EP77 The Random Photography Show

[00:00:13] Speaker A: Kind of reminds me of the weekend. [00:00:22] Speaker B: It was a party weekend. [00:00:23] Speaker A: It was a party weekend. Well, good evening everybody and welcome to the Camera Life podcast, episode 77. It's the 12th of May, 2025 and we're coming to your earballs and eyeballs live from Victoria, Australia. G' day, Justin. [00:00:42] Speaker B: What's up, Greg? [00:00:44] Speaker A: Oh, you know, I'm still recovering. [00:00:46] Speaker B: I was gonna say you look a little tired. Do you have a big day on Saturday? [00:00:50] Speaker A: I'm a little peaked. I'm a little peaked. We, we got up to some shenanigans. We had arguably what was the best one day photography related event I've ever been to. Quite possibly. [00:01:04] Speaker B: It was certainly the most fun. It may not have been the most, you know, I've been to a few, few really good workshops and that sort of stuff. Intensive, you know, learn a lot, that kind of thing. This was more like high vibes and big surprises. [00:01:20] Speaker A: There was a lot of big surprises and of course we're going to cover those off tonight. For everybody watching and listening along, just a reminder that this is the Camera Life podcast. Bradley. Bradley. [00:01:30] Speaker B: Bradley. [00:01:31] Speaker A: Brad. Bradley. Who's Bradley? Proudly brought to you by Lucky Straps, makers of fine premium leather camera straps from Bendigo, Victoria Head to Luckystraps.com. check them out. Let us know if you have any questions. [00:01:46] Speaker B: If you want one, use code Justin. [00:01:48] Speaker A: Use code Greg. We've got some, we've got some stuff to get through so you'll notice that it's just Justin. Just Justin and I tonight. We, we're not, we don't have any guests. We've, we fired Jim. We've, we've, we've, we've banned Grant from the studio. So it's just Justin and I, we've got a few things to catch up on. We're going to read some, some feedback and comments from the chat from YouTube from the past episodes. We're gonna, we're gonna hit up some news. We haven't talked news in a little while. There's a few things been happening we're going to cover off the weekend, uh, which was a cheeky birthday surprise and a few other bits and pieces. Justin has a question on the, on our writing sheet says that actually says does size matter? So I'm interested to see where that goes this evening. But let's jump into the chat now and say g' day to everybody. [00:02:48] Speaker B: Yeah, there's, it's already, it's cranking. Good evening everyone. Good evening, Philip. Philip Johnson. Dave Digifrog's there. Jim is there. He's in the chat. He's not on the show, unfortunately, but he's in the chat. [00:02:59] Speaker A: We didn't fire him. [00:03:00] Speaker B: He'll be back soon. He'll be back. He's got things on. Busy man, Paul says. G' Day, Bruce Moyle. Good evening. Brett Wooderson, Tim Siamas, who we met on the weekend. Hey, Tim. And Paul says from the socials, the event last weekend looked like a bit of a celebration. It was. Well, some photos I shouldn't even prepare. I've got some footage I should. We'll see. I'll try and dig it out. Maybe I'll be able to show you guys a little bit of the chaos that it was. But the first thing we need to do is dig back into some of the comments from our YouTube channel over the past couple of weeks because there's been some doozies. We've been getting hit left, right and center chaos. People are hitting us up, telling us we're wrong about everything, which we probably are. [00:03:52] Speaker A: Yeah, that's all right. At least we're having a go. [00:03:55] Speaker B: So our first segment is viewer comments. All right, let me figure out how to share this screen. Yeah, I was going through these the other day and I need to reply to some of them, but I wanted to wait till I brought them up on the show because there's, there's a couple of crackers. So first of all, let's. A few nice ones. A few nice ones. Like, whoa, there's so many. You know, get all the good ones. Matt talks photography. He's in there all the time. Great podcast, fellas. That was on the Bruce Moyle episode. I'll leave that one for a minute. Oh, that was a bad one. Yeah, we'll get back to that. [00:04:42] Speaker A: We've got a couple of good ones. [00:04:43] Speaker B: Hey, no, there's no more good ones. Okay. All right, this is a. This was a good one. So this was on. We were chatting about the RF16mil 2.8. This is on a clip that I put up the Canon RF 16mm 2.8. [00:04:59] Speaker A: Talking about how it go. [00:05:01] Speaker B: Sorry, it's got, it's got some optical flaws most people would call them that Canon have decided to work with and then correct in camera to keep the lens small, light and cheap, basically because the 16mil 2.8 was. Was never a cheap lens. That was always quite an expensive Lens and they're 500 bucks or whatever, 360 in the U.S. but anyway, NGC 14339 days ago says you can pontificate about this however much you want. That lens is a scam. It produces worse Images than my 7 year old phone. Probably could get an entire budget class phone under its price with the same image quality. I was a Canon only dude before Canon went digital. This lens killed the last embers of my respect for the brand. At $360, it is a play in scam no matter how you look at it. [00:06:01] Speaker A: Wow. [00:06:04] Speaker B: At NGC 1433, I appreciate your opinion, but you are incorrect. It's actually a wonderful lens. I use it quite a bit. The image quality is far better than a phone. You're wrong. [00:06:18] Speaker A: But how much is it? How much is it? Australian. [00:06:21] Speaker B: Australian. It's 500 bucks. [00:06:23] Speaker A: Oh, come on. [00:06:24] Speaker B: It's a $500 full frame, 16 mil, 2.8 prime. Yes, it does have some distortion that gets corrected in camera. Yes, it's not the sharpest in the corners, but 500 bucks. It's very small and light and it's really, really good for what it is. And guess what? You don't even have to buy it if you don't like it. That's what's cool. You just leave it in the store. Just forget about it. This one is a little bit more, more sensible. Mr. Steve Gibb said it's technically, it's technically a 14 mil lens, then cropped down to 16 mil, which is probably pretty close, I reckon. I don't know if it's quite 14, but yeah, it's pretty wide. It's got a little bit of a fisheye distortion to it. And he says this, this type of stuff is what puts people off modern mirrorless cameras. I disagree. I don't know if it does. I actually think it probably attracts them to it. The fact that it's sort of small and light and pretty cool. [00:07:19] Speaker A: Yeah, it's an interesting. Because last, last time we talked about this topic, we talked about is it us? Are camera brands being lazy to put out, you know, optically impure lenses that they then rely on their cameras to fix or is it just part of the whole ecosystem and it really doesn't make a difference anyway. I don't know. [00:07:41] Speaker B: Anyway, this one's a bit more light hearted. This is on. This is on an episode from ages ago with Nev episode 25 way back and at Pete Mallow says, Nev, you should do a calendar of the full bibulum track, not just Denmark. With the number of small stores along the way that hikers and riders drop into. Could be something special. So there you go Nev. It's a tip. [00:08:08] Speaker A: There you go Nev. All Right, let's get into that. What's that one? A bit of BS here. [00:08:13] Speaker B: Oh, back onto the good stuff. Okay, so this was. This was on a clip about the Fujifilm GFX100RF. We're trying to get Matt Crummons banned from ever using Fujifilm gear by putting clips up of his opinion of the GFX100RF. And it was the. The clip was about whether IBIS is really needed and Matt kind of thinks it is, or that it at least should be included in a camera with that sort of sensor. And at that. [00:08:41] Speaker A: And just to clarify, even after several beers and a very long day with no sleep, Matt still refused to budge on that point the other day. [00:08:50] Speaker B: His opinion. And. And he is a GFX user now, which we might talk to him about on Thursday. Lover of GFX cameras. Just not this one. And this comment from avid walker2402. A lot of BS here. People have been using the much loved X100 for many years without any IBIs. How did those photographers manage to. Are you now saying cameras without IBIS are obsolete and have never produced sharp images? There is also a real difference in detail and absolute sharp. In fact, I see more photographers dumbing down sharpness because it's becoming ridiculous and this digital look is awful. My guess is none of you have even tested the camera. He's calling you a liar, Greg. He says you never touched it. Did you touch it? [00:09:42] Speaker A: I did. There are photos of me holding it. [00:09:45] Speaker B: Pretty sure Matt touched it too. [00:09:47] Speaker A: Yeah, well, you know, it's interesting because I think I've even got on my phone a photo of the Fujifilm crate that I wrote Matt, Matt. Matt Crummond's address on to forward to him. I won't show you the photo because it's got his address, but I tested it and then it went from me to Matt Crummonds. So yes, and there are photos of me actually using it. So I know you're calling bs, but. [00:10:13] Speaker B: I call BS on your BS on the bs. I should take this. Hang on, because there is. I actually forgot. I actually responded to this guy and then he responded to me. Anyway, so I responded in saying they did actually test the camera. Both Greg and Matt had it in their hands and he wrote back, well, maybe we'll see the video that shows just how the bad the camera is seeing they have tested it. I'll wait for that. And this is something I wanted to talk about. Not everyone that tests cameras has the time or inclination to make YouTube videos about it. And I think that's something that gets a bit lost in the YouTube world. [00:10:49] Speaker A: Yeah. [00:10:50] Speaker B: Because there are a lot of great reviewers of cameras and that's kind of the thing that they do and they make great videos about it. But there are also just photographers that get given cameras to test because of their. Whatever their skills with photography, their ability to. Whether they run workshops or something like that. And they don't necessarily make videos about it. So. [00:11:13] Speaker A: Yeah, let me just shake. Oh, no, actually, you've got a screen up. I won't bring up my screen, but if you had your shop kit and you look at reviews and you go to Fujifilm, pretty much all of those are mine. And every review has a photo of me actually holding the camera. [00:11:24] Speaker B: I think technically they're called propaganda rather than reviews, but, you know. [00:11:28] Speaker A: Yeah, puff pieces. [00:11:31] Speaker B: Puff pieces. Anyway, it was, it was, it was a fun little exchange in the comments, but what I thought was interesting. So his, his point was the X100 for many years has been used without any ibis, but guess what? Now it's got IBIS. The X100 now has IBIS. So what's your point? [00:11:55] Speaker A: Yeah, I don't get it. [00:11:57] Speaker B: Lots of new cameras have ibis. It's fair for someone to want it and it's also fair for someone to say you don't need it, but either way, what else, what else is in these comments? There's so much Nev's in the comments saying, I love the Fuji brethren. We defend our gear. When I was using Nikon, I never had the same strong loyalty. Nev, he doesn't know the rules. Whatever camera brand you buy, you have to immediately and staunchly defend it to the death, even if it sucks. That's. That's just how it is. [00:12:32] Speaker A: Yeah. [00:12:34] Speaker B: Tons of comments in here from the last few weeks. There was actually a few great comments and I got an email as well from. I haven't had a chance to reply to him. From David Leporardi, 1958. Few good comments about infrared hotspots, about why the lens will display hotspots in certain parts on the lens, and he actually sent me through some really good info on converting cameras. So I'm hoping to do an episode about infrared photography soon. [00:13:04] Speaker A: Cool. [00:13:06] Speaker B: Anyway, lots of comments. I think that's about it. [00:13:11] Speaker A: And no other. No other ones that I can get angry about. [00:13:14] Speaker B: Well, down south photo show. Geez, three hours of Tom Putt. Wow, that must have cost you a fortune. And same on Tom Putts episode. Felicity Johnson said, what a ripper of an Episode. Well done. See you next week, Tom, at your drone workshop in Tyrell, which I think is Lake Tyrrell. It's happening right now, I think. [00:13:37] Speaker A: Yeah, I saw a. I saw a clip on Instagram. I didn't get a chance to watch it, but I think he lost a drone during the workshop. [00:13:46] Speaker B: Ah, I think I saw that too. [00:13:47] Speaker A: I think I saw drone down. Drone down. Yeah, it does. Yes, that does. Nature. Nature of the beast. [00:13:52] Speaker B: But yeah. Also comments in here from Roger Highland. Always busy when you broadcast live. I think we've seen most of those there from a few weeks ago. [00:14:03] Speaker A: Yeah, yeah. [00:14:04] Speaker B: All right, all right. [00:14:06] Speaker A: Very cool. [00:14:07] Speaker B: Yeah, love it. Drop some comments, guys. [00:14:13] Speaker A: Tell us what you really think. [00:14:14] Speaker B: Tell us what you really think. Get off my digital lawn. Who is known as Tony is. In the comments, he says, how dare you have a different opinion to me. Yeah, that's. That's basically all YouTube comments. Yeah. Bruce Moyle. I was given a pre release camera from Nikon and I don't social and not even a Nikon user. Yeah, See, that's what happens. Like they just, they. Cameras get handed around to these photographers and they're not necessarily going to make content about it. They just, they just test it. Maybe they give some feedback, maybe. Maybe the camera brain just wants that photographer to try it and spread through word of mouth what they thought of it because people respect their opinion. [00:14:55] Speaker A: Yep. So the other thing I noticed too, Justin, is that especially on the weekend, just talking to other photographers and even some of our guests have made mention of just how many of them have. And you do too, and so does Jim and I do