EP58 Denis Smith, Waterproof Cameras, Leica Q3 | The Random Photography Show

[00:00:18] Speaker A: Well, hello everybody and welcome. Welcome to the Camera Life podcast. This is the random photography show where we just talk random about photography on the show. Quite self explanatory. You'll pick it up as we go along. [00:00:35] Speaker B: It makes me laugh that it's the random photography show, but it's the only one where I actually come up with a list of things we're going to talk about. But still, it's pretty random. [00:00:46] Speaker A: But yeah, welcome. This is the Camera Life podcast, episode 58, I believe. Geez, we're doing well. It's a very, very hot here in Australia. Justin and I are coming to you from Victoria, Australia for those of you that are overseas. And a special guest tonight who's returning to the show and he's currently rocking a very cool Leica look is Dennis Smith. Hello, Dennis, Welcome. Hello, hello. It's so good to have you on. [00:01:15] Speaker C: I'm a little calmer at this end of the day. I think you saw me the other morning at my peak manic, which was. [00:01:21] Speaker B: I was loving it. I was loving the comments. [00:01:23] Speaker C: Oh my gosh. [00:01:24] Speaker A: Yeah, that was very good, very good. It was funny because I, I'm, I'm dealing with the show and I'm watching your comments and then I'm getting your emails over here. [00:01:32] Speaker B: I'm like, yes, what are you doing? [00:01:35] Speaker A: I've emailed this person and I'm doing this and there's a ball of light from Kangaroo Island. I'm sending it to, to Matt Nheim. That was great. [00:01:43] Speaker C: We love it. I said him and he must have thought I was a complete, complete egg man, like anyway. But it was great. What a guy. What a fascinating, inspiring guy. I, I genuinely amazing. I was genuinely inspired. [00:01:59] Speaker A: Pretty cool. So for those of you watching and eventually listening along at home on, what was it, Thursday last week, Gosh, the time flies. We caught up with Matt Netheim who is a wow. He's had such an amazing journey in photography. So go back and check that one out, whether it be on the audio or the video podcast. That was 57, episode 57 on last Thursday. So please check it out and you'll see all of Dennis's comments popping up as you go. But yes, we are joined by Dennis Smith and obviously the boss is here. Justin. G'day, Justin. How are you? [00:02:34] Speaker B: Good evening. Nice to see you all. Hi, Greg. [00:02:39] Speaker A: Hi. [00:02:40] Speaker B: Hang on. [00:02:40] Speaker C: Hi. [00:02:41] Speaker B: Philip Johnson. [00:02:42] Speaker A: Hey, Phil. [00:02:42] Speaker B: Good to see you. Evening. First, first comment. You win, Philip. I don't know what you win, but you win something. Jim also says, hey gang. I'll be on shortly he is joining us tonight, but he's, he's running five, 10 minutes late. He'll be on at some stage and Grant says, what happened to Justin's nose? We'll talk about that later. Okay, don't worry about this, this little thing, don't worry about that. Bruce Moyle says evening, we'll get to it. That didn't happen that I was born that way, but it's just this little cut. [00:03:14] Speaker A: Okay, we will get to that. But look, thanks for joining us in the chat. Feel free to ask questions and anyone new to the to the podcast, please make sure you like and subscribe and tickle the bell so you get notifications. So we go live twice a week and I'm talking about Australian time, but you can do the math via Google for your location. So we go live every Thursday morning at 9am Australian Eastern Time and we go live every Monday at 7:30pm Australian Eastern Time. [00:03:45] Speaker B: The Thursday shows at 9am Australian time, they're interviews, like long form interviews and it's all about the photographer we're talking to and they're at about like 3, 4pm US time, depending on where you are somewhere there, depending on what state you're in and that sort of thing. Whereas the Monday evening shows this one random. And it's not so much about the guests. So we don't care about Dennis tonight. We don't even, we're not even going to talk about him. [00:04:10] Speaker A: Dennis is just part of the team tonight. [00:04:14] Speaker C: You like his good, good balance. So here we are. [00:04:16] Speaker B: Yeah, if you want to hear more about Dennis, go back and listen to his full interview. But tonight we're just going to be talking with him. And I think the time in the US for tonight's show is about 1am so there's probably no us, the US listeners unless you're on. [00:04:30] Speaker A: But if you are, well done. We appreciate dedication. All right, so what's on the list you for the random photography show. I don't know why we've got a list but. [00:04:41] Speaker B: Well, we got a few things on the list. We got the high Dennis segment we'll get to straight away but then, and then there's a few other things coming up including the, the, the story about my Canon R5 that if anyone looked at the thumbnail, my R5 Mark II, it, it went for a little swim and we'll talk about what happened after that. Dennis and I are going to talk later on about whether the Q3 is, is worth it considering how hideously priced it is and how flawed it is. And how, how just, it's just. There's so many things wrong with it, but it's still so awesome. [00:05:12] Speaker C: Yeah, it's like the perfect wife. [00:05:17] Speaker B: Oh, just, just love it. Anyway, so we're gonna talk about that and then we'll see if there's any photo news and, and, and we'll just, I mean, ask us questions in the chat and we'll just talk about whatever you guys want to talk about. That's even better. [00:05:30] Speaker A: I'm here for you. [00:05:31] Speaker B: But yeah, first, first thing we're going to do is. Hang on, let me, let me do my fancy thing. I need the sound effects. We're going to go. We're going to move on to our first segment, which is called. Hi, Dennis. [00:05:53] Speaker A: Nothing but the best for you, Dennis. Obviously spared no expense. [00:06:01] Speaker B: What have you been up to? Actually, wait, before we do that, tell everyone that hasn't listened to your interview. Who are you and what do you do? [00:06:10] Speaker C: Sure. So I am a. I'm a Kiwi. So I'm. I was born in New Zealand. I moved to Australia 15 years ago to South Australia. And like a lot of foreign men seem to have gravitated here towards the South Australian women or they bring foreign men in, which is either, you know, so you were farmed. Thank you. And, and I am a commercial photographer. I'm a commercial filmmaker. I am a. Also. But my passion is I'm a light painter. So I create artworks using light or I light things with light. I'm a tinkerer and a tankerer. And it's funny because I've been doing this thing now since the beginning, really the beginning of the explosion of light painting in 2009. And I have not stopped, which is really nice. It's, it's a. I consider light painting to be how I maintain my mental health and photography in general, really. But, but light painting for me is, is my safe place. It's where I go when I just need to explode with some form of creativity. But I'm an educator as well, so I'm. My super passion is, is when I get a chance to teach other people or just put, put a tool in someone else's hand. I've got a daughter, six cats. That's it. [00:07:39] Speaker A: It's a pretty impressive CV there, my friend. For anyone that hasn't seen Dennis's work, we'll link his sites in the. In the comments in the description below. But I highly encourage anyone to take a look at, especially Dennis's Ball of Light project. But one thing we wanted to talk to you about tonight, because when we spoke to you last time, you were about to pack a bag, chuck your camera in and jump on a plane to Dubai. [00:08:04] Speaker B: Yeah. [00:08:07] Speaker A: That was. I mean, I'm sure that feels like it was years ago now, but it's wild. Talk us through that. [00:08:14] Speaker C: Yeah. So it was. I had one of the strangest years last year. I had not planned. I had a tentative plan to go to India to work on a project I'm working on and I ended up going to Saudi Arabia to work in Formula One. India, uk, Scotland, like just this epic over to bfop. And then at the end of the year, a thing popped up in Dubai at the Porsche. There's the biggest Porsche festival in the world called Icons of Porsche in Dubai. And it is wild how massive it is. It's almost impossible to describe the size of this thing. And the gentleman who I worked with on the Formula one project was project managing the building of it and he said, you need to get your butt over here. And so I went and it was incredible. Dubai is a conundrum, but it's also a 10pm flight from Adelaide and you get there at 5am and because no one is ever on the plane, you get four seats and it's like being in business class with a belt buckle in your side. And so I arrived there and I got to spend seven days just having 24 hour access to the most astonishing array of Porsche in the world. It was mind blowing. And so just for those of you. [00:09:40] Speaker A: Listening along at home, we are going to bring up some photos. And I was actually chatting to Mark Hoot. I can't say his name. Blue Hoofed. [00:09:52] Speaker B: That's it. [00:09:52] Speaker A: Who was also at bfa and he's been a guest on the show, chatting to him. Today I was talking about something we're working on and he was, he was declaring his frost. You know, he gets a bit frustrated because he listens to the podcast more than he watches it. And when we have photos on, we need to be more descriptive. [00:10:07] Speaker C: Let me do that. I can do that. Oh, my gosh. Thank you, my friend. [00:10:11] Speaker A: So let me give you. Go on, Justin. [00:10:14] Speaker B: Oh, no, nothing. I was just. I'm like, I'm ready to pull. Pull the stuff up. [00:10:18] Speaker A: Oh, all right. Yeah, Pull the stuff up, man. [00:10:20] Speaker B: I mean, actually, no, that's not true. There was. Something popped into my head because I've got a strange brain. I was like imagining Dennis describing each pixel, starting from the top left and working our way towards the bottom right. Yeah. Roughly what color each pixel is. [00:10:38] Speaker C: So Let me, let me see. I'll do. That's a great idea. Let me see if in 30 seconds I can describe to someone who's listening what I do. So what I want, what I want you to imagine a perfect light painting, automotive light painting situation, is you have a vehicle in a relatively dark place and imagine opening the shutter as it's pointing at the car and then closing it two minutes later. It's only illuminated by any ambient light. So at the, at the, the Porsche event, it was wild. The amount of light, like it was completely horrific. But a perfect situation is it being quite dark. And then what I do is I have a tool that is basically a torch or a flashlight, but it's kind of specially designed for this. So it's sort of elongated. If you imagine it's sort of like a. Like a book, but a thin book. And an light comes out, one end of it shielded so that the camera can't see it. And I pass the light over the car quite close to it. So I start at the nose, I take the light quite down near the headlight and. And I move the light along the car as the shutters open and then go to the wheels and then go to the top and then go to the wings. And then. So I spend however long it takes, really. Like when I was at Formula one, it was about two minutes per car because it was just so much to do. And