EP45 How to Try New Photography Genres in 2025 with Nev Clarke

[00:00:07] Speaker A: Let's just let it roll for a little bit. [00:00:09] Speaker B: It's really easy to do it today. [00:00:11] Speaker A: It is really easy. Listening. You're listening to Easily Listening, the Camera Life podcast. So, yes, welcome. Good morning. This is the Camera Life podcast. It's. What is it? Thursday 16th January, already the year as well and truly underway. And it's episode 45 brought to you by Lucky Straps out of Bendigo, Victoria. I'm coming from Melbourne, Victoria, and we. Our special guest today. Words, Greg. Our special guest today is famous alumni of the show, Nev Clark. Nev, welcome back. [00:00:47] Speaker C: Thank you for having me back. It's great. Yeah. Really excited actually to be back on the show. That's good. I haven't been as active on the show recently because of time that. The time difference as you could imagine. [00:01:01] Speaker B: But you are, you're in. You're in wa. What time is it right now? [00:01:06] Speaker C: 607Am Beautiful. [00:01:10] Speaker B: Yeah, beautiful. So you got up early for us. [00:01:12] Speaker A: Thumbs up. [00:01:13] Speaker C: Yeah, it's. It's about light here at about 4:30 in summer because we don't have the daylight. It's ridiculous. They don't like daylight saving here. So we, you get the really early sun pagans, the morning cyclists, they love it. [00:01:26] Speaker A: So. So do you like shooting in from behind you? [00:01:30] Speaker B: Do you shoot any sunrise stuff at this time of year or are you just like. No, no sunrise until winter mostly. [00:01:37] Speaker C: Mostly till about. I get to about March and then I'll get up in the morning and then it's kind of like, you know, 6:00am sort of just, you know, nice light at 6aM but yeah, 4:30 is a bit. Yeah, yeah. For me. [00:01:50] Speaker A: Cheeky comment from Lucky Straps team member Elena. Good morning, Elena. Yeah, we were a little late. Justin and I were ready. It was all NERV at this time. [00:01:59] Speaker B: She's, she's added another one, the Camera Late podcast. We might change the name. [00:02:04] Speaker C: Hey, we're pretty good. [00:02:05] Speaker A: We might remove your administration access. [00:02:07] Speaker C: That's right. [00:02:08] Speaker B: She's one of our. You can tell she's got the wrench. She's one of our wrenches. So if you say something silly in the comments, she can boot you out of there. [00:02:15] Speaker A: She can. Good morning, Elena. Thanks for joining us. Thanks. For everyone else joining us today, we're sorry we were a little bit late. Just ironing out some technical issues. [00:02:24] Speaker C: Yeah. [00:02:26] Speaker A: But we got there in the end. [00:02:28] Speaker B: Should we get Nev to give people. If you haven't seen Nev's previous episode, which is actually our most listened to episode of 2024 still still really top of the channel. [00:02:38] Speaker A: Oh yeah. [00:02:41] Speaker C: So whoever you paid over and over. [00:02:47] Speaker B: Nev. Do you want to give people a little bit of a rundown of who you are, what sort of photography you do, that kind of thing? [00:02:54] Speaker C: Yeah. It's funny, if you'd asked me that a year ago I would have said yep, I'm a landscape photographer that just occasionally dabbles in some other stuff. But I, I think now I kind of just call myself a photographer that can do a bit of everything and I'm branching out into some different stuff that I hadn't done previously. I'd kind of done a couple of weddings a few years ago and never really sort of wanted to go into that. But recently I've sort of got back into that space a little bit and I've got some coming up actually. I've got a very busy couple of months actually weddings wise coming up, so that's been great. And then I've just been doing a lot of groups as well, like young people groups at one of the local youth centers here that I run as well as some other lessons and stuff that I do with the community. In fact, I've got one this afternoon actually with it and I tend to get a lot of people who've, who come on holidays here and then they look me up and then they go, oh, would you come and do a lesson with me again? I kind of don't openly advertise trying to balance the two. Having a day job and then running my photography as well can get a little bit chaotic. [00:04:06] Speaker A: Your day job, mate. When we last spoke you were working in drug and alcohol addiction and counseling. You're a very vocal mental health advocate. Is that still a key part of your day to day? [00:04:20] Speaker C: Yeah, it is, yeah, yeah. I do that job four days a week and that. I did that a couple years ago. I decided to go four days a week so I could expand my photography and, and where that journey goes beyond, I don't know. It's, it's. You guys understand that, you know, there's this perception that photographers are driving around in BMWs. Well, we're not, we, we. [00:04:41] Speaker A: It's not out because although Justin does have a Mercedes. Oh no, granted it's a van, it's. [00:04:48] Speaker B: A 10 year old sprinter van, but it still counts. [00:04:50] Speaker A: It's got the, still got the badge. [00:04:53] Speaker C: Yeah. So just balancing that out like finances and stuff. But the last six months has been really, really busy and I've been doing some project work for a couple of local shires just Lots of different things. And I tended to just if someone approached me with something or I approached someone else with an idea, even if I hadn't done that type. I'll give you an example. I approached one of the local restaurants, my favorite restaurant in town. I said, look, why don't we do some food photography? I put my hand up straight away and said, I've never done it but I'll find out how to do it. And seeing that, it's a bit of a challenge for me as well to jump outside of my comfort zone. Same with portraits, as you guys have seen. I've started to dabble into that space a little bit and again it's toes in the water. Do I like it? Do I want to go forward with it? Yep, I like it, I'm enjoying it. So it's kind of expanding my skill sets because I think as a landscape photographer I know I'm good like without being arrogant. I know I'm good at that and that's great. But I want to get good at other stuff as well. I want to just branch out and keep doing new things. [00:06:04] Speaker A: I think that's really interesting to hear, especially the organic way in which someone who, you know, consider themselves a part time, maybe enthusiast with some good skills has actually managed to branch out and expand your portfolio of genres and clients. And just out of curiosity, what is your favorite restaurant in town? I'm assuming you're not talking about kfc. [00:06:29] Speaker C: No, it's called Garrisons which is by the forts and I don't know the Garrett. The name Garrisons comes from an old, it's, you know, Albany's got a steep history in the Anzacs. It's where the Anzacs left to go to Gallipoli. So that area Garrisons is an old, I think it's an old military storage unit that where some of the stuff was stored before they went to war. I remember reading something about it on this, on the, in the restaurant and it's a beautiful restaurant now up on the, up on Mount Clarence there. And I love the people that run it, they're really nice people. And I sort of approached them really and said, oh, they've got a new menu coming out. So when they said to me, oh, we've got a new menu coming out, I said, oh, why don't we do a photo shoot? So and I learned how to use lights in that situation as well and the photos turned out great. So again, they weren't perfect in my eyes, but that's me being a bit probably picky. But it's certainly an area that I'd love to do a little bit more of. [00:07:31] Speaker B: Yeah, what a way that. That's the way to learn. Just get. Get into it and hopefully offer some value to someone else as well. You know, they get images, you get to try out a new genre and just see if you like it. Who knows what can come of that? That's. Yeah, that is the way to do it. And that's what I. When I made the thumbnail for this show, after Greg said you were coming on, I was like, I think this is what we'll be talking about the most is because I think particularly for landscape photographers, there can be a bit of apprehension around introducing people into their photography sometimes if they're very sort of mainly landscape photographer, used to being out on their own, in control of the scene, don't have to talk to anybody or anything like that. So, yeah, I want to talk more about experimenting with portraits and groups and that kind of thing. And if you've got any advice for people who want to try new genres in 2025. But before we do, last time we talked about your calendars, your photography calendars, and since then you would have gone through calendaring season, which is basically up until, you know, now it's the start of a new year. Did you do it? So, yeah, give people a little bit of backstory of. Of you've been doing these calendars with your images in your local area and then. And then how it unfolded this year. [00:08:58] Speaker C: Yeah, it. I probably didn't. It's funny, I think I've started a bit of a trend and I. I didn't sell as many as I did previous year, but that's because a lot of people actually messaged me and said, I never know you did these calendars. How did you do it? So I was quite hope happy to share how I did it, how the process and so forth. And even I had a couple of the little community organizations, one of the local photography disability groups that runs. I shared how to do it as well because I wanted them to experience it. So it's almost like I shared the love because I didn't want it to be just my little baby. I held a competition this year with mine where basically if you bought a calendar, you went into a competition to win a prize, which I still haven't drawn yet because I've got one calendar left and I'm waiting to give that off to somebody. But. So my idea was really initially born out of. A friend of mine approached me and he said, he didn't want to do calendars anymore. Would you do it? So we call it the Albany Way. We just share. We go, okay, well, how about someone else? So I had three or four people approach me and they did their own calendars, so I think that probably eats into the ones that I saw. But at the end of the day, I also found this. December and November, I was extremely busy with a lot of other photography work that came forward through September, October, November, I was pretty much shooting all the time doing other jobs. So the calendars, I wouldn't say they took a back seat, but it definitely wasn't a priority as much as it had been in the previous years. [00:10:39] Speaker A: And that often happens, doesn't it, when you. When you've got a passion project, like doing a calendar or making a photo book or even just finding time to, you know, design and get your own business cards printed, because you're finding that more and more people are asking about your photography work. Finding the time when things start to ramp up, finding the time to do those little side projects just gets eaten. [00:11:00] Speaker B: Away really quickly, particularly if there's anything like weddings or shoots like that. That's. That's actually the main reason that I ended up having to move away from shooting weddings was, you know, Lucky's biggest sort of time of the year is November, basically. And that was also one of the biggest months of the year for weddings. And you can't. You can't. When weddings start happening, you can't. You can't do anything other than do them. As in. Yeah, whereas with Lucky, it's like, as long as we get all the orders out, that's fine. But I would push off things like sending out emails or, you know, doing product photography and things like that, because it can wait. So then it would wait. Whereas a wedding cannot wait. You know, like, if you're booked in for a wedding, you're shooting a wedding, it's. It's happening. So, yeah, I think. [00:11:56] Speaker A: Speaking of weddings. [00:11:58] Speaker B: Oh, yes, and Sloppy Segways, drunk wedding photographer. [00:12:01] Speaker A: G'day, David. What's up, mushy moshy? [00:12:05] Speaker B: Oh, there's also a really wonderful comment here from Facebook, from Digital Digital with Teowi. I can't pronounce that bit, but we'll read it out because it's great. Hey, mate, you stream pretty awesome, which is impressive, and I'd also like to stick with you for a long time, man, if you don't mind, and to be a dedicated fan of yours, please kindly add me on Discord. No, probably not. Yeah. [00:12:30] Speaker A: Might pass this time. [00:12:32] Speaker B: It's our first random stick around to. [00:12:34] Speaker A: The end of the show because we need the viewership. [00:12:36] Speaker B: Yeah, yeah. Keep streaming. Thank you. [00:12:37] Speaker A: Yeah, yeah, yeah. Don't stop, don't stop. [00:12:39] Speaker C: Yeah, yeah. We're up to 886, I think subscribers. We need to get that to a thousand. [00:12:45] Speaker B: Oh, it's going to happen. It's going to happen. Yeah. 20, 25. Well, I'm proud of our subscribers though. Every day I look at it. Some days it doesn't go up, some days it goes up two or three. But they're real people. Real. [00:12:56] Speaker C: Yeah. No dogs, cats? No. [00:12:59] Speaker B: No bots. [00:13:00] Speaker A: Yeah, no bots. The bots are the worst. [00:13:02] Speaker B: Yeah, yeah. Oh, David, number two is here. Dave, Digifrog, what's up? [00:13:07] Speaker A: G'day, mate. How are things in your neck of the woods? [00:13:10] Speaker B: Yeah. What's Tassie like this time of year? [00:13:12] Speaker A: Yeah. Oh, now, David, the drunk wedding photographer, you're in California, I believe, but I think you're in Northern from memory. [00:13:22] Speaker B: So. So Cal, he's. He's down Southern Cal, near la. [00:13:27] Speaker A: Okay. [00:13:27] Speaker B: I think. [00:13:27] Speaker A: Yeah. Hoping that you and everyone you know is safe. [00:13:30] Speaker C: Yes. [00:13:31] Speaker A: After the crazy fires. [00:13:35] Speaker B: Yeah. And he's just saying it's crazy how he live in opposite lands. November, no weddings in the US and. And November, all weddings in Oz. Yeah, exactly. It's the other other way around. [00:13:44] Speaker A: Yeah. [00:13:46] Speaker B: Yeah, Hopefully. Hopefully everything's all good where you are. I've heard a few stories. There's a couple of YouTubers called Col Mir. They do actually super interesting. They're YouTubers and their whole. All their content is around other YouTubers but they'll do things like a behind the scenes like Mr. Beast just made his new big game show on Amazon prime. Which is. Which is pretty crazy. He's a YouTuber. Enough. You old people know that. Nothing. Nothing. Greg, he's not biting today. [00:14:18] Speaker A: I'm not. [00:14:20] Speaker B: Anyway, so they. But unfortunately these two guys, they're so boring. Both of their houses were burnt down in the Palisades fire and both of them have pregnant wives currently. [00:14:32] Speaker A: Wow. [00:14:32] Speaker B: It's like. Yeah, so there's. There'd be a bazillion stories like that, which is. Is pretty sad. But. Yeah, David says I'm safe. Thank you. A couple of my friends houses were saved by a hair. It's crazy. But they're okay. And we've also got Philip Johnson in the house. Morning, gents. Morning, Philip. [00:14:52] Speaker A: Morning, Philip. Where are you calling in from? [00:14:55] Speaker B: Will you be attending BFOP again in 2025? Let us know he was there this year. [00:15:03] Speaker C: Speaking of there was. [00:15:05] Speaker A: It's time to start thinking about that soon. Yeah Justin, I'm start making plans. [00:15:10] Speaker B: I've been thinking about it a lot. We need to talk to Matt. We get, get on there and make it a big thing this year. [00:15:15] Speaker A: Yeah. Well Matt's hopefully that's going to join us towards the end of March. He's got some stuff going on. He's only just gotten back from Africa I think. [00:15:22] Speaker B: I know he's been doing cool things. [00:15:24] Speaker A: He has been doing cool things but. Yes, so we will have Matt on. In fact the next three months are book solid now I've been busy at work harassing, stalking, shadowing, manipulating photographers. [00:15:38] Speaker B: So we've got, and they're Fujifilm photographers every week until every single one of. [00:15:43] Speaker C: Them. [00:15:46] Speaker A: We'Ve got a mix of people from the creative genres and you know it's going to be a big year for the camera life. We're going to get a lot, we're going to get a lot done. Yes, we've got some big plans. [00:16:00] Speaker B: Onwards and upwards this year. Speaking of Fujifilm, did you see the little rumors about the rangefinder? [00:16:10] Speaker A: This is Nev's favorite topic. He messaged me about this once a week. [00:16:13] Speaker B: Does he? Fixed lens. [00:16:15] Speaker A: It's true, isn't it? Once a week you'll send me a message saying I can't stop thinking about it and I haven't bought anything for the last three months. Although I just ordered. [00:16:25] Speaker C: I think I've cured my gas. You laugh how I cured it. [00:16:31] Speaker B: How'd you cure it? [00:16:32] Speaker C: Took up golf again. [00:16:34] Speaker B: Oh no, no. So you haven't killed it, you just changed it to different stuff. [00:16:38] Speaker C: Yeah. [00:16:39] Speaker A: Different