EP95 Random Photography Show with Andrew Chapman - Inside the theatre room

[00:00:24] Speaker A: It's always a nice slow start to a Monday evening. Speaking of which, good evening and welcome everybody to the Camera Life podcast. This is the random photography show and no, Jim has not aged a bit. We're actually joined by a guest tonight, but we'll get to his. We'll get to his intro in just a moment. Thanks for dialing into the Camera Life. Sorry you're a little bit late. My setup was fine, clearly. I see Justin. Justin's going in. [00:00:49] Speaker B: Sorry. [00:00:51] Speaker A: Such a clown. [00:00:51] Speaker B: That wasn't supposed to happen. [00:00:53] Speaker A: Yeah, clearly we've had a few technical issues, so we're a little bit late. We're sorry, we'll hear it from Yelena a bit later. But. But yeah, this is the Camera Life podcast. It's the 7th of July, if you can believe it. All of a sudden we're well into July. It's episode 95. And proudly brought to you by Lucky straps head to Luckystraps.com. we make amazing leather camera straps right here in Bendigo. Well, I'm not in Bendigo, but, you know, Justin is Bendigo Victoria. Close enough. Good morning, Justin. Oh, good morning. Good evening, Justin. [00:01:27] Speaker B: Oh my gosh. This is about the most amazing start to a show that we've ever had. Oh, no, we've had worse, luckily. [00:01:36] Speaker A: Long time no speak. [00:01:38] Speaker B: Yeah, long time no speak. Spoke to you about three hours ago. It was wonderful. [00:01:41] Speaker A: Yeah, yeah. Can't shake him. But let's, let's. Before we spoke to our guest, Andrew Chapman. We've got a phenomenal story to hear from Andrew. But before we get into that, let's say hello to the chat, Justin. [00:01:54] Speaker B: Yeah, everybody's here. It's a busy evening. I guess they've been waiting. We had Philip Johnson here first. Evening, Philip. Evening. Paul. Noel Butcher. Good evening. Hey, no, we got Tony Paul asked what time 7:30 show start, and Tony said 7:40. Rick Nelson is here. Hey, Rick. Kath Stevenson says hi. Bruce. Mo, of course, says, good evening. Bruce says, I see 7:30 is relative. [00:02:23] Speaker A: Yes, all is relative, Bruce. [00:02:25] Speaker B: Nick Fletcher is here, our biggest financial supporter. Yes, and as always, David Flutter Suck is here. Good to see you. Day. [00:02:35] Speaker C: All right. [00:02:36] Speaker B: Yeah. [00:02:36] Speaker A: All right, let's dig in. Andrew Chapman, thank you for joining us tonight. It's such a, such a pleasure to have you on the show. You know, we, we've been. Been interviewing a few photographers since we've re rebooted the Camera Life podcast and we've spoken to plenty gray beards such as yourself. But I think you might, I think you might top the charts in Terms of the longest time as a photographer. We had Rodney Nicholson on a couple weeks ago who recently celebrated his 51st anniversary as a photographer. But you're well over that now, aren't you? [00:03:10] Speaker C: I think I'm heading for 55, Greg. I know I'm impersonating a garden gnome and I was the technical reason you were slow, by the way. Apologies for that. I didn't have Firefox ready and going ahead safari. So anyway, no sweat. I'm here. So 55 years, I can still operate a computer. [00:03:30] Speaker A: Just nice, nice. Probably more than I can do. Face it, I'm terrible with technology. Now. I remember that, that period of time where you hand over the reins of something within the household to the next generation. I can still remember the time where I had to concede that my son knew more about computers than me when he was about six. Editor Seb, if you're watching, I love you, Andrew Chapman. Now, just for a little bit of background info, Andrew's here tonight to spend a little bit of time with us to talk about an upcoming episode exhibition that is taking place at Magnet Gallery in, is it Docklands? Victoria Docklands, yes. Yep. Before we get into that, I just want to sort of unpack a little bit of Andrew's story. We're not going to go into too much detail tonight, folks, because this is the random photography show, not our interview show. But I thought this story was well worth hearing. And so we decided to get Andrew on as soon as possible. But we will have Andrew back a little bit later in the year to talk about a book launch that he's also doing. And in that, in that time, we'll, we'll unpack his full story in a little bit more detail. But Andrew, you've been, you've been photographing in Australia now for, as you said, close to 55 years. You've photographed everything from, you know, rural events to political changes in our, in the Australian government. You've, you know, you've, you've photographed it all. But I think one of the most compelling series of images of yours that I've looked at certainly is the work that you've done around transplant surgery. Now, in preparation for tonight's show, you sent us through some stuff that you're working on, and also we got to see a couple of videos which we'll put in the show, notes for people to watch at a later time. Not now, later, but you yourself had to undergo a transplant. Can you take us back to that, that situation, if that's okay with you, and talk to us about what it was that made you think, you know what? I need to document this for a particular reason, for others, for yourself, whatever it may be. [00:05:40] Speaker C: Well, my main interest in photography has always been documentary. Leaving a document, telling the truth. Pretty old fashioned these days, I know, but I like to talk about the truth. I did work doing photojournalism. Am I always, always shooting my own projects, no matter what work I've been doing. I'm kind of retired now, but I'm still shooting. I'm out doing two projects currently. I'm working on power stations and I'm working on transplants. As I was motoring along at 100 miles an hour through my life, I started getting very tired. And you know, a Chinese medicine guy once said to me, so you've got a problem with your liver, mate. And he gave me all this herbal tea to drink, which was pretty foul, but I did it and nothing really changed. And then around about 2000, I went to see the doctor. He said, I think you're depressed. And I went, don't think I'm that depressed. I don't get depressed. So I got a second opinion. And he said, high blood sugars, high irons. I think you've got something called hemochromatosis, which I'd never heard of and sounded. [00:06:59] Speaker A: It sounds like a spell from Mary Poppins or something. [00:07:03] Speaker C: I was down at Ferntree Gully Hospital one just after I got the diagnosis. I had to go for a blood test and I ran into a dear departed friend, Tim McCarthy, who is a anesthetist. He said, what are you doing here? I said, oh, apparently I got this thing called hemochromatosis. And he looked at me quizzically. He said, oh, we studied that medical school. I didn't think I'd ever meet anyone who had it. And yet now I've mentioned the word to you, you'll hear from someone else who's got it. It's one of the most common genetic conditions in Anglo Celtic populations. What it is is the ability of the body to absorb iron and not release it. So I had very high, what they call San Ferritin. So if you're a normal person, I'm sure you're both normal people. I reckon you've got 30 to 70 units per million of, of San Ferritin. I had 4,200, so I was very heavily saturated with iron. It, it developed during my life. But what it did is by around about 2000 left me really tired and, and weak. I fall asleep driving the car, which Wasn't it was suboptimal, you might say they're pretty well worn out. Anyway, they put me on for nearly 10 years on Venice section, which is giving blood every, every week. And that's how they lower the iron out of your body. You, you give, you know, 700 mil or whatever and go to the blood bank, eat a pie and sauce and go home again every week and we kill a nor. But I was so heavily saturated at the time, it didn't do that. The unfortunate thing is that it had given me cirrhosis of the liver. It had affected my knees and a few other joints and that it affects different people in different ways. So whilst they managed to get all the iron out of my body, it had done its damage. And by the end of 2010, one morning I looked in the mirror and I was yellow. I was bronze and my eyes were bright yellow. Pretty spooky looking. And I had lost my brother only eight months earlier to the same condition. My brother Chris had died from liver cancer. And I kind of knew where I was heading pretty quick at that point. I spent Christmas in, at the Alfred Hospital and they worked me up for a few tests and they said, would you be interested in a transplant? And I said, yeah, of course. I don't want to go anywhere. I've got too much to do. I've got a few projects I want to finish shooting. And I can remember the day the ambulance picked me up from the Alfred and I went up Punt Road and out the Eastern Freeway to the Austin Hospital liver unit. And there I resided for about a month. I got sicker and sicker, tighter and tighter, and it was pretty apparent I was going to. I was on my last legs. And of course you need a donor, you need a matching donor to get a liver. And there wasn't anything available, so I was kind of fairly sure I was, I was dying. Anyway, about early February, I think it was about the fifth or so, I started bleeding from small varices in my throat. And they can't do an operation if you're bleeding. So I don't know. Have you ever been in a hospital when they call it Code blue? Yes, that's when everyone comes running a code blue. So everyone came running, they stuck a needle in my arm and that is the last I remember of my old life. I was five days in unconscious in intensive care and by the grace of kindness of someone who died being an organ donor, I got to receive that. I know it was a gentleman, I got to receive that gentleman's liver and Survive. And it, it was. I was in a real mess when I came through. I couldn't move my arms. I was in intensive care for 32, 31, 32 days. [00:11:38] Speaker A: Wow. [00:11:39] Speaker C: I was on a dialysis. I couldn't move. The doctor came in the next morning and after. Well, after I awoke, he came in and he said, how you going, Andrew? He said, no, what are your plans? I said, well, I've got to drive over to Western Australia. I've got. I've got a book on shearing sheds. I've got to finish woolsheds. And a friend of mine wants me to go hot air ballooning up in the Arctic. And I list off about five things and he said, okay, well, let's talk about those things tomorrow. And I realized I couldn't even. I couldn't lift my arms. There was no way I was going to do anything. So long story short, it was a slow recovery and some really, really wonderful people at the Austin hospital. And I came back that said my kidneys had stopped working and they didn't restart. And I had a virus called CMV which had gotten inside the eyes and had the potential to cause blindness, which for a photographer's not a great. [00:12:45] Speaker A: Problematic. [00:12:46] Speaker C: It's problematic, you know, I mean. So anyway, I was on. I was on dialysis for quite a while, but I, I managed to talk my kidneys back into working and got them up to about 23, 24% and got back home and got back doing what I love doing, which is taking photographs. [00:13:11] Speaker A: Yeah, it didn't take you long to pick up a camera again. And, and the sort of. The next big, I guess, output from you was that you actually kind of flipped the role and you decided to photograph someone else's transplant. Can you tell us a little bit about that? [00:13:30] Speaker C: Yeah, sure. I, I wanted to photograph what had been. What had happened to me. What. But, you know, I nearly died. And, you know, it was, it was very, you know, it's