with Fujifilm. How many people have that relationship with a camera brand where they can borrow gear or get sent gear or can, you know, ask to test gear before they buy it? It's. It's quite, you know, it's quite common from what I've seen, you know, and that's all based on relationship building and, you know, all that sort of stuff. Engaging with brands and so. Yeah, very interesting. [00:15:36] Speaker B: It's not always necessarily to influence people to buy the camera, which is what you'll find most, most reviews do. Generally they pretty rarely tell you not to buy it. [00:15:49] Speaker A: Yeah. [00:15:49] Speaker B: So, you know, take it with a grain of salt. All right. You got any news for us, Greg? [00:15:57] Speaker A: Oh, yeah, got a few bits of news. Should we. Isn't there a jingle? There's a jingle. Cheer off your game tonight. Let me bring up the screen. [00:16:10] Speaker B: Oops. [00:16:10] Speaker A: What was I going to talk about? We haven't spoken about Fujifilm for a. [00:16:15] Speaker B: Bit hey, there's been so much other cool stuff getting released. We don't need to talk about Fujifilm. What about that crazy Sony lens that got released? Can we talk about that? [00:16:25] Speaker A: Yeah. So where did I see. There's an article here about Sony. I'm all out of whack. Here we go. Let's share this one. Sorry folks, I'm a bit slow tonight. [00:16:39] Speaker B: This lens that Greg's gonna pull up, I really. It's very interesting because for those of you that don't know, Canon brought out a crazy 28-70 f2 lens for their system. It's probably three or four years ago now for the RF system that showed everyone. Hey, time to start thinking outside the box when it comes to a constant f2 zoom lens. It can be done. Look at this. It's awesome. Super sharp, great lens, pretty heavy, awesome for events, but otherwise not, not the most amazing kind of general purpose lens just due to the size and weight and cost. But then recently Sony brought their own 28 to 70 out F2. Basically copied Canon because they're copycats from Ballarat and. But they made it much lighter and still sharp. So they kind of iterated on it and brought it to what could be almost a general purpose walk around lens of insane quality and F2. And everyone was like, okay, cool. So basically Sony's, Sony's seeing what Canon does and then doing it, I guess better. And then they did this. What did they do, Greg? [00:17:49] Speaker A: So they made themselves a 50 to 150F2GM. So it's a, it's a primo, it's a primo lens option. Let me just jump to the B and H page. [00:18:00] Speaker B: You're gonna buy one? [00:18:02] Speaker A: Definitely not. Although I just saw in the comments, Jim added a comment saying google Sony bodies. [00:18:09] Speaker B: Yeah, I mean if, yeah, if these tempted you, it could be a reason to switch. I actually heard of some sports shooters switching to the A1 mark II just to get Sony's. I can't remember which long lens it is. Have they got like a. A 200 to 500 F4 or something crazy like that? And yet people are switching. I can't remember. I'm not up with Sony. Long lenses don't have that kind of cash. [00:18:37] Speaker A: There's a 200 to 600. [00:18:39] Speaker B: It might be that one that people are switching for. [00:18:42] Speaker A: And that's cheap too. [00:18:43] Speaker B: Maybe that's. [00:18:44] Speaker A: Oh no, that's an F 5.6. [00:18:45] Speaker B: Yeah, 5.6. Anyway. Anyway, it doesn't matter. But yeah, so this thing, what is it? Four grand US Must be about a million dollars in Australia. [00:18:55] Speaker A: Yeah, it's about one and a half million Australian. It's got lots of fancy glass in it. It's. It's got a d clicky aperture. So it'd be good for video as well if you were so inclined. [00:19:08] Speaker B: Heavy though. Heavy and bulky. [00:19:10] Speaker A: Yeah. Let's look at how big it is. So it's. It's almost one and a half kilos. [00:19:17] Speaker B: That's actually. That weight is not bad. So that weight is not much more than the Canon 28-70F2. Like. [00:19:24] Speaker A: That's okay. [00:19:25] Speaker B: That weights right in line with the traditional 70 to 200 F4s from the DSLR era. [00:19:32] Speaker A: Right. [00:19:32] Speaker B: Sorry. 7202.8. Not F4s. The, you know, like you traditional pro 70 to 200. That weights right in line with that. Know what the dimensions are like. They're actually probably not far off it either. It just looks. It looks really bulky. Because of the 95 mil front filter. [00:19:48] Speaker A: Yeah. Because it's 102 at its widest. 102 millimeters wide or. [00:19:52] Speaker B: Yeah. [00:19:52] Speaker A: What would that be? What's a bit across the circle? Always get these wrong. This. [00:19:58] Speaker B: That's quite a word. And it's 200, so it's diameter. [00:20:02] Speaker A: Yeah. Thanks. Where did you get girth from? [00:20:07] Speaker B: I don't want to say. [00:20:08] Speaker A: Yeah, I don't say. It's quite boxy looking, isn't it? Like, it's just. It is solid. [00:20:14] Speaker B: It's a. Yeah, it's a solid lens. It's going to be. It's going to take up a lot of space in your bag and it's. It is gonna. You'll feel the weight of it. Even though it's not as heavy as I thought it was. But you know, for shooting weddings and stuff, that thing's gonna. People are gonna love it. Or indoor, indoor, like court sports, you know, like basketball and stuff like that. I can imagine it would be volleyball. Exactly. You don't need massive reach. It's got a good zoom range for that. Yeah, you could. I don't know. So Paul is saying 3900 US equals 6K Australian. I don't think so, Paul. I'm going to be like, it's 20,000. I don't know. It's just every time I look at the dollar conversion at the moment, it's getting worse and worse how many bitcoins it is. [00:21:02] Speaker A: It's a pretty groovy lens. Like it's. You know what would be. So if you were shooting weddings with this Sony and you had this 50 to 150. What, what else would you have in your kit? You'd have some, something wide. Would you go with the zoom or a prime on a second body, man. [00:21:20] Speaker B: I mean you could if you just wanted to keep it simple. I actually don't know what else Sony have in wider. [00:21:29] Speaker A: Not Sony, just in full frame. Regardless of brand. [00:21:32] Speaker B: Look, I. [00:21:33] Speaker A: Let's go. [00:21:34] Speaker B: Obviously, obviously something if, if someone made like a 20, a 20 to 35 F2 or something like that, that would be ideal. I don't think anyone but that would be the ideal pairing. Like a wide to normal, you know, 2020-35 F2 would be a really great pairing for this but otherwise, you know, you just throw your normal, you know, your 16 to 35, 2.8 or something on on it or have a prime that you like, you know, 24 mil prime. Depends. Some people like to be able to go really wide with weddings. I know also know some wedding photographers don't shoot wide and 35, so it probably depends on your personal preference. But generally those wedding photographers that don't shoot wider than 35, they usually aren't rocking a large zoom lens like this. They usually, they'll shoot like a 35, 85 or 3550 and that's it. So yeah, usually, usually photographers that will run something like this want, want something on the wide end. So I wouldn't surprise me to see a Zoom, you know, 16 to 35 zoom 2.8. [00:22:37] Speaker A: Yeah. If you're watching along in the chat, let us know what you think would be an ideal pair. If you're going to shoot two bodies, what would you go with? [00:22:46] Speaker B: Yeah, actually that's a good point. What would you go with? Bruce says useful for docker work. Competes well with the Fuji non cine lenses that are super 35 and don't do full frame. [00:22:59] Speaker A: Yep. [00:23:01] Speaker B: Tim Sciamma says 6800 RP in Australia. Maybe not jumping ship to Sony just yet. Yeah, it's a hefty investment. Philip says is that with or without tariffs? [00:23:15] Speaker A: It's hard to say. Really hard to know what's going on there. [00:23:18] Speaker B: Can't keep up. It's like the tariffs are moving faster than my bitcoin investment. [00:23:24] Speaker A: Actually just before we went live I think there was a news article that I'm not going to say his name but the tariffs have been ceased with China because American store shelves went empty very quickly. [00:23:38] Speaker B: I, I heard there was a 90 day. Whether it's a pause or a 90 day, they've rolled it back to just 10 or something, something like that. Anyway, can't keep up. Tomorrow's a new day, but there is a lot of news about price rises in various countries due to the, just the, the global impact of it. But yeah, can't keep up. [00:24:00] Speaker A: Yeah, there is a lot of that going on. I'm going to jump to another news article now just on that lovely segue there, Justin. [00:24:07] Speaker B: That's what I'm here for. [00:24:09] Speaker A: So Sigma has been the first to be very vocal about price increases due to American tariffs effective on the 2nd of June. So they're actually, they're not just sort of waiting to see what happens, they're just being very proactive about this and saying, hey, prices are going to go up, there's nothing we can do about it. But just so you know, they're saying, here it is, this is what we're doing. [00:24:34] Speaker B: Do you think there's going to be a new era of not necessarily gray market shopping, but like buying stuff while you're traveling? You know, back in the day where people used to be like, oh, I'm going on this trip, I'm going to buy something because it's cheaper in Hong Kong or whatever, you know, like that thing. Will that happen again, do you reckon? Or is everything so global now that they'll equalize the prices out and basically they'll just raise process for everyone because. [00:25:00] Speaker A: Of the us I think they'll always. I mean, it's just the nature of that, of the economy though, isn't it? Global economy, is it. Things are different, prices in different countries. And actually on Friday, before Justin and I caught up for, for a beverage in the city, we. I walked into Digi Direct, Digi Direct store and had a chat to the manager there who I've known for quite a long time, and he was saying that people are coming, a lot of tourists from Asian countries, especially China, are actually coming to Australia on their holidays and choosing to buy their cameras when they get here. So rather than go, I'm going to go on a holiday, I'm going to buy a good camera to document it, they're going to travel first. And he's finding that a lot of his sales are going to tourists, he's selling a lot of gear to tourists because it's much cheaper to buy it here than it is in wherever other countries. So it's an interesting turn of events. [00:25:55] Speaker B: Glenn Lavender says, I used to work duty free in the early 80s when our tax was 32.5% on cameras and duty free really made a difference. Yeah, wow. So that was. Yeah, there was that kind of vibe where you would plan big purchases around traveling. It could come back. [00:26:16] Speaker A: I reckon it will not really. I think we will see an increase in gray market and I think we'll see an increase in scalping. [00:26:27] Speaker B: I don't want someone to take my. Never mind. [00:26:31] Speaker A: So you reckon people appropriation, they're just. [00:26:33] Speaker B: You people. People are going to bring gear in, maybe like buy it. So they go on a trip, they buy a camera, maybe they, they pretend to use it for a week or two and then they just sell it for more than what they actually bought it for. [00:26:45] Speaker A: Oh, there could be that. No, I meant more that, you know, we've seen a trend, especially last year with new camera. Well, the Fuji X100 Mark VI was a classic example of this and it's happened with other cameras since where they launched and a bunch of people bought them quite, quite quickly and they bought them in bulk and then they would sell them on Marketplace and ebay and other e commerce sites at a much higher price than the recommended retail. And the X100 Mark VI, the special edition that they released for the 90th anniversary that was heavily impacted by scalpers who would then sell them on eBay for three, four times. Three, four times the price. So, yeah, it's a shitty situation. [00:27:35] Speaker B: Oh my God, Glyn, you've done a lot of stuff. I was also the president of the Digital Marketing association in the USA where I did a comparative study showing how Australia was the cheapest place on the planet to buy camera gear if you earned your wage here. [00:27:55] Speaker A: How long ago was that, Glenn? Yeah, let us know. But this is just one example. The Sigma one here, they've actually released a press release. Other, other brands haven't been quite as vocal about it just yet. But we are going to see this. You know, there's no avoiding this impact. You know, we've talked a couple of times. We've seen it in the, you know, in the video game market, consumer electrics, cameras, it's all being impacted by, by the tariffs and the uncertainty, that sort of thing. So. Yeah, well, I was going to give you some Fuji news, but you don't want to hear it. [00:28:35] Speaker B: I'll, I'll accept it. Come on. [00:28:37] Speaker A: No, Canon dropped a sneaky little lens last week. [00:28:42] Speaker B: There's been some chatter online about this. [00:28:45] Speaker A: Let's talk about this lens. It just came out of nowhere. Yeah, yeah, the RF75 to 300F4.5.6, but it won't be released. Well, I think since then it has been announced it will be in the America market. But at the moment. [00:29:04] Speaker B: I believe everything that is old is new again when it comes to this lens. [00:29:11] Speaker A: That's what people are kind of anticipating. So the original EF75 to 300 according to this. What is it? Canon rumors article they're saying was probably the worst lens that Canon ever made for the EF mount. So it's yet to be seen what, what people find with this. [00:29:28] Speaker B: It kind of looks the same is what everyone's saying that, that it's just a repackaged. But surely they wouldn't do that. [00:29:36] Speaker A: Would they do that? I don't know. It's entry level. Let's have a look at the price. Where's the pricing? Gosh, there's a big article. There's no pricing. So what is it? The Canon RF 7075 to 300. Let's see what B and H have to say about it. What have