then sometimes I'll then introduce a light sculpture. So I have light painting tools which are pieces of acrylic with a torch stuck in the end of it, and I add light and texture to that blade. And then I will take that light and I'll add a sculpture in front or behind or around the car. And so. And it's always in one exposure. I'm quite fanatical about that. 99.364% of all light car light painting that you see are multiple exposures combined in Photoshop. I've never done it, I don't know how to do it. And for me, it goes back to the sort of essence of what light painting is. The sort of. The creep it's in our DNA as light painters is that if it's not one exposure, it's not really light painting, it's a composite image. And so for me, taking my light painting around cars is just a whole nother level, because what you do is, is you're creating shape and texture around all these vehicles. But the magic, the truly the magic of it is that every single exposure is different. It's Impossible for it to be the same. And so by the nature of that I am in the vehicle, I. I am part of the artwork because I've shaped the light around it. So if you. I hope maybe that if you weren't able to see, but. However, there is just tons of video of the process. Because I do this process where I always shoot with video and still at the same time so that I can create these sort of blend videos so you can literally see me creating the. [00:13:47] Speaker A: Images just for anyone that. We're going to bring up a couple of images and Jim is about to join us. So lots going on, but Justin and I got the opportunity to watch. G'day, Jim. [00:13:59] Speaker D: Hey, how you doing? [00:14:01] Speaker A: You're late. [00:14:02] Speaker D: I'm late, sorry. [00:14:03] Speaker A: Y. [00:14:05] Speaker D: 745. [00:14:06] Speaker A: No, we tell you 745. [00:14:11] Speaker B: I don't know if I want. [00:14:12] Speaker A: Treehouse actually opens at 7:30. [00:14:14] Speaker B: Greg there. I'm gonna put Dennis there. Jim and I'll hang out. I like that better. I think that's better. [00:14:19] Speaker A: Anyway, as I was saying, Justin and I had the. The opportunity to watch Dennis. He didn't paint a car, he painted another photographer. And. And it's. I have to say, Dennis, Dennis. It's almost like performative art watching you paint a subject. [00:14:32] Speaker B: Dance. It's a dance. [00:14:33] Speaker A: There's a dance. There is. [00:14:34] Speaker C: Hey, there's a. There's a. There's an idea. One of the things that I do talk about a lot is there's this idea of getting into flow as a creative now that can be anything. Writing, singing, dancing, whatever. And for me, my best work is when I get into a flow like truly in the mind and start seeing the light. And. And yeah, it's a movement, it's a. It's a interaction with whatever it is, whether it's a person or a car or in the water, all of that. It's magical. It's truly crazy. [00:15:08] Speaker A: Yeah. [00:15:08] Speaker C: And it hurts. [00:15:13] Speaker B: Yeah. [00:15:13] Speaker A: I'm not made to dance. Justin, do you want to bring up some images or do you want me to bring them up? [00:15:17] Speaker B: No, I'm bringing it up. I'm on it. I wanted to. I wanted to hear the description first. [00:15:22] Speaker C: Yeah, yeah, we'll see how it goes if I did a good job. [00:15:25] Speaker B: So this is the website. This is your auto art website. And just so everyone knows, in the description there's also Dennis's sort of Dennis Smith website linked down there as well, which is more broad. Whereas this is focused on the auto, I assume. Dennis, this is a new website. [00:15:41] Speaker C: This page is just auto. Just Cars and bikes. [00:15:44] Speaker B: Yeah. What do you. Should we play this video? [00:15:47] Speaker C: It's a good one, actually. It covers, it shows. It's very short and it shows the technique. [00:15:51] Speaker B: I'll keep the sound down below. We can just chat about it or you want this? [00:15:55] Speaker A: Yeah, yeah, go for it. [00:15:57] Speaker B: Okay. [00:15:58] Speaker C: Yeah. I think one of the things is, is it. The reason I started doing these videos was just. I just wanted people to realize that it's real. So often I know it's like AI, you know, but people, people get a bit confused about what it is. Yeah. So these. Cool. So this is me blending the video and the still. Just so you can see. [00:16:20] Speaker A: Very cool the way you do that. I love it. I absolutely. [00:16:23] Speaker B: I could watch that all day long. Amazing. [00:16:25] Speaker C: Yeah. [00:16:26] Speaker A: And it's just people strolling in the background, but they won't show up because it's a two minute exposure. [00:16:31] Speaker C: Yeah, it's crazy. And, and, and when we were. See this, this place here? See, look how bright. Wild man. I got to. I, I got a lap of the, the hot lap in a car around the track. There's a 45 minute video about this trip on my, on, on the YouTube channel, which is wild. I developed a tool to create those vortexes. [00:16:58] Speaker A: Yep. [00:16:59] Speaker C: This thing's sick. [00:17:02] Speaker A: This is one of my favorites, this one. [00:17:04] Speaker C: Yeah. [00:17:07] Speaker B: This is just amazing to watch. You have to come over to YouTube if you want to see this. I know all we're doing is saying, wow, that's amazing. But. [00:17:15] Speaker C: Yeah. [00:17:16] Speaker B: Do you want me to go back a little bit? What were you talking about, Jim? [00:17:18] Speaker D: Sorry, Dennis. I was just asking, are these. So like, once you've got the shot, is it one shot or is it like five? [00:17:24] Speaker B: Yeah, you're always. [00:17:25] Speaker D: Yeah, one frame. [00:17:26] Speaker C: Yeah, always. One year. Never. No photograph you ever see of mine is ever more than one unless I say. And I've done it about three times and, And I still feel ill when I look at it. It's kind of just a philosophy and it's a challenge. Right? It's a challenge for me. For me. Like that Formula one shot we saw before by the lanterns. Like the, that, that is the. Literally, there's only two places on earth brighter than that. Now obviously that shot with the bonnet, with the engine is a composite, but. [00:17:55] Speaker A: Yes, yeah, yeah, yeah, yeah. [00:17:57] Speaker C: But yeah. The challenge of, the challenge of doing this in really bright places. I love heaps. Heaps. And the Dubai trip up there, I, I had to use live composite on an Olympus. It was the only way. It was so bright. It was just never going to work. Any other way. [00:18:18] Speaker B: That is cool. [00:18:19] Speaker C: Yeah, this thing is wild, this car. And this is the first time I ever really explored doing this. Doing the reflections. Yeah, it was beautiful. Hey, look at that. [00:18:35] Speaker A: The reflections. [00:18:36] Speaker B: Was that something you had premeditated to try or did it pop up in. [00:18:40] Speaker C: A shot and you were like, I was just in there into it. And now that's interesting. The Porsche stuff is not in there. I thought I had updated that video, but there's a. You go to the gallery. I. I think I did a. We can just have a short look at it. Yeah, have a look at this Porsche one. This. This will not. [00:19:00] Speaker A: Second video. Just. [00:19:02] Speaker B: Oh, just do the other video. [00:19:04] Speaker C: Yeah, this is. This is just a quickie about of. Of the porsche. It's only two minutes, but it's. [00:19:10] Speaker B: So. [00:19:10] Speaker C: I'm a kid of the 90s, right? The nine. Seeing a 956, I just could not believe that it was there. And I had this place to myself at night, full access, like 24 hours a day. And so this was the most expensive car on site by some margin. Look at this. I'm like, see, I'm on my own. There's like security guards standing there going, you're a freak. Yeah, but it was so. But it was so bright. Oh, my God. Like, this spot here was insanely bright. [00:19:43] Speaker A: Yeah, but you've mastered the light in every shot. It's amazing. [00:19:47] Speaker B: It would make it a massive challenge, though, having all that ambient light surely, like to not show up. [00:19:53] Speaker C: Yeah. Ridiculous. Absolutely crazy. But, yeah, these cars, the. The 956 and the 962, I could believe it. But, yeah, it was a really special experience for me. I'm. I've always loved Porsches since I was a kid, but we. I grew up pretty poor and so there was no chance I was ever gonna. Now, this guy here, Renee Stout is one of the. That. There was a guy there who's like, easily the most famous Porsche photographer in the world, and I went and made a bit of work around his gallery, and we became quite close over that weekend after that. But, yeah, it was amazing, man. I. I got to shoot Mark Weber, which was a bit of a buzz. Yeah, yeah, it was cool. It was mind bending surreal, actually. And Dubai is a pretty freaky place. Yeah, I can talk a bit about that. [00:20:42] Speaker A: But. [00:20:42] Speaker C: But it's. But this event was pretty wild and we're planning a. We're planning a bit of a thing for there again this year. Bit more structure. [00:20:53] Speaker A: Very cool. [00:20:54] Speaker C: Thank you. Thank you. Yeah, it was. It was awesome. Yeah. It was awesome, surreal. It was a bit like the formula one thing, like quite surreal being there and, and experiencing. So this guy here, this is a beautiful story actually. So this guy here, I, I had an iPad connected to the, to the camera. So each time I made an image, people, people could see, people could see the, the image when it was built. So there was, if there was no confusion, it was real. It was like, there it is. And right behind us here is this massive array of people. And this guy, his, his. What ended up being his boss said, oh, can you make an image of this guy? And so I made this image and he came over behind the camera and became quite emotional and, and it's been come to my attention that being a German man, that's even more remarkable. And he looked at it and said to me, it's all on film. He looked at it and he said, this is the most beautiful photograph I've ever seen in my life. And he, it turns out he is. He was the Mechanic on these 962s and 956s forever. And he was retiring and, and was. Yeah, it was one of the most beautiful experiences seeing this guy become really emotional, like actually crying over an image made of him. And, and it was funny because the thrill was all mine. I used to jizz over these cars when I was a kid, a little boy from Auckland. But yes, it was a real thrill and hard to light paint. Holy moly. It was always fast. I didn't have any time, but it was cool. It didn't matter, right? The flaws don't matter. When you're making stuff that blows people's brains, they don't care. Olympus or whatever. [00:22:49] Speaker D: You know, I, I think so often with, with, with light painting that people get sucked into multiple br. You know, blending and you know, it's like almost like over the top perfection of every little bit is lit perfectly. And I instead of. You lose the art form of it. [00:23:08] Speaker C: If you click on that one at the lanterns. If you click on the one. [00:23:12] Speaker B: The, the this one. [00:23:14] Speaker C: Yeah. So this, this thing here. Okay, this is wild. So before I went to Saudi, they sent me. We had some guys out scouting locations and sending me photos and videos and well, I don't know what the hell they took the photos on, but clearly the cameras or their phones were compensating for the fact it was brighter than