very traumatic thing, saying goodbye to everyone, you know, and, and you don't think you're coming back. And it's equally traumatic when you see them again, when, you know, you've come back. It's, It's. It's a very weird thing. My wife said to me, you know, I think you should do something voluntary and, and, and don't make it photographic. For God's sake, do something else. Just be a volunteer. So I said, okay, fair enough. So I ring up, I ring up Donate Life and have a chat and I, you know, yeah, yeah, we'd Love to have you. Don, what do you do? I said oh, I'm a photographer. And they said, oh, that's interesting. We've got a project, you might be interested in it. I said we want to, we want to document the pathway of a human organ transplant. Would you be interested? And it's like you couldn't hit me with a better brief for what I love doing, you know, it was right, right up my alley, you know. Anyway, long story short, I got to photograph somebody dying and that's, that's a very, very difficult thing to do. And I got to photograph a young bloke, Nick King his name was at the time, 34 year old guy getting a liver transplant. I also did some work on corneal surgery too for corneal transplantation as well. And we had a big show of that back in 2016. It was pretty successful, ran around about four or five different venues. Ran in the Guardian, ran overseas, in the Guardian newspaper, the Age, Sydney Morning Herald. There's quite a bit of publicity around that and you know, I achieved that. It was a great show. I really, really love the images I did for it. I was very proud of it. But I kind of go, well, where do I want to go from here? And one of the things I thought I want to keep doing, going with transplants and I, I already had a dodgy kidney in that. It wasn't working really well. It was only working well. I was probably down to 20% by that time. And I started with the Austin Hospital. I was going to photograph a young lady who was having five organs transplanted at once, which was a massive operation, a massive operation. And I'd done the pre photography. She was in hospital, she was in hospital during COVID She was so immunocompromised they kept taking her off and then putting her back on the transplant list. And we got to the point. [00:16:25] Speaker B: Where. [00:16:25] Speaker C: I could eventually photograph it. The surgeons, the staff, they all knew me from the previous work. No one is worried about me coming in. Everyone was there and, and the family were right behind me as well. And on the, the evening of the day, the day before, the transplant nurse said, I'll just ring and check with the coordinating office. And she rang them up, she rang me back, she asked, you can't do it, you can't do it. It's Covid. It's just not going to happen. That was a really big disappointment to me. [00:17:00] Speaker A: Yeah. [00:17:01] Speaker C: And because you know those, there's only been a handful of those operations ever done in Australia. It's a pretty intensive Thing that said my kidney. My kidney started to fail in 2020 and I was running, I got a virus and the virus knocked out my kidney performance down to about 10. Well, got to third iron 10, 12, 12, 10. And then eventually got down to 8%. At 8%, you know, it's amazing. I was able to photograph an exhibition on woolsheds down in the Western District in the. The month before I had the transplant virtually a couple of weeks before. And I noticed you got Noel Butcher on the, on, on the line there watching the show. But Niall helped me with that. He carried the camera bag and set up a tripod and made a general nuisance of himself. Well, I took photos, but the fact that I was able to photograph an exhibition on an 8% kidney function was a pretty remarkable thing. I should also give a big shout out. My kidney donor was my oldest daughter, who was 38 at the time, who made a very brave decision to donate a kidney to me. It's a very hard decision as a. A parent to take, but it's all worked out well for everybody and I'm here bugging you all now. [00:18:33] Speaker A: Yeah, I know, Matt. We're certainly happy for it. No butcher objects. He's never a nuisance. [00:18:42] Speaker C: We're like that. We're like the grumpy old men. Nile's an old mate, you know, I have to get my. I have to look popular so I get my mates to ring up and, and type in. Yeah, Noel and I have done a lot of road trips and Noel's done a book. You should actually get him on talking because he's ex Herald photographer. He's had a pretty interesting life himself. Anyway, that's aside from the point. So coming out of it, I started hassling Professor John Kanellis at Monash Hospital where I'd had the transplant, about photographing. And, you know, they're always very wary at first, you know, oh, who's this guy? Is he going to be a prima donna in the surgery? And blah, blah, blah. So luckily I could refer them back to the Austin hospital, who I've still maintained very good relations with, and they assured them that I'd be all right. I think it had to go through the. The Transplant Organ and Tissue Authority, a few people like that, just to make sure everything is right. What was I doing it for? So they then had to find me a couple because I wanted to do a paired kidney exchange. So this was. We're not talking about deceased donors now, we're talking about people who alive. And they put forward to me a Lovely couple, Steve and Leanne Bruin from Berwick in, in Melbourne, Melbourne suburbs. And they were more than happy for me to come in and intimately photograph their life and from a. Basically. Do you understand the term fly on the wall perspective in photography? [00:20:26] Speaker A: Yep. [00:20:27] Speaker C: Yeah. So I wanted to just be that random observer basically there even when it was in their bedroom when they're going to bed at night. [00:20:38] Speaker A: Nothing strange here. [00:20:41] Speaker C: And you know, we managed to do that pretty well. And they, they were fantastic and still are fantastic. They're very lovely people. [00:20:51] Speaker A: So. Okay, can I just jump in for a sec there? Just, just give me a sec. I just, I just want to, I just want to jump in for a sec. So could you just tell us like, what was the prep for you? Did you, did you have someone from the hospital who was your liaison who said, okay, this is where you can and can't stand. This is what we have to do to get you ready. What about your camera gear? I mean, I imagine you were in complete head to toe protective gear for infection control, not only for you, but obviously for the patient, but also for yourself. But what about your camera? Did that, did they have to clean that? Did they. [00:21:27] Speaker C: It's funny you say that because we had a bit of a chat on something. It was on Instagram or Facebook the other night about a couple of, with a couple of photographers and none of us have ever been asked to sterilize our cameras going into surgery. So, you know, I photographed open heart surgery back in 94 at the Austin and, and, and seen, coincidentally seen a liver transplant back in 94. And yeah, I mean there's an area that's blue, it's got blue cloth on it around the, basically where the, the operation is taking place. You're not allowed to lean over it. That's, that's generally what happens. But anything else they're happy for you to do and, and, and they've been, the, the staff are fantastic people. You know, they've just been really, really wonderful and you know, it, it with the, with the original liver transplant, the nest, Louise Allard, she said to me, oh, here's a little stand for you. Just stand. I was where the head is the head of the patient and of Nick and then I just leaned over him and I could wide angle lens straight in and you know, as long as I didn't lean in too far and they'd tell you if you back, just back a bit, that's. No one got cross. Everyone was everyone. You know, liver transplants or kidney transplants are probably fairly routine. To all the staff. So having a photographer in there is probably a novelty, I guess. [00:23:06] Speaker A: Yeah, yeah, I guess it would be. But I think it's important. It's important storytelling and documentary process because there's so much of it that is unknown. We see glorified versions of it on TV that are inaccurate. And I've had a few surgeries in my time and it's quite a scary process. And I think that, you know, the more that we understand and reveal kind of, you know, what's involved, that it can help alleviate people's fear. I'm just going to bring up your website very quickly, if you don't mind. [00:23:36] Speaker B: There. Go if you want, Greg. [00:23:38] Speaker A: Oh, yeah, okay. Jay. Yeah. If you want to bring it up. [00:23:40] Speaker B: I was about to say, is this a good time to maybe have a quick look at some of those photos? [00:23:44] Speaker C: Yeah, absolutely. Go. Go for it and put them up there. [00:23:48] Speaker B: I'll pull it up and I'll also. While we do that, I'll just mention there's a couple of. Couple of good comments in here from everyone. Deborah. Deborah Williams says, still a wonderful storyteller, as did Greg Carrick. Said we're all hooked up. And David Parker says, glad you're back on track, Andrew. Bruce Moyle said he's been doing some of this work recently for the last three years, but video, not stills. And it's amazing to be given the privilege and trust of everyone involved, especially the families. Yeah. But mentioned that he hasn't done transplants, but other medical procedures and respect to Andrew can be quite confronting. [00:24:33] Speaker A: Yep. Now, if any of you are squirmish, you might want to just turn to audio only for a few minutes while we look at some of what it. [00:24:42] Speaker C: Is black and white. And that's one of the reasons it is done it in black and white because, you know, most people are pretty cool, but, you know. [00:24:51] Speaker A: Yeah. [00:24:51] Speaker B: Yeah. Elaine has just popped in saying my audio sounding tinny. It is. I'm on. I'm on the full MacBook speakers. I feel naked without my headphones. Nothing's working tonight, but where we're powering through because Andrew's got the stories. So I'm just gonna. I'm just gonna scroll through these and you just stop me if you want to talk about any of them at all. Andrew. [00:25:16] Speaker C: That. That image, funnily enough, is probably the most corporate. The one of the. The hand and. And they're actually samples of livers which they compare to test for compatibility down at the. What is called vitus. It's the Victorian tissue and immunology service and they register of all the potential patients. So when something comes in, they match those tissues to try and get a mat. That's how they find a match. [00:25:45] Speaker A: That's amazing. [00:25:46] Speaker C: Like a lucky drawer in a sense, isn't it? [00:25:49] Speaker A: Yeah. That's incredible. [00:25:55] Speaker C: This is a nurse holding the hand of the patient who is dying. If ever there's been a, a point where you're standing somewhere with a camera and going, what am I doing here? This is the point of your life that that's happening because you're going, do I need to be here? Do I need to be here? And yeah, this woman's parents had given me permission to take photos. I had full permission, written permission, obviously everything had to be signed off. And I've lost my train of thought about that. Hang on, I'll come back. But, but, but you know, the staff were just so beautiful, so beautiful when somebody's dying. And this person was only 38 or 39 years old, you know, it wasn't, wasn't very old. And, and you know, it just, just is. So many people cling to life, you know, and, and to see a life ended is, it's. I don't, I'm lost, I lost my train of thought here. [00:27:03] Speaker B: But no, no, look, it is a very big