EP67 The Random Photography Show feat. Samantha Ohlsen

[00:00:07] Speaker A: Kanjim, get into it. Well, welcome everybody. This is the Camera Life podcast. It's the random photography show. It's the 7th of April, if you could believe it. We're coming to you live from. Where are we coming from Victoria and New South Wales in Australia today. And we'll get to our cast of characters in just a moment. But this is the Camera Life brought to you by the lovely team at Lucky Straps in Bendigo, Victoria, makers of fine, probably the finest leather camera straps on the planet. Head to the side if you haven't already lately. [00:00:53] Speaker B: Sometimes weird ones, but mostly fine leather straps. [00:00:55] Speaker A: That one's not for sale, by the way. Let's go into the Lucky Museum. [00:00:59] Speaker B: No, limited edition of one. [00:01:00] Speaker A: We might bring it out on the the Tokyo Christmas trip, but that's about it. Limited lease, limited use. [00:01:11] Speaker C: I said message me if you want to buy it. I'll sell it. [00:01:13] Speaker A: Yeah, yeah. [00:01:14] Speaker B: You stay away from my strength before. [00:01:16] Speaker A: The next beef up. Please, let's just get rid of it. But yeah, this is a Camera Life. Thanks for joining, everybody. Don't forget to like and subscribe and hit the bell button so you get notified when we do episodes because sometimes we just throw some random stuff into the mix just to make sure you're all awake. But we're joined tonight by new friend of the show, Samantha or Sam Olson. Sam, welcome to the. To the Camera Life. [00:01:39] Speaker D: Thanks, boys. [00:01:40] Speaker B: Hey, Sam. [00:01:41] Speaker C: Thanks, Sam. [00:01:42] Speaker A: That's very presumptuous of you. [00:01:43] Speaker D: It's nice not to have a sausage first for a, for a whole episode. [00:01:49] Speaker B: Yeah, Pretty up the show a little bit. It's good. [00:01:51] Speaker A: Yes. [00:01:52] Speaker D: I don't know about that, but certainly change the sausage fest for the day. [00:01:58] Speaker A: I'm sure Jim's been called pretty in his time. Now, Sam, we've got you on the show tonight because you and I have been chatting throughout the week trying to solve a problem and we thought let's get you on the show to talk about your current project. So we're going to get to that soon. But just before we talk about your project, your book that's coming out, just tell us a little bit about who you are. We're not going to do a full interview, but just tell us who you are, what you do and a little bit about your background. [00:02:27] Speaker D: Right. I spent 17 years in the army as a nurse, deployed a couple of times, the last to Afghanistan and was looking eventually one day to become a professional photographer. I actually was really passionate about education so I was always wanting to go that way. But until I figured I had to throw myself into the deep end of really working as a photographer before I could teach it. And I figured there's nothing better to do that than weddings because weddings you have to do a bit of everything. [00:03:06] Speaker B: I agree. [00:03:07] Speaker A: Preaching to the choir, sister. Oh, so wanted to say that on this show for so long. Yes sister, so true. [00:03:18] Speaker D: But unfortunately as I was, I was in one about my 15th or 16th year and had a lot of problems with chronic pain, a lot of injuries through my career and ended up with PTSD which sort of hastened my exit out of the army and into civilian life. And I've sort of worked around weddings and portraits for the last 10 odd years. And that led on to Covid a project I had been had on the back burner for a while thinking oh this would be awesome to write a book on the great ocean road and some of the great locations that don't seem to be covered in lots of the magazines or books and even the blog sites have 10 to 15 locations and they're all seem to be about the same location. [00:04:14] Speaker A: And yeah, I think we call that 20ft from where the bus stops pretty much usually. Yeah. [00:04:20] Speaker B: Or if you get chat GBT to write the article and say write an article that has the top 10 photo spots of the gradation road. You know what, it just copies the other articles. [00:04:30] Speaker D: I only found chat GPT like 3 weeks ago for the very first time. [00:04:36] Speaker B: It's scary. [00:04:38] Speaker A: I know Justin has ongoing arguments with it over photography. It's quite hilarious. [00:04:43] Speaker B: Very regularly I. I actually thought about just publishing the chat like the. Just the transcripts every now and then, just throwing them up on some side or something. That's like my ongoing fight with chat GPT. [00:04:56] Speaker D: You should get chat GPT to write the book for you. [00:04:59] Speaker B: Well, it can do anything. [00:05:01] Speaker A: That's cheating. [00:05:02] Speaker B: Doesn't do a great job of it before, before we start picking on ChatGPT too much, there's some good evenings to happen. Good evening, Philip Johnson. [00:05:11] Speaker C: Hey Philip. [00:05:12] Speaker B: Good evening. Brett Wooderson and Ian Thompson. Brett and Brett Wooderson again. And Bruce Moyle and Brett Wooderson. Oh no, that he says evening Bruce. This is gonna come and then. Hey Tony. Hey Lawn. [00:05:28] Speaker C: Yeah, oh, Yelena too. She said good evening again everywhere in the chat. [00:05:33] Speaker B: Yeah, she just said good evening to everyone else. She didn't say it to us. So not pulling up her chat. [00:05:39] Speaker A: This is my favorite comment so far, Greg manifesting a trip to Japan. Look, I can't afford to get this so you know, if it's going to happen, it's Going to be on the boss's dome. I'm sorry, Elena. [00:05:49] Speaker B: We're going to make it happen. [00:05:50] Speaker D: Can you fit in my suitcase next year? [00:05:54] Speaker B: There you go. [00:05:54] Speaker A: Yeah, I can fit in anything if it's got Japan involved. [00:05:57] Speaker C: Is it like a surfboard bag? [00:06:02] Speaker B: A surfboard bag for a single. He does. [00:06:04] Speaker A: He's very tall. [00:06:07] Speaker B: A bigger board. [00:06:08] Speaker D: I do have a. I did have a. A. Oh, my God. Snowboard bag. Would you fit in that? [00:06:17] Speaker C: No. [00:06:18] Speaker B: No. Yeah, yeah, that's right. We can go snowboarding if that's what I'm in. [00:06:25] Speaker A: I would love to. [00:06:26] Speaker D: The pain specialist would kill me. [00:06:28] Speaker B: What's that? What's the trip for then? What's the plan? [00:06:32] Speaker D: Just. It was on my list of places to go and so a family reunion with a couple of family members that want to go. And so I thought, oh, well, I'll. I'll go before them, do a few of the things that I want to do first so I don't have to worry about holding them up. And then we'll have spent some time together as family. [00:06:57] Speaker C: Cool. You're going to do some photography over there too? [00:07:00] Speaker D: No, not at all. Like, there's nothing there to photograph, is there? [00:07:04] Speaker A: No. [00:07:06] Speaker B: Terrible place for photography. [00:07:08] Speaker A: Yeah, it's pretty bland. [00:07:10] Speaker D: No, it's trying to decide what lenses to bring. [00:07:14] Speaker B: Speaking of lenses, because that is a tough. A tough decision, especially when traveling, because you don't take every single thing you own. What brand of camera system are you shooting with right at the moment? [00:07:27] Speaker D: The Nikon Z series. [00:07:29] Speaker A: No. God, please, no. [00:07:32] Speaker C: Finally, we've got a real photographer on. [00:07:34] Speaker B: The screen effect button. We've just been hovering over that since you said Nikon when we first got you on before. Had to do it because Jim's on. What, What. What cameras are you using? What? I assume it's the Zed because it. [00:07:51] Speaker D: Yeah, a couple of Z8s. [00:07:53] Speaker B: Ah, perfect. [00:07:54] Speaker D: I. I moved from the D5 and a D850, which were great for weddings, and it wasn't until Nikon started with their Z8, Z9 that I thought that actually got serious about Mirrorless. [00:08:06] Speaker A: Yeah. [00:08:07] Speaker D: And they were actually producing a. A comparable or better camera. [00:08:12] Speaker C: Yeah. To the D. I would echo that too. [00:08:14] Speaker B: Yeah. [00:08:15] Speaker D: Sounds like both the D5 and the D850. [00:08:18] Speaker A: Both of them are, I think, like Canon. They were quite late to the party. I think they thought it was a Sony fad. [00:08:25] Speaker D: Yeah. And that's. I had some Sony's that I bought. [00:08:28] Speaker A: A lot of people did. And then. And now Nikon and Canon are killing it. In the mirrorless market. Like they're really the standout performers. [00:08:34] Speaker D: Well, I'm selling my Sony off now to go back to full time. That way I'm not going between two systems. I just prefer the Nikon in the hand. In the hand. Just feels a lot better for me. [00:08:48] Speaker A: So just out of curiosity, what would be your. What's your preliminary thinking around what you want to take with you to Japan? I assume it's just one camera body, not two. [00:08:56] Speaker D: Oh, no, two. [00:08:58] Speaker A: Oh, two. [00:08:59] Speaker D: Two. One will stay in the. The. The safe in the hotel just in case one fails. So the other ones. Or perhaps maybe at nighttime, maybe I want to at night, I don't know. [00:09:15] Speaker C: Hopefully be pretty safe. With a mirrorless. Like there's less to go wrong. [00:09:19] Speaker D: You would think. Yeah, but it's sort of like it's a once in a lifetime trip. [00:09:26] Speaker C: Yeah, yeah, yeah, true. [00:09:28] Speaker B: And there's no. [00:09:29] Speaker A: My first trip to Japan, I took everything I owned. [00:09:31] Speaker B: It's very tricky too. If you were to lose a camera body, it's hard to find a shop or anywhere where you could purchase a replacement. They're very tricky to find in the. [00:09:41] Speaker A: But it is stressful, like. And I get it. Like. Like I said, my first trip there, I. I took two camera boys. I mean, they're Fuji, so they're much lighter. But you know, I put. I took every lens I had and two camera bodies and all the, all the stuff I just didn't need. But by the last trip, I only took, you know, I only took like a little point and shoot because I'm a street photographer. I don't much else other than that. So it wasn't really a deal breaker if I didn't have the best camera I own, but I found that to be better. But anyway, good luck. [00:10:14] Speaker D: No, no, I've nailed it down to I think five lenses. So that should be good. That's better than normally. [00:10:20] Speaker B: The one that we found. Well, I assume Jim as well, but that we found super useful. This is back when we're shooting Nikon DSLRs, but they have. The equivalent still is the 21.8. No, the 20 mil for Tokyo at nighttime was. Was pretty fun because it was that little bit wide. Not super wide, but wide enough to get buildings and stuff in. But if you find yourself in a darker spot, you know, off one of the side streets or whatever, 1.8 was in a ton of light. [00:10:50] Speaker C: It was wide enough to. To do. [00:10:53] Speaker D: Yeah, I was gonna bring the 58 mil 1.4 for the. The old style. Well, I'll have the 14 to 24. 2.8. [00:11:03] Speaker A: Okay. Yeah, yeah. [00:11:05] Speaker D: But the. I just love that. That old. Well, it's not that old but it's the old F series F mount lenses. That 58, there's just something I hate, 50mm focal length. But that 58 1.4 was just lovely. Don't know why. [00:11:22] Speaker C: Justin and I have shot extensively with the 58.1.4. [00:11:27] Speaker B: How many, how many photos do you reckon we've taken with Atlant? Hundreds of thousands maybe. Yeah, yeah, we had. [00:11:35] Speaker C: Yeah, we. Justin had one and then I saw how beautiful it was, so I got one too. And. Yeah, but in saying that and saying. I know I heard you say that you didn't like the 50, I changed and bought the 50 one too. The Z mount. And it's. [00:11:49] Speaker D: It's heavy. [00:11:51] Speaker C: Yeah, but it's just heavy. It is heavy. It's different to the 58, but it is way better in every single way. That 58 was tough to use. It doesn't like. [00:12:02] Speaker B: It's. [00:12:02] Speaker C: You've got to learn how to get it to focus and stuff like that. [00:12:05] Speaker B: And it's soft. [00:12:06] Speaker C: It's not a perfect lens, but it is a beautiful lens. [00:12:09] Speaker D: It's definitely better. But on a Z series, is it for focusing? Yeah, yeah. So you get the advantage of working with a Z series for focusing and then have the character of the old 58. [00:12:26] Speaker C: Yeah, yeah. [00:12:29] Speaker D: You don't find the normal 51.22 sharp. [00:12:34] Speaker C: No, I love that it's. I love that it's so sharp. [00:12:37] Speaker D: Okay. [00:12:37] Speaker C: Because. And I can shoot it wide open. Whereas the, the 58. Yeah, it struggles it like I used to shoot at 2.2 all the time. All night. But yes. Anything wider it used to struggle to. It'd just miss a lot. [00:12:52] Speaker D: Yeah. [00:12:52] Speaker A: Miss focus a lot. [00:12:53] Speaker C: Yeah. [00:12:55] Speaker B: On eyes. But again like that was an older system. Like you were, you know. [00:12:58] Speaker C: Yeah. Shooting with dead 50s or decent 50s. [00:13:01] Speaker B: We were constantly trying to calibrate our bodies to our lenses all the time. You know, all that sort of