the surface of the sun because it looks quite dark. And just to the left, I've got it. In the behind the scenes video I show a shot to the left is the Entrance to the, to the King's Guard. And what they do is, is they obviously decided that anyone that approaches the gates of the King's Guard has to be completely blind by the time they get to the gates. So they have 64 trillion lumens of light coming straight towards this point where we are, right. And so we were sitting, we went and did a scout and then we were sitting in the accommodation the night before and I was saying to my guys, I was like, I don't know about this. Like it's a big effort to get this car there and all these people. Because we had a crew of about 30 people each night on these and I. And, and then we would do. And then me and my mate turned around and we looked at the window and it was just this giant blockout curtain. So we pulled the curtain down in the hotel, got these C stands and weights and just to the left out of shot is. This is the curtains from the. Yeah. [00:24:43] Speaker B: So just blocking the light shining on the car. That's it. Everything like that's insane. [00:24:50] Speaker C: And this is this shot we went all night. This was the hero shot. And I took about 120 exposures scanning the car every single time, doing the flames and sparks every single time. And it was about an hour from sun up. And you can see the car trails on the left. The traffic just never stops because they, they, they're awake through the night there because it's so hot. [00:25:15] Speaker B: Did you ever get. Do you ever. I'm sure this is probably a thing, but do you get one bit perfect and then you try to work on another part but then you muck up the first bit that you got perfect and, and it's like you're chasing your tail sometimes trying to. Because it's, because it is, it's a performance, a two minute performance. And. And you're like, okay, now I've just got to add some light here. But then you muck up something at the start of that performance and you're like. And then. Does that happen? [00:25:41] Speaker C: Yes. [00:25:43] Speaker B: Is it frustrating? [00:25:44] Speaker C: Oh my God, mate. This, this, this. You see in the behind the scenes video, I talk about that quite a bit. And this, this, this location. So you do the car and you get the car and I have to remember each part. And then Ludo, who was my creative director, he, he. There's a big like 50 inch screen there where everyone's standing watching. It's tethered. So every time everyone can see the shot. Right. And he. And I'll. I'm just pissing sweat like it was so hot and I was physically. And then I'll turn around, I'll look at the screen and he'll look at me and he'd just be looking at me like this. [00:26:18] Speaker A: Like. [00:26:21] Speaker C: You missed the wing. So then. Yeah, so you remember the angle and then you go. But the blue thing, we did that about 40 times. Yeah. Just doing the blue bit, not scanning the whole car. And then we scan the car and then the sparks might be a bit too much or too little, but I was relentless. I. I would not fold to the idea of composing. [00:26:47] Speaker B: Yeah, yeah. Why don't we just do the blue from this one and the sparks from that one. Like it would be. It'd be a two minute job for a good Photoshop guy to just like blend a couple of these together, since you're working on a tripod or whatever. But I love that you don't. [00:27:00] Speaker C: Yeah, it's pretty cool. And so here's a. Sorry, I'll try and keep this short, but I have a fantastic story from the site. So every single night, there was no plan. The contract was very clear about the deliverables, right. And there was never talk of doing portrait. But I knew I'd end up doing some portraits, right? The very first night, boom. Like five or six people turned up from Saudi Motorsport or if you know the. The Saudi motorsport in the organization. And it was a bit frustrating at first. But then what happens? I realized it was perfect because that's the client, right? So they turn up and I'm making portraits of them. That's how I get used to the scene. But what I ended up saying to my guys, okay, here's the deal. I don't want to know who the people are because that puts a bit of pressure on. And so this dude turns up here to this shoot and he comes up to me and he says, oh, I want to sit on the back wheel and do a, like a, like a meditation thing. And I'm like impossible. Like I'm really busy. That's just. And he's, he just looks at me, he says, no, that's what we're doing. And I was like, whatever. Sat on the car. He was, it was crazy. The guy was like a statue, right? Like perfect. The shot was perfect. There's a video of him and I. Him coming over to me and just throwing his arms around and giving me a big hug. He was the CEO of Saudi Motorsport. And yeah, yeah, it was cool. I had no idea. And I was like, dude, you, like, you have no idea. But not auto Auto art is wonderful. And. And Dubai was amazing. [00:28:31] Speaker A: Very cool. [00:28:32] Speaker B: Were those portraits with that. This kind of thing that I've got up on the screen there. So the same, same car, same setup, but you were just doing. You're popping people in into the sc. [00:28:40] Speaker C: Yeah. [00:28:41] Speaker B: Doing shots for them. That's so cool. [00:28:43] Speaker C: So this woman here, her name is Gag. Gag. And she is the. She's the owner and CEO of the marketing company that I was working with. Said there's a lot of misconceptions about Saudi Arabia. This, this is a very super successful, powerful woman and Saudi Arabia is full of them. It's astonishing. I. I dealt with so many women and, and it was just fantastic. [00:29:09] Speaker B: Interesting because you. You kind of get the. Get a different impression over here sometimes. It's probably just because you. We're not over there on the ground getting experience of it, but you sort of get the impression that there isn't women running big businesses and things or doing. [00:29:24] Speaker C: There's all sorts of weird misconceptions. And I, I. So Saudi Motorsport. There were 450 people in the office at the track and 50% of them were women. And. And they, they just. You could be in a office in Australia that they were. Yeah, it was amazing. The. [00:29:43] Speaker A: Yeah, very cool, Dennis. Thank you. I just want to jump to a couple of quick comments before we move on to the. The second story of the night. No, that one's not necessary. Thank you, Grant. [00:29:59] Speaker B: Grant thought Jim was. Was trying to connect a potato up instead of his Nik, which is why he wasn't. Wasn't on the show. But he made Bruce. [00:30:09] Speaker A: Bruce said, I love Dennis BTS videos. I would love to know how you combine the footage and the still together, because I haven't asked you in person yet. [00:30:17] Speaker B: Oh, Bruce, I would love to know that too. I was watching the video going, how have you done this? How did you do that? [00:30:23] Speaker C: AI I just put two memory cards into the computer and say, hey, Siri, they need make it look fully sick. I'm s. Just. That's hilarious. I'll tell you exactly how I do it. So this is. No, because I know Bruce. You. You. Bruce has an IQ of about 947. So he's probably has already figured it out. But so what I do is, is I have the rig. So my rig and my rig over at Saudi had three cameras. Dubai three. So it's a rig that I have always two cameras as close as possible to each other. And one is a. I use a variety of things. So Sony A7SIII because you need the dual ISO. So you need to be at 12, 800 and wide open to get the amount of light and shooting at 100 frames a second. And, and, and I don't. I move away from 180 degree rule because, because. So I'll shoot the slowest shutter speed I can. So generally at 100, I'll be at 100 so that you get a little more light trail, which is really nice. And then sitting next to it at about as close a framing about as close a focal length as you can. I have my stills camera and so the workflow is I walk over to the camera, I press record, start shooting. I walk into the scene, open the shutter and make the exposure and then what that generally gives me. Although I was out till 4:30 yesterday morning shooting doing the same thing. And I look at all the video was out of focus today. So I'm a bit mortified about that. That's pretty cool. But then what you do is bring. You bring the video into premiere and then I lay the, lay the still over the top on the layer above it. And then what I do is I just literally just change the opacity on the still. And it's as simple as that sounds. There's some several. There's several really complicated things and you'll see they never really match up. And that's mainly because of parallax error. So. Yeah, so you'll see here when you go over, if you go back over the yellow one. That's a good example. Although it's pretty good. Yeah. Here you can see the wall in the middle there and, and the, the, the, the lip of the rim of the yellow night one don't quite match up. Parallax error because you get the two. The two sensors are 100 mil apart. Now if you go back. So I, I regularly shoot on an 85 and, and at that focal length. And so you go further back and it's, it's reduced but it's still always there. But like all of this stuff, right. People's brains are exploding. They don't give a shit that there's a little. Right. [00:33:19] Speaker D: They're not saying the 1% things that. [00:33:20] Speaker C: You want is not there for the right reason. [00:33:25] Speaker B: I just want to see the fact that you're moving that light and it's creating those crazy patterns and illuminating the section. Like it's. [00:33:34] Speaker C: Yeah, I saw one on your. [00:33:35] Speaker A: I think it was on your Instagram of you standing in an archway. Just almost like. It was almost like you were painting yourself in a dance that Showed it really well that. Because the light trail remained like you were just talking about. [00:33:50] Speaker C: Well, I was in that last. Yesterday morning at about 4 o'clock I was in this abandoned factory that's being demolished and there was all this sort of detritus on the ground and I was actually just scanning and painting it in with light. And that is really beautiful as well because you're actually painting with light. And there is another step. Bruce, I appreciate, I appreciate your comment mate. I, I have only one secret in light painting and I will take that to the grave. But I. [00:34:21] Speaker B: What is it? [00:34:21] Speaker C: What is it now? The line, you know my line project. So this, this line here is a light painting project where I introduce a line into the scene. It's a mental health project and that process is, is the one I, I never talk about. But, but once I do that blend in premiere, each one is slightly different. [00:34:46] Speaker B: How much are still in computers going crazy. [00:34:49] Speaker C: Then then what I do is. Yeah, then, then, then nest it and then start playing with zooming in and out. But it's quite. It sounds very easy. It's very, very hard. [00:35:06] Speaker A: Cool. For anyone watching or listening along at home, if you want to get some more in depth analysis of, of Dennis's work. Dennis is an open book. If you go to his YouTube channel and his personal website. Not necessarily. I mean there's a lot of stuff to learn from the, the automotive one. Step by step on how to do everything. Dennis is an open book. He shares his knowledge, he shares his skills for the sake of