EP35 All About Street Photography with John St. (Fujifilm Photographer)

[00:00:09] Speaker A: Good morning. Good morning. Good morning. Welcome to the Camera Life podcast. This is episode 35 of the Camera Life podcast. It's currently very, very early. What is it? 09:00 a.m. on Thursday the 24 October here in sunny eastern Australia. I think it's sunny. I've got the blinds drawn. [00:00:31] Speaker B: It's all right. [00:00:31] Speaker A: Good morning. [00:00:31] Speaker B: It's all right out there. [00:00:33] Speaker A: It is just a reminder that the Camera Life podcast is brought to you by lucky straps from Bendigo, Victoria. Justin. Good morning. From Bendigo, Victoria. How are you, mate? [00:00:43] Speaker B: I'm great, I'm great. How are you? [00:00:45] Speaker A: I'm all right. I saw a photo of you with your feet out in the sun last yesterday afternoon. I thought you were shooting some onlyfans. Content. [00:00:53] Speaker B: Only feet. Content. Only feet. [00:00:54] Speaker A: Only feet. Yeah. No, no. [00:00:57] Speaker B: I was sitting out in the garden in the beanbag reading a book. It was quite delightful. Lovely, lovely and hard life as a strap maker. [00:01:07] Speaker A: Yeah, I could see that. I could see that. And we're joined today by a very close friend of mine, John. Welcome, John. Where are you? Are you constantly moving around? Where are you now? [00:01:20] Speaker C: I'm back in Adelaide. Greg, nice to see you again, mate. Long time not seeing. [00:01:24] Speaker A: Hi, Justin. [00:01:25] Speaker C: How are you? [00:01:25] Speaker B: I'm good. How are you doing? [00:01:27] Speaker C: I'm doing well, mate. [00:01:29] Speaker A: Adelaide. You're back in Adelaide. That came out with a bit of a sour tone to it. Did you pick up on that, Justin? [00:01:36] Speaker B: It did sound a little bit like Adelaide. [00:01:40] Speaker A: Bored. I can't tell which one. [00:01:42] Speaker C: Adelaide's a beautiful city. It just has no people. [00:01:46] Speaker A: Yeah. Not ideal for a street photographer, although I'm sure you do. [00:01:50] Speaker C: I do okay. [00:01:52] Speaker A: You do? [00:01:52] Speaker C: I do okay. [00:01:53] Speaker A: So, as you heard, John is a street photographer and he's heavily involved in the street photography community in Australia, and he's also recently had a little bit of an overseas trip where he managed to explore some parts of Europe and the UK. And we'll get to that as we unwrap John's story. Justin, any news you want to get off your chest? [00:02:19] Speaker B: Straight up news, man. I don't think I have anything going on. It's just been. It's been busy. We've had a lot happening. Flew up to cairns for a wedding, so we're up there for two nights. A lot of travel, not a lot of time to hang out. So. No, it's just been lots of heads down working at the moment. Not a lot of exciting news. [00:02:41] Speaker A: Lots of head down working in the yard on a beanbag. [00:02:44] Speaker B: Well, look, other than yesterday afternoon and. [00:02:46] Speaker A: Yeah, well, I guess you've got to have breaks, don't you? I mean, you can't be 24/7 leather. [00:02:50] Speaker B: No, no, you can't. No, I've just. I've just pulled this comment up. Comment up. Who's, uh, who's Stevie D. Says, miss that face, not the hat. [00:02:58] Speaker C: Oh, it's own focus from Sydney. He's one of my mates. Thanks for joining me, Steve. [00:03:03] Speaker A: Welcome, Steve. [00:03:05] Speaker B: Good to see you. [00:03:07] Speaker A: And don't forget, for anyone following along, either live with us now or later when the video is available on our YouTube channel, please feel free to comment. Like subscribe. Tickle the bell button so you get notified. Our podcast says every Thursday morning at 09:00 a.m. australian, eastern Standard Time. Are we still in standard time? Are we in daylight time yet? [00:03:30] Speaker B: Daylight savings time. [00:03:32] Speaker A: Thank you. Yeah, good point. [00:03:34] Speaker B: Sorry, rest of world. [00:03:36] Speaker A: Yeah. All right, let's dive in. John. [00:03:41] Speaker C: Yes. [00:03:43] Speaker A: Let's talk a little bit about your story, your journey in photography. Not just street photography, but I'd like to start off with what's your earliest recollection of being interested in photography? What made you pick up a camera and what inspired that? [00:04:03] Speaker C: Well, I've always back in the day because I'm an old dude. All right, so we used to have film cameras and we always used to have. Yeah, I think it'd been great a while, Greg, but, yeah, always had film cameras when we did our around the world travel and stuff. And I always used to just take photos when we were traveling, you know, like the usual touristy stuff, buildings, blah, blah, blah, blah, blah. And then, you know, I was the one who was least drunk when I. When I went out with my friends. And I used to capture things like that, so. And I was half decent at it, you know, I. Meaning I wouldn't cut people's heads off and I sort of knew how to frame. And then, you know, you progressed to the small digital with the inbuilt zoom. We had a Panasonic something or whatever, which we'd take on holidays and that was about it, so. But my street journey started literally by accident when my work, because I would. I was a bit adverse to smartphones, not because I'm anti technology, I just knew once I got one, I would be addicted to them, right, which I am now. Okay. It's in my hand 24/7 basically, as soon as I wake up, it's there. Check instead. So with that, my work said, look, john, we're going to send you overseas. You need to get rid of the old Nokia brick. You need to buy a smartphone. Not happy, Jan, you know what I mean? But what came with that was a camera. So little did I. My other passion, Greg, as you know, is coffee. I love coffee. And so I started using that phone to take coffee pics. So that's where my online journey started. From there, I progressed into, on my walk to work, taking pictures of architecture, which is what I like. I love buildings and things like that. But I used to get really annoyed when people would walk into my street shots, all my architecture shots back then, and I, you know, you ahole. Can you not just wait until, like, I've taken a beautiful shot of this building? So, anyway, I thought I'd get smart and I'd start incorporating people into my architecture shots, not knowing that was street photography, because I only had a very small amount of time going to work. So that was it. And so that's how I fell into street photography. [00:06:13] Speaker A: Nice. [00:06:14] Speaker C: With my smartphone. [00:06:15] Speaker A: With his smartphone. That's, um. That's blasphemy. [00:06:20] Speaker C: Mark Fernley's done a whole book Mark Fernley's done a whole book with his phone in Japan. And it's stunning. [00:06:26] Speaker A: No, I kid, of course, yes, yes. Smartphones have real cameras. Diving back a little bit, you talked about traveling with your camera. Was that with family or was that, as a young adult, out and about on the town with mates, that sort of thing? [00:06:45] Speaker C: It. My travel. We were fortunate enough when we're younger with my wife, because I've been with my, my wife for 34 years. Yeah, I know a lot of you going, like, how she must be a saint, you know, I mean. Yeah, you know, I think. I think I've woken up with her hands around my throat a few times and she just said I was having a nightmare. [00:07:03] Speaker A: But character building. [00:07:05] Speaker C: Yeah, we. And we were fortunate enough in our mid twenties to do a round the world trip for three months. So we went through Canada and New York and, and the UK, Europe, and I had this tiny little Kodak instamatic camera and it had this really modern feature on it that was revolutionary at the time. It used to wind all of the film on first and then shoot and reload it back into the canister. And so if you accidentally opened it, you only lost the last shot that you took. So that, that was, that was marketing genius, you know, and we had that, and that's what I captured the whole of my european trip on, well, round the world trip for three months on that tiny little camera. And we took about or 55 films of 36 exposures on each one. Yeah. Now you could probably buy a small house. [00:07:59] Speaker A: Yeah, yeah, if you try to. [00:08:01] Speaker C: But, you know, back then, the film wasn't too expensive and used to get. Used to get on the back of your receipts at rabbit photomark. You get like, your second prints free and stuff. Yeah. Using the little voucher on the back. And that's how we got them all. We've still got them all. Still got all our negatives. [00:08:18] Speaker A: Do you remember those days, Justin? You remember those days, don't you, mate? [00:08:21] Speaker B: Look, I do remember vaguely the. The film print process as part of family photos. Like, I was young. [00:08:31] Speaker A: Yeah. [00:08:32] Speaker B: And then the transition to digital slowly happened. But I loved. That's what I still miss. I loved getting the packet photos and looking through the packet of photos. And I've. Yeah, I've shown you this before, but I've got. It's not the same, but when I, when I was shooting film for a while, I just got every, every single shot I got. As soon as I got the scans, I got them printed on six by fours and. And just everything so I could look through them that way. I didn't want to look through the scans. It's sort of. That was the part that, with modern film labs, I don't think a lot of them do six x four prints anymore. I don't know. I'm not shooting film. [00:09:08] Speaker A: Yeah. I mean, there's not a lot of choice these days. [00:09:11] Speaker B: But the lab that I was getting my stuff done through didn't do six by fours or they do any printing, really. They just did the scanning. So. Yeah, anyway, I was. That's. I love that bit. [00:09:23] Speaker A: Yeah, me too. Yeah. And I think we've talked about this before, but I know, like, when I went on my journeys to Japan, I would often print a, um, either, what is it, five by nine. [00:09:37] Speaker B: Fuji thing or something? [00:09:39] Speaker A: No, it's not a, with just a standard print, I would just go to, like, a kiosk at officeworks or, heaven forbid, big w, and I would get a ton of photos printed just because I just wanted that tactile experience of going through them and seeing them in different lights than. And showing them to people. Not that anyone really wanted a slideshow, but I do remember that the early days, like you said, justin, of family film photography, and I remember my nan always had a camera, and we've talked about, she had the one with the, like, the cube, the ice cube flash that you turned, and it had like, four shots and that was it. But, um. But my nan would always cut people's heads off, and that sort of thing. But I remember going to. We would go to Kmart, and we'd fill out an envelope, and we'd put the roll in, and we'd seal it up, and there was a drop box at the service desk. And then, you know, I think you'd get a phone call saying your photos are ready, or you'd come back in five days or something. And it was always exciting because you'd always start off with the contact sheet with all the little prints and then the smaller ones. Yeah, it was such a delightful thing because, you know, today you get instant feedback from either the evf or the rear of your camera. Um, but I think there's something really spec. Like, there's something really unique about not having any idea the days, potentially. Um, you know, like a friend of ours, Joel, who we caught up with up at BFOP a couple of weekends ago, he's just recently dropped off a huge bag of film from the event because he shot primarily with film cameras, and he's just posted to the Befop Facebook group and community one of the roles of film and just delightful outcomes. You know, he's. They're all black and white, so they're all wide. I don't know what the ratio is, but they're all quite wide, and they've just got this beautiful quality of unexpectedness and randomness to them. And I think that's. There's something nice about that, because often we take a shot with a digital camera and we look at it, and we go, now I'm gonna recompose that. [00:11:52] Speaker C: You know. [00:11:55] Speaker B: And I agree that sometimes you have to, but, yeah, it can take you out of that, sort of. You start working on the thing on the shot instead of just kind of being still in that zone and flowing through. [00:12:10] Speaker A: Yeah. And I was just talking before we went live. I've got a couple of manual focus lenses from Taipok that I'm testing. This is with a Fuji X mount and the manual focus. And I haven't shot manual focus lenses since film a couple of decades, few decades ago. And it's interesting because it really made me slow down and stop, and I didn't run and gun because I didn't want to have, you know, hundreds of frames that were out of focus. So it really made me slow down and stop. And it was such an enjoyable experience that, you know, that compositional value. Anyway, we digress. [00:12:48] Speaker B: Well, just to fully derail the show before we get back into everything, have you seen the flashback camera? [00:12:59] Speaker A: No. [00:13:00] Speaker B: Okay, so I think Jim sent me to this the other day. I'm gonna just bring it up because it's. [00:13:05] Speaker A: I'll just jump to a couple of quick comments. [00:13:06] Speaker B: Do it. Sarah. [00:13:09] Speaker A: Sarah Nash. Definitely not old John. And what do we got? Digi frog. Tony. Morning, boys. [00:13:20] Speaker B: What's up? [00:13:23] Speaker A: Oh, no, Dave. Did I say Tony? Where did I get Tony from Tony's gyms, mate. [00:13:27] Speaker B: He might roll with it. [00:13:28] Speaker A: And Sarah's also said, that was my introduction to photography through my nan and her cube flash. She always chopped our heads off, too. Yeah, it was. It was a family joke that, you know, when we'd line up to say cheese as a family at Christmas and birthday events, that someone would always say, usually my dad. Oh, don't chop our heads off, mum. What do we got here? [00:13:49] Speaker B: So this is the flashback camera. Now, I'm not endorsing this because it's kind of a little bit silly, but apparently it's raised 800 grand on Kickstarter. Anyway, basically it's got all the analog, digital, blah blah blah, kind of salesy stuff. But the theory of it is you shoot. It's digital, digital camera, not a film camera. You shoot a roll of digital film and then they get. You can get access to them 24 hours later, that each roll of 27 photos is transferred wirelessly to the flashback app, where they take 24 hours to develop. [00:14:31] Speaker A: It's odd. What about the 24 hours thing? [00:14:34] Speaker B: Yeah, it's kind of. And look, it's inspired by fujifilm. Superior film. So you might like this. [00:14:44] Speaker A: I've got a feeling there was a camera a few years back now that did something similar, and what it offered was it looked like small roles of 35. It was all digital. But when you put the 35 in, it changed the film simulation that the camera shot in. [00:15:00] Speaker B: Really? [00:15:01] Speaker A: Yeah. [00:15:02] Speaker B: So they went to the next level of like a tactile tactical, and so. [00:15:06] Speaker A: You would have to swap them over. I'm pretty sure that's. That's what it was. It was a digital camera, yet it had, like. So it was. You didn't have a. Like a mode or baked in film sims or, you know, or looks or color profiles or anything like that. You actually had to rely on these. These fake cartridges, fake canisters that replicated different film sims, different films. [00:15:30] Speaker B: So it was, you know what you could do? [00:15:31] Speaker C: You know what you could do? Just be strong and not look at the back of your screen. [00:15:35] Speaker B: Yeah. [00:15:36] Speaker C: You know, 24 hours for 2020. [00:15:41] Speaker B: I see what they're trying to do because it's more these things, more like a disposable replacement. That's not disposable. So it's like, hey, it's kind of, you know. [00:15:52] Speaker A: You go to JB hi fi or Kmart, and there's. There's like one model that has Ilford, I think, Kodak, Agfa. It's the same camera. They just brand it. So some company somewhere is mass producing these cameras, and some of the old film brands are just buying them up or buying the license to use it. So, yeah, I do like that idea. And, you know, we talked couple of weeks ago about the new Leica that doesn't have a rear lcd. [00:16:21] Speaker B: The M eleven p. No. What is MP, MDP, something P. It's expensive. I know that. [00:16:28] Speaker A: Well, it's a. Like, it's got a red dot on it, so that's like an amplification for price. But. And also the Fujifilm X Pro three that. [00:16:39] Speaker B: Natively. Was it closed? Is that like. That's kind of the default setting, is the screen? [00:16:44] Speaker A: Yeah. So the screen is closed, but the back of it has a small, a color e ink display that's not backlit. That would show that basically the film simulation box, end of the box, like you would do in an old film camera, where you tear the box off and put the film in the frame. And. Excuse me, I get excited about Fujifilm. And to access the screen, you'd have to flip it down, which was annoying and great because, yes, it made you cover up that screen. You still had your EVF, but you focused more on the experience than the outcome come. [00:17:19] Speaker B: But also it had. Did it have hybrid optical and EVF viewfinder? So you could shoot optical. You could shoot optical viewfinder with the screen folded up and essentially have that sort of rangefinder experience. [00:17:32] Speaker A: Yeah. Without knowing really what, you know, it made you. Forced you to compose and dial in, you know, understand your settings and reading the light correctly and all of those sorts of things, but, yeah. [00:17:45] Speaker C: Very polarizing, that camera, though, wasn't it, Greg? For some people that either loved it or they hated it. [00:17:51] Speaker A: Yeah, they did. And it launched just at, you know, the cusp of COVID So before we all fell into the. The abyss, I think it really slaughtered its sales. So it had potential. The other thing that was against that camera was that it had this special premium coating that pushed the price up unnecessarily. [00:18:11] Speaker B: But also, now it's still selling. They're still basically unavailable, and