stuff, like it was a different, different world. I don't have to worry about any of that stuff. [00:13:11] Speaker D: I think that's one of the best thing about mirrorless is not having to do that anywhere near as often. [00:13:16] Speaker B: Yeah. No micro adjustment of focus planes and all that sort of stuff. But Paul is in the comments. He says it was frustrating to wait for Canon and Nikon to put out decent mirrorless stuff, but was worth it in the end. He also says had a five day work trip to Japan and just took the 50 mil to keep it minimal. Really regretted leaving the 24 to 105 behind. Yeah. I'm enjoying the zooms. I'm. This trip that I recently just come back from, which was not to Japan. It was driving around Victoria and a very small part of New South Wales in a van. But I used a zoom basically the whole time just to test it out. And now I'm in the market for lightweight travel zooms. It's my new thing. [00:14:00] Speaker A: Wow. [00:14:02] Speaker B: Ditching the big heavy primes. [00:14:04] Speaker D: Well, I can recommend the 24 to 120 Nikon. [00:14:08] Speaker B: That's awesome. I've had that. [00:14:09] Speaker A: He's a cannon boy now. [00:14:11] Speaker B: The old one. But I'm. I'm Canon now. I switched. [00:14:13] Speaker D: I didn't like the new. The old one, but. [00:14:17] Speaker A: Yeah. [00:14:18] Speaker D: You couldn't pay me to use Canon. Sorry. [00:14:21] Speaker B: Oh, I bet you how much. [00:14:23] Speaker C: We just. [00:14:25] Speaker D: I would try almost any camera brand outside of Canon. [00:14:29] Speaker B: Really? Why? What did they do? [00:14:31] Speaker D: I don't like the way that they have their exposure compensation buttons positioned. I really hate it. It's something I use all the time. And the way that they make you sort of hold it and then do a dial and I'm like, seriously, what is wrong with these people? [00:14:48] Speaker B: I don't think you have to. You don't have to hold it down. Maybe that's changed on the recent ones. Unless you've. I don't know. I. [00:14:56] Speaker D: This was an older one. This was the D5, whatever. Five D mark four or three. [00:15:03] Speaker B: Yeah. Yeah. It might be a little bit different now. I don't think I shoot it in manual anyway, so I don't. I don't know if. I don't think you have to hold it down anyway. [00:15:11] Speaker D: Have you got dials at the front and back? Yes, but is the dial at the back around the wheel, isn't it? It's a wheel. [00:15:19] Speaker B: It's got both. [00:15:20] Speaker D: It's got both. [00:15:21] Speaker B: So we've got the. Yeah. Wheel. Dial at the back. Dial at the front. Yeah. It's okay. Got all. [00:15:29] Speaker C: I would like a wheel. [00:15:31] Speaker B: The wheel is. Is really good. [00:15:32] Speaker C: Yeah. For scrolling through images. I would. [00:15:34] Speaker B: Scrolling through images. The wheel is quite fun. The Canon. If you haven't shot Canon, you had one. [00:15:40] Speaker A: Crazy good. Yeah. [00:15:41] Speaker B: It's fun. It's nice. And, you know, the best. The best feature on any Canon. Maybe not the best feature. Their sensors are probably important, but the. The best ergonomic feature on any Canon is on the R3. And now on the R1. It's not on anything else. Hang on. I'll show you. [00:16:01] Speaker C: Talking about like the back dial button. I actually wore one of them out on my. I think it was the last D850. Like I wore it smooth. [00:16:08] Speaker D: Oh wow. [00:16:09] Speaker C: And they've got quite aggressive little, little lumps on them. [00:16:13] Speaker B: There's no. There's this AF on button here, but it has a photo sensitive like touchpad kind of thing on it. So if I just move my thumb like this while it's on the button. Because that's a button. If I just move that. Actually I should just set it to a. I'd have to put a lens on. Moves the focus point just by like sliding my thumb over a button. Not pressing. Yeah. It's like a trap. That is a good feature but the size of a small round button and you just. [00:16:50] Speaker A: How accurate is it? Do you think? [00:16:52] Speaker B: It's amazingly accurate. [00:16:54] Speaker A: Wow, that's cool. [00:16:57] Speaker B: A couple of. [00:16:58] Speaker A: Couple of comments in the chat. Let's jump to some comments. So just getting back to Paul, Brett asked Paul, did you miss a really good shot you regret now while he was on this trip in Japan just with the 50 mil. And Paul's replied Brett, yes, Landscapes street was okay with the 50, but I prefer the 28 pancake for that now. [00:17:18] Speaker D: Okay. [00:17:18] Speaker A: So once he sort of got out of the. The urban jungle or maybe even just get some city scenes. [00:17:24] Speaker C: The 28, good focal length. [00:17:27] Speaker A: That's a good one. [00:17:27] Speaker B: 28 is awesome. [00:17:32] Speaker A: Sorry Sam, let me just get this one out. I just purchased an old 5814 Minolta vintage. It was made in 1970. Same age as me. Rock or PF? I'm going back in time. What have you got, Justin? [00:17:46] Speaker B: I don't know if you can see the focal point. If I get this in the right light that it's sort of. [00:17:51] Speaker C: Can you bring it close? [00:17:53] Speaker A: Yeah. Wow. [00:17:54] Speaker B: So I move my thumb around and I can move it anywhere, but I don't. Whereas it's got the joystick as well here. But the joystick, it moves at the speed. [00:18:03] Speaker A: It's much slower. Yeah. [00:18:05] Speaker B: Whereas this, it moves at what? Wherever I put my thumb, it moves. It's so good. Wanted them to put it through the range, but they've kept it for the R1. [00:18:16] Speaker A: And imagine it's an expensive feature. Like it's. It's probably pretty high end tech. [00:18:21] Speaker B: I'd pay for it. [00:18:22] Speaker A: What'd you do to your thumb, Justin? Speaking of thumbs, your thumb's all banged up. [00:18:26] Speaker B: Is it? [00:18:27] Speaker A: Oh, it looked all banged up to me. Maybe you just. [00:18:29] Speaker B: Oh, it did, yeah. Don't Know, probably exercising. [00:18:35] Speaker C: You've joined the random photography show, Sam, we talk about cameras thumbs. [00:18:39] Speaker A: Oh I know, whatever. [00:18:40] Speaker D: Listen, it goes. [00:18:41] Speaker B: What is any direction. [00:18:46] Speaker D: Do you use back button focusing? [00:18:48] Speaker B: I don't as much. We used to flat out on DSLR all the time was the only way to roll. And then since I've shot mirrorless, I use it less and less because it tracks so well. So I find myself just half pressing the shutter like traditionally but it's tracking the subject. So it depends if I switch to a fixed focus point and I'm sort of. Yeah, I go back to that back button style. But otherwise most of the time like if I shot a wedding now, I would probably not use back button focus. I would just use eye tracking and just let the camera do the work. What are you using now Jim, now that you've switched still back button. [00:19:27] Speaker C: Yeah, I haven't changed that. Just still. [00:19:29] Speaker B: Yeah, but do you find that you're holding it down a lot more because it's tracking like you basically just hold it there and you just move the camera as you're repositioning and reframing? [00:19:39] Speaker C: No, I still treat it, I still like to move the square myself a lot. [00:19:44] Speaker B: Do you? [00:19:45] Speaker C: Yeah, I'm a little bit old school in that way. Old school, yeah, yeah. [00:19:50] Speaker B: Because you're running two Z8s as well now. [00:19:52] Speaker C: Yeah, yeah. [00:19:55] Speaker A: Very cool. Moving right along now, Sam, you're currently working on a project that's completely unrelated to your usual working gig of shooting weddings events, portraiture up in Sydney. You, you've, you've authored and prepared a book. I have on the Great Ocean Road. I'm just going to bring up a screen very quickly guys, just while I've got this here and Sam, I'd love to hear from you if I can find it. Tell us about a photographer's guide, the Great Ocean Road and otways it is. [00:20:33] Speaker D: A 750 page mammoth. [00:20:38] Speaker C: That's big. [00:20:40] Speaker B: Yeah, it's massive. [00:20:42] Speaker D: So the first probably third of the book is designed to focus on all the skills that you need. Both photography skills and understanding weather and tides. Stuff that is really crucial for shooting well in that particular region. And then the last two thirds of the book is 152 locations with every single piece of information that a photographer could possibly want to know. Like how many stairs to get to my location. What are the GPS coordinates, What's the shoot direction, what is the best time of day to visit this location? What, what lenses should I take to this location? What other accessories do I want? Tripod spikes, Do I want a, a camera cover? Because this particular location seems to be get a lot more sea spray. What tides are best for shooting, what tides are safe for, for access? Everything. [00:21:48] Speaker A: So it's fair to say that you this location, Sam, somewhere along the Great Ocean Road, which for those of you watching along that aren't familiar or from overseas, the Great Ocean Road is a incredibly popular and naturally wonderful and beautiful region of Victoria. It's along the coast. I remember going down to the Great Ocean Road as a kid in my sort of late teens, early adulthood. Friend of mine had a shack, it was literally a shack behind the Torquay pub and we've got licenses. We'd go down the Great Ocean Road every, pretty much every weekend we could. So this, this book is pretty much an end to end guide of everything you need to know to have a successful shoot anywhere along the Great Ocean Road. But I think more than that, Sam, we were talking about on the phone the other day and you've mentioned it just in your earlier that you know there's 152 shooting locations and many of those locations are significantly or not significantly, but they're more interesting and they take you into a, I guess a more promising location than just getting off the tourist bus, walking 20ft, taking a snap and getting on the bus and going home. There's a lot more to it. It takes you to some, some very obscure locations that a lot of people wouldn't know about. But as you said, it gives you the step by step guide to get there. Find the spot, you know, know what you're looking for, understand what's required to get a particular type of shot for that particular location. How long has it taken you sand to put this all together? [00:23:22] Speaker D: Yeah, we're at about four and a half years now. [00:23:26] Speaker B: Wow, that's awesome. [00:23:27] Speaker D: So the first year was pure research. I visited every single website that I could find that had anything to do with the Great Ocean Road, looking for locations to, to start to explore. And then moved on to Google satellite Maps and went oh, okay, I can see a rock platform down there, I wonder if I can get to that. And literally scoured the entire coastline in that region looking for anything that could possibly be shot. And then spent just over a year going back and forth along the Great Ocean Road like checking all the sites out and a lot got thrown out because they were just average. But 152 is what I narrowed it down to. There's a couple that I would have liked to put but for conservation of the area it wasn't advisable to put a location that had no. The only access would be destroying parts of the coastline. And if you put that in a book. [00:24:38] Speaker A: Yeah. [00:24:39] Speaker D: You encourage people to go there. It's one thing if you do the research and find yourself there. Yeah, yeah. Some areas are maybe a bit controversial, one in particular near Port Campbell, but there just has so many visitors there anyway that I'm not creating anything that a lot of people can't find for themselves. [00:25:06] Speaker A: Sure. So, Sam, take us back a little bit further. What is your connection with the Great Ocean Road in the Otways area? You know, you're currently in Sydney, you live in work in Sydney. I assume you live in Sydney, you run a photography business there. But what is the draw to that region of Victoria? [00:25:28] Speaker D: A couple of things. I was coming back from a trip to Uluru and all of central Australia, and I hadn't been to the Great Ocean Ride, been on my bucket list for over a decade. And I came back along and spent about a week going back and forth, and I got down to the bottom of a waterfall and realized I didn't have the lens that I wanted that was sitting in my car at the top. But the waterfall was like 300 odd stairs to get down there. And with my knee problems and my back problems, the idea of hiking all the way back up and then back down and then back up again was not feasible. So I thought, oh, wouldn't it be great if someone wrote a book about this? And that's how it started. And then I learned a bit more also about the Great Ocean Road, how it was created by World War I diggers and it was part of their return from war by giving them a constructive profession, particularly one that was outdoors. A lot of men who returned from war in Europe had somewhere something to something physical and hard labor to go and put their. Their body towards with the trauma that comes back from being in war. [00:26:59] Speaker A: Yeah. [00:27:00] Speaker D: And so that sort of really spoke to me. And also for a healing part, I don't think there's anything better than being out in