you heard online about it? [00:30:00] Speaker B: Just that if it's the. If it is just a repackaged EF lens, that it sucks and that no one knows why they've released it. But I don't know, I haven't looked into it enough. [00:30:16] Speaker A: There's no pricing just yet. [00:30:18] Speaker B: Yeah. [00:30:20] Speaker A: And it's, it's already released in other regions but it hasn't been released here, so in the States. So yeah. Some interesting stuff going on there. [00:30:34] Speaker B: Well, Canon, it's not what I'm looking for. [00:30:38] Speaker A: I mean they're saying it's an entry level lens, so I'm assuming it's going to be a couple of hundred bucks. [00:30:44] Speaker B: Between four and five are gonna be 699, whatever. [00:30:48] Speaker A: What would you know? [00:30:51] Speaker B: They don't make any cheap lenses anymore. The cheap ones are expensive and the expensive ones are really expensive. [00:30:57] Speaker A: Yeah, true. Leica dropped a new M11P Safari Edition. They've been doing these for years, haven't they? [00:31:05] Speaker B: The green kind of edition. They do the Safari edition. They also have a very popular one called the Reporter edition, I think, which is the green and black one. That's the one that's very common in the Q3. Like all the Q3 hasn't done it yet. They will soon probably. [00:31:21] Speaker A: But the Q2 they did. [00:31:23] Speaker B: Oh yeah. And it sold like crazy. And all the, it was on every YouTuber had one and it was, you know, it was, every thumbnail was like, yeah, this is, this is the best camera ever. It does look. Those Reporter editions do look very cool. [00:31:37] Speaker A: Yeah, this one looks good too. It's got a shit strap but terrible Strap. [00:31:43] Speaker B: It looks expensive. I bet it's expensive. [00:31:47] Speaker A: Yeah. I don't know if there's any pricing here, but yeah, it's a good looking camera. It is nice. Nothing on pricing. Here we go. This is American. So it's ten and a half. $10,495. That would be US dollars, so yeah. [00:32:09] Speaker B: Probably a couple of grand dearer than your normal M11 I guess. [00:32:13] Speaker A: Yeah. Yeah, they certainly know how to put out, you know, lust worthy cameras, don't they? [00:32:20] Speaker B: Yeah, they're a watch company but it. [00:32:22] Speaker A: But. [00:32:23] Speaker B: But they make cameras, you know. [00:32:25] Speaker A: Yeah, I never really looked it that. [00:32:26] Speaker B: Way and I bought one. [00:32:28] Speaker A: You did? [00:32:29] Speaker B: It's really good. [00:32:30] Speaker A: Yeah. [00:32:31] Speaker B: It's got a firmware update too that you told me about on the weekend. The, the Q3 has a firmware update out. I haven't done it yet. Apparently it has some better autofocus. [00:32:42] Speaker A: Yeah, some autofocus improvements, some other bits and pieces. But look, that's pretty much it. Lumix is teasing a new lens. Apparently it's going to be announced tomorrow. But then that's a. They've done an official tease on socials. [00:32:56] Speaker B: I thought it was. I thought they're teasing. I thought they were going to release a new camera. [00:33:00] Speaker A: That's what I'm saying. [00:33:02] Speaker B: You said lens. [00:33:03] Speaker A: Did I? Yeah, that's just what you heard. Two different things. What I said and what you heard are very different. This is the teaser. This is. It's in its entirety. It's just a date. So it's tomorrow. Lumix are launching a something. [00:33:20] Speaker B: Camera. [00:33:21] Speaker A: Oh no. It's unclear whether it would be a camera lens or both. [00:33:24] Speaker B: Well, the rumors on the Interwebs. What were they saying? The S. What is it? Tell us chat. What are they releasing? I'm looking for it right now. I was reading about it today and it's just falling out of my head because I'm not really a Linux Lumix person. Whoa. So I was wrong. Paul says Canon Australia have the 75 to 300 at 399. Okay, so it is cheap. It's a cheapy cheap. [00:33:51] Speaker A: What did I say? [00:33:52] Speaker B: Thanks Paul. [00:33:53] Speaker A: Apology accepted. [00:33:54] Speaker B: Yeah. [00:33:56] Speaker A: And the last little bit of news while you fiddle around looking for what Lumix are dropping is that as I predicted, Fujifilm dominates compact camera ranking at Japan's largest electronic store. So is this at Map? No. Yoda Bashi. You've probably all heard my Yoda Bashi camera store, my drunk purchase there many years ago. But the GFX100RF and the X100 Mark VI are at the top of the ranking for compact camera sales, and that's true across a lot of the stores and just the overall trend of camera sales as well in Japan. [00:34:35] Speaker B: Hang on, though. Hang on. Hold. Hold your horses for compact camera sales. Let's just see what's on this list. All right. The Ricoh GR3, five years old. The Canon Powershot SX740H. Never heard of it. The Sony Cybershot RX100VII. What's that? V1V2.7. That's like five or six years old. The Ricoh GR3X. It's the same as the other GR III, but it's got a 40 mil lens instead of a 28. [00:35:08] Speaker A: What is your point? [00:35:10] Speaker B: It's competing. They compete. These cameras just come out. All the other cameras were made in the, like, 2017. [00:35:17] Speaker A: Yeah. So they're still at the top of the list. [00:35:19] Speaker B: So it's at the top. It's at the top of a very uncompetitive segment, by the sounds of it. [00:35:27] Speaker A: All right, moving on, folks. That's the end of the new segment. [00:35:30] Speaker B: Hang on. I wanted to find this Lumix camera. I think Glyn's found it for me. He said it's the. The Lumix ss. Nobody cares. And it's actually. [00:35:42] Speaker A: Does that come in black or silver? [00:35:43] Speaker B: It's the S1 mark 2E. And I don't know what's exciting about it yet, but we'll see. [00:35:56] Speaker A: We'll see. [00:36:01] Speaker B: Oh, that's funny. It is. [00:36:04] Speaker A: Let's jump to a couple more comments. Have had manufacturing issues with their compact and cannot build their back order demand. They're currently restructuring a factory to increase compact production. So compacts are very popular. [00:36:20] Speaker B: Once again, I got my hands on the. What are they Canon calling it? The V1. What's their compact called? I get it confused with the Sony ZV1. Canon V1. 1V. Anyway, Canon, yeah. The new compact one. I got my hands on that this might be a good segue into the Very Beef Oppy birthday, but I got my hands on that on Saturday. And it does. It has one of the nicest rubbery kind of grip feels that I've felt in a compact camera. [00:36:50] Speaker A: How was it? [00:36:51] Speaker B: Felt really good. It had a small amount of girth, but not so much girth that it wouldn't be a compact camera anymore. [00:36:59] Speaker A: Yeah. [00:37:01] Speaker B: Yeah, okay. Glenn saying, Yep, it's the V1 or whatever that's caused the backlog demand. Yeah. And they were all, all the Canon people were very, very excited about the V1 they said it's, it's. They've. They've all been looking for that camera because obviously Canon haven't had much to compete in that range for a fair few years now. Sony's been doing their ZV1 stuff and other. Yeah, I mean all of Fujifilm's cameras are really small so Canon excited to have something. It's got a good focal length. I think it was 16 to 50 equivalent lens on it which is a really useful lens. I just. What I don't know what I'd like to test is is it usable or fun to use for photography or is it just a little vlogging camera? Because that would be. [00:37:45] Speaker A: It's an interesting question because we talked about this a couple weeks ago. I got the Fujifilm XM5 which I thought would make a really good street photography camera because it's compact and it's discreet and it's got all that Fuji goodness. But I decided it's more video centric. It's too video centric for my style of photography. [00:38:06] Speaker B: Yeah. [00:38:08] Speaker A: It doesn't mean that I can't, I couldn't use it. I mean I tested it. This is the second time I've had it. I can certainly use it but it doesn't feel like. It doesn't feel super photographic centric for what I want to do. [00:38:22] Speaker B: Yeah. [00:38:23] Speaker A: It's obviously hybrid and they're obviously trying to target like what Canada doing with this V1, you know the XM5 is an influencer camera. It's all about content creation. At the Fuji. What was it the content the creators summit they had in Sydney they were foggy xm5 pretty hard and you know and it's proved to be a very popular camera for that reason. [00:38:48] Speaker B: So yeah, it actually reminds me, I was reading an article today. I don't know where it's gone, it's disappeared but it was. Oh it was in the DP Review newsletter which I don't know if anyone else gets that but I get that. Where's it gone? Here it is. So it was on DP review. It was Canon Talks Compact Camera Comeback Third Party Lenses and something else and New users and yeah, this was. It was very interesting. This was from CP +DP review. Must have chatted with them and I'm just gonna find the quote that I found. They were talking about interchangeable camera systems post Covid came down to 5 million units or something and they're already growing back there. It's 6 million units. They'll be on that last year so they were saying that that's very positive. But they said the new generation of younger people taking cameras in their hands for the first time, they're all after basically these, you know, like the V1, that style of camera can and believe and they're excited about that. But they've got future releases planned in the compact camera market and a lot of the focus is on video. Yeah, and this was where it got a bit weird because basically they said they're focusing on video because a lot of people want video, but they won't let the video compromise the still image quality of their cameras and lenses. And I thought that was interesting because it probably will. There's always going to be compromises when you're trying to do a bit of everything. Yeah, of course you can't make the best possible still lens if you're also trying to make it great for video and hit the same price point and hit the same size and blah, blah, blah, blah. So it's like. Yeah, they were kind of really trying to say, I think two things at the same time. They're trying to say, hey, you know, we're trying to make all of our products work well for photo and video and also don't worry because we won't compromise on the photo side of things. [00:41:14] Speaker A: Well, it's. Yeah. And I wonder how the marketing speak will look, whether they'll start labeling lenses that they want to target at this youth creator market as sort of, you know, hybrid lenses rather than, you know, calling it one or the other, that they'll try to push people into these hype. This sort of, you know, mid range hybrid product that they say is good for photo and video and will have de clickable aperture and, and all those sorts of things, but interesting to see. [00:41:48] Speaker B: Anyway, what else? Oh, should we, should we move on to the weekend? [00:41:53] Speaker A: Yeah, let's move on. We've covered the news. [00:41:56] Speaker B: Okay. [00:41:57] Speaker A: All right, play the jingle. There it is, folks. So what, what did we get up to? [00:42:05] Speaker B: Well, we went to a birthday party. We went to a camera shop's 40th birthday party, which is crazy. [00:42:12] Speaker A: It took us eight hours to get there. [00:42:15] Speaker B: It did, it did. The, the team behind the Bright Festival of Photography ran a little, a little mini festival in Melbourne that started at 10 o' clock in the city and then basically no one knew what we were doing. It was complete surprise. So people that bought tickets had no idea. They just had to commit and know that it was going to be a fun day and then they were going to end up at the Croydon Camera House 40th birthday extravaganza, which was basically like a mini trade show with great deals, guest speakers, prizes. Prizes, workshops, photography competition. Yeah, talks. It was, it was. They had a big afternoon planned to celebrate their 40th birthday and then yeah, the Beef up team basically took that and ran with it and built a whole sort of morning in the lead up to it for what, about 60 photographers to. Yeah, they're bets to have a heap of fun. And what happened? Do you want to. Do you want to share some images while you tell us what happened? [00:43:22] Speaker A: Yeah, sure, let's do that. So for anyone that's. That hasn't been to befop, which is. [00:43:31] Speaker B: Probably a few people, especially if you're listening from another country. [00:43:36] Speaker A: Hopefully this works. So Beefop is the Bright Festival of Photography. It's held every year around November, was it? Or October. [00:43:45] Speaker B: October. [00:43:47] Speaker A: October. It's held in the regional country town in northeast Victoria called Bright. And Bright sits in the lap of three mountain ranges and at the base of. What is it? [00:43:59] Speaker B: Bulla Hoth. Like it's sort of wedged between kind of Buffalo and Hotham. [00:44:06] Speaker A: Right? [00:44:08] Speaker B: Yeah. [00:44:08] Speaker A: I don't know my mountains very well. But anyway so. And basically what they do is they sell tickets. They have about 550 people that participate that actually can buy tickets and go along to the festival and then you can book in workshops and. But it's more than that. There's a whole bunch of activities and talks and games and what they call shenanigans. And it's a crazy weekend. But Justin and I went last year for the very first time to represent Lucky Straps and just get a vibe. Kind of check out the vibe of BFOP and. And what how Beef up could work for Lucky Straps in the future. So we're making some plans for this year which we won't reveal just yet because we probably don't really know what they are yet. But. But yeah, so the, the day on Saturday, as Justin said, we weren't given any information. We were just told where to show up. Oh, and to be clear, a little caveat is that Justin and I weren't ticket holders. We were there to provide support and, and capture some background stuff. I did a lot of photography. Justin shot a lot of video of the event and the day so that we can provide that to the Beef up gang and they can use it for promotion