it's selling on the second hand market for new prices. So it can't be that more than you price more. Yeah. [00:18:19] Speaker C: Selling it for more. [00:18:21] Speaker A: Yeah. [00:18:21] Speaker B: That doesn't make any sense? [00:18:23] Speaker A: Well, they're the Fujifilm, Justin. I don't know what part of that you don't understand. [00:18:30] Speaker B: So the inflated price for no reason other than the brand, is that similar to like canon? [00:18:35] Speaker A: Sorry? [00:18:37] Speaker C: Well, like, I just brought in a camera, like you said, that they're charging premium price with even lessen it. No screen now, but you still, where's the saving? You know, but they're still going to charge a megabuck run out and oh, look, how exciting. Not screen, it's not bring out. [00:18:56] Speaker A: Yeah, like then they'll bring out a Stevie Wonder version. Is that appropriate? [00:18:59] Speaker B: It's, it's a shame that they didn't make that no screen version. Like, I know it probably doesn't cost them a lot with the screen and adding an extra, you know, like, I can see what. But it would be interesting if they had made it, say, two or $3,000 cheaper than an m eleven. It would have been fun to see people wrestle with that decision. Like, do I get the m eleven quality? But, but go no screen because it saves me $3,000, you know, like that would have been fun to watch people try and make that, that decision. [00:19:31] Speaker A: Yeah. Morton clicks hey, looking good, John. [00:19:36] Speaker C: Thanks, Morton. Good to see you, buddy. [00:19:41] Speaker A: John brought his fan club. [00:19:42] Speaker B: I was going to say, with all these people watching it in the live chat, we should probably talk to John about his photography. [00:19:48] Speaker A: Oh, yeah, that John, yeah, sorry, we got. I told you it would go off the rails, mate. [00:19:52] Speaker C: It's fine. [00:19:55] Speaker A: So you kind of accidentally came across street photography through, you know, just everyday carry. What was your everyday carry camera then, when you accidentally fell into street? [00:20:06] Speaker C: Well, it was my phone, but then I decided I came. So I was taking photos. Yeah. And they looked horrendously bad and I couldn't work out why. And then someone said, well, are you processing them using an app? And I'm like, what's that? Had no idea. So I did a bit of research looking for it on YouTube and I came across a lad called Sean Tucker, so, from the UK, and that's when I learned what I was doing with street photographer. So, street photography. So initially I was looking to find how I could make my shit images look better, so, of coffee, really, and then, and my architecture shots, so, and then I came across Sean Tucker and I was a very philosophical way of looking at the world and photography, and he basically taught me how to edit my images. I use snapseed, so. Which is a really crappy, cheap app that's, well, it's free and so from that I went and bought my first camera, which was a Nikon 3400. D or D 3400. I can't remember what the exact thing is. A cheap plastic camera with. With a zoom lens that came with it. Stock zoom lens. And I learned on that just following Shawn Tucker and. And then following other youtubers and Instagram on how to do light and shadow work because that's what I sort of gravitated towards and what I liked. So. Yeah, so I started on a Nikon, but everybody starts on a nick on and then everybody moves away. [00:21:42] Speaker A: So you had no formal training in. [00:21:44] Speaker C: None. [00:21:45] Speaker A: I still don't in that respect. [00:21:48] Speaker C: No, no, no. The only formal training that I had really, was all brownie points was that I didn't have to cut people's heads off like Inan in my friends. You know, on the. You know, you were there. [00:21:59] Speaker A: You were the. You said you were the designated. Not the designated driver, but the designated photographer on those boys. [00:22:05] Speaker C: I just took on that role because I was less drunk than everybody else. And I seem to have a knack of me being able to get everyone in the frame, even if I was a bit, you know. [00:22:13] Speaker A: Yeah. [00:22:13] Speaker C: On the other side of sober. Sober. But, you know, so that's. That's where it started. And. And then. And then I decided, right, I did go to Tafe for six months because work, we're looking at training people and they sent me to Tafe for six months and I. The only thing I still talk to my lecturer there, I quit because I wasn't getting anything out of it. And the only thing I found out in TAFE is I like studio work. And I thought I'd hate that. But I just caught up with my TAfE instructor when I came back to Adelaide and she had an exhibition of street photographers and stuff that they'd done, a street session. And I had an exhibition at the TAFE in Adelaide and she said she'd like me to come down, have a look and give my opinion, which was nice. And she said, oh, did. Did you learn anything? I'm like, nah, nothing, nothing, nothing street wise. But she's a very good photographer herself, you know, so. Got a Tafe, kids. It'll teach you nothing. I'm joking. It does, it depends what you want to do, but street wise, no, I didn't learn anything. I learned how to maybe use my camera a little bit better than I did. So. Yeah, you know, but that's. That's all formal training I've had. I didn't like studio work. It was quite interesting. I thought I'd hate it. But anyway, it's. I think it's working in a studio. It's a manipulation of light. You can control the light in a studio, whereas on the street you can't. [00:23:41] Speaker A: So. Yeah, yeah, yeah. The light kind of controls you, really? [00:23:46] Speaker C: It does, it does. And that's the challenge and the fun of it. [00:23:49] Speaker A: Yeah, yeah, absolutely. And it's developing that. I always call it an internal sundial. [00:23:55] Speaker C: Yeah. [00:23:55] Speaker A: That you always know where the sun is because you always need to know where the shadows fall. [00:23:59] Speaker C: Yeah. [00:24:00] Speaker A: You know, and. [00:24:01] Speaker C: And I think street photography. I've lived in Adelaide for when I first started over 30 years, and I'd seen. I've seen more of my city now that I've picked up a camera and started street photography than I ever did in that 30 years before, because it makes me walk down every street, every alleyway, because we're very. We're creatures of habit. Yeah. And we follow. We follow the same path that we walk all of the time, because it's efficient or it's our way to work. But when I have a camera with me now, when I'm out on the street, I go different ways because I want to be able to take different sorts of photos. But that helped me develop my ability to know where the light is going to be and where it's going to be at certain times of the year, because it changes all of the time. [00:24:46] Speaker A: Yep, it does. Fair point. So you were shooting with a plastic Nikon, I think, if they were your words. Yes, we've all had a plastic camera of some sort. My first canon was like a 600 d, and that felt hollow and plastic, like all canon. [00:25:06] Speaker C: It still took good photos, though, Greg. It still took great photos. You could hear the shutter stuff either way, you know? [00:25:12] Speaker A: Yeah, no, look. And like you said, it teaches you a lot about how to use a camera. And, you know, and I think what I find when I do my street work versus when I do anything else, like product shots or portraiture or whatever it may be, that when I do street work, it's less about the technicalities and it's more about being present and seeing the moments. [00:25:37] Speaker C: Yeah. [00:25:37] Speaker A: Which anyone could say that about any photography genre. But you're less worried about the gear. It's just an extension of what your eyes seeing and your response time to the changing scene before you, because that scene come and go, comes and goes. You have no control over it. You have no capacity to manage the light, the expressions, the poses, the motion. You've just got to roll with it. Yeah, we need to get you out on the streets, Justin. [00:26:06] Speaker B: I get out on the streets a lot. I just don't often do a lot of people photography on the streets. And I would. I've got a few questions written down that I want to ask you later, John, because I've got a trip coming up, and I want to get a little bit streety while I'm away. So I've got a list of. A list of questions where maybe you can give me some tips. So I approach it in the right direction, but I do like it. I have a similar issue to, I'm in Bendigo, and I know there'd be a photographer that would do a great job of street photography in Bendigo, but there's not a lot of people around, and what I feel, and this could be just me, I don't know, being scared, but I feel like when there's less people around, they're much more aware that you're photographing them. And it's quite a. It's an odd dynamic for me. It feels strange, and I feel kind of uncomfortable taking photos, you know, when it's just me and three other people on the street in the morning. [00:27:07] Speaker A: Um, yeah. [00:27:08] Speaker B: Pointing the camera at that person feels a little weird. Whereas, you know, every time I visited Tokyo, we'll run around all night taking photos of people. And then the next day, when the light starts shining through the buildings and stuff like that, it's, um. It's easy peasy. Yeah, easy peasy Japanese. Anyway. [00:27:29] Speaker C: Well, for me, I started in Adelaide, and it was hard to cut my teeth here in Adelaide, initially, it's really difficult because there's not many people. Yeah, but you, once you start, you realize that most people aren't paying attention, and there's little tricks you can do where you just have. You're holding it up, and if they go, you take the photo of me, you just point at some random building, and you go, I'm photographing that. And then they go, okay, you know, there's lots of things. Or if they walk past, you just keep the camera up to your eye a little bit longer and then think, oh, it wasn't taking a photograph of me at all. But you realize also that people aren't paying that much attention. They're often in their own little world within their thoughts, thinking about what they're going to cook for tea tonight, you know? [00:28:08] Speaker B: Yeah. [00:28:09] Speaker C: And the small amount of times that people do approach you, just be friendly and. And tell them what you're doing. Not everybody understands what you're photographing and how you visualize or how you've got your camera set up to take a particular image. So for me, Adelaide was difficult to start with, but it got easier with time. Oh, I don't know what happened there. That was a bit weird. And then, um, when I went to Sydney, it was like a breeze in the park. It was so easy. So, so easy. No one gives a shit in Sydney. No one. And like you said, there's so many people. No one. No one gives you a second glance. No one gives you a second glance. Although I have been assaulted numerous times in Sydney, so what, for four street. [00:28:55] Speaker A: Photography or. [00:29:02] Speaker C: I've had my camera punched, so. And often it's. It's by people who you're not even photographing. [00:29:08] Speaker A: Yeah. [00:29:09] Speaker C: So often I found even in Adelaide, people will come up to me and ask me, what am I doing? Why am I photographing people? You shouldn't be doing that. And 99% of the time, not always, it's people you're not even photographing. It's just do good at Karen's who have got some kind of. Some kind of agenda to protect the world, because that. That's what they found that they need to do. So in Sydney, I was. I literally, I'd been caught up with some photographers. I was standing on locket on George street, and I can't remember what the other street was photographing. People coming across the crossing. Yeah. And I was walking across, as they were walking, and I literally just said, the people I was with, I can't believe Sydney, they don't give a shit. You can photograph in, you can put a camera right in someone's chops and no one gives a shit. Two minutes later, Bosch Fist comes through. Young lad. Young lad punches my camera, who I wasn't even photographing him. And then. Yeah. [00:30:09] Speaker B: Punched your camera. [00:30:10] Speaker C: Yeah, punched my camera. [00:30:12] Speaker A: It makes me think of, like, a current affair segment where for those of you that the current affair in Australia, it's a. It's not really a news show. It's more of a drama. Real life. Yeah, like. Like a real life drama. They like to chase people who don't do nice things, but. And when people come out of courtrooms and then they start punching the cameras and. And pushing the camera people over, not thinking that this is all being recorded and that there's, you know, there's consequences for that behavior. [00:30:45] Speaker C: An extreme case. I've done it for four years and not had any issues. You know what I mean? [00:30:49] Speaker A: Yeah. Confronted. [00:30:51] Speaker C: Yeah. [00:30:52] Speaker A: Yeah. I've had. I had a tradie who was managing traffic. And I was. I was on the, like, on the opposite corner of a relatively wide street here in Peran, and she came up to me and said, what are you doing? I said, oh, I'm just. I'm taking photos of the buildings and what's going on around the area. I just document, you know, my local neighborhood. She goes, we can't do that. I said, oh. I said, is there a problem? She said, no, I don't give you permission. I said, well, look, I'm happy to not take photos of you, but I don't need your permission to take photos. Yes, you do. It's the law. I said, look, I'm the photographer. I understand what the law is. And I tried to remain calm. I got a bit tetchy towards the end, but, you know, I'm the photographer. I actually know what the laws are when it comes to street photography or when it comes to taking photos. I am well within my rights to photograph anyone in public. But soon as you've asked so nicely, I'll delete the photos. You know, and I've had other people come up and say, delete that. You know, when. When. And like you say, they're not necessarily even in the shot. [00:31:51] Speaker C: Yeah. [00:31:52] Speaker A: And I do, because it's. It's not worth. It's just a photo. [00:31:56] Speaker C: Look, Greg, at the end of the day, right, you are photographing people. You do have a legal right to photograph anyone and anything that's in a public place, okay? That goes for police. That goes for anything. The only thing I wouldn't do is photograph barkies. You know me. Don't do that because they don't care about the law. I'll tell you another story. What happens here with a viking. But you do have a legal right. But just because you have a legal right doesn't mean that you should enforce that. Right? So most of the time when people come. When people come up to me and they say, have you taken my photo? I will tell them, yeah, I did. And they'll say, why? Or they ask why. Most people are not like, they don't go nuclear straight away. You know what I mean? [00:32:36] Speaker A: Yeah. [00:32:37] Speaker C: This is the odd nut job, but I. Sometimes they have bad days, and sometimes they're on gear. So you don't take it personally. You show them the photo, and if they don't like it, delete it. There's like an. In Sydney is a million other people out there. There's three, but, you know, there'll be. There'll be other people, other shots. And that's happened to me maybe three or four times. But often the Karen's who come up to you always say, you need my permission to take photos. Then they don't know the law. They don't know anything. I photograph police. I photograph everybody apart from bikies. That's who. [00:33:09] Speaker A: I don't photograph. [00:33:11] Speaker C: I don't photograph bikies. [00:33:13] Speaker B: So what happened with the bikie? [00:33:14] Speaker A: Yeah. [00:33:15] Speaker C: So what happened was I was on my lunch break in Adelaide, and the light was bad. And so if I'm. If the light's bad, because I'm a light and shadow dude, I work on reflections and things like that. And I walked up to a window, and I was looking at a restaurant, and I was looking at the reflection of the buildings and people crossing the lights and stuff. Yeah. And of course, you're focused on that, the reflection. You're not actually looking through the glass, and you've got your camera all set up for that. Right. And I literally got my shot. It was nothing. It was terrible. And then I put the camera down and I looked, and there was a dude's face, literally here, you know, right next to the window. I hadn't even seen them there. And I just give him a bit of a wave and walked off. Right, sorry, reflection type thing. So I'm walking down, back to work. A couple of hundred meters down the road, I get a tap on the shoulder. It's like a six foot four biky dude with the net, with the gold chains, the rings, the tats, everything. And he said he was very polite. Excuse me, did you just take my photo? That's when I nearly pooped my pants. I swear to you. I normally. I don't. I'm not. I'm not frightened of people on the street generally, you know, but when you look at a six foot four biking, who says, excuse me, did you take my photo? I was like, no, no, Matt, I didn't, I didn't, I didn't. I just showed him. It was a reflection on the window. He was very polite, and he said, look, I've only come up because my wife said, are you going to allow that person to take a photo of us? No, that's a side story. He didn't want his photograph taken. You know what I mean? Yeah. If he just said, I want that, mate, here's the memory card. [00:34:52] Speaker B: Just take it. Exactly. Exactly. [00:34:54] Speaker A: Yeah. [00:34:55] Speaker C: And he was. [00:34:55] Speaker A: Here's my wallet, here's my phone. Like. [00:34:58] Speaker B: Yeah, yeah. So once you showed him that it was a shot of reflections, he was like, oh, okay, fair, you know, don't care, whatever. [00:35:04] Speaker C: He actually took my word for it. He didn't even really look at the photos. He just said, oh, that's fine. My wife, my wife sent me, and blah, blah, blah. Yeah, you couldn't, you know, at the same time, he could have just thumped me. But he was very polite, and that's, that's a, that's a positive outcome. But I'm so glad that he didn't, because not everybody's like that. Yeah. Especially