nature. As a landscape photographer, you really have to slow down. And that concentration, when you're in the moment of being in the seascape and it's sunrise and you can hear the ocean and you're focusing through the viewfinder on exactly what you want to frame up. That is a. That literally is the definition of mindfulness, which is one of the management strategies of ptsd. [00:27:41] Speaker A: Absolutely. [00:27:45] Speaker D: Yeah. I like that. [00:27:46] Speaker B: It's. [00:27:47] Speaker D: Brandon, wait. [00:27:47] Speaker C: Thank you. [00:27:48] Speaker B: Oh, yeah. [00:27:49] Speaker D: World's largest war memorial. Very True. [00:27:52] Speaker A: Yeah. [00:27:52] Speaker B: Brendan a. A great Ocean Road extraordinaire. [00:27:58] Speaker A: Now you've been working on the book for. For a little while now, Sam. So where are you at with getting this to. To publication into people's hands? Because, you know, we talked about the phone a lot and just working with, you know, from my experience working with camera clubs and doing some community outreach for Lucky Straps, proud sponsor of today's show. You know, there's a lot of people that love to head down to this area because, I mean, it's beautiful. There's a lot of rich heritage there as you've just described. And as Brendan's pointed out, there's a lot of heritage there for people that have a relationship with. With the veteran side of things. So obviously you found a love for it. How many times do you think you've been down there? [00:28:45] Speaker D: Eight or nine? [00:28:47] Speaker A: Yeah. [00:28:47] Speaker C: Yeah. [00:28:48] Speaker D: So I was going down for usually about two months at a time. [00:28:52] Speaker A: Wow. [00:28:53] Speaker C: It's huge. [00:28:55] Speaker B: Yeah. So maybe over. Over a year in total of time along the great Ocean Road shooting. Definitely in the book, are there images from every location? [00:29:07] Speaker D: Yeah, yeah, there's over 1100 images and color diagrams. [00:29:15] Speaker A: Landscape photography connects us with nature. [00:29:22] Speaker D: I think Greg's playing. Are you playing with the. [00:29:26] Speaker A: Can you guys hear me? [00:29:28] Speaker C: Can I hear you? [00:29:31] Speaker D: Someone's playing. [00:29:32] Speaker A: I'm sorry, I don't know what I did. [00:29:34] Speaker B: I'm sorry. [00:29:38] Speaker C: From, from earlier when you said that sort of what launched the book was not having the right equipment when you got down to the spot. How, like, what do you pack now in your kit? Because I guess some of the locations, when you are going there for the first time, you might not necessarily know what you need, but are you going back to them multiple times or is it generally like, now you've got an idea of like, exactly what you might want from the research that you've done. [00:30:09] Speaker D: I think you become a little bit. As you become more experienced, you understand more. A lot more what you do and don't want to take in your pack. And I think that would help me for future locations. But for the book, often I would go down there for what I call a recce, which is a. I don't know if that's only a military term, but it. I would often go down with either a 28 to 300 on the old D850 or I would just go down with my phone. And with the different focal lengths you can get on the phone, I was able to find out, okay, I think I'm going to need this lens or that lens. So that when I came back, I had those lenses with me. The more difficult ones were I have a 19 mil tilt shift. And that was useful in a couple of the locations that are really challenging to get a good image. [00:31:14] Speaker C: Yeah. [00:31:14] Speaker D: Just because of how close you are to the waterfall. If you've been there, you'll know how difficult razorback is to get a really great image because how close it is on one end to the shoot location and how far away on the other end of the rock island it becomes. So I found to get the entire razorback in one shot, the 19 mil using the shift function was actually the most useful because I didn't want to tell people to go to one of the angles that I know can be taken. But you have to hop over fences. [00:31:55] Speaker C: Yeah. I guess you can't really be. [00:31:58] Speaker D: That's exactly right. [00:31:59] Speaker A: Yeah. [00:32:00] Speaker B: Yeah. [00:32:01] Speaker D: So I was looking for the best. [00:32:03] Speaker B: Yeah. Guide for how to get great photos along the Great Ocean Road without doing anything dangerous or stupid. [00:32:10] Speaker D: Oh, not necessarily. [00:32:16] Speaker B: Yeah. Is there like, out of five you've rated each spot how dangerous it is to get the good photo? [00:32:22] Speaker D: I have put some of the distinct dangers in the locations. So anything that. That's sketchy, I've definitely listed it. [00:32:31] Speaker B: Yeah. [00:32:31] Speaker D: But it's the. If there was infrastructure in place. So if there was a fence in place, I didn't want to encourage people to jump it. But a lot. A lot of the locations, particularly near Port Campbell, have no infrastructure in place. [00:32:46] Speaker C: Yeah. [00:32:47] Speaker D: So they. You just go. Come to the end of a road and there's the cliff. [00:32:51] Speaker B: Yeah. So fall off. [00:32:54] Speaker A: Yeah. So, Sam, tell us who. Who is this book for? [00:32:59] Speaker B: Yeah. [00:33:00] Speaker D: Whether it be anyone that sells. Sorry, anyone that owns a mirrorless or digital slr, anything that you can change your focal length and potentially one that you can add filters to, is anyone who wants to go to the Great Ocean Road with that camera and take great images. But I guess also if you've got a relative that wants to travel in that region, there's nothing. There is no guidebook out there that will tell you. Listen, here's a hundred odd places just to go and check out. Even if you've got just a phone to take your photos and it's got a photo of the location and tells you what time of day is best. [00:33:44] Speaker C: Yeah, it's pretty helpful. [00:33:46] Speaker D: So for those sort of people, it's ideal. [00:33:51] Speaker B: Brett Wooderson in the comments says. Hey, Brett says. Samantha, does your book give readers an idea of the fitness needed for various locations along the road? [00:34:00] Speaker D: So I've all of the tracks have got the length, so the distance that you need to return to the car park, the amount of stairs that you need to go up and down, and also how difficult the track was graded. That being said, all but a couple of the locations, particularly if you've got hiking poles, I think it's achievable for almost anyone. It's just going to take longer. [00:34:29] Speaker B: Yeah, yeah. So rather than you giving sort of a recommendation of a fitness level, that can be a bit. It can be a bit subjective, depending on what you say you've just said. All right, well, this is the distance, this is the steps. And people can kind of make their own judgment call based on the distance and how much of up and down, because it's probably the steps that are really one of the most difficult things. [00:34:49] Speaker D: And the soft sand. [00:34:51] Speaker B: Yeah, that's true as well. Yeah. [00:34:53] Speaker D: So some of the beaches have really soft sand and I've made sure I'd listed those because, I mean, anyone that's got a bad back will know slugging a camera back over soft sand is a nightmare. [00:35:06] Speaker A: Yeah, yeah. [00:35:08] Speaker C: Have you done the maths on how many stairs you counted? [00:35:11] Speaker D: Oh, my God. I don't want to know. [00:35:15] Speaker C: Like, it's a lot of stairs. I just saw one popped up and it was 201. And I was like, well, that's. That's one location. Well, 151 other ones. [00:35:23] Speaker D: I don't know. I thought what I'd done was. Was bad enough, but then I. I went on a walk with a group of Lumix shooters to the Blue Mountain. [00:35:33] Speaker A: Why would you go with him? [00:35:34] Speaker D: I know just a week ago, and they were going to do Grand Canyon, but it got rained out with the weather here and they said, oh, we're doing the rim walk. And I thought, great. Rim walk means I don't need hiking poles. I can bring my assistance dog because he won't be like, we're not trying to navigate down any really steep tracks or anything. And 110 odd flights of stairs later, which is what my watch was telling me, I could barely move. So I think that was far worse than anything I did. There was nothing anywhere in that range that I did. There are heaps of other waterfalls and that didn't make the book because there's no trail at all to get into them. There's heaps and heaps of waterfalls in the otways and there's been a book written already about them. Not the photography aspects, but it's quite a thick book as well and it gives GPS Coordinates and people who want to navigate using a GPS or map and compass and bush bash should check that book out. But if you want to do photography. Yeah. Even stuff like all the different ways to take to the air. So I used a drone, I used a biplane. I did two doors off helicopter flights, two doors off light aircraft flights in that period. Learning what's the different ways that somebody can get to the air. Because a lot of the places there's no drone use because it's all national park. And so you go, well, what are your other options? And biplane was a lot of fun. My God, that was fun. [00:37:27] Speaker C: But is that something like go to look amazing? [00:37:30] Speaker B: Is it something that you can do? Anyone can do any like can. Can go to this place and pay to go up. It wasn't something that you. Yep. So. So I could pay to go up in a biplane. [00:37:40] Speaker D: And I've given you all the information. [00:37:42] Speaker A: Extreme like a lucky straps or the camera life flag from the, from the back, make it immediate. [00:37:48] Speaker B: I want to do the one where you stand on top of the wing, you know, with you're in that frame thing. I thought, listen here, Tom Cruise, I. [00:37:54] Speaker A: Don'T think that's going to happen for you, mate. [00:37:55] Speaker B: I'll hold you in front of me, Greg. I mean you can do. [00:37:57] Speaker D: You know those wings are made out of fabric, don't you? [00:38:00] Speaker B: Yeah. What's that? [00:38:01] Speaker D: Those wings are made out of fabric. [00:38:04] Speaker B: Yeah, I changed my mind. I'll do the helicopter. [00:38:06] Speaker A: Yeah. Sam, just to recap. So with. With the book and for anyone that's watching, listening along at home live with us, thank you. This is the Camera Life podcast, the random photography show. Or if you're watching this later on, check out the links. We're going to leave a link and we're going to get to that link in just a moment. But just to recap what's in the book for people listening along. So you've got how to get to these locations, facilities available at the car park, which is often really important because, you know, sometimes after a long car ride you don't think, oh well, when I get there I'm going to then hike into the wilderness potentially. What do I need? I'm going to need to fill up my water bottle. I'm going to need to, you know, so it's good to have facilities. The distance difficulty and walk time required to reach each shoot, the ideal time of day, the weather and tide conditions, which is really important. And that's another safety aspect that I think the book covers because all too often we see these stories I don't know how many times recently because we've had a lot of strong winds and floods and especially in Queensland and New South Wales, people's four wheel drives being buried in sand on the beach as the tide comes in. Like you see it a lot other safety concerns around that specific area so you know, hazards to look for and things like that. Specific equipment required. A photography rating, 1 to 5 stars as to how good this spot is and what you can do with it. Shoot notes let you know whether you can bring dogs which obviously for someone like you Sam, that's really important having a service animal. [00:39:32] Speaker D: And also can you irrelevant for me because I'm allowed to bring him anyway. [00:39:38] Speaker A: I know, I know, I'm just saying just for people with dogs in general. Sorry, I didn't mean to. Yeah to dismiss that there and also around the, around the, the drone flying which we've just discussed. So Sam, this book at the moment it is currently it's still pending. You're in the process of backing it on Kickstarter? [00:39:58] Speaker D: Yeah, so I've probably spent about 60,000, 70,000 to date, but it's been over a period of time and now to bring it to the last hurdle is another 30 to $40,000 to get it printed. There's no print on demand for a book that's 750 pages and a four sort of dimensions. So there's no other options to bring it into the quality of print that it deserves without doing offset printing overseas. So I have a Brisbane publisher that has everything ready to go and all we need is another 25,000. I think we've got 25,000 in a month to essentially pre sell books. So the way Kickstarter works is you essentially buy a book, an ebook, whatever you like, a package, and you say I want to buy this book. I understand that I won't get it for say three to four months but in return the creator gives you a discount usually or throws in something for free and you just realize you're pre ordering that product. But the only problem is that Kickstarter