others learning and you know, enhancing their own creative output, which is absolutely amazing. And we love you for that, Dennis. [00:35:41] Speaker C: Yeah, it's a. It's really important. I know you're about to kick off, but I've just started doing a three minute series of reels called Tips and Tricks and. And that's like three minutes of just. I've. I've got about 40 of them. I've done three and they're just like bang, bang, bang. Just the real basics. [00:35:59] Speaker A: Yeah. [00:35:59] Speaker B: And. And your YouTube channel is called the School of Light. [00:36:02] Speaker C: The School of Light, yes. [00:36:04] Speaker A: Link it below for everyone. But yeah, encourage you to check it out. Some really inspiring stuff and some really clever tips for anyone to learn from. But in the interest of time I think we will jump to our next topic because I'm keen to know a number. I've got questions like what happened to the camera? What happened to your nose? We'll start with the camera. [00:36:25] Speaker D: What happened first? What happened first? [00:36:28] Speaker B: Yeah, the nose happened first. [00:36:31] Speaker A: Let's hear about it. [00:36:32] Speaker B: All right, well, before we do that, we have to officially jump to our next segment. [00:36:35] Speaker A: Oh, okay. [00:36:40] Speaker B: Did it survive? So Jim and I and Grant actually all went to a wedding as guests. As guests. So we were guests at a wedding. Three photographers who have shot weddings before, and we were all guests at a good friend's wedding. It was. It was very cool being guest and not having any responsibilities up until they rang us a day or two before. Was it a day before, Jim? [00:37:10] Speaker D: I reckon it was a day before. Yeah. [00:37:12] Speaker B: Day before. And they said, any chance you could just throw a camera in? Because we want to get a video and a photo of the whole bridal party jumping in the pool. And the photographer and videographer won't be there when it happens because it's going to be close to midnight. [00:37:29] Speaker D: Yeah. [00:37:30] Speaker B: So you can just throw your camera in the car. Just one camera in the car. Just to grab that moment for us. That'd be great. Because it's a really important photo that we wanted. And video. To photo and video. And what's funny is these guys are legends. So of course we're going to do it, but it's like we have to bring a lot of equipment. It's not. It's not a one camera job. It's a. It's a. Every light and every camera we own kind of a job. Because we don't. You don't muck around and it's dark. I don't know if anyone's ever tried to capture an actual shot of people jumping in water at night time before. You don't do it with no lights. That's usually fairly average if it's just ambient light. So Jim and I, doing what we did, we packed up all of it, Everything. Everything we owned, brought it along to. [00:38:18] Speaker D: This wedding just in case, because we were like, we don't know what we're gonna need. We don't know what the setup is. Yeah, we're just gonna wing it. But we bought literally every light. We own everything. Camera. [00:38:30] Speaker A: You were in your element, Justin. You love taking everything with you. [00:38:33] Speaker B: Love it. And actually, Greg, before. So before the pool stuff unfolded, I decided to not only take all of my digital photography equipment, I also took my film camera and shot four rolls of film. [00:38:44] Speaker A: Hey, well done. [00:38:45] Speaker B: Because that's what I like to do. I actually. Actually had a great time. We'll talk about that on a. On a future show. But I shot four rolls, a couple of color, like Portra, Kodak portrait, Kodak gold, black and white roll. And that was actually. I would Highly recommend that to anyone that's shot weddings before but is going as a guest. If you've got a film camera, just take that instead. It's, it's makes the day really fun. You like, you skulk around looking for a photo. One there, one there, few over there. Then you're like, oh, I'm done. [00:39:20] Speaker A: Not every photo, just a photo. [00:39:22] Speaker B: Just a few photos. Yeah, it's really fun. Anyway, we'll get those developed down at Lumina Labs and in a future episode. But the pool thing unfolded. Jim took photos. Jim gave Grant one of his Z8s to take photos with. We set up continuous lights instead of flash because I was going to shoot some video, right. And that's where everything started to get a bit crazy. I'll bring, Should I bring up your photos, Jim? What do I do? [00:39:56] Speaker A: Well, Grant said he slid into your DMS and dropped a video of the pool party. [00:40:00] Speaker B: I all. I also have a video of the pool party that I, I sort of put together today. Thanks. [00:40:05] Speaker D: I've watched that before. I jumped on. It's pretty good. [00:40:08] Speaker B: The real is. [00:40:09] Speaker D: Yeah, yeah, yeah. [00:40:11] Speaker B: He. I don't think he had any of my footage at that point. So I think he's only used his footage. So what was cool was the videographer that was hired. He was supposed to leave at like 9:30 or something like that. And he, he sniffed out that this pool thing was happening. And he was like, I'm staying. I want to get footage of this. So technically I probably could have not shot anything, just let Jim do the photos and I could have just jumped in the pool. But I want to commend him because that's the sort of thing Jim and I used to do. These moments don't happen at every wedding. And you can't always stay if you've got commitments at home or whatever, you might not be able to stay. And I think that's what, maybe what happened with the photographer. But if I was that photographer, there's no way I would have been leaving early when, when I knew that was happening. Unless I had something that I needed to get home to. Yeah, because. Yeah, exactly. If you've got commitments, you've got commitments. But it's these kind of moments in weddings that not only the couple will remember those photos and love those photos forever, but it will book your weddings in the future when you put images up that are from these sorts of moments. Where are we? I'll bring up Jimbo's. Some of Jimbo's photos. And grants. [00:41:26] Speaker D: And grants. [00:41:35] Speaker A: We're still here. For anyone listening, we're just. [00:41:38] Speaker B: I'm just trying to figure out how to use this thing. I was gonna start singing. [00:41:42] Speaker C: I sang at both my weddings. [00:41:44] Speaker B: It says it's working, but it is not. [00:41:48] Speaker A: While you're doing that, I'll just jump to a couple of comments. Craig has said. Awesome. Dennis, we need to talk about the Porsche thing at BFOP this year. Yeah, I wasn't aware you did that. Some of my favorite cars ever. [00:42:00] Speaker C: Yeah, we did. We did cars. My. My workshop was cars last year. Yeah. [00:42:05] Speaker A: Tirana. [00:42:08] Speaker C: A couple of Tiranas, mate. [00:42:10] Speaker D: I've got it, Jay, if you want. [00:42:13] Speaker B: Yeah, if you can get it to come. You do it. Yeah, yeah, you do it. [00:42:16] Speaker C: And. Oh, yeah. [00:42:18] Speaker A: Oh, wow. [00:42:23] Speaker C: That's awesome. [00:42:24] Speaker D: All right, I'll just. I'll flick through them. If you want me to stop, yell out, Jay, because you. [00:42:32] Speaker A: That's with gusto. [00:42:33] Speaker B: Oh, yeah. [00:42:37] Speaker D: I was shooting the wide 20 mil on the Z8. Grant had the 50, so he shot from the side. [00:42:43] Speaker A: I love that. It's two angles. That's so cool. [00:42:46] Speaker C: Yeah, that's brilliant. Have you ever seen the video of the. The woman jumping off the boat with her wedding dress on and. [00:42:54] Speaker B: Oh, and she gets stuck. [00:42:55] Speaker C: Whoa. [00:42:56] Speaker B: That's the scariest thing ever. [00:42:58] Speaker C: That's the first thing I thought about. I thought, oh, these are. [00:43:01] Speaker A: It's great. [00:43:02] Speaker C: Yeah. [00:43:06] Speaker A: Oh, what a magical moment. [00:43:07] Speaker B: Yeah, that was pretty good. [00:43:10] Speaker D: In here. There's Justin, there's the lights. There's Grant. So, yeah, we had a couple of lights either side. These. These lights standing up. They're actually the DJs. [00:43:20] Speaker C: Yeah. [00:43:21] Speaker D: So here. These cool lights and then the lights lying down. These ones down here. And Justin had some. These little stick lights, little go up songs here, so. [00:43:31] Speaker C: Oh, wicked. [00:43:32] Speaker A: Damn, that's so cool. [00:43:34] Speaker B: Yeah. [00:43:37] Speaker C: Sex. Yeah. [00:43:40] Speaker B: The DJ played sax. It was awesome. So he was just DJing and then just playing sax to the songs. And it. It takes everything up a notch. 100%. It was great. That's so cool. Yeah, that was definitely one of the best parts. [00:43:55] Speaker A: Is that you in the pool? [00:43:56] Speaker D: So if you look at this photo, where was it? So in the corner of this photo is a guy that's jumped in a pool. What, with an R5 Mark II. And then it's pretty wild. [00:44:16] Speaker A: Did you go under with it? [00:44:18] Speaker B: Yeah, I've got some footage. The face. The face says it all. [00:44:29] Speaker D: We so not. Not only did he go in. So there you go. [00:44:33] Speaker A: That's Justin's nipples. I've always wanted to see them. [00:44:38] Speaker B: You're welcome. Greg, whose Camera. [00:44:40] Speaker A: Is that. [00:44:41] Speaker D: So that's what you're saying. My other Z8. And then. Yeah, you can see that that's. [00:44:48] Speaker C: Yeah, yeah. [00:44:53] Speaker D: Not only. Yeah. So the R5 stopped working and then what would you do? You. You grab your more expensive camera. You grab the R3. [00:45:01] Speaker B: Well. [00:45:01] Speaker D: And then you jump back in the pool with that. [00:45:03] Speaker B: It's got better weather the ceiling. And I actually had weather. [00:45:07] Speaker A: Weather is the key word here. [00:45:10] Speaker B: So the R5 Mark II, because it was dark, I was actually shooting with the 35 1.8 on it, which isn't a weather sealed lens either, so. So the one that went underwater was actually. Yeah, the R5 Mark II's got some pretty big cooling vents on it for the video. And the 35 1.8 is not weather sealed. So it definitely got wet. Pretty wet. [00:45:33] Speaker A: Is it, is it working, Justin? [00:45:35] Speaker C: Dead wet or dead wet or recoverable wet? [00:45:38] Speaker B: Well, I'll tell. I'll tell you after I show you some of the footage that I got. Because I've actually, I've actually got the clip I was rolling when I jumped in. [00:45:46] Speaker C: Oh my gosh. [00:45:47] Speaker B: So we can prove it. Hang on, I'll see if I can. I'll see if final cut will play ball to share. Apparently my computer doesn't want to share anything tonight. [00:45:56] Speaker A: Grant said, commitment for an unpaid gig. Imagine the commitment for when you are paid. [00:46:00] Speaker B: Yeah, I mean we have. [00:46:03] Speaker A: And Yelena said, hey, Elena, lucky straps tested in every element. Same for the camera. [00:46:13] Speaker B: If I can do full screen and do it that way. [00:46:17] Speaker C: That's so good. [00:46:18] Speaker A: Craig Murphy has said, these are cool. Another earlier comment from Yelena saying last thing I told Steph when I left the wedding, I assume, please don't drown in that dress. Yeah. [00:46:32] Speaker C: Olympus used to market their weather ceiling by having like spraying water spraying at