if they're not, if they once have, they've been sitting, having a meeting with someone that they're not supposed to be with. There's dishonest. Anyway, it doesn't matter. But I've also photographed police in the right light and all sorts, and they come up and say, what you're doing. Oh, I'm just taking a photo. Why aren't I allowed to? You're in a public place. Oh, yeah, yeah. What's your name? You don't need to know my name. Yeah, can I have your mobile number? No, you don't need my mobile numbers. Like Jedi Knight. No, you don't need, that. [00:35:53] Speaker A: Didn'T go down the sovereign citizen park. [00:35:55] Speaker B: Okay, so hang on. From what I've learned from these stories, is that out of, out of Karen's young kids, bikies, and police officers, bikies are by far the most level headed and polite people to interact with, uh, on the streets. [00:36:15] Speaker C: Yep, they are. And they're the people that you listen to. You listen to those dudes, because everybody else generally follows a letter of the law. They don't. So, um. [00:36:29] Speaker A: Yeah, yeah, yeah. [00:36:30] Speaker C: And I'm generalizing there. I'm sure there's some very nice out there. [00:36:33] Speaker A: Of course. [00:36:36] Speaker B: Lovely. [00:36:37] Speaker A: Yeah, yeah. Uh, just something to a comment, Sarah, when we're talking earlier about, um, not many people in the streets to photograph, um, or to get a good run, I guess. Um, but Sarah said, same here in Ballarat. Uh, exactly why I love visiting Japan. Um, Sarah, question for you. Have you ever been to the Ballarat photo biennial? Uh, we're keen to hear about that, because Justin and I are considering maybe getting involved somehow with lucky straps or at the very least going and have a squiz. So let us know your thoughts, please, or anyone else that's been to the Ballarat photo biennial, which is next year. [00:37:16] Speaker C: Sarah's an exceptional photographer. Photographer, by the way. Exceptional. [00:37:21] Speaker A: Very, very good. [00:37:22] Speaker B: Would you like to come on the podcast, Sarah? [00:37:24] Speaker A: Yeah. Sarah, please join us. Let us know. Be in touch. [00:37:29] Speaker B: I have a question before we, before we dig too much, because I assume we're going to pull up some photos at some stage of John's, and I've got a heap of other questions for later on. But right now, how, like, how do you describe street photography? When someone says, like, what, what sort of photography do you do? And if they don't know what street photography is like, what is it? [00:37:50] Speaker C: Oh, what a bomb you could let off right here. [00:37:55] Speaker B: Now just, that's like, that's what I'm hoping for. [00:37:58] Speaker C: Look, street photography, the, the genre is very polarizing. You have gatekeepers and people have very strong opinions about what it should be and what it shouldn't be. For me, I think the interesting thing about street photography is it is quite a broad spectrum of what you can photograph. Yeah. And it gives you a lot of creative license to photograph different things without being pigeonholed into one thing. And that's what attracted me about it. But there's, there's gatekeepers out there and they know who they are. If anyone's listening, who. And something just happened on Instagram with Joshua K. Jackson. Someone, if anyone knows Joshua Kay Jackson's work on Instagram. Phenomenal photographer. He posted something on his stories where someone had had a crack saying, street photography is about, supposed to be about people. I'm not sure what your images are. And there's these people all the time that will tell you what is and what isn't. My definition of street photography is anything that I see on the street that has a human element and it doesn't have to have a person in it. It can be a building. It can be anywhere. Now some people literally take it the, I posted something on a Facebook news group the other day and said, I'm not sure I see any streets here. They literally take it. Literally. Oh, they need to see a street. The definition is whatever you want it to be as long as it has some kind of human element in it. And that can be a dog. Anything. Anything. And that's a mammal. Yeah. It's not person, but it depends on you, your definition. Don't allow people to put a, to put your creativity in a box is what I'm saying. [00:39:35] Speaker A: Yeah. [00:39:35] Speaker B: So what, when you say human element, what, what's a photo that wouldn't have a human element in it? Just so I can understand more. Like, so, so if you, so wait. Yeah. What's an example? [00:39:48] Speaker C: A flower. [00:39:50] Speaker B: But what if the flat. So if, but if the flower had, I guess so. Some gardening tools beside it. And it looked like that might transition it towards being feeling streety as opposed to just being a picture of a flower. [00:40:05] Speaker C: Exactly. [00:40:05] Speaker A: Because it could be, you know, it could be that. Personally, I don't photograph homeless people or people that are obviously affected in some way. That's one of my ethics around street photography, and that's a whole nother. That's a whole nother discussion point. But if I come across a scene which I think has good light and I am in a good spot to get a good composition, and there's evidence, say, that of strewn belongings that tell some sort of story about the human impact or the human interaction with the world, because that's how I define it. I define street photography as me being in a public space, capturing moments in time with people, interacting with their world. And so that, you know, that image of. Or that composition of someone having been there and evidence of them having been there and left some sort of mark, and maybe people are walking around it or people are looking at it, you know, that. That in itself could be a composition where there's a human element or evidence of a human element. [00:41:12] Speaker C: And Joshua K. Jackson, when I first started photography, when I first started coming into it, used to post an image of a dustband and brush in Soho, because he's in. He's based in London, and he would photograph that nearly every day and post it, but it would slightly change all of the time because he knew it was going to be there at a certain time of the day. And people don't realize how difficult it is to make something everyday boring look interesting. And that's where I've learned how difficult it is to take an everyday scene and make it look something special. And that's the skill of the photographer, of how you take the photo. [00:41:50] Speaker A: Yeah. [00:41:51] Speaker B: I have a few more questions about what is street photography? Okay, should it always be, what's the word? Not spontaneous, like unmanufactured? You haven't changed anything in the scene. You haven't set something up. You haven't said, hey, could you stand a little bit further over that way? Is street photography always unmanipulated in terms of. Obviously, we manipulate our angles and our camera settings and all of that kind of stuff, but we don't interact with the scene itself. [00:42:25] Speaker C: For me, yes, in my interpretation, every image I take is candid. It's as it happened in front of my camera. I don't ever have anybody walking through or holding an umbrella or acting in a certain way. I don't set those up. I don't consider, for me, my interpretation that's not a street shot. That's. That's an urban photographer's. Whatever. [00:42:49] Speaker A: Urban portraiture. Portrait. [00:42:51] Speaker C: Urban. Urban portraiture. Now, some of those images are beautiful. [00:42:54] Speaker B: Exactly. [00:42:55] Speaker C: I love them. They're great. Even just to visualize something like that and be able to put it together, the composition and everything looks great. They need to be there, the right light, and do all of those things. But for me, my interpretation, no, it's not a street shot. You ask somebody else, it'll be different. So I guess what I'm saying, justin, is it always depends on the individual and what they think. [00:43:18] Speaker B: Yeah. [00:43:19] Speaker C: The only issue I have is that I don't like being told that what I'm doing isn't street or whatever. That's fine. You can have your opinion, but don't tell me what is and what isn't because everybody's different. So, no, I set up shots. No, I don't consider that straight at all. It has to be a candid moment that's captured. I don't take anything out. I don't have anybody walking through my scenes. I don't have any of that. [00:43:47] Speaker A: Yeah, I think you're right. And I think, you know, I've come across gatekeepers and, you know, warriors with some of my street shots. And I've even had people to say, how is this interesting? Or how is this art? You know, it's two people walking down the street. How is that art? And I think it's one of the biggest problems that I have with this sort of subset of genres around, you know, street photography and urban portraiture and street still life. Is that the genres that the need to classify it and put it in a genre bucket limits creativity. You know, there's no reason why a wedding photographer can't ask the couple, you know, let's head up the street. Let's head up this laneway, for example, because you often see a lot of couples in a city getting street shots done these days, which is really interesting. Head up there and we'll do, we'll set you up because there's good light up there. But on the way, the photographer unknowingly takes photos of them because it's natural and it's candid and it's raw. Well, yes, they're still street photos. Even they're walking, even though they're just walking to a portraiture setup, it's still candid street photography. And I think, you know, I think those, those genre buckets really do limit the creativity. And, you know, let's just look for beautiful images. [00:45:10] Speaker C: It's. Yeah, it's interesting you say that, because I went to a liker event. I used to go to a lot in Sydney because they got great food for free, so wear my Fuji cat too. But also that's what I like about Leica. They, they've got a pretty good community and they like to, like to put on displays and exhibitions and stuff and then invite people on for free, which is great. [00:45:33] Speaker A: Well, I can afford it, can't they? [00:45:34] Speaker C: Well, they can. And thank you, Leica buyers, for supporting mine. Great little canopies. That was great. I didn't end up much in the promotional shots because I'm always wearing my Fuji cat. But anyway, there was a, there was a guy there, it's not always street stuff, that he was a wedding photographer and great, but he was also a street shooter and he won a massive following. He's won all these awards and I got talking to him, he's considered. I can't remember what the lad's name was now. I do apologize. He's won all these awards. He's considered Australia's top wedding photographer. And when I got talking to him, he literally was transferring his experiences of what he learned on the street as a street photographer into weddings. So the compositions and stuff that he was trying to do and create and that made him different. So now he's considered. But he said that he, a lot of the, his style came from shooting on street, you know, which is interesting, I find. That's great. [00:46:33] Speaker A: Yeah. [00:46:33] Speaker C: So it's like what Greg was saying, you can, you can cross boundaries. [00:46:36] Speaker B: You know, we, when Jim and I were shooting weddings together, and I'm sure he still does it now, but we, like, we never did street photography. Um, but like, looking back at the way we used to do a lot of things, um, we would, you know, through the day, you set the bride and groom up in some spots and then try and get him to act natural and that kind of thing. And that, that's just wedding photography. But we would always find cool, um, angles and things like that, whether it be often while the bride was getting ready and then often, um, during the reception, just through the whole night, because through the reception, you get a bit bored when nothing's happening. As a photographer, you can't just swan around and look for cool things. And I didn't realize what we were doing was kind of like street photography, where we would find, we'd find this really cool shaft of light or a reflection in a mirror or whatever. And if there was nothing happening, you just wait there for something cool to unfold in that scene, because you found this cool scene and you were just sitting there and just waiting. And then someone would walk through. You click. Got it? Yes. And then I run over and show Jim, be like, look at this. And he's like, it's not that good for me. [00:47:44] Speaker A: That's the golden, that's kind of like the golden rule. You know how there's lots of rules in photography? I use the term rule flippantly. But for me, the golden rule for photography, for street photography, is to be present is just to wait. You know, you find a spot and you see some light and you see that there's, there's activity and you can imagine the composition in your eye, in your mind. You just wait. And also when you wait, you look less like a photographer. You look a little like an interloper, but you look less like a photographer, like a stalker. You just sort of standing there. I'm just standing there looking down at my camera, dialing in the light settings. And I look up, I see it. I take the shot, you know? Anyway, sorry I cut you off there. [00:48:31] Speaker C: It's interesting with people because we all have this fight or flight mode. Yeah. And people are very perceptive. It different things. And they will notice something that doesn't quite fit. And if you're standing on the cat, if you're staying on the court, it's, it's subconscious. Yeah, it's how, well, it's how we're built. Yeah, yeah, but, and it will initially spot you straight away, even if you're trying to look inconspicuous and blah, blah, blah. But if you don't, if you don't respond shifty or you look nervous, they will quickly make a judgment subconsciously in their mind that you're no longer a threat. And then they just ignore you. And if you're standing on a corner for long enough, you just blame people. Suddenly they look at how other people react to you. And if they don't react, they don't react generally. Okay. They were like sheep. And as soon as you're not seen as a threat out of their subconscious, you know, you're no longer there. They don't see you, even if you're lifting a camera. It's really weird how it works. I think Joel Marwitz has mentioned this numerous times. You just need to stand there and become part of the scene and then you blend in and then you become a, you're not seeing, you're, you're a ninja. [00:49:42] Speaker A: Yeah. And you know, Justin, if you're standing there with an r three and a 200 to 400, they will notice you. [00:49:49] Speaker B: Yeah, but you know what? I was just about. That's exactly where I was about to go with this. I'm glad you brought that up. You know what's interesting? When I've been shooting around Bendigo a little bit, obviously, yes. One day I went out with the r three and the 7200 reals, not to shoot street. I don't know what I call what I shoot, but it was taking photos of stuff, and people react differently. You're obviously way more noticeable. But if you. If you, you know, act. Walk with purpose, act like you're supposed to be there, which is how I would always act when I'm taking photos. The only time, like, no one, I think people thought I was a newspaper photographer, and I was wondering, I'm like, is there this element, you know, how everyone. You know, everyone shoots fujifilm to blend into the streets? I was like, it's. There's almost this benefit of shooting with the most outrageously large gear that you can take out on the street, because then while people notice you, they're like, oh, he must be doing something. You know, like, if he's. If he's lugged that big camera out here, he's obviously just doing something. [00:50:53] Speaker A: Yeah. You know, but it also changes their behavior. [00:50:56] Speaker B: Yeah, for sure. Well, one guy even come up to me, I think he was on some sort of wild drug, but he was like, you should. [00:51:03] Speaker A: Wasn't that shirtless guy who got his deal out when someone was in Bendigo? [00:51:06] Speaker B: It wasn't moon man. [00:51:10] Speaker A: Just a quick segue there, John. I went to Bendigo for a few nights to catch up with the lucky straps team and do some work and shoot, and we're out on a streetwalk on the Sunday, Sunday morning, showing Greg. [00:51:24] Speaker B: Around our beautiful town, my hometown, where I've grown up and lived my entire life. [00:51:28] Speaker A: And we're walking through the middle of town, and there's a guy kind of a block away, and he's called moon man, and he's often shirtless, and he's ripped. Like, he's so shredded. [00:51:39] Speaker B: He'd be, like, 50, but just jacked. [00:51:42] Speaker A: He looks a bit like flea from. Yeah, from red hot chili peppers. [00:51:48] Speaker B: Yep. [00:51:49] Speaker A: Anyway, so I'm kind of watching him because there's also. And Jim watched him, too, because there was a lady walking down the street on her own, and he was behaving very erratically, and so I turned to look at him, pulls his cock out, and starts pissing on the road. [00:52:06] Speaker C: I hope you got that shot, Craig. [00:52:07] Speaker A: I didn't know because I was scared of him. [00:52:10] Speaker C: Don't be scared because. [00:52:11] Speaker A: No, but Justin's going, oh, no, moon man. Yeah, he's a bit wild. Look at him shredded like he is. He looks. He looks like a wild animal. [00:52:18] Speaker B: I wouldn't want to fight him. [00:52:20] Speaker A: He's ready to run like a panther anyway, so that was my whole lens. [00:52:26] Speaker C: Got it. [00:52:27] Speaker B: Yeah. [00:52:29] Speaker A: Justin was just as scared. Jim was fearless. He stood on the corner and made sure the lady got by safely. And then I think the police drove past. But, yeah, it was one of those moments where I'm away. [00:52:42] Speaker C: Give them a toot and a wave. The police. There's moon man again. [00:52:46] Speaker B: Yeah, they just said, what are you doing? [00:52:49] Speaker A: Before we move on to some of Justin's questions, I just want to take a very quick moment to look at some comments from the folks. Sarah. It's actually Zara. [00:53:04] Speaker