says, well you have to as the creator has to have to tell me how much your, your creation is going to cost to completely fund. And if you don't get that money, if you don't get to that you obviously can't go ahead with your project so you're not going to get a cent of that money. [00:41:37] Speaker B: So it goes back, goes back to everybody if it's not. [00:41:40] Speaker D: No, they don't even take it. [00:41:42] Speaker B: Yeah, yeah. [00:41:45] Speaker A: So These pledges are cancelled. [00:41:47] Speaker B: The pledges are canceled, yeah. So if people back this project and it doesn't get fully funded to where you can make it happen, it's not like anyone's out of pocket. It's not a. It's not a gamble. It's. It's either all in or don't worry about it, kind of. [00:42:01] Speaker D: That's right. [00:42:02] Speaker A: So there's a couple of different versions or rewards as they call them on Kickstarters available. You've got just the ebook version on its own, is that correct? [00:42:10] Speaker D: Yep. For $39. [00:42:12] Speaker A: Yep. You've then got the, the unsigned version of the book at $79. Then you've also got a signed copy by yours truly. You've got a couple of different tiers. You've got a bronze tier which gives you. Is that the ebook and the physical. [00:42:30] Speaker D: Yep, that's correct. [00:42:31] Speaker A: Yep. And then you've got a silver tier which is that two copies? [00:42:35] Speaker D: I think so that sounds about right. And an ebook, I think, and the ebook. [00:42:39] Speaker A: And then you've got a signed collector's edition. That's kind of sweet, isn't it? [00:42:43] Speaker D: Yeah. So that's a completely different book. So it's, it's the original book with about. I think it's 32 extra pages with additional images, a lot of aerial images. There's a bit more personal stuff about working with an assistance dog. [00:43:01] Speaker A: Yep. Coverings from ptsd. [00:43:03] Speaker D: Yep. Yep. And it has a fabric cover with a slip in box. [00:43:11] Speaker A: Yep. [00:43:12] Speaker D: And premium like a. Where they build a stamp and they put a stamp and an input foil in it like you would for a wedding. [00:43:21] Speaker A: We know, we know a few things. [00:43:22] Speaker B: About stamping things we've stamped a few things with. [00:43:26] Speaker A: Don't you worry, Jim, Jim's fingers are burnt to little scubs as a result. But you know, Jim will be doing. [00:43:32] Speaker B: It tomorrow morning, hopefully. [00:43:33] Speaker A: Yeah. [00:43:33] Speaker D: But I do need to emphasize one thing on this, that postage is extra. So that's probably where I'm having the biggest issue that people don't understand that there's literally next to. No, there's very little markup in this, in these books. So I want to make it as affordable to as many people. But to do that, Kickstarter also says, well, what's the postage going to be? So if I was only shipping to Australia, it wouldn't be a problem. I could just build that into the cost. But because I'm shipping to a number of places around the world, shipping is always going to be extra. And a lot of people come to the cart and then they go, oh, you want to charge me for shipping? Oh no, I don't want that. There. [00:44:19] Speaker A: Yeah, you, Sam. [00:44:20] Speaker C: Yeah. [00:44:21] Speaker D: Seriously, you're killing me. But apart from that, I think we. [00:44:26] Speaker A: We'Re in a world. Sam. This is. I mean I'm not going to try to mansplain. You'll tell you how to suck eggs. From my evaluation I see that, you know, we live in a world where Amazon can afford to ship for free and a lot of the stores that we deal with now can afford to ship for under 10 bucks because they have volume behind them and they build it into their, you know, they build it into their fat and you know, into their. [00:44:48] Speaker B: People knew how much we spend on shipping to send camera straps outside of Australia where we include, we include free DHL Express. I don't think anyone knows how, how much that costs. Yeah. [00:45:04] Speaker C: And we're shipping camera straps, not books. Not 750 page books. [00:45:08] Speaker A: It's not a big heavy book. What does it weigh, Sam? [00:45:11] Speaker D: Just under three kilos. [00:45:13] Speaker C: Do you have a copy? [00:45:16] Speaker D: I don't have a copy. No. I can't get one. [00:45:18] Speaker C: Can't get. You can't even get it like a pre. Pre. I don't. They don't do that. [00:45:26] Speaker D: The cost in offset printing is the setup. [00:45:29] Speaker C: Yeah. [00:45:30] Speaker D: So if I could buy 50, 000 copies. If you could fund that amount, you could make the price half that. Half the price that I'm selling for now. But it's really very much. The, the setup cost is so expensive, which is why they won't do on demand sort of printing. They just can't do the quality. They can do a really cheap digital and it looks shite. [00:45:53] Speaker B: Yeah. Do you know anyone that works in a large organization or maybe a government department? You can just sneak in there, use their like photocopier card and just print off a few, a few copies. You know, that might take a while. [00:46:07] Speaker D: Not a bad idea. [00:46:08] Speaker A: Yeah. I must admit, everyone, I have the, the privilege of looking at a, like an early version of the ebook and it's all looking smashing. I can't believe how much detail you've managed to incorporate into this book, Sam. There's. Every page is, you know, it's, it's. If you love technical photography and you want to learn everything about landscape photography and you're quite happy to learn about it in an area like the Great Ocean Road of the Otways. And this, this is definitely the definitive guide for you. So Sam, you've got a month there. [00:46:42] Speaker C: I could only see what Was on the website, obviously. But even just like the. From the plane, you said in one of the. In, you know, be careful, the exhaust, the plane exhaust goes out here. So you will get a blurred image where the heat from the exhaust, which you just wouldn't think about before you get in the plane. You get home and you go, oh, if I had have known that. But you've put those little things in those little tips that I think people will appreciate. Because I wouldn't have thought of that at all. Maybe you would have seen it when you're shooting. Probably not because you're bouncing around in a plane and you get home and you go, oh, that's frustrating. I've got this little blurred spot down the bottom. What is it? [00:47:16] Speaker A: Whereas. [00:47:19] Speaker C: Yeah, yeah, you go in with that. [00:47:20] Speaker D: I tell you, that doesn't make. Stop me from making stupid ass mistakes. The reason I did two doors off plane flights. The first one I went to shoot to set my. I had two bodies and the one that had the 70 to 200, I went to set at 1 over 3 20th of a second shutter speed and end up. Oh, sorry, one over 320. At 3:32 hundredth of a second. [00:47:55] Speaker A: Yeah. [00:47:56] Speaker D: And I set it instead at 1 over 32,000th of a second which I didn't even know my camera was capable of because none of my old ones were. [00:48:05] Speaker C: Yeah. [00:48:07] Speaker D: At 8,000 and now it's. And so now all these images that had the beautiful light have ISOs of like 16,3200. And with the 40 odd megapixels, you're not getting the same clean file that you were at say 16 or 18 megapixels, 22 of the D5. So that even with noise reduction software that everybody loves to rave about nowadays. I don't personally, just me personally, I don't think the high noise capacity is quite as good as it was in the digital SLR era. [00:48:48] Speaker B: The D5 was a killer for high ISO. I love that camera. It was. [00:48:53] Speaker D: The D4S was even better because I had mine stolen and replaced with a D5 and I was disappointed. I went back to Nikon and said, hey, is there something wrong with my copy? Because it's not as good as the last one. [00:49:11] Speaker B: They were good cameras. Really good cameras. [00:49:13] Speaker D: Oh yeah, yeah. Built like a tank. [00:49:16] Speaker B: Exactly. That's so impressive that you've been able to pull such a big thing together. So I assume it was. You had to have it designed by like, does a graphic designer put it together? Yeah. [00:49:30] Speaker D: So there's a whole team at the Publishers that were putting it together, and I feel sorry, actually, for. The publisher was Clark and Mackay up in Brisbane. And, oh, my God, it's taken a year and a half to get to this with the publisher. And the word bit was edited and done within a month or two. Max. [00:49:50] Speaker A: Yeah. [00:49:51] Speaker D: It's been all the layout has been since then. And I feel sorry for this guy because he had no idea what he was committing to and he committed to a fixed price up front, and he hadn't designed any book like this, and I had no concept on how bad it was going to be. And so he ended up charging me less, I think, for the word editing than the. The design. And we've spent, I want to say, 100 times more on the design than the word editing. It's just been. I literally was up in Queensland for a month and I was coming down. I think I went down about five or six times for the entire day. And I sat with the. With the publisher moving shit around on a page to get it right. [00:50:44] Speaker C: Yeah, yeah. [00:50:46] Speaker D: It's a lot of work. [00:50:48] Speaker B: It'll be worth it, though. [00:50:50] Speaker D: Yeah. [00:50:50] Speaker A: The fruits of your label. Yep. [00:50:52] Speaker B: Yes. Well, we got to get it funded. We need to make sure we spread the word. If you know anybody, if you're listening, if you know photographers or people that want to buy gifts for photographers, if there's always that person that people say, what do I get for him? If you don't give him a lucky strike, get him this book. No, I'm kidding. [00:51:09] Speaker D: Missy came on board with offering to help promote the book. I did contact Nikon, but haven't heard back, but I guess I'm too small in the world of photographers to rate. A email back from Nikon. I wasn't particularly surprised. In all fairness, Nikon are. [00:51:30] Speaker B: They're a small team of busy people and sometimes it can be hard to. To get. Get a word back from them. [00:51:37] Speaker D: So there's only how many Nikon photographers out there? Like hundreds and hundreds of thousands that would love to deal with Nikon. [00:51:46] Speaker A: Yeah. [00:51:48] Speaker D: So it doesn't surprise me at all, but I've contacted 144 camera clubs to offer talks about the Great Ocean Road in return for just saying, listen, here's a bit of information about the book. If you could let your members know that for the next month. So the. I think it finishes the 8th of May. So I need to raise 25,000 by the 8th of May. [00:52:14] Speaker A: Yep. [00:52:16] Speaker D: Yeah. So a bit. I think I've worked it out. It's about 325 books. If they're the, the hard copies. Which is not a small amount in Australia. [00:52:27] Speaker C: No, no, it's a lot of books. [00:52:31] Speaker D: Yeah. [00:52:31] Speaker B: But there's a lot. Still a lot of photographers. [00:52:33] Speaker C: You put the book to the hardest part. You put the book together. [00:52:36] Speaker A: Yeah. [00:52:37] Speaker C: You've done the. [00:52:39] Speaker D: Which. Which is why you just want to cry when he's going. How do I let photographers know what's out there? [00:52:46] Speaker A: Yeah. [00:52:47] Speaker B: And it's tough to. And it's tough to get people to buy things that they can't see and touch as well. [00:52:51] Speaker D: Yeah. [00:52:52] Speaker B: Like, you know, selling Internet is, is not easy and it takes a lot of, you know, trust building. People worried they're not going to get it or what will it look good? You know what is it going to have the good information in it or whatever. It's not like they're in a bookshop where they can flick through it. But I think that's what doing stuff like this is a great idea because. [00:53:13] Speaker D: Once people, they can go to my website, on my website I do have a, like a PDF viewer where they can flick through some pages on the book. [00:53:23] Speaker B: That's a great idea. We'll link that if it's not already. We'll link it in the show notes of this episode. If you're listening back later. Otherwise I'm assuming if you google Samantha Olson photography. [00:53:35] Speaker D: Yeah. [00:53:36] Speaker B: And you'll find it to one that's got some very good wedding photography and stuff on there as well. [00:53:41] Speaker D: As long as you, you spell my last name right, you'll be okay. [00:53:46] Speaker B: O H L S E N. Yeah. [00:53:49] Speaker D: There's only two of us in the world. So. [00:53:53] Speaker A: Just on that, you know, it's a, it's, it's a project that's put together by a local photographer, someone who's clearly done the hard yards of work they haven't just googled like we talked about earlier. Use chat GPT to put the book together. You know, you've had boots on the ground to corner a military term. So you know, you've done the hard yards to get this to where it is. And I think there's, there's a lot of incentive there for people to back a project like this because not only do you get a great photography book to add to your growing photography book collection if that's what you know what you love doing, what you love collecting. But obviously it supports local which is something that we're really big about