thing. [00:27:06] Speaker C: It's, it's a big thing. But we needed to tell a story. We needed to tell a story that some people pass away. They'll pass away from failure of organs and things like that. Often they had a brain damage and they're not coming back from being brain damaged in falls and accidents and you know, they're going to die. They're going to die and either they just die or they leave their organs to somebody and they can go on to save a life or multiple lives. And this, this case, they had a set of lungs and they also found that her kidneys were okay. And two other people. So three people got life. So not life altering operations that have allowed them to live a normal life. [00:28:11] Speaker A: Yeah. [00:28:12] Speaker C: So it's, it's a pretty important thing. [00:28:14] Speaker A: Yeah. And I think the privilege that you'd mentioned a couple of times about the privilege of being able to be there and document that, that's pretty phenomenal. And it's, you know, I don't think everyone could do it, but I think what you've done is both brave and quite important part of story, documentary storytelling. It's something that we don't see very often. And I think this sort of work and your upcoming exhibition is a great Opportunity for people to gain a greater understanding of actually what does take place. [00:28:45] Speaker C: Yeah. [00:28:47] Speaker A: With transplant surgery. [00:28:49] Speaker C: Well, this particular exhibition, it ran around the place, it was at Flinders Medical center in Adelaide. And I've got a, there's a documentary attached to my website under Videos called Yellow, which anyone interested can look at later on by a wonderful documentary maker called Chris Franklin. But in that I got a letter. This exhibition ran, this liver exhibition ran at Adelaide. It was on the walkway down to intensive care and a lady had come down with her son from, from Darwin. Her husband had had an aneurysm and was medivac to Flinders Medical center in Adelaide, which is where they tend to do that. And he was on life support and she was visiting him every day. And she said to me that in this letter that I got that seeing the photos every day gave her and her son the impetus to allow her husband to be an organ donor when his life support was switched off. And as a result of that, a number of people, I, I'm five, six, got life saving transplants, you know, because the rest of it, he was a fit, a fit gentleman. And you know, and there's people like me who've been given this what I call the gift of life, who, who come back from it and go, right, well, what are we going to do? You know, you want to, when, when you have a major medical thing happened to you and, and, and you, you survive it. I know a lot of people had heart issues and things like that and they come back and they go, right, well, I realize how precious life is now. What am I going to do with it? What am I going to do with it? To make it real. I'd kind of had that awakening when I had hemochromatosis back in 2000. So the transplant wasn't that moment for me, but it is for a lot of people. People. And those people who get, get an organ from that gentleman, probably all walking around today, all living a life, seeing their families grow up, seeing their kids grow up, seeing like myself, four beautiful granddaughters born and living. This is an interesting shot. This. I wasn't allowed to go in the police car from the Austin hospital. There's a set of lungs in that, in that esky there that the police are walking out. I knew they're coming out and I, I knew I had one chance to get it and I just waited away and I saw them come out of the lift and I just, I had the, I had the shutter speed off something like a 60th or 30th I knew what I needed and I just had the motor going. I just went bang, bang, bang and got it on the second frame and, and then they're off, they're in the police car. BELLS AND WHISTLES they were off to, to Essendon Airport and there was a jet waiting and those lungs ended up going into state and into somebody else. But you know, it's, you've just got that short window to get the shot to nail it. [00:32:13] Speaker B: I can't believe that you. I would not, I would have been too scared to try and introduce motion blur when I knew that I, a few seconds of them walking past I would have been terrified. I would have just shot at a normal higher shutter speed and just, I. [00:32:30] Speaker C: Mean, you know this, I've never done a job that meant more to me than this job. I didn't want it to fail. It was so important to me. And you know, I think there's all sorts of things that could have gone wrong with that. There could have been someone come walking through or anything could have gone wrong. Anything could go wrong and it didn't and, and you know, okay, it's not just being lucky. You make your luck and you use all your skills but there is an element of luck that comes through it. I think that, that certainly did. Yeah. I think if people realized there were a set of lungs walking out on the trolley policeman put them off their morning cup of coffee, possibly it wasn't. [00:33:15] Speaker A: Just the coppers off to a picnic. [00:33:18] Speaker B: In such an Australian esky too. Like it's not even official thing. It's just like, yep, it just looks. [00:33:24] Speaker A: Like a one you take to the park full of beers. Yeah. Andrew, you've worked a little bit with, with Donate Life. Can you tell us about your association with them, please? [00:33:37] Speaker C: Okay, well, I've worked like I said, I, I, I went to offer my voluntary services and ended up meeting the staff there. They're really great people, really dedicated and we developed this as an exhibition and we've turned it around. I know for a fact that it has actually resulted in lives being saved. I know awful lot of people have, you know, rung up. I'm going to actually do a little plug here for their website, donatelife.comgovau and people have just registered to become organ donors and I know some people have, have made a difference and you know, save lives. It's just, it's just a great thing. I mean, okay, some people may have religious opposition to it or, or spiritual or whatever and that's fine. But I think that I don't know, 80, 90% of people are quite happy to do it. And I think it's just really easy. I think there's a little donate don't register link there in the middle of the page. [00:34:50] Speaker A: Yeah, we'll pop this in the notes down below for everyone. [00:34:52] Speaker B: Yeah, I was having a look on here today because I, I, when I was watching your story and stuff, I was like, I don't, I honestly don't know if I'm registered or not and if I would be more than happy, you know, like, I, but I just hadn't thought about it. So now I'll make sure I go through the process and see if I'm already. [00:35:10] Speaker C: Well, that's, that's a wonderful thing, Justin. And you know, my, I always back that up and I say to people, make sure you tell your nearest and dearest what you want to do. So if, if I'll use myself as an example. If I have a brain aneurysm and I'm lying in the hospital, so, well, he's not coming back. We're going to turn off the life support and nobody's going to say, oh, I'm not sure if Andrew wants that, you know, so it's really important to tell your loved ones that that's what you want to do. So they understand and it makes, it makes the pathway for the people at the hospitals. Can you imagine your job is at a hospital in emergency. Somebody's just about to die and you've got to say, while you're at it, can I ask you about the possibility of transplanting? I mean, that's, that's an amazingly tough, tough gig for somebody to do. And you've got to give a lot of credit to those people. They're fantastic. [00:36:12] Speaker B: And if, if everyone's aware, it doesn't put any pressure on them, like they're making a decision in a tough moment or anything like that. It's already, you know, if, if your loved ones are aware of what you want, that it's an easy thing for them to, to allow to happen. They don't feel like they, maybe they're doing the wrong thing or something like that. [00:36:30] Speaker C: So. Yeah, well, you know, sometimes you, you know, it's difficult to talk about, but sometimes it's children, you know, and, yeah, that must be the hardest thing to do for a parent, you know, to have to be confronted by that. It's almost, would you call it an existential ask? You know, your child's about to die, would you mind? And, But I think I'd like to hope in, in the majority of cases there, that, that, that there would be some solace in the fact that part of their child would go on living in other children and give them a chance at having a decent life. You know, you kind of have to hope that, you know. [00:37:17] Speaker A: Yeah. [00:37:18] Speaker C: So donate Life does a great job. You're really good. [00:37:21] Speaker A: Yeah, yeah, very cool. Well, I encourage everyone at home to have a think about that question that, you know, how, how would you like, you know, would you like your legacy to be that your, your organs went on to save someone else? I think it's a, it's a pretty sweet thing to think of. But, you know, talk with your, your loved ones, your next of kin, whoever that may be, and make sure people know what your wishes are. [00:37:45] Speaker C: Excellent. [00:37:45] Speaker A: Just bunches of time. I want to talk about this upcoming exhibition. So you've got an exhibition coming up at Magnet Gallery in Docklands in Victoria. [00:37:55] Speaker B: Yep. [00:37:56] Speaker A: And tell us a little bit about what's involved in that. How many works can we expect to see of yours hanging on the wall? [00:38:02] Speaker C: Okay, well, we're, we're putting together about 35 beautiful prints done by Noel Butcher. I'm giving him another plug here. I shouldn't be so kind to him, but there you go. He's very kindly printed them all for me. A, a, a two prince. And we're putting 35 together, which, a couple. Look, I, I, I can't get anything done without people helping me and I've just got wonderful people helping me. My friends Bruce and Vern have come over and helped me put half the frames together and we're doing the other half over, not quite over a bowl of minestrone, but accompanied by a bowl of Ministerial Thursday, hopefully the one Technicolor prints. And you know, people just help me all the time. So 35 prints, we will get them down to Docklands. They go. I think they're going to be on display from 17 July, but the launch is on the 20th at Magnet Galleries at Docklands. And it will run, I think it's running till the second. And forgive me if I'm not quite right, everybody just double check that date when Magnet put it up on the, the website. [00:39:15] Speaker B: It's not there yet. [00:39:15] Speaker A: It'll be there soon. [00:39:16] Speaker C: Right? Yeah, we'll have a great launch and, and you know, I'm hoping for lots of people to come down if you're interested in interesting photographs. They're not gory. It's not a go. Well, there's a couple maybe a little bit, but nothing you know, most of it's just people doing things and it's quite interesting to watch. I've been shooting this stuff with my Fuji cameras for. I've been on fuji since about 2014. I just love. [00:39:47] Speaker A: Good man. [00:39:49] Speaker C: They just work. Well. I'm not getting paid by Fuji, by the way. I wish I was. [00:39:53] Speaker A: I'm not either. [00:39:56] Speaker C: Gee, I'll tell you what, we need to put our hands out, Greg. They are beautiful. It's beautiful gear to work with. You know, I really. I've been using X Pro 2, X XTS. I've got. I've shot the Kidney Exhibition XT5s. And they are just, you know, when you see the prints blown up really large, it's just amazing how good their lenses are. They've probably got one