C: Zara. [00:53:06] Speaker A: So sorry about that, Zara. Talking about the biennial. And the biennial is world class. The biennial. Biennial. What did I say? Biennial is world class in terms of the work that is exhibited. There's always a biennial shop that sells related products you could pitch to sell in. All right, we'll look into that. And just a reminder that today's episode, as every other episode, is brought to you by the team at lucky straps in Bendigo. Victoria, who's next? Ezra. Good morning, Ezra. I'm a fellow adelaidean. Is that a term? Adelaide? [00:53:42] Speaker B: Yeah, Adelaide. [00:53:43] Speaker A: Adelaide. And I like that street photographer. And I've recently come across your work, John, and just want to say it's so awesome seeing such amazing photos of Adelaide. Very inspiring. [00:53:52] Speaker C: Thank you very much. [00:53:55] Speaker A: And Diggy Frog has said that it sounds like beef. [00:54:00] Speaker B: Like beef up. Yeah, that was kind of. [00:54:02] Speaker A: Yeah, yeah. [00:54:03] Speaker B: I don't think I saw anything much, really. [00:54:07] Speaker A: Nudity. There was a. There was a same sex couple. Well, they were brought together as a same sex couple in one of the stage shows when they were doing, like, a romantic shoot, those two women together. [00:54:19] Speaker B: Oh, yeah. [00:54:20] Speaker A: Maybe there was no. [00:54:20] Speaker B: Had to be posed. They were. [00:54:22] Speaker A: No genitals or nudity. No, no. Bit of a letdown. I was promised nudity. [00:54:28] Speaker B: They did say that. [00:54:29] Speaker A: They said, matt said to be nudity. [00:54:30] Speaker B: It'll get wild. [00:54:31] Speaker A: Yeah. [00:54:32] Speaker B: Not wild enough, Matt. [00:54:33] Speaker A: That was my next year. [00:54:37] Speaker B: Very quickly, before we. We head off into a whole nother area. And because I do want to. I do want to look at some of your work, and I also do want to some stage. I want to dig into the gear that you use and all that sort of stuff, because I really want to find out about everything. [00:54:51] Speaker C: It's all about the gear. [00:54:52] Speaker B: It is all about the gear. [00:54:54] Speaker C: All about the gear. [00:54:55] Speaker B: It's all about the gear load of bollocks. [00:54:57] Speaker C: Anyway. Yeah, go on. [00:54:58] Speaker B: Just to cap off, when we're talking about, like, what is street photography and what isn't street photography to you? What about editing? Like, where do you draw your lines, personally, with what you can edit and what you can't edit and that kind of thing? [00:55:12] Speaker C: Well, if anybody knows me, I'm the worst editor in the world because I hate it. And for many, many years, it's only the last maybe twelve months I've started processing raw images and I'm thinking about going back to jpegs, to be honest. [00:55:25] Speaker B: Love it. [00:55:26] Speaker C: Are you snaps? Snapseed? That's another reason why I like FujI. I'm a Fuji shooter. If anyone doesn't know, with the hat on and the coffee mug, we only. [00:55:37] Speaker A: Get Fuji shooters on this show. [00:55:40] Speaker C: I've got ANOtHer story about how I ended up with Fuji. But no, I don't take anything out. I don't alter anything. I, if people do, if they want to take the odd leaf out or a light or something, you know, I don't. I don't do it, but I know people who do personally, I don't do it. I think it's more interesting if you leave as much as you can in because that's what actually happened on the street. That is what you're photographing. So what's the Point? Yes, it's unfortunate that the council went and put a big, massive light pole there. [00:56:12] Speaker B: Yeah, but, but it's, there it is. [00:56:15] Speaker C: And you know what? You can take it out WiTH pHotoshop, but everybody who walks the street knows there's a light pole there and they know that you've taken it out. Unless by some magical thing you can contort your body so that you can't see it, which is. [00:56:28] Speaker A: Yeah, I always find that if I, if you're not in the right spot or you haven't composed it properly or there's elements that you wish weren't there, you either take the shot and accept it or you just walk on. [00:56:42] Speaker C: Yeah. Or it's not a good shot. [00:56:44] Speaker B: Except that, you know, so, and I know you don't like, you don't want to tell people what things are and what aren't. You don't want to impose rules. You just have your own kind of rules that you shoot by. But in the. If you had to sort of have a stab at the general average of all street photographers, would you say most leave them kind of like that? They don't remove things or it's just a wild mix of everything. Or would you say most street photographers sort of err on the side of, hey, that was the scene and that's what I shot. [00:57:16] Speaker C: Well, speaking from my experience, the people I hang around with leave the stuff in. [00:57:21] Speaker B: Yeah. [00:57:22] Speaker C: And I think I gravitate towards people who are more that, that way inclined than not. And it's very hard to tell, especially with modern technology. What, you can take whole people out without even anyone even knowing, you know, and you can change the colors and you can do whatever you want. Look, I think at the end of the day, I think most people leave stuff in, in my group, in my, in the circles I swim in. I think they lean towards the. Leave things the way they are. [00:57:50] Speaker B: It's funny because we can't tell too. So it almost feels like we're talking about, you know, performance enhancing drugs in the Olympics or something like that. You're like, oh, I think they're mostly natural, but there's got to be a few that are doing it, you know. [00:58:05] Speaker A: Breast implants. [00:58:06] Speaker B: Yeah. [00:58:08] Speaker C: At the end of the day, it just depends on what you want to do. And if you, I think the most thing is be honest. If you've taken stuff out and people say, oh, did you take something out there? And you have be honest about it. Yeah, that, that's for me. And I wouldn't like, okay, it's a great image, but it's up to you whether you want to take that blah, blah, blah or leave that in or whatever. Yeah, just do what, just people got to do what they want to do. At least just be honest. If you've set an image up, say you've set it up. Don't say it was candid. You know, I mean, that, that's where, that's where I have an issue when people hide the fact of what they're doing. You know, I don't, I, that's me. I just don't like it. Just be honest about it, because people will say to me, are you set that shot up? No, I didn't. Everything, everything I've done is candid. And people who shoot with me will, will see how I shoot. I shoot a lot. I take a lot of photos, and people, you see the ones that look half decent, you know? [00:59:02] Speaker B: Yeah, that's the thing. [00:59:03] Speaker C: They only see the ones that you, the thousands of she images that you took, you got one decent one. You know, and they got you set that up? No, that's 3000 shit shots. [00:59:13] Speaker A: Yeah. And that's, that's, I find that's pretty common with street work too. I'll go out, best intentions and sometimes I'll come back and I'll hate every single image. You know, the light will be good, the streets will be flowing and I just, I'm not getting it. I'm not in the, in there, I'm not seeing it properly and so I'm not capturing it properly. And then other times, yeah, I'll go out and I'll get, you know, 20 or 30 bangers out of a couple of hundred shots. [00:59:38] Speaker C: Yes. [00:59:39] Speaker A: It's just the, it's just the way, because it's so natural and candid. There's no control over what's occurring in front of you. You have control over how you manage the camera settings and where you stand and everything else. It just may not work. You know, you might have look out the window and go, it's sunny, there's nice shafts of light, I'm gonna make the most of that. And you go out and all of a sudden it's overcast, flat and gray and your mood changes and I think that's. Do you find John? Sorry, mate. I mean, I know that all photographers need to be in the headspace to take shots, but do you find that your mood impacts how you see the light? [01:00:16] Speaker C: Absolutely. 1000%. 1000%. You mirror often, you will mirror what, what you project will your mirror back, it'll come back to you. So if you're in a shitty mood, people will be shitty with you again. It goes back to our primal instincts of how people can see things in their subconscious and they see micro expressions. If you don't like scowling and, you know, you think the world is a terrible place, people pick up on that. [01:00:44] Speaker A: Yeah. [01:00:45] Speaker C: And sometimes I go out when, when I'm not in a good headspace and sometimes I get great images, but a lot of the time it hasn't been a pleasant experience on the street. I might get great shots, but it hasn't been pleasant. I like talking to people on the street. I like interacting with them. If someone says something, you talk to people. Another, no, no. Oh, don't interact with your subjects on the street. I talk to people all of the time. I don't go up and say, look, can you just stand here and do that? If they walk past and they've noticed me, I'll go, hey, how you doing? You alright? Having a good day? I like your dog, I like whatever. Sometimes I get, I mean, I meet fantastic people on the street that I would never ever meet, you know, I mean, because we swim in different circles and, yeah, it's just great. And I interact with people all the time. Sometimes if someone's annoyed, like, I've photographed people in shop windows and stuff and they're annoyed and they're like, you know, like we do team of fun and I turn it around and I show them and then they go, oh, looks great. Because they're not. They think that you're taking some perfectly exposed shot of them, like shoving food in their mouth or something, you know what I mean? And then you show that I've set the camera up to only expose for the highlight and everything else is dark and all the sea is the food and the glass that's lit and they go, fabulous. And then I've got little cards made up with my instagram on giant Evertonian. There you go. If you want the photo, message me. Boom. I don't put my mobile number on it because it's nut job stuff that, you know, I mean, but, um. And I send photos to people all of the time. All of the time. If they asked, sometimes they've got away because I'm terrible. I'm terrible and looking through all my images, but yeah. Or I'll go and dig it out and I'll send it to them and they love it. There you go. Thanks very much. Anyway. [01:02:40] Speaker A: Yes. Um, I can't imagine you talking. Can't imagine you talking to people quite. [01:02:47] Speaker C: You've seen me. [01:02:47] Speaker A: Great. I have seen it. I have seen you in action. Um, the only time you stop talking was to sip high quality coffee. Um, mate, I'm gonna bring up some of your images. Justin, did you have some questions? [01:03:00] Speaker B: I mean, I do. I've got a ton here. I don't know whether we want to look forward some photos first or what. [01:03:06] Speaker C: Took that in Gothenburg, I got into an argument with my wife over that photo. [01:03:12] Speaker B: What was the argument and who won? [01:03:14] Speaker C: So, well, I won clearly, because I got that photo. So we were walking around the first thing in the morning and we were looking for a coffee shop and I only had my Ricoh Gr two on me and I picked it up very last minute. I didn't have my fuji with me and we were walking along looking for a coffee shop at about 08:00 in the morning in Gothenburg. And I came across that scene and I was, I was a good couple of hundred meters up the road and I just saw that down the end of the street. And I said, I've got to go and photograph that picture. Take. Take a photo of that. It's very, very quiet street. And my wife said, for the love of God, can we not just go and get breakfast for once without you taking a photo? I'm sick of this shit. Blah, blah, blah, blah, blah. Now, my wife generally is very, very patient, but, you know, when you're a street photographer, even if you don't have your camera with you, which is rarely, I always have it with me. It's hard not to say shot. [01:04:05] Speaker A: Yeah. [01:04:05] Speaker C: Now, we walked down. She waited for me up a couple of hundred meters away, like, annoyed. And I went down, and I got that shot in one shot. One dude. I saw him walking down the street. It was such early in the morning, quiet, and click, bang. And I got this amazing. I think it's one of my favorite shots I took on my whole trip. And it was split second just because I saw it. I just visualized the whole. Everything. It looks like a steam boat at the back. And people say, is that a ship? It's not. It's a big, tall building, and it's more buildings. And there was that one slither of light there. And, yeah, I was just lucky that someone came along and one shot, bang. Got lucky. The Ricoh is an awesome camera, by the way. The Ricoh Gi is phenomenal. Very underrated. [01:04:53] Speaker B: It is on my list of cameras to try as well get it. [01:04:57] Speaker C: It's phenomenal. [01:05:00] Speaker B: Yeah, that's interesting. [01:05:02] Speaker C: Greg, Greg, if you just go back up in my feed a minute. Sorry, Greg. [01:05:05] Speaker A: No, I don't want to. Where. [01:05:07] Speaker C: And if you see. You see the middle shot there that. I got that photo literally five minutes after I had my camera punched. So, you know, when I got. When I got into an altercation with the young lad, because it all kicked off, I didn't, like, go, oh, I'm so sorry. I'm from the northeast of England. I have a temper, right? If someone assaults me, I have a crack back. Yeah. So. And then the people I will with, like, you okay? You okay? I heard all this screaming and shouting and. And I'm like, yeah, I'm fine. And then I looked down the road, and I saw this dude coming down. He looked like something at the Sullivan's. If people are old enough to remember holding the Sydney Morning Herald. Not many people have newspapers anymore dressed like that. And I got that shot literally five or ten minutes after I'd just been assaulted. So just don't take things personally, and things will happen. They'll come to you just be ready for the next one, you know? And I was literally about a meter and a half from this dude. And he didn't. He didn't bat an eyelid. I literally almost stood in front of him to get the. To get the photo. But anyway. Sorry, I didn't mean to butt in, Greg. [01:06:12] Speaker A: No, no, you're. It's interesting what you mentioned earlier about seeing the light. Now, Justin, um, you know, spent a decade as a wedding photographer, so he just identifies really pretty frocks. But for me, when I know when I'm out on the street, if I don't have my camera, I'm hyper aware of the light that I'm missing. [01:06:32] Speaker C: Yep. [01:06:33] Speaker A: Like, I see the shafts, I see, you know, and I even, even just seeing interesting people like this guy here. You know, I live in a city in South Yarran, Peran. Very busy, very multicultural. Cosmopolitan, as my mother calls it. There's a lot of interesting folk around. And I'll be walking down the street, and I won't have my. My camera with me, stupidly. And I'll see these amazing compositions, and it's like, so. And I just become so hyper aware of that. [01:07:04] Speaker C: Yep. [01:07:05] Speaker A: Do you find that with frocks, Justin? [01:07:07] Speaker B: Look. Not so much with frocks, Greg, but look. It's hard to explain how much. How ingrained light and composition gets pushed into your brain. When you spend eight or nine years shooting with literally millions of images. Like Jim and Jim and I walk into places. Now, we can tell if the lights a bit green because it's shaded by a big tree and stuff like that. Like, you start to see shit that you wouldn't otherwise normally see. That is certainly the case. [01:07:44] Speaker C: Yeah. [01:07:45] Speaker B: And you do. You're constantly processing and looking for stuff. Oh, that would look good. Oh, that would be good. [01:07:54] Speaker C: You can't switch off. [01:07:56] Speaker B: Yeah, you can't switch off. And definitely not so much. You guys are obviously finely tuned to light and shadow city stuff, which I don't spend as much time in that environment. So it's like, when I see it, it excites me. But I'm probably not as honed on finding it quickly every time kind of thing. You know, like, that takes practice. Whereas, you know, obviously, if I'm wandering around Tokyo, as soon as I see good light, I know it and I want to take photos of it. But if I had to go and take photos, I'm probably not as good as seeking it out in a city as what you guys would be. But on the other hand, put me out in the. Put me out in the sticks with a mountain biker and things are a little bit different. But, yeah, it definitely. It's like, it's hard to switch it off once you've. Once you've turned it on and tuned yourself into that mode of thinking, that's for sure. [01:08:52] Speaker C: It just takes practice, doesn't it, Justin? It's just what you get used to and what you train yourself to look for and you can train yourself to do it. If you took me out into the countryside, I would be struggling, but if I took you out on the street, I wouldn't be. It's just what, it's just the environments that we get used to. And that goes for anything in life, really. You've got to get out of your comfort zone. [01:09:11] Speaker A: Yeah, definitely. And I think with street photography, what I've found. I know south. Yeah. Really, really well in Paran and Windsor. And I've got a fairly good. I've got a great idea, actually, of when the light is good at different times of the day in different parts of. I mean, Chapel street connects them all. So it's a, you know, a long thoroughfare. And the same with the. With the city, with the Melbourne CBD, you know, where light falls and, you know, which of the tall skyscrapers. I mean, it's constantly changing, but, you know, which of the tall skyscrapers will reflect gold or dappled or blue light into certain parts. So you. And that's that whole, going back to that whole thing of being present and being aware of what's going on around you and constantly looking for those light patches, those light traps, as I call them. And you build that. You build