gear. [00:16:40] Speaker C: No, I've been, I've actually been good. I, I, I, I wouldn't say I ever had gas. I think I just liked trying new things but I haven't bought anything for ages. But just speaking of the rangefinder, I think it's really interesting. It's not a camera I would buy but I. No, no, I'm you, you guys are going to hold to me account to this that I am. [00:17:03] Speaker A: We're going to record this and play it back. While it is recorded we're going to play it back to you. [00:17:07] Speaker C: Lifetime ban from the show. If I buy the rangefinder RF1 I think it's called an RF100i. For me it's not. I think the specs are good. I think there's nothing. It's interesting they didn't put in body stabilization in a camera that's 100 megapixels I did find. [00:17:25] Speaker A: Well, we don't know yet. We don't know. [00:17:27] Speaker B: Well, I like how you're like, they didn't and. But no one knows. I mean it's on the roof. [00:17:31] Speaker A: We don't, we don't know, Niv. We don't know. Let's, let's, let's just put that out there. We don't actually, despite our contacts with Fujifilm Australia and I have many. We just don't know. They hold this very close. Fair enough. We're making assumption. [00:17:45] Speaker B: I'm pulling it up. Pulling it up. Where are we? It doesn't say. See Express 3 readers know that would be about as big as the Fujifilm XPO X Pro 3 and apparently have a 21, a 28 mil equivalent lens. Is that. [00:18:07] Speaker A: Yeah, yeah. [00:18:07] Speaker B: Is that what you guys are hearing? [00:18:09] Speaker A: Yeah, yeah, that's what I'm hearing. I mean don't forget Fujifilm did release one of the first GF cameras. GFX cameras was the, the 50R which was a, basically a bulky X Pro 3, but it was, its autofocus was incredibly slow and tacky. [00:18:28] Speaker B: So like all other Fujis. [00:18:31] Speaker A: Can you. Well, we're going to delete that. But the thing is, the thing with this, this new range finder is that yes, it is a rumor, but B, it makes a lot of sense. Fujifilm have experienced a lot of love for the X100 series over the past, what's it been now, 12 years probably they just had their 90th anniversary, a limited edition X100VI was released and the last GFX I released, which was the one hundreds Mark two is Fuji's smallest. I think it's the smallest and lightest yet most powerful GFX camera they've released to date. And it's priced to appeal to enthusiasts. So less pro, more enthusiasts wanting to start off in medium format. And I think that this, if this is a real thing, that it will appeal to us to a slice of the market that have been hanging out for an X Pro 4 or X Pro 5 as the rumor is now, but also want to push into medium format. And it also brings the challenge to Leica's door. [00:19:43] Speaker C: The Q3s fully agree with that. [00:19:45] Speaker B: Yeah. And it's certainly, it's not going to, you know, destroy the Q3's market or anything like that, but it might, it might snag a few people, you know. [00:19:54] Speaker A: Like, well, it will be cheaper. [00:19:57] Speaker B: Wow. You reckon? [00:19:59] Speaker A: Yep. Above the price of a Q3. [00:20:02] Speaker B: So you're going to be more like. Instead Q3 sits at that like 10 grand ish mark. If it was six. If it's six, that's gonna. [00:20:11] Speaker A: Yeah. [00:20:11] Speaker B: If it's six, I'll buy it on launch. If it's seven, I'd have to really think about it. And if it's eight or nine, it's like. Yeah, I don't know. [00:20:20] Speaker A: Wait for a catchback. [00:20:21] Speaker B: I mean six for 100 megapixel, that sensor and. And hopefully a nice lens. We'll have to wait for some tests but the only thing obviously F4 is a little bit on the slower side. [00:20:35] Speaker A: No, but it's been in fortnite. [00:20:37] Speaker B: Well, that's what I was going to ask like. But the thing is it's. It's still a long way away from 1.7 on the Q3 at full frame. You know, like it's. It's not going to give you the same kind of look. No, no, it's going to have different benefits. 100 megapixel. [00:20:55] Speaker A: Yep. [00:20:56] Speaker B: Yeah, very different but also very similar. [00:20:59] Speaker A: So I've got a question for Nev. Nev what? Why is it that you think it's not something that would appeal to you? [00:21:08] Speaker C: I think what I've noticed probably in the last maybe six months or so I'm either lugging the big dog out, the GFX one hundreds, two for my pro. The big dog, ye good, the big tank. Or I'm completely putting those tools down and just going back to my XT5. Now interestingly enough I. I contemplated actually getting the X100 V1 as an even, as in a smaller option and I had a guy in Perth actually and I hope he's watching the show but I was going to swap my XT5 with his X100V. We were just going to swap cameras essentially. I've really. But then I went out, started shooting again with my XT5 just doing some fun stuff and I thought no, this is too good. I love the files out of this thing and I love the camera interchangeable. So I've kept it which I'm really glad I made that decision. So I'm either you know, big working camera or I'm little camera and not much kind of sits in between. And I think this camera, the new RF model I think would sort of sit in between and still be reasonably bulky. And I think. And I've still got my GFX 50s too, which is. I think I've still got that as my backup gfx because if I go and do A shoot in my other camera files I've got a backup camera as well as my XT5 so I've sort of got. I'm Fuji right across now. Sell off my Nikon. All my Nikon gear is gone. My DSLR is completely finished. So yeah, I think I. It's not so much that I wouldn't like that camera. It'd be where would it fit? [00:22:49] Speaker A: What would I use it for? [00:22:50] Speaker C: Sort of almost like would it fit in my pro work or does it or is it a fun camera? Because at a Fun camera at 6K. Oh it's a lot of money for just a bit of fun. So that's probably where I sat with it. I was a bit like you too mate. Justin, I was thinking, you know, six grand. Oh yeah. If you, you get a bit more work in and it comes in, you could get one but then you go that's a lot of money sort of thing. And you know, I'm saving for a trip to Europe with my partner as well. So. [00:23:21] Speaker A: Yeah, yeah it is a lot isn't it? I think it's interesting because they're predicting that. I mean the, you know, the rumors are rife and one thing I do find because I write news every morning for ShotKit.com I, I research, seek and report on the news the rumor sites. What I've noticed is they'll say you've heard it here first and they'll announce something that seems quite outlandish and then you never hear of it again. Now I know that the, the medium format fixed lens rumor has been around for a while now. It's not new and there's also rumors that they're doing an X Pro 5 and X E5 as well as a, a small sensor point and shoot which will be interesting for street photography if that's a fixed lens. And, and yeah, and this, this, this gfx. But you know, and a lot of, a lot of news outlets are reporting that Suji will Fuji will probably make and release four to five cameras this year, which seems a lot. [00:24:34] Speaker B: I heard the X Pro wouldn't come till 2026 is the rumor that I heard. I don't know whether it's true. [00:24:43] Speaker C: That's kind of what I've read too. [00:24:45] Speaker A: Yeah. [00:24:45] Speaker B: Tell me, tell me this what the current one is the X Pro 3. What? [00:24:49] Speaker A: Current by four to five years. [00:24:52] Speaker B: Yeah, yeah but it's, it's the one, it's the most recent model. [00:24:55] Speaker A: Yeah. [00:24:55] Speaker B: So why, why are they saying five? Well, what happened to the. [00:25:00] Speaker A: Because, because what they've fallen into line with is that the ecosystem moves with the sensors now. So we're talking about an X Pro, sorry X processor 5. Some of them are HR. Some of them are kind of a slightly altered chip, a sensor. So it kind of. It goes around the sensor and the processor. [00:25:23] Speaker B: Right. Not. [00:25:24] Speaker A: Not the current architecture. [00:25:27] Speaker B: It just goes with whatever the current. [00:25:30] Speaker A: Yeah, it used to be that. It used to be that the X100 they're kind of. It's kind of its own. It's its own thing really. You know it does its own numbering system because. [00:25:39] Speaker B: Yeah. [00:25:41] Speaker A: You know and I think what they're aiming for. What. What I believe they're aiming for. So in 202034 Fujifilm hits 100 and I think by then they'll be up to the X Pro 10. Sorry the X110 X110 and I think they'll do an anniversary every one of them. [00:26:02] Speaker B: I'll pre order that right now. [00:26:04] Speaker A: That's in six years. So they've got three more models to get through until then. Or they might just skip a gen like they have the XM5. I don't. Was there an XM4? I don't think there was no. [00:26:15] Speaker C: That, that. I don't know where the 5 came. I. [00:26:18] Speaker A: It's because of the expressive processor 5 and the. [00:26:22] Speaker C: Yeah. [00:26:23] Speaker B: Wow. [00:26:23] Speaker A: So it always follows the processor in the sensor now. It seems to. Yeah. [00:26:29] Speaker C: So camera's been. That little camera's been a really good seller, you know from according to what I've read and see it on the forums and people love it. [00:26:38] Speaker A: Well, let me give you some sales data. Yeah, speaking. [00:26:42] Speaker B: We should talk about all of that sales data. Do you see all the stuff that come out in the last month or two? [00:26:47] Speaker A: Yeah. So Map Camera, who's this is in Japan. Map Camera is one of Japan's top 10 selling camera retailers. I visited one of the Map Camera or their big Map camera store. It's phenomenal first and you know like new and secondhand products are just bananas what they've got in there, you know, multiple levels of a building. But in 2024 according to MAP, their best sellers were the Fujifilm X100VI the new XT50 which came out last year at the Fuji Summit with that GFX that Nev now uses the 1/ hundreds 2 and the 2 and a bit year old Fujifilm XT5 was the fifth bestseller. The R6 Mark II and the R5 Mark II 8 and 9 respectively and the rest were Nikons 1 Sony no. 2 Sony's but the A7C Mark II, which is more of an entry level, blogging, content creation kind of camera, the A7C series. So I mean the XM5 didn't appear on that sales chart because it was fairly new towards the end of the year. But in other news, the bc. What is it? The camera rankings camera. The Japanese camera sales ranking figures showed that the BCN Plus R showed that Fujifilm, the X100VI again was the best selling camera. I think just trying to find out more about Fujifilm's performance there because that's all that we care about. They sold almost 19% of the market share last year. So they're growing. So one in five cameras sold, whereas it was a Fujifilm last year. That's pretty impressive in the space of a little over 12 years to gain that sort of growth. [00:28:40] Speaker B: Yeah, especially not a full frame sensor. [00:28:43] Speaker A: Yeah. Well, Canon's at only. Canon's at 25.55 of all cameras sold. So Fuji's gaining ground. [00:28:50] Speaker B: Oh, wow. [00:28:51] Speaker C: Yeah, that's. [00:28:51] Speaker A: That's scarily. That's close enough for Canon to be a little worried. Just a little. [00:28:56] Speaker B: They should. I don't know if they should be worried, but it's. [00:28:59] Speaker A: Shut up. [00:28:59] Speaker B: Like you would say, that's impressive. Well, what are they gonna what, worried? They're not gonna steal any sports photography or. [00:29:06] Speaker A: No, they're not news photography or the demand in the, in the entry to enthusiast level market. [00:29:11] Speaker B: That's where they're, they're crushing, they're crushing Canon with, with products like the X100 that Canon has zero competitor for. You know, like it's, it's, it's like. Well, there's, it's not even an option if you want that style of camera. [00:29:26] Speaker A: Yeah. [00:29:26] Speaker B: What are your options, Rico? [00:29:28] Speaker A: None of them do. [00:29:28] Speaker C: Or like you need to. [00:29:30] Speaker A: Yeah, you need to jump to Leica or Panasonic or OM system. [00:29:35] Speaker B: No, but even then, like if you took fixed lens, you know, like if you want that, that compact sort of fixed length, there's a few companies trying to do the compact thing, but the lenses can't get there. You know, the pancake lenses. Pancake lenses on a crop sensor camera. If they're pancake lenses at f4 or 5.6 on a crop sensor camera, it's like. No, yeah, that's not working like that. That's why this thing, this thing works. Being an F2. Yeah, it can work. It's an F 2.8 equivalent on a, on a crop. That's, that's very usable and great. Even The Ricoh at 2.8's very usable. But once you're talking 5.6, like it's too dark. [00:30:17] Speaker A: Well, they're speaking of 5.67 artisans yesterday announced an 18 millimeter F 5.6 prime pancake for Sony E. I think it's 4. Is it just Sony? Anyway, it's a fixed aperture lens. So it's fixed at 5.6. Yeah, it's manual focus and. But it's only like what, US$99. Yeah, it's probably going to be less even. It's for Sony Nikon Z and L mount. So. [00:30:49] Speaker B: A couple of good comments coming in. Let's first start with. Oh, we've got to go way back. Hang on, let's start. Let's start here. Travis Harris. Stunning work. Nev. We might. We'll bring up a little bit of Nev's work a little bit later. Just see what he's been doing later on. Paul Henderson. Do they count Instax with those figures? I bet they do. [00:31:11] Speaker A: Digital camera sales. Digital camera sales. [00:31:13] Speaker B: They're digital. They got a little chip in them or something. [00:31:16] Speaker A: You've got a chip in you. Your vaxer. [00:31:21] Speaker C: They make photocopies. I think they make photocopies too. [00:31:24] Speaker A: Yeah, they count those too. [00:31:25] Speaker C: X ray machines. It's got a camera on it. [00:31:31] Speaker A: That's. [00:31:31] Speaker B: You know, the drunk wedding photographer says there's no such thing as a pancake lens. More like muffin lenses. Never seen a pancake that thick. It is true. It's a stretch, isn't it? That's a thick pancake. Yeah, it's a thick pancake. It's pretty. [00:31:46] Speaker A: What's that one? [00:31:47] Speaker C: That's a little TTZ Artisan 27 2.8. [00:31:52] Speaker A: Oh, yeah, yeah. [00:31:53] Speaker C: Which I acquired. It's a funny story. I won't share it on air. [00:31:56] Speaker B: How I acquired. [00:31:57] Speaker C: I didn't steal it, but it. [00:31:59] Speaker B: It's. [00:31:59] Speaker A: It. It came to be in your possession. [00:32:02] Speaker C: It came to me yesterday and I've got to do a review for it and then let them know whether I want to keep it. [00:32:10] Speaker A: What pancakes have you got, Justin? [00:32:13] Speaker B: This one, which is the closest thing to an actual pancake. You're not gonna be able to see it very well. The Canon. Canon RF 28mm 2.8 pancake lens, which is very, very light and pretty close to pancakey considering, and pretty impressive. Its performance is good. Like I'm. I'll happily throw it on and shoot with it. I would like it if they made a 28 mil. That's not Quite as small and maybe goes down to F2. That'd be pretty sweet. That'd be a bit more useful for me. But I'd probably get rid of the Q3 then. But this is mine. [00:32:54] Speaker A: This is a. [00:32:57] Speaker B: Yeah, it's pretty pancakey. [00:32:58] Speaker A: Yeah. This is the Fujifilm 27 2.8. This is the updated weather sealed version. And that's with the lens hood on it. [00:33:05] Speaker B: Yeah. And that's autofocus. Like this is autofocus. That's what I don't. I mean I understand what these companies are doing like seven artisans and you know, obviously they're cheap, but this was reasonably cheap. But yeah, when there's autofocus options out there that are the Same size and 2.8 with good image quality to go to get a manual fixed at 5.6, isn't that enticing for me? Yeah. [00:33:34] Speaker A: But anyway, what else in the comments have we got? [00:33:36] Speaker B: Daniel says dude looks like a hawk on the bottom. Thanks, man. Hawks are pretty sweet. [00:33:41] Speaker A: What looks like a hawk on the bottom? What did I miss? [00:33:44] Speaker B: Me. The dude on the bottom. [00:33:46] Speaker A: I'm on the bottom like Tony Hawk. [00:33:49] Speaker B: I think he means now Nev looks like a hawk. [00:33:52] Speaker A: No, not a hawk like Tony Hawk. I reckon he means I think he looks like Tony Hawk. [00:33:56] Speaker B: Oh, looks like hawk. I thought he meant like a hawk. You'll have to clarify your comment, Daniel, but I appreciate it. Thank you. [00:34:03] Speaker A: It's nice. [00:34:06] Speaker B: And Philip Johnson says. [00:34:11] Speaker A: We asked where he was coming from. [00:34:12] Speaker B: Yeah, the electrical storm capital of New South Wales. And yes, he's got his BFOP ticket. Like Willy Wonka's golden ticket. [00:34:19] Speaker A: It is like a Wonka's golden ticket. Yeah, we. Someone should do a video like a parody of people getting their beef up tickets and that would be fun. [00:34:28] Speaker B: Well, they do sell gold tickets which are the coolest things ever. [00:34:32] Speaker A: You should have a head over for beef up one day. [00:34:35] Speaker C: Yeah, I'm going