here at the Camera Life and at Lucky Straps as well. Being an Australian made, Australian owned brand. So what's next? [00:54:40] Speaker B: It Brings a project to life too, Greg. That's the other thing. It's like it's not just buying local, but it's like it might mean the difference, your book purchase might mean the difference between this thing getting funded or not. So, yeah, it's pretty cool. Yeah, get behind it. I was just gonna say before you move on to. For whatever's next on your plan, Greg, guess who just woke up with acid reflux at 3:30am in San Francisco? Hey, David, if you're still listening, I hope you can get back to sleep and if not, you know, hang around. [00:55:13] Speaker C: For a little bit. [00:55:14] Speaker D: Well, actually a fifth of the purchase of the book so far come from US viewers. So really you're, you're tuning in Just in time, David. [00:55:23] Speaker A: Yeah, I think it was meant to be, David. I think that's what we're hearing. [00:55:28] Speaker B: Nick on Fiend. I think he owns every Nick on that has ever been made. And who knows, maybe he'll want to come down to Australia and go along the Great Ocean Road. And if so, he might. Yeah, he might want to back a book too. [00:55:42] Speaker D: Yeah, why not? [00:55:44] Speaker B: What else have we got on the. On the plans for the random photography show tonight? [00:55:48] Speaker A: Well, we've got a bit of news to cover if you want to cover a bit of news. [00:55:52] Speaker B: Yeah, I like the news. [00:55:54] Speaker A: We've been talking about Nikon a bit. I don't know why, but Nikon just launched another camera today. Oh, the, the Z5 Mark II. [00:56:03] Speaker C: Yeah. [00:56:05] Speaker D: So it's meant to be exceptional. [00:56:08] Speaker A: I don't know much about Nikon other than they make with door stops. [00:56:12] Speaker B: Internet seems to be praising it quite a bit as the. Yeah, a lot of people saying, do you buy the Z6? What about 3 Mark III or Z52? So it must be decent because that Z6 Mark 3 is pretty good and. [00:56:27] Speaker D: A lot of people are taking it as a spare body. Like how I'm bringing two Z8s to Japan. A lot of people are bringing that as a second. Their second body and then they can also have that addition of the crop factor. [00:56:43] Speaker A: Crop factor. So the Nikon Z5 Mark II is a 1700, that's US 1700 camera. What does that equate to? About 14 billion Australian at the moment, given the way the economy's. [00:56:55] Speaker B: Man don't even look bad today, Don't. Oh, actually that's a good point. Hey, if you're listening to this and you're in the us, camera straps have discounted for you at the moment because our Aussie dollar is dropping so fast. You can probably buy. You can buy. We're basically giving camera straps to the U.S. but if the tariffs come in, we might be in trouble anyway. In the meantime, our Aussie dollar's plummeting. So you'll notice because of the sites on the prices on the Lucky Straps website will convert to your currency. But they're all based in the Australian dollar. So at the moment, the US prices will be coming down rapidly. [00:57:32] Speaker A: Yeah, yeah. It's all. It's all messed up. It's all a big mess and I'm not gonna. I don't want to get into politics. [00:57:38] Speaker B: No, it's not. [00:57:40] Speaker C: Bruce. [00:57:40] Speaker A: Bruce has said Greg is outside of his comfort zone if it's not Fuji. I take offense at that, sir. [00:57:49] Speaker C: Yeah. Because it's accurate. [00:57:50] Speaker A: Needed to sound outraged for a moment. So the Z50, it's coming out at the end of. Well, it's going to ship from the end of April and at least in the States and Australia would be around the same time. Yeah, there's not much else to say on that one, but other than. Yeah, it is getting some prob. Some positive views and opinions from people that have got early access to the new Z5 Mark IIs, which is great. It's good for Nikon. It's a, you know, it's a more affordable Z body. [00:58:20] Speaker B: This is really settling into that system with a good product range and a good. [00:58:24] Speaker A: It does seem to. [00:58:26] Speaker B: They brought that 35.1.2 out, which is also insanely heavy, but also gets insane reviews. And everyone seems to be loving it other than the fact that it is very heavy. [00:58:37] Speaker D: They are missing one important lens, but what is that? A 16 to 35, 2.8. [00:58:46] Speaker B: They don't have that. [00:58:47] Speaker D: They do not have that. I know a couple of people that are trying to adapt it onto their. The Sony one. Onto their. [00:58:55] Speaker B: Is that the 17 to. What one's that, Jim? [00:58:57] Speaker C: 17 to 28. [00:59:00] Speaker D: To 28. Don't talk to me about 28. That's not 35. [00:59:04] Speaker C: You can 35 or a 14. [00:59:08] Speaker B: That focus is good on the Nikon. [00:59:10] Speaker A: Yeah. [00:59:12] Speaker D: Still not 35. And it's not 2.8. [00:59:15] Speaker C: You don't need 35. [00:59:16] Speaker B: So. Okay, so they don't have an equivalent. [00:59:18] Speaker A: Sam's just shat all over your new purchases. [00:59:22] Speaker B: He hasn't bought one. [00:59:24] Speaker C: Yeah, that's true. [00:59:25] Speaker B: That's actually. That's also on the. On the list of things to. To talk about tonight, but we're really steaming through time with. [00:59:33] Speaker A: Let's jump on that one. Jim went to the effort to get the lenses out. And he does. You have to send them back soon, I assume, Jim. [00:59:39] Speaker C: Yes. [00:59:40] Speaker A: So tell us what you got and why and what are you doing with them? [00:59:43] Speaker B: Yeah, well, after the last. [00:59:45] Speaker C: The last podcast. Was it the last podcast when you got phone. I remember. [00:59:49] Speaker B: Yeah. [00:59:50] Speaker A: You. [00:59:50] Speaker B: You were online shopping during the last. [00:59:52] Speaker A: Yeah. [00:59:53] Speaker B: That you were on, I think, because. [00:59:55] Speaker C: Was it glean jump off? I can't remember what happened. [00:59:59] Speaker B: I'm not sure. [00:59:59] Speaker C: Someone jumped off and then I was shopping. Yeah. Anyway, I called Nickon after the podcast. This is Thursday at lunchtime, 12:30. I called Nickon. [01:00:08] Speaker B: And who answers when you. When you ring? Nick on. Who answers this one? Nickon. Hello. [01:00:15] Speaker C: Yeah, so that's what happened. And then Nikon sent me two lenses. [01:00:20] Speaker A: Jim's got a special number for those of you following along at home. [01:00:23] Speaker B: Yeah, photographers. Yeah. They get special treatment because they. [01:00:28] Speaker C: So, yeah, photographer. A couple of lenses sent out and yeah, to test out. So I did try. I used the 14 to 30 for most of the day on. I had a wedding on Saturday, so. [01:00:42] Speaker D: And what did you find that was like. [01:00:44] Speaker C: It was good. I usually shoot like 28, 50 and 105 is my sort of standard focal length that I shoot, so I actually shot a lot of wider stuff than I would normally. And. And for this wedding, it worked well. It. I don't. I don't enjoy zooms. I'm not gonna pretend like I did. I still prefer the primes. [01:01:09] Speaker B: I didn't send some photos more like you were. You were feeling you. Yeah. It didn't put you in a different sort of creative mood where you're like, oh, this is fun, or I'm getting different shots and I can. [01:01:18] Speaker C: Just. [01:01:18] Speaker B: A bit easier to hear. [01:01:20] Speaker C: Yeah, that. That bit was easier. But I. I do prefer the primes. [01:01:28] Speaker B: A big difference between F4 and F. 1.4. [01:01:32] Speaker C: Yes. Or 1.2. [01:01:34] Speaker B: Yeah. [01:01:34] Speaker A: 1 point. [01:01:35] Speaker B: Yes. [01:01:36] Speaker C: Yeah, yeah. [01:01:37] Speaker B: Big difference. [01:01:38] Speaker C: And even. I shot a lot on that day, actually. On my. I got the Tamron 35 to 152 to 2.8. I shot a lot of the day on that. And it was noticeably struggling in the backlit situations. Yeah. With contrast. [01:01:54] Speaker B: Yeah. [01:01:54] Speaker C: So we're. And. And I shot identical situations. The Nikon, the 14 to 30 lens. And it was. [01:02:03] Speaker B: It was. [01:02:04] Speaker C: Contrast was fine. And the. The longer lens, which I would have thought would have had better contrast capabilities was. [01:02:12] Speaker B: It is a. It's an often talked about weak point of that lens that it's a little bit soft in. Not soft. A little bit. Yeah, sorry. Flat in. Backlit. Situation. [01:02:23] Speaker C: Yeah. [01:02:23] Speaker B: Which you can usually boost a bit in lightroom. Pull the black. [01:02:27] Speaker C: Yeah. I've just had to add a bit of Dehaze and a bit of blacks and a bit more contrast than I would normally get it up to scratch. [01:02:36] Speaker D: Did you find it a bit wide, but 14 to 30 for weddings? [01:02:42] Speaker C: Yeah, a little bit, but I enjoy. I didn't shoot it all day at that focal length. Like, what's that, 20 mil? I'm just going through a couple of shots I shot with it. [01:02:53] Speaker B: Shot them all at 20 because that's the other prime. [01:02:58] Speaker C: This one's 14. 14. There's a few at 14 if you're 20. What's that, 20.5. Yeah. So did. [01:03:09] Speaker A: Did. But did it make you feel like Justin asked earlier? So did it make you feel kind of a bit more creative and a bit, you know, it's not what you normally shoot with. How did that feel for you? Did that feel uncomfortable or did that feel inspiring? [01:03:23] Speaker C: It was just. It kind of just felt normal. Like, I've. It didn't really. A couple of times I went to walk and then I was like, oh, I can just zoom. [01:03:32] Speaker A: But I guess, yeah, you're there doing a job. You're not there for creativity and arty farty stuff, are you? So you. I mean, you are. Don't get me wrong. Sorry. Don't get me wrong. You know what I mean? Like, you're not. You didn't get that lens to go. And let's see what creative shots I can get with. You know, it's. It's another work tool for you. Yeah, yeah. [01:03:50] Speaker B: But that's often the case. I don't know about you, Jim. That was always often the case. Like if we bought, say, a prime or something, like, it would. It would give you a. You know, when. When I first got that 105, 1.4. Like, it was. It just was. Yeah. How good is it? It was just. It was a whole new world. Like, so. So that day felt super creative because you're like, oh, I could do this, I could do that. And you're running around. [01:04:12] Speaker C: I can get rid of my every background. [01:04:14] Speaker B: Yeah, yeah. It doesn't matter where they stand. Everything is obliterated at 1.4. At 105 mil and it's tax shut. So gear can definitely put you in that spot. But I guess the other thing is, Jim, you've. You had a 16-35 F4 on your old system, so it's not like, yeah, you've had this kind of lens before, so it's probably not. Yeah, it's not that new to you. Did. Did you shoot with the 17 to 28? [01:04:40] Speaker C: No, I kind of forgot to. I just kept it on there. [01:04:45] Speaker A: So. [01:04:46] Speaker B: So you ran. Hello, Nikon. They're like, hello, yes, can you please. I need to. I need to borrow two lenses so I can test them. And then you forgot about one of them? [01:04:54] Speaker C: Well, no. So, Nikon, Nikon. When I called them, they said, hello, Nikon. The 14 to 30 is the lens to buy. It's an S line lens. It's a better lens than the 17. [01:05:06] Speaker B: And so you didn't even try the 17 to. [01:05:08] Speaker C: No, because I'm going to try it tomorrow on our shoe. [01:05:10] Speaker B: Okay. [01:05:12] Speaker D: I just want to know who it was designed for. Who was the 17 to 28 designed for? [01:05:18] Speaker B: I think it was designed for me because I'm going to buy the equivalent in the Canon system this week, I think. [01:05:23] Speaker C: Yeah, it's a lot. It's lighter than the F. Look, I don't have the grammage, but in the hand, it. It feels lighter than the F4 and it shouldn't grammage. [01:05:32] Speaker B: Is that like, tonnage? How many grams on that anyway? [01:05:41] Speaker C: Yeah, it's an SI lens. [01:05:43] Speaker D: Like, which one? What are you gonna do with 11 mil of Zoom? [01:05:48] Speaker C: That's 14 to 30. [01:05:50] Speaker B: I mean, it's. [01:05:50] Speaker D: It's not enough to 14 to 30. [01:05:52] Speaker B: More Zoom than a problem. [01:05:53] Speaker D: 17 to 28. [01:05:55] Speaker C: Oh, that one. Yeah. Sorry. Like, probably. I don't issue it at 17 to be fair. [01:06:01] Speaker B: Yeah, so. So I probably wouldn't bet. [01:06:04] Speaker C: Yeah, I wouldn't use it at any other focal length. [01:06:09] Speaker B: You're saying you wouldn't bother zooming into. [01:06:12] Speaker C: Well, my 16 to 35. I think I shot 98% of my photos at 16. And occasionally would zoom or do like. [01:06:21] Speaker B: And then when we're editing, I'd be like, jim, why. Why is there so much wasted space? [01:06:28] Speaker C: So you got room to crop. [01:06:32] Speaker B: Used to happen all the time when, like, we've been shooting the guys getting ready. And I'll be like, you've managed to capture the ceiling with the air conditioning vents in this shot of the groomsmen getting ready. And you're like, yeah, I don't know. I was at 6:30. Just crop it out. [01:06:49] Speaker D: You don't do wedding albums, do you? [01:06:51] Speaker B: Yeah, he does. [01:06:53] Speaker D: With all that cropping. [01:06:54] Speaker B: He's actually. He's