of the best sets of lenses. I'm just saying all that for all you gearheads out there, you know, I love it. You know, that said, you know, I've used. I've used every type of camera over the years. You know, I started with Leicas. I had Nikons, Canons, Hasselblad, Bronica. You know, I've been everywhere, man. But I'm in a happy spot with my fishes at the moment. But at the end of the day, you know, it doesn't matter. A friend of mine, Dave Callow, he says to me, what's the best camera, the camera you've got in your hand at the time? You know, it's whatever is taking the image. Because it's not about the camera, it's about the image. And, you know, if the image is powerful, I mean, look at the shot of Robert Capper of the Marines landing on the beach. Was it Omaha beach or wherever in D day? And that. That grainy, gritty photo. Yeah, it's not the. It's not the grain and the grit. It's the emotion of the photo that it is about and, you know, hopefully, hope. Hopefully that's what people find in. In the Daisy Chain exhibition when they see it. [00:41:32] Speaker A: Yeah, well, I think. I think you're spot on there. I think, you know, and you mentioned earlier about the photography, especially with this kind of work, takes a little bit of luck. And I agree there is an element there. I don't know that I would call it luck. For me, it's always about being present. If you're present, the opportunities will come, you know, if you're around. [00:41:57] Speaker C: The aforementioned Dave Keller also said to me, 98 of a good photo is being there. The other 2% having a camera with you. And, you know, you've got to be there, you've got to go out and take photos, you know? Okay. I get photographers who say to me all the time, I haven't been getting any good photos lately. I said, have you been anywhere? Oh, well, no, no, I just haven't been getting any good photos. Well, you know, pick your camera, go outside and take a photo, Go for a walk. Yeah, go and have a look at what's going on. Start a project. There's plenty to photograph in this world. I mean, like I said, my stuff's fairly fly on the wall documentary work, but I just believe normal life is as exhilarating and as interesting as it gets. You know, you don't need to do any fancy highfalutin stuff if you don't. [00:42:48] Speaker A: Want it because, and I think your 55 years of experience have definitely proven that point. But look, I am conscious of time. I, I, what we're going to do, folks, is like I said, we're going to get Andrew back in a couple of months because he's got another project coming up that, that we're going to talk about in the lead up to the OR during the Ballarat International Photo Biennale. Did I say that right, Justin? [00:43:16] Speaker C: I think yeah, that's correct. [00:43:20] Speaker A: Thank you, Andrew. [00:43:21] Speaker C: So I've got a couple of things happening at the B and only, so, yeah. [00:43:24] Speaker A: Ah, cool. Well, we look forward to covering those when we have you back and we'll get a much deeper dive into your, your extensive photographic journey. But putting those things aside for the moment, I think having spoken to you a couple of times on the phone and having a look through your work, there's a lot of inspiration to be gained from not only your story of your own survival through terrible illness and, and overcoming some fairly insurmountable odds, but the fact that you've then flipped that and combined it with your creative craft, your photography to highlight a really important social topic, to encourage others to become a part of it and to show everyone that it's, you know, that it's, it's just another stage of life. And I think that's something that we don't see a lot of. We see everything from birth through to when we stop being good looking. [00:44:16] Speaker B: And. [00:44:16] Speaker A: Then the photography seems to sort of taper off when it comes to documenting people's lives. But I think there's a lot to be said for the sort of work that you do. But we're going to pop in the show notes, links to your site to donate life and I think, as Noel Butcher said a moment ago. I'm not sure where his comment went. Here we go from oh, you guys, please. [00:44:42] Speaker B: Go for it. [00:44:43] Speaker A: Please sign up to be an organ donor. Remember, you don't need the organs anymore. You might just save a number of lives. And I think that's. If you're going to take anything away from, from tonight's show, then I think that's a pretty important message to take away. Andrew, any parting words, any final, final nuggets before we get you back on in a couple of months? [00:45:02] Speaker C: You know, life's a journey, Greg. You know, you're living your life right now. Everybody out there, I don't know all six of you who are listening, hopefully there's more than six, more than that. Thousands of people, hundreds of thousands of people out there. You're living your life right now and what are you doing with it? You know, are you do. Are you going to have an interesting life or you going to have a boring life? You know, it's up to you, it's up to everybody to make their life what it is and get out there and do it. There, there's my piece of wisdom. [00:45:35] Speaker A: Nice. [00:45:36] Speaker B: Nice. I'm so excited to. Yeah. To have you on in a few months even just so I, I've already dropped those links, Greg, in. I just put them in there now. So after the show, guys, you can watch a couple of videos that are there, including Yellow which was. That was made by. Is it Chris. [00:45:54] Speaker C: Chris Franklin. [00:45:56] Speaker B: Yeah. [00:45:57] Speaker C: That great documentary photographer and he actually used to be. Had a child photography business Unpos Kids which was pretty successful. But he's. He's seen the light and gone into documentary video making so. Oh wow, that's. He's a lovely guy. Lovely guy. [00:46:15] Speaker A: Yeah. But I encourage everyone to watch Yellow. Yeah, it's. It's quite a. It's quite a confronting but inspirational. [00:46:28] Speaker C: And of course we've put, we've put together a lovely a bit with Daisy Chain which David Callow gave up days and days of his life to help me out. Like I said, things only happen because people help me. And he, he put in a lot of time and that, that link is also there, I think. Justin, isn't it basically what the show is about and see Stephen Leanne Bruin. So get into it. [00:47:01] Speaker B: Yeah, definitely. And there's some good photography nuggets in. In Yellow as well. You've mentioned about being, being nervous and how that doesn't just go away after years of work. You still get nervous even, even today on the important stuff. [00:47:17] Speaker C: So. Yeah, well, you know, all These photographers come on and they want to look confident together and you know, they're all anxious, as. Excuse my language, you know, they're all anxious. You know, don't believe the calm, confident looking ones. You know, they're usually the worst. I love it. Love it. [00:47:37] Speaker A: All right, look, on that note, Andrew. [00:47:40] Speaker B: Yeah. [00:47:40] Speaker A: We're going to thank you for joining us. [00:47:42] Speaker B: There's a couple final goodbyes for Andrew just in the, in the chat from Philip Johnson says, thanks, Nick, thanks. Fletcher says, thanks, Rick Nelson says, thanks for sharing such a part of you and, and your work. David Parker says, always nice to see your show pop up. Oh, he's talking about us when he's editing in a dodgy hotel. Thanks again. Enjoy your dodgy hotel. You watching? [00:48:08] Speaker C: Thanks, David. Yeah, no, it's been good. And I look forward to coming back too. [00:48:14] Speaker A: Yeah, we do too. All right, mate, well, we'll let you run along. I'll take care of it. You don't need to worry. [00:48:22] Speaker B: Yeah, and you just close your browser. [00:48:24] Speaker A: Yep. Thanks, Andrew. All right. Wow. That's pretty cool. [00:48:34] Speaker B: So cool. [00:48:34] Speaker A: How do we, how do we move him? There we go. He's gone. Wow, folks. What did you think of that? That was pretty inspirational. [00:48:43] Speaker B: I can't wait to get him up for, for four hours. [00:48:46] Speaker A: Yes. Good storyteller. [00:48:48] Speaker B: Yeah. Yeah, we won't have to do anything. We'll just let him know we don't even show up. [00:48:52] Speaker A: Who take that day off. [00:48:54] Speaker B: We'll just start. I'll play the music. Well, if I can get it working again. I'm really struggling without my headphones. I don't like it. I feel like I'm not part of the show. [00:49:02] Speaker A: Yeah, you sound like you're 12. Just to add to your anxiety about it. So sorry. [00:49:07] Speaker B: Oh, well, everyone that's going crazy. Very inspiring. I agree. Very inspiring. It's very inspiring. Makes you really think about what you can do with your photography and, and you know, how meaningful a project could be. Yeah, but obviously that, that's. It's not something you can just create out of nothing. It's a long, long journey for him to end up where. Where he is. Yeah. [00:49:31] Speaker A: Yeah, but it's interesting, isn't it? It's such a unique application of the craft, you know, like we've all seen snippets of surgery photography in the past. Like when there's been, you know, you hear about big surgeries happening, being the paper, like, you know, world first, Australia first kind of surgeries. I remember used to seeing those in the papers. But this is a Much more personal and vulnerable and raw look, because, you know, he's photographing people that are. That are dying as he's there. [00:50:01] Speaker B: And. [00:50:01] Speaker A: But then also the flip of that is he's also then photographing where those organs go next. You know, I think that that's pretty magical. And the fact that, you know, he's had people come to him and say, hey, because of you. My part, my husband, partner, who wasn't going to make it. He's now he's helped three other people have a fulfilled life. That's magic. [00:50:24] Speaker B: It is magic. [00:50:26] Speaker A: All through photography. [00:50:27] Speaker B: Yeah. [00:50:29] Speaker A: It makes you wonder what. What the are you doing with your time, Justin? I don't know what I'm doing mine. [00:50:34] Speaker B: I didn't want to go there, but that's when I was watching his stuff. I was just like, why, why am I even bothering? Like, am I take a photo of mountain bikes? [00:50:45] Speaker C: So. [00:50:45] Speaker B: Inspiration. Oh. [00:50:50] Speaker A: Anyway, that was cool. [00:50:52] Speaker B: That was very cool. [00:50:53] Speaker A: Lots to think about there. [00:50:54] Speaker B: Lots to think about. We're gonna have to turn. We're gonna have to turn this show in a different direction. Lighten it up a little bit. I can't play any music because. [00:51:02] Speaker A: Can we just jump to a couple of quick questions? [00:51:04] Speaker B: No. We've got the comment first. Greg Carrick would like to have a minute silence for Greg's beard. So we'll do that now. [00:51:12] Speaker A: Yeah. [00:51:14] Speaker B: No, I'm kidding. Philip Johnson says Greg's been to the shearing shed. [00:51:19] Speaker A: I have. Philip. Thank you. [00:51:22] Speaker B: What else? Bruce Moyle says, see the talent vacuum after Andrew left. Yes. I felt it. I could feel it. [00:51:32] Speaker A: Yeah. [00:51:32] Speaker B: It all just went a bit quiet. [00:51:34] Speaker A: When. [00:51:34] Speaker B: Where did Fujifilm come out of in that one? I was like, these are getting these setups that Greg's doing for these basically 40 minute Fuji advertorials that he's somehow wedged into the show. I was like, whatever. It is so great to have Andrew on here. And then next one, he's like Fujifilm. [00:51:53] Speaker A: He came to me, all right? He came to me. I didn't. I'm not out there