to. Yeah, that was. I actually probably. I. It sounds terrible. I hadn't heard of it until I met you guys and we. [00:34:45] Speaker B: We hadn't. I hadn't. It's freaking crazy. [00:34:48] Speaker C: What's. What is. What does actually the words even mean? I tried to Google that and it's like. So I knew nothing about it until you guys sort of came across my world and I definitely want to come over for it and just see it all. Yeah. [00:35:02] Speaker B: Almost out of tickets this year. I think they might be out actually. I'm not sure. [00:35:07] Speaker A: Yeah. Yeah, we haven't got tickets. [00:35:08] Speaker B: No, we haven't. Places we're Desperately hoping they're still going to accommodate us and. And Lucky can sponsor something or whatever because. Because with a card table we didn't buy tickets anyway. Please remember those. [00:35:23] Speaker A: Did your folks have those old square card tables with like a vinyl laminate, like a vinyl soft material coating and. And the four legs that folded out? [00:35:32] Speaker B: Single legs. Yeah, single legs. [00:35:34] Speaker A: Nothing extended, nothing folded. [00:35:36] Speaker B: Fake wood grain vinyl. [00:35:39] Speaker A: We had that. It was brown. Yep. [00:35:40] Speaker B: Yeah, it was really nice. [00:35:41] Speaker A: And that just came out for everything. Christmas, camping, the whole lot. Well, that's what we need to take to befop. [00:35:48] Speaker B: That can be our entire stall. It'd be pretty cool. Now I do have the dream of taking over our personalization stuff and being able to personalize stress for people just on the spot. I think we could do something pretty fun with that and. Yeah, maybe. Maybe make some key rings or trinkets and things like that. Do some giveaways and people can personalize them and. [00:36:11] Speaker A: Nice. [00:36:12] Speaker B: Yeah, that's. That's what's in my brain. But we'll have to figure it out. I don't know. [00:36:17] Speaker C: Yeah. I'm gonna hit you up for a new strap. I found the one I've got. It's too long. It dangles around. I want to get one. It's. And I've been thinking about a name for it and including some of the photography journey stuff. [00:36:30] Speaker B: I want to do a little custom. Little custom strap. Okay. [00:36:34] Speaker C: Definitely the GFX1 hundreds needs it. It needs a strap. It's a big camera and I. I do use it a lot on my wrist. It's funny actually. I. I've often said to people get a wrist strap. It's actually a much better way to shoot. And when I ran the program just recently with the young people, I found some cheaper straps. Just bulk, you know, I paid for them and put them on all of them. [00:36:59] Speaker A: Could you now? [00:37:01] Speaker C: Yeah. [00:37:02] Speaker B: Why didn't you buy bulk? Bulk Australian leather straps. You don't have thousands of dollars available. Just. [00:37:14] Speaker C: But it was great because I. I often say with a wrist strap you can get low, you can get high, you can get sideways, you know, whatever sort of thing. So it's a wrist strap is. Is you need to have a wrist strap on your camera people. [00:37:26] Speaker A: I think I agree, Nev. And the reason why I prefer wrist straps, I mean granted I've got smaller systems. I'm shooting with an XE4 and an X70 and so I'm using one of the lucky straps. What is it? The deluxe wrist strapped. Yep, that one. And I like it. Because it means that I've always got my camera in my hand. [00:37:47] Speaker C: Yeah. [00:37:48] Speaker A: I'm not fishing, I'm not having to pull it from around behind my back. I mean there's downsides of that too. Having one always in your hand. Because when you come to do something two handed, like eat, you know, eat something. I don't know how that got to that point, but. No, but like, you know, if you're wandering around, you do something with your other hand and you've got a camera hanging off it, you didn't bring a bag. That's the only time it's like I've got to put it down. But for the most part it inspires me to constantly be ready. [00:38:18] Speaker B: And that's why I don't use wrist straps. I use shoulder straps for that. The exact reason of I like to have the camera with me all the time and if I have to hold onto it the whole time, I'll be less likely to have it with me all the time. But if I can across my shoulder and just wander with it. [00:38:33] Speaker A: Yeah. [00:38:33] Speaker B: And then. [00:38:34] Speaker A: But it's very rare that you're. You're carrying just one camera because often you're carrying like a GoPro or a little Osmo coffee cup. [00:38:42] Speaker B: I wouldn't say coffee cup. Yeah, very regular coffee cup. But more so I need to be able to like live life or if I'm doing a shoot or whatever, be able to grab stuff, move stuff, that kind of thing. And I really like being able to just let go of the camera and do something as opposed to having to place it somewhere. You know what I mean? Yeah, yeah. It depends a little bit. I do use wrist straps every now and then, but I do if I travel like I'm bringing shoulder straps because I want to go out on the streets and just have the thing, the camera out and across my body the whole time. [00:39:21] Speaker A: Yep. [00:39:22] Speaker B: Runs different. [00:39:22] Speaker A: Did we say hello to everyone in the chat? Paul Henderson. Do we say hello to Paul? [00:39:27] Speaker B: Yeah, he was had the great comment about what the Instax Fuji's figures to bump them up. Oh yeah. So you only use wrist straps. What sort do you use? Don't worry, you won't offend us. I assume they're not lucky straps. Maybe we can send you one to try out. Yeah. What style do you like? What do you, what do you usually go for? [00:39:45] Speaker A: Let us know, let us know. [00:39:48] Speaker C: I found, I just found. Just quickly what I, what I found with me is that when I have my wrist strap on and I won't put it on I've got the camera in my hand so it's almost like I never use those little thumb things. I. I feel like I'm. My finger actually sits there to hold the camera. I feel like I'm just. And I just take a lot more shots. I just. In fact I don't even use the viewfinder. I just look at something and go oh yeah. Click. And I see something else. And so I find that the camera then just is actually part of my hand. It's almost like it just flows. It just works really, really well. And. And even with a Fuji camera I can change the aperture in one hand. I can actually operate the whole thing by one hand. Yeah, I can spin the dial here and it's so for me it's not having to use my other hand. It's almost like it just. Yeah, it's like a connection thing, you know, it's. Maybe it's the way my brain works. [00:40:44] Speaker B: Take your hand off and just attach a camera to it. [00:40:46] Speaker A: No, no. I think Paul Henderson's got a winning idea. You keep your free hand for a lucky strap coffee cup holder. [00:40:53] Speaker B: Expect royalties. Oh, you'll be getting tens of dollars from. Well I have thought about it. Some yeti. Yeti cup accessories would be pretty cool. New name in the chat. Wookie. Oh that. Look at that pooch. Is that your dog? That dog is awesome. [00:41:09] Speaker A: That is his dog. Shane Henderson. He's been on the show. [00:41:12] Speaker B: Oh is it? [00:41:13] Speaker A: Yeah, that's his job. [00:41:15] Speaker B: I didn't know that he was Wookie. Okay, so you got a strap harness. [00:41:18] Speaker A: Belt for every the Star wars reference. [00:41:21] Speaker B: I, I get that. [00:41:22] Speaker A: Do you? [00:41:23] Speaker B: Yeah. [00:41:24] Speaker A: I thought you're more of a Star Trek man. [00:41:27] Speaker B: No, no, no, that's. It's me. And what else we got? I use drunk wedding photographer. I use leather restructuring tap and dye. Oh they're cool. Purchase. Purchase them in 2014. Always open to test out something new then. New though. Okay. Okay. We might be able to. We might be able to hook you up. See if you want to give a little test out to a strip. Tap and strap. Tap and die. Do make nice products. I don't know. I assume they're still going. They've been around a while. [00:41:55] Speaker A: They have. [00:41:56] Speaker B: Just like us. So very. [00:41:58] Speaker A: 10 years and counting. [00:42:00] Speaker B: Yeah, that's us. 10 years. We kind of flew past our 10 year anniversary. We really should have done something special. 10 years like a. [00:42:08] Speaker C: Like a 10 year anniversary strap, you know. [00:42:10] Speaker B: Well we change. We changed our logo but I just never got around to making an anniversary strap. I was going to do a very cool thing. But everything was just so busy last year with the Canon. Yeah, the Canon R5 Mark II launched doing those straps that took a heap of our production away from us that we sort of shifted towards that. Which was amazing to be a part of. [00:42:32] Speaker A: But yeah, and beef up took a fair bit of effort too. That wasn't nothing small. [00:42:36] Speaker B: No, exactly. [00:42:37] Speaker A: So not just our participation but also the strap production in the background. [00:42:41] Speaker B: Yeah, custom straps for them. [00:42:42] Speaker A: That was pretty last minute and pretty frantic for the team. [00:42:45] Speaker B: So do you want to see a secret strap I've been working on? You just can't tell anyone because it's not. [00:42:52] Speaker A: Yeah, don't tell anyone. [00:42:53] Speaker B: Okay, guys, it won't get released for ages. But check out this thing that I made for the. Don't look too close because I actually made it myself for The Q, the Q3. Look at this. Hang on. Focus, focus. Come on, Canon. Yeah, just right on there. [00:43:10] Speaker C: Whoop. [00:43:10] Speaker B: No, it doesn't love, doesn't love. [00:43:12] Speaker C: Looks great, mate. [00:43:13] Speaker B: Yeah, I like it. It's pretty cool. Thin goes across the board. [00:43:17] Speaker A: Take your word for it. It looks a little blurry from this angle. [00:43:21] Speaker B: You look a little blurry. Shut up. [00:43:24] Speaker C: But yeah, if it was a Fuji, it would have focused. [00:43:27] Speaker B: Look how thin. Now let's not go there. No, no, let's go there. [00:43:36] Speaker C: Raise the elephant can grenade in the room. [00:43:38] Speaker B: It. It still wouldn't have noticed that I'd put something in front of my face. [00:43:44] Speaker C: Yeah, the firmware is better. The firmware is better with the new Fuji. It is working better, but it's still not perfect. [00:43:52] Speaker B: Yeah, but it's getting there though. I mean fast enough for landscapes. [00:43:57] Speaker A: Well. [00:43:57] Speaker C: Shut up. [00:43:58] Speaker A: The XM5, when that first launched, that had Fujifilm's best autofocus performance, entry level camera, had the same sensor and processor and image stabilization as a flagship. And the new firmware for focus performance. So that little thousand dollar camera was a thousand US or Australian, I don't know, was actually the best performing camera. But now they've rolled that out across others. [00:44:21] Speaker B: So they did roll that firmware out to every. Everything. [00:44:24] Speaker A: Yeah. [00:44:24] Speaker B: Or basically everything. Yeah, everything has made it. It's made a difference. [00:44:29] Speaker A: Yeah, most people are saying it has. Some people. I mean you're still going to find people who aren't happy and that's fine. [00:44:34] Speaker B: I mean there's always gonna be this. And this isn't a dig at Fuji, it's gonna sound like a dig. So just brace yourselves there. Everyone's going to. Not everyone. There'll still be A section of people that complain always right up until, and then they'll still probably complain a little bit. But until they're, until they're literally as good or beating Canon and Sony, there's always going to be people that are like, well, it's not fast enough because there's something faster available. Yeah. You know, so even if they had it, you know, 95, the performance of the best performing sports bodies on the planet, someone's still going to say, well, it's still not as good or whatever. That's very true. But as long as it's, as long as it's not bad, it's not unusable. [00:45:23] Speaker C: That's how I see it too. [00:45:25] Speaker B: It works, you know, like it's. Yeah. You're not missing photos or anything. No, no. [00:45:30] Speaker A: And it's just another tool that, you know, suits some people and it won't suit others. Like it's. [00:45:36] Speaker C: Yeah. [00:45:37] Speaker A: You know, like you said. Sports, sports photojournalists are not going to go to Fujifilm. [00:45:41] Speaker B: Wow. But some, there are some sports using it and doing great. You know, like that's. [00:45:46] Speaker A: If you're at the top of your field, you're going to be using like A, an R1 or an older R3 or the R5 mark II. You're not going to be. [00:45:56] Speaker B: Or the A, the Sony like the A Series A93 and stuff like that. Like, you know. [00:46:03] Speaker A: Yeah, that's just had a firmware Update which the A1, the A1 Mark II and the A9 Mark III have all just had a firmware update overnight. Was the new firmware Content authorization, Content authorization and Providence. So it's similar to what Fuji and Leica have signed up to. But this is kind of Sony's own initiative to show that they're actually doing something about creating tamper proof exit EXIF data and metadata for images for files that clearly identify whether AI was or wasn't used to create the file. [00:46:40] Speaker B: Yeah, it's gonna, it's gonna become a thing that when we look back we'll be like, oh, can't believe we didn't have that for a while. You know, like I can't believe for a while we weren't sure whether an image was, was real or fake. And obviously there'll always be ways to get around it. Probably there's always going to be someone pushing the boundaries. [00:46:58] Speaker A: Oh definitely, definitely. You know, it's good to see that brands are addressing it. Fuji addressed it about six months ago by signing up to the organization now, but the same one as leica and about 3,000 other digital content related companies signed up to this one with Fujifilm. But yeah, so Sony, that's the biggest part of that firmware update. The other minor updates are basically some minor enhancements to stills, videos and overall functionality. So, and I think I'd just like to reiterate going back to this point that our good man Shane, who shoots concept photography in very challenging conditions with pyrotechnics, fire, smoke, low light, he's never had a problem with Fuji autofocus, nor has he had a problem when he dropped his XH2 down the stairs. [00:47:51] Speaker B: So I was gonna, I was gonna read this one out and mess it. I was gonna say. Shane says, I've never had a problem with Fuji autofocus. I shoot cannons. No, he says, but he says, but I don't rely on eye detect when shooting. Which, yeah, maybe, maybe that's the thing. It's like people are kind of trying to, to eke too much out of the system. [00:48:14] Speaker A: Yeah. [00:48:14] Speaker B: Instead of working with it. You know, when we were shooting DSLRs like you did, you didn't expect the camera to be able to track the eye at f 1.2 in the dark while someone was moving around a dance floor or a concert stage or whatever you, you, you hoped it might, you know, you'd be like, all right, I'm going to shoot 10 shots and see if I get one or something. But yeah, you didn't, you didn't, you weren't like, oh, this better, better be sharp every photo. Otherwise this autofocus sucks. [00:48:42] Speaker A: And sometimes, and I've said this before, I've said sometimes sharp autofocus is overrated. We get so caught up in it has to stop it. I'm going to mute you. I think I can sometimes tax sharp images. They're beautiful for majority of situations. But like in cinematography, cinematographers, when they look at lenses, they don't look for how sharp they are in focus, they look for the qualities out of focus. And I think there's something to learn from that in stills photography that we spend too much worrying about center sharpness and the subject being so clearly defined that you can see every little pore and dot. But sometimes there's a little, there's a lot to love about a little softness. Oh, I'm gonna get that. Put on a strap. There's a lot to love about a little softness. [00:49:30] Speaker B: It's also. That's a good tagline for a comfortable leather strap in itself. Yeah, it's a lot to love about a little softness. [00:49:38] Speaker C: It does Remind me. I, I shot a wedding with my X T5 on the old firmware and it worked fine and. But there was one particular shot that I knew the camera was going to struggle with because I knew that going into it. So generally speaking, what I was doing is if most wedding scenarios where people are standing quite still or at the front and you know, doing all their bits, that's fine. You can use. But when people are moving, that's where the camera struggled. So if you know a particular strength and weakness of a camera, you just switch modes on the fly. And when they started to walk back towards me after they'd been married, they, they were. One of the guys was skaters and he had a skateboard or guys holding up skateboards and they were walking towards me. I just flicked into a different mode and. And now the shot, no problems at all. So I think it does come back to. I think as the drunk wedding photographer said, knowing your gear a bit and being able to adapt as you're