50:11] Speaker C: Yeah, exactly. Exactly. [01:50:13] Speaker B: Thank you, Jason. [01:50:15] Speaker C: Thank you, Jason. You want to come on the show? [01:50:17] Speaker B: Yeah, please. Yeah. [01:50:19] Speaker C: These APO lenses, everyone raves about them, but I don't know what the voodoo magic is. I'd really like to have someone explain it to me and maybe test them out because they're super expensive and, and heavy and slow, generally, you know, I think there's a zoom that they do. Where is it? Like a 24 to 90 or something like that? Can't see it. Oh, yeah. This 124 to 92.8 to f four. It's ten grand. You know, if can, if Cannon brought that out, it would be like, it's a. Basically, it's a glorified kit lens for an l series kit lens that's going to be under two grand. Like, no one wants it to go from 2.8 to f. Four variable aperture. So, like, where's the magic? I need to know. Tell me. [01:51:09] Speaker B: Like, anyway, all in that little red dot. One last little thing that I would like to share. Speaking of obscure lenses, I've been onto this for quite a while and I've. I really want to get one one day, but here we are. This is the Fuji XM fl. Now, this came out back in 2015 in Japan only. And I remember on my first trip to Tokyo, which was in 2015, I saw one in a Yodobashi camera store. Kicked myself still for not buying it. Can you guys see that? Hang on. Now I've got to change the screen. Sorry, guys. Um, let me go to this one. Is that PETA pixel? It's not letting me share my screen now. [01:51:58] Speaker C: Don't mean to pull something up. [01:52:00] Speaker B: Hang on. Let me just go. Stop sharing that one. No, something's wrong with streamyard. Anyway. There's a Fujifilm lens, captain. Sorry, body cap. So you know how every camera has a body cap? This one's a little bit thicker. And if I can share it, which it's not letting me know, everything's frozen anyway. Can you guys still hear me? [01:52:32] Speaker C: Yeah, we can hear. [01:52:33] Speaker B: Okay, I'm still here. Something's going wrong. [01:52:35] Speaker C: Tell us. Tell us about. [01:52:36] Speaker A: You have to tell us about it. [01:52:37] Speaker B: Yeah, I will. I will. And we'll post a link in the, in the comments a bit later. But it's the Fujifilm XM Fl and it's a body camera. Body cap. So you replace this body cap crap. And it's cap. It's a bit like a. It's a pancake lens. It's a 28 mil f eight. Sorry, 24 mm f eight APS C. And it has a dial on the side of it, like a twisty dial that applies, I think, three different filters to the actual lens. So you've got your lens and you're spinning this dial on the side and inside it's rotating three d. Oh, now we've lost him. [01:53:18] Speaker A: We've lost him. [01:53:19] Speaker C: Yeah. Okay, Greg. Greg's. Greg's gone. Sorry, guys. Okay, so. So there was a body cap and you turned the dial and something happened and Greg wants one. So we'll have to go back to Japan and see if we can find one for him. But, uh, yeah, Shane, I just tell me, list out some of the biggest bands that you've. That you've shot with. Because I was like, I heard Greg say a few of the names, but like, hit. Hit me again. [01:53:44] Speaker B: Sorry. [01:53:44] Speaker C: Give me the back. Sorry, Greg. We're just going through the biggest band. [01:53:48] Speaker A: Shane's ever having a segue. So probably biggest for me, bucket list, probably Pantera and Slayer with the my two big hits. I have applied for Iron Maiden, which is starting their tour this week, this Sunday. I don't have my hopes up for that. [01:54:09] Speaker C: Okay. [01:54:10] Speaker A: Because it's a. The promoter they use will probably have their own people that they use all the time. We'll see what happens. I can hope, but that, that would be my number one shoot if I can get it. [01:54:22] Speaker C: Really? [01:54:23] Speaker A: Yeah. I did manage to shoot them in London from the crowd because I snuck my XT two and a 56 mil prime in and got really close. The security saw it and thought, oh, that's just a little play camera, not a professional one, which is really good. And I've got some really good shots