and that sort of thing. So we were kind of in the background lurking. We did a lot of lurking, didn't we? [00:45:27] Speaker B: We did a lot of lurking. I did A lot of filming with my little DJI Osmo Pocket 3. Took some photos, but mostly just ran around with the pocket three and danced like a goose. [00:45:37] Speaker A: Yeah, it's interesting how you took the smallest camera out of anyone there, yet you still had one of the biggest bags. I love that about you. Let's jump into some images as we talk. So we met at the State Library in Melbourne in the CBD of Melbourne in Victoria. And we were sort of given very little information other than today's going to be great. It's going to be crazy. We just, you know, we just needed to go along with it. And. And so this person here in the middle. Can everyone see. I don't know if you can see my pointer. Yeah, there it is. [00:46:11] Speaker B: Yeah, we can see pointer. [00:46:12] Speaker A: Yeah, that's Girth. That's. That's Matt Crummans. And just behind him, terrible photo. Greg is Nick. And Matt and Nick run and organize and set up BE There, the creative geniuses behind be. So the first event. Do you want to talk about the first event when we went inside? [00:46:33] Speaker B: Yes. Yeah. So we're at the State Library and there was an exhibition there of. Is it pronounced Rennie Renee? [00:46:40] Speaker A: Rennie Alice Rennie, I think Rennie Ellis. [00:46:42] Speaker B: Rennie Ellis. I didn't even know that that exhibition was on. And it was so good. So the guys. Because it was such a big group of us, the guys actually organized headsets. So that the. Was it the curator who took us through? [00:47:01] Speaker A: Yeah, one of the curators of the exhibition, I think. Like the head curator. [00:47:04] Speaker B: Yeah, she took us through. She had a headset on so we could be. We were sort of walking through the library, spread out. As you can see. If you. If you're watching, you can see in Greg's images here, we've all got these, like, glowing blue headphones on. We can all hear perfectly exactly what she's saying, even if you're at, like the back of the group and she's not having to shout or anything. And we're going to this really quiet library through this. The, like big study hall or reading hall or whatever they call it. And then into the various rooms. Yeah, that part there. People are in there studying and stuff. And then into the actual exhibition itself. And it was just. It was such a great exhibition. It had a soundtrack in there, just classic songs. And it was. Was. It was mostly. Or was it all Melbourne? Was All Melbourne shots, wasn't it? The entire exhibition was. Was photographed. [00:47:54] Speaker A: Yeah, I'm pretty sure it was. Yeah. He lived locally. To me, he He. His studio was in Prahran and so he worked in all around Melbourne and this was back in film days. So the, the exhibition was fascinating because they had a track that ran for 30 minutes, a video that cycled through his. His work, and often it would just be photos of his slides and you could see all the. The comments he'd written on his slides about the event. And, you know, on one of the. [00:48:26] Speaker B: Slides it says, it said, please credit Rennie Ellis. Yeah, it was written like that. Like, please credit. I was like, that's. Yeah, so, so think. Yeah, but things haven't changed much. It's the same. Same, but different. You know, people. People say that sort of stuff on Instagram and, And Facebook. So. Yeah, quite. But just the, The. The. The humanity in his images were. It's. It. I don't know. I don't know how to explain it. [00:48:55] Speaker A: Yeah, it was very raw. It was very real. It was very slice of life of the time of the 70s and early 80s in, in Melbourne. There was probably even earlier, I think there was some from the 60s because there were Vietnam War protests. It was very, very documentary, street photography style, but also photographing a lot of the. The fringes of Melbourne society, so that the early, you know, underground LGBTQ plus community, a lot of documenting of that, drag shows and, you know, queer folks. So really like, very interesting slice of that time in. In. In Melbourne's history, which was phenomenal to see. So that was kind of like the. The first thing we did. I guess that was the first activity, if you'd call it. But then we left the library. We returned out the front, but we were asked to keep our headphones on because the next bit got a little crazy. [00:50:00] Speaker B: It so sneaky. Sneaky. Matt. Matt Crummonds and Nick. But I think it was. I don't know, I guess it was both of them that come up with this. I thought, we'll get them to keep the headphones on. And then they got these two guys who run basically, like walking tours, but with silent disco happening and they got music cranking. They got everybody dancing and danced all the way through the city for about 40 minutes. Yeah, that's exactly what it was like. And so we're in the middle. Crazy. [00:50:35] Speaker A: Yeah, we're in the middle of Melbourne. Cbd Saturday morning. What would it have been by this time? About 11? Yeah, yeah, about 11 o' clock. So it would have been. It was pretty busy. And we walked straight through the middle of the CBD in two groups. We split up. So there were two Dance leaders. And the whole time they were commenting on. Let's talk to these people. Let's jump in. You know, like my group, we walked into a platypus shoe store and completely filled it with 30 plus people. And they handed head. They had spare headphones and they handed them to the. The two shop assistants behind the counter. And we were all dancing and singing in the store. It was just bananas. [00:51:19] Speaker B: But everybody was into it and everyone was into it. It was really good. And people were still taking photos too. So they're taking photos of each other. They're taking photos of people on the street. Actually, I might see if I can. Hang on, I'm gonna quickly. Can I put mine up for a second? You won't lose what you're up to. I'll see if my screen will play this video. Cause I haven't been through all my videos and stuff, but I was just trying to bring one up then. Hang on. Will this work? Let's see. So this is when we first got out of the library and they were just trying to get everyone going. And I think in this clip there was a girl filming everyone dancing and she wasn't part of the crew. Then Matt Crummons just threw the headset on her and like absorbed her into the. Into the group. Ready? So see this girl here with the hat? [00:52:11] Speaker A: Oh, that's hysterical. [00:52:12] Speaker B: Yeah, and this is what it was like. So you can't hear anything like that. You can't hear the music. Everyone's dancing. But that's, that's what it was like. So it was just then this was just. Just trying to get everyone wound up. And you get. The music's so loud in the headphones, so you just get absorbed into it. Everyone's dancing, having a good time. [00:52:39] Speaker A: And, and keep in mind, folks, that the, the average age of this group was probably 50. [00:52:46] Speaker B: Maybe. I think that's, that's being generous. [00:52:49] Speaker A: Yeah, maybe 55 was the average. [00:52:50] Speaker B: Maybe 55. [00:52:52] Speaker A: And everybody was getting into it. And at the end of the day, what was interesting about the silent disco bit is that at the end of the day when we were debriefing with everyone, like, you know, I was talking to these sort of 70 year old white, you know, men, stoic, you know, very serious about their photography. And I said, I had a ball. I was dancing and singing. I would never have done that in any other situation. Like, it was really quite powerful and magical, you know, And I've walked up and down that street doing street photography for a better part of a decade. And Often I'm listening to music, but this was just such a different experience. Like, they're playing tracks from the 80s and 90s, and. And it was just such a great energy and vibe. It was really, really phenomenal. [00:53:40] Speaker B: Glenn Lavender says, for overseas listeners and watches CBD equals central business district. Is that an. Is that an thing. [00:53:49] Speaker A: Called downtown? [00:53:51] Speaker B: Oh, yeah. [00:53:51] Speaker A: Well, we did. [00:53:52] Speaker B: We did sing Downtown. I remember that in our group. Did they sing that in your group? [00:53:56] Speaker A: No. Oh, maybe. I know we did Talk like an Egyptian. [00:54:00] Speaker B: Oh, actually, maybe we did Uptown Girl. I can't remember. We're going up and down, up and down. [00:54:04] Speaker A: Yeah. So. So this continued. So this was. This was a group I was in. This was our group leader here, Something Bunny. Anyway, and he. Here's one of his assistants on the left in the green jacket. She's handing out headphones just to bystanders. Because we would stop and we would find someone that was just sitting there enjoying a cigarette or something, and we would crowd around them and dance and sing and then move on. Yeah, it was crazy times. And here we are waving just to people that were just sitting on the side of the road. [00:54:39] Speaker B: It was a party. It was a big party. And it was. It was a great way to just. Instead of doing a normal street walk, because we're 60 people, we do a street, like, street photo walk, you know, I don't know what sort of photos you're going to capture with 60 people cruising through the. The central business district. It attracts a lot of attention, but as soon as you. As soon as everyone's dancing, it attracts attention for a completely different reason. And everyone ignores the cameras then. And it was. Yeah, it was great. [00:55:10] Speaker A: Yeah. [00:55:10] Speaker B: Bruce Moore says the boys know how to throw a party. That they do. We're only just at the beginning of the day. [00:55:17] Speaker A: Yeah. So we walked down to Bourke street, which is one of the main streets in the middle of Melbourne, and we all jumped on a tram. So again, you know, Saturday morning busy time. The tram already had a bunch of people on it. And we crowded with us. We crammed 30 people onto this tram, still singing and dancing, and it was just mayhem. You know, the tram was rocking and people were. And he was getting us to do kind of like drum. Drum beats on each other's backs. You know, like, find a partner, turn around and play the drum on their back. And, you know, it was just w. And you can see that everyone is smiling. I love this shot because everyone was just into it and, you know, it was infectious. You could not smile at It. So. [00:56:08] Speaker B: Dave. Dave from Tassie says if Daniel Andrews was still about, you all would have been arrested. Maybe if it was. Yeah, it was four or five years ago. Yeah. Quite possibly we'd all be in jail. Yeah, we would. We weren't six feet away from each other. [00:56:25] Speaker A: Yeah, but. But, yeah. And, you know, the. These guys that were running the. The guys that ran the dance and the music, they were great at really pumping people up. So they would get us all to stop and line up and then the last person would walk past, like an avenue of honor almost. And everyone would be cheering them and clapping and they would be getting excited and the next person would walk through. Or we would see Justin's group coming down the street, so we would all split on each side of the footpath and dance as they walk through us. And yeah, it was just craziness. Absolute craziness. But organized chaos. [00:57:02] Speaker B: Yep. [00:57:04] Speaker A: So we made our way up past Victoria's Parliament and into the Treasury Gardens. And along the way, we. We harassed a few locals. We were asked. We harassed a bunch of wedding photographers that were shooting weddings on the steps of Parliament. [00:57:19] Speaker B: We did. They were. We didn't get in their way. We just danced with them. [00:57:24] Speaker A: Yeah. Then, yeah, we all. We all sort of made our way into the park. Actually, at one point, I didn't put the photo in, but there was a couple of girls sitting having a picnic in the middle of the Treasury Gardens, and we stood around them and sang and danced to them while they were having their picnic. Yeah, it was just bananas. That's our group there. I think that's pretty much everybody. And of course, Justin's group took a different route through the city than our group did. [00:57:57] Speaker B: Yeah, we took a little bit longer to get through to the. We didn't get on a tram. We didn't. [00:58:02] Speaker A: Oh, didn't you? [00:58:03] Speaker B: No, no, no. We walked the whole way. Danced, actually. We danced the whole way. It was a great time. [00:58:08] Speaker A: Yeah. [00:58:10] Speaker B: Anyway, it was. So. Okay. So basically, running late, the way they organize these days is amazing, but also it's like organized chaos. Running late. Everyone had to run onto the bus, pass that water, passed out some snacks. We're on the bus for maybe half an hour or something. And then we pulled up at a park where they'd already organized some pizzas were going to get delivered. Everyone could chill out for a minute. But also they'd organized, I think, four different cosplay models to spread out around the park, and people could just take it in terms of working with the model, directing the model Putting them different poses and. And spots around the park and taking some shots. And it was. Yeah, it was very cool. It was like a portrait shoot, but instead of. Yeah, instead of just a traditional model, they were all dressed up as characters. [00:59:03] Speaker A: Yeah. Oh, and there's. [00:59:04] Speaker B: There's the boss eating some pizza, eating some of those. Look at those veins, look at those guns. [00:59:12] Speaker A: But our friend of the show, Ian Tan, who. Who has been a guest on the show a couple of times, he'd organized the cosplay because that's his. That's his jam. So Ian's a cosplay photographer and he's built up quite a good relationship, a great relationship and network of cosplay artists. And so, yeah, we had these four show up in various costumes and. And here's one of them here being. Having their portrait shot. So we were there for about an hour, maybe a bit. [00:59:41] Speaker B: Yeah. Yep. [00:59:43] Speaker A: Yeah, they delivered. [00:59:44] Speaker B: Yeah, just enough time for everyone to eat and take it. In terms