that over time, that you know where to go. It's like, oh, I'm going to head into the city. I've got to do something while I'm going to take my camera. It's gonna be about 03:00 all right. I might, um. You know, I might head to this side of town or I might go to the docklands because the buildings there bounce light down onto the southern Cross platform too, at this. But, you know, like, it's. It's interesting. In fact, there's a. I don't know if you put me onto this, John. There's a guy in, I think, I don't know if he lives in India or if he went to India and he did a street photography project where he went to the same train platform, this really packed, busy indian city location, and he stood on the same train platform every day at the same time for weeks. And he took basically the same shot at the same train, because it was mostly, you know, according to schedule. And just seeing the people that were hanging out of the window and walking past and, you know, for some, it's like, oh, they were all the same. But when you look deeply at how the people are interacting with their world, that's when you start to get these little individual stories in every photo. [01:11:15] Speaker C: Trent park did a similar project in Adelaide on a particular street corner for over a year, I think. Just photographing at the same time. [01:11:22] Speaker A: Yeah. [01:11:24] Speaker C: Standing on that corner. Yeah. [01:11:25] Speaker A: It's an interesting observation of, you know, what's happening around us, that most of us would walk past that corner, all the people that were using that train station, you wouldn't even think about it. But this guy was just these beautiful shafts of light on this old, dirty, dusty, rusty train carriage that had some really interesting colors in it and just obviously, the people coming and going. [01:11:49] Speaker C: Just. [01:11:49] Speaker A: Want to jump to a comment in that pause in conversation. Ezra, I'm very jealous. I just got the gr three X. Going to take it for its first shoot today. So the Gr three, John, you've got a gr two. I've been wanting to get a gr three for a while now, but the gr three X is the one with the 40 mil. 40 mil lens. [01:12:14] Speaker C: Yeah, I think so, yeah. [01:12:16] Speaker A: Yep. So the original has, like, an 18, like the x 70. [01:12:20] Speaker B: 20. [01:12:20] Speaker A: Crop. [01:12:21] Speaker B: Oh, sorry, crop, yeah. 28 equivalent. Yeah. [01:12:24] Speaker A: Cronier equivalent. And the Gr three X. And now there's. There's so many different models of the gr three. So there's a standard gr three. There's a Gr three HDF, which has a, like, a filtering kind of system in it. Different filtering system. Then there's the Gr three X and the Gr three X HDF. Then there's a Gr three X urban edition. And then there's a diary. Now, that's the street one's got the special orange ring, there's one with a blue ring, and there's one like this. You can't get any of them in Australia, they've been out of stock for so long. So, Ezra, I'm really keen to hear how you, in Ballarat, or, sorry, Adelaide, of all places, managed to get your hands on a gr three x. Did you import it? [01:13:12] Speaker B: Is your profile picture? Are you. Are they tarp surfing? I've taken photos like that before. It's so much fun. I'm pretty sure that's what it is. [01:13:19] Speaker A: Oh, yeah, it does look like that. [01:13:21] Speaker B: Yeah. So, like, as they come through, you whip the tarp over like it's a barreling wave and they get in there on the skateboard like, you know, that's pretty cool. We've done that before with some kids. They loved it. [01:13:32] Speaker A: Yeah. [01:13:33] Speaker C: I think I saw George's cameras and Sydney have. GRx is in stock, so. [01:13:39] Speaker B: Kellen, Greg, buy one. [01:13:40] Speaker A: No. Okay. [01:13:43] Speaker C: I got my. I got my x t five in Georgia's. [01:13:47] Speaker A: Yeah. I used to work for Georges. I used to. Yeah. [01:13:50] Speaker C: Okay. [01:13:50] Speaker A: During the pandemic. Um, never again. Um, let's jump to some more of your images. [01:13:57] Speaker B: Moving on. [01:13:57] Speaker C: He's not bitter at all. [01:13:59] Speaker A: I absolutely. I absolutely love this, this photo. [01:14:05] Speaker C: Again with GR in the airport in Barcelona. [01:14:09] Speaker A: Yeah. I think it's absolutely stunning. [01:14:13] Speaker C: Thank you very much. [01:14:16] Speaker A: Yeah. I don't have much more to say on it. It's just absolutely amazing. Talk to us about traveling. You've recently come back from a trip. You've mentioned Gothenburg, which I have no idea where that is, to be honest. Even when I follow you closely in Sweden. And you went to Spain and the UK, is that right? So tell us about Gothenburg. You went to a festival there from memory. [01:14:43] Speaker C: I had to go back to the UK because unfortunately, my father passed away during COVID and I couldn't get there because Australia was in lockdown and I needed to go back to the UK to scatter his ashes. So as part of that, I decided to make it a bigger trip. So I've got family in Spain as well. Gothenburg came about because it just so happened that I didn't realize at the time when I booked my trip that the Gothenburg Photography festival was on when I was there. So I cancelled Barcelona and I flew to Gothenburg. And I'm so glad I did. It's a wonderful festival. Goes for two days. Great speakers. I was very. I entered. I don't normally enter competitions, but I entered a competition just basically to support the. The festival really enough. I, out of 750 images that were submitted, I was in the top 20 for color, single image. So, yeah. And a Melbourne photographer, David, I don't know his surname, won the category for group photos. So he won the main award. So, yeah, Australia. I was there with Mark Davidson, my Street Life podcast host. He was there with his wife as well. So, yeah, we met a. We had a wonderful, wonderful time there. I photographed. I didn't. It wasn't really a holiday to do street photography. I'm there with my wife and I have to be aware that, you know, she can't stand around on street corners for 20 minutes at a time or ten minutes and, you know, walk around the same street. So it wasn't a really conducive to. [01:16:19] Speaker A: A healthy relationship, is it? [01:16:20] Speaker C: It's not. That's why I'm still married, Greg. That's why I'm still marrying. Okay. [01:16:24] Speaker A: You're doing well. 35 years. [01:16:27] Speaker C: So I photographed in London a few days. I caught up with some lads there, Don, Stevie Ibby, and a lad called Chris Harrison, who's also an award winning photographer, caught up with him for just a day in London. Photographed in my native northeast because I went back to see my family. [01:16:43] Speaker A: How was that for you? How was that going back to how long it had been since you'd been there? [01:16:48] Speaker C: I was going back to the UK quite a lot to see my grandparents. I was going back almost every year. Unfortunately, they've both passed now and also my father. So it was a bit of sweet trip, to be honest, because it was the first time I'd been back in the UK with one of my grandparents and my dad wasn't there anymore. So it was great to see my family. And I love my town in the northeast, but the UK is, it's in a terrible place economically. They're really, really struggling. It's super expensive over there. And I just photographed around my town a little bit. My two cousins that are staying where I was staying with one of my cousins, they go out and swim every morning at 06:00 in the morning in the north Sea. And trust me, it's summer. It's summer there at the minute they said, you're going to come in, john. I'm like, I've got three layers of clothing and a jacket on, and they're going in. Swimming in the North Sea. [01:17:41] Speaker B: Wow. [01:17:42] Speaker A: Yeah. [01:17:42] Speaker C: Yeah. I'll give it a miss. Thanks. I want to see my, my two little fellas later. You know, I mean, I'm not going in there, but I, what I did was I decided I was going to photograph them and I put up a few images of them just doing what they did every day. And because I can't sleep, I'm up awake at 05:00 so I'll just go out with them and watch them swim and watch how they interact with their group. I wish, I wish I could have. I wish I was there now because that would be a project I'd work on, would be photographing my cousins swimming in that group, because the group's huge and the variation of people was huge. There was like some, there was some really different sort of people that would swim every morning. And I would love to document that. So that's probably one of the things with my street photography I want to work on is taking single images is good, and I've done that for about four or five years, but I'm starting to get a bit. I need a purpose. So I'm starting to look at working on projects now, and that would have been a project I would like to work on in the. In my native south shields, but unfortunately, 13,000 miles were. Greg, it's a bit hard to get. [01:18:50] Speaker A: Morning and probably $13,000. It's interesting. It's interesting what you say about the. And I know that Justin's in a similar space at the moment. It's a little bit different, but it's the same concept where, you know, I've been shooting street photography now since 2014. So a decade, for various reasons. I've had some breaks because of poor health, but I'm at the point now where I love going out and doing single image composition, like you said. But I'm also looking for project, and I'm finding that challenging to break away from what I'm used to doing to find a new. Maybe purpose isn't the right word for me. I think it's just a new direction to take my work, my art. I like to think of my work as art, but, you know, Justin, you've been going through that, a similar process having ceased wedding photography. You're now doing some. Now doing mountain bike photography with some big brands, you're doing some other shoots for businesses. But you also, when you did your 30 day challenge, you found that was a challenge to find direction. [01:20:00] Speaker B: Yeah, it's something I'm looking for, for sure, and I haven't found it yet. I'm finding these photo books helpful. I'm still digging through them. But you've been reading your books. I've been reading my books. I've been digging through this one. This is. There's so much in this one. Um, it's. It's thick. Um, and. And his is really. His work is obviously very. It's huge, very wide ranging and very influential from his, like, photo essay type work in. In war torn countries and that kind of thing. But there's a lot of other work in there as well, and his portraits and all that sort of stuff. So it's been. That's been interesting to see. And then from a completely different sort of end of the spectrum, I got this book, which is a. Was like a kickstarter that I backed for Matt Palmer, who's been on the podcast before. He's got the studio in bright, the Alpine Light studio. And this was a project he worked on over years, which is all, it's just photographing. Where's a good example, like abandoned things in Iceland when he's been doing his trips over there? And that was sort of a really interesting, just, you know, he's just, he's just found something that he enjoyed and he's repeated that work, like, over a number of years and sort of grew it into a body of work and then put it into a book. And it's, it seems simple, but it's, it's obviously something that he's put a lot of time and work into. And I'm sort of like, you know, is that the kind of thing that I want to try and find, to pursue? But I think for him it was an organic evolution that, you know, on his first trip there, he was compelled and captivated by these abandoned buildings and things around Iceland. And then it just sort of evolved into a naturally evolved into a project rather than him sort of, you know, doing some research and setting out to do this project. [01:22:09] Speaker A: Yeah, I don't know, it's, it's hard. I mean, you did, you did the workshop at bright around storytelling in photography and you captured a range initially. Was it twelve? But then you bumped it out to 40 something. You're supposed to only shoot twelve shots? [01:22:25] Speaker B: Well, no, you were supposed to. You were supposed to shoot a ton of shots and then pull it down into a photo essay of twelve images. [01:22:34] Speaker A: Yep. And how did you find that set project? How did you find that experience with someone saying, here's the, here's the boundaries, here's kind of the loose framework. This is why it's important. This is what you do. Off you go. [01:22:48] Speaker B: It was, it was really fun and I enjoyed it. And that style of shooting, again, is kind of like, you know, it's not, it's not street photography because we're at an event. But all of the shots that I took, I think, were completely candid, sort of documentary style shots where I was just looking for interesting scenes and interesting lights. That's definitely what I enjoy shooting. It's just I haven't found that out on the streets. I haven't found that spark, my interest yet. Whereas doing it within the boundaries of an event, a festival or something like that made a lot more sense to me than just aimlessly wandering the streets looking for subject something. I'm not sure. [01:23:40] Speaker A: Yeah, I'm a bit lost as to what to do. I want to. I had a couple of thoughts about a project you know, I've lived in Melbourne my whole life, relied on public transport for much of it. And I thought about maybe doing a project about a tram or a train line and getting off at every station. And, you know, it'll have to take, you know, weeks and weeks, probably months, because, like, the number one tram line goes from Port Melbourne, like one of the beaches down there, Albert Park, I think, and it goes all the way through to Coburg and there's like, you know, 70 something stops. So I don't know, that was just like a formative idea that I had something along those lines to do with how people move throughout a city like Melbourne. But I'm not sold on it. You know, it hasn't grabbed me as, ah, yeah, this is, this is what I want to commit the next year to. [01:24:37] Speaker B: Yeah. [01:24:37] Speaker A: And I think finding that it's fun, it's great if it happens organically, but when you're trying to push yourself into it, it's. It's a different challenge. [01:24:47] Speaker C: Well, like you, Greg, I like taking single shots as well. I still like it, but when, when I'm back in Adelaide now and I photographed it for three years solidly, almost four years. Right. And, um, it gets harder and harder to keep photographing the same thing over and over again. How do you make it look different? How do you make it look different? [01:25:04] Speaker A: So. [01:25:05] Speaker C: And when you don't feel motivated, it's hard to get out. So for me, talking to other photographers who have been in there, done it for a lot longer than myself, the next. The next thing to. To keep motivated is to try to find a project to work on. And I'm the same as you, Greg. There's people I know come up with projects every single minute of the day. You know, I think, how did you come up. How did you come up with that? They're just like, I just came up with it. What a great idea. Why don't I think of that? I've got two on the ball now. One I came up with myself and one that Adelaide photographer that I catch up with just recently, Oliver, he. After we did our roundtable discussion about this on our Streetlife podcast. Sorry, dropping. Dropping, please. [01:25:52] Speaker B: Well, quickly, where can people find the Streetlife podcast that you do and how often do you. [01:25:58] Speaker C: We do it every fortnight, so. Yeah, yeah, we just got voted top 25 photography podcast. [01:26:08] Speaker B: Yes, we did a vote recently, and we're actually the number one live photography podcast in the world right now. It was just me and Greg that voted. [01:26:16] Speaker A: Yeah, we voted 100%. Was 100% clear. [01:26:20] Speaker B: Victory across the board. It's great. [01:26:22] Speaker C: Yes. [01:26:23] Speaker B: So we're going. [01:26:23] Speaker C: Well, we've been doing that for almost two years. I mean, apart from just recently, because I've moved back from Sydney and I had a few health issues and then my travel and then Mark was traveling. We had to have a little bit of a break, but we're back into it now. We've had some massive guests on there. Jesse Marlowe is one of them. Martin Parr, Matt Stewart, both Magnum photographers, Mark Fernley, Sean Tucker. We've got Matt Black lined up, another Magnum photographer to speak to us. So Norell Audio, who is Trent Park's wife, is great to speak to us. So we've got some Melissa O'Shaughnessy spoken to us. [01:27:05] Speaker A: All right, stop. Now you're just showing off and putting our podcast to shame. Jesus, didn't you read the contract before you got on the show? [01:27:13] Speaker B: Yeah, but technically, technically we've got John on, so we're like absorbing all of those guests like power and put them in. [01:27:20] Speaker A: We've got the best of them. The best. [01:27:21] Speaker C: I'm channeling them all. But my point is talking to those people. But that's how you learn and that's how speaking to those people, they all have projects. They're all working on projects. [01:27:32] Speaker A: Yeah. [01:27:32] Speaker C: So now, Jesse Marlowe's project went for ten years. You're talking about a month or a year, Greg. Jesse's was ten years in the making before he released his book. So, you know, and that's one of the questions, when's the project over? And nobody really knows. You know when you know. You know when you know. [01:27:51] Speaker B: Imagine, Greg, like, you know, the trams of Melbourne, obviously, you could look back now and think, oh, imagine if I'd started that project 20 years ago. But you could start and imagine. Imagine what it would be in 20 years. [01:28:07] Speaker A: Don't you ever? Yeah, true. Yeah. They'll be hovering. Hovering. They'll be hover trains. All built by Tesla. Um, and you conducted by Robert Sony. [01:28:18] Speaker C: With your 100 to 5000 size zoom. [01:28:21] Speaker A: No, I'll never capture anything on the Sony. I don't understand them. [01:28:26] Speaker C: Soulless cameras. [01:28:28] Speaker A: Very good. [01:28:29] Speaker C: But soulless. Very. [01:28:30] Speaker A: If anyone. If