from that, so I can be happy with that. [01:54:45] Speaker C: Yeah. Nice. [01:54:47] Speaker B: Sorry I dropped out, everyone. I had a bit of a technical glitch. [01:54:51] Speaker C: Yeah. You just cut you off it? Yeah. Well, it's good that you're back. We said we just have to go to Japan to find this body cap lens. So I thought we'll just have to fly over there and we'll just search one. [01:55:03] Speaker B: Yeah. Nev Clark, he joined us a couple of weeks ago. He said, I want one. I've seen one and it's pretty cool. But I was with my partner that time and if I'd purchased another lens, things could have got murky. Fair point. Fair point. Nev, good to hear from you, mate. Yeah, it's just. It's just a weird little lens. But it was. It was really expensive at the time. Like, it was, you know, $400 or something australian at the time. And. And I remember when I started working with Fujifilm Australia, I said, hey, any chance you can get me one of those. Those lens cap lenses? Those camera cap lenses? And then they were forbidden from getting them into the country. Like it was a Japan only thing. They weren't allowed to even get them in. So weird. [01:55:47] Speaker A: Oh, wow. [01:55:48] Speaker B: You can get them on eBay, but they're rare and they're pricey. [01:55:52] Speaker C: Yeah. [01:55:52] Speaker B: Just to finish off my new segment. [01:55:55] Speaker C: One day. [01:55:56] Speaker B: One day. Yeah, one day. We'll find one. We'll find one in a secondhand camera store in Tokyo. [01:56:01] Speaker C: Yeah. [01:56:04] Speaker B: Well, I think that pretty much oh, hang on. We've just got one more comment from Jason. That lens sounds a bit like some of the lens, baby. [01:56:11] Speaker C: Yeah, that's what it was. [01:56:13] Speaker B: Adjustable back. Yeah, it's very similar to that. [01:56:17] Speaker C: You know, the other lens that I got tempted on, then I'm glad I never bought, because I'm sure they were just one of those things that sits around in people's bags and look cool on social media. But those, um, Petzville lenses that were like, all brass and you remember those? [01:56:30] Speaker B: Ah, yeah, yeah. [01:56:31] Speaker C: Unlike Kickstarter or something. And, um, they'd have drop in, like, some of them had different aperture, like, drop in apertures that had different shapes and stuff like that. They're like swirly bokeh and manual focus, and they're like $800 or something, and they'll cool for a little while. And then I think everyone realized they were just a pain in the ass the shoot with and, yeah, you'd be better off with the, you know, the nifty 51.8 or something. Very true. [01:56:58] Speaker A: Fair enough. [01:56:58] Speaker C: Very true. Weird lenses. [01:57:00] Speaker B: Yep. Bring them on. Yeah, that's Greg Carrick's favorite subject, but. [01:57:09] Speaker C: He'S actually weird lenses. [01:57:11] Speaker B: He would shoot through that. He had the chance. [01:57:13] Speaker C: Exactly, exactly. He'd get that changeable optical lens thing and just wedge random crap in that hole and see what works. Bit of cellophane or something. [01:57:25] Speaker B: Yeah, yeah. Very straightforward. Well, look, that pretty much brings us to the end of today's show. But before we wrap up, I just want to say a huge thank you to our guest today, Shane Henderson at Crimson photo. So good to hear from you. So good to hear your journey and your story and how your passion for music and your discovery of photography combined to make you who you are today as a visual creative. It's a wonderfully inspirational story, and I really appreciate you sharing it with us. [01:58:01] Speaker A: No problem. [01:58:01] Speaker B: So aside from your. Aside from your instagram, rimsondornphoto, it's up there on the screen for anyone wanting to check out Shane's work. Is there anywhere else we can see your work? [01:58:14] Speaker A: I have a Facebook account, but Instagram is where it's. All that for me? Yeah. [01:58:18] Speaker B: Yep. [01:58:19] Speaker A: Very cool. [01:58:20] Speaker B: It's pretty much all opposed to very, very good. Now we'll keep an eye on it. [01:58:26] Speaker