actually quite a good photographer. [01:06:57] Speaker D: That's why he just. [01:07:00] Speaker A: I'm so glad you clarified that. [01:07:03] Speaker B: Just this one thing. [01:07:06] Speaker C: Why don't you look at. Look at the photo don't bring up the photos if you want, Justin, from the. And then you can have a look at the 40. [01:07:12] Speaker B: I haven't. I haven't downloaded them. [01:07:14] Speaker D: But that's why you want the 40 megapixels, right? So you can crop to crop. [01:07:18] Speaker B: To crop the ceiling. [01:07:20] Speaker C: I can show you what I crop. [01:07:21] Speaker A: You should just get a gfx. You should cross. [01:07:25] Speaker D: Or you could just zoom. [01:07:27] Speaker C: Well, yeah, or just take a step forward. [01:07:29] Speaker D: That would get rid of having to crop. [01:07:31] Speaker B: Hang on. Let me see if I can. [01:07:32] Speaker C: Yeah, jump. I can bring it up in Lightroom if you want. Yeah, I can show you what I've got. [01:07:36] Speaker B: Bring it up in Lightroom. Let's. Yeah, show us what you did. Let's roast some photos. I mean, let's look at your photos. [01:07:42] Speaker A: Let's review. [01:07:44] Speaker D: It can't be as bad as my mistake of taking a 800 flight and then setting the wrong shutter speed. So you're doing okay, at least. [01:07:53] Speaker B: That wasn't for a wedding, though. That would. [01:07:56] Speaker D: At least I could take the flight again. [01:07:58] Speaker B: Yeah, exactly. [01:07:59] Speaker C: Do you want to just look at the wides, or do you want to look at the whole day? [01:08:03] Speaker B: Ah, we can. You can. [01:08:04] Speaker C: Sorry, not a whole day. Half a sneak peek. [01:08:06] Speaker B: You can scan through some of the sneak. Mainly the wides, but. Oh, there's a nice black. I can see some of these here. I'm gonna. I'm gonna look at them on my computer. [01:08:13] Speaker A: Let's bring them up. [01:08:15] Speaker B: Critique them harder. [01:08:19] Speaker A: They're not. They're not terribly wide. [01:08:21] Speaker C: No, sorry. This was the Tamron. [01:08:23] Speaker D: That's not wide. [01:08:24] Speaker C: At almost 100. At 98. [01:08:26] Speaker D: Yeah. [01:08:26] Speaker C: So almost 105. [01:08:29] Speaker B: Send that wide back. It's no good. [01:08:30] Speaker A: What is that? That photo speaks. [01:08:33] Speaker C: So. So that's a corner. So they're actually not seeing each other. They're doing their vows. [01:08:37] Speaker D: It's the first. Oh, first look. [01:08:40] Speaker C: So not a first look. So they did their vows, but that's a corner of a wall, so they actually can't see each other. They're just holding hands on the corner. That's the corner you can't really see. [01:08:52] Speaker D: What, are they practicing their vows or what? [01:08:54] Speaker C: No, they're saying their vows. So they actually had really heartfelt vowels. Vows, but they didn't want to do it in front of anyone else because they knew that they'd be like, he is a little tear there. [01:09:04] Speaker B: He's also a celebrant. [01:09:06] Speaker C: Yes. [01:09:08] Speaker B: So he's. He's. Yeah. Quite familiar with weddings and vows and all that sort of stuff. [01:09:14] Speaker C: They did a Little shot of tequila. [01:09:19] Speaker D: Now. [01:09:19] Speaker A: That's awesome. I love this. [01:09:21] Speaker C: Yeah. And so no. So that was shot at 20 mil. So normally I'd have a 28 on and I would have not been able to get that. [01:09:28] Speaker B: Any crop at all. [01:09:30] Speaker C: Yeah, a little. [01:09:31] Speaker B: Show us. [01:09:33] Speaker C: Not too much, actually. [01:09:34] Speaker D: Oh, that's fine. [01:09:36] Speaker B: Yeah. [01:09:37] Speaker C: I thought I actually got rid of more. [01:09:38] Speaker B: Yeah, I was. I was. I was. Sorry. That's. That's perfectly sharp. So you used. So yeah, you used your zoom correctly. 20 mil instead of. Yeah, instead of shooting at 14. [01:09:50] Speaker C: And at the moment, I think I had the wide and the 35 to 150. So this was 40 mil. Wouldn't have been able to get. And so I was shooting this and no, I didn't get. I must have got rid of a shot. [01:10:01] Speaker B: For those of you listening back later on Spotify, there's one wide shot and then the other one is closer up. That's about all I can tell you. [01:10:10] Speaker C: Yeah. So, Sam, I actually shoot for First Kiss. I shoot with two cameras at once. [01:10:16] Speaker D: Yeah, me too. Me too. [01:10:18] Speaker C: Cool. [01:10:18] Speaker D: Yeah, yeah. It never has a wide angle on it. [01:10:22] Speaker C: Ah, okay. [01:10:24] Speaker B: Yeah. Do you do the. The double trigger holding both at once? Like, Jim's talking about where he's like, he uses both of his hands and. [01:10:31] Speaker D: Oh, hell no. Two cameras at the same time. [01:10:34] Speaker C: Yeah, yeah. So I run left hand. So I run my white. This obviously isn't a white, but I run my wide in my left hand. I pre focus it and then jam it up against my other camera and then can fire like this. And I. And I fire like this. So this one's pre focused. Doesn't matter. It's wide. So I have to crop it and straighten it sometimes and then sometimes. Yeah, so that. So this shot and this shot is the same, like second same moment, but two different cameras. [01:11:01] Speaker D: They say men can't do two things at the same time. [01:11:04] Speaker B: Well, technically, it's one thing. [01:11:07] Speaker D: I couldn't do that. [01:11:11] Speaker C: This one was actually pretty close. I didn't have to crop much. It wasn't too wonky. [01:11:15] Speaker B: Yeah, that's for a second hand. Like, you know, using that on your other hand, that's. That's pretty good. That's pretty well framed. I have that offset. [01:11:23] Speaker C: The D850 was a better. It had like, straighter sides and it worked better. The Z8 isn't quite. Doesn't work as well for whatever. [01:11:32] Speaker A: Like, you know those Velcro strips and you can stick one on each camera and they can just. [01:11:37] Speaker B: Does this make you a bit. A bit of Wood with a couple of quick release tripod plates on it. You can mount it up before the first kids. [01:11:45] Speaker D: Can't you get the. The brackets that allow you to do sort of 3D images? [01:11:51] Speaker B: Yeah, you can. [01:11:52] Speaker D: And they allow you to join two cameras right next to each other. [01:11:56] Speaker B: Yep. I think Jerry Jonas was the first person I saw do that and he had a 3D wedding album that the bride and groom put. Like the old school 3D paper glasses, you know, the red. And you've got what? You've got it. [01:12:09] Speaker D: I was there when he presented at WPPI this. [01:12:12] Speaker B: Yeah, that's when. [01:12:13] Speaker D: So they gave us all the little goggles and we put them on and watched. It was unfreaking believable. [01:12:20] Speaker B: It was pretty cool. [01:12:22] Speaker C: He's not doing that. [01:12:23] Speaker B: A while ago. Yeah, this was. [01:12:25] Speaker D: This is 10 years ago at least. [01:12:27] Speaker B: Yeah, it was very early on for this kind of stuff. [01:12:30] Speaker A: Justin, Canon question for you. You know how Canon made those lenses specific. They made a full frame and an APSC with the two lenses specifically for. What is it for like. Yeah, for VR stuff. Does that. Would that still work like an old school. [01:12:50] Speaker B: No. [01:12:51] Speaker A: You know, 3D kind of. [01:12:52] Speaker B: No, no. Look, there might be a way to make it work. Just curious. Natively. It looks. Have you seen what it looks like? It projects image. No, it wouldn't. It wouldn't. So you got to imagine it's making an image that can then be like digitally wrapped into a thing that you can look around in. But when it's projected, I'd be able to find it at some stage. But when you see one that has not been touched, the flat image on the sensor, you imagine you took that 180 degree image and just flattened it out. It looks weird as on the sensor. [01:13:36] Speaker A: And that's what you're getting. [01:13:37] Speaker B: You're not getting. You're not getting too. [01:13:41] Speaker A: Yeah, it's side by side images that are slightly. [01:13:43] Speaker B: No, but whether there's a way to do that. There probably is because you would have a lot of the data. [01:13:50] Speaker A: I mean it's an expensive, expensive lens to test it on, but to do that with. Yeah, yeah. [01:13:56] Speaker B: Sorry, Jim, we were chatting while you're looking at your images. Are there any. [01:14:00] Speaker C: I was gonna say this. This is. Well, and tell me what you think. So this one's actually got a massive like billboard in it and I had to get. Get rid of it with the new Photoshop on the lightroom. Sorry. AI. It's actually. [01:14:15] Speaker A: Wow. [01:14:16] Speaker C: Really? So we would have. Back in the day. [01:14:18] Speaker B: Yeah. So can you zoom in before you go in and out. So we can. [01:14:22] Speaker C: Yeah, one sec. [01:14:27] Speaker B: So this is. This was up there a billboard on some bricks. In between. [01:14:32] Speaker C: On some bricks. So back in the day, like we would have got rid of that in lightroom still, like I reckon I could do it. [01:14:37] Speaker B: I wouldn't have. [01:14:38] Speaker C: I just. [01:14:38] Speaker B: I would have. I would have just cropped it. [01:14:40] Speaker C: Yeah. [01:14:40] Speaker B: Way I would have spent that time trying to match. [01:14:42] Speaker A: What would you have done, Jim, back in the old days? Well, I would have copy and paste a brick and just build it back up. [01:14:51] Speaker C: No, I could have done it in. [01:14:52] Speaker B: Lightroom one brick at a time. [01:14:54] Speaker C: Justin and I were pretty good at. Yeah, we were pretty good at taking sections and kind of doing it without. [01:15:00] Speaker B: Because we didn't. We didn't like Photoshop. We just said we didn't have to go in Photoshop. We'd spend half an hour doing spots from different areas trying to rebuild something that someone else is doing in. In 30 seconds in Photoshop. [01:15:14] Speaker C: Anyway, sorry, that was pretty clever. [01:15:17] Speaker B: So it just did it. Did you have to tweak it or anything? Did it or did it just get it right? Pretty much, yeah. [01:15:23] Speaker C: Well, I selected. Was there. I varied it because the bricks weren't right. [01:15:30] Speaker B: Okay. Yeah. [01:15:34] Speaker A: Is that the gallery at. Out the front of Bendigo, the Capital? [01:15:37] Speaker C: Yeah. So next to the gallery? [01:15:39] Speaker B: Yeah. [01:15:39] Speaker A: Okay. [01:15:42] Speaker C: This is 14, I think. 14 it would be. It's pretty wide. [01:15:46] Speaker A: Yeah, I love that. That's really cool. [01:15:50] Speaker B: It is pretty wide. [01:15:51] Speaker A: Would you get rid of that little. If you go back one, mate. See how there's that little isolated branch. No, the isolated branch popping out at. [01:16:00] Speaker B: The top directly above the. Yeah, I saw that too. Directly above the pole in the middle. [01:16:03] Speaker A: Probably pop that out. [01:16:04] Speaker C: But yeah, to be fair, I. I added these in about half an hour quickly before I had to get race to Jim and send it to the couple because they were. Yeah, they really wanted them. So they weren't as finessed as normal. [01:16:18] Speaker A: Fair enough. [01:16:20] Speaker B: Sounds like you, you've been in that situation before, Samantha, where couples are really keen. [01:16:25] Speaker D: I have, but I used to, as a surprise for couples, I would print off small wedding albums for them in black and white and stick them into these leather bound albums so that they'd walk away with an actual physical thing. [01:16:46] Speaker B: It's like we might have listened to the same podcast and things. We used to do that too. We used to print them on the. [01:16:51] Speaker C: Night for Canon selfie printer. [01:16:54] Speaker B: With the Canon selfie printer we used. Yeah. I don't know what printer. [01:16:57] Speaker D: What's a Canon little tiny Canon thing. [01:16:59] Speaker C: Yeah. [01:16:59] Speaker B: How good's canon? Pretty cool. [01:17:00] Speaker D: And you rip off the little tear off things on the side. [01:17:03] Speaker B: Yep. [01:17:03] Speaker D: Yeah. [01:17:04] Speaker B: And. And sometimes it just doesn't print very well. And you're like, why do these look terrible? And then you start troubleshooting and realize that it's defaulted to a different color profile and it's spitting out junk and you're in there trying to piece together this leather bound book and you're like, oh, they're cutting the cake and they run back inside and. [01:17:21] Speaker D: Yeah, I made it easy and made it all black and white. [01:17:24] Speaker C: Yeah, that's smart. [01:17:25] Speaker D: Even though I don't put black and white in typically in their wedding albums. But for the. This, it just. I didn't like the colors that came out of it. [01:17:33] Speaker C: Yeah, it was a tough little print. [01:17:35] Speaker B: The print. The colors weren't amazing. It was pretty bad. [01:17:39] Speaker A: This shot at the street photographer, this is absolute pure gold. Thanks. [01:17:45] Speaker D: The lady is amazing. [01:17:47] Speaker A: Just, I mean. So question. [01:17:51] Speaker C: Do I get rid of the power lines? [01:17:53] Speaker A: No, no, I'd leave them in. [01:17:54] Speaker C: So I shot. So this was. We would. The wedding was in the middle of Bendigo. No direct