anyone's listening along at, uh, at home or in the office or in the gym, um, please add some comments. Let us know if you have any photography projects on the go. You don't have to spill your trade secrets, but what have you done to find inspiration and some form of project? Is it something that you're wanting to pursue and you're equally stuck, like us and we can go from there. [01:28:55] Speaker B: Speaking of that, John, I saw on your instagram, I've scrolled down a bit and I saw a bit of yellow. [01:29:02] Speaker C: Yeah. [01:29:03] Speaker B: Was this a project? Was this a collection that you just pulled together from images? [01:29:07] Speaker C: Pulled it together, yeah, yeah. [01:29:09] Speaker B: I love it. [01:29:10] Speaker C: Thanks very much. And it was just things that had taken over many, many years, you know. So in various different places, I can tell you exactly where every photograph was taken. [01:29:19] Speaker A: That one in the middle right now is the Commonwealth bank on Elizabeth street. [01:29:23] Speaker C: It is, it is, yeah. Yes, indeed. That is a well photographed wall in these two. [01:29:31] Speaker B: These two particularly clearly photoshopped. Surely. They're so good. I love how crazy. [01:29:37] Speaker A: That's AI, surely. [01:29:39] Speaker C: Nope. [01:29:40] Speaker A: Yeah. [01:29:41] Speaker B: Yeah. Gotta be. It's so good. [01:29:44] Speaker C: I probably posted the saturation on the yellows a bit, but yeah, when I. [01:29:51] Speaker B: Was scrolling through, those two immediately stood out to me. [01:29:54] Speaker A: Scroll down a little bit, please, Justin. On the bottom. Right, right there. [01:29:59] Speaker C: I'm so clueless. I wouldn't had to use Photoshop. I could. [01:30:02] Speaker A: I don't like Photoshop. [01:30:03] Speaker C: Either tell you how to take stuff in or put. I'm clueless. [01:30:08] Speaker A: Yeah. I don't need it, Justin. You don't need it. So I'll outsource to him if I ever need it. [01:30:12] Speaker B: But photoshop, I don't, I don't think it's loaded on my computer for six or seven years. We avoided it like the plague. We would. [01:30:20] Speaker A: Good. [01:30:20] Speaker B: We'd get into lightroom. So if we had to remove something in from like a wedding photo and it was like, say a bin, there was a. Just an ugly bin in the background and we're like, ah, we should probably get rid of this because, you know, we're professionals and we would sit there and muck around with the lightroom like removal tool for ages because we just did not want to open it up in Photoshop because we were lazy. It's just, it doesn't work with my. I never learned the tools properly. [01:30:47] Speaker C: I can't even use Lightroom. [01:30:49] Speaker B: Lightroom's awesome. [01:30:51] Speaker A: A little bit. [01:30:52] Speaker B: Hey, speaking of. So you snapseed, do you know the origin of Snapseed? Do you know what that. Because you say you use that a bit for your mobile editing and stuff. Yeah. Do you know where it came from? [01:31:04] Speaker C: I think it's a Google thing. Yeah. But prior to that, no idea. [01:31:11] Speaker B: What was it called? Unique effects. [01:31:13] Speaker C: Oh, was it? [01:31:15] Speaker B: There was a suite of plugins that I used that were actually great. Google bought them out and Snapseed was like the mobile light version of those plugins it is a super great app. [01:31:29] Speaker C: I still use it now. [01:31:30] Speaker B: I think it's Nick effects. So there was, like, a great black and white plugin. Yeah, Nick. Hang on. But they sold. So then Google, I think, sold it. They bought it, and then they sold it to DXO, I'm pretty sure. So the Nick collection seven is still available, and it's the Nick Silver effects black and white plugin that you can use with lightroom, or I think standalone, because it had. They were very early on the ability to put, like, a zone and then affect that zone. I can't remember what it used to be called. Like, you could. You could sort of touch on the screen on snapseed and, like, lighten or darken that area. It was basically, like, dodging and burning. [01:32:11] Speaker C: Yeah, exactly. [01:32:14] Speaker B: It wasn't a brush, like a radial filter in light. [01:32:18] Speaker C: And I use that. Yeah, it comes in real handy. [01:32:21] Speaker B: They were very early on that, like, a long time, I'm pretty sure a long time before lightroom was doing much of that kind of stuff. But, yeah, they're black and white conversions. I'm just saying. Yeah, they used to have noise reduction. So there was Nick, define Viveza, which is like a color one. They did hdr when that was all the thing that, you know, do the hdr stuff for. It was before lightroom had a lot of this stuff built in. And I used them a ton, and they were. It was really good. And so, yeah, that's. Snapseed was all built on that technology. So you kind of say it was a basic editing thing, but it was actually quite powerful for what it was because it was using the same sort of engines that they were using for these more advanced plugins that you use with Lightroom or Photoshop. Anyway, history lesson. [01:33:10] Speaker A: There you go. Thanks, dad. [01:33:12] Speaker B: Yeah, you're welcome. So, yeah, so, yeah, which. Greg, you want me to pull one of these photos, these yellow photos up? [01:33:19] Speaker A: I was just gonna say one of my favorite. Just to the right of the yellow wall shot. One with the yellow. The person in the yellow suit. Yeah. So this is a natural shot of John's. No color swapping, no manipulation. I think it's an amazing composition when you think of all the elements that make it interesting. Yeah. [01:33:41] Speaker C: It's a really common area in Sydney, just off George street there. So. So tell me, lots of people take these shots. [01:33:47] Speaker B: How. So when this photo unfolded for you, how long were you here for? How many other shots did you take of people that weren't wearing yellow suits before this happened? Like what? How did it how did it unfold? [01:34:01] Speaker C: I'd been there. I was. I can't remember if I was with people or nothing. I've just been there 510 minutes. It's on my. If you're a street photographer, you normally have a round of streets that you walk around, blah, blah, blah, blah, blah. And it was just on my round, and then I'd photograph that area numerous times, and nothing had happened. All different things, or people are standing in different spots. And I was literally just standing at the top of the stairs thinking if someone interested would come up or down, it would be great. And then this person in a yellow suit, I mean, what, have you changed the color? Now I can show you the raw image. You know, it just happens. You've just got to be ready. [01:34:38] Speaker A: So you must have giggled with glee when you saw them walking along. Yeah. They do smile, don't they? Yeah. [01:34:46] Speaker C: But, you know, I've stood in that area nearly every time I'm out in Sydney because I like that. There's that spot there that I like, and I always shoot around it different times of the day. And I just happened to get someone coming down in yellow seat this time, and it just lined up nicely with these, you know, blah, blah, blah. And, yeah, it came out great. But I've got tons of shots like that that I probably took. There was probably about five other people that came up that were crap. [01:35:12] Speaker A: Yeah. [01:35:13] Speaker C: You know, I mean, terrible. Didn't work, didn't look good, that presence. But. But it's just. It's perception, isn't it? Oh, look at that. How lucky was he? Not lucky. Well, yeah, lucky is a lot of it. Oh, how good is he? It's. Look, I don't care what people say. Street photography is a lot of bloody luck involved in it. There's a lot of sort of. [01:35:35] Speaker B: Because you have to put yourself in a position to let that luck unfold. Like, you have to know how to use your camera. You have to know, you know how to read the scene and the light, and then you've got to put, like you say, the time in. You got to be out there for hours over and over and over and over again. [01:35:49] Speaker C: Yeah, the time and the patience. I'm not very patient. I know some people who would stand there for an hour and a half to get the right person in the shot and just. And work that scene. I give a place 510 minutes. I think the longest I've ever given a place is 20 minutes. And then I move because the light will change anyway, and it won't look the same. Scene that I initially saw. And then I have the philosophy that if I'm standing wasting all my time here, I'm missing a shot that's just around the corner. That could be better. [01:36:22] Speaker B: I believe that's called foMo. Yeah, it's a philosophy of. [01:36:31] Speaker C: So. So for me, right when I go out shooting, I just look at it as got walking around my city with my camera. And if anything happens in front of me, I'll catch. I'm not, I don't go looking for scenes. I don't go, oh, you know, blah, blah, blah, blah, blah. I'm gonna, I'm gonna work this scene until I get exactly what I want. I just shoot it. And then I move on and shoot it and move on and shoot it and move on. If it's there the next day, I will. But like Greg said it there before, that's the other thing. You learn where the light's going to be and at different times of the year, it'll change. And because the light might be reflecting on that wall for a couple of weeks, because the sun's at the right angle, it hits those windows and reflects in that spot. In four weeks time, it might not be there again for another twelve months. Yeah, exactly. Do you know what I mean? So that's why you always have to keep going over and over and over and over a place, you know? And that's what I tell people to go, how'd you get that shot? Blah, blah, blah. You just need to keep going. And when I got to Sydney, people, the, the street photos gone. Not George street again. For me, it was new. I'm thinking George street is amazing. And they go, oh, but it's so boring. It's the same thing. It's not, it's never not same thing. It's never the same thing, you know? Yeah. And then I got, I've been getting into reflections and stuff like that. And like shop windows and using the graphics and stuff. [01:37:52] Speaker A: Yeah. [01:37:52] Speaker C: I've always been attracted to mannequins for some reason. Not, not like in a sexual nature. [01:37:58] Speaker A: There's a movie about that. [01:38:03] Speaker C: I'm not talking about irobot, Greg. So. [01:38:06] Speaker A: No, no, no, it wasn't irobot. There was a movie about a guy who. [01:38:10] Speaker C: What movie section you're looking in, Greg. [01:38:13] Speaker A: No, no. It was like, it was like a rom.com and it was about a guy. And the mannequin comes to life at night when he's cleaning the store. He's in the store for some reason, and he keeps getting caught out and these, they fall in love and they get a bit romantic and maybe, maybe it was on the porn hugs. [01:38:32] Speaker C: But yeah, I love mannequins. And I used to photograph them because they're often lit and stuff and blah, blah, blah. But then I came across Knox Birdie, who started using graphics, you know, the photographs, but in the windows and then having the reflections off. [01:38:51] Speaker A: Yeah. [01:38:51] Speaker C: So using the. And then I've been starting incorporating and just building on that, trying to build layers in, into, like, shots. I've worked. Starting to work with slow shutter. It's just, just everything, you know, that's an, that's a nothing shot. Just on, on Oxford street. You know, I just like the fact that the colors. But it just depends what you like. And there's nice light. It's. It's not an outstanding shot. One of my favorite shots is the one just to the right of that where the guy's standing having a fag outside the canister institute. I mean, I love it. Research. And there's the dude having a fag. I mean, for me, it's also the humor on the street as well. [01:39:32] Speaker A: Yeah, but it's a great story, isn't it? [01:39:33] Speaker C: It's such a, you know, he saw me coming. He was actually in the middle, and he saw me walking up because I quickly hurried over. That was taken with my nick on. So one of my first ever street shots. [01:39:46] Speaker A: Yeah, very nice. [01:39:49] Speaker C: It's humor and junkster and all that other stuff. [01:39:53] Speaker A: So, John, you now, you now made the wise choice. You're a Fuji shooter. Yeah. What's your typical street kit? [01:40:02] Speaker C: Okay, well, I'm one of. So when I first started, I started off on a kit, zoom. And then, you know, I read all the, all the literature about if you want to be a real street photographer, then you need to, you know, shoot on prime. And I, I did that. I'm not that steep, but I'd rather travel and photograph than buy an expensive camera. I just like eating it. I just like eating their free food, mate, like I said. So, um, and then I moved to Fuji. But I was debating about whether I was going to buy because I like the fuji colors, right. And there was a lad called beware my fuji. Um, Tom, a nice young lad in, in America, german lad who lives in America. I like the colors and stuff in the silhouette work. So I was debating about whether to get a gr, which was supposed to be the ultimate street camera, or a fuji. And so I was in Melbourne to photograph for a thing called sithm shot in the heart of Melbourne, which used to be run by. Run by? Yep. Aspie. That was my first ever exhibition. I was there photograph and I decided I had my nick on with me. I was going to buy a Ricoh. One came up secondhand, but the lad that was selling it decided the last minute that he was going to keep it. So I went and bought a Fuji and I bought an x t three with the 18 3018 to 55 kit lens, which is great. And I bought 35 and a 23 mil primes. And I sh. I shot a lot on primes. That taught me how to use composition and getting close and blah, blah. Use your feet to, you know, zoom, all that stuff. But I nearly got hit by cars so many times. And then you got killed numerous times using my feet to zoom. Because I don't shoot. I shoot lifting the camera to my eye. I don't use the back of the screen very often. And then I moved back to a zoom a few years ago. So I shoot on a big zoom. I shoot on the 18 to 135 zoom. And that came about because I bought it for work. Because my work at the time, when I worked for the University of Adelaide, found out I was a photographer and they wanted to bleed me and use my skills for free to photograph events, which is great because I got paid as an administrator, but got to photograph, and I thought I couldn't do on a prime, so I went and bought a 118 to 135 zoom for events. And then I thought, I'll take it out on the street to shoot with it. And I really liked it. It's not the sharpest lens in the world. It doesn't. It's not. It's not a very good lens, but it was $500, and it gives me options. So I always set my lens to 35 mil, which is 50 on a crop sensor, because that's just how I learned. And then it gives me options. I will zoom in with my feet when I can, but I will zoom in with using my lens if I think there's a shot there worth taking, and that's what I do. But then I'll always move it back to 35 because that's where. That's the focal length I like to shoot at. [01:43:09] Speaker B: And I'm moving more 35 on the crop, which is 50. That's about where you sort of see things. [01:43:19] Speaker C: Yeah. And that was just because I. When I first started, I watched a lot of YouTube, and everybody said, you should shoot at 35. And I was so naive and stupid, I didn't know what a crop sensor was that made it 50. So I went and bought a 35 millimeter prime, thinking that's what I was shooting at. And it was a 50. But that's how I taught myself to frame up and how to see the world. So I still like to use. I still like to shoot at that focal length. I am changing a lot. I take my ten to 24 zoom lens on my Fuji out if I'm shooting in crowds because I really want to test myself to work in crowds close up. I use everything to shoot. Everything? [01:44:02] Speaker A: Yep. [01:44:02] Speaker B: So what's your full. What's your full kit now? What's everything that you've got available to take? Yeah. [01:44:09] Speaker C: You really want to? [01:44:10] Speaker B: Yeah. Tell us everything. I want the whole list. [01:44:12] Speaker C: What's everything to 55 kit lens? I've got the 18 to 135 zoom. I've got the two. Is it 200 or something or other? 