going as. Sorry, Wookie was saying that. [00:50:38] Speaker A: Yeah. [00:50:38] Speaker C: You don't always use autofocus eye detect. I probably only use it about up 10% of the time. And that's actually what I'm doing portraits. If I'm doing a sit down portrait where someone's sitting in a chair. Yeah. I whack it on. I auto focus but I then pinch in and go. Yep, yep, that looks good. Excellent. It's working. [00:50:58] Speaker A: Yeah, yeah, I think you're right. I think, you know, these cameras have such amazing, like they, they almost got autopilot mode. [00:51:07] Speaker B: Yeah. [00:51:07] Speaker A: You know, in that they do a lot for you and that's great. But sometimes there's a lot to be said about switching all of that extra stuff off and just controlling your exposure triangle and your composition and making the most of those core fundamental aspects of photography. [00:51:24] Speaker B: And. [00:51:25] Speaker A: But that's just me because I love. [00:51:27] Speaker B: It's like say a little knowing your limitations, knowing your limitations of your gear and not expecting it to do things that it may be not capable of in those critical moments. And that's what we used to do in weddings with, with DSLRs and stuff. It's like we would try and shoot stuff wide open during the portrait session where there's less movement and we can repeat something. But when they're coming down the aisle for. And people are throwing confetti. No, no, we're probably at five, six, you know, like we're, we're gonna, let's go say shot. Like we want the moment and the emotion, not. Oh, let's see if we can get some pedal boker in the front. At the risk of having a completely out of focus pedal bokeh. It's a real thing. Now on the other end of things though, drunk wedding photographer says don't mean to bring politics in, but some of the recent iconic photos from the last election here in the US were taken with Sony cameras and lenses and everyone's probably seen that, that there's a couple of, there's that Trump photo where he's like bleeding and he's got his hand in the air and they're all holding him and shit like that after they shot him in the ear. That's, that's one of those iconic photos that that photographer will probably, you know, for their career. That's a career photo. Yeah, it is and that was a Sony photographer. But I think that same photographer also caught a bullet in one of the shots like streaking across the frame which I think he said if he wasn't shooting with that a 9:2 at the time or a 3, whatever it was, he wouldn't have got. [00:53:05] Speaker A: Yeah, if you had an R1 he would have missed it for sure. It probably would have taken the bullet. It's so big. [00:53:10] Speaker B: Possibly, I don't know what he could. [00:53:12] Speaker A: Have protected the President. [00:53:14] Speaker B: Maybe he was comparing that to, you know, an A1 or something that he used to shoot with. But yeah, he, he was like, you know, they're the sorts of photos that. And I mean if he didn't get that shot, it's like the world would have kept spinning. Like it's not. Yeah, you know, just no one would have known that that shot could have existed. But he got it and it's kind of cool. So it's like, it's, they're those situations where it's like, you know, if you're doing that kind of work, if you, if you're thinking, well Sometime in my 40 year career someone might try and shoot Trump, I'm going to get the fastest Sony camera I can. [00:53:45] Speaker A: Yeah, I need a Sony. Want to capture an assassination? Get Sony. [00:53:51] Speaker B: Wow. It's a bit dark anyway. [00:53:55] Speaker C: It's a little bit dark. I was going to say it's, it is interesting, isn't it? I don't know about you guys, but if I heard gunshots, I certainly wouldn't be putting my camera up. I'd be kind of using my camera hitting the ground. But where's Americans? I don't want to upset the Americans, but they're different. [00:54:11] Speaker A: I remember watching that scene, getting the. [00:54:12] Speaker C: Cameras out yeah, that's the same. [00:54:14] Speaker A: Most of the people in the crowd were just kind of going, where's it coming from this time? Yeah. [00:54:18] Speaker B: Were they not sure what was happening? And I mean, there's probably a little bit of panic or a little bit of shock and a little. But that, for that photographer to get that, that photo probably sounds easy if you. But yeah, would I have just ducked on the ground and not taken any photos? I don't know. Like, you know that, that's an amazing thing. But what, what got me also, and this is regardless of political sides or anything like that, but the, the Secret Service people that when their job, when they hear gunshots, their job is to run at the target and lay on them. That's fucking crazy. Isn't that insane? Like, that's their job. And they do it without hesitation. They're like, my job is to run towards where the bullets are going. [00:54:58] Speaker A: Yeah. [00:54:58] Speaker B: And cover somebody. [00:54:59] Speaker A: Create a shield. Yeah. [00:55:00] Speaker B: And just wait to get hit. You know, like, maybe that's, that takes a different kind of person. [00:55:07] Speaker C: It's really, really interesting. I, I, I used to as a kid and I still do this today, and I took a couple of photography people that I do lessons with and to the local town library. And what I was doing, it was just showing them how we used to do photography. And in the library they have the old newspapers. They keep them. They, they go way, way back. And so we were going through the sports section and then I was showing photos from 1972. See, they used to shoot sports with film cameras. And they were able to do it. Yeah, they figured it out. And I, this was my photo. Good photographers will figure it out. They did. We did bird photography with film cameras. [00:55:50] Speaker A: Yeah. [00:55:50] Speaker C: And it was damn hard. I don't know. I've got a film camera here, but if you ever want to take one of these out and, you know, go and shoot some bird or sports with it, you will never, ever complain about autofocus again, ever. And I think that the new. That's probably. It sounds like I'm having a little bit of a crack at the newer generation. I'm not. I just. Perspective over time teaches us that don't rely on the autofocus. Get the skills and, and adapt those skills to what you're using. [00:56:20] Speaker A: I think that's a really valuable lesson. Nev and I always encourage new photographers, like I mentioned earlier, to turn off all the bells and whistles. [00:56:27] Speaker C: Yeah. [00:56:28] Speaker A: Shoot in manual focus for a while. Shoot with manual aperture, manual exposure and ISO, even if it is the best Digital camera on the market. Turn all the bells and whistles off. I auto focus and subject tracking and just go back to basics until you can do it in your sleep. Then you can start turning on some functions that might aid you. [00:56:52] Speaker B: Just quickly. Scott. Scott says hello to Nev from Nevada. Do you know Scott? [00:56:57] Speaker C: Yeah, I do, I do know Scott. Scott's a friend on Facebook and I. He's followed my work for a long time and we've chatted quite extensively about all things life, photography and. Thanks for joining. What, what time is it over there, Scott? [00:57:12] Speaker A: Yeah. Hi Scott, welcome to the show. Don't mind Justin. And I think you said hello to Nev. Hi Scott. [00:57:20] Speaker B: We could be friends too. [00:57:22] Speaker C: My fans are all coming to join me. [00:57:25] Speaker A: Nevada. [00:57:26] Speaker B: Nevada. [00:57:28] Speaker A: He looks a bit like Buble. Can you bring up that picture of Scott again please? There's a bit of Buble in him. [00:57:36] Speaker B: I don't see it. [00:57:36] Speaker A: Good looking, good looking man, Scott. That's an Australian term. [00:57:41] Speaker B: Vegas. Scott, where are you? [00:57:43] Speaker A: Nevada. [00:57:44] Speaker B: Yeah. Now. [00:57:49] Speaker A: Originally told me about that. [00:57:51] Speaker C: Yeah, I shot a funeral. Oh it's probably about six months ago and I can't remember whether it was before my last show with you guys or not. Anyway, that's irrelevant but it's a different experience and I remember and it was quite all funerals are sad. Yeah. It was of a man that wasn't that old who had young children and I just remember standing there at one stage taking photos and it just got to me and I cried while I was taking photo, tears coming down my eyes. And I just remember a beautiful moment probably about 10 minutes later when some of the people who I'd never met in my life came up to me and actually made sure I was okay and I was okay but just how challenging that was. And I remember this young boy coming up to me who and I don't know if he was a relative or whatever but he, you know, he was about 5 or 6 and he was quite curious with what I was doing so I gave him a job. I actually gave him the little, a little camera, a little DJI camera just to film with just to keep him occupied and it was a really amazing experience. It's definitely tough it but in reflection it made me stronger as not just emotionally but as a photographer knowing you have to really still concentrate in the moment to get what you need to get and, and then your self care stuff comes in after obviously. But yeah, it was a good experience. I, I would do it again if someone asked me. [00:59:26] Speaker A: Yeah, Scott's talked about his experience can we. [00:59:29] Speaker B: Yeah, I'll bring that one up. You can read it out, Greg. [00:59:31] Speaker A: Scott, he said it was. He shot his first funeral, which is something that not many of us actually do. But it was a humbling experience that reminded me how important our work is. And it is very true because it's a, you know, our role is to document moments in time and space that won't be repeated again. And for the family, that might be a really valuable part of their self care, part of their recollection, their memories. That, yeah, it was tragic. But, you know, look at this. All of, all of the people who love and care about him came and we've got. [01:00:05] Speaker C: And that's actually. Yeah, yeah. The family that I worked with, they had younger children and obviously a younger family. Yeah, they wanted something for when those kids grow up. They wanted to understand, to see dad, you know, in a different way. And so it was about how many people that cared about dad in the room. So I did quite a few panning shots of the people in the room a lot. That was one of the focus. Key points with it was, was actually capturing those as well. And that's difficult because you're photographing people who are emotional and it's almost like if there was this guilt feeling of photographing people that have got tears in their eyes. But yeah, it was, yeah, it was challenging. Definitely. [01:00:51] Speaker A: Yep. Scott's got on to say yes, look at all of the people who cared about it. Your daughter, I think that's a really. Yeah, I think it's, it's, it's something we probably don't think about as photographers, especially if we do events. We often look at the, the weddings and the engagements and the big birthday milestones and parties and those sorts of things. But I think there's. Yeah, I think that's a really admirable genre there, Scott. Well done. [01:01:18] Speaker B: Yeah, definitely. David, the drag queen wedding photographer said, most of the time, the only two times our loved ones gather together in one place are weddings and funerals. And it's a very fair analogy. [01:01:30] Speaker C: And, and as you get older, you, you, you, you start to reflect more and you go to more funeral. We always joke as you get a. [01:01:37] Speaker B: Little bit older, you go to more. [01:01:38] Speaker C: Funerals than you do weddings. You know, all your friends are married and couples and stuff. But yeah, yeah, and it's, it is a moment in time. I think you were saying, Greg, before, you're capturing a moment in time that actually doesn't get repeated and that's incredibly important. Important and valuable. But yeah, and, and now, in reflection, six months on, I still enjoyed the experiences. [01:02:02] Speaker A: Yeah. [01:02:02] Speaker C: And that might seem an odd word to use, but I. You grow from each experience you do. [01:02:08] Speaker A: I think that's probably humbling to be invited into a family's time of grieving, you know, which for a lot of people can be a very dark place, but to be invited into that and offered a place, you know, to. To experience that and capture it, you know, and you've got to be equally as. As humbled and. And I guess, respectful of that experience for them, too. So it's. Yeah, it's a tricky gig, but hats off to. To you, Nev, and to Scott. I think that's really admirable. Certainly something I've never thought of. I mean, when I have regrets. When my wife passed away in 2013 and my kids were like, 11 and. No, 12 and 14. 12 and 15, I'm gonna say pretty much. And I. I had never even thought about. I wasn't doing photography at the time. That came a bit later. I never thought about getting someone to document it. And it was a celebration of life. It wasn't a somber, you know, funeral. Everyone was asked to wear color and it was meant to be a celebration of Israel's life. But I never thought to get someone to record it for the kids for later. I regret. [01:03:20] Speaker C: Yeah, it is. And it's interesting because, you know, I've shared with you guys and, you know, my mum passed away not long before I met you guys. And I. I chose a photo for Mum's coffin, which was a beautiful photo of the sterling ranges in the Canola period. And so the. The period was. But Mum was now resting in the canola because she loved to go and visit it. What's interesting is, is that when you prepare for a funeral and we'll get off into some more fun, light stuff later, but the last thing I'll say on this is, is. Is that the very first thing the funeral people say to you is, you know, what photos have you got? Because they're so powerful and it. They're the things that care the most. We've got some amazing funeral homes here that really dedicate. They have a dedicated person who's actually. That's their job, to collate all the photos and put it together in a collage and a video and. And I sat and watched this process take place with my own mum. And it actually provided healing because I was able to just actually watch Mum's life through a set of images, which I probably never had. Sat and seen all those from when my mum came from Austria to Australia and all that sort of stuff. It's amazing. And that then that's the memory you take with you forward, not that she died. Yeah. [01:04:37] Speaker A: Isn't it interesting though, Nev, that now it seems that the only time we do that is at the end of someone's life. That we don't necessarily put that effort into collating someone's life moments unless it's something really special. You know, we don't often do that. So yeah, so to think about there, I just want to, just want to touch base with everyone listening along and thank everyone for their comments and for watching. [01:05:06] Speaker C: Watching. [01:05:06] Speaker A: Please don't forget that you are watching the Camera live podcast and we're coming to you live from Australia, unless you're a flat earther in which it's a sound studio in Hollywood and brought to you proudly by Lucky Straps out of Bendigo Victoria. Handmade, often customizable camera leather camera straps. Please hit us up if you've got any questions. Check out the Luckystraps.com website. But aside from that, we're talking to alumni of the show, Nev Clark. Nev joined us probably about five months ago. You were one of our earlier relaunch guests and, and it's interesting to see guys that in that time Nev has experienced really lovely organic growth in his photography. Not only from, you know, an employment perspective because he still has a day job, but that he cherishes and values. But he's also branching out in the time that he has. He's learning new skills, trying new genres, pushing himself creatively and I think there's a lot to be inspired by that, that story, Nev. So thank you very much for sharing it. What's on the horizons for you next? [01:06:20] Speaker C: Yeah, well, like I said, I've got some weddings coming up so I'm really excited by that. In fact, I've got some locally and then some in Perth which to give you guys a. It's about a five hour drive. WA is a big state so I've got to drive to Perth for that. But there's a company there that's going to hire me and just to shoot. So I don't do any editing. My company gets the raw images and they do all the. I actually love it. I just think that's great. I don't want to have to sit on the computer for the next two or three days and obviously the money is less but for me it's. That's perfect because that's my. I'm not A bad editor by any stretch, but I definitely don't want to have to edit and the money side of it's nice to just to top it up a little bit. And then I've got some more group stuff coming up and I'm going to be doing some workshops. Now. I haven't launched anything online about that yet, but I've been looking at the models around. How would I do some landscape? I get a lot of people from Perth asking me would I do a landscape workshop down in Albany and so I'm going to do that. And the local. There's a place called Shane's beach which is quite famous now for its whale watching. There's