them. Yes, they still do. Yeah, they did it. [00:46:41] Speaker A: They did it with I think the OM3. Yeah, I think I saw of them testing it and yeah, they've got like a little sprinkler system in the factory. [00:46:50] Speaker C: That's it. [00:46:51] Speaker B: Yeah. [00:46:51] Speaker C: And I take, I take when I do my liquid light stuff, I have two or three cameras sitting just above the surface of the water. And I used to have a. I used to have like a little towel and stuff. And then I just gave up and just. I've just come out the water with my wet hands and operate the camera. Never had a problem. [00:47:06] Speaker A: There was a. When the XT, when the Fujifilm XT1 or XT2 first came out, there's a video of someone washing it Under a running water. Like, the tap is just running, and they're just. And it survived. All right, let's see what you got. [00:47:22] Speaker B: All right, so here's the footage, and I'm gonna. I'm gonna put it out there and say that also, this isn't color graded or anything proper yet, but this was worth drowning a camera for, I think. But I will let you guys be the judge. Turn that music off. No, leave it on like you want a little bit of music. [00:47:40] Speaker C: Yeah, yeah, yeah. [00:47:45] Speaker A: Crank it, boss. [00:47:50] Speaker C: Yeah. [00:48:10] Speaker A: Oh, that's awesome. [00:48:19] Speaker B: If you. If you look closely, you'll see spot some gym in some of these clips. Cruising around, taking shots, getting wet. Grant got saturated. He didn't even get in the water. There he is. [00:48:29] Speaker D: He's. He's covered my Z8 in chlorine. [00:48:32] Speaker B: Yeah, the. The chlorine didn't do well for the. For the cameras, that's for sure. Yeah, there's cameras everywhere. The video guy was rolling. He had a drone. There's Grant in the corner there. [00:48:47] Speaker C: Yeah. [00:48:52] Speaker B: But sometimes you just got to have fun. [00:48:54] Speaker C: Yep, that's it. [00:48:57] Speaker D: That's the groom. [00:48:58] Speaker B: Whoa. Yeah, that's the groom doing flips. [00:49:04] Speaker A: Oh, it's so cool. What an awesome way to end a wedding. [00:49:12] Speaker B: It wasn't good way to end a wedding. [00:49:15] Speaker C: That's beautiful. [00:49:15] Speaker B: Well, until. [00:49:18] Speaker D: Until. [00:49:19] Speaker B: Until I went swimming, but yes. [00:49:23] Speaker D: Yeah. [00:49:23] Speaker B: Grant reckons Google says the Z8 can go underwater. [00:49:26] Speaker A: Yeah. [00:49:26] Speaker B: So, Grant, this is me jumping in with the R3. [00:49:30] Speaker C: Here we go. [00:49:31] Speaker B: No, that was. [00:49:32] Speaker C: So. [00:49:32] Speaker B: That one was. All right. [00:49:33] Speaker A: That's the R3. [00:49:34] Speaker B: It's. It's this next one where I jump in with the. With the R5 Mark II. You'll see. See. [00:49:47] Speaker A: Justin? [00:49:50] Speaker B: And where it went black there was where it turned off. [00:49:54] Speaker A: Oh, no. Has it turned back on since? [00:49:56] Speaker B: So Jim was nice enough because we were pretty drunk by this point, I'll be honest. Jim was nice enough. [00:50:05] Speaker D: And put it. [00:50:06] Speaker B: In the back of my car. No, no. The first thing I did was exactly what Jim said. I got out. I was like, oh, this thing won't. Like the screen's still on, but it won't hit record anymore. So I jumped out, popped the battery, and just dropped it in my camera bag. Grabbed the R3 off the tripod and jumped back in and got some more footage and then left it for a little while while we finished drinking and playing in the pool. And then we packed everything up. Basically all I did was pop the battery and leave it sort of open, but then packed it in in the pelican case. And put in Jim's car, got on the bus and went home. And the next day luckily Jim was out early getting his car and decided to unpack my gear, open everything up and get it airing out as quickly as possible. And I'm excited to say the webcam I'm using Tonight is my R5 Mark II. [00:51:01] Speaker A: It lives. [00:51:03] Speaker B: It lives. [00:51:04] Speaker A: There's a little bit, survived a little. [00:51:06] Speaker B: Bit of corrosion in a couple of the, like the, the point that, where you would attach the battery grip and it goes into the bottom of the camera. There's corrosion in there. I don't know. I'll. If anyone's Interested in the second hand R5 Mark II I'll be selling one soon. It's barely used. Still has balance of new camera warranty. [00:51:26] Speaker A: Yeah. [00:51:28] Speaker C: Whenever stuff like that happens to me I was just look Bruce has just said about insurance. Whenever stuff like that happens to me I'm like how is it possible the camera didn't die? I, I have thrashed this thing to death. I need a new one and yeah, I pay an exorbitant amount. [00:51:44] Speaker A: You feel like it's a happy accident and then it's like I just won't die. Crackers, Crackers. Carrick a good mate. I dropped my XH1 into a row with no lens on it. Oh and it's now a paperweight. [00:51:57] Speaker B: It's now okay yeah no lens that's. There's not even nothing you stop. It's just an open hole to take water in. Yeah, that's rough. [00:52:07] Speaker A: Grant reckons the Google says that I can go underwater. [00:52:11] Speaker D: It does say that. It says you can shoot underwater. I'm not going to test that. [00:52:16] Speaker A: It's a lot of money. I have cleaned my Olympus under running water after a visit to the speedway was fine. Scary but fine. [00:52:22] Speaker B: Craig, that's cool. [00:52:25] Speaker D: Yeah. [00:52:26] Speaker A: So did any of your gear damaged? [00:52:29] Speaker D: No. Well it doesn't, it's just covered in chlorine I think. [00:52:31] Speaker B: Have you tested it? [00:52:33] Speaker D: Yeah, they both turn on. [00:52:35] Speaker B: Yeah. Yours didn't go under though. It's only. So the thing is like we've, we've taken ours in rain and stuff plenty of times. Heavy rain. Heavy rain. They're pretty well weather sealed. It's it, it really is that when you go immersed especially that R5 mark two because it, it's got holes in it. It's like got cooling. Yeah they must be sealed. I was like yeah this is probably. [00:52:56] Speaker D: Got like an alloy like a heat element in there. [00:52:59] Speaker B: Yeah, yeah. Anyway I'm, I'm impressed. [00:53:02] Speaker A: Well I'VE seen the rain with my camera. I've stood in the rain with my ex xts in. I remember standing in like a typhoon in Kyoto and just, it was just pouring and I just kept shooting. Like the only thing that it affected was because the eye sensor would get water on it, it would turn off. [00:53:18] Speaker D: Yeah. [00:53:19] Speaker A: Because I thought I was moving my. No, the screen would turn off. I thought I knocked the screen. But the. Yeah, all that. [00:53:25] Speaker B: Yeah, yeah, I've had that happen before. It just thinks there's something there the whole time and it keeps freaking out. Yeah, I'm like, oh, my camera's dead. Yeah, just a bit of water on there. [00:53:34] Speaker D: Yeah. I definitely think that they can't handle getting wet at all. [00:53:39] Speaker B: Well, you know, but you know, it's funny though, it's almost the other way these days because I jumped in the pool and the way iPhones and everything are now and, and everything else. I jumped in the pool and everyone was like, ah, nice that your camera's waterproof. And I was like, no, like really? It's not waterproof? I was like, no, it's definitely not. So it is, it is interesting that obviously there's, there's too many things for them to have to plug up to make it waterproof and also dissipate heat and all that sort of stuff. But it is interesting that it's. They're kind of so far behind phones when it comes to, to being waterproof. [00:54:16] Speaker A: Well, think about those little Ricos. They, what are they, WR3s or so. I know that's the car, that's the Subaru. The Rico make this little red underwater camera and they've had it for years. [00:54:26] Speaker B: Yeah. [00:54:27] Speaker A: And it can go down to like 50ft. [00:54:29] Speaker C: Yeah. [00:54:29] Speaker A: Or maybe it's 50 meters and 100. Anyway, it can go really deep and then you can buy a waterproof housing for it. So without the housing you can go really deep with it. Like it's been around forever and I know it's just a little, you know, it's not a prograde, this, you know, like DSLR like camera. It's more of a point and shoot. But it's pretty impressive that they've achieved that. [00:54:49] Speaker C: I've got a couple of the Olympus. What do they call them? Tough. It's called a tough. And they. When I'm doing my liquid like stuff in the water, I'll often just sit it just above the water so the water lapse over it. That thing shoot at 100 frames a second and. Yeah. [00:55:03] Speaker A: Does it really? [00:55:05] Speaker C: Yeah, it's crazy. Yeah, it's stunning and stunning footage. [00:55:08] Speaker A: Yeah. Bruce Myers just said the nick onto a kids camera, which is waterproof. I bought one of those for. For Brendan and years ago. And yeah, you could. It's got like a. You can drop it from 3 meters, you can crush it. These little cameras are crazy. But did the lens survive, Justin? That's my question. Did the lens on the R5 II? [00:55:28] Speaker B: I haven't tested it. [00:55:30] Speaker D: I. I pulled it apart, Greg, and it seemed pretty dry. Like, I pulled all that, like, because it had a filter on the front and everything. Everything seemed dry really. But I left it in the garage near the warm door with a fan on it, sort of for the day. And then Justin picked up, what, early afternoon. [00:55:48] Speaker B: We didn't do the rice trick. Everyone said, did you put it in rice? Yeah, I was like, no, I didn't. I should have probably, but. [00:55:55] Speaker A: Or just silica packets. [00:55:57] Speaker B: I think Jim's strategy of just quite a warm garage was. [00:56:04] Speaker A: Stick a silica package up into the battery compartment. That helps sometimes. [00:56:09] Speaker B: We just hate taking. Anyway, that was our adventure. And I mean, maybe I'm speaking for Jim and Grant here, but I had a great time and it was really fun. It was a fair bit of work and I might have killed a camera. It's come back to life, but who knows whether it'll go back away from life again. But yeah, we had a great time. It was really fun doing something like that that had. We weren't getting paid and it was whatever we wanted. [00:56:37] Speaker D: There are expectations. [00:56:38] Speaker B: I told them if the footage doesn't turn out, you'll get your money back. You know, it was. It was just. It was a good time and it's fun to use your skills for people sometimes where there's no. It's not a transaction, you know, it's. [00:56:52] Speaker A: Well, the outcome is gorgeous. I mean, that's. Yeah. You know, I'll remember that forever. [00:56:56] Speaker D: Yeah, they probably would have been happy with like an iPhone, photo and video quality. And we were like, no, like, we're going to do this. We're going to do it as best as we possibly can. [00:57:04] Speaker A: Yeah, I think it's wonderful. So what happened to your nose then, Justin? [00:57:08] Speaker B: Oh. So the. [00:57:10] Speaker A: Was it the DJ and his saxophone? [00:57:13] Speaker B: Kind of. The DJ was actually really cool. So I don't know if it was the DJ or someone brought all these little like. Like glow sticks that are like this long. They're foam. What's that? [00:57:25] Speaker C: That was me. Sorry. [00:57:26] Speaker