horizon to sunset. Sunset's actually a fair way to the right of the image. There was no clouds. There wasn't a lot of color. But I thought that the crest of the hill somewhere would work for us. And then this cathedral, massive Bendigo Cathedral, is just around the corner. [01:18:16] Speaker A: So the only thing I'd get rid of is the back of the stop sign on the right. [01:18:22] Speaker C: Yeah. And look again. Like I said, I added this pretty quick. I'd probably get rid of this sign now. [01:18:27] Speaker A: Looking at it too, I didn't see that. Yeah, I mean, I often shoot wide and I look for leading lines in my work for a reason. You know, it kind of talks about travel and. And space and time moving forward. And I love the way that this kind of sings to that a bit. You know, there's this. Yeah, it's kind of a crossroads almost. There's a lot going on, but in the middle of it, you know, they're lit. There's, you know, they've got everything in front of them. Like, I just, like, I just think it's beautiful storytelling. I think it's a gorgeous shot. You should be really happy with it. [01:18:57] Speaker D: I think Paul's right. The power lines make the shot. [01:19:00] Speaker C: Yeah, yeah. [01:19:03] Speaker A: Frame them. Yeah. [01:19:05] Speaker C: When I shot it, I knew that I had to. Yeah, I knew I had to frame them like that because if. If I couldn't get rid of them, they had to Be in the right spot of the. Like that to frame them. [01:19:15] Speaker B: Right. [01:19:15] Speaker C: But maybe I would get rid of it later. [01:19:18] Speaker D: I'd get rid of the power line that's running horizontally at the very back between them. [01:19:23] Speaker B: Yeah, yeah, yeah. But it's also. It's not a bad spot. Like, you could. [01:19:28] Speaker C: You could do it and have a look. [01:19:29] Speaker B: Because it actually does. So far, it's not cropping them. It's not terrible. So you could. Yeah, you could have a look and be like, oh, is it better or worse? Tell me this, Sam, this photo, because I've never used. I know what tilt shift lenses do, but I've never bought one. I've never really had the need to spend that much money on a tilt shift that I probably won't use much. How would this shot look on a tilt shift? Would it look weird? [01:19:53] Speaker D: Make it go wide again. [01:19:55] Speaker B: Oh, he's doing. What are you doing? Oh, you're doing. We're doing some AI removal. Right. [01:20:00] Speaker C: I just want to have a look. [01:20:02] Speaker B: We might get flagged on YouTube for AI content. [01:20:07] Speaker C: We'll delete that. [01:20:07] Speaker A: You would assume that YouTube's actually watching us, Justin. [01:20:11] Speaker D: So you see how that. [01:20:13] Speaker B: Hang on. Go back. [01:20:16] Speaker D: The church looks like it's falling over backwards. [01:20:19] Speaker B: Yeah. [01:20:20] Speaker D: So you would get rid of that distortion. [01:20:24] Speaker B: Would it look weird, though, because the power lines are in the foreground. Like, would it. Would it look better or worse? Or just. [01:20:30] Speaker D: I think it would look better, personally. But the problem you have to deal with is its manual focus. [01:20:37] Speaker B: Yeah, exactly. Which would be fine for this shot because they're not moving. Jim's not moving. [01:20:42] Speaker C: Does this work if we just crop, like. [01:20:45] Speaker B: Just do it. I assume a tilt shift does different now. [01:20:48] Speaker C: They look. [01:20:49] Speaker A: I don't like it at all. It looks. They look squished. [01:20:52] Speaker B: Yeah. [01:20:53] Speaker D: I think it was perfect how it was. I wouldn't have even, to be honest, got out the. I don't even bring the tilt shift to the weddings, to be honest. [01:21:03] Speaker B: Yeah. I was just interested to know whether that's a situation where you. Where. Where it would be useful or is it more just purely architectural sort of stuff. [01:21:12] Speaker D: But, yeah, I mean, you can use it in a much more creative way. You know how you can get that toy effect or you can really limit your. Your depth of field, but on an angle. [01:21:25] Speaker B: Yeah. [01:21:25] Speaker A: Yeah. [01:21:26] Speaker D: So you can really play with it. But you got to know what you're doing. Because they're a bit temperamental. [01:21:31] Speaker A: Yeah. [01:21:32] Speaker D: And our wedding days. Yeah. [01:21:34] Speaker A: It's not the time to be testing. [01:21:36] Speaker D: Definitely not. [01:21:37] Speaker B: Yeah, it is. [01:21:38] Speaker D: We do but even if you know how to use it well, it's, it's a time consuming thing to fiddle with, to get right. [01:21:45] Speaker A: Yeah, yeah, there's a, there's a YouTube that I watch. Sorry, Jay, go on. [01:21:52] Speaker B: Oh, Joe's the same. Bruce says it would look correct but less dynamic. Like tech. Technically correct. [01:21:58] Speaker A: Yeah, there's a, there's a YouTube channel that I watch. YouTube. Or maybe it's just on Insta and it's. I think it's called Tiny Tokyo. And someone films from a distance, streets of Tokyo and train lines and things with the tilt shift lens to make it look like a toy. [01:22:13] Speaker B: Oh, it's amazing. [01:22:14] Speaker A: It's so like you just sit there and watch it and just get so absorbed in it, trying to work out. Hang on, is it, is it, is it really, like, is that real? Are they real? Little tiny people running across the screen? Because they often will speed it up to make it look, you know, more extreme. [01:22:30] Speaker D: A camera manufacturer. Camera lens manufacturer that make the little toy versions of it. [01:22:36] Speaker A: Lomography. No, they do them. [01:22:40] Speaker C: Oh, like, is it lens baby? [01:22:42] Speaker D: Lens baby. That's it. [01:22:43] Speaker B: Oh, yeah, yeah, yeah, yeah, they do. They made one move it around. [01:22:46] Speaker A: Very similar ages. [01:22:48] Speaker D: Yeah, that's how I started using that and I loved the effect. And so now I take a tilt shift when I go overseas. So it's, it's made the list for Tokyo. [01:22:58] Speaker B: Really? You take a tilt shift overseas? [01:23:01] Speaker D: Yeah, 19. 19 mil. So I can use it, correct the perspective. Oh, it's a mangle. So, yeah, I would wait until I know what I want to shoot and then bring it out just for that time and then it goes back in the hotel room. Yeah, it wouldn't be with me every day at all. [01:23:21] Speaker A: You wouldn't want to stroll too far from your hotel room with it. Because once you hit the streets in Tokyo, you. You rarely go back to your hotel room. There's just too much to see and do and eat and, and experience it. The idea of going back and forth, but, you know, each to their own. [01:23:36] Speaker D: 24 to 120 will stay there. It'll be the one that's on the camera. 80 of the day. [01:23:42] Speaker A: Yeah, you've got it covered. Yeah. [01:23:45] Speaker D: I think Glenn. Was it Glenn. Lavender. You had on Glenn. Yeah, yeah. About. He was saying how without zooms, you just missed a shot. And I think he's right. [01:23:57] Speaker A: No, he's wrong. Anyway, moving forward, I am conscious of time. It is, it is approaching 9:00 here in, in Victoria and New South Wales. But now we're still on all the same time. Daylight savings is over. Queenslanders think that we're heathens because we change the sun somehow. A couple of things that I want to finish on. I would like to finish on. I don't know about you guys. I got notified today that Fujifilm Australia has just announced a new gig. And it's literally called a gig. Let me just bring it up and show you the GFX gigs 2025. This is a new initiative. I think they're using this. Hang on, why is it not adding? There we go. This is Fujifilm Australia, but they're using it to promote the new GFX that we've been talking about at length on the podcast because it is such a controversial camera. It is still very controversial on socials. Some of the noise has died down, but there's still some, you know, there's a couple of different camps about its value and it's worth. [01:25:04] Speaker B: I read an interesting one today about it. [01:25:07] Speaker A: Did you? [01:25:07] Speaker B: No, I did. All right, before we get to that, saga continues. [01:25:12] Speaker A: Oh, it is a saga, but they are running these shows, these gigs, as a means for photographers to get involved and test this new gear, test this new camera. The first one is a fashion shoot at Melbourne. I think it's in Melbourne, the Australian Fashion Week. I'm pretty sure it's being that part of. It's being held in Melbourne. There's a landscape shoot up on Mount Kosciusko and then there's a Opera Australia event that you can shoot. So these, these are three separate gigs, obviously taking place over from May to July. And basically they're treating it like a job. So you apply, there's an assignment, there's. There's cash rewards or paybacks. You get accommodation if you get included, return flights. Oh, I should have read this more thoroughly. Maybe I should apply. Yeah. Hang on, I gotta go. No, I'm joking. [01:26:06] Speaker C: You better pay for it. Japan trip. [01:26:08] Speaker A: Well, no, that's Justin's job. We talked about this, Jim. We talked about this when Justin wasn't around. Anyway. Joking. Justin, we don't talk about joining or around, but yeah, this is what Fujifilm are doing. They're introducing these new gigs. I think what's. What's kind of, for me, what stands out the most is the fact that they managed to get a hipster on top of a mountain wearing dress shoes. So, you know. Yeah, clearly. Clearly an influencer, professional photographer there, that one. And he's a ginger too. [01:26:38] Speaker B: So, you know, I wonder who they're trying to appeal to because that, you know, that in no way appeals to me. It's interesting because I just, I wonder, you know, for a GFX shooter, is this appealing in any way? You know, maybe for an X series shooter like, like a, you know, uni students studying for, you know, like they're not buying GFX's is what I mean the GFX is a very expensive. [01:27:07] Speaker A: Yeah. [01:27:08] Speaker C: I mean get to try the camera. You say it's not for people that own them, is that right? It's for to come and try. [01:27:13] Speaker A: Understand I only just got this as we were going live celebrate the launch of the gf. Jews are looking for three photographers. Sorry, so it's only just for three photographers. So this is why I should read things before I start talking to experience a new camera with three all expenses paid photography assignments, one assignment per photographer. So basically I think you submit a folio of work, you've got to prove that you're kind of worthy. You've got to provide some feedback and some proof that you can actually. [01:27:42] Speaker B: You. [01:27:42] Speaker A: Know, that you've got reach. And I think they're looking for new influences, to be honest. [01:27:45] Speaker B: Yeah, that's what I was wondering whether it's. It's. It's not so much about attracting the potential GFX buyer, it's about attracting a GFX influencer. [01:27:54] Speaker A: But if you're a Fuji X shooter and you do you do a good job on social media or you're, you know, you're an influencer, you're a travel photographer or whatever you may be and using X100VI or whatever future camera you're using and if you've got some merit then this is a, this is an ideal opportunity. [01:28:11] Speaker B: I mean you'd be crazy not to apply. Like it doesn't cost anything to apply. [01:28:14] Speaker A: So I don't believe it. [01:28:16] Speaker B: If you've. Yeah. If you've got the. What. What they require to apply. Yeah. And you know a reasonable quality of work in that. [01:28:24] Speaker A: Yeah. And look, they choose three photographers but potentially they're getting information for another 10,000 who could potentially help promote this product in the future. So you know, it's not without its benefits to Fujifilm anyway that's just, that's just the latest we will be joined. Not this coming, not next Monday, the one after. Or is it this one? [01:28:47] Speaker B: I don't know. [01:28:48] Speaker A: Anyway, John Street's coming to join us. Our friend John who's been on the show before. John was one of the first, I think one of the first people in non Fujifilm employees in Australia to get his hands on the gfx. He was part of the GFX project and he's a street photographer. He's coming on the show in a couple of weeks to talk about that experience of what it was like to actually be invited by Fujifilm Australia to be the first to get your hands on this camera, to actually be part of the marketing campaign, to run some workshops, to run some events, to, you know, be a big part of their social media around the release of a brand new GFX camera. So it's a big deal for, you know, a street, a street kid like John and, you know, I'm incredibly proud of him. I think it's a huge achievement for someone who's not your typical pro photographer to be included at such a high level. [01:29:37] Speaker B: Hopefully we'll be able to look at, look at some of his images. I know whether we could maybe even get some of the files or something, you know, like just larger JPEGs or something. Because then we can zoom in while we're chatting to him and just see the. All the glory of the 100 megapixels. Completely unrelated, but Bruce just made a comment. Do you think Greg could do an episode without mentioning Fujifilm once, like a challenge? [01:30:04] Speaker