amazing whales that come every year and it's. The tourists just flock to see these amazing whales. So I'm thinking about a whale watching workshop with our cameras. And one of my friends owns a boat here as well. How we would get that boat over there and, and then do a while watching photography lesson incorporated into one thing. So I'm really excited about that. The local caravan park is a huge fan of mine. They've just releasing some and I haven't got one with me otherwise I'd hold it up. But they're doing some towels that have got my photography stuff on it. I took a photo. [01:08:07] Speaker A: That's a fancy caravan park. [01:08:09] Speaker C: Yeah, they. [01:08:10] Speaker A: They really printed towels. Justin, why don't we have custom printed towels? [01:08:15] Speaker B: I'm writing it. [01:08:16] Speaker C: Yeah, it's got my Instagram logo, so that's. That's happening. Wow, that's awesome. Yeah, there's, there's, there's quite a few things happening as well and I'm then going to try and go over to Europe with my partner, my partner Julie, if she's watching. Hello. We're gonna head to Europe. She's from Germany and I've got to fit that in as well. So it's a busy few months coming up, but I'm really looking forward to it. Lots, lots happening. [01:08:46] Speaker B: Will you take cameras to. To Europe? [01:08:50] Speaker C: Well, what do I take? I'll put it back to the audience. I've got two GFX cameras and an XT5. My gut feel is to take just an XT5 with maybe two lenses. [01:09:01] Speaker A: Yeah. [01:09:02] Speaker C: But there's something about me that goes, oh, get to get to Europe. And there's this big scene and I haven't got my big, big dog with me. [01:09:09] Speaker B: You know what would be good? That that Rangefinder GFX that's coming out. [01:09:15] Speaker C: See, there you go. [01:09:16] Speaker A: You do need it after all. [01:09:17] Speaker B: You do need it. Yeah. [01:09:20] Speaker C: You're on the payroll of Fuji, aren't you, Justin? You just don't tell anyone. [01:09:23] Speaker B: Considering I don't own one, actually. The original X100 classic. Yeah, the OG, but other than that, no, I don't own one. I don't think I'm on the payroll. But I mean it is interesting. It's a thing I wrestle with for trips as well where it's like, yeah. [01:09:40] Speaker C: What do you take? [01:09:41] Speaker B: What do you take? But if you love shooting, you love the images you get out of the X T5. You said that you love like, you love shooting with it. So how disappointed would you be if you got the world's most amazing shot but you shot it on the XT5 instead of on the GFX? [01:09:57] Speaker C: Not at all. And I think when you go on holidays, you tend to shoot holiday style images. I'm, you know, I'm not sort of going to go off and do a landscape day in Germany probably because I wouldn't even know where to go. I mean I can research it online and stuff, but I probably just want to feel my partner's more into cityscapes. [01:10:19] Speaker B: Yeah. [01:10:19] Speaker C: Cafes, that kind of stuff. So I want to. Yeah. And I've dabbled in street photography as well. And I gotta say my partner actually taught me street photography. Photography. I had no idea it was the one genre I'd never done. I got you walk down the street, go, what do you shoot like? It was literally that level. I had no idea. So she loves doing street photography. So we'll, we'll get onto the streets of Germany. [01:10:40] Speaker A: Nice. Then I, I suggest the XT5 is probably the best. [01:10:45] Speaker C: Yeah. [01:10:47] Speaker A: Photography. I go with a 23F2. That little pancake prime. You've got your 27. Yeah. Is that a TT artisan you got? [01:10:54] Speaker C: Yeah, that's the TT. And then I've got a, I've got a 23 which is a 35 and then I've got a 50 as well. I sold off, I had a 75, 1.2 which really I bought for portraits. But now given that I've got a really nice portrait lens for the GFX, I sold that off and I sold off my 13 millimeter 1.4 viltrox. I just felt it was too wide and I actually picked up a 24 which is, sorry, a 16, 16, 2.8. So it's 24 and it's just perfect. It's. [01:11:29] Speaker A: Is that the little compact Prime? [01:11:31] Speaker C: Yep. [01:11:31] Speaker A: The Fuji one. Yeah, that's one of my Favorite lenses. [01:11:34] Speaker C: Don't know where it is. It's somewhere around this desk. But yeah, it's a beautiful little lens. It's a. So I've sort of got that wider range covered and then up to 50 millimeters. And I don't think I'll need any longer than that given it's 40 megapixel camera. You can crop into, crop into 100 millimeters and still get a 20 megapixel file. So yes, that's plenty for holidays. I think it's interesting. [01:11:57] Speaker A: It's a good setup. That's like one of the first setups I took to, to Tokyo was an XT. I think I took an XT3 with a couple of primes. [01:12:04] Speaker C: Y. Yep. What's interesting, I. I read online and I, I sort of was a bit fearful of camera theft in Europe and certain places can be quite that if they see you lugging big GFX cameras around, they'll bail you up. So I sort of like, okay, might be that guy on the news that, you know, probably turns around and hits him with a camera and get in trouble. [01:12:26] Speaker A: So you end up in court. [01:12:28] Speaker C: Because Australians are a bit like, you want my camera, do you? Oh yeah, you can have my camera. Yeah, no worries. Boom. [01:12:35] Speaker A: So we all see it on a paraphernalia. [01:12:37] Speaker C: Yeah. So yeah, that's. I'm really excited by that. And then winter comes for us, you know, around that sort of April, May. And I love the winter. I really embrace winter photography down here. In fact, summer is my least favorite time of the year for my landscape stuff. It's just, it's the lights just. It's too harsh, it's too hard to work with. [01:12:58] Speaker A: What's the temperature range like in winter for you guys? [01:13:02] Speaker C: Gets down to about 10 or 11 on a really wet and cold windy day. But it doesn't snow. It snows actually in the mountain range about 80k's north of here once or twice a year. But it's our winters. Last year was quite mild but beautiful light and clouds and storms and stuff. So it's just magic for landscape. [01:13:24] Speaker B: Yeah. [01:13:25] Speaker C: Yep. So that's my next six months. It's really, really busy time. And you know, building my website, which I've started and I thought about YouTube for a very short amount of time and then went just pause on that. So lots of people have been asking me, you should do a YouTube channel now. You've got so much to share and how, where do I fit it in, you know? [01:13:47] Speaker A: Well, you know, one day it's. [01:13:50] Speaker C: It's tough. [01:13:51] Speaker B: You got. If you're gonna do it, you gotta find a way to do it that. [01:13:55] Speaker C: Yeah. [01:13:56] Speaker B: Doesn't feel hard and, and it gets tough and even then it'll start to feel hard at some point because you, you know, it's just. I don't know, it's. It's weird. [01:14:06] Speaker A: So. [01:14:06] Speaker B: Yeah. I think, I certainly think getting your website up because you don't have a website currently, is that. No, no. Yeah. [01:14:12] Speaker C: I had one a few years ago, but. But I. It didn't get any traction. It probably wasn't a very good one. So I let it go. And yes, I'm going to build another one. One. And. And because that will help me from a business perspective but also just from an achievement perspective as well. [01:14:29] Speaker A: Yeah, absolutely. There's a sense of pride to be had. [01:14:31] Speaker B: Yeah. [01:14:31] Speaker C: Yeah. [01:14:32] Speaker A: And there was one thing we mentioned. [01:14:34] Speaker B: Yeah. On the last episode last week. [01:14:35] Speaker A: Yeah. We talked about goals for 2025 and building a website was one. And I think there's a. There's a. Like I said, there's a real sense of achievement in creating your own site. It's your space. Because on social media you don't own the space. You don't even own your images anymore. And you know, depending on the sort of person you are, anyone can bombard your work in any format, good or bad, you know, and owning your own website creates a safe space where you are in complete control of what goes on. [01:15:07] Speaker C: Yeah. [01:15:08] Speaker A: You know. Yeah. And I think there's a lot to be said for that. Nev, I want to circle back to a point you made earlier about doing a gig. Sorry. Two points I want to raise. First is for anyone listening along at home, let us know what your favorite travel kit is. What. What do you. What's the debate like for you when you're going to travel? Are you like Justin who takes a, you know, two by three foot pelican case full of gear? I traveled for three months. Are you more like me who will, you know, walk around the streets of Tokyo with just a little x70 in his hand on a wrist strap? What do you guys take away with you when you go? What did you take when you went down to the river? [01:15:52] Speaker B: Oh, that's funny. I took everything because it's not at home to get stolen. [01:15:58] Speaker A: That's just a lame excuse for a man. You can't make decisions. [01:16:00] Speaker B: Hey. Okay, so did the three months with just, just the Q3. But anyway, no carries everything. [01:16:06] Speaker A: I have traveled camera. Yeah. [01:16:08] Speaker B: I have got a good amount of experience though, because I have traveled with everything from one camera up to full case and I can tell you the most, I have far more often not used most of it than I have gone, fuck, I wish I'd brought that other lens that. That happens almost never. [01:16:31] Speaker A: And. [01:16:32] Speaker B: And then. Whereas very regularly at the end of the trip, I think I didn't need to bring all that stuff. [01:16:37] Speaker C: Yeah. [01:16:37] Speaker B: Way more common to look at it that way or to have that paralysis. Analysis of. I don't know what gear I'm going to shoot with, so I'm just going to leave it all in the hotel room. [01:16:48] Speaker A: Yep. [01:16:49] Speaker C: Yeah. [01:16:49] Speaker B: You know what I mean? [01:16:50] Speaker C: Because. [01:16:50] Speaker B: Because it's just like there's all that laying there and you're not sure and you're just like, ah. [01:16:55] Speaker A: And you've got to be out all day on your feet or not even that. [01:16:58] Speaker B: It's just, oh, we're just going to get a coffee. I won't bother bringing the camera. Whereas if we're just going to get a coffee and I've only got the Q3 sitting there with a strap already on it, I just throw it over my shoulder and we walk out the door. And if I don't take a single shot, oh, well, it doesn't matter. [01:17:12] Speaker C: Yeah, I noticed that too. I. I started to do that even just with my partner and friends, that I would actually just bring my XT5 because it's small enough just for lunch and cafes and things, just to get a feel for whether would I use it. And there were plenty of times when friends were gathered and say, hey, guys, let's get a photo. And, you know, you'd capture a photo and that portability, you're not going to lug your GFX on the table at a cafe just doesn't work. [01:17:38] Speaker B: That new range finder you might, though. [01:17:41] Speaker A: No, that would be all right. [01:17:42] Speaker C: That would be all right, yeah. [01:17:44] Speaker A: The second point I want to. [01:17:45] Speaker C: I wouldn't. Yeah, yeah, go ahead, mate. [01:17:47] Speaker A: Sorry, I was just gonna say. Second point I want to circle back to is that you talked about doing a paid gig where you don't have to edit any images. And I just wanted to touch on that for a minute and see what other people think and hear from you too, around that, you know, you. You're handing over control of what the finished image is going to look like. And I know we always do when we do paid gigs for commercial purposes that we don't have the final say because it's, you know, contractually agreeable that you're providing the raw images and they'll do what they want with them and that's fine. You can let that go. But is there an element of you nev that I know you said you don't like editing, but is there an element where you feel, oh gosh, I hope they don't mess with the final outcome too much because my name is on it. [01:18:34] Speaker C: I initially I was a bit nervous about it, but then when I thought about it from a. I looked. What I did was. And I won't mention the company yet because we got to that point, but that she was fantastic. She. And when I looked at the images, the style that she edited, it was pretty close to what I would do anyway. It wasn't. So I could see lots of examples of what she was doing. And I don't feel she's going to butcher my work, put it that way. And if I felt that it wasn't captured in the right way, I would then probably go back to her and say, look, I think these would look better if it was this. [01:19:13] Speaker A: Yeah. [01:19:14] Speaker C: And our wedding. Wedding photography is interesting because everyone likes a different style and they meet with the couple and they. And the photographer does as well. So we have a say in. In what style they use as well. So then that can get fed to the. To the edits. But just from a practical time point of view, I certainly wouldn't get someone else to edit my landscape work or my product photography. But I just thought for weddings, I think it's a lot of editing. I thought actually this is not a bad thing. I'm going to give it a go. And it's a bit of, as we say, suck it and see kind of thing. You know, let's have a play with it, let's do a couple and then see how I feel if I felt after that. Actually I don't want to do this because it does take away my. I would then speak up, but I want to give it a go again. [01:20:00] Speaker A: What about you, Justin? [01:20:01] Speaker C: Trying to something different. [01:20:06] Speaker B: So when. When I used to shoot a lot of weddings, we. We even experimented with using outsource editing. Yeah. And we even towards the end and we experimented with using AI editing as it's. It's really. AI editing is really glorified preset stuff. It's like it's our preset. It. It essentially just gets it slightly closer. But you still have to. You can't just hand those files over. You still got to go through one by one and actually tweak them to what they're supposed to be. [01:20:38] Speaker A: Well, current. Current gen AI Editing platforms. One was just updated not re. Not long ago, and they now offer AI learning. So you feed it a couple of thousand images and it will learn from that already edited images and it will cull and group. [01:20:58] Speaker B: Yeah, most of that in my experience wasn't amazing either. Yeah, the, the culling and stuff like that. It would certainly do some stuff, but it was, was too. There was too much potential for missing something or whatever. And, and then you have to basically go through it all anyway to see whether it missed something. And it was just not. Not wonderful. But yeah, in terms of letting go of that editing, it was tough. We struggled to find an outsourced editing company that could do. Could ever do exactly what we wanted done. They could certainly do the heavy lifting of the. The bulk work and then we'd still go through every image and do what we wanted to do, even to the point of like some of the stuff. For us, that's more like. With weddings, it's more important than editing. Cut what most people deem as editing, which is like color, color. There's color correction. Apply preset, do color correction, get your exposure, correct that stuff for us, like, we don't, we don't do artistic editing on 99% of wedding shots, 99% of them are. Is the white balance correct? Not in the sense that it makes the wedding dress perfectly white with the eyedropper tool, but in the sense that their skin tones and everything look the way they should look in that situation. Whereas if you just do skin dropper tool on the. The white balance tool on wedding dresses, you're going to end up with stuff that just looks perfectly white, even though the situation doesn't call for a perfectly white wedding dress. You know, if it's got a warm glow or something like that. So it's like, make it look the way that it's supposed to look and feel. Make the exposure, in my mind, what I would call correct for that situation. And then it's really looking at them from point of view of like crop straighten, obviously. And then is there anything that's going to make them disappointed in this image that we need to remove? And in Australia, a big one of those is flies. Like. [01:23:07] Speaker C: Oh, yeah. Oh, I've got a funny fly story. Oh my gosh. Yeah, we've done a couple of farm weddings and you sit there and you pick them off one by editor. [01:23:16] Speaker B: Yeah. 80 of them on the back of a groom as they're walking away, you know, into a beautiful sunset or something like that. And that is the stuff that it's like we. If the couple wanted it we would leave them all and to show. But no one wants that for their whole day. [01:23:33] Speaker A: No one asked the flies though. No one asked the fly's opinion. Well, discrimination. [01:23:40] Speaker B: Anyway. This is. This is a very long winded answer to the question of I actually I would happily have someone edit my photos if it was pretty straightforward. And sometimes you're even pleasantly surprised by the way it looks. You