of. Yeah, taking a few shots. It was kind of like you could be. Participate as much or as little as you wanted. We were around to kind of help with settings and posing and locations and stuff like that. Ian Tan was sort of doing most of it, but he couldn't be with all the groups at once. So we were just kind of helping out where we could. [01:00:09] Speaker A: Yep. Yeah. It was interesting because the group I was with, James, who was. I can't remember his character, but, you know, he was in cosplay and he had a prop gun and. And all the photographers, this was this shot here, they were all photographing James, but none of them knew. I don't think they knew how to engage with him because he wasn't a traditional model, you know, and so I stepped in and sort of started giving them some direction to get some different poses for them and things like that. So we hung out here, we had some great pizza and. And then we all jumped back on the bus for the next activity, which. [01:00:47] Speaker B: Was pretty wild, which was another surprise. So keep in mind, no one knew any of this every time. Everyone on the bus had no idea except for me because I've been given a heads up, but I pretended I had no idea. [01:00:57] Speaker A: Yeah, you were very good at keeping. I didn't even notice. [01:01:00] Speaker B: Matt said specifically, he said, oh, Greg will enjoy the surprise, so don't tell him. And I was like, all right. And he did. Should I. Is. Should I play a video clip to show the next bit? Is that the best way to describe what happened? [01:01:16] Speaker A: I think so. [01:01:17] Speaker B: Okay. And then we can look through some of your photos. [01:01:19] Speaker A: Most definitely. [01:01:20] Speaker B: Let me. [01:01:21] Speaker A: Because words and even the still images don't do it justice. [01:01:25] Speaker B: No. And I actually. So bear with me, guys, because I haven't looked at any of these clips, so this could be anything. But this is the scene that we were greeted with as we got off the bus. Hopefully it's not too loud. [01:01:38] Speaker A: So keep in mind, 60 plus photographers stepping off a bus. The volume's not coming through. [01:01:45] Speaker B: No sound? [01:01:46] Speaker A: No. [01:01:47] Speaker B: Ah, no sound at all? [01:01:49] Speaker A: Nah. [01:01:51] Speaker B: Hmm. Why not? [01:01:57] Speaker A: That's a shame. What have you done? [01:01:59] Speaker B: Why not? This is. This is curious. Let me see. I'll try something else. [01:02:03] Speaker A: Bear with us, guys. [01:02:05] Speaker B: Yeah, Technical difficulties. We're a cheap show. We don't have a lot of funding. Let's try this sound. Oh, okay. Well, that's sad. That won't really. [01:02:24] Speaker A: Any guys in the chat hear it. [01:02:25] Speaker B: Yeah. Can anyone hear it? Chat to us? Well, no, you'd be able to hear it if they could hear it. That's. [01:02:31] Speaker A: I don't know. I don't know what you've done, what you've broken. [01:02:34] Speaker B: I don't know what I've done either. I've got to find where the appropriate clip is anyway, to spoil the surprise. It was a marching band. [01:02:44] Speaker A: Brazilian. [01:02:46] Speaker B: I have no idea. [01:02:47] Speaker A: Anyway, it was pretty crazy. [01:02:50] Speaker B: It was very crazy. [01:02:53] Speaker A: So we get off the bus and everyone's pouring off and we hear this insane drunk, this whistle. And then this insane drumming starts up. And so there's. What is there? There's like about 12 of them in the band, plus the leader. They've all got drums or percussion instruments. He's got a whistle. And then there's four dancers, four girls dressed up in kind of like carnival outfits, I guess you'd call it. I don't know what the correct term is. Sorry, folks. And these guys were just standing on. I think it was the basketball court or at least part of the playground, just drumming. And the girls were dancing. And the girls didn't stop dancing and the band didn't stop drumming for like a good like 20 to 30 minutes. And so we're all standing around photographing them. Have you got an audio clip? [01:03:45] Speaker B: Trying, trying. Trying my best. Okay, so I don't think it's gonna work. [01:03:51] Speaker A: That's a shame. [01:03:54] Speaker B: Nothing? [01:03:55] Speaker A: No. [01:03:56] Speaker B: So sad. Sounds great. [01:03:58] Speaker A: Yeah, because the. The sound was just crazy. All right, anyway, we'll. We'll put some clips up on YouTube soon. Justin's going to clean them up and we'll share them with everybody. If we don't get it working. Tonight. But. So this band was going crazy. We were photographing these guys. Lots of kinetic energy, lots of movement. But the. The amazing thing was, is that it was drawing a crowd from the park. So it's this massive park in Croydon and. And it was drawing a crowd. And so then the band turned around and started to walk away and we all started to. And they were sort of motioning for us to come with them and. And so we followed them. I might jump to my images if. [01:04:40] Speaker B: You can't get a audio. Let me. Let me switch back. Done. [01:04:45] Speaker A: So, yeah, there they are on the. On the court. Then they just start. They literally. Well, they're marching band, so they start marching and making their way while the girls are dancing. And, yeah, they. We started walking along a pathway and then we went through, like, a weird alleyway and all of a sudden we come out of this alleyway and we're on Main street in Croydon. There's the girls there. They were amazing, weren't they? [01:05:18] Speaker B: It was crazy. It was so much. [01:05:21] Speaker A: Oh, there's Matt with. With his little one. And so we. We come out of. We come out of the laneway, we cross the crossing, all the traffic stops. There's. There's already, like. There's people sitting around eating fish and chips, you know, at the cafes next door, and they're all like, what's going on? And all of a sudden, this marching band walks through the street and stops out the front of Camera House in Croydon. And the owner and longtime manager of Camera House Nigel comes out and he's. He just looks flabbergasted, like he's. Matt's outdone himself. Matt Nick have outdone himself once again. [01:05:56] Speaker B: Yeah. They had no idea. The, The. The. The camera house staff that have. That have spent all, I'm sure, weeks, maybe months planning this 40th birthday celebration. And then next minute, this arrives out of nowhere. [01:06:10] Speaker A: So the four dancing girls, the 12 band members and 60 photographers, plus all of the people that followed us, who were just hanging out of the park, who wanted to see what the fuck was going on, followed us and we all crammed into the camera store and the music continued and the dancing continued. [01:06:28] Speaker B: Yep, for probably in the camera store, it almost felt too long. It was probably 10 minutes. And it was loud in there, like, because of the sound. Everything was just. Just filling up the room. It was. It was pretty intense. I was sweating. [01:06:43] Speaker A: It was. Yeah, it was, yeah. It was getting hard to breathe in there. There was. There wasn't much oxygen. [01:06:46] Speaker B: There's a lot of People in there. [01:06:48] Speaker A: A lot of people. But. But yeah, this, this was, this was how we arrived. This was the path we took from, you know, 10 o' clock in the morning through to whatever. What time did we arrive? Two o' clock. It was two o' clock. We arrived at the camera store. That was, that was the path we took to get to this birthday celebration. It was absolutely insane and very beef up, you know, full of surprises. Yeah. [01:07:16] Speaker B: Tell me this, do we have sound? Hang on, I'm just trying. I'm trying. No, not that one. I'm trying everything I can think of to make this work. [01:07:31] Speaker A: Don't know why it's not playing. It's weird. We've done video before. [01:07:34] Speaker B: Yeah, but not. I haven't done it straight from. Let's try this. No, that's a window. But it might work. Sorry if it's loud, people. Let's try it about there. Any sound? [01:07:48] Speaker A: Nothing man. [01:07:52] Speaker B: Crazy. Anyway, we'll work it out. [01:07:54] Speaker A: We will. So that was the end kind of of the beef up part of the day. You know, the band stopped, a few words were spoken by. Was it Matt or was it the. Anyway, and so then we all sort of headed outside and upstairs. So there's like a second entrance and you go upstairs and they've got. Camera house has got a massive upstairs space. It's like a big open plan studio. They've got a space for workshops and. And a portrait studio, I think inside. And they had, as Justin said, they had this trade show set up, this mini trade show that. So who was there? No, Nikon wasn't there. Canon was there. Sony was there. [01:08:39] Speaker B: Nikon was there. [01:08:40] Speaker A: Were they? [01:08:41] Speaker B: I think so, yeah. Because they had, they had the ridiculous laptop stand there. Wait till I gotta try and get that onto the computer. [01:08:49] Speaker A: All right, so all the big brands were there. [01:08:51] Speaker B: Yeah, Nico, Fujifilm, OM System, DJI had. [01:08:56] Speaker A: A bit of presence. [01:08:58] Speaker B: Yeah. [01:08:59] Speaker A: Niko Mozzare. Thanks, Tim. Yeah, like. And big telescope brand binoculars and they were selling stuff at discount prices and like special offers. [01:09:11] Speaker B: Canon had three Canon staff there. Yeah, you know, you know, it wasn't just the people from the camera store. Like there was staff from all of the brands there plus the whole team from the camera store helping people out. [01:09:25] Speaker A: Yeah. So every now and then you'd hear a bell ring and you'd turn around and a camera store person would. Would walk up to the, the brand person and say, okay, I'm selling this lens, can you please go take it down? And. And so they'd go down to the camera store and do the transaction with the customer. [01:09:39] Speaker B: Is that what the bell was for? I was like, whoa, okay. [01:09:42] Speaker A: Yeah. It took me a while to work it out, but. So they'd ring a bell and then someone would rush up and go, okay, take this down and check it, you know, and run it through the checkout. So camera store was kind of the facilitate, like the facility, like with beef up in terms of ordering and selling gear to customers on the spot. But there were so many people buying things, were giving stuff away. You got a duffel? I got a really nice tote, which I love. A tote? [01:10:07] Speaker B: Yeah. I got a 50th anniversary cannon duffel bag. What. What brand was the tote you got from? Was that from Fujifilm? No, it was Canon. It was Canon. [01:10:17] Speaker A: I gave it to one of the kids. [01:10:21] Speaker B: All right, hang on, hang on, hang on. I've got another idea for the. For the sound. I'm just. I'm constantly troubleshooting my brain while we're doing this, and I'm like, I think. I think I've. I think I've got it. It's really good with the sound. [01:10:33] Speaker A: You're here with the photography festival. We're going up to camera house right now. You're gonna join the procession. You're gonna be part of this carnival party. [01:10:40] Speaker B: That's it. [01:10:40] Speaker A: We're all going to go down through this alleyway together. If you're not part of the festival, you were just here in the park. Come and join us. You're part of it now, too. That's totally cool. So what we're gonna do, we're gonna get you guys a form up. We want dance moves. You can either copy the girls or make it up. Making it up is totally fine. So we'll have nobody go in front of Adriana in the peak there. She's going to be at the front. She's going to lead us on the way. Everyone else in here with the girls, all the photographers in here with us, you are part of this procession. They do not know we're coming. [01:11:09] Speaker B: We're going to go there, play outside. [01:11:10] Speaker A: The camera shop, and then go play. [01:11:12] Speaker B: Inside the camera shop. Let me. And so they formed us all up in a big group and then basically marched us through alleyways and then down main street. So I'm gonna. I'm gonna skip forward a little bit. [01:11:49] Speaker A: It would have been 100 people at least. [01:12:03] Speaker B: And then so they held us in this alleyway for a bit. Photographers everywhere just going nuts. More cameras than you could possibly ever want. Now to the front of the camera there was me. It went on for ages. [01:12:35] Speaker A: Yeah. [01:12:38] Speaker B: And so this is camera house Croydon's 40th birthday and they don't know that this marching band is arriving. When the, when the staff started to realize what was going on, the, the facial expressions were so. [01:13:29] Speaker A: So good. [01:13:34] Speaker B: I said the same thing at the same time. [01:13:36] Speaker A: Oh my God. [01:13:37] Speaker B: You did? I did, yeah. There's me. All right. And then let's go in. [01:13:43] Speaker A: Let's. [01:13:43] Speaker B: This is when he is getting crazy. Let's go in the store. I was taking a heap of photos with my R5 Mark II with that new 28-70 f2 lens on it. It was, it was really good for. [01:14:14] Speaker A: This photographing my bottom. [01:14:16] Speaker B: Your bottom? Where's your bottom? No, I think you'll notice it's pointed at the girls bottoms. Yours is just in the, yours is in the video. Is that you grooving? Look at you grooving. You wiggle in the hips. I mean you can't, you can't, you can't listen to that music and not be like, he, this is. This. He was so happy with what he pulled off. This is like worth all the hard work. So yeah, it is just a normal camera store. Absolutely chock a block full of people. This is the best. A little bit of behind the scenes shooting there. But yeah, that's basically. Oh yeah, here, we'll get a little whip pan around the crowd in a second. Matt in the background, Colin, crazy. [01:15:55] Speaker A: See. [01:16:08] Speaker B: Wonder if there was just someone at the back that was like, I'd like to get a passport photo taken. Do. Do you guys do passport photos? Anyway, I don't, I don't know how much more I need to share. There's a lot of drama. It's so good. I'm going to try and cut together a video of this later this week if I get time and make a little, a little vlog so we can put a bit more of the footage in