B: Oh, that's okay. So they brought these like. They were like light sticks, foamy things. And they like, were like rainbow colored lights and everyone had them. It was like a rave. Everyone's like on the dance, flinging their battery powered light sticks around. And Jim and I were having like a, a fake little lightsaber competition. But then Jim turned it around and hit me with a battery end on my nose. [00:57:51] Speaker D: Jim, I think it was an accident. [00:57:55] Speaker A: Oh, no wonder he got up early. [00:57:56] Speaker C: The next day and tried to fix. [00:57:57] Speaker A: Your camera for you. [00:57:58] Speaker B: Yeah, I think he felt bad. [00:58:00] Speaker D: Yeah. [00:58:01] Speaker B: So. So yeah, if you can see it, it's not, it's not quite. [00:58:05] Speaker D: And Justin's healing up complaining about it. [00:58:07] Speaker B: I have stopped complaining about it, actually. You brought it up. [00:58:12] Speaker D: He didn't believe me that I was bleeding. [00:58:14] Speaker B: No, I didn't. On the night, he goes, you're bleeding. I was like, don't be an idiot. And then he. [00:58:17] Speaker C: I'm gonna jump in the pool. [00:58:18] Speaker B: He grabbed it and showed me and I was like, oh, okay. And then. Yeah. And then we jumped in the pool. Yeah. [00:58:24] Speaker D: So that's all those camera survived, but Justin didn't. [00:58:27] Speaker B: The camera survived. I'm impressed with Canon's waterproofing. Same with Nikons. Even though Jim didn't get in the pool with his because he's a horse. [00:58:37] Speaker A: Well, Jim's gonna run a business, so you know, he needs to keep his assets clean. [00:58:42] Speaker B: That's true, but. But on the other hand, his gear's insured. [00:58:46] Speaker D: I have insurance still. [00:58:50] Speaker A: All right, let's move on to the next segment. [00:58:54] Speaker B: Is there any photo news? [00:58:56] Speaker A: No. [00:58:57] Speaker B: Okay, moving on. [00:58:58] Speaker A: There's a Fujifilm Summit. There's a Fujifilm summit on 20 March. And they typically, at the summit release at least one new camera. [00:59:06] Speaker B: Okay. [00:59:07] Speaker C: Aren't they doing that medium format fix lens thing? [00:59:10] Speaker B: It would be, it would be my dream. Is that, is that of any. Actually? Okay, this is basically crossing straight from photo news to the next segment. Like a Q3. Is it worth it? Is that so? So this rumored medium format camera is like same sort of thing as a Q3, a fixed lens, amazing quality, but smaller than a interchangeable lens version. [00:59:35] Speaker C: Yeah. [00:59:35] Speaker B: Is that something that interests you, Dennis? Because you're a Q3 shooter, are you not? [00:59:39] Speaker C: Yeah, well, look, not only that, but I also, I've also shot a lot with medium format Fuji. So I just, I'm, I'm, I'm just putting the final touches on a. I do a series called Smith Tries Stuff where, where I use stuff. And I had a GFX 1/0 2 for about four weeks and shot the shit out of that thing and it's wild. Like there's no. And I've shot with all their medium format stuff and it's one of the reasons that they, they liked me using this stuff is because light painting is the extreme. Right. It's like full dark, ultra bright. [01:00:15] Speaker B: Yeah. [01:00:15] Speaker C: That, that, that sensor and that thing is just crazy. Yeah. [01:00:19] Speaker A: Pretty full on. I reviewed the 1/0 2 and, and I'm not typically a medium format photographer. I'm a Fuji shooter, but I'm not medium format. [01:00:30] Speaker C: Yeah. [01:00:30] Speaker A: And yeah, it's so impressive. [01:00:32] Speaker C: Yeah. Well, I mean the problem, the big problem with it, and this will not be any surprise to anybody is that you go and I talk about this in my reviews. I go, is this camera for you? Nope. If you think it is, you're wrong. Because there's only 0.02% of the photographic public that this camera is good for. Because it's a cheap camera. Right. In, in real terms it's quite cheap. But you're buying a new computer. There is just no doubt about that and a ton of storage because my, I've got a pretty grunty Mac and it just, it just gave me the bird every time I put a memory card near it. [01:01:11] Speaker A: Well, I had to upgrade, I had to upgrade mine to a, to a brand new MacBook Pro and my old imac just wouldn't take them. [01:01:20] Speaker B: Wouldn't take it. How old John? [01:01:21] Speaker A: Well, it would have chugged. [01:01:23] Speaker C: Yeah, it just slows right down like lightroom. Just the whole, my whole system would just go A, you take too many photos, idiot. And, and, and B, I'm just gonna make this hard for you. [01:01:36] Speaker B: It's interesting because I thought like for light painting like it would be very few photos. So I thought for you like you would be the prime candidate for a big megapixel sensor that you, you know, you shoot for 10 hours and get six photos or something. [01:01:51] Speaker C: But I'm also a commuter. No, not really. Like I, I come back from a. So if I'm going light painting, I still come back with a chunk of images. Right. But it was. So here's a, here's a very quick GFX story. So I, when the GFX1 hundreds came out, the big body one with the grip on it, I, I took that, they gave me like that and all the glass and I was going to change over to that for my commercial work but the vast majority of my commercial work is alongside video being recorded. So we don't use any flash and so everything has to be natural light. And so I, I took it out and, and I shot with it and it was beautiful. Like it's wild. But the problem is, is when you're wide open on X, the depth of field is about like it's nothing. And so I was, I went back with all these images and they were just unusable because, because they were adding for university and you need a bit of depth of field. So I had to bail on the idea with that. But as a. For light painting, unimaginably perfect. It's wild. The dynamic range is just, just to die for. And of course no one needs more than 10 megapixels. So 100 is just. You can crop into a nasal hair and it's fine. [01:03:02] Speaker A: You really can. [01:03:03] Speaker C: I do that in the video. I do this thing where I take this image. I made this massive outdoor light painting and there's a bit of graffiti on the wall and I zoom into that and, and enlarge it. It's just, it's, it's comical how big it is. [01:03:16] Speaker A: Pretty amazing. [01:03:17] Speaker B: So all that, all that being said, if they made a fixed lens, sort of semi pocketable RF camera, is that something you would even consider or. No. Tell me why. [01:03:30] Speaker C: No, because it's. Because I'll tell you why. I. So we're about to talk about this, right? So the, the Q3 and, and I. The idea of having a fixed lens camera was a great. I was really attractive to me and, and it was one of the best photographic decisions I've ever made. But it's a manageable size, it's a manageable file. So it's, it's, it's 60 megapixels. So, so my, my cat, my, my computer doesn't work. I just opened my lightroom. I've had this camera for one year now and I'm about to do a one year with the Q3 and I've made 25, 000 images with it and. [01:04:07] Speaker B: Nice. [01:04:07] Speaker C: Yeah. And, and so I've really pushed it hard and. But I just know having experienced that 100 megapixel sensor, that it's just unnecessary for the idea, the idea of the camera like it is with the Q3 is that it's a, it's a, it's a. For me, the idea of it is that it's more of a street camera. Right. It's more about shooting from the hip, going to India like I did and when I'm going to the city, I take it with me. And you just. 100 megapixels is for very high end architectural Work very high end product photography very high end everything photography. I just don't know how necessary it is but running gun casual street photography that that's my initial thought on the idea of it although I will no doubt shoot the out of one and may feel different but the problem is is you. I don't know how much it's going to be but I just don't. This thing here is the. It's like it. You just don't. You wouldn't need it. This thing's so tiny and it'll be similar money to this. [01:05:19] Speaker B: That's what I, I have to imagine. It's got to be similar money to a Q3. [01:05:23] Speaker A: Well I'm just trying to work out what 100s is worth 1/ hundreds. Let's go with the 100 mark 2 because at this stage we don't know which of the sensors yeah or processes it if if it's real. [01:05:35] Speaker C: I have quite controversial. I had quite. And we're going to talk about this. I have quite controversial feelings on. Everyone bangs on about the prices of. Of the likers right. Yeah it's not an expensive camera in the in relatively. Right. It's not an expensive camera relatively. You go out and buy a new Sony what's Madoodle or any any a7r5. [01:06:02] Speaker B: Like which has got that, that level sensor in it which has obviously got more you know it's got more specs and stuff it can do more stuff but it. That's going to cost you what five grand or, or whatever just for the. [01:06:12] Speaker C: Body plus a plus a plus piece. [01:06:16] Speaker B: Of glass a decent lens equivalent equivalent. [01:06:18] Speaker C: Lens and body is about the same price as all the others high end right and and the, the reality is I, I use an A7R I've got a A7R4 and A7S3S right now they are also quite specific very focused cameras. You don't. No one just goes and buys an A7R5 or A7R4. They're buying it because. Because they're a commercial photographer that requires very high end focusing on the eye every single time Right and that's why they live in that price point and so people, people who go oh yeah the the like is just a wank whose camera is so overpriced. You know it's like well don't be a dick. It is a very very very specific very task oriented focused camera and it's a street camera and I took this thing on the streets of India and beat the out of it and that is why it is a ten thousand dollar street photography camera because it is perfect for that. Now it's seriously cool in some other areas that we can talk about but. [01:07:20] Speaker A: Can I just jump in for a sec there? So a GFX 100s Mark II is in Australia. It's about 80 or for the body only 100. That doesn't make any sense. It's 8 $700 for the body only. So that's with 100 and 2 megapixel sensor. The, the other one which is the 100 Mark II which became before it. Yeah that's like almost 13 grand. Yeah that's without glass. [01:07:51] Speaker B: I think if this thing is this, this magical unicorny camera is. Is under 10 and potentially even closer to like 8 they'll probably sell quite a few of them purely based on the fact that people want 100 megapixel and they think that's. That's super cool and, and obviously as long as it does what they say it is going to do whether it's you know like it's, it's got high quality glass on it and that kind of thing. [01:08:18] Speaker D: Are they going to be able to use it though? [01:08:20] Speaker B: What do you. Who's. [01:08:21] Speaker D: Who who like the 100M you know you're gonna. You gotta have obviously the computer and everything else to back up. [01:08:28] Speaker B: Don't worry about that Jim. You're worried about. That's that's future people's problem. Don't worry about that. They'll buy it's. [01:08:34] Speaker C: It's. I think this is the point I was making before and, and that I and that I bang on about this thing is that if you. If you're going out and buying a ten