poaching Fujifilm photographers. I don't need to, Justin. They're just naturally talented and inspirational people. What are you photographing with your cannons? [00:52:10] Speaker B: His stories has got me throwing my cannons in the bin. If. If I. If a Fujifilm will get me anywhere in that kind of direction, I'll buy one. [00:52:18] Speaker A: Yeah. [00:52:21] Speaker B: David Clutterbuck would like to know, has that snowboard behind Justin actually seen any action? [00:52:26] Speaker A: Well spotted, sir. Which one is that your new one? [00:52:32] Speaker B: No, this is an older One. And. And David would know that. You can't get these stickers. You can't just order these stickers on the Internet. These stickers. This sticker from Nekoma. No, you can't get that on the Internet. No, can't get this sticker from Kagura on the Internet. You got to be there. [00:52:54] Speaker A: Is that. Is that in Japan? [00:52:56] Speaker B: Yeah, this is my Japan powder board. That's why it's so. Has it seen any action? Hang on. Can you see that? It's. See, it's. It's got some things. Seen all the action. [00:53:11] Speaker A: Are you taking the board away with you when you go to New Zealand? [00:53:14] Speaker B: Yeah, a different one, though. Of course, that one's not really a New Zealand. [00:53:19] Speaker A: We're gonna unbox that on the show tonight. The new one. [00:53:22] Speaker B: Like, it is new, actually. I could. [00:53:24] Speaker A: Yeah. [00:53:27] Speaker B: Everyone be thrilled. Be so excited. [00:53:30] Speaker A: Let's get the show back on the road. [00:53:32] Speaker B: Colorful. Yeah. What else? Well, there's not really much else now. I feel like we've done this. [00:53:36] Speaker C: The. [00:53:36] Speaker B: The thing. We can just call it. No, no, we. We'll go to. Go to some viewer comments. [00:53:41] Speaker A: Let's do a couple of bits and pieces. [00:53:43] Speaker B: David Clutterbuck says it looks like a 70 snowboard. That's the point. It's cool. Rick Nelson feels like Fuji and Leica users tend to tell deeper stories. [00:53:57] Speaker A: Yes. [00:53:58] Speaker B: That's what the marketing departments would have you believe. Particularly, like. No, I'm kidding. I'm not kidding. Like, his marketing department has an amazing job of essentially that feeling that, like, you somehow create a more emotive image with a Leica or something. And obviously a lot of it is to do with the. Whose hands it's in, you know? But you don't get that same feel from Canon's marketing, do you, though? You know, like, you don't get that vibe. [00:54:33] Speaker A: No, it's all about compensation. Canon's marketing. Should we jump to your comments? [00:54:39] Speaker B: Yeah, let me see what we got on the YouTube channel. Let me bring it up just for. [00:54:45] Speaker A: Anyone watching along at home or listening along. This is the Camera Life podcast, episode 95, coming to you live, probably brought to you by Lucky Straps, makers of fine leather camera straps from Bendigo, Victoria. Head to Luckystraps.com use code Greg, please. I've only had one person use code Greg. That was some person in the UK who I love. [00:55:08] Speaker B: Yeah. Thank you. Okay. [00:55:10] Speaker A: Thank you, person in the uk. [00:55:11] Speaker B: Oh, here we go. David Parker on track to be at Beef off in October. Be nice to catch. [00:55:17] Speaker A: Nice. [00:55:18] Speaker B: Awesome. [00:55:19] Speaker A: That'd be very Cool. [00:55:20] Speaker B: Yeah. [00:55:22] Speaker A: Are you coming as a guest or an instructor or a little of both. Let us know. [00:55:28] Speaker B: Sounds like. Hang on. We're kind of figuring it out now. I'm writing a note to Julie about you now. Very excited to have you coming. It's all happening. It's going to be an instrumental. Okay, that's exciting. [00:55:43] Speaker A: German. That's the German spelling. [00:55:45] Speaker B: See all this stuff unfolds on this show. It's amazing. [00:55:48] Speaker A: Here first. [00:55:49] Speaker B: All right, let's see what we've got in terms of comments. Roger Highland on the last week's Monday show. So the Monday shows will get back to sort of not having guests probably at some stage, but at the moment it's just. It's just sort of worked out that we've had extra things to wedge in. So I don't know tell us if you guys like having a guest at the start or not or. [00:56:09] Speaker A: Or whatever. [00:56:10] Speaker B: But it's been fun. [00:56:11] Speaker A: It won't be a regular thing, but sometimes we have to squeeze someone in because they can't make a Thursday morning or they've got something pressing coming up and we've already got Thursdays booked out. So like Andrew, he's got an exhibition coming up. [00:56:22] Speaker B: Yeah. Or if we're having someone back on and it's not a full interview, it's just a catch up or something like that. But yeah, it's been good. So on. Yeah, last week's Monday show, which was with Vanessa Guren, CEO of the Ballarat International Photo Biennale. Biennale. I don't know. Roger Highland says watched later. Good comment. I'm gonna heart that one. Thanks. [00:56:48] Speaker A: Thanks rogue. [00:56:49] Speaker B: Nick Fletcher says, absolutely love the Ballarat Photo Festival. It's such a good weekend with real variety of interesting exhibitions and talks. Don't go for the day, spend the weekend up there. And Vanessa looks fun. Looks like a BFOP speaker in the waiting for her year off. She won't have anything to do. And David Fluttersuck replies, I agree, really good festival, but it's not beef up. That thing is next level. Nick Fletcher flies at David Fluttersuck. Thanks. It's really horses for courses. But you're going to learn much more about the international photography and the artistic side of photography in Ballarat. So that was a good conversation. [00:57:27] Speaker A: I don't know whether to be chuffed, delighted or worried about Nick having these back and forth conversations with himself. [00:57:37] Speaker B: It's not Nick. I figured it out. These are actual people. So again, on the same episode, 93 David Clutterbuck R4R 4T NOT. [00:57:47] Speaker A: NOT FLUTTERSUCK. Clutterbuck. [00:57:49] Speaker B: Flutter Suck. This is Clutterbuck, right? I. I agree. Ballarat photo is excellent. And Vanessa seems lovely. Appears to know what she's talking about. Unlike that pillock, Matt Cummins. [00:58:07] Speaker A: Oh, that's gold. [00:58:09] Speaker B: Comments are getting better and better. It's gold. This one was on same episode again. It actually got a lot of love. I should. I should heart that one too. That's a good one. And I like this one. It's fun pressing the buttons at Gareth Davies 91414 days ago Listen to the podcast today while driving. Was surprised you read out my comment. I hadn't realized that when I popped onto the live chat at the end. Can anyone be a bigger Fuji fan than Greg? Someone should count how many times he says Fujifilm in an episode. [00:58:40] Speaker A: I'm pretty sure Jim is. Every time I say it, I glance it. I glance at Jim whenever he's on the screen with us and I just see this. This very slight twitch happen. It's like a nervous tick happens in his eye. [00:58:52] Speaker B: That's great. [00:58:54] Speaker A: To roll his eyes. [00:58:58] Speaker B: Episode 94 with Luke Sharkey. That was a great episode. If anyone is into landscape photography or just into photography in general, go back, watch episode 94 if you haven't already. We talk about all sorts of stuff. What did we talk about? Everything. [00:59:14] Speaker A: Yeah, lots of stuff. [00:59:17] Speaker B: Yeah, lots of stuff. We talked about infrared photography, which I've been looking into. I'm gonna. I'm gonna do some sports with it. That's my plan. I can't afford it. I'll have to get another camera. Like a completely new camera. Yeah, but I was looking. Yeah, I think it'll be a secondhand. I'm thinking I'll go Canon mirrorless so I can use my lenses, which makes it expensive. Well, what am I going to do? Buy a whole new set of lenses for another. [00:59:44] Speaker A: Here's your golden opportunity to buy a proper camera. [00:59:48] Speaker B: What? What's a proper camera? [00:59:52] Speaker A: You know what brand it is? [00:59:53] Speaker B: I don't need to say it. [00:59:54] Speaker A: Everyone in the chat knows it. [00:59:56] Speaker B: Well, I primarily. I mean, obviously I'll enjoy to shoot some landscapes and stuff with it, but I'd like to try shooting action sports with infrared. [01:00:04] Speaker A: That'd be really cool. Anyone do that? [01:00:07] Speaker B: It's been done. I googled it. There's a guy that's done it a little bit in Alaska and looks super cool. And I think it was Alaska or Canada and looked very cool. And I was reading a bit about what he's done and he got. He originally got a IR conversion and then he ended up just getting a full spectrum conversion, which is what we're talking about. And then they use the clip on filters. And I think for what I want to do that, even though it's probably not the, the perfect solution, having that flexibility I think is what I, what I want. So I think I'll probably look for an old, like a Canon R or something. One of the earlier. Yeah. [01:00:49] Speaker A: Says make sure you research which Canon lenses work with IR sun lenses have white hotspots. [01:00:55] Speaker B: Yeah, I've heard that can be tricky and I've also heard some of the Canon R lenses have a little, can have little infrared lights or something inside on the body and some cameras have them too. You got to be aware of that. That seems to be more of an issue with longer exposures or like really high isos and stuff. The lights aren't bright enough to cause issues for like a, a bright sunny day shot. [01:01:17] Speaker A: But yeah, okay. [01:01:18] Speaker B: Anyway, I've been loving learning about infrared photography through this podcast and David Lerati 1958 at David Lerati this and says another great chat. Love Luke's images, especially the infrared images. And yeah, David has been our number one contributor I think to my infrared knowledge so far and I really enjoy it. Who else we got? Same episode. We've got a comment from David Mascaro. Mr. Live Show. What's that? [01:01:50] Speaker A: I'll just pop that up there. Okay. [01:01:53] Speaker B: Rick Nelson get a Fuji IR conversion. They just work. Lol. We'll see. [01:01:59] Speaker C: We'll see. [01:02:01] Speaker A: So David from BH used to sell them. Sorry I keep interrupting you but BH used to sell. It was like a Fuji XT3 or A2. They used to sell an IR1. [01:02:12] Speaker B: They stopped. [01:02:13] Speaker A: Yeah, well they, they used to get like. I think they must have got like a batch of special order from a third party and they just sold them on their side. [01:02:19] Speaker B: I'll pull it up in a second because we might as well talk about it. But there's a. I, I do, I'd rather get it done in Australia, but there seems to be. There's a place in the States called Kalari Vision and they have a very well set up website with all the different options, different cameras you can like they've even got. You can buy a camera already converted off them. So I'm sort of, I'm browsing around on there but I think I will still pursue getting it done locally first. And unless I can't get what I want done there, then maybe I'd look at, look at this Other place. Yeah. Anyway. At David Mascara 5636 says who's from San Francisco missed the show live. I was fishing at Lake Clear for the last three days. That sounds tough. David really enjoyed the replay. I would like to have asked if he had a bucket list of places he would like to photograph. Yeah, we should have asked him that. Good question. Should write that down on one of our XE4 versus XC5. Worth the upgrade. This was a clip video at David M. Baines says on my XE4 I have on the top