know, it's like you take it and then you don't see it and then it's done and you're like fuck. [01:23:59] Speaker C: Yeah, that photo looks great. [01:24:01] Speaker B: And you didn't have to do anything. It just someone brought it to life with their artistic vision as a collaborator on what you've done. And I think that's pretty cool. But it does get tricky when they don't do what you would do. And we never found and the ability to kind of completely replace us in that process to where we would be happy. But it was. Yeah. [01:24:32] Speaker A: Very nice man. [01:24:35] Speaker B: Scott's got a good point actually. Two. Two good Scott comments. But we'll start with this one because it's. It's relevant to this stuff. Scott Bliss says, I've done one job with RAW delivery only and I was okay with it because it wasn't a problem, particularly artistic endeavor. It was a ribbon cutting for a new building 100. A lot of people get caught up with like the Raws and never deliver the Raws and all that sort of stuff. I've delivered tons of Raws. I don't care. Like it's a ribbon cutting. It's a. I don't. [01:25:00] Speaker A: It's a transaction, isn't it? [01:25:01] Speaker B: It's. Yeah. It's a product for a price. If they want them. Whatever. I. I'm not. Yeah. If it's one of my favorite shots of all time, maybe I would want some more context around why they want the Raws and all that kind of stuff. But we've done it tons of times. Lots of marketing agencies have in house graphos that want to work with the RAW file even though they're probably not as good at color and stuff with photos sometimes. But that's what they want to work with and it's like they're paying whatever. I don't care. And it's probably wrong in the commercial photography sense. I think a lot of high end commercial photographers charge a lot more for RAW delivery than they do for edited. But yeah, it's a different level of. [01:25:46] Speaker A: Permission you're giving, isn't it? [01:25:48] Speaker B: It is, but it's also like for what? Like I said, if it's for ribbon cutting and I don't have to edit. [01:25:54] Speaker A: The files and I don't care about. [01:25:56] Speaker B: Them and I don't care about the files and ah, what if, what if they take these raws and they edit it and put it on a billboard? Well, good on them. But I'm not a high end commercial photographer and if you're talking about like some of the guests we've had that basically come up with an entire campaign for tens of thousands of dollars, that's different. And that's, that's where they have a much better understanding of that, that sort of side of the world that I don't really understand. But for me more than happy to hand off RAW files for smaller jobs like that if they've got a genuine reason for them, I'll usually say, you know, would you like us to supply edited files as well? Because we have quite a good color correction process. That's if I'm unsure if they're going to be able to do it very well because half the time they end up using the edited files anyway. [01:26:52] Speaker C: It's interesting. I read an article on this and I think I've a couple of times given a client some RAW files because they asked and when you still finding your way, you weigh it up. And what was interesting to come back from that client, the one particular client, they weren't unhappy with what I had done. They just wanted to see if they could maybe do better. And that's, that's fine. They actually came back about two days later and said oh my gosh, we didn't realize how much work was involved to get it to that and you can have them back and you do your job and we're all, we're all sweet. They just, just found that it was actually really time consuming. And then because when as I'm sure people listening to the show, most of us are shot raw. From raw to a finished product, it's a bit like cooking. We're not grabbing the HJ burger, we're actually going from that to final product. So it's, it's creation. It's a whole bunch of things that you mentioned that takes time and I think once people get a sense of that, they actually don't want the rules anymore. No, it's different from an editing company perspective. That's just. They have a person that edits photos that's different. But I'm talking about clients that may ask you for a RAW image because they think they can do Better than they. I think it's interesting because I, I would shoot with the GFX1 hundreds too and they're big files. So I did say to the lady, you better have a fast computer because. [01:28:21] Speaker A: Your brand's gonna suffer no matter what. [01:28:23] Speaker C: Oh yeah, yeah. So yeah, yeah. But yeah, it's an interesting point you make Justin, about that. It's, you know, and it sort of leads into maybe another question. If I can ask this question to the audience. What do people think about what do they get out of photography? Are they an end product person where they love the image? Is it about the image or is it more about the experience or is it a. I think for a lot of us, probably a combination of all three. I love the shooting bit still, I still love that bit. But I still love their final product too. But I probably say I enjoy the experience more than I do the final product. [01:29:02] Speaker A: Yeah, I think there's balance and balance doesn't always have to be 50, 50 split of time and dedication and thinking. Like it can be, you know, a 70, 30 split with 70% of the time you're enjoying the experience and 30% of the time you know, it's, it's, for me it's the end to end process. I do love the shooting experience because it gets me out into the world as a, you know, predominantly a street travel photographer. But I also like the editing process. I love shutting out the world, putting on some headphones with some good music and going through my images. Oh wow. I didn't think that would work out, but it worked out. I'm going to clean that up and I'm gonna, I'm gonna make that black and white, add some grain and call it art. You know like that's my favorite trick of most of my photos. [01:29:43] Speaker C: Yeah, I discovered something really interesting too was working with some of the young people at the youth center doing photography there and we, we ran a, about an eight to ten week program. We've got another one starting in February and what I gained out of that when, when we printed the images at the end and held a little mini exhibition and just seeing the looks on their faces of what they created that gave me way much joy than anybody. Any image I've probably taken in the last, I don't know how long just seeing that, I get a lot out of and maybe I'm different but it's people. Photography can be a very, I say lonely journey but a very self centric journey because we, it's us in the camera and, and then the post at the end of it. So this was different in the fact that I got to see the joy of other photographers that I played a part in. Small part, you know. [01:30:36] Speaker A: Yeah, that's lovely for me. [01:30:37] Speaker C: I got a buzz out of that. Huge buzz. Just like I was just like standing there feeling really proud. Yeah, yeah. [01:30:44] Speaker A: Which is probably why you should continue doing photography education and workshop workshops. [01:30:49] Speaker B: Workshops are in your future, Nev. Sounds like. [01:30:51] Speaker C: Yeah, absolutely. [01:30:52] Speaker B: Driver for you. Yeah. [01:30:54] Speaker C: And. And I actually find it relatively easy because I've got good people skills as well as photography knowledge. So there's plenty of great photographers, but they don't know how to transcend what the camera tend to the. To the people. I've got a bit of both from my background, so. [01:31:09] Speaker A: Yeah, yeah, I think it's worth exploring. [01:31:12] Speaker B: A couple of quick comments and questions coming in. Firstly, Paul, go for it. J Dog, that's me. Paul Henderson says, luckily for me, I enjoy the experience and if by some chance or fluke I get a shot, it's a bonus. Yeah, agree. [01:31:27] Speaker C: That's to come to a workshop of mine. Come to a workshop of mine. [01:31:34] Speaker B: Ricardo Saravia Saravia. Saravia Saravia says, where are you from? Ricardo says, justin, do use aperture priority in weddings? I don't. We always use manual. We experimented with aperture priority occasionally. What I did use every now and then was auto ISO back when I was shooting Nikons. The auto ISO feature worked pretty well. And I would use that when potentially when, say, going from inside to outside of a ceremony. You know, you're going from this dimly lit chapel to outside bright light, and you're following them out and you just wanted it to quickly auto change or something like that. But most of the time I found that because I shoot a lot of my stuff backlit. I don't know whether that's just lazy to try and make things look better. But I would always put the sun behind the couple. You're always having to bring the exposure up a little bit from what the camera would want to meter, but then if you then quickly turned around to shoot something else, it would be metering in the other direction on order. So it was like I'm having to change the exposure compensation anyway. I might as well just control my settings. So we would be. Depending on what was happening, we'd be pretty constantly locked on an aperture. We shot a lot of stuff Fairly wide, like F2 or wider with primes. And then we'd set our shutter speed for whatever the appropriate. Like it was. Our shutter speed was always 320 or above. Depending on what the situation was above, if we needed to crush some more light and then we would just ride our ISO depending on the lighting changing. So I was riding my ISO with my thumb the same way you would ride. Exposure compensation in aperture priority. So for me, manual was faster and better controlled and Jim's the same. He still does that now. So yeah, no aperture priority for us. But it can work really well and I think a lot of people do use it. [01:33:44] Speaker A: It's a great question, Ricardo, and a great answer. J Dog. [01:33:47] Speaker B: Oh, thanks. Oh, and Ricardo is from Guatemala in Central. Really? That's. That's cool. [01:33:54] Speaker C: That's really welcome. [01:33:56] Speaker B: Yeah, we'll have to come visit. [01:33:58] Speaker A: Yeah. [01:33:59] Speaker B: Hey, lucky straps Road trip, Mr. Worldwide. Yeah, definitely. Lucky straps road trip. After we go. After we go to Japan. I think that'd be pretty sweet too. [01:34:07] Speaker C: Hit the subscribe button, people. Hit the subscribe. [01:34:10] Speaker A: Yeah, yeah, just on that. Just before we proceed with the next comment, just a reminder to everyone and thank you to everyone who's following along home or work, wherever you may be today. And don't forget that these podcasts, they are on the channel live today but they will also all the back catalog is there from last year and there's also audio podcasts available on popular audio podcast streaming platform. So yes, please subscribe because this year is going to be the year of the camera life. We already have the next 12, 13, 14 weeks book solid with guests from a diverse range of backgrounds, experiences, genres, you name it. We're also looking at maybe adding some other shows, some other extra bit shows here and there and doing a couple of collaborations with some other channels. So stick around, it's going to be worth your while. And yeah, so please like subscribe. Tickle the bell. [01:35:06] Speaker B: If you. Or a photographer, if you follow a photographer that you think would be great on the show, hit us up. I don't know, you can DM us on Instagram or just email me justinuckystraps.com justinuckystraps.com email me if there's a photographer that you think we should have on or if you think you're interesting enough to come on. You probably are. [01:35:31] Speaker C: Yeah, tell us. [01:35:32] Speaker A: But don't get that confused with his other email address which is day Jdog at OnlyFans. [01:35:37] Speaker B: Oh yeah, also subscribe to My only fans. All right, now this is. This is a question for the Fuji shooters of the group from Scott. Scott Bliss. I'm also a Fuji X guy and often feel disappointed with my results in astrophotography crop sensor which I Most often attempt during travel to national parks. Has Nev had a better experience than me with the XT5? [01:36:04] Speaker C: I've only done one Astro shoot, but I would say it comes down to lens choice. And I can't remember, Scott, if what lens you had, but the 13 Viltrox 1.4 I think it is, would be my lens choice. There's a guy that's friends on Facebook with me and he's quite active on the Fuji social media pages and he does a lot of Astro. I'm going to get him to connect with you. His name's Justin Hoffman. He's actually in Europe at the moment. Justin, if you're watching. Hello. And he's a really good astrophotographer and he says you can make the Fuji gear work for Astro. So I'm going to get him to connect with you, Scott, because I think he can show you some stuff that maybe is beyond my scope. But I. In terms of general photography, I've. That camera and why I've kept it is that it really did. Everything changed in my photography when I went to the XT5. I just. I think it's often not about the camera, it's just about does that camera gel with the way you shoot, Experience what you like to see. For me, it was more about. There was a. It's almost like a connection of the minds. That camera worked for me. It does have limitations, like all crop sensor cameras do. Yep. Noise is always an issue. But I think the Denoise software is so good now that noise can be easily fixed in post and not to the point where you get plastic faces or loose stars. [01:37:41] Speaker B: Yeah. [01:37:41] Speaker A: Or lose dust spots. [01:37:44] Speaker C: Yeah, yeah. [01:37:45] Speaker A: Noise spots. Not. Oh, sorry, grain. Not actually. [01:37:49] Speaker C: And from what the Astro guys tell me, there's a really good Astro photographer here in Albany. He's saying to me, he said to me a few times, he said Photoshop's better than Lightroom and Affinity. And there's one other one, Capture one. He's a big Photoshop guy for Astro. He says the editing, the way it renders in editing is much better with Photoshop. So that's another interesting. And he's a very good astrophotographer. Quite. I'd love to get him on the show actually. He's an older guy, but he. He's amazing. He's. [01:38:16] Speaker A: Oh, send me his details. I'll reach out to him. [01:38:17] Speaker C: Yeah. Mike Lyons, his name is. He's actually a local dentist. He's a great guy. I haven't shot with him. [01:38:22] Speaker A: Oh, yeah. I think you've mentioned Mike before. [01:38:24] Speaker C: Yeah, yeah, yeah, yep. So to answer a very long answer. I know but I've been super, super happy. But yes it does and I. How did I end up in GFX land was very much what I've just said is I got to a point where I felt like I was a bit limited with the XT5. Fuji don't make a full frame camera. So what do you do? You go medium format. So and I do think that that's part of Fuji's not strategy but their way is they don't make a full frame camera. They. So you either stay there or you jump over there and that is very. [01:39:00] Speaker B: Much their strategy which is a great strategy because I think they're going to stick to it. We don't need another full frame. [01:39:07] Speaker C: No, no. [01:39:08] Speaker B: To go alongside the other three main ones. We don't. You just. [01:39:12] Speaker A: Yeah. [01:39:12] Speaker B: It's not that they'd all just be doing the same thing although a lot of people would. Would obviously love Fuji's bodies ergonomics and colors and stuff. That's true but we, we don't really need a. Just another, you know, the same. But so on the. The you obviously it's got crop sensor with 40 megapixels for night like high ISO long exposure photography is the. You're sort of pushing up against something that's. It's not the ideal camera for those like that situation. But certainly as Nev said you just need to let as much light in as possible so that if you, if you could get a lens that was going to let nice wide lens that was going to let a ton of light in that. What was it, 13 mil F 1.4, 1.4, 1.8, something like that? [01:40:06] Speaker A: 1.54. [01:40:07] Speaker C: Yeah. [01:40:08] Speaker B: That's going to give you the best chance to get cleaner files because obviously the wider the lens the longer you can leave it open without getting star trails. Still keeping pinpoint stars. I would suggest going to Richard Taddy's YouTube channel Nightscape Images and find some of his videos that he's done where it's like Nightscape photography with a standard camera and kit lens. He's done a few videos where he's got like a Canon whatever 650D and one of those 18 to 55 kit lenses that's like an f 4.5 at the wide end or something and he'll show you how he shoots with you know, not the ideal gear for the situation and can still get good results. Find some videos like that and just see if there's anything that, that he's recommending that you haven't tried yet. [01:40:59] Speaker A: And as fate would have it, not that I believe in fate, but as fate would have it, Richard Tatty's joining us next week. [01:41:06] Speaker B: Next week? [01:41:07] Speaker A: Next week. Justin. [01:41:08] Speaker B: Yeah, good. Last time. It was last time I think our Richard Taddy episode was like almost four hours. It was insane. [01:41:18] Speaker