thousand dollar point and shoot you you're not worried about dropping another 5k on a computer. Like it's like it's that this is that thing is is 9099 of the people who blag on online about the value of cameras and how wanky it all is awake is because they don't they. Why. Why don't you buy one? And the simple answer that is oh I don't need that so shut up like go and go and bang on about your XT5 or you whatever now really important to understand. I. I own about 700 cameras and the vast majority of them are not ten thousand dollar street cameras that they. I shoot a massive amount still on micro four third Olympuses M1 mark IIs are one of my most used cameras. Like it's really important to make that clear but I, I just will not Enter into an argument with people who want to have a conversation about whether a camera is expensive or not. If it's expensive to you, it's not that camera for you. [01:09:43] Speaker A: Yeah, exactly. [01:09:44] Speaker B: Talk to us. I, I completely agree as well. There should be markets for every level. It's, you know. Yeah, it's, it's all well and good to, to say, oh, maybe Leica is not the best value for money. Yeah, it's probably not in terms of like, bang for buck. There's lots of other bank cameras out there, but you need to have a premium and, and you spot on. There is no other camera that does what the Q3 does. Because, like, I've tried to take, like, put a different lens on my R5 and make it feel it's still way bigger than the Q3 no matter what lens I put it on. [01:10:18] Speaker A: It's. [01:10:18] Speaker B: It's massive. [01:10:19] Speaker A: The X100 is the closest thing. [01:10:21] Speaker B: It's the closest thing and it's still. It's a crop sensor and it's an F2 lens instead of F17 and it's 40 megapixel instead of 60 megapixel. And it's just, yeah, I've got an. [01:10:31] Speaker A: X106, but it's a quarter of the price. So it's for a different market. [01:10:35] Speaker B: Exactly. [01:10:37] Speaker A: I'll tell you what's really interesting. I'm in a. I'm in a couple of Fuji groups and I'm an admin at the biggest Fuji group in Australia. And it's interesting. I see these people having these arguments over this mythical camera that Fuji hasn't even acknowledged exists yet. And they're arguing over some of the features that it, that it might, that it might not have. And, and I said, and I know a lot of these photographers and some of them are already shooting with gfx, so they're already forking out tens of thousands of dollars. They already own GFX. In fact, I think two of them who are having the argument own two GFX's each. And they can. They're arguing and complaining about this mythical thing that's a rumor. And, and I jumped on. I got sick of it. I jumped on and said, look, you know, you guys are all scratching your heads and arguing over something you don't even know exists. It's probably not something that's made for you. You've already got two GFXs and you use them for fashion and the other one uses them for concerts. And it's like you're complaining over something that doesn't even exist yet. Just focus on what you've got. Consumer is an Apple is. I blame Apple for this. That they make us feel like the next product is for us. We've fallen into this consumerism habit that we think that the next thing, the next iPhone is for us because we, they market it so well. And we see this in the camera world too, where, you know, and Justin, you're the biggest sucker for this that, you know, the next generation comes out. No, I love you, don't get me wrong, but you're a fool sometimes. But the next generation comes out and you're seriously drooling. [01:12:11] Speaker C: Always Q3, right? So people, this is my Q3 experience. I have been. I'm 53 years old. I'll start with that, right? I don't make a lot of money. I'm a. I'm a. But photography is my life. Literally. Like I. Photography came to me. Photography saved my life. Like it is a very deep emotional, connected thing to my mental health, to my life, to everything. And at the end of last year, I, I locked in a trip to India. Year I go there and do street photography. And I had always looked at the Q3s, right? And what happened was I, I always looked at the Q2s and a monochrome. I was, I wanted a monochrome. And I had a chat with my, my Leica guy here, the Leica shop here. And he said, look, let me see what I can do. And I made the decision to buy it. And this is why I bought it. I didn't actually think it was going to make better images than if I took my A7 to India, right? Like I'm. I was a realist about that. The reason I bought it was I felt like I had come of age, right? I felt like I had done the hard work that I had given so deeply to my art form. Like, deeply I had given and, and not just to myself, but to other people. And I had this moment where it was literally a gift to my, myself. And what happened? Oh my gosh, the goosebumps are just coming off my arm. And what happened is it was, I was. It was like a celebration for me of coming of age. And then this thing happened when it arrived and I got it and I turned it on and those first sort of few trips away and then definitely in India, there's something about. It's like driving a classic car. You. It has history, it has depth, it has like. I honestly felt like Henry Cartier Boisson was by my side when I was in India. Going, just calm down, man. Like, this is you're. And so that was, for me, was what it was. It almost. The money was almost irrelevant because it was so much more than that. I was being more considerate when I was making the images. I was being all those things as well. Right. Yeah. So it was less about the money. It was more of a spiritual purchase for me. And, and it's remained, it's, it's something I've not regretted. It's been a year and I've made a lot of images with it. I know every floor in it now. [01:14:43] Speaker A: Yep. [01:14:45] Speaker D: It's a feeling. It's not. [01:14:47] Speaker C: Yes. [01:14:48] Speaker D: Yeah. It's different to just having a tool or. Yeah, yeah. [01:14:52] Speaker C: Bruce asked, Bruce asks the question here about the X1D. Right. So I, I, I've also shot with the X cameras. And I remember very early in my photography career, I bought my first ever camera when I was 39. [01:15:05] Speaker B: Right. [01:15:05] Speaker C: And I thought I was pretty hot. I'd come from a very serious commercial background in sales. And I remember exhibiting my work for the first time and a guy came up and looked at one of my images and I, and, and he said, this is an interesting. I said, yeah, it looks. Yeah, it's really good. And, and all this. And he said to me, he said, I'm the introduced himself as the Hasle agent for South Australia. And I said, oh, my gosh, how nice to meet you. And I said, aunt Hasselblads for dicks. And pretty much. And he just looked at me and we had this laugh and then we, we chatted about it and I said, what would be different about this image if I shot it on a Hasselblad? And he looked at me and he goes, it would feel different. And I went, pardon? He says, it would feel different. You just reminded me of that. And I said, what would feel different? And he said, everything. You would feel different the way you made it. The image would feel different. And the only way you will ever understand how it feels different is to make an image with one of these cameras. And you know what? He was so right. So right. The bloods were amazing. This is, it just feels different. [01:16:07] Speaker A: Yeah. [01:16:08] Speaker C: Yeah. [01:16:09] Speaker A: Well, that's good. It sings to you. [01:16:12] Speaker C: Yeah, the, the auto focus is. But it's not designed for that. It's a, it's a, it's a range. It's a, it's a, it's a. There's these, there's these, has these funny little markings on the lens. They're not there for show, like it's yeah, yeah, yeah. [01:16:29] Speaker B: I. The autofocus I don't enjoy. I thought it would be better when a lot of people mentioned the Q2 was average. Auto focusing in the Q3 was a big upgrade. I would hate to use a Q2 if the Q3 is a big upgrade in autofocus. The Q3 must have sucked. [01:16:49] Speaker C: I've got a question for you, Justin. If you, if I, if I, if I said to you, oh, here is a Q3 monochrome, would you swap your. [01:17:03] Speaker A: They haven't made a Q3 monochrome yet, have they? [01:17:06] Speaker B: No, not yet. So the, the thing is I really like shooting jpeg with the Q3. I shoot. I shoot jpeg plus dngs, but I really like the, the jpegs that come out of it. And from what I've heard, and I don't know if this is true or not, but the monochrome series cameras don't do jpeg. They only do a very low contrast looking DNG that, that's, that's extremely rich with. What would you call it, you know, gradients. It captures everything. But then you do have to post process it. Yeah. And I. So I don't know whether it does appeal to me, but I don't know whether for that and for that sort of money I've taken a lot of color photos on it that I really enjoy and I'm like, they would all be gone. I don't know. I don't think I could commit to it for that much money. Yeah, I definitely want to try it first because. Because I read it. I read a few reviews about the Q2. No, the M11 monochrome because obviously that would be the center. The M11 monochrome. And a lot. A few people said, you know, it's a. An absolute revelation. It's the most amazing camera I've ever shot with the files. You can't believe it. And then I read another review and the guy was like, the black and white. White photos kind of look the same as the M11. And it does color too. [01:18:20] Speaker C: Yeah. [01:18:21] Speaker B: And I was like, okay, you would have to yourself because. Yeah. [01:18:26] Speaker C: Without getting technical conversation. I always just used to. I thought it was odd, you know. And then I learned the back end, the technical side of why monochromes are monochrome and that that's why the images are so wild is because they just. That's just everything thing. [01:18:43] Speaker B: Have you sh. Have you shot with one yet? [01:18:45] Speaker C: No, but. But I. My wife is. I, I put her on Facebook Marketplace. I'm trying to get rid of her so that when the monochrome comes, I can. It's really weird. [01:18:57] Speaker B: I would love to hear what you think if you can. Yeah. If you shoot with one and get to compare it directly. [01:19:01] Speaker C: I promise you I, I the, the Leica. The sales manager for Leica Australia knows that the second they land, I, I will be behind the 400 other Leica people around 600 of them. I would love one. And I, I, my next trip to India, I would do the entire trip with one monochrome. Yeah. [01:19:23] Speaker A: Yeah, that'd be cool. That'd be very cool. Yeah. A couple of batteries in your pocket. [01:19:28] Speaker C: Yep. [01:19:28] Speaker A: Backpack with everything you need for the week or two weeks. [01:19:31] Speaker C: Yep. [01:19:32] Speaker A: Yep. [01:19:33] Speaker C: Because that's how I, I did my last trip was with a A7S3 shooting 100 frame video and the Q3 and it was unbelievable. [01:19:41] Speaker A: Yeah. Yeah. Those video, we watched those videos at be. They were pretty cool. [01:19:46] Speaker C: Yeah. Is it, is it worth it? Yes, it is absolutely worth it. Yep. [01:19:51] Speaker B: Yep. [01:19:52] Speaker C: What do you think? [01:19:53] Speaker B: Could you be disappointed with it? 100%. It depends on what your expectations are and, and what I've discovered. [01:20:00] Speaker C: I've discovered a technical problem