plate function set to video start. Presume the 5 can do the same top plate function button. Did you test any of those sort of things? Was there a top plate function button on the X? [01:03:36] Speaker A: Yeah, there's one. [01:03:37] Speaker B: There is one. Yeah. You would be able to do the same. You would. You would assume. You probably didn't go too deep on that stuff yet. [01:03:44] Speaker A: I didn't go too deep on video when I did my review. But it does have a customizable function button on the top. So. Yeah, you'll be fine. I still don't have a release date for it. [01:04:00] Speaker B: For when you'll get yours. [01:04:03] Speaker A: Yeah. [01:04:04] Speaker B: Dang. And I love this one at 2.28 photography but with a very similar profile pick. I don't know why YouTube does this stuff. This was on the Luke Sharkey episode as well. At 01:31:40. Reference to the quote to plan and pray. My favorite quote is plans are useless, but planning is everything. It's a good quote. [01:04:37] Speaker C: Very good thing. [01:04:39] Speaker A: Nice. [01:04:40] Speaker B: Yeah. Yeah. Very cool. [01:04:44] Speaker A: David's drop some more. Some more truth about IR cameras. [01:04:47] Speaker B: I love it. This is all the knowledge that I need. Okay. And David Leporati says an IR converted camera. Good to see you, David, by the way. Thank you. Thanks for joining us on the show. An IR converted camera enables handheld photography the same as a standard camera. Infrared light is susceptible to diffraction and also lens flare. So shooting at wide open apertures are best. Perfect. That's how I shoot my action sports. So I should be able to shoot sports with. With a converted camera. It's like I should be able to shoot it. Say if I wanted to do 1600th of a second shooting at f 2.8 or lower, you know, maybe as wide open as. As 1.4 and at ISOs from like what, 100 to 800. That's where I want to be. Can it. Can an IR camera do that? He also says a standard digital camera can be used with the opaque 720. [01:05:42] Speaker A: Does that stand for nanometers or is it Newton something? [01:05:49] Speaker B: No, because that's force nanometer. Because that'd be light. Light would be measured in nanometers. Yes. [01:05:55] Speaker A: Yes. [01:05:57] Speaker B: Thanks, Greg. We're so smart on this. [01:05:59] Speaker A: Crackers. [01:06:00] Speaker B: If it wasn't for our comment section, this show would be terrible. Require long exposures on a, on a tripod with it. Yeah. With a standard camera. Yeah. So I'm thinking, okay, so beware of high ISOs, but can shoot at normal exposures. I'm thinking, yes. I'm thinking I'll get the full spectrum conversion and use the filters. The filters over the sensor. I'll just have to figure out what. [01:06:27] Speaker A: Oh, so over the sensor. So like those. Because I've seen them. There's a brand that doesn't. They're like little drop in magnet ones, aren't they? [01:06:33] Speaker B: Yeah, I. Something like that. [01:06:38] Speaker A: Something like that, Greg. [01:06:40] Speaker B: Something like that. I'll figure it out. Yeah, here we go. Pull it up. These things. [01:06:56] Speaker A: Yeah. [01:06:57] Speaker B: So I think this is what, this is what David's referring to here. Just a, like a circular lens filter, 720 nanometer. Put it over the. Over the lens and away you go. But I, I assume that these are for some. [01:07:18] Speaker A: Specific. [01:07:19] Speaker B: If it's already been converted. I don't know. This is. And this is where it gets too hard. There's so much stuff. We don't want that. No. Maybe these are for non converted cameras. Don't know. Yeah, I got to do some more research. But anyway, they've got cameras and everything on here. Camera conversions. But yeah, this is the state, the place in the States. [01:07:53] Speaker A: Nick Fletcher has said. [01:07:55] Speaker B: Sorry, I'll bring it back. [01:07:58] Speaker A: DIY, the UV conversion, a crate of beer, Canon R5, YouTube and a chisel. You'll be fine. [01:08:03] Speaker B: Oh, maybe I'll do it live at BFOP this year. Up on stage, Justin converts. I'll just do a live demonstration of converting an R5, but I'll borrow, I'll borrow the camera off the Canon booth instead of using mine. [01:08:16] Speaker A: Yeah. What could go wrong? [01:08:20] Speaker B: All right, final, final thing on, on filters. David says full spectrum conversion is a good option if you want to try different things. But clip in filters are expensive and can only be used with mirrorless cameras. Yeah, I think I'm going to run mirrorless though too because I don't want to buy a full set of lenses. I've got mirrorless lenses that I like from Traction Sports. I think it makes sense to do it that way. [01:08:42] Speaker A: Yeah, I think it does. [01:08:44] Speaker B: Yeah, yeah, yeah. Cool. That's all the comments that we've got. [01:08:51] Speaker A: All right, let's jump into news and rumors. [01:08:55] Speaker B: You want me to bring stuff up? [01:08:57] Speaker A: Yes, please. [01:08:58] Speaker B: All right, you gotta move your little graphic. Yeah, you gotta change my graphic. They've changed the layout. That's why I think my stuff's not working. They've, they've, they're doing modifications which I think is making things better in our streaming software. Sorry, we're just talking about back end stuff that sounded wrong. Nev. Clark says I'd be interested if Fuji IR cameras, if they focus better. What does that mean? Fuji filters are different in top of the sensor filter. I have no idea. Something bad about Fuji. I think he said Fuji's don't focus. [01:09:39] Speaker A: Yeah, well, I heard that before. All right, all right, let's talk about some news, people. [01:09:46] Speaker B: Yep. [01:09:47] Speaker A: First off, this one's a tale of two parts. So Tamron have officially announced a 16 to 30 full frame f 2.8 lens. It is actually for Nikon Z and Sony E. It's just dropped, I think in the last couple of days, which is great. It's a nice, you know, it's got a really good wide, you know, field of view. It's probably good for Astro, good for landscape. It's got a relatively fast aperture for a wide lens, which is wonderful. So. Yeah, but, but if we jump to the next news article. [01:10:27] Speaker B: So. Hold on, hold on. [01:10:29] Speaker A: Come on. You're ruining my rhythm. No, not. [01:10:33] Speaker B: I bought a new desk and this is what happens. Hang on. I hate, I hate all websites that aren't all websites. Now basically, anyone that has a camera website of some sort has put too many ads on it. I'm telling you guys, you're ruining it for yourselves. [01:10:51] Speaker A: Yeah, it's a turn off. [01:10:53] Speaker B: It's a turn off. You're going to ruin your traffic and then you're going to complain that Google's crushed my site. But no, it's because you're making. You've got stuff that no one wants to look at because it's. All right, hang on, I'm getting there. [01:11:07] Speaker A: Anytime you're ready, boss. [01:11:08] Speaker B: I just had to rant first. [01:11:11] Speaker A: Yeah, well, you're of an age now. [01:11:13] Speaker B: All right, more desks, budget car ads. Yeah, all very relevant things. [01:11:18] Speaker A: Okay, so Nick Nikon just dropped a big firmware Update for the z8 was for one of them. But it turns out that if you try to do a firm. I think if you try to do the firmware update with a Tamron lens attached, things can go quite bad. So Nikon have come out saying, hey, make sure you use a first party lens when you update your firmware or don't use a lens at all. I can't remember the compatibility issues, but I just thought it was funny that the day that Canon. Sorry, the day that Tamron released a new lens for Nikon Z and the same day that Nikon release a firmware update for Nikon Z, it turns out that they don't play nice together anymore. I'm sure that'll be patched very quickly. [01:12:04] Speaker B: They'll fix it. But it is, it is one of the things that, yeah, you run into with third party stuff probably. It's. I mean it's not that common, but yeah, you know, Tamron have built it for something and then if Nikon change stuff, Tamron have got to quickly hustle and figure out what they need to update in their lens to make it work. So. [01:12:21] Speaker A: Yeah, but I think Tamron lenses are pretty easy to update. I'm pretty sure Tamron they come with. Don't they come with a cap with the usbc? [01:12:28] Speaker B: Yeah, I don't know if they come with it or if you got to buy that as an extra, but I think it's not that expensive. It used to be an extra. It might be different now. Yeah, I don't know. Yeah, yeah. Bruce says, imagine being the person that found that out on their way to a job. [01:12:46] Speaker A: It's just pride. Oh, see now every time I have to bring up a Fujifilm article, I feel self conscious that you people are all picking on me. [01:12:55] Speaker B: Anyway, let's bring up the next article. Okay, let me see if I can actually get this one to come up. [01:13:04] Speaker A: That's a good question. Paul Henderson asked, why are you doing that? Because we've clearly got a minute. Don't Tamron make first party lenses under Nikon name or am I dreaming? [01:13:12] Speaker B: Does anyone know anything about that manufacture for Nikon? I don't know. [01:13:16] Speaker A: Yeah. [01:13:18] Speaker B: Maybe some of their cheaper stuff. I actually don't know. I guess it wouldn't. It would make sense that that happens sometimes. There was actually a good comment from Bruce back here before about this segment because this is the news and rumors segment. He said, is this a segment where we get to make up rumors instead of just. Yeah, exactly. So if anyone's got a rumor they want us to try and propagate through the Internet, let us know in the comments. [01:13:44] Speaker A: We'll pretend it's real and yeah, because let's face it, I mean, half of the stuff on the rumor sites is that they've made up off some tiny little whiff of a rumor and they state it like it's fact. So why shouldn't we? We will five coming out tomorrow. [01:14:03] Speaker B: Speaking of stating things like their fact, Nick Fl. Nick Fletcher has confirmed officially that yes, Tamron do make lenses for Nikon. Nikon's lenses are just rebadged Tamrons. No, I don't know. But he's saying the cheaper Trilogy lenses which are really good are alleged to be to be Tamron. RXA Photography also says yes, the 70 to 180 is Tamron made. Nick says I have the 17 to 28 or whatever it is. It's very close to the Nikon wide angle but a third the size. Is that the 2.8? I think Jim tested that. So there was the 17 to 28 and then the, the. The 14 to 30 F4. So there's a 2.8 and an F4 and they're like lighter, cheaper, wide angles. I think Jim tested them both back to back. And Nikon pushed the F4 pretty hard as being the better lens. I think. So when they were talking to him about which one he should get. Great climbing lens. What does it climb up? [01:15:09] Speaker C: Put it down. [01:15:10] Speaker B: It just climbs up stuff. Interesting. All right, let me bring this one up because it's a Fuji story that Greg wants to share. [01:15:20] Speaker A: Yeah, I just thought it was a. [01:15:22] Speaker B: Cute story, a heartwarming story. [01:15:24] Speaker A: It is a heartwarming story. So this Fuji X Pro 3 which has been out for like five years I think, or maybe even close to six, we're still waiting for an update. It'll happen. They said it's still on the roadmap. They just haven't said when. Anyway, this person has had this since launch, I think. Or maybe they bought it. I think they bought it pre owned and then they went on using. They've used it as a solid workhorse and they've hit a hundred thousand shots and there's a little Easter egg that Fujifilm built into the camera that once I hit their hundredth shot it came up and it rolled the