it. But it was a party, an absolute party. [01:16:35] Speaker A: So maybe now you guys can see why I said at the start of this, this episode of the Camera Life podcast that it was one of the most bizarre creative photography one day photography experiences that I've ever had. You know, aside from workshops and stuff, like it was just bananas, the experience that we had and you know, everyone was just grinning from ear to ear. I was just grinning watching it again, you know, remembering what it was like. It was such a, such an amazing experience. And you know, hats off to, to Matt and Nick for pulling off yet another phenomenal opportunity for Everyday photographers to, you know, get out and shoot but just do it in a very, very different way, you know. So. Yeah. How would you sum up the day? [01:17:30] Speaker B: I have no idea. It was just, it was surprise after surprise and even though I knew what the plan was, vaguely knew, I knew he, he said there's going to be a bloody marching band there with dancers. But like I didn't think the dancers would have G strings on. You know, it was like a big feather hats and big feather hats and like everything was just to that next level where you're like whoa, what is happening here? You know the guys have got the striped, red and white outfits on and it just, yeah, it was next level and not, not at all. Even though I was expecting it, it was way beyond what I expected to happen and I really didn't expect them. Even though he said we're going to march into the store, I didn't expect to be that crazy when it happened. [01:18:17] Speaker A: Yeah. [01:18:19] Speaker B: Tim Siamas who was there says was a very cool experience. Echo those sentiments now to somehow get to befop later this year. Yeah, you're on the wait list. You're on the wait list. I reckon Matt, Matt seems like he, after a while he, he, he crumbles and he'll just like make a ticket. He'll just build a extra, like a lean to out the side of the BFOP HQ for the extra ticket holders and they just stand outside in the cold. But then the shed of shame. Yeah, exactly. Like you're here but you have to relate over there. [01:18:50] Speaker A: You know what you did. [01:18:51] Speaker B: Rick Nelson says, what a party. Bruce Moyle says, so a sedate and very chill day then. Yeah, it was pretty chill. [01:18:57] Speaker A: Yeah. But I will say Bruce, because you know, you, you've, you've been to beef up, you know. And I'll say this, whenever anyone asked me what the day was like, it was very beef up and it's very hard to condense what befop actually is and what it feels like. It's, it's surreal, it's, you know, it's mysterious, it's surprising, it's powerful, it's a little bit magical and it's all tailored to, to meet the needs of everyday photographers. So. And Saturday was certainly no exception to that. But that wasn't the end of the day for us. You know, we, we checked out the trade show. I bumped into a mate of mine, Exe. Exe Lim. If you're watching. Congratulations to Exe who won a photo comp. He'd submitted a photo for camera house, Croydon's 40th anniversary. A film photo that he shot while he was in Japan. Was it earlier this year? At the end of last year, I can't remember now. Anyway, he won a prize. He got himself a nice voucher for Camera House. And so we checked out the trade show for a while. We chatted to some folks. We networked a little bit. [01:20:04] Speaker B: Yeah, I want to talk about the trade show. I finally. I finally put my hands on a few things. I already mentioned the Canon V1, put my hands on that and it actually felt really good in the hand. I was quite surprised. I was like, this doesn't feel like a toy point and shoot. It actually has a really grip and stuff. Ergonomics. [01:20:23] Speaker A: No, it came with that little handle as well, didn't it? It had that nice. [01:20:27] Speaker B: I assume that's an extra option. I don't know. But it had this handle that was like a vlogging kind of. [01:20:33] Speaker A: Yeah. [01:20:33] Speaker B: Selfie stick, remote sort of cool thing and. And tripod three in one kind of deal. It looked nice. I don't know if I would buy one if I didn't have a backup camera if it. I would look into it to see whether it maybe could fulfill backup video duties potentially. But I've got two bodies now, so it would probably wouldn't be, I don't know, super useful. Yeah, but it was cool to get my hands on. That was very cool. Very compact. But considering not. Not compact, like tiny, more. [01:21:08] Speaker A: I mean, compared to say like an R5 or. [01:21:10] Speaker B: Oh, yeah, compact. Like an X100 is where it's like you can throw it in a bag or a big pocket or something like that. [01:21:17] Speaker A: But a nice economic grip. [01:21:19] Speaker B: Exactly. Got my hands on the GFX100RF for the first time ever. And it's weird, it's like. I don't know how to explain it. It's both. [01:21:36] Speaker A: Did you really pick it up? [01:21:40] Speaker B: I've probably never even seen it. I don't know how to explain, but it feels both bigger and smaller than I thought in different ways. It's hard to explain. There was something about it that felt bigger than I thought it was going to be. But also sort of when inspecting everything, I was like, I can't believe that this is a medium format or whatever they call it, larger format camera. In something that big. It's pretty impressive. The ergonomics on it didn't suit me straight away, but I think you would get used to them and I think that would become. There were. There was a lot of manual controls. On it, which I usually like, there's a lot of tactile buttons. You know, I like to be able to change everything without having to dive through as many menus. And it had heaps of that, had so many different manual buttons. I think it just. Maybe it just takes a little bit longer to get used to where all those are. And then it would feel. Yeah, of course, you know, it would feel like. [01:22:39] Speaker A: But if you were an X100 shooter, you would feel right at home. [01:22:43] Speaker B: Well, I've got an X100. I don't have the ton. [01:22:48] Speaker A: Although if you were like, if you were say, shooting with an X, what's the 100 mark 5 or the mark VI? It's got the dual stacked ISO and shutter speed button. It's got the exposure compensation, it's got lots of command dials. [01:23:00] Speaker B: But it was actually, which I was talking to you about that little weird. The weird little zoomy nubbin. The little nubbin on the front, that's what I couldn't get used to. It sort of sits right where you. Where not your index finger, the next one. This one where this finger sits on the front. Yeah, that one. Wherever that one sits, there's a little nubbin. And you can like tap it one way to go to zoom in or digitally zoom in or crop in or whatever you call it, and tap the other way to zoom or crop out. And it felt like it was in a weird spot. But again, I think you would get used to it and then it would become pretty fast to change that stuff. And it's obviously way better to do that than having to like go into a menu to change the crop setting or something. So it's good, they have a control for it. [01:23:48] Speaker A: Yeah. Let me just bring up some pictures while we talk. [01:23:52] Speaker B: Oh, yeah. [01:23:54] Speaker A: Oh, what happened? Oh, there it is. So, yeah, so you got lots of. [01:24:02] Speaker B: Yeah, and so. And obviously the aspect ratio dial on the back, that was kind of not in a weird spot, but it was just a new spot that you, again, you would have to get used to. Yeah, but you're probably not going to be changing that, like rapidly. I don't think that's something. [01:24:17] Speaker A: No, it's a mindful decision to change your aspect ratio, isn't it? [01:24:21] Speaker B: I think so. Whereas that, the digital crop nubbin is probably something you do want to be able to tap fairly quickly. Yeah. See it there? So there's like a fairly big dial and then below that is the little nubbin thing. And so this is the on off. [01:24:38] Speaker A: With the Shutter button above it. This is a customizable command dial and then this is the. What do they call it? Like the, the teleconverter lever. [01:24:48] Speaker B: Teleconverter. [01:24:49] Speaker A: It's a digital converter, whatever they used to call it. A teleconverter. [01:24:54] Speaker B: Yeah. But yeah, the, the thing and, and it did, it was very, as soon as you pressed it it was very like, reacted like instantly you were into a new mode. So it was very satisfying to like crop in. Crop in, like punch in. [01:25:09] Speaker A: Yeah. My big, my biggest ergonomic complaint with it when I reviewed it I think was that the fact that there's no thumb rest, there's no bump at the back for your thumb and there's, there's no grip at the front. So if you go see it's, it's very slim. [01:25:24] Speaker B: It's got a little bit of a grip. I didn't mind that. Yeah, it's, it's a bit of a big camera to have no sort of thumb indent that where you comfortably sit. But I guess if your thumb is going to be on that dial anyway, then yeah, Bruce is with me. Digital crop. That's all it is. [01:25:40] Speaker A: Whatever. [01:25:41] Speaker B: No, it's a film analog film teleconverter filter stick. [01:25:49] Speaker A: What did you think of the quality of it? Like I found that, you know, I've picked up every Fuji camera that there is. What did you think? [01:25:58] Speaker B: Really nice. Deserving of a camera of that price point. Not as good as the Q3 in terms of quality feel. And that doesn't mean anything as in quality feel like it doesn't mean it's built better or worse. It just means the Q3 kind of feels denser. [01:26:21] Speaker A: Yeah. [01:26:21] Speaker B: If that makes sense because it is actually a smaller camera and it weighs about the same. So it felt, it feels kind of like maybe more solid. It's also, it's a lot easier because the Q3's got way less inputs, it's got fewer buttons, fewer dials, which makes it easy for them to make it sort of more solid, I guess. Yeah, but, yeah, but I certainly wouldn't say it feels like quality. It just maybe doesn't feel maybe quite as Dense as a Q3 but certainly compared to like a. Well compared to that Canon V1 feels like it feels like a, you know, proper sports car. [01:27:03] Speaker A: Yeah. And for those, for those that poo pooed and said called BS on whether we'd actually ever reviewed it, here it is in my hand with a lucky straps on it. [01:27:14] Speaker B: I could make that, I could make that photo On Chat GPT right now. [01:27:17] Speaker A: Oh, look, why would you ruin it? Why would you do that? [01:27:20] Speaker B: Now I've seen it's a real image. Greg really has touched the camera. [01:27:24] Speaker A: Yeah, I didn't review it, I just used AI. [01:27:29] Speaker B: Nev Clark says I've really been thinking about the Q3, Justin. I've been having dreams about it. That's how it started for me too. Nev. Yeah, I'm hoping we can get over to wa. So if we can, I'll bring it over and drop it to you for a week. You can have a play. So then the final. Actually two more things about, about the trade show. Got my hands on the new NISSI Jet Mag. They're not. So the Jet Mag filter system that Nissi made, I don't know if anyone's seen it, it's basically like a magnetic filter system but you then you magnet it on like all the other brands do and then they usually fall off after a while or you knock them off or something. But this is a magnet on and then you twist it and then it's locked when you twist it to a certain point and then you twist it again and you can just magnet it off again. Quite a cool system. It's up until this point has just been standard filters. So like just a flat ND or whatever or heaps. Everyone wants a mist filter these days. The guy, everyone's, everyone's always talking about mist filters. I'm like, ah, I don't, I can't be bothered. Maybe I'm not. I'm not a good enough photographer or videographer to use a mist filter. But I wanted a variable ND and I've used Nissi's variable NDS before and they're pretty decent. And they've just released the day before this trade show thing, the 40th birthday, they released the first Jet Mag Variable ND and actually had one there. So I got to play with it and it felt really good. But then he told me it was 499 and I was like, well that's, that's the price of a lens. And so I haven't come to terms with it yet, but the system seemed pretty good. The vnd it's basically how it works is they'll give you a. For 499 you get a variable nd filter that's about. For an 82mil filter thread and then you get the adapter rings for 82, 77, 72 and 67. So you end up on my 67 mil lenses which I've Got a couple of them now. You end up with quite a big kind of lenses like this and then the, you know, the ring is a fair bit bigger than the lens, which I'm a little bit concerned about. But yeah, interesting system. Worth a look if you've been looking into like stackable magnetic filter systems. [01:29:54] Speaker A: But pretty good quality too. Like the precision way that it locked. [01:29:57] Speaker B: And yes, what I don't like is the lock. It's hard to explain. Basically there's a tab. Imagine there's a tab at the top and the bottom of the lens and then you magnet it on and then you turn it until the tabs sort of line up and then it's mechanically like physically locked on but if you turn it a bit too far past, it can magnet off again. I'm just wondering why they didn't make it more like a lens cap does or whatever, where it's like you turn it and then there's a hard stop. I'm sure there's a reason why they didn't. Probably was going to be an issue or something, but just feel I like the idea of like when you turn something like that's the spot. Whereas this you could. Unless you look at where the little marker is, you could easily turn it past the spot and think it's locked on and it's not. And when the filter is 4.99 and I do mountain bike shoots and I have smashed many filters, not just one. Many. I don't really want to smash a 499 filter. [01:31:00] Speaker A: Well, I don't know that they're made for mountain bike shoot. People who are going to ride a bike whilst photographing and videoing. [01:31:10] Speaker B: I don't ride the bike whilst sometimes taking photos and videos. I have, but not fast. But yes. Well, no, they say it's super secure, so if they want. Hey, tell me. Okay, Nissi, send me one. I'll test it and I'll be able to tell you if it's suitable for mountain biking while shooting photo and video. [01:31:32] Speaker A: Or you'll get a bag of glass back in the month. [01:31:35] Speaker B: Yeah, that's right. [01:31:36] Speaker A: Just a bag of shards. [01:31:39] Speaker B: Nev says sounds like a great idea and I'll lend you my GFX for a week. Oh, that could be dangerous. Matt Crummons had a nice new GFX102. Did he have the big one? Yeah, with the biggest viewfinder. The flagship. Yeah, that looked nice. Looked heavy though. Maybe we'll talk about that if we get to Seismat. It's getting pretty light. We're not even halfway. We gotta. Oh, this show's gone. It's long. So it happens. Rick Nelson says about the NISSI filters. I think it's an ease of putting it on quickly where a hard stop would make it have to connect the same way each time. No, no, because there's two little tabs and the rest of the filter is free to magnet on. So basically, as long as you don't try and put it on where the tabs are, it's going to go on and then you turn it to the hard stop. It's hard to explain. It's like a. Like a lens cap. [01:32:36] Speaker A: Yep. [01:32:36] Speaker B: Except not like the new Canon RF lens caps because they suck. Yeah. Anyway, what was the final thing that I wanted to show you? [01:32:51] Speaker A: The two things about the trade show? There was a second thing you said. [01:32:54] Speaker B: Yeah, the laptop stand that I saw. [01:32:57] Speaker A: Oh, did you spawn the photo? [01:32:59] Speaker B: Yeah, I think I got it here somewhere. Window. This one. Sorry. For those of you listening, but for those of you watching, check out this laptop stand. It's the most expensive laptop stand I've seen. The guy in the Nikon booth was just. He did. He didn't even like make eye contact with me while I was filming this. It was just busy, super busy working. And he's got it propped up on what I think. What was that? A 600, 800 6.3. 