with the camera that they, it's still an open ticket at the factory. It's me and one other person that they, and they can't fix it. [01:20:10] Speaker B: I remember you telling me about it at bfop. So that was five or six months ago and they, they still haven't sorted it out. [01:20:17] Speaker C: This, the solution they gave me was to buy Capture One. [01:20:23] Speaker A: Okay. So Lightroom, given how much you gave them for the camera, you think they could have offered you a discount on Capture One? I'm sure they could work that out for you. I know it's, I, I do. I must admit. I, I, the other day I caught myself looking at the Leica Deluxe 8. I'm, I'm hoping they bring out. I know it's got a little power zoom. I'm not a fan of power zooms, especially on point and shoots. I'd rather a fixed focal length but just for a more affordable, you know, in, in my ballpark kind of Leica, that kind of appeals to me for, for a straight shooter. [01:20:55] Speaker B: Yeah. What would appeal to you at a Leica Deluxe 8? That, that Fuji don't deliver something like the X100. [01:21:03] Speaker C: Is it the red dot? [01:21:05] Speaker A: Yeah, I think so. I just think just that maybe, maybe I'm a bit like Dennis. I've, I'm coming of age soon. I'm 52. Maybe when I hit 53. That's just what happens to every photographer. [01:21:16] Speaker B: You gotta buy a Life 3 53. [01:21:19] Speaker A: Yeah. Well, yeah. Or I could get the 43 Q3. [01:21:23] Speaker C: Now that, that is a nice kit, I think. Yeah. [01:21:27] Speaker A: I think the gods are telling me something. I think that's a sign. [01:21:30] Speaker C: Yeah, it's. The 28 was amazing. In India. It was amazing. The, the work, the work I made in India with this thing was just outrageous. [01:21:37] Speaker A: Yeah, they're cool cameras. In the interest of time, it's. It's 8:53. For those of you watching and listening along, this is the Camera Life podcast, the random photography show, in case you hadn't work that out. Justin, is there anything else you want to cover off today? [01:21:52] Speaker B: I feel like we, we covered off gear talk just then. So I think we're, I think we're pretty good. Other than anything Dennis wants to add about what he's up to or what he's going to be up to. [01:22:03] Speaker C: I've got my lucky straps on the queue now. I. Let me just. Hang on, let me just, I need to show you something because I do a. Let me just get some exposure here. All right. [01:22:15] Speaker B: Oh, nice. [01:22:16] Speaker C: I, I have my strap like this, so it's on the bottom. [01:22:23] Speaker B: Nice. Interesting. [01:22:24] Speaker D: Yeah. [01:22:25] Speaker C: And because I have an ARCA Swiss plate grip on the bottom and then I have it on the side and I. And so that's because I, I don't like any restrictions around my right hand. [01:22:35] Speaker A: Yeah. [01:22:36] Speaker B: As minimal as possible around there. I'm the same. [01:22:39] Speaker A: That's a good way to do it. [01:22:40] Speaker C: Yeah. And this thing's gorgeous, by the way. Thank you. [01:22:43] Speaker B: Can you show us what it looks like when you put it on? [01:22:45] Speaker C: Oh, hell yeah. [01:22:51] Speaker B: Oh, the background of the studio there. It's very cool. [01:22:56] Speaker A: Yeah, it's very cool. [01:23:00] Speaker B: Nice. [01:23:00] Speaker A: We can't actually see the camera, but you look gorgeous. [01:23:02] Speaker B: Yeah. Yeah, I can picture that in a India, just swanning around. [01:23:06] Speaker A: Yeah, like that. Just like that. [01:23:08] Speaker B: No one would see you coming. [01:23:09] Speaker C: That's great. It feels really nice. I'm gonna, I'm gonna have a chat to you about how to, how to sort of leather it, you know, treat it a bit. It'll be nice. It is funny, though. I, I, when I, I put it, I did a post on it today and it was amazing how many people went, oh, yeah, I've got a lucky strap. Oh, yeah, I've got a lucky strip. [01:23:27] Speaker A: Yeah, we get that. [01:23:28] Speaker C: Actually. [01:23:28] Speaker A: We just. The, the team just got an email from someone who we spotted a couple in the wild. The OM3 Limited Edition for the OM3 release Limited Edition owned three straps. Someone just shot us a Couple of emails, a couple of pictures on what side was it on? Was it on PETA Pixel? It was in their forums. Yeah, I think it was. [01:23:51] Speaker B: Trying to find it now. [01:23:52] Speaker A: They look beautiful. I think I've got it. [01:23:55] Speaker B: Nope. [01:23:58] Speaker A: No, I don't think I have it here. It's from Bob someone. Oh, here we go. It's just going to be. Yep. Hang on. I'll bring mine up just very quickly and then we'll. We'll wrap up. So let me just share this with you all. Oh, look at that. I know it's small. I'm sorry, I can't increase the size of this screen. [01:24:21] Speaker C: Yeah, so that's amazing. [01:24:23] Speaker A: That's the first one and then there's a second image. [01:24:25] Speaker C: I think it looks really nice, that camera, by the way. [01:24:30] Speaker B: It does, doesn't it? [01:24:31] Speaker A: Yeah, yeah, I think it does. [01:24:32] Speaker C: I'm a big fan. [01:24:34] Speaker A: This one says post a picture up if you're part of. Hang on. It smells freaking awesome. I don't know what he's trying to say. Hey, my lovely camera strap is made in Australia. I hope yours is as well. They're all made in Australia. [01:24:46] Speaker B: Yeah. [01:24:49] Speaker A: Yep. Just ask Jim. He's the head of customer service and order fulfillment. They are made in Australia. He puts those little Australia made labels on them. I've photographed him doing it and. [01:24:59] Speaker D: And so does Justin. [01:25:00] Speaker B: Yeah, I put a lot of these ones on too. It's been a busy couple of weeks around we. [01:25:09] Speaker D: Greg, you're welcome to jump into the packing. [01:25:14] Speaker A: Weekend. No, I'm in South Yara. They're in Bendigo. Yeah, I'm in the South Yara office. [01:25:26] Speaker D: Yes. Yeah, right in the middle. [01:25:28] Speaker B: Right in the middle. [01:25:29] Speaker C: Yeah. [01:25:30] Speaker A: I'm coming over. [01:25:31] Speaker C: I'll drop in. [01:25:32] Speaker B: Yeah, come visit us. [01:25:33] Speaker C: Cool. Yeah, we'll come and do some light. I was. Because I was gonna. I'm gonna do a light painting with this. [01:25:37] Speaker A: I'm gonna light paint and there you go. [01:25:40] Speaker B: Hey. Yeah, I have a. I have a car that I would love. I probably can't afford you, but my father's got a Mustang. I should. I should get it light painted for his city. [01:25:51] Speaker D: Yeah, yeah. [01:25:53] Speaker A: Sneak it out of the garage. [01:25:55] Speaker D: Yeah, yeah, we can steal it for the night. [01:25:57] Speaker B: Yeah, we could. See, I'm trying to find an excuse. [01:25:59] Speaker C: To go to Melbourne. All these. All these sort of stars are aligning and Bentigo would be a good pit stop. [01:26:05] Speaker A: Hey, come to Melbourne, like an hour. [01:26:07] Speaker D: And a half up the road. [01:26:08] Speaker A: Yeah. And if you come to Melbourne, let me know and we'll do a street walk. Or something. But yeah, if you come to Bendigo, let me know and I'll come to Bendigo too. [01:26:16] Speaker C: That'd be rad. [01:26:19] Speaker A: And we'll do some white painting. [01:26:20] Speaker B: Yeah, that'd be awesome. [01:26:22] Speaker A: Yeah, we'll get a pool happening. [01:26:25] Speaker C: Well, we can do some liquid light in the pool. [01:26:27] Speaker A: Oh, yeah, lots happening. Lots of plans, folks. Lots of stuff happening in the future on the camera life and with lucky straps. So make sure you like and subscribe. I think we're going to wrap it up there, lads. [01:26:41] Speaker B: Yeah. [01:26:42] Speaker C: Thank you. Well, thank you for having me. What an honor. You guys rock, man. And this thing is just so good. [01:26:49] Speaker A: You're the star of the show tonight, mate. But look, thanks for joining us for a chat. It's good to catch up with you because we heard so many amazing stories in your interview podcast and it's been good to catch up with you and see some of the results of that and I think you should be really proud. [01:27:03] Speaker C: Thank you. [01:27:04] Speaker A: About the, especially the, well, all the work. But the auto art is just phenomenal. [01:27:09] Speaker C: Thank you. Thank you. [01:27:10] Speaker A: But look, on that note, I think we're going to wrap. So thank you, Jim, for joining us late, but thank you. It's no good. [01:27:17] Speaker B: That's right. Thanks for drawing out my camera, Jim. [01:27:20] Speaker A: Yeah. Good morning, Jim and Dennis. Good to have you on the show again. Hopefully we'll have you back sometime in the future. [01:27:27] Speaker C: Anytime. And I really enjoyed the Thursday morning one that was, I, I, I just jumped on, I saw it pop up and I just happened to be around. So anyone who's what, like jump on those? They're great. [01:27:38] Speaker A: Yeah, they're really cool. We love them. We love what we do here. That's the main thing. We love what we do. And if we encourage one person to pick up a camera or someone to get out of a funk or someone to try a new skill or technique and they love it, well, then we've won the day. But look, on that note, everybody, I want to thank you all for listening and watching. Please don't forget to like like and subscribe. Hit the bell for notifications. We had big plans this year and Jesus, it's already march. It is marching along. But we will have some, some stuff coming up that we'll share with you. And look, this has been the camera life, the random photography show. The best random photography show on the Internet. [01:28:17] Speaker B: Before we go, Philip Johnson says thanks all. Great episode. Who's on on Thursday? It is with Will Godward. Godward. [01:28:24] Speaker A: Yep. [01:28:26] Speaker B: Godwood, who is a nightscape astrophotographer. Award winning. [01:28:31] Speaker C: Yes. Will is a lovely guy. [01:28:35] Speaker A: Yeah. [01:28:36] Speaker B: Wow. I can't. [01:28:36] Speaker A: So we've got Will this week. Sorry. Next week, the week after, provided he doesn't get covert again. We've got Glenn Lavender joining us. Phenomenal. Phenomenal. I can't even speak anymore. Phenomenal body of work. But. But, yeah, look, stick around and we'll show you a good time. [01:28:53] Speaker B: That's right. [01:28:54] Speaker A: Sound wrong. Sounds a bit creepy, but it's like. [01:28:57] Speaker C: Me putting my wife on the Internet. For sale. Yeah, not quite what I meant, but. [01:29:03] Speaker A: Bruce Moyle. [01:29:04] Speaker B: Thanks, gents. [01:29:05] Speaker C: Thanks, Bruce. [01:29:07] Speaker B: Craig Murphy. See you in Bright, Craig. [01:29:11] Speaker A: Well, we'll probably all be in Bright. [01:29:13] Speaker C: We're gonna party hard like lunatics. [01:29:15] Speaker A: Yeah, we'll get a pool, we'll ship in a. You know, like, we'll get some of the. You know how you can get like a party Jacuzzi on a trailer. We'll get one of those and. Yeah, yeah, we'll just park it. [01:29:26] Speaker D: Greg's funding that one. [01:29:27] Speaker A: Yeah, yeah. I need to talk to Justin about a pay rise. On that note, everybody, let's play it out. See you on Thursday. [01:29:37] Speaker B: Cool. [01:29:37] Speaker D: Thanks, guys. [01:29:42] Speaker C: I should have had this thing when I turned my camera strapped, by the way. Everybody, see you later. [01:29:50] Speaker A: Have fun. Yeah, we're getting into it. Oh, what's happening?