A: Yeah, he said to me he likes a chat. [01:41:20] Speaker B: He's got too much knowledge in his brain and he's put most of it on his YouTube channel for free. [01:41:26] Speaker A: So yeah, it'll be a refreshing change for me and Shane Wookie he said just got the 13 Viltrox for that purpose. So let us know how you go. Shane, stick around and let us know in the coming weeks how you go with it. Be interesting to hear and obviously it's interesting. [01:41:47] Speaker C: You know I running a little small group workshop and you know I said to this guy we were, he, I was shooting with my XT5 beautiful camera. He was shooting with a little, a little Sony RX camera that I, I gave him just to use because he was a phone shooter. And I said to him here, have a play with the XT5. And I gave him the better camera and I shot with the thing and he said yeah, going up into the better camera actually presented more challenges and often with people is you can go to much higher gear but the higher you go in specs on your gear with megapixels and features and stuff, it's a bit like that analogy you. I remember reading some a comment by photographer, you better know how to drive that Ferrari. So the, it's often finding the right gear for the right job, finding what you can get the most out of your gear. I would say and I don't know if you guys have experience this but 80% of the features on your camera you probably don't even know what they do. If. Has anyone ever gone through a whole menu and actually worked out what every single thing does? [01:42:53] Speaker A: Yeah, Justin has probably. [01:42:55] Speaker C: Justin, I would say I know about camera 75. [01:42:58] Speaker B: I used to read the paper manual. They stopped providing which kind of bugs me. Obviously they're trying to save paper. But that was, that was just what I did. I was like because, because otherwise you sometimes you don't know what you're not looking for or yeah, you know like you don't know and then you read it and like one day when you're having trouble or you're trying to do something it just pops in your brain. You're like oh yeah, there was A thing that did something like that. I'll try that. [01:43:25] Speaker A: Or worse, if you don't. If you don't know it's there and then all of a sudden you find it's there three years later. [01:43:30] Speaker B: Yeah. [01:43:31] Speaker A: What, all this time? [01:43:33] Speaker B: Yeah. So read your manuals, guys. [01:43:38] Speaker A: Yeah, read your manuals or scan that QR code. Whichever it is, they put QR codes on the boxes now. They are even on the back of the camera screen. [01:43:47] Speaker B: And look, it is good to be able to access a digital manual and all that sort of stuff. But I just. I don't know why. I just like to just sit there with the book and just read through it. [01:43:56] Speaker A: You like paper books too? You still love buying. Yeah. Physical books, don't you? [01:44:02] Speaker B: Not a ton of them. Like I would still listen to an audiobook over a paper book in terms of. For like a long read. [01:44:09] Speaker C: Yeah. [01:44:10] Speaker B: But for a manual, just having it page by page, I don't know. Seems to make more sense to me. Then I just won't sit there with a phone and read a full manual. I'll just go from section to section depending on. [01:44:24] Speaker A: I can't do much on my phone. I just. It just doesn't work other than doom scrolling. I don't do much. I don't do much on my phone at all. And I've actually reverted and I think more so because of my eyesight. I've only got a smaller. I don't even know what one this is. I've only got a smaller iPhone. I don't have the Mac screen. So I've been. Because I have my MacBook Pro for my editing and this stuff and writing. But I've been using my iPad more now for accessing content information that I need to study or know or. Because it's just. It's just a nice slightly, you know, bigger than paperback size. Like one of those bigger trade paperback size. I like that. [01:45:06] Speaker B: Trade paperback. [01:45:07] Speaker A: Trade paperback is the bigger size paperback book. So you've got the standard ones that are about that size and then you've got. That means nothing to everyone. [01:45:16] Speaker B: Yeah. Like little novel size. And then you've got the size that a lot of the bookshops. [01:45:21] Speaker A: Yeah, this is trade paperback, this is my sister's book. But this is trades paperback. Cool size. It's bigger. [01:45:28] Speaker C: Speaking of books, that's my next kind of thing that I want to do and a local news agency has approached me to look into doing a book because we have a lot of the tourist. The cruise ships come and often tourists are often. Is there A book about with Albany in it and they're was one from a few years ago but they didn't republish it. But so that's. I'm just looking into publishing and how you go about that. So if there's anyone out there in the Internet world that knows a little bit about publishing, please send me a direct message on Instagram or Facebook. I know Amazon do. I know they can be a bit of. But Amazon do self publishing as well. Some other companies as well. I'd love to learn because. Because that is my next thing I. And I think my images would actually make a beautiful coffee table book. So that's something. [01:46:21] Speaker A: Oh no doubt. I. I just never. I just helped my sister publish her second book. She writes a lot about mental health. [01:46:28] Speaker C: Great. [01:46:29] Speaker A: And mental health and mental illness. And I just helped her publish her second book in Kindle and it was quite straightforward. Couple of little formatting challenges but it was mostly text. But you know there are. You can either use their. Their platform that helps you build the publication right down to the QR codes and the U.S. what is it? What's the book number? BSN. So what it is. Every book has a BSN. [01:46:57] Speaker C: Okay. [01:46:58] Speaker A: All that stuff, it does it for you. Or you can actually just upload a PDF version of your book into their platform. So there's a couple of different ways to do it but there's a bunch of other sites. I've published some of my photography books from my trips to Japan. I just self published those ISBN. Thank you, Matt. [01:47:17] Speaker B: Yeah. [01:47:20] Speaker C: I'm writing it. Thank you for that. I'm writing that down. [01:47:23] Speaker A: Oh, there you go. Matt talks photography. Know a little bit about publishing. Happy for my email to be passed on by Justin. Thanks Matt. [01:47:31] Speaker B: Thanks man. [01:47:31] Speaker C: Or direct message me on Insta if you want. Matt, just send me a direct message on Instagram as well. You can do that. [01:47:37] Speaker B: Oh, I'll hook you up. [01:47:38] Speaker C: Yeah, yeah, cool. Awesome. It's a great thing about the world now isn't the Internet. We can just share and gain knowledge and help each other. [01:47:46] Speaker A: Yeah. Post photos of our feet. If you're a J dog. [01:47:52] Speaker C: Only fans feet. [01:47:53] Speaker A: Oh my God, look. How do you think he afforded that? Leica. [01:47:58] Speaker B: Yeah, that's right. Only feet. Only f. Hey, I saw something weird this morning. What did you see on Petapixel? I need to show you. I wonder if you've seen this Greg, in your news newsing, which bit was it? Check this out. So this is for people in the US only so don't get excited unless you're in the US Maybe some of our US listeners can test this out before they run out or whatever. So basically this company ODA has launched these. These graphics look terrible. They've launched these slim card holders for SD cards and micro SD cards that fit in your wallet. So like this, see this? So they've launched it and what, what they're saying, basically you can purchase it for $0 and shipping in the US is free too. Oh, maybe we can do it from other countries for, for. And you have to pay for shipping. I don't know. But so in the states, $0 and $0 shipping. They'll send you this. And basically what they're saying is why free? Instead of burning money on ads, showing you how good our hard our card holder is, we'd figure we'd just give it to you for free. [01:49:21] Speaker A: Huh. [01:49:22] Speaker B: Which makes no sense because how they're losing money. I'm assuming it's a way they want to launch more products in the future. This is their first product. I'm assuming this is a way for them to acquire customer email addresses and stuff like that at what is a lower calculated cost than doing ads? [01:49:44] Speaker A: So it helps them build a client base. [01:49:47] Speaker B: Scott saying that only the 8 micro SD model is available. Maybe they sold out of the other one. [01:49:54] Speaker A: So that's that one you're looking at now. [01:49:55] Speaker B: Yeah, 8 micro sds instead of. Anyway, I just thought it was super interesting that it's. That's like instead of wasting money on ads, we're just going to give them away for free. But yeah, I can own. My only theory is that it can be just a way to acquire email addresses and stuff for future product launches for products that will be a bit more expensive. You know, maybe they'll do camera bags or something like that. [01:50:22] Speaker C: Maybe. [01:50:22] Speaker A: I think it'll buy consumer confidence and loyalty and goodwill. [01:50:25] Speaker B: Yeah, it's a good strategy if they can. If, if the products are good. So. Yeah. [01:50:32] Speaker A: Have you ever thought of doing leather lucky SD card? [01:50:35] Speaker B: I have, yeah. [01:50:37] Speaker A: Definitely not to. Not to raise that. This should be competition for you. But just in out of curiosity. [01:50:42] Speaker B: No, they'd be, they'd be a little different to this. Anyway, this is, this is a novel idea of like, hey, it just goes in your normal wallet and it's so thin. It should fit in like a credit card kind of pocket or something like that. That's pretty clever. But now if we did it, we would do something that's a bit more of a complete solution. Its own pocket and stuff like that. Again, it's like a lot of the stuff we want to do it but we just haven't had the production capacity to prioritize that over camera straps. But yeah it is, it is most on the radar. I was also after we talked about film last week I was looking at the film that I've got in my fridge and I was like I'd love to do some film accessories. That's definitely it used to be I'd be list of stuff that we wanted to make little you know film holders and belt pouches and all that kind of stuff and it kind of dropped off the radar. But I have been since we spoke last week I mean to thinking about film. I don't think I want to buy disposable cameras for it. So I need to either decide do I need to get an appropriate Nikon lens for the Nikon film bodies that I've got or do I find another film body to play with. And then obviously I went down the Leica rabbit hole. They're impossible to buy secondhand. Yeah I just wanted to find a second hand something but they're just, there's just nothing around. [01:52:08] Speaker A: Oh well you'll have to go new again. [01:52:09] Speaker B: Do you know how much they are? It's freaking outrageous. For a body that has no sensor in it cameras it's cumbersome. [01:52:22] Speaker C: I, I, I actually think just quickly there's, there's a challenge for a camera company is to make a hybrid film and digital camera. That could be, you could do both. [01:52:33] Speaker A: Fujifilm have already done it. [01:52:35] Speaker C: Have they? [01:52:36] Speaker B: What? The Instax. [01:52:37] Speaker A: The Instax digital hybrid. [01:52:39] Speaker C: Yeah but no technically talking about printing. I'm talking I don't care what you're. [01:52:42] Speaker A: Talking about Nev. No they've already done it. [01:52:45] Speaker C: Yeah. [01:52:47] Speaker B: They only did try and pump up their numbers in, in the camera. [01:52:52] Speaker C: Come on Fuji, get onto it. [01:52:54] Speaker A: Yeah, it's an interesting idea. [01:52:56] Speaker B: It's an interesting idea but what's the benefit of that? Like why would you do that? [01:53:00] Speaker A: The excitement out of film. You could continue shooting I think the. [01:53:05] Speaker C: Experience I think and I it, it's interesting because high school here still used film up until three years ago. They were the last high school in Australia and there's a big long story to that which I won't go into say let's save it to the episode that I'm on next. Yeah's time. I helped build a dark room for where I learned photography. I actually physically built the dark room and they maintained that dark room until three years ago shooting film and the kids were Devastated when they went to digital. [01:53:36] Speaker B: Yeah. [01:53:37] Speaker C: So it had a culture of film photography. [01:53:40] Speaker A: Yeah. [01:53:41] Speaker C: Not devastated in the sense that, that they weren't going to enjoy digital photography. They were but it just had a different way. Way. So I still think, I mean look, it's popular vinyls popular things that are older popular and. [01:53:52] Speaker B: Yeah, but why hybrid though? I just, I feel like hybrid's going to cost way more. Like wouldn't you be better having digital cameras and film cameras? They'd probably each. It'd probably be cheaper to have two separate ones than to have one that tries to do both. Because trying to jam all of that and do a. I don't even know how they get the sensor out of the way of the film. It would be. Be very difficult. I don't know. You could have different. [01:54:14] Speaker C: Maybe the sensor, maybe the sensor sits on the top and reflex mirror. What the sensor does is it reads like a normal digital camera. Then that imparts the image onto the film. Maybe. I don't know, I'm not a techie but I think it would be interesting concept. Really cool idea. Something different Fuji, because I think we're getting to that stage with cameras that are, are coming out. You're seeing this plateauing effect where there's just, you know, I thought with that latest Sony lens that's the 28 to. Not latest but 28 to 70. So they knocked off 4 millimeters at the wide end to F2. But it's this big hulking heavy thing. That's where we're getting to now. We're getting to this tweaking stage of trying to get gear better but no one's going hey, let's do something completely different. [01:55:05] Speaker A: Well that's what Pentax did. Well Rico was it the T7 came out last year. The film, the half frame film camera. I thought that was ingenious. I don't know how it sold but. [01:55:19] Speaker B: I, I just thought I'm like where is the. Just the reg. Not half frame, just the regular 35 mil. Like what do I buy now if not a Leica M6 for freaking nine or ten grand or whatever it is plus a lens. If I just want a really nice 35 millimeter film camera that's new, what do I buy? Why isn't there one for two grand? Surely someone could make money on that. [01:55:48] Speaker A: I think there was rumors that someone was looking at going backwards with one. Was it Pentax a full, a full frame 35 mil or was it. And maybe even OM Systems Olympus were looking at going backwards a Bit or old. The old Olympus, without looking at someone was. But, you know, it's. Yeah, it's a good question, but I think, you know, for like, photo challenge like we talked about last week, grabbing a disposable film camera is a quick and easy option. It's not the best option, but it does strip away all the fancy bits and just make it about exposure and composition. [01:56:20] Speaker B: It is cool. Yeah, it's definitely cool. I just. I'm like, if I'm gonna do it, I've got film sitting here already. [01:56:26] Speaker A: Yeah. [01:56:27] Speaker B: And. And I'd like just slightly better optics and stuff like that. It doesn't have to be a fancy camera, but just, you know, something with a 35 mil, whatever f2 or 1.8 lens on it. Just something just nice clean whatever camera. [01:56:41] Speaker C: I'll send you this over, mate. You can have this Olympus 35 PC that I actually got. Albany's got a lot of op shops. We've got op shops galore over here. And I often see these sitting in OP shops and I just grab them. So I've sort of got a collection of. I'll just box them all over and you can have a play. I've got a few. [01:57:01] Speaker B: A few kicking around that I've bought in similar ways, but I'm pretty sure most of them don't work. And I'm often reluctant to blast a roll of film through and pay for it to get developed. It works. You've tested it? [01:57:11] Speaker C: Yeah. [01:57:12] Speaker B: Love it. Scott says he ordered one of those SD card things. He said they had the SD card model available in the salmon color. Free product and shipping too, so good tip. [01:57:24] Speaker A: Wow. [01:57:24] Speaker B: Someone got one. You'll have to let us know how it goes. [01:57:27] Speaker A: Let us know. It's an interesting approach, isn't it? [01:57:30] Speaker B: Yeah. [01:57:30] Speaker A: To market a product, make it free. [01:57:33] Speaker C: We're not like that in Australia. We're not like in Australia. We give something away for free to get people to use it. We just. We just don't do that here culturally. [01:57:43] Speaker A: I don't know. Youth centers give away condoms. [01:57:47] Speaker C: Yeah, that's. Yeah, it works. [01:57:49] Speaker A: That's right up your neighborhood there. [01:57:51] Speaker C: Yeah, yeah, yeah, it does. It. It's funny because if you give somebody something, they