C: To see if you get your dream gig. [01:58:29] Speaker A: Yeah, yeah. Well, if I don't hear anything in the next few days, it's probably not going to happen, but. Doesn't matter. I'll be going to the concerts anyway. [01:58:38] Speaker B: Yeah, maybe you can sneak in a camera again? [01:58:41] Speaker A: Yeah, maybe. [01:58:43] Speaker B: Shane week ahead or the weekend ahead. What photography work have you got on Orlando experiences? [01:58:50] Speaker A: Um, I've got nothing planned next couple of weeks because this week we're having a family holiday for a week. So we're actually driving that rattle a and taking the whole family to see Iron Maiden there on Wednesday. [01:59:03] Speaker B: Nice. [01:59:05] Speaker A: Then I'm going to drive back in Melbourne. So Friday and Saturday next week I'll be seeing Iron Maiden as well. So three shows for me. Bit of a fan. [01:59:16] Speaker B: Love it. [01:59:16] Speaker A: Yeah. [01:59:18] Speaker C: Yeah. [01:59:20] Speaker B: And just, just on a side note, Justin, I think we need to get some, some camera life x lucky straps, Lanolette shirts made up. [01:59:29] Speaker C: It does seem to be a common. Common. [01:59:34] Speaker B: And I don't. Yeah. And we'll get you a beard. [01:59:37] Speaker C: Yeah, for sure. [01:59:38] Speaker B: I could give you half a minor. I'd still be good. Um, Shane, I asked Jim, who's currently on holiday. Um, he's probably still locked in his tent with that snake outside. [01:59:48] Speaker A: Um. Oh yeah. [01:59:50] Speaker C: Did you say I'd send him? [01:59:52] Speaker A: I told him I saw him a. [01:59:53] Speaker C: Link to get on the show, but, um. [01:59:55] Speaker B: Whoops. [01:59:56] Speaker C: He's probably like, no, he hasn't messaged me. That's all right. [01:59:59] Speaker B: He's probably still in that tent. Um, he'll be all right. He's a lover of flannelette shirts. He's got a very impressive collection, I must say. [02:00:06] Speaker A: I think, I think I've been wearing them since I was a kid. [02:00:09] Speaker B: Yeah. [02:00:09] Speaker A: I'll just wear better ones, better quality ones. Now that's sounding different. [02:00:13] Speaker B: Yeah. [02:00:13] Speaker C: Yeah, exactly. [02:00:15] Speaker B: That's a sign of maturity. Better quality flannel shorts. Um, Justin, what have you got on this week? How many days have you got left on the daily challenge? [02:00:24] Speaker C: Daily challenge. So yesterday was. Hang on, what was yesterday day? 24. 25. 24. I'm losing track of stuff. Today's day. 25. So five or so. You look funny without the beard. Yeah. The two wise men. Exactly. They're at the Zz. Top of the screen. It's a bad music. Hang on, I've got that. Where is that? Yeah, see, I haven't used any of the sound effects this episode. [02:00:55] Speaker B: No, you haven't. You really haven't. [02:00:57] Speaker C: So five days to go on the challenge. I will then keep doing these videos, but not at one a day because it's really getting a little bit tricky. So I'll scale the, the pace back a bit. But it's been fun. So I'll make sure I keep plugging along. I'm gonna do some more testing with the five mark two. I might do a higher ISO test today, I think, and see how it goes. Compare it to the. [02:01:20] Speaker B: So do you feel like you're getting burned out? Because when I called you last night, we had a quick chat, you sounded grumpy and time wasn't cranky. [02:01:27] Speaker C: Well, I was. No, I was just like, what time was that? That was, um, six or seven. Six or seven. I'd just been on a call, like a 1 hour, like a mastermind call with other business owners every two weeks prior to that, I shot yesterday's video, and then after the call, I had to edit yesterday's video, and then, and yesterday was also a busy day of catching up on work and stuff. So I was just like, there's a lot going on yesterday, and I don't normally like to be so busy. I like to be, I like to have a lot of space and time. So, Jason, ironic, useless fact, ZZ top drummer was Mike Beard, who didn't have a beard. That's funny. All the other. Anyway, so, yeah, that's it. We're plugging along