50 to 200 zoom, which I never use. I got the ten to. I use it to shoot my city from the end of my street when I'm catching the sunset. That's what I use it for. And it's a hell of a zoom. I can see people down in North Terrace. It's amazing. And I'm seven ks from the city, so it's pretty good. I never use it. I never use it. If I was a Sony shooter, I would, but I've got a 35 millimeter f two. I've got a 35 millimeter 1.4. I've got a 23 millimeter f two. I've got a Ricoh. I've got an x 70 Fuji. I've got an xe three Fuji. I got an x t three Fuji. I got an xh one Fuji. I got an x t five Fuji. Worst camera I've ever out of the whole Fuji lineup. My XT five. Biggest disappointment ever. Ever. Why ever? Because autofocus is shit on it. It's terrible. From George's. I'm sorry. I'm a Fuji fanboy. I love Fuji. So. And then I bought this thing and it would just totally Miss Focus for no apparent reason. And I took it back to George and Said, so where you're shooting, mate, I've been shooting for four years. I use a camera pretty basically. I don't. I'm not trying to track a bird from 400 km away. I'm. I'm literally pointing it some light and shadow with back button focus. And you. I'd press it. The box would go green in it. The whole frame was out of focus. So the lad was saying it to you, how you're shooting it. So I took him to a spot and it was the fit. He had to do a video of it. And they gave me a new body and that is slightly better, but it still misses focus. I can't trust it. When it. When it works, it's great. When it works, it's great. It brings up beautiful images. I've got beautiful photos from it, but I can't trust it. And the only reason I bought it was because my x t three had 300, 300,000 shots on it. It was getting a bit sloppy. It was starting to do some weird things. I'll totally reset itself because I think the internal battery that was going out and I thought, do I. I really like max t three. I've never. I've loved it, love shooting with it. Never had any problems with it. 95%, 98% the time. It'll. I can throw it up and it will get something in focus. And I thought about buying another second hand x t three, but then I thought, well, it won't have a warranty. I'll go and buy the x t five. No, no. Personally, I wouldn't do it. And then I went to the launch of the X 106 and in Sydney I got invited to that. Thanks, Charlie. And I got talking to a load of people there who had xh two s and xh two s and XT five. And they all had similar issues. Now, some people have zero issues with the autofocus. None. They think it's the best camera in the world and great for them. That's awesome. Not my experience. And not my experience with a lot of people that have those cameras. I'm sorry, Fuji, but you've just released a Firmware update that's supposed to. May have fixed all of the issues. It hasn't. It hasn't. And I just think it's sad that you have such a great camera and it's previous. The XH one focuses better, for crying out loud, you know, than my XT five. I'm not asking it to. You can get a Sony or a cannon and it can track a bird 4 km away via its eye. A tram can go past five different people, an f 100 bloody whatever fighter jet, and it'll still track that bird and it'll be in focus, right? [01:48:12] Speaker B: Yeah. [01:48:13] Speaker C: I'm shooting a light and shadow patch and maybe the odds throw it up and catch someone walking by and Fuji misses it. I'm sorry. It's. And if my x t three can do it, why can't the X T five? [01:48:25] Speaker A: Yeah. [01:48:26] Speaker C: And I know there's things I will it's a bigger sensor and all that. It's the lens you're using. It's not, it's not. I've used lenses on it that they say that are the recommended lenses, and it's the same thing. It will not focus on certain points on walls and all sorts of stuff. It's weird. Yeah. [01:48:45] Speaker B: A bigger sensor is no excuse. When you're jumping a couple of gens ahead in a camera. Like, it's a long. It's a long time that they've jumped ahead. You couldn't say, oh, yeah, that's not going to be as good a performer as the X T three with autofocus, because it's got a bigger sensor. Like, that's. Yeah, yeah, no, no, exactly. Why did you. Why did you do this or whatever? And it's not even that. The sensors not so dense that it doesn't, you know, like, okay, perfect example. I shoot with a canon three reals epic autofocus. Best. Best I've ever used. 24 megapixel, full frame camera, sports, sports focused. It's amazing. They bring out the r five mark 245 megapixel, two year newer camera, three newer. Maybe it's as good or maybe even slightly better at autofocus than the r three, but it's got a bigger sensor and it's not, you know, like when you, when you jump ahead in terms of a couple of years of development of all of their auto focus tech and algorithms and things like that, they should. They should be moving forward, not backwards. That's a shame, because it sounds. [01:49:45] Speaker A: Struggled. [01:49:48] Speaker B: It seemed like they were progressing, though. [01:49:50] Speaker A: Yeah, true. Yeah. [01:49:52] Speaker C: And we all know out of all of the brands, and I'm not a Sony fanboy by any stretch of the imagination, if anybody's noticed, I think they're soulless cameras. They're awesome. If you. If you want a workhorse and you want to earn money and you're a wedding photographer or you're a product photographer or whatever, anything where you have to earn money and rely on it, getting focus, bang, every time. Brilliant, but soulless to shoot with. And that's why I like Fuji, because I like everything on the top of the door. I like being. I shoot totally manual. I don't shoot auto on anything. Everything's done manually. If I miss a shot, then so be it. Because, you know, I haven't got my settings right. It's annoying sometimes, but why can't it just get basic stuff right? I'm not asking. People will tell me, oh, you need to set it on this setting and that setting and then and there. And make your box better, your focusing box bigger. Then you've got to make it smaller. And are you using single point and it shouldn't matter. [01:50:47] Speaker B: It should. [01:50:48] Speaker C: It shouldn't matter at my level, I'm not shooting sports cars or if I was a wedding photographer, it'd be like, there goes my mortgage. You know, because it's not in focus just to. Sorry. Don't want to bag them too much because I am a fanboy. I've just. [01:51:06] Speaker A: No, no, I was just going to. I'm just conscious of time and I just want to tie a bow in that story because it is important. And they, Fujifilm have acknowledged that they have an issue. In recent talks, they did say, we know that our autofocus isn't up to the speed that our photographers want it to be, and they have made a commitment to work on it. How that unfolds, we'll have to wait and see. Um, but, um, it's an interesting, I mean, you know, for what I do, I auto fight. I mean, I'm shooting with a. What is it now? A four year old camera. [01:51:44] Speaker C: Mm hmm. [01:51:45] Speaker A: X e four. My x 70 is like. [01:51:47] Speaker C: I remember when you first bought it, Greg. [01:51:49] Speaker A: Yeah. I was stoked. [01:51:52] Speaker C: When you first ordered. [01:51:54] Speaker A: And I've shot, and I've tested and shot with almost every Fuji camera on the market for review and for my other gig. And the only camera that I ever had an issue with was the XS 20, which was a. Is. It's still a current camera. It's. It's kind of like a slimmed down version of the XH two. Yes. It's more for videography and content creation. And I found that focus really struggled. It just hunted constantly and miss shot, so. But for what I shoot, I've never had an issue. And it all depends. It's just a tool for the job. [01:52:36] Speaker C: Yeah. [01:52:36] Speaker A: You know, if. Yeah, the focus. Oh, yeah, of course. But if the focus performance doesn't suit you or you don't like its low light performance or whatever it may be, then find a better tool for the job, you know? [01:52:50] Speaker B: Yeah, exactly. [01:52:52] Speaker A: Fuji Life podcast. What's true? I mean, don't get me wrong. Yeah, I'm a fanboy, too. I'm a signed up life member. [01:53:00] Speaker B: But that's what makes this podcast great, is we, we have no allegiances and no need to, which is. I love canon. I can't believe they changed the way their freaking lens caps work when they went to the RF mount and they made it so hard to put lens caps back on because there's no way of knowing where the thing lines up when it's in a camera bag. But, you know, we can't win at everything. [01:53:27] Speaker A: But John is right. Focus is a basic. [01:53:30] Speaker B: It should be. It should. Especially with how much progress they've made in the, in both the X series and the g effects of like they're doing so well to drop the ball on the thing that is critical to getting sharp images. And it's going to frustrate people if someone steps up. What if someone comes from Nikon? They got Nikon DSLR or whatever and they're like, well, I've listened to every episode of the camera life podcast. I'm finally going to invest in Fuji like everyone else, every photographer that they've interviewed and they buy an XT five and then all of a sudden most of their images are not, you know, coming out sharp and they're fit and then they're going to go, ah, they're either going to think Fuji sucks or mirrorless sucks or. Yeah, you know, like it's. Yeah, it's not ideal. [01:54:16] Speaker A: I saw a bit of a news thing that was saying that Fuji is now 40% of the non full frame market. [01:54:24] Speaker B: Yeah, I'm surprised you're not 100%. [01:54:27] Speaker A: So. Well, om systems pretty popular and I. [01:54:31] Speaker B: Guess so that would include all of cannons crops, all of Nikon's crops. [01:54:36] Speaker A: Sorry, medium formats, large formats as well. [01:54:38] Speaker B: Yeah, that's big. [01:54:40] Speaker A: So. Yeah, it is pretty big. [01:54:42] Speaker C: I just think it's important that if you are a fan of a brand that instead of just saying how wonderful it is all the time, if it's got issues, they need to be aware of it, you know? And if anybody asks me, I'll tell them. Someone asked me the other day, shall buy an XT five and I said, if you can find a really good XT three, go and buy that. [01:55:02] Speaker B: Yeah, yeah. [01:55:04] Speaker C: That's just my opinion. It's all about opinions and not some people. Haven't any problems. [01:55:09] Speaker B: So lucky then before we, before we drift off the subject of cameras, I'm implementing a new, a new, what do you call it? Like a segment. I need a sound effect. I'm gonna sound effect for us. I'll just use Greg's favorite. [01:55:22] Speaker A: We haven't discussed this but. No, you go for it. [01:55:26] Speaker B: No, no, Greg's favorite sound effect. No, no, I'm going to come up with a sound effect for it. Maybe it's this one. No, not that one. Where's my. [01:55:35] Speaker A: You need to label your button. We talk about this every. Every week. [01:55:40] Speaker B: Damn it. Anyway, I'll get a sound effect, sort of. But the segment is, what is your zombie apocalypse camera and lens like if you. If you just had one for, you know, zombie apocalypse, end of the world, you just have to grab one camera in one lens to document your travels of trying to live life in this new zombie world. What would that be? [01:56:01] Speaker C: For me, it would have to be a G. R. The Gi. Yeah. Because it's small and I can fit more food into my bag. [01:56:10] Speaker B: Nice. [01:56:11] Speaker C: I like, you know, me and maybe a machete. [01:56:14] Speaker A: Yeah. A bag of coffee beans, a grinder and. [01:56:18] Speaker C: Yeah. [01:56:18] Speaker A: Yeah. [01:56:19] Speaker C: I do you want to know what's funny? [01:56:21] Speaker B: I've got it listed here for the. I've just made notes of the questions on. Asked before the end of the podcast. I'm going straight to it now. Do you have a home coffee machine and if so, what is that? [01:56:32] Speaker C: I have a lit. I have a lit coffee machine and. But I drink pour overs. So. V six. [01:56:38] Speaker B: Okay. [01:56:39] Speaker C: Yeah, black coffee now. [01:56:40] Speaker B: Yeah, black coffee. Although I've switched to black coffee in the last couple of months and I've been contemplating. We just do like long black, you know, like espresso and. [01:56:47] Speaker C: Oh, yeah. [01:56:48] Speaker B: So what should I try pour over? Is it, is it? [01:56:50] Speaker C: Yeah, try pour over. [01:56:51] Speaker A: Yeah. [01:56:52] Speaker C: Yeah. [01:56:52] Speaker B: It's great for a newbie to pour overs. What. What do I need to buy to give it a whirl? I've got a grinder. I've got a good grinder that I can if you. [01:57:04] Speaker C: Yeah, well, if you're doing pour overs and black coffee, you probably need a grinder that can. An espresso grinder won't do it. It needs to be coarser. [01:57:12] Speaker B: I think it adjusts far enough. It's a rocky. I think it's a rocky and I think it does go far enough. That was one of the things that people like. It can do. Course. Okay to check, though. [01:57:26] Speaker C: Double check. So you'll need a grunt if it doesn't. You'll need a grinder. That or a hand grinder. They're even better. Just got to put a bit of work into it. Harry. [01:57:35] Speaker A: Old small set of scales. [01:57:38] Speaker C: Harry. Or V 60 and Harriet. [01:57:42] Speaker B: Harry Harrier V 60. [01:57:45] Speaker C: Yeah. [01:57:46] Speaker B: And I need one of the fancy. [01:57:49] Speaker C: No, just get a plastic one. Yeah. Ceramic. Because doesn't hold the heat, the ceramic, it lets the heat. Anyway. Gone. [01:57:57] Speaker B: Do I need one of the. You said a fancy kettle that has the fancy, like looking thing you'd. [01:58:02] Speaker A: Coffee kettle. [01:58:03] Speaker C: Yeah. You do get a stag spend the money and get stag. [01:58:06] Speaker B: Coffee, kettle, stack. [01:58:08] Speaker C: It'll cost a fortune, but it's worth everything because it's all about controlling the. [01:58:12] Speaker A: Water flow you've just done on his new hyper fixation. [01:58:16] Speaker C: And once you got. Once you try black, you won't go back. [01:58:20] Speaker B: Well, so the thing is, we probably need a new espresso machine at home because we've been as we've smashed ours. And it was a cheap one. It was like a Breville barista Express. They're great. But we've destroyed it with the grinder died. Now the seals are all gone. It's like it's ready to die. So I was like, do I buy a new, more expensive espresso machine or do I test out, pour over. And it's interesting that you said that, because I've been drinking black coffee only for the last couple of months. I might as well try. Pour over for a while first try. [01:58:49] Speaker C: It's delicious. I've just bought two new beans today. And Adelaide. [01:58:53] Speaker B: Just two beans. That'll barely make two bags of beans. [01:58:57] Speaker C: I got a roaster in Brisbane and I've got one here in Adelaide. Roaster. [01:59:04] Speaker A: Justin, look up market lane. Coffee there in Melbourne. They've been in Melbourne for 15 years. There's one at prayer market and they actually sell gear as well. There's places you'll probably get it cheaper, but they might give you an idea of what you'll need for different kids. [01:59:19] Speaker B: Yeah, I usually go to. Alternative brewing is usually my. [01:59:22] Speaker A: Oh, yeah, yeah. We got our cold brew system from them. [01:59:27] Speaker B: Okay. [01:59:28] Speaker A: Yeah. [01:59:28] Speaker C: Caffeine and street photography go hand in hand. When I was in Sydney, in Adelaide, I've got coffee shops in every little spot. [01:59:35] Speaker A: Yeah. Yeah. You know where they are, don't you? Yeah, you do. It's essential. [01:59:39] Speaker B: Greg's seen me. I'm different when I go on my photo walks. When I was doing my 30 day video challenge, would go on photo walks. I'd load up my. I've got this, like, yeti cup that seals at the top and it stays warm. So I'd load that up in one of the pockets and just send head off into the city with my little cup. [01:59:56] Speaker A: On that note, I just want to jump to a very quick news item or do you have any more questions? Justin, what's your top question? [02:00:05] Speaker B: I've got two. I've got two. [02:00:07] Speaker A: I don't allow it. [02:00:08] Speaker B: Yeah, well, as long as anyone need to go, it's like we hit 2 hours, but, you know, I've got two more questions. [02:00:13] Speaker A: Go for it. [02:00:17] Speaker B: First of all, no, first of all, I'm going to Vietnam ten days, no photography plans. But I, but we've got no plans at all. And I want to make some images while I'm over there. I want to make that part of the trip. You've just recently traveled and done street photography while you've traveled. Do you have any advice for how I could approach my trip in a way that, where I'm not just taking what I feel are more like travel photos and sort of dig more into street and culture and stuff like that, as opposed to just taking photos of things that look nice. [02:00:57] Speaker C: Get off the beat. Well, I go to Bali a lot. Yeah. So, and before I was really a street photographer, get off the beaten track and go and talk to people. So I went on a, I went on a bicycle tour, and it took me through a school and I just photographed all of the kids in the school because you're allowed to do it in Indonesia. You don't get called all these names with a bloke with a camera. Yeah, of course, you know, I had the permission from the school, but, yeah, just get off the beaten track if you don't want them to look like everyday travel photos. Go down the back streets away from the touristy stuff. Yeah. And, and get out, get into the back streets and, and photograph and document where the real people live and not just the touristy stuff. That would be my experience. [02:01:46] Speaker B: Oh, it's so interesting that you said as well, like, not to drag it back towards gear, away from mindset sort of stuff. But it's interesting you say that you're shooting a lot with a zoom. Would you do that while you travel as well? Even decided being a bigger, you know, carrying sort of a bigger, heavier kit around, I assume that that lens has got a little bit of weight about it. [02:02:05] Speaker C: So I didn't. I've moved away from the 1835 for a bit. I've just put it back on my camera because I was shooting in the 18 to 55 with the kit lens and because it's a Fuji super light and it gives you that little bit extra reach. [02:02:18] Speaker B: A little bit of reach. [02:02:20] Speaker C: You know, you can get some wider angled shots. You know what I mean? So that's when I say, see, in the street community. Also, you shouldn't shoot straight with a, with a zoom because you can't get close enough. Well, you can. Your choice. It just gives you more options to do stuff. Having a zoo still get up close. But, yeah, I would, I would take. If you've got a small zoom for your cannon? Probably not small zooms. Probably about four kilos. [02:02:49] Speaker A: You'd. [02:02:50] Speaker B: You'd be surprised. Cannons, lens kits, getting pretty good. [02:02:54] Speaker C: We've got three and a half kilos now. That's amazing. [02:02:56] Speaker B: They just released a 28 to 70 mil, 2.8, which. That's an equivalent. You don't need an f two on a fuji to get a similar look out of it. And it's tiny and light. Grab that. [02:03:09] Speaker C: Take it. [02:03:10] Speaker B: Don't know. [02:03:10] Speaker A: I would challenge you just to take that, that 28. [02:03:13] Speaker B: Well, that's what I will pan coming regardless, because I do nothing else. [02:03:18] Speaker A: Nothing else. [02:03:20] Speaker B: I'll think about that. I'll take it under advisement. Greg. Yeah, I mean, I've already done. I did a three month trip with just the q three, so I've done that. I've done the one camera, one single lens thing a lot. And I just. I really love shooting with 50 as well, but I don't know if I want to do a whole trip with just the 50. It's pretty tight. Um, so I'm, I'm, I'm thinking about it. [02:03:41] Speaker C: So, on my travels, I took my 18 to 55, and I took a 23. Nice. 23 mil, just because it's weather sealed. And. [02:03:49] Speaker A: Yeah, that 23 f two is my travel lens. [02:03:51] Speaker C: Yep. [02:03:52] Speaker B: Yep. [02:03:53] Speaker A: My last trip to Tokyo, I just took that on the x would have been the X T three, and