will for free. They generally will. Some people, a certain percentage, will use it. I've been long advocating free public transport. If you had transport that was public, it was free everywhere, right across. More people would use it. The whole having to get a card and log on and punch it into your phone and use your phone. That's actually a barrier to using it. So if you had it free, more people would use it, have less people on the roads and yeah, we, we. [01:58:25] Speaker B: Certainly, if we go to Melbourne, we certainly use the free city tram network. And how, how much would we use it otherwise? We'd possibly still use it, but maybe not as much. But it's just when you know that you don't have to do anything, you just step on it. [01:58:41] Speaker A: Yeah, cool. Just one last comment before we wrap. This is from Shane Wookie in Melbourne. My 16 year old has gone straight to film for Xmas. I got them a 1978 Nikon FE SLR. You're a good dad. Hey, how do I get adopted? [01:58:59] Speaker B: Tell me this, what, what lens did you, did you get it with a lens? And also like roughly how much is something like that these days on the second hand market? Because the prices seem to just be going up and up for decent film gear. So tell me. [01:59:13] Speaker A: Well, film's making a comeback. That's the thing. It is. [01:59:15] Speaker B: But that's what's weird that there isn't like where is the, you know, there's all these Leica M compatible lenses from like TT Artisans and Voigtlander and all this stuff. There's all these rangefinder M lenses that are reasonably priced, that are like copies of Leicas, that are decently priced. That's right. Isn't it like I've seen tons of them that you can buy from TT Artisans and stuff like that that go onto an M mount. [01:59:45] Speaker A: Yep. [01:59:46] Speaker B: Why isn't there an M mount film camera that's been ripped off by someone? [01:59:51] Speaker A: Yeah, I don't know. I think, I think there's fear, I think there's a legacy of fear in the industry because when film died and digital took over, it was so sudden that it financially ruined most companies for a long time. You know, Fujifilm had to hang on by retooling their factories to make cosmetics. They already had the color science and the technology and the understanding around chemicals to make film that they actually flipped when film died and became a cosmetic company because they could use much of the same processes and, and practices and facilities that they already had. And that's how Fujifilm survived that kind of film, because they were peaking. They were building facilities all over the world to make film and then all of a sudden it all came crashing down. So I think there's a, I think there is a legacy of fear amongst camera brands that oh yeah, film's making a comeback, but it's done it before and then it fades off again and I don't think they're quite ready to invest in what they probably seen as a risky business model. [02:00:56] Speaker B: Yeah, okay. [02:00:57] Speaker A: It's. [02:00:58] Speaker B: It just seems to me like it would be a far easier product to make a manual focus film camera than any digital camera. You know, like it's even just a. [02:01:09] Speaker A: Fixed lens, 35mil, a decent quality one. Well, there is a proper light meter there. [02:01:15] Speaker B: Is that Diana one, is it Diana? What is that one? The 35 mil camera from, is it. So there's one from the 35 millimeter film cover that's not the one. [02:01:33] Speaker A: Just while you're looking that up. So Scott said, I used to work in Rochester, New York, the home of Kodak and everyone still talks about the detriment of digital photography to the local economy. So it's not just the businesses, but it's obviously also affecting the societies around those businesses, the families, the people that are employed, all of that stuff. There's, there's, yeah, there's, there's a legacy there. There's generational impact. [02:01:57] Speaker B: This is it. The nana. [02:02:00] Speaker A: You're a nana? [02:02:01] Speaker B: Yeah, I am present. Share screen. I don't know anything about this camera, so if anyone knows something about it, let me know. But yeah, semi auto 35 millimeter film, point and shoot reusable camera. [02:02:18] Speaker A: Is it a new model? [02:02:20] Speaker B: It's from Film Never Die. I don't know how new it is. [02:02:23] Speaker C: Look at, I like. It's got a YouTube channel. [02:02:27] Speaker A: It's a bit like a Yashika, that little lens. [02:02:32] Speaker B: So I don't know what the deal is. I don't know how good it is. [02:02:36] Speaker A: Why won't you get one of those and give it a shot? If you, if you're watching from Film Never Die and you've, you want to get some exposure around this little camera, obviously we're the best photography podcast in the country, if not the world. Send one to Justin and he'll send you a strap in exchange. [02:02:52] Speaker B: Yeah. So the drunk, the drunk wedding photographer has said 350. Keep in mind that's 350 Australian. It's like nine bucks US. No, it's not really, but it's probably like, it's probably 200 to 220 or 30 or 40 US somewhere around there. So it's not as much, but it is probably still a lot for what is a, essentially a point and shoot. And I don't know how good the optics and stuff are on it. [02:03:22] Speaker A: Yeah, you want to get it. Well, they need to get it in people's hands. I've never Heard of it? I'm not saying that I'm a, you know, the origin of photography. [02:03:30] Speaker B: You're a big. [02:03:31] Speaker A: But I've got my ear, I've got my ear to the ground and I've never heard of this, you know, so they need to get it in people's hands. Dare I say influencers, but more appropriately real photographers. [02:03:41] Speaker B: $400 for the Nikon FE with a 50 mil 1.8 manual sounds like pretty good deal. Probably a better buy than this. Point and shoot really, if you're into. If you're into shooting and you want to have some control. So. [02:03:56] Speaker A: But for anyone listening on home, just before we wrap on the day, if you're shooting film, what camera are you using? Yeah, what have you heard? Yeah, let us know. [02:04:06] Speaker B: What should I buy? Because I. So tell me this. I would ideally like a Leica M6 with a 28 mil and a 50 mil. But because I need to not sell my van, I need to find an alternative that's not roughly 15 to 20. [02:04:23] Speaker A: Don't want to be drones. [02:04:26] Speaker C: One arm and. One arm and two legs to pay for. [02:04:29] Speaker B: What should I buy for a great film shooting experience? I. What I'd actually really like is to find a Canon 1V, the last film camera that they made. I do really enjoy shooting with the. The film SLRs because they're so familiar to me and the, the ergonomics and stuff. And I know it's not old, but I actually really, I really like them. So maybe I could get a 1V and then like that. The EF, the Canon EF 50mm 1.2 lens that you can kind of get secondhand these days. Pretty decent price and that was a very cool lens. [02:05:07] Speaker A: One last comment just from the drunk wedding photographer. Oh, wrote a message blog post. [02:05:15] Speaker C: Okay. [02:05:15] Speaker A: He wrote a blog post about this. The Nikon F75 will set you back US$30, which is about 490 Australian at the moment. Has all the features of the F6. [02:05:24] Speaker C: Okay. [02:05:24] Speaker A: Should look into one of those. And he's written a blog. [02:05:26] Speaker B: I do have. I've got these Nikons. I've got the F100 as well. I just have to buy a lens for it. I didn't know if I wanted to buy another Nikon lens, but maybe I should just do that. I've got those. Yeah, it's probably a better idea. [02:05:39] Speaker A: Okay, let's see if there's someone that's. Have a chat to Greg Carrick. He's probably got six lenses for it. [02:05:44] Speaker B: That's true. [02:05:48] Speaker C: And there are Film photography groups now on Facebook as well. Like this. [02:05:54] Speaker B: Yeah, I don't do a lot of. I don't do a lot of social media. [02:05:57] Speaker A: No, it's not very social. [02:05:59] Speaker B: This is my whole social media right here. It's actually great because the comments come in. [02:06:02] Speaker A: I'm his only friend, you know. [02:06:04] Speaker B: Yeah, it's. It all happens in the space of a couple of hours and then I log off and it doesn't happen again until next week. [02:06:10] Speaker A: Yeah, he's exhausted. [02:06:11] Speaker C: This is cries. [02:06:12] Speaker A: He cries into his suit every time. [02:06:14] Speaker B: Not. I'm not a social media kind of person. [02:06:18] Speaker A: But look, on that note. Yeah, on that note, I think we're going to draw the close to an end. But before we do, I just want to highlight a couple of important announcements. One is that you're listening to the Camera Life podcast coming to you live from Australia every week. And stay tuned because we will have more news very, very soon about upcoming guests and additional upcoming content for your earballs and eyeballs. [02:06:44] Speaker B: Did you say Richard Taddy next week? [02:06:46] Speaker A: Richard Taddy next week. [02:06:47] Speaker B: If you're into astrophotography in any way, any cameras is he shoots with. I think he shot with Nikon and Sony. But like, he has ran so many workshops, he can answer questions about, I would guess, any camera system for astro. He does the tracking, he does untracked, he does light painting. He does, yeah, every star you can think. I don't know if he's ever done film. But anyway, stick around for that. Next week will be amazing. [02:07:16] Speaker A: The other in coming weeks, we've got Glenn Lavender, who we met up at bfop. We've got Mikey Boynton, we've got Richard as. As we've said, we've got Brent Lukey, Alex Frain, Ben Lawrence. These are names that, that I've been tracking down. Dan Paris, William Goodard. Sorry, Godwin. Sorry, William got that wrong. Anyway, we've got lots going on in the show in the coming months and in fact, 2025 is going to be our year to shine. We've made great plans and we intend to see them through. So thanks so much for watching. But most importantly, I want to thank our guest, returning guests, and probably one of our best fans of the show is Nev Clark. So thank you, Nev. [02:07:58] Speaker B: Thanks, Nev. [02:07:59] Speaker C: Thank you for having me on. Absolutely. Yeah, it's been great. [02:08:03] Speaker A: It's been an absolute delight and to see your journey, that organic journey that you've sustained even just in the past few months since we last spoke. I mean, you and I are often conversing on socials. But yeah, really impressive. I'm really happy for you, mate. You should be proud of yourself. It's a beautiful way to discover what you can do with your craft, you. [02:08:27] Speaker C: Know, And I just, I just wanted to share and I was holding this camera, this was my mum's camera. And my mum taught me everything about photography, which is just an amazing journey that my mum, you know, I sat on beaches and mum gave me this little film camera to shoot with which funnily enough, it still works. And this was the journey that, that started. And I would urge anyone out there just to pick up a camera from wherever, go to an op shop, get a 20 camera, buy it and shoot, go out. Yeah, that's the way I do it. That's just. It's not about what we shoot, what we do and that's those skills come later on. Just go out, shoot, enjoy, breathe the air. Yeah, yeah. Because good for us all. Thank you for having me on. Thank you for having me on. It's always a pleasure. [02:09:26] Speaker B: Thanks. [02:09:26] Speaker A: It's always our pleasure indeed. Justin, what have you got? The week ahead? Weekend. Any plans? [02:09:32] Speaker B: No plans. No plans. Nothing exciting? No, just bit of R and R. Yeah. A bit of work at the moment. Got some things I'm trying to achieve, making progress. It's good. It's going to be a good year for Lucky as well as the, the camera life. So we actually got a. We got to come up with a new logo for this podcast too and get something cool made. So if anyone's a really good logo designer, hit us up or refer something to us. [02:09:59] Speaker A: Something we love to keep it in the community. [02:10:01] Speaker B: Yeah, that's right. [02:10:02] Speaker A: Yeah. And if you can incorporate Mega Pickles or Sloppy Segways, I will love you even more. [02:10:07] Speaker B: Anything, anything. We got a whole line of T shirts to come for the podcast. [02:10:12] Speaker A: Yeah, yeah. [02:10:12] Speaker C: We need to get some caps. We need to get some caps and. Oh yeah, Instagram and merch in the back. [02:10:19] Speaker B: It's coming. I've actually got. I want to make a new Lucky shirt that just says. It says Teemu. I'm very excited about it. I haven't seen them done before and I think it will suit our Australian made philosophy. [02:10:33] Speaker A: I think it will indeed. I think it will be. [02:10:35] Speaker B: That's coming. [02:10:36] Speaker A: Nice, nice. Look forward to the merch store. [02:10:40] Speaker C: Careful about the lawsuit. That's coming. That's okay. We'll bring it on. [02:10:43] Speaker B: Bring it on. I'll take him on. [02:10:45] Speaker A: Well, being Teemu, they'll probably, you know, they'll probably try to sue for like $0.59. [02:10:50] Speaker B: They'll just rip it off. They'll just rip it off and sell it themselves and it'll be like this big. But no, nothing exciting. Nothing exciting this weekend. Just laying low, doing some work. And yeah, I've got a bit of. [02:11:05] Speaker A: Work myself and I've got a couple of gigs coming up at camera clubs, doing some presentations, some street walks, some talks. Cool. Which is good. I'm looking forward to it. I did a little bit of that last year, but it's starting to ramp up again, which is always nice. I love spreading the. Spreading the photography love. But yeah, other than that, still haven't picked up my camera much. I did take some product photos of a couple of products I'm reviewing for Shot Kit, but I haven't been out and done street photography in too long. So I need to. I need to do something like we talked about last week. Set myself some challenges and some goals. But anyway, that's enough about me crying into my soup. On that note, I want to thank Nev once again. Thank you boss Justin Castles, Lord supreme of Lucky Straps, and thank you everyone for watching along at home and. [02:11:59] Speaker B: Hold on, hold on, hold the phone. Paul Henderson. How do we find out about your street walks? Greg? That's a good question. How would someone get involved in that? [02:12:08] Speaker A: It is a good question. Look, I typically do them with either our Fujifilm Fuji X OZ group, which is Nev, is also a member of that. [02:12:19] Speaker B: Justin's not and they're usually based in Melbourne. So if, if, if any of our Guatemalan listeners are still on. [02:12:25] Speaker A: Yeah, I'm happy to come to Guatemala. You will have to foot the bill for travel expense and security. But, but yeah, look, I, I can set up street walks for groups of photographers in, in Melbourne. It's something that I love to do because it gets me out. B. I love Melbourne as a city. It's my hometown. I have a lot of love for the place and the people and everything about it. So you can hit us up. Is that, is that Fuji xos? That's a private Facebook group. Okay, so if you're Fujifilm shooter in Australia or New Zealand, join Fuji Exos. But otherwise, yeah, just, just drop the channel A line and we'll get in touch. We've got an email address on the channel, haven't we? [02:13:10] Speaker B: Yeah, otherwise, depending on what your preferred method is, maybe we'll set up a special email address for it or something this year we need to figure that out and then otherwise you can contact via any of the lucky straps socials or we do have socials for the camera life, like on Instagram and stuff like that. [02:13:29] Speaker A: Or just find me on instagram @g chromi @g c R O M I E. All of that. [02:13:36] Speaker B: Greg's stuff is all linked below my stuff. Like you can get in touch. There's a ton of ways to get in touch with us. If you. If you hit me up on socials, don't be surprised if you don't hear back for like a week. But I will get back to you. But if you get in touch via lucky straps, you'll. You'll track me down faster otherwise. Also nev people can find you on Instagram and Facebook. I've linked Instagram down below and you'll have those website soon. [02:14:06] Speaker C: Yeah, very soon. It's. I've started building it and just my son's actually helping me build it. He's better with that stuff than me. [02:14:12] Speaker A: Nice. [02:14:13] Speaker C: So that's another little thing that. Yeah. So thank you so much. [02:14:19] Speaker A: Anytime. [02:14:20] Speaker C: And yeah, it's been great. Really, really, really enjoyed it. Catching up with you guys. And you have got a busy weekend. I'm actually shooting a golf tournament this weekend. It's a volunteer gig. Friends of mine, they run the golf club and I said I'll come down for a couple of hours and shoot it for them. [02:14:37] Speaker A: Nice. [02:14:38] Speaker C: And it's a bit still like what we're saying before leads to other things. So get out, enjoy. Yeah. [02:14:44] Speaker B: Never know. [02:14:45] Speaker A: Play the music, boss. [02:14:47] Speaker B: Play that funky music. [02:14:50] Speaker A: Bye, everyone. Be safe. Get out and shoot.