with the videos and I will keep doing them, but it's, I wouldn't say burnout, but it, it does get tough doing one a day, especially when once it gets later in the day and, you know, that, like that thing still, I can't just put it off till tomorrow because I made a commitment to do it. So it's done when it's done. [02:02:32] Speaker A: That's the 360 project. People do one photo a day. [02:02:38] Speaker C: It's just my own challenge. It's not the photos that are hard. I want to challenge myself to shooting more for like, personal photography that, you know, not necessarily when there's a job or a subject or whatever, just like, I have to take photos every day. That's one thing. But I'm also filming all of the, that's all your time is behind the scenes stuff. The time is filming and editing the stuff. So it's not the photos that are taking up the time, it's the editing. But like, I'll just hang on. I'll bring this up. Where are we? Go to channel. View your channel. I don't really know how to use anything. This is going to show that we're live, which is kind of fun. We could watch ourselves watching ourselves. So where are we? 30 day challenge. Go to videos. So this video went up last night. It's already got 1.6 thousand views, which is crazy because it's just Yelena and I strolling around, testing out the I autofocus on the new canon. But, yeah, it's like, sorry, my bad. I'll turn the sound off. But yeah, basically it's just like point of view footage like this. But then I put the images in for some of the shots, which takes a bit of time. So, yeah, it's like cutting out the crap so that people don't have to sit through the in between parts and also inserting photos with the metadata and stuff like that every now and then. [02:04:18] Speaker B: Yeah. [02:04:19] Speaker C: But, yeah, this was mainly sort of a. Was more of a camera test video. But I still got some. Some cool shots of Yelena. [02:04:26] Speaker B: Very cool. [02:04:27] Speaker C: It's just so, yeah, been doing that and it's fun. I wouldn't say burnout, but one a day is. Is certainly a challenge. And it would be better to go to one, two to three a week, I think would be doable. [02:04:41] Speaker B: Nice. Well, we look forward to seeing more of that. Yeah. Thanks. So if you are watching along or you said you aren't subscribed to the channel, please make sure you hit the subscribe tick. All the Bella button so you get notifications of when Justin's posting content or we're about to go live with the show. [02:05:00] Speaker C: You're about to say 490 subscribers, Greg. [02:05:03] Speaker B: Oh, nice. [02:05:04] Speaker C: 190. We're going to grow 500 soon. Before next week's show. We will hit 500 very celebrate, maybe we'll celebrate. We'll do it. A giveaway on next week's show. Oh, if we hold you to that. Subscribers. Yeah, we'll do it. [02:05:18] Speaker B: We're gonna hold you to that. Um, I have been getting out and shooting again. So I've been in a bit of a funk for anyone that's watched past episodes or knows me on socials. I've been in a bit of a photography funk. Still fine. Taking photos for work projects, for articles I'm writing, whatever it may be. But I think, Justin, I'm gonna credit you with the inspiration for this, is that I decided to get out and shoot on the streets of Melbourne with a lens that I don't normally use. So typically I'll shoot street photography with a 23 mil f two or the teeny, tiny 27 f 2.8 cracker of a lens. But I decided to go out with a 50 mil on my XZ four. [02:06:04] Speaker C: Which is here, and I'm sure closer to an 85. Is that like, full frame equivalent? 