A: I know I mentioned Japan a lot. [01:30:06] Speaker B: I was gonna say, all right, I. [01:30:07] Speaker A: Don'T have a lot going for me. You see, I've got to cling to the past. [01:30:09] Speaker B: We will do a lucky straps trip to Japan funded by me with Greg, if he doesn't mention Fujifilm on the show before December 31 this year. [01:30:22] Speaker A: Come on, that's not fair. You know, I'm not going to survive that. [01:30:25] Speaker B: It's. It's tricky when your job is also to talk about the news of any cameras that are released. So that's going to be tough. You're going to have to talk in code or something. [01:30:33] Speaker C: There's a camera brand we can't. [01:30:35] Speaker B: A camera brand, but you all know. [01:30:37] Speaker A: Which one I'm talking. [01:30:38] Speaker C: Can't be named. [01:30:39] Speaker B: It can't be named. [01:30:40] Speaker A: It's like the. [01:30:41] Speaker B: Rhymes with smooji film. [01:30:43] Speaker D: I've got a question for Justin. [01:30:45] Speaker B: Ah, hit me. [01:30:46] Speaker D: Yeah, one of your lucky straps. [01:30:48] Speaker A: You. [01:30:48] Speaker D: I heard you say that they have a quick release function. How do they. What, what sort of quick release? [01:30:55] Speaker B: It's okay, it's. It's a quicker release than it is attach. I'll. I'll show you. I'll bring in Nick. [01:31:04] Speaker A: I've got one on a Fujifilm camera. If you wanted me to show you that. [01:31:08] Speaker C: That wasn't the R5 Mark II was it? [01:31:10] Speaker D: Hopefully it was one of those wooden cameras. [01:31:13] Speaker B: No, that. That was an F5 which as anyone that's had one will know that falling does not matter. [01:31:20] Speaker C: How's the house? [01:31:22] Speaker B: I think my floor is the floor, but yeah, it's fine. This is going to be hard to show in this lighting. I've set it up for drama, not for showing a quick release system. [01:31:33] Speaker A: Basically you're talking about the drama. [01:31:35] Speaker B: I can't see the. Hang on. [01:31:39] Speaker A: Here's one that's contrasty. [01:31:42] Speaker B: Some light on the situation here. [01:31:44] Speaker C: Who would have thought Greg would have the best light? [01:31:46] Speaker A: Hey, I don't know. Turn the light on. [01:31:49] Speaker B: Hang on. Oh yeah, Greg's onto it. [01:31:52] Speaker D: Okay. [01:31:53] Speaker A: All right. So Sam, this is the, this is the strap. This is my. It's my beef up strap. If you can see that. Sorry. [01:32:03] Speaker C: Anyway, custom embossing. [01:32:06] Speaker A: I wonder who did that. Some champion. So basically the quick release, it's a. It's an alloy piece of hardware. Okay. It's got a gate that pops open a bit like a carabiner. You'd be familiar with those. But it's also got a lock in here that stops the gate from popping open like a carabiner. It's completely locked. And so what happens is you can just slip this either through the staple stick, the staple type lug that's on your camera body. I don't know what Nikons have. [01:32:30] Speaker C: They have a little triangle. [01:32:31] Speaker B: They got the triangle ring. Yeah. [01:32:33] Speaker A: So, okay, so you just slide that through the ring and then you loop it through and you undo the lock and you. I'm sorry, this is, this is really hard. [01:32:41] Speaker D: No, no, no. [01:32:42] Speaker C: It's much easier on the camera. [01:32:44] Speaker A: Yeah. When you've got the weight of a camera. But these are, these are strong. These are slash proofs. [01:32:49] Speaker B: Greg's huge. [01:32:50] Speaker A: Look at that. [01:32:52] Speaker D: Do you have any that attached to the bottom of the camera so you. [01:32:55] Speaker C: Can attach it to like a tripod plate or you could. [01:32:58] Speaker B: Yeah, you could attach it to a tripod plate. Yeah. But they don't. They would have to. Depends how. So the way that I. Yeah, I do one often do one to the tripod plate and one to the side of the camera. [01:33:11] Speaker D: Like a QD mount or a screw. Screw in. [01:33:17] Speaker B: Like I, I use ARCA Swiss plates and just attach that strap just attaches to a normal. [01:33:25] Speaker D: I use the architecture plates too. [01:33:28] Speaker B: Yeah, but if you're. If you're talking about like that with an actual qd. [01:33:31] Speaker C: Little slots in here. [01:33:33] Speaker D: Yeah, the qd, like the little round one. The bigger of those round holes on the bottom. [01:33:38] Speaker B: So we. We have got some custom. With Jim's. Jim and me. [01:33:43] Speaker C: You might. You might notice that mine are heavily used. [01:33:47] Speaker B: Yeah. So we've got prototype QD straps that have been in the works for a long time and we just haven't brought them to market because we can't even keep up with our current strap range. But we have. Jim's got a dual strap. I've got a dual strap. A random guy in the US has a dual strap and they're the only ones that exist. [01:34:06] Speaker A: So some random guy in the US gets a dual strap and I can't get a thin strap for my Fujifilm. [01:34:11] Speaker B: I made it myself and that's right. [01:34:13] Speaker C: It's the best dual camera strap ever. [01:34:16] Speaker B: That no one has except for us. I haven't. [01:34:19] Speaker C: And I've. I've shot with it. I've shot a lot of weddings with it. [01:34:21] Speaker B: I was gonna say, how many weddings you reckon you shot with that? [01:34:23] Speaker C: I reckon I've had it. Is it five years now? Yeah. Would I've had it for five years? [01:34:27] Speaker B: Probably. [01:34:28] Speaker D: I don't think anything beats a leather strap, to be honest. [01:34:35] Speaker C: Have you got the QD clips like. [01:34:37] Speaker B: Yeah. [01:34:38] Speaker C: You know how fast they are in and out? [01:34:39] Speaker D: Yeah. It's awesome. [01:34:40] Speaker C: So the dual strap is. Literally has that. A lot of people will freak out because it doesn't seem like a lot holding the camera on. I pull mine in and out all day because sometimes I'm using my camera up high, down low, off my body. Put it down, whatever. Put it back in. Quick pull. I know that it's. It's safe. A lot of people would want to run a tether on theirs, but I. I don't and don't. [01:35:10] Speaker D: Yeah. No. There's only one thing. [01:35:12] Speaker C: Don't post this online. [01:35:14] Speaker B: Sell these. [01:35:15] Speaker D: It's missing one thing. [01:35:17] Speaker C: What's it missing? [01:35:18] Speaker D: Just a little bit of padding built into where the shoulders are. [01:35:22] Speaker C: It doesn't need. [01:35:23] Speaker B: It doesn't need it. [01:35:24] Speaker C: It doesn't need it. [01:35:26] Speaker D: Yeah, but it makes it better. [01:35:27] Speaker B: It tapers. No, trust me, it does this. It's. We've. I can put padding in there if you want, but it'll. Won't make any difference on the way they sit, but you definitely could. But. Yeah, it tapers out a little bit where the shoulders are, but the straps are really thin. Most of the people that make these leather, like dual straps make them too thick. You feel like a Clydesdale horse with. [01:35:47] Speaker C: All these romping around. [01:35:49] Speaker D: We even call it a Clydesdale. Well, the one that I've got is a Clyde. Yeah. [01:35:56] Speaker B: And that, that's the thing. It's like I felt the weight. This was half the weight of a similar but different one. Probably more than half the weight actually. Yeah. But yeah, it is really these clips that make the difference because of how fast they are to. Yeah. To use. Which you obviously know. Don't tell anyone. This isn't release. You can't buy. [01:36:16] Speaker D: So when are you making. [01:36:17] Speaker B: Email me. It's a long story. [01:36:19] Speaker C: We've been trying to make them for a long time. [01:36:21] Speaker B: It's a long story and too long for this particular podcast. [01:36:25] Speaker C: I. I ask him every week and. [01:36:29] Speaker A: I got the small strap for my Fuji camera. [01:36:32] Speaker C: You're on the back of the list, Greg. This is whatever I'm trying to get this thing on because I know it's. I know how good it is. Yeah, it'll send. [01:36:41] Speaker A: There's no doubt. [01:36:42] Speaker B: It's people like reset this shelf today and it. I've already. [01:36:46] Speaker D: And with the other companies all being U S brands now with the US dollar, no one's got any alternative. [01:36:54] Speaker B: That's a good point. [01:36:55] Speaker C: I hadn't thought about that launching tomorrow. [01:36:58] Speaker D: The brand that I have, I think it retails now. I want to say it would be over 800 Australian dollars now. [01:37:09] Speaker B: What? [01:37:10] Speaker D: That's. [01:37:12] Speaker B: That's outrageous. [01:37:13] Speaker D: I didn't buy it at that price, but that's what now if you look at the conversion rates like before it was. It's still in the 600 odd dollar mark. It wasn't cheap. [01:37:26] Speaker B: Yeah, well, I mean I'm sure it's good quality. Like yeah, it would be nice, comfortable as anything. [01:37:33] Speaker A: But it's not a lucky strap strap, is it, Sam? [01:37:36] Speaker D: Well, that's why I'm asking him to make it. [01:37:38] Speaker B: I'm working, I'm working. [01:37:39] Speaker D: I'm happy to buy Australian made and now with the US dollar in the toilet, even happier. [01:37:47] Speaker C: Yeah, well, I'll set a meeting for tomorrow. Sam, we're working. [01:37:53] Speaker D: I just found one more person to on Justin's good. [01:37:59] Speaker A: Look. I know. Is everything okay? [01:38:04] Speaker B: Oh yeah, the F5's fine. [01:38:06] Speaker D: Yeah, you can drop. You don't have to worry about Nikon cameras. I dropped my camera onto the Coliseum floor and the only thing I broke was the hood. [01:38:19] Speaker A: Are you gonna say the Coliseum floor? [01:38:21] Speaker D: Sorry, Hood. And the UV filter. It literally didn't stop a beat, just kept on going. Lens and body. [01:38:29] Speaker A: Yeah. Justin jumped in a pool with his a couple of weeks ago with his R5 Mark II and it's still working. [01:38:33] Speaker B: I assume there's a Canon, though. There's a Canon. [01:38:35] Speaker A: Canon. Sorry. [01:38:35] Speaker B: Yeah, but still, Nikon wouldn't be able to handle the moisture. [01:38:38] Speaker A: That's pretty impressive, you gotta say. [01:38:40] Speaker C: Fully dunked, fully submerged. [01:38:42] Speaker A: Next wedding, you're both jumping in the pool. [01:38:44] Speaker D: Do you know what I mean? People do with their cameras when they get salt water on top of them. [01:38:50] Speaker B: What's that? [01:38:50] Speaker D: I tell people to get your water bottle and dump the entire water bottle on top of the camera and then salt off. Yeah, to get the salt off. And then put your microfiber towel and dry it. And then that's happened twice with my Z8 and both times I've been able to continue shooting. Yeah, no downtime, nothing. [01:39:12] Speaker B: Yeah, the salt, it's more leaving it. [01:39:16] Speaker A: Like leaving it overnight. That's. That's where it's gonna. You're never going to recover from that. But speaking of recovery, I need some time to think about everything we've covered off tonight. We will wrap up. On that note, Sam, I just want to thank you for your time for joining us on the Camera Live podcast and for sharing with us not only part of your story. I know there's a lot more to it, but more importantly sharing with us your current project with your book. And I think, I think I speak for everyone. I generally don't like to do that, but I am a man. I do like to mansplain a photographer's guide. The Great Ocean Road in Otways is an excellent companion for anyone looking to travel through that region of Victoria and undertake some serious photography and get it right. Make the most of your trip. We're going to drop the links to the Kickstarter as well as your website in our show notes. And, and yeah, look, I think, you know, we wish you all the best. It's a huge project and a massive undertaking and as Jim said earlier on, you've done the hard yards. You've really put in the hard work and I think, you know, the proof is in the pudding. We just need to get some people's eyes on it so that you can get it published. So we wish you all the best. [01:40:34] Speaker D: Thank you, boys. [01:40:35] Speaker A: And if anyone watching or listening along alone along wants to get some more info, hit up the links and if you've got any direct questions, let me know and I can get them through to Sam. But on that note, I think we need to wrap up. [01:40:49] Speaker B: Yeah. Yeah, we've gone way past our. This was supposed to be a one, a quick one hour show every week is what I told the guys, and I don't think we've had one under an hour and a half yet. [01:40:58] Speaker D: Told me two hours. [01:41:00] Speaker A: No, that's the first day, so it could be up to two hours. [01:41:04] Speaker C: Greg had more Fuji content he wanted to pump in there. [01:41:07] Speaker A: Yeah. [01:41:07] Speaker B: Thanks to all of you people in the chat tonight, you've kept it lively and fun. Rick says, great show. Thank you, Samantha. Philip says, thanks, all. Good show. Thanks, Sam. Bruce says, thanks, Sam. Thanks, Justin. And Jim, begrudging thanks, Greg. That is the comment of the night. With that, I'm gonna. I'm gonna roll our song. See you guys on Thursday. Yeah. [01:41:35] Speaker A: Have a good week, everybody. [01:41:40] Speaker C: Oh, such nerds.