the x 70, which is an eight and a half fixed lens. That's all I took. [02:04:05] Speaker B: Yeah. [02:04:05] Speaker C: When you're not. If you want to take, like, portraiture and stuff, if you're going to go out in the back streets and you approach people to take their portrait, is that not going to be a bit. You're going to have to shove it right in their chops and. [02:04:15] Speaker B: Yeah, that wouldn't bother me, but I'm not. I probably won't. I probably wouldn't do a lot of portrait stuff. I much prefer it to be natural. That's. I much prefer that. Okay. Which is why the 50 kind of works. You can get a little bit closer to people without disturbing them before they. Yeah. So I don't know. Anyway, and then my second question. Yep. Do you have any favorite other than you've already mentioned? Is it sean Tucker on YouTube? Any favorite youtubers that you like to watch? Street photographers, because I've recently started enjoying channel called walk like Alice. It's like a husband and wife that kick around with their likers taking photos, but they take the photos of. They take the behind the scenes stuff, and you can see that it's real. Like, we were talking about how you don't know if people are editing their photos and stuff like that. When you can see the process unfold, it's great to then just be like, okay, that's how they made that image, and it's nothing, you know, they didn't set it up or anything like that. [02:05:25] Speaker C: Yeah. [02:05:25] Speaker B: And I've also been watching a bit of. A few of. There's a channel called Pauly B, and he follows. Okay, you watch Pauly. But, yeah, it's pretty cool. [02:05:34] Speaker C: We've had him on our podcast as well. [02:05:39] Speaker B: Wow. You guys get all the guests, and especially if you then soak up all of his juice, because he's interviewed all these New York photographers, you guys. Yeah. And then we get that juice. It's just going on. [02:05:52] Speaker C: Paul, he's very nice, too, and he's a great, great photographer. [02:05:55] Speaker B: So are there any other channels that you enjoy watching on YouTube that give you that kind of insight into street photography? [02:06:04] Speaker C: So I don't watch too many when I first started, used to watch a lot, but I don't tend to watch them a lot now. I prefer to pay out shooting, to be. To be honest. But there is one lad that I liked. He's called Octavia. He's from. He's in Belgium, and I watch a lot of his stuff. I just watched one of his videos yesterday because he doesn't have a very big channel. It's only about 11,000 people I've been following since he first started. He just has a really nice way of how he shoots, and he shows you what he's walking around photographs, and he shows you the images that he got for the day. And it's just. He's just got a very nice way of how he does it. It's just interesting. He drinks a lot of coffee and eats a lot of snacks along it, so that's also. He's always talking about pastries and stuff like that. But, yeah, I just normally put him as Octavia and then street photography, and it'll come up and he does. He shoots with Fuji. Like, he shoots with lots of different cameras, and I just like his way. And he's a very good. He's got a very good eye. [02:07:08] Speaker B: Does he have Z put, like, a pov camera on himself so you can kind of see him strolling around the streets and stuff or. Yeah. Have you ever. Have you ever tried that? [02:07:17] Speaker C: No, I haven't. No. [02:07:19] Speaker B: It's. It's very. [02:07:21] Speaker C: It's kind of not seen. [02:07:23] Speaker B: Yeah, that's what I was gonna say. It's great to do. I did it for 30 days straight. But it makes you feel very self conscious and very seen. It's like, you know, one thing to hold a camera, but then to have like a. Yeah, it's. [02:07:37] Speaker C: Yeah, you almost feel like another cover cop with a. You know, like a body cam, for sure. [02:07:42] Speaker B: It's weird. It definitely changes the dynamic. [02:07:46] Speaker C: Have I thought about it? Yeah. Because people often ask me, they want to see how I shoot and that's how you. Yeah, you share it, you know, because you. You can use it with your phone, but it's a nightmare trying to shoot the one in. [02:07:58] Speaker B: Yes. [02:07:59] Speaker C: You know? Yeah. So a body camera. [02:08:00] Speaker A: I've seen some people, they rig up a 360 camera. [02:08:05] Speaker C: Yeah. [02:08:07] Speaker A: Either on the hot shoe or even underneath to the thread for the tripod mount. So that's an interesting way to think. [02:08:13] Speaker C: That's what Octavia does. He puts a camera. He either uses his GoPro or he puts a camera on top of his hot shoe. I think. Yeah, there's quite a few good ones out there, but honestly, I prefer to go out shooting. I think if you knew, it's great because you get to see how people see the world, but, yeah, you know, the best thing. The best thing to do to improve is actually just going there and photograph. [02:08:33] Speaker B: Yeah, exactly. [02:08:35] Speaker A: Yeah. [02:08:35] Speaker C: It doesn't cost you anything with digital. Make as many crap photos as you want. It doesn't cost you anything. [02:08:41] Speaker B: And if you want, you can wait the next day to look at them. [02:08:45] Speaker A: Yeah. [02:08:45] Speaker B: Just simply. [02:08:46] Speaker C: Or you can buy a camera, like you mentioned. Spend all that money in it. You got to wait 24 hours and it only takes 36 shots a day. Well, just don't just take 36 shots. Use your real camera. [02:08:57] Speaker B: Buy a small memory card and then just leave it wrong. [02:09:00] Speaker A: Would that be like a. Like a. Like a 1 mb? [02:09:04] Speaker B: Yeah. [02:09:05] Speaker A: Well, eight megabytes, maybe. Let's go. [02:09:11] Speaker C: Greg. Have I mentioned that the rosu's on in Melbourne? Did I mention that? [02:09:15] Speaker B: You did? [02:09:15] Speaker A: Yeah. Well, you mentioned it to me. I don't think you mentioned it on the channel. On the show we go. [02:09:19] Speaker C: Can I just mention. Because I'm coming over to Melbourne, and the reason I'm coming over to Melbourne as Rosuau Au is running a street photography exhibition that's totally free in Melbourne for Melbourne street photographers as well as myself and a number of australian photographers will be exhibiting. It's digital. The images get projected onto a wall. And it's at Curtin House, rooftop bar and Swanson street on the 14th and 15 November. So come along and you'll see the whole street community is going to be there from Melbourne and also people are flying in from Sydney, so it's a Sydney based group that runs Rosu and they're running a show in Melbourne for Melbourne street photographers. And it's totally free grab as well, I think, as well it's going to be free. [02:10:07] Speaker B: Supplied by Laika. [02:10:11] Speaker C: Maybe. I don't know, maybe. Might be just a couple of dim sims, I don't know. [02:10:16] Speaker B: Very cool. Unfortunately, I'll be in. I'll be in Vietnam, otherwise I would certainly be coming down. [02:10:22] Speaker A: When are you going to Vietnam? [02:10:24] Speaker B: The 6th till the 17 November. [02:10:29] Speaker A: Nice. [02:10:31] Speaker C: I've not been to Vietnam. I think it'll be an awesome place. [02:10:34] Speaker B: Yeah, it looks beautiful. And we have planned nothing, so I think it's going to be a bit of an adventure. [02:10:40] Speaker C: I think that's the best way. You don't want to be structured on your holiday, you know? Yeah, we don't plan anything. You don't on holiday? No, don't plan anything. When we get there, then we decide. [02:10:49] Speaker B: I love it. [02:10:50] Speaker C: Yeah, you're on holiday, you know, why do you want to be. You already have a structured life. Why do you want to be structured on holiday? So we have to see this and then we've got to go here, and then we're going to have, like, dint and theater then and gone. And there's a sunset shot here, and then there's a bridge here, and then we look at this cathedral, and then there's the french art district here, and then they come back and go, how's your holiday? And you go, I'm knackered. [02:11:09] Speaker A: Knackered. I can't remember anything. [02:11:11] Speaker C: I got all these great pictures of stuff, though. Did you actually saw lots of stuff? [02:11:19] Speaker B: All the things. All the things that I'd already seen on the websites when I googled what to do in Vietnam. [02:11:24] Speaker A: Yeah. [02:11:24] Speaker C: My family were like, what you gonna do in Spain? Don't know what you're gonna do today. We'll work it out tomorrow, you know, I mean, like, it's fine. What happens if you don't get to see everything? And, yeah, if we don't get to see a cathedral, there'll be another one somewhere, you know, I mean, does it really matter? Just go and get a good bar, me mate. That's all you need. [02:11:47] Speaker B: Yeah. [02:11:48] Speaker A: And a good vietnamese coffee. [02:11:50] Speaker B: Yes, yes, I'm excited about that, too. [02:11:52] Speaker A: Yeah, yeah, yeah, yeah. [02:11:54] Speaker C: You'll have a ball. Enjoy. [02:11:56] Speaker A: Yeah, yeah. [02:11:57] Speaker B: Thank you. [02:11:58] Speaker A: Just before we do wrap up and say our farewells. I did want to share one news item that I thought was fascinating. Let me just jump to this screen. I don't know if anyone saw this. It's on petapixel. So a photographer in the US shot an NFL game on a 35 millimeter film camera. [02:12:17] Speaker B: I did see that camera. [02:12:19] Speaker A: It is. It's an Eos. Oh, it's a one v. Yeah. He processed it and scanned and shared the images before the NFL game was over. So here's a shot of him processing the roles of film in the, in the bathroom. In the bathroom during the halftime events. [02:12:40] Speaker B: Oh, that's awesome. [02:12:42] Speaker A: And obviously then scanning them. But look, he's using the shower. I don't know why there's a shower in there. But anyway, using the shower. Oh, he's got a press pass. So he's got chemicals going. He's using the shower to rinse everything. He's then re photographing to scan. [02:12:57] Speaker B: Oh, my gosh. [02:13:00] Speaker A: With a digital camera, obviously. Re photographing to scan each slide. [02:13:04] Speaker B: And then D 850 doing the photography, I think. Yeah, they had an adapter. I don't know whether he's using it or not, but I think they had a film scan adapter. [02:13:14] Speaker A: Oh, wow. [02:13:14] Speaker B: In the day to shoot like very high res. Yes. Games. [02:13:19] Speaker A: That's very cool. And then, yeah, and then he, and then he was able to publish them before the, before the game was overdeveloped. It's a really interesting, that's a really cool project. We're talking about projects earlier. I thought that was well worth. [02:13:33] Speaker B: Look at. Look at the canon colors in those shots. Jeez, cannons colors are so good. [02:13:38] Speaker A: I think that's a Fujifilm sim. [02:13:42] Speaker C: Yeah, yeah, yeah. [02:13:43] Speaker A: Looks like classic Romani film. [02:13:46] Speaker C: Simon, you find it amazing that all these people are gone out. All the, all the trendy kids, like all the young ones are going, oh, we're gonna go analog. We're gonna go and get film. And then they're gone by film. And then they scan them and then digitize them and then touch them all up and put them on the screen. [02:14:00] Speaker A: Yeah, yeah. [02:14:01] Speaker C: Don't you find it weird? They go, wow, it's an analog. Not anymore. Not really. [02:14:07] Speaker A: Still going to show it. Still going to get likes. [02:14:09] Speaker C: Yeah. [02:14:12] Speaker A: On that note, just before we finish up, Jim has just jumped in the chat. Hey, Jim. [02:14:18] Speaker B: Hey, Jim. What's up? [02:14:19] Speaker A: Hello. That all you've got to say? [02:14:22] Speaker B: He likes my comment though, those cannon, cannon colors. [02:14:25] Speaker A: I'm sorry, it's not coming up properly on the screen for some reason. Jim, I hope that you're recovering well. We look forward to having you back on the show. I kind of feel like now you're just really slacking off. [02:14:37] Speaker B: I think he time's up to do. This morning he did tell me he wouldn't be able to come on the podcast. [02:14:41] Speaker A: I think he's just slacking off. I think time's up. But on behalf of the camera life and obviously our proud sponsors, lucky straps. John, thank you for joining us. Been amazing chatting to you and it's been really great to finally speak to a fujifilm photographer on this show, but more importantly, a fellow street photographer. I've always admired your work and we've worked together a couple of times over the years. So I look forward to coming to Melbourne. The weekend at John's in Melbourne. We've got a fujifilm, our Fujifilm community here in Australia, we've got a streetwalk that I've organized. So, Justin, you should. I know you'll be away. [02:15:20] Speaker B: I was gonna say when. What date was it? That same weekend. [02:15:23] Speaker A: Yeah, when you're away. [02:15:25] Speaker B: Dang. [02:15:25] Speaker A: Yeah, yeah. [02:15:27] Speaker C: Didn't you say, Greg, that's why you organized it on that date, because you knew we'd be away. [02:15:31] Speaker A: Yeah, well, I knew, you know, I knew you would be in town. Anyway, John, thanks again for joining us. It's been an absolutely delight, absolute delight, having you on the show and getting to hear more about your journey and how the organic evolution of your craft from being out drunk with mates to award winning street shots. So thank you very much. [02:15:58] Speaker C: Thank you so much for having me on and getting me to listen to my waffle. Thank you. [02:16:04] Speaker B: You got any other things you want to tell the audience about what's been happening? What are you doing? Where can they find you? [02:16:09] Speaker A: Anything else you want to plug? You've plugged enough, but go on, plug away. [02:16:18] Speaker C: I'm going to start selling my images soon as well. There's a group called Street Yanidy. There are norwegian couple who have started a business and they've kindly asked me to be one of the photographers that they want to start selling images through. So I'll be doing this shortly. Yeah. So, Morton. Morton, who said, hi, good to see you. He's, uh, him and his wife are going to be running it ever so. Yeah, so if anyone wants to buy any of my images, once I pull my finger out and send them to so they can flog them for me, they can get prints from there if they want to. And there's lots of other photographers there too. If they. If mine aren't to your liking? There'll be others people there, so. Yes. And other than that, that's about it really. I think I've done enough vlogging. [02:17:04] Speaker B: Yeah, I think we. [02:17:05] Speaker A: What have you got on this week, Justin? This weekend? Any, any shoots? [02:17:09] Speaker B: Uh, no, no shoots. I might end up being down in Mornington, actually. I think, um, might go for a little stroll around Mornington, around the beach. Take the camera maybe, but, um, otherwise nothing planned, nothing exciting planned. I'm going to, um, I'm gonna, I'm gonna take a leaf out of Nev's book and come up with a 1.1 kilo camera and lens kit to stroll around with. Never really taken the GFX on, on street walks. It's a big camera. [02:17:40] Speaker A: I'm sure he does. [02:17:40] Speaker B: What are they so. I'm sure he does. He takes a lot of photos. [02:17:45] Speaker A: Having said that, at B fop everyone had big cameras. [02:17:48] Speaker B: This is true. And they rocked around with them all. [02:17:49] Speaker A: Weekend and most of them had no idea how to use them. [02:17:52] Speaker B: That's not true. I saw some great photos coming out of it. [02:17:56] Speaker A: Yeah. [02:17:57] Speaker B: The bigger the camera, the better the photos. [02:18:00] Speaker A: Whatever compensation, that's all that is. As for me, thanks for asking. [02:18:08] Speaker C: Yes, Greg. What's behind that beard? What you doing? [02:18:15] Speaker A: Bastards. Until yesterday, I had three big cases that Fujifilm Australia had sent me. I had to send them back, unfortunately. I think I've seen it. [02:18:26] Speaker B: The case is empty when you sent them back? [02:18:28] Speaker A: Oh yeah, they were empty. I just put vegetables, cans of soup in them. But. So I've been flat out writing, testing camera gear, lenses and cameras from Fujifilm and I've just sent all of those back. I'm just wrapping up a couple of reviews today and then I'm going to take a bit of a break from photography because it's been non stop for me, what with bright and our lucky straps endeavors and testing a whole bunch of gear. I think I'm just going to have a little bit of a chill out weekend and get straight back into it next week. But, you know, that might change. I might look out the window and see the light and feel compelled. [02:19:08] Speaker B: See the light and buy a full frame camera. [02:19:11] Speaker A: On that note. [02:19:14] Speaker C: If you look at cannon shooter, look at the cheap shot. [02:19:18] Speaker A: Because that's all they take is cheap shots. On that note, on that second note, if you look out the window and you see gorgeous light, grab your camera, get out the door, go for a walk, head to the beach, the street, the hills, or take some photos of your family. But most importantly, pick up a camera and be creative and share those photos with your community. And as I said, if you're watching along at some point and you've got ideas for projects, let us know what you're thinking so that we can shamelessly steal them and use them for ourselves. Yeah, that's how it works. You scratch our back and we'll ignore yours. [02:20:00] Speaker B: We'll steal your ideas. [02:20:02] Speaker A: Yeah. But on that note, this has been the Camera Life podcast. Episode 35. It is the 24 October. You've been listening to Justin, the founder of Lucky Straps, Greg, famous lucky straps groupie and John, acclaimed street photographer and good friend of the channel. So thanks for staying with us. If you've, if you've kept up and we look forward to seeing you next week, we will have another special guest on board. I don't know who at this stage I'm working on. [02:20:29] Speaker B: Hopefully not a Fuji shooter. [02:20:31] Speaker A: No promises. Thanks guys. [02:20:35] Speaker C: Thank you. [02:20:35] Speaker A: Have a good one. [02:20:36] Speaker C: Have a good day. Bye.