75 rado? [02:06:12] Speaker B: Yeah, 75, yeah. So it's a compact little kit, and I've got my lucky straps strap on there. So I've been shooting across film simulation. I still shoot the raw files, but I'm doing it all in black and white. I'm shooting with a 50 mil and I'm shooting only at f two because traditionally with my street work, I'll shoot wider and I'll shoot with a. Around an f eight. [02:06:40] Speaker C: Yep. [02:06:41] Speaker B: Aperture. So everything's in focus. But this is really challenging me to set up a frame and a composition and then wait for my subject to either move into it and rely on the camera to grab focus. So I'm getting background blur and I'm getting. I'm getting sharp subjects sometimes. I'm getting nice soft backgrounds in black and white composition. So it's really challenging. My usual style of approaching street photography. And I've been into the city a couple of times in the last sort of week and a bit, and I'm really enjoying the process. And it's making me look for the composition and look for some of the usual elements I strive for in my street photography. So I look for light traps, you know, people emerging out of shadow and all of that sort of stuff. But really relying on my skill to find a sharp focus point for the composition. And doing so in black and white, it removes the distraction of what someone's. The coloring and what they're wearing and things like that, because you're just going for tonal value. So it's been really fun. And yes, you have inspired me from watching your daily videos to really get out and, you know, have a crack. That's. And I'm loving here. [02:08:04] Speaker C: It's funny, though, because it was. It was the walk we went around Bendigo when you came up that inspired me to start doing the daily videos. So it's like chicken or the egg. Well, that's awesome to hear. [02:08:18] Speaker B: Yeah. [02:08:19] Speaker A: Yeah. Cool. [02:08:20] Speaker B: It's been. It's been really good. I've really enjoyed it. I've still got to do shots work. I'm writing an article at the moment for the lucky Straps blog about what gear you need to pack on your photography adventures. So I've got to take some gear shots, but it's been nice to get out. [02:08:35] Speaker C: Awesome. [02:08:35] Speaker B: Make the most of it. [02:08:37] Speaker C: Very cool. [02:08:38] Speaker A: Cool. [02:08:39] Speaker C: Nev Clark, keen to see your images. Greg. He has no idea how to do street photography, so any ideas are good for him. [02:08:46] Speaker B: Yeah, I think next time, Justin and I. Justin needs to come to Melbourne and we'll. We'll go on a walk and you can film it and we'll do a few tricks there. But that does bring us to the end of today's the camera life podcast once again. Thanks Shane. Everyone, please go check out Shane's work. And good luck with the. You said it was the iron maiden tickets? [02:09:11] Speaker C: Yeah, yeah. [02:09:12] Speaker A: It's a slim hope that it's a hope. [02:09:15] Speaker B: The photography anyway would be the icing for you. [02:09:18] Speaker C: I believe it's going to happen. [02:09:20] Speaker A: I hope so. Me and. Me and 1000 other photographers got to. [02:09:28] Speaker B: Be in it to win it. [02:09:29] Speaker A: That's right. [02:09:31] Speaker B: Yep. But yeah. Thanks to everyone who's watched along. Thanks to our audience for commenting. It's never too late to add a comment. You know, if you're watching this later or you you come up with with an idea that you want us to even talk about, feel free to drop it in the comments. And we look forward to catching up with you next Thursday. I believe we have someone who works for Fujifilm Australia joining us. What a surprise. [02:09:58] Speaker C: I can't wait for that one. I'm coming in hot. I hope they're prepared. I hope they know it's not. This isn't like a puff piece. [02:10:06] Speaker B: Oh, no, no, no. This is nothing but hardcore media. [02:10:09] Speaker C: That's right. [02:10:10] Speaker B: But look, have a great week, everybody. Get out and shoot. Even if it's with your iPhone. We really don't care. Just get out and take photos, document your experiences, and don't forget to play around with presets in lightroom. It's fun to be had. All right, well, from all of us here at the Camera Life podcast on behalf of us and thanks to lucky straps for supporting the channel. Have a great day. [02:10:34] Speaker C: All right, catch is see you homebrew. [02:10:36] Speaker B: Netflix to go out on. [02:10:37] Speaker C: Bye, Shane. [02:10:37] Speaker B: Any music? Any music to go out on. [02:10:42] Speaker C: Bye, Nev. [02:10:45] Speaker A: Thanks, Nevda.