credits. Of all the people who developed like in a movie or a video game, of all the people who worked on the camera design and development. That's pretty cool. That's pretty cool. It's fun. It costs, probably cost Fujifilm nothing, but it's just a delightful little. [01:16:10] Speaker B: Do you think the employee told them that they did that? What do you reckon? You know the, the whoever developed the firmware and stuff just did it and didn't tell anyone. [01:16:19] Speaker A: Oh, I don't know. I don't know. [01:16:23] Speaker B: I mean, that'd be funny. They're getting fired right now because. Because this story's coming out. [01:16:28] Speaker A: You what? You what? [01:16:31] Speaker C: Yeah. [01:16:35] Speaker B: It'S pretty cool. It would be cool if. If camera brands were a little bit more. Yeah, yeah. How many of those shots, those hundred thousand shots, how many of them do you think were in focus? Just given that, you know. [01:16:54] Speaker A: So how many shots have you taken with your cameras, do you reckon? Ballpark it. [01:17:02] Speaker B: 1.5 million? Nah. 2 million. [01:17:07] Speaker A: Nothing. You got nothing. You got no little Easter eggs. What does that tell you? [01:17:11] Speaker B: No, but I got in focus shots, which is sometimes. [01:17:15] Speaker A: That's not everything, Justin. [01:17:19] Speaker B: Oh dear. [01:17:21] Speaker A: I agree, Bruce. [01:17:22] Speaker B: I think. Anyway, I'm just. I'm just messing. I just got to throw some shade at Fuji. I actually think it's really cool and I think more camera brands should do it. It's. It is the opposite of what Canon would ever do, I think. Yeah, they just wouldn't. I don't know why. Yeah. [01:17:37] Speaker A: Anyway, I burnt my 2.75 for the night. [01:17:39] Speaker B: So Nick says guarantee the developers didn't tell anyone. I love that. If they did, that would make it even more fun for me. If it was just something they decided to do. What else happened? [01:17:54] Speaker A: That's about it. [01:17:57] Speaker B: The stories. Someone sold their Fuji and moved to a brand that makes good cameras. It's a feel good story. Roll credits. [01:18:06] Speaker A: Bugger you, Bruce. I was going to buy you lunch. [01:18:09] Speaker B: That was good. [01:18:12] Speaker A: Next. [01:18:13] Speaker B: Next. What else? What is next? I'll bring it up. [01:18:16] Speaker A: OM Systems they're planning on. They're talking about using AI upscaling to compensate for their low resolution image sensors in their cameras. [01:18:27] Speaker B: Is that thoughts? Is that like buying a. Like one of those. Like a F250 lifted like Ford F250 to drive around with a massive exhaust and big tires on it to compensate? [01:18:45] Speaker A: Yeah, kind of. They do it in video games. They. They have a. It's. It's called something different. But they often use AI based upscaling to improve resolution in video game graphics. So it's kind of along that vein of. I mean, computational. I mean OEMs already have a lot of computational stuff in them. It's just another element of that. [01:19:06] Speaker B: Do you think maybe they're trying to. Because they've already got it in there. Canon's got it in as one of the, you know, like these. And obviously it's built into Lightroom already. It's built into a lot of the software programs to do upscale scaling AI upscaling or whatever. Do you think maybe they're just going to make it more, you know, like it, you just turn it on and it doesn't slow your shooting down or anything. It's not like a, a button to press. It's just like put it into that mode and it always say up doubles the res up to. Because what are they now? 20. [01:19:39] Speaker A: Like 24 or something? I don't know. I, I hope it's an option. I hope it's an opt out thing. Opt in, opt out thing. And I hope that you know how some, some brands offer like a, like a stacked, you know, they'll, they're like a 30 megapixel sensor but they'll say you can do an upscale shot to, you know, 90 megapixels because they stack. Yeah. So yeah, I don't know. It's an interesting concept. [01:20:06] Speaker B: Bruce says they're putting to AI branding on the cameras and there'll be gigapixel inside the camera. [01:20:14] Speaker A: Are you making up rumors now, Bruce? [01:20:16] Speaker B: I mean it's a rumor. [01:20:18] Speaker A: So yeah, it is. [01:20:19] Speaker B: Now. [01:20:19] Speaker A: You heard it here first, folks. [01:20:21] Speaker B: First, how much, how many megapixels, how many pixels can they squeeze into a 4 3rd sensor? Rick Nelson says, I don't know. Don't we have phones with 100 megapixels now? So probably a lot. They just, you know, it's quality, quantity over quality. And yeah, the OM does do high res shots already, so they're obviously talking about something more native, like more. Yeah, so yeah, turn it on, leave it on. All your shots will be 48 megapixel. Probably would slow your shooting down a bit because it'll be computing every shot. [01:20:52] Speaker A: Yeah, yeah, yeah, yeah. I think that's what it is. It's like your basic photography now has a little bit of an elevated. So whilst we say it's got, you know, 24 million effective pixels, it actually delivers an equivalent of 35 or 40 or. [01:21:06] Speaker B: Yeah, you know, look, if I had simply read the article, we wouldn't have been able to spend five minutes on this. [01:21:14] Speaker A: It's just, it's nice to talk to the headline, you know. Yeah, that's how rumors start. [01:21:20] Speaker B: No, no, sorry, I read this wrong. So basically they're saying they don't, they don't want to. They feel strongly about the capabilities of computational photography features so much that we don't want to lose any of our content. Computational photography features by increasing the resolution of the sensors which would likely result in scanning and processing speeds that would be too slow for those features. In the current situation, if we increase the megapixels, we need our engine to be much stronger and much quicker to keep up with the computational photography functions. If our speed of processing is too slow, it won't satisfy users expectations. So we need to develop a new engine along with the new sensor. It's hard, but a good challenge. Yeah, look, that sounds like an excuse to me. I don't know. Look, I love OM. We've been playing with the OM3. That sounds like a bit of a we, you know, we don't want to do more megapixels because otherwise our computational photography will be too slow. Yeah, but. Yeah, I don't know. Who knows? A lot of this stuff, I reckon, gets not lost in translation a little bit, but like Interview. [01:22:27] Speaker A: Yeah. [01:22:28] Speaker B: And it gets jumped around a bit and it's like they're trying to convey something about their strategy going forward and then it gets sort of twisted a bit. [01:22:37] Speaker A: Yeah. Without a sound. Like a cop out. [01:22:40] Speaker B: Yeah, exactly. [01:22:42] Speaker A: Yeah. Let's jump to our last piece of news for the night, which is actually very connected to our chat with Andrew Chapman. [01:22:54] Speaker B: No. [01:22:56] Speaker A: You got it. How'd you go? [01:23:08] Speaker B: I'm back. [01:23:09] Speaker A: Frozen a second. [01:23:10] Speaker B: Lost the Internet for a second. All right, we're back. [01:23:15] Speaker A: So this one's another medical related photography thing, but instead of taking photos of people, they've taken photos of camera gear under X ray, which I think is pretty cool and fun and clever. I like it. All right. [01:23:30] Speaker B: That is cool. So Andre Duman has spent years working on his fantastic X ray photo series. The series beyond the the Art of X Rays is now on display. Massive exhibit. The world famous Griffin Museum of Science and Industry in Chicago. That's very cool. [01:23:50] Speaker A: Yeah. Can anyone name that camera to Philly? [01:23:58] Speaker B: I mean, it's on the screen. [01:24:00] Speaker A: Too late. [01:24:02] Speaker B: I was like, I'll try and do it again without. There we go. Name that camera. Anyone? Anyone? Bueller. A lamp. [01:24:16] Speaker A: It's a lamp. [01:24:18] Speaker B: I love lamp. [01:24:19] Speaker A: It's a toaster from 1928. [01:24:21] Speaker B: Yeah. Next chat's gone quiet. [01:24:25] Speaker A: Oh yeah, they've gone a bit quiet. Oh, I love that one. I was looking at that one this morning. That's so cool. [01:24:32] Speaker B: That is cool. [01:24:34] Speaker A: Yeah, that's very cool. I've got one of those cars. [01:24:38] Speaker B: Do you? [01:24:38] Speaker A: Yeah, it's got a little IR camera in the top of it above his head. And so I can play it on my switch and drive the car around the house. And the camera records live. [01:24:48] Speaker B: Does it really? [01:24:49] Speaker A: To the switch. And it uses IR to put in like racetracks. And, and competitors in the race. So cool. [01:24:57] Speaker B: Rick Nelson says it's a Mario. [01:24:59] Speaker A: It is a Mario. No, Greg, it's not an Instax, you idiot. [01:25:03] Speaker B: And Bruce, Bruce and Rick Nelson were both on it with Polaroids. Rick was Polaroid. Old one. Bruce was Polaroid. I guess that's supposed to land, I think. Is it a land? [01:25:19] Speaker A: I thought this was just a really clever alternative approach to image making. You know, like just everyday household items. [01:25:26] Speaker B: And. [01:25:29] Speaker A: Just seeing it how you've never seen it before, I think that's really cool. It's a cool project. Anyway, I just wanted to share that with you. [01:25:38] Speaker B: Seeing the world in a different way. Are there any rumors? There's not really any rumors floating around. [01:25:43] Speaker A: Very quiet week this week in the news front, you know there's. There's little bits of snippets, there's. There's the usual run of Canada developing a new such and such, you know, but there's no substance to the articles, the stories. It's just sometimes it feels like they pluck the. Out of the air. [01:26:03] Speaker B: Yeah. [01:26:04] Speaker A: When you read into it it really feels like, you know, it just feels like. [01:26:10] Speaker B: So anyway, DJI have got a heap of stuff coming. Not that that's, you know, they're not fancy cameras but it's more like couple of drones, like new FPV drone, new mini 5 drone or something. But I think they're going to release a. I believe they're going to release a 360 camera to compete against Insta360. I also believe they're going to release one of those like a micro camera, like a wearable to compete with Insta360 as well. On there they've got this thing called the Go3s which is like a little camera, yay big and then it docks into a GoPro sized kind of camera housing. But you use it independently, wear it like a little pendant or clip it onto a hat or whatever. And I believe DJI are working on one of those as well. So Find any decent rumors about that stuff? Oh yeah, Osmo360DJI Mic 3 leaked as well. I don't know what they'll be able to do with that mic 3 because the mic 2 is already very good. [01:27:20] Speaker A: Who's doing that? [01:27:22] Speaker B: DJI all DJ. [01:27:23] Speaker A: Okay. [01:27:24] Speaker B: Yep. Digi frogs in the chat he said his wife just said Justin has had a haircut. He has, but so is Greg. [01:27:35] Speaker A: Yeah. [01:27:36] Speaker B: Did you. [01:27:38] Speaker A: Bruce reckons we're bringing in a dress code. [01:27:42] Speaker B: We just, at some point we get so disheveled that we're like, oh yeah, we need to do something. [01:27:49] Speaker A: Although a couple weeks ago someone put a comment, said, oh, I know, I don't know what it was on. It was in my blog, I think my personal blog. I think someone said, oh, I know you. You're that hairy guy from the podcast. And I thought, okay, I got, I got a book in. [01:28:03] Speaker B: That's funny. [01:28:04] Speaker A: Anyway, next