6.3 lens. And I think is it got a teleconverter on it? No, no, that's. That's just part of it. I don't even know how those lenses work. Anyway, so he's just got it propped up on there. Just balancing, typing. Anyway, I thought that was funny. Rick Nelson says I have held them. I know, but the hard stop would be in the middle of the tabs if they did. No, wouldn't you put the hard stop at the end of one tab? So you can only turn it say clockwise, clockwise to lock anti clockwise to, you know, lefty loosey, righty tighty. Maybe. Anyway. Anyway, I had a few. I had a few design issues with nissi. I also said. I said, hey, you give this. These adapter rings for the Jet Mag system that have to go on all your lenses. It's just an adapter ring with a magnet on it so that you can magnet on the other side things. And I was like, how come the adapter rings don't have a clear protection filter on it? Because you're going to leave it on your lens all the time. Then your lens has a protection filter on it all the time. And he was like. We talked about it and I was like. And he's like, I don't know. They didn't do it. Said I think it would have made him too big. I don't know. [01:34:56] Speaker A: Anyway, yeah, he was worried about making. Because they've gone for this really fine profile on each element, but also I'm. [01:35:03] Speaker B: Going to have to put a protection filter on and then put their system on. I don't know, maybe. Maybe they just wanted to sell more protection. [01:35:09] Speaker A: Big day in the castle's household. [01:35:11] Speaker B: It's tough life. It's not easy. [01:35:16] Speaker A: So the trade show wrapped up. We were all encouraged to scoot across the road to like a bar, pub kind of thing. They had a big beer garden. We all went out there for drinks and just to talk. And, you know, a lot of the people from the trade booths were there chatting away about different things, which is wonderful. And then after about an hour, they encouraged us to come back to Camera House upstairs to the big studio space. And they cleared away the trade show completely. They put out food tables, they had a bar set up, they had someone playing live music on a guitar. And they started the 40th birthday celebrations for Camera House Croton. And it was. It was interesting because it was like being at a. It was like being the, you know, the. The weirdo cousins. Well, you were at the family. At the family. You know, the big family birthday celebration. [01:36:09] Speaker B: Yeah, they. They were. They certainly made us feel welcome, don't get me wrong. [01:36:14] Speaker A: Oh, yeah, yeah. [01:36:15] Speaker B: This was a 40th celebration of a. Of a place with a very strong family behind it. And they're all. They had employees. They had their first employee there. [01:36:27] Speaker A: Yeah. [01:36:28] Speaker B: First full time employee flown from Queensland to come to this party, which I think just speaks volumes about the people that run that business, because there's not a lot of employees that, you know, if they didn't have a good time working, especially working in retail that are going to like travel somewhere to go to the 40th birthday. So it was. It was quite amazing. There was a lot of. [01:36:51] Speaker A: Nigel was doing a thank you to everybody and he sort of call out any, you know, hands up, yell out if you're an ex employee. And there was like 15 people in the crowd. [01:37:00] Speaker B: Yeah. [01:37:01] Speaker A: Hands up if you're a current employee. And There was another 20 and family members and. And Nigel's dad was there who opened the first Camera House in Croydon. It was at a different location, but he was 97. [01:37:15] Speaker B: 97. [01:37:18] Speaker A: He gave a speech. [01:37:19] Speaker B: It was amazing. [01:37:20] Speaker A: Yeah, it was really Special to be a part of. And then speeches were done. We networked a bit. Justin got a bit pissy. So did Matt Crummonds. [01:37:31] Speaker B: I was gonna say. I was just trying to keep up with Matt. [01:37:33] Speaker A: Yeah, he was. He was pretty pissy. He was great. But, yeah, it was just. And that was sort of the end of what was a phenomenal day. [01:37:41] Speaker B: Yeah. [01:37:42] Speaker A: And I feel very privileged to have been there representing Lucky Straps and being there with Justin and. And being a part of that, that experience, it was just incredible. It really was. Yeah. And I was. I messaged Justin the next morning because, you know, we talk often. And I was saying to him, you know, I was trying to explain to. To Sasha, my partner and editor, Sebastian, what the day involved. And I just felt like a kid who'd come back from the Royal show. Oh, and then we did this. Oh, and then this happened and then we saw this and, you know, it was just. And I kept remembering things that had happened, you know, it was just great. It was. It was really wonderful. So thank you to Matt and Nick and Nigel from Camera House for coordinating such an impressive, Impressive event, for sure. Yeah. [01:38:32] Speaker B: Very stoked to be a part of it. [01:38:33] Speaker A: Yeah. Yeah. I feel privileged. [01:38:35] Speaker B: Got me excited for Beef up too, this year. 2025. [01:38:39] Speaker A: Yeah. Yeah. So let us know in the chat. Are you heading to beef up 2025? Were you. If you're listening or watching now or later, were you. Were you part of the Beef up day? Were you at Camera House? What did you think of the. The marching band and the dancers and the cosplayers and everything? Let us know if you're listening. [01:38:57] Speaker B: If you're listening from the other side of the world and you're like, I'll never go to Croydon Camera House and I'll probably never be in Bright for the Bright festival of Photography. Tell us in the comments later on. Do you guys have anything like this where you are. Are there festivals, Are there little meetups? Like, what are photography communities doing to keep engaged face to face and not just on social media? [01:39:26] Speaker A: Yeah, let us know. [01:39:27] Speaker B: Good comment here from Rick Nelson. Think Lucky Straps will get into Camera House stores? You know what, I was talking to a few people about this on the weekend and I would like to. We've been in Camera House stores in the past. We had to pull out of stores because we were having tons of trouble getting consistent leather supply a few years ago, quite a few years ago, trying to get the same colors consistently. But I think we're in a place where we might be able to Selectively pick a few stores. Stores like Croydon Camera House, around Australia and probably we would like to get a couple of stores in Europe and a few other sort of key locations around the world as well. But. But pretty selective, I think. But yeah, it's definitely something that I would like to do. [01:40:13] Speaker A: Yeah, Great question that, Rick. Sorry. [01:40:17] Speaker B: Yeah. All right. We've been going for ages. [01:40:21] Speaker A: Yeah. [01:40:21] Speaker B: We should quickly go through the Adapt or Die. [01:40:26] Speaker A: What's on your mind? [01:40:27] Speaker B: I'll play the jingle, but maybe we won't be able to do. Size does matter. We'll see. [01:40:32] Speaker A: We can't talk about your girth today. [01:40:37] Speaker B: Adapt or Die. Who's seen Lightroom's new adaptive camera profiles? [01:40:45] Speaker A: I see where you went with that. [01:40:47] Speaker B: Yeah, they. They released these. They kind of flew under the radar, but then they also released a. A landscape. What's it called? Update for the filters for your masking. So I don't know if you guys have used the masking stuff that you can. We basically auto detects subjects. It can auto detect sky background. They've released a landscape focused update for that. So I wanted to have a look at it. I've had a bit of a play with it today and I'm still getting used to it and I was pretty excited about the adaptive color profile. And then I did two. I edited two jobs today and after editing both jobs, I'm now less excited. But let's have a look. Now, unfortunately, I have to share my entire screen, which makes the writing on Lightroom tiny. So you guys won't even be able to see it, which really sucks. I'm going to try and talk you through it, basically. So, yeah, Nev's already onto it too. Been playing with it for a few days. Works in certain images and not on other images. It's a complete and epic fail on other images. It's a complete epic fail. Right. Prefer to use linear gradients. Yeah, it's definitely not going to replace sort of manual editing techniques, but actually, hang on, are you talking about the landscape thing, Nev, or are you talking about the adaptive color profile? Let's talk about the adaptive color profile first. So most of you probably use presets hopefully you're familiar with. You won't be able to see it here, but on the top right, just under the histogram, there's a thing that says profile. It's usually set to Adobe Color. You can often change it to Adobe Landscape and that sort of stuff. But you can also do camera matching presets in there too. I think Greg is That where Fuji would put their color. What are they called? [01:42:51] Speaker A: Color film simulations. [01:42:53] Speaker B: Film simulations, yeah. So that's where they would normally sit. And what you'll see is two new ones up the top. This is if you, if you're up to date with your Lightroom Classic is adaptive color and adaptive black and white. And so this is a raw image, such a stunning image of a rock. And I'm going to select adaptive color profile. So just before I do that, this is on Adobe Color, that's on Adobe Landscape. Normally the differences, unless they're Fuji's film simulations, the differences are pretty subtle. Like it's basically just sort of subtle color science before you start editing the image. And then this is it. When I select adaptive color, that's what happens. Now, what you'll notice, it's not the same as clicking auto. There's the auto setting that'll actually auto set your sliders to what it thinks they should be. No sliders have moved, no edits have been made. It's all still set to zero. But we've got this adaptive color amount slider that's currently at a hundreds in the middle. So if I take it to zero, that's without it doing anything, that's at 100. And then as you can see, if we max it out, it's just further lifting and lifting the shadows. So what it's doing is basically getting it closer to, I guess, where it thinks you want your starting point for editing. That's what I think this is for. [01:44:30] Speaker A: Well, given it's not moving any of the other sliders because you know when you do a pro, when you apply a preset, your own preset or one you've downloaded or whatever, it'll move all the sliders to say, okay, well now you can go back and play around with, here's what we've done with the preset. [01:44:47] Speaker B: Now you can tweak it, play around with it. Yep. But this is, this is basically giving you a blank slate with all your sliders. But it's adapting this. This isn't. This won't do the same thing to every image. This adaptive color, it'll depend on the image as to what it does as its base preset. And I feel like this is kind of the thing that's maybe happening in phones a lot with like computational editing before you even see the photo. You know how, you know, there's a lot of digital trickery in phones to make the images look good before you, you know, before you edit them or anything. [01:45:26] Speaker A: They just bang luminar Neo does a similar thing. [01:45:30] Speaker B: Does it? So maybe this is kind of a. They've grabbed it from what they're doing and. And try to bring it in. [01:45:38] Speaker A: It's competitive because Luminar Neo, it's. They're kind of flogging that at the moment. Well, they have been. [01:45:46] Speaker B: It's very interesting. I don't know, it's like, you know, get this underexposed shot of some people and then adaptive color, and then you start editing from there. Add a bit of contrast, you know, whatever you want to do. It's. I don't know. I thought I was like, oh, this could be a game changer. I might be able to throw this on. On everything from a shoot and then just do minimal edits. No. [01:46:12] Speaker A: Have you got a photo that. That's a bit more colorful? Maybe some greenery or something? [01:46:18] Speaker B: Oh, you want some. You want some greenery? [01:46:20] Speaker A: I just want to see what it does with different colors. Because in this, the sky is very gray and flat. Yeah, here we go. [01:46:25] Speaker B: Let's try this. These aren't good photos. [01:46:27] Speaker A: No, it doesn't matter. [01:46:28] Speaker B: They're terrible photos. All right, that's on Adobe Color now. Adaptive. Oof. It's pushed it pretty hard. Like, it's. It's. [01:46:39] Speaker A: Yeah, but the green's too dominant now, isn't it? And like, in the front, in the foreground, that foreground patch is really bright. [01:46:46] Speaker B: Yeah. It's just brought everything up to be very bright. But I think it's. It's probably. No doubt they've already got, like, the provide feedback and stuff button here. But they're probably going to, I guess, tweak it. It's probably AI. It's probably a neural network or something that's learning constantly and will get better. Yeah. And make it, I guess, easier for people to edit. [01:47:10] Speaker A: Why are they calling it adaptive color, though? It's more of adaptive exposure. [01:47:16] Speaker B: It does change the color and stuff a little bit. [01:47:18] Speaker A: I mean, you can't tell because your color. Your color grades don't shift, so you don't really know what they've done. You know what I mean? Like, it. [01:47:27] Speaker B: See that? So it darkened that image down. [01:47:32] Speaker A: Yeah. [01:47:33] Speaker B: So Adobe Color, adaptive color. [01:47:38] Speaker A: Very odd. [01:47:39] Speaker B: And it is. Yeah. So it's. It's. [01:47:40] Speaker A: See, look at. Look at your histogram. It's trying to fix your histogram. That's what it seems. That's what it. [01:47:45] Speaker B: Well, that's. That's what it seems to be doing. So. Yeah, I actually noticed it on one of the images I took In Melbourne. One of the images in Melbourne. Nev's just saying. He sent me a photo that he was playing with on his computer, and with the Lightroom landscape preset, it doesn't like. It all looks like an iPhone photo. Interesting, because that's what I thought when. [01:48:09] Speaker A: You did that one with the greenery. No, the one of the two people on the beach where it tries to. You know, it tries to enhance when you hit the auto button when you're editing a photo. And it tries to enhance everything. [01:48:21] Speaker B: I think it's. In Australia we pronounce it enhance. [01:48:24] Speaker A: Whatever. Castles. [01:48:25] Speaker B: Enhance. [01:48:28] Speaker A: Enhance. Dance. [01:48:29] Speaker B: Enhance. [01:48:30] Speaker A: Castle. Not castle. [01:48:33] Speaker B: Castle. All right, so this is. This is a dark and moody image I took in Melbourne. Let's create a virtual copy of that. Why isn't it showing it to me? There it is. Let's reset everything. Who knows what the shortcut is to reset everything? Shift command R. I had forgotten. All right, so that's just a raw photo that I took in Melbourne. Nothing good, obviously. Silhouette Y with sunset. Cause there's some balloons and birdies up in the sky. And then if you do adaptive color, it tries to bring all the detail out in the shadows, and then that's your starting point. [01:49:37] Speaker A: Okay, so let's go back. Let's go back a step and slide up the exposure, just the general exposure, and see what happens with those. If you actually get those details with. [01:49:47] Speaker B: The original, we certainly would. But you'd probably blow the sky out a little bit. [01:49:52] Speaker A: Yeah, I guess you would. [01:49:52] Speaker B: But, yeah, so, like, basically, to get that much detail, the sky's gone. So it's. [01:49:59] Speaker A: Do you think it's applying masking? [01:50:01] Speaker B: I don't think so. I think it's more like doing. You know, it's kind of. I don't know, but it definitely gets less of that HDR look. But, yeah. [01:50:11] Speaker A: Yeah, interesting. Okay. [01:50:13] Speaker B: But, yeah, basically, adaptive color, bang. And then you can't. I mean, that's the thing, is you can always then, like, bring your shadows down. Can be a starting point. But, yeah, it's just. It's. I don't know. I need to do some more experimenting with it. It's not something that I would be happy to build into a preset or something, because I don't know exactly. Exactly how it's working yet and what it's going to do to each image. But it's interesting now. I was on that other photo for a reason, because the landscape filters were interesting. [01:50:50] Speaker A: Let's go back to your rock. [01:50:52] Speaker B: Yeah. Where is my rock? [01:50:53] Speaker A: Where's it Going down, down, down, bottom right. [01:50:55] Speaker B: Oh, here it is. Yeah, My unedited rock. Oh, that's now got the adaptive preset on it. So what is cool now is if you go into your masking settings instead of just people and stuff, there is now landscape. So you do the landscape scan. It's detecting the landscape features that we've got. And look, we've got sky. It thinks we've got mountains. I'd call it rock, but mountains, water, very small mountains. And then natural ground. [01:51:29] Speaker A: Oh, wow. [01:51:30] Speaker B: So now, you know, we can individually mask everything just. And off we go. So we can, like, we can make these rocks really dark like that. So they're black. Yeah, Crazy. But, yeah. So we can really quickly apply multiple masks into different parts of the image without having to select them. And I think it works with trees, it works with what other things that they say it had. But yeah, I think, I think the natural ground, because there was always sky and there was foreground and then there was subject selection and it often got confused as to what the subject was, but it worked pretty well with people. But this particularly having, you know, go to select landscape and go to water versus natural ground is quite interesting. [01:52:27] Speaker A: Yeah, it's interesting that it's doubling up on the rock. Like it's masking the rock twice. [01:52:34] Speaker B: Oh, for the natural ground. Because it's getting a bit confused. Yeah. [01:52:37] Speaker A: See, my concern with this sort of stuff, and obviously it's a choice whether you use it or not, but my concern with software like what we're seeing with Imagen and Aperture, which is also a. That's a Skylum product, Neo, is that these functions, they're fast, they're efficient, they're becoming more and more accurate, but we also don't really know what they're doing. So, you know, this, this adaptive option, for example, it's. It's unclear what it's actually doing to the image. So then when you want to go to do your own, Your own edits, it's becoming unclear as to what's already happened and what I want to. What I want to move to next, I think. [01:53:21] Speaker B: Yeah, that's. That's. What I don't like is the. [01:53:25] Speaker A: Is the not knowing. It's a loss of control. [01:53:29] Speaker B: So this, this is the photo that Nev sent through and he said, what did you say? You don't like it at all? Looks like an iPhone photo. Did you take it on an iPhone? It looks like an iPhone photo. So you're convinced it's. That it's the vibrancy slider. What? So what do you think is the vibrancy slider? Niv. [01:53:54] Speaker A: That it's replicating vibrancy. [01:53:56] Speaker B: What? In the, in the color profile, the adaptive profile setting? I don't think so. You took it with a gfx 1, hundreds, two. Nailed it. No, I'm kidding. So what did you do to process it that you don't like? Was it using that adaptive preset or are you talking about using the masking that we were just playing with? Very confused. Anyway, anyway. But yeah, it's good to see Lightroom still trying to adapt stuff, but in this segment of Adapt or Die, I think at the moment I'm leaning towards die because I'm like, as I said, I thought I was pretty excited. I was like, wow, this could just basically get images close to tweak and. [01:54:50] Speaker A: Yeah, I think we should have a bit more of a play around with this. Not maybe not now, not live. No, but it is interesting. And, and again, my concern is that these software brands will continue to take these steps out of our workflow where we don't actually know what's happened to date. And again, it's a choice, but I just hope they don't move so far into this sort of computational AI image editing that we lose that ability to control how our actual photos are image are edited. [01:55:28] Speaker B: Yeah, yeah, that's, that's the concern that you, and, and that you lose the, the ability to learn, you know, what you're doing and how to. Yeah. [01:55:42] Speaker A: If you just, if you're just selecting something from a drop down menu and all of a sudden the image pops up and you're like, oh, you know it. You don't learn anything from that. Like you said, it's, you know. Anyway, we'll see. We will see. [01:55:57] Speaker B: Yeah. Anyway, this is, this is so Nev sent me this other one. This is, this is him editing it himself, which definitely looks a little bit more subtle and more natural colors. [01:56:07] Speaker A: Yeah, more balanced. [01:56:09] Speaker B: More balanced. Okay. So basically from this segment we've learned we can't hand the reins over to Adobe just yet. We got to do our own thing. We got to keep being photographers and doing our own editing, which makes sense. Yeah. I don't know, it's funny. Adobe, every now and then they've brought out stuff that's been a bit of a jump forward for Lightroom. But yeah, this one not so much except for, I mean the landscape stuff will be handy. The masking, like faster masking is always handy, but you're still in control of, you know, you can Always add to it. You can see that it selected the wrong thing and change it. And then you're also completely in control of what you do with that mask. So. [01:56:55] Speaker A: Yeah, yeah, yeah. [01:56:56] Speaker B: Very different to sort of an auto. An auto preset. [01:57:00] Speaker A: Yep. [01:57:02] Speaker B: All right, we're gonna have to save. Size does matter. Does size matter for the next show? [01:57:06] Speaker A: Oh, but I really wanted to talk about your girth. Leave Justin's girth to next week and let's wrap up the show. Oh, you got to play the jingle because we finished a segment. Nothing but professionalism on the Camera Life podcast. Are we going to wrap it up, boss? [01:57:28] Speaker B: Yeah, I think so. I think so. It's been a long episode. [01:57:32] Speaker A: On that note, folks, it's. What is it? It's almost 9:30. We've almost been going for two hours. This is the camera lighter podcast. This is the random photography show. We're back. Finally been able to be a bit random. [01:57:44] Speaker B: There was supposed to be four of us tonight, but there's two of us. Maybe there'll be four of us next week. We'll see. [01:57:50] Speaker A: Yeah, we'll see what we can do. But. But look, on that note, we will call it a night. Episode 77 done dusted. 12th of May almost over on Thursday. We've got Matt Crummans joining us. [01:58:04] Speaker B: Yes. [01:58:05] Speaker A: No doubt we're going to talk about Beef Up. No doubt we're going to talk about the Camera House 40th. But we're also on a deep dive into who Matt is. [01:58:12] Speaker B: We'll try not to. We'll try not to, you know, rehash over all of that too much. We'll tell Maddie we can for five minutes on. On Beef up and yeah, we're going to figure out what makes him tick. Where he come from. [01:58:25] Speaker A: Yeah. Where he's going. [01:58:26] Speaker B: Maybe where's going. [01:58:27] Speaker A: All of it. [01:58:28] Speaker B: Yeah, all the stuff and the fact that he literally, I'm pretty sure, just changed his entire kit from. [01:58:34] Speaker A: Yeah. [01:58:35] Speaker B: What was he shooting? Nikon? Sony. Sony. He changed the entire kit from Sony to Fujifilm, which is why Greg come on the show. [01:58:43] Speaker A: Yeah, it's like the old days. I'm reliving the glory days. Ian. Greg Carrick. [01:58:49] Speaker B: I'm. I'm very interested to see why he thought that. Yeah, bigger. Because he's not. He doesn't muck around. Like he bought. I think he bought like four, five, maybe even six lenses. You know, like he's got a lot to carry, so it's going to add weight. He travels a lot. He does a lot of jobs. So I'm really interested to find out his thoughts on the switch and. And how he's been going with it. Yeah, most definitely. Nev says I will tune in for that show. As another GFX user joins the GFX army. Philip Johnson says. Thanks guys. Good show. Rick Nelson, great show. Show. Thanks. Thanks everyone for joining us in the chat. It's been good. [01:59:30] Speaker A: Make sure you like and subscribe too. [01:59:32] Speaker B: Yeah, do that if you're not already. I'm sure you already. They're all legend. No, I was just going to say is that it's our first day streaming to X and I. I have no idea if anyone's listening. I don't think they can comment. I have no idea what's happening over there. Yeah, on. [01:59:46] Speaker A: I'm sure the bots are loving it. [01:59:48] Speaker B: Yep. [01:59:48] Speaker A: All they're talking about is AI. [01:59:50] Speaker B: We got one bot comment from. What's that other place that we're trying to stream to Twitch? They said you can get cheap viewers on stream boo.com so I might get onto that later. Wouldn't mind some cheap viewers. [02:00:04] Speaker A: Yeah, because we're on the March 2000 now, folks. [02:00:06] Speaker B: That's right. And burst through. Nev says burst through 1.04 K. That's us. Susan, you did. You missed it. But guess what? You can just drag it back to the start and just watch from the start and pretend you're live and then leave any comments you want just in the regular comments and we'll talk about them on next week's show. So don't worry, you didn't miss it. All right? [02:00:34] Speaker A: All right, guys. Well, look, as we said, this has been the Camera Life podcast, episode 77, proudly brought to you by Lucky Straps, maker of fine leather camera straps from Bendigo, Victoria. Handmade Aussie, made from our hands to yours. Connect to your craft. But on that note, we're going to play the jingle and we're gonna get out of here, but we'll see you on Thursday with Matt and make sure you like and subscribe. Let your mum know so she can like and subscribe too. Yeah, we are on the March to 2000, so the more mums we have on board, the better. [02:01:05] Speaker B: Yeah. Happy mother'.