segment, next segment. [01:28:07] Speaker B: It's not really a segment. I, you know, this show's already been rolling for a little while. I was just going to ask if you've been shooting, been taking any photos? [01:28:17] Speaker A: Yeah, I have. I went out late last week. A bit of a rough week last week. But on Friday I think it was, I managed to get out with the OM3, went for a bit of a walk around South Yarra, Prahan, Toorak, Chapel street, that sort of area, and took some test shots with it for our upcoming review. So stay tuned for that folks. How did you time coming? We've been working on that thing for three months. [01:28:41] Speaker B: It feels like we're a slow and steady reviewer. We don't do these kind of things. And what's funny is it probably won't be the most exhaustive review ever, ever either. But you know, we got podcasts to run. We don't have time to just review cameras, Internet celebrities. So how did it, how did it feel like, you know, you've done a lot of street shooting with a lot of cameras and a lot of nice feeling little cameras. How did you feel wandering around on the streets with it? [01:29:09] Speaker A: I really liked, reminded me of shooting with an XT5. Similar size, similar shape. XT5 has a bigger grip though. The, the OM3 doesn't have a grip at all. It has a little thumb bump at the back, which is fine because I was only walking around with the 17 mil. What is that, a 1.8, was it? [01:29:28] Speaker B: Yep. [01:29:28] Speaker A: So it was very small, smaller than like my smallest Fuji lens. And so it was a pretty lightweight kit. But like you, I found that I only had two, two or three ergonomic issues. One was that the, the color mode dial at the front is really firm and rigid. It's sharp. And so when you, when you hold the camera, your little finger or my little finger rubs up against it or gets caught under it and that was annoying. I need a grip on. Didn't have enough of a grip and if you were shooting with bigger lenses I think it would be a problem. But there's lots of third party options for that. But it is an extra expense on top of an already expensive camera. [01:30:12] Speaker B: Yeah. [01:30:12] Speaker A: The only other little gripe I had, I thought it was, look, you know, I, I'm not as technical as you, so I don't go into the nitty gritty of video settings and you know, different, different focus modes and, and burst modes and things like that. But I did find something really simple. Is that on the Fuji cameras, the on off button for the camera powering up and off is on the right, usually under the shutter. Like it's built into the shutter button. There's like a little toggle under it. Some of the older ones have a separate on off switch, but it's always on the right side. So you're holding the camera in your right hand. You can quickly power on the camera, take a shot. But on the OM3, the on off toggle is over on the left side of the fake mirror box wedged in between the video photo mode dialogue. And it's a little, little firm switch. That was really annoying to toggle on and off. Impossible with gloves. [01:31:06] Speaker B: Yeah, right. [01:31:08] Speaker A: And it just felt unnatural to pick up the camera to take a shot and have to do this or hold it with the right hand and do that. Like it just felt like I should be able to go on push shot taken, you know. [01:31:20] Speaker B: I agree. Yeah. [01:31:23] Speaker A: You know, I think that was. Oh, and the flip out screen. I don't like those flip out articulating screens. No, they're great for video maybe, but they're not so good for the sort of style I do. But you know, these are minor complaints. It's a incredibly well made camera. Like it's robust, it's solid, it's got some nice style like styling notes to it. Like the top plate isn't just a, you know, a slightly softened rectangle. It's got kind of a little bit of a, a little bit of a nice design to it. So yeah, I, I enjoyed it. I thought it was fun. I had a good time with it. I didn't like some of the color modes that you could shoot from. They were a bit weird. One of them was really heavily vignetted to the point where it may almost made it hard to see what photos I was taking correctly because the vignetting was so dark on the corners in that particular photo mode. At first I thought it was the lens that was causing the vignetting, but it was actually just the, like the color selection mode that I had it set to. Yeah, but that just comes with time. [01:32:31] Speaker B: It did. There was a lot of that stuff that I took. I tried to learn about. But yeah, there's. I think that's one of those things that you don't learn all of that quickly with those systems. It takes a while. It's in depth. Yeah. I put most of my time into. Yeah. The focusing system and just general image quality as opposed to all of the different computational modes and. [01:32:56] Speaker A: Yeah, yeah, yeah, yeah. So. But as we said, we're in the middle of writing a joint article that will go on the Lucky Straps website. It'll have Justin's thoughts on his time shooting it. I don't know if you guys remember but last week was it last week we saw some photos of you using it at photographing trail bikes. [01:33:19] Speaker B: Yep. [01:33:20] Speaker A: Motocross bikes. I've done some street work with it and yeah we've got a comprehensive real world review coming out very soon. [01:33:30] Speaker B: Yeah. Hopefully it helps somebody. Rick Nelson, Speaking of helping somebody, Rick Nelson says you can program the switch on the right side. The one two switch. One two switch. I don't even remember anyway as a power switch. So that's kind of cool. That's. This is a good question. Do you have any photos to share from it yet, Greg? [01:33:53] Speaker A: Oh, I might have a couple. Let me just bring up my drive. [01:33:57] Speaker B: While you're doing that. David Parker says. Have you guys reached out to Trent park and Norell Z autio for a chat? Lovely couple. I don't think we have. Have we Greg? Do those. [01:34:12] Speaker A: Those names ring about Trent park rings a bell. But. [01:34:17] Speaker B: Watcher. I don't know how to pronounce that name. I should. [01:34:22] Speaker A: Let me just share my screen. [01:34:25] Speaker B: And Paul Henderson also says happy to take the om3 off you guys. You can just tell om system you lost it if you don't like it. Rick says if the grip is no good on the arm three, you can just use the Lucky strap. It's a great idea. Yeah. [01:34:42] Speaker A: I used a Lucky Strap deluxe wrist strap. My special camera Life one which I've just obviously taken off the camera because I've sent it back to Justin. Yeah, I prefer using a wrist strap with a smaller camera like that. Excuse me. Have a look. Oh, look at that. There's a lucky strap That's. [01:35:08] Speaker B: You didn't take that photo with the OM3. It's in it. [01:35:13] Speaker A: Yeah. Let's have a look what we got. So these are just for some local kind of street scenes that I got out and about playing around. It was a lovely sunny day in the middle of the. At the end of last week. [01:35:31] Speaker B: Greg, if you. Is that in a. Whatever window that's in. Can you make the window narrower? It'll make it bigger on our screen. Yeah, yeah, yeah, yeah, yeah. Perfect. Yeah, yeah. Some anywhere there. That's perfect. [01:35:48] Speaker A: I. I found this autofocus pretty, pretty snappy. So did I. In really bright light. It hunted. [01:35:57] Speaker C: Yeah. [01:35:57] Speaker A: Well it might be the lens because the lens is quite a small compact. [01:36:01] Speaker B: Yeah. [01:36:01] Speaker A: You know it's not a. I don't think it's a premium piece of glass. So I found that hunting quite a bit in really bright light. [01:36:08] Speaker B: Less so in dark, in backlit situations. [01:36:12] Speaker C: Or. [01:36:14] Speaker A: Like if I power the camera on. And at the time I was. It was overexposed. It just. And I was dialing down say or I was dialing up or dialing down either shutter speed or ISO to gain a better exposure whilst I was focusing. So I'm rotating the command on the back with my thumb whilst holding the. Trying to get the focus button down to get it to grab what I was about to shoot in preparation. And it just hunted in and out. [01:36:42] Speaker B: Interesting. [01:36:44] Speaker A: Yeah. So that was just a little thing. But again that. That may not be the camera. That may just be the lens. Just disgruntled. Disgruntled Peran citizen. There's some meat. I thought you guys would like some meat. [01:37:02] Speaker B: Disgruntled hams. [01:37:04] Speaker A: Very disgruntled hams. A little bit of time at the Pran market. The veg. Just some day to day scenes. Nothing. Nothing terribly inspiring. It was more just to get out and test the camera. And it was quite strong light too. So I was looking for, you know, that sort of dynamic range. What sort of the details were like in the shadows and I was actually quite happy with it. I shot that one for you, Justin. I never shoot with the sun in front of me. [01:37:58] Speaker B: You never do. I always do. [01:38:00] Speaker A: I know. [01:38:02] Speaker B: Backlight, everything. People think you're a better photographer than you really are. [01:38:08] Speaker A: Hides all your mistakes. [01:38:10] Speaker B: Yeah. [01:38:16] Speaker A: Anyway, I think that's it. [01:38:18] Speaker B: Nice. So overall the most shocking image on this show is Greg showing his meat. [01:38:30] Speaker A: Wouldn't be the first time, Bruce. [01:38:32] Speaker B: Oh dear. That's funny. Apparently Leo photo makes a good grip for the OM3. [01:38:40] Speaker A: Oh, there you go. [01:38:44] Speaker B: Well, I've been shooting a little bit. I'll have a look and see if I've got any photos to really show. So there's a couple of things I did. I went to the. To John Yumena's film lab, Lumina Labs on Tuesday last week and got some stuff processed. And we also shot my sprocket rocket camera a little bit and had a Bit of fun getting some pretty average shots with that. But now I've got a better idea of how it works. [01:39:13] Speaker A: But it was. [01:39:14] Speaker B: It was really fun. But what I have shot with so in I got. We unboxed this last week. This is the Canon 20 millimeter 1.4. And unboxed it last week. And in the last week, I've shot three very different things with it. I shot a mountain bike hybrid photo video job and in true me fashion, obviously just packed this and one other lens of a longer focal length and didn't bring any backup because that's how I like to test stuff. And it performed really, really well. I was very happy with it. Focus, gray colors and stuff look fantastic. I don't know. There's probably not. Hang on, I'll bring it up. But it's nothing that you'll really see over the Internet, but might as well while we're talking about it. I think this bike's already released. Yeah, it is. [01:40:15] Speaker A: Heard it here first, folks. [01:40:16] Speaker B: Yeah, yeah. So where are we? So trying to get, like, get focus and shots like. This is a good test for. Because he was coming through very, very fast through. Through the frame to acquire focus. Really well controlled backlight situation. That's at F 2.2. You're getting, like, getting a lot of flare but still having contrast on the rider, even though. [01:40:49] Speaker A: Yeah, it hasn't washed it out. [01:40:50] Speaker B: Hasn't washed it out is a really good test of all the coatings and all that sort of stuff. Some lenses just lose all of their contrast when the sun's anywhere in the frame. And especially at like, at 2.2. It's not stopped down. What else? Yeah, it was just like really just felt sharp and good and acquired focus. Well, that was shot at F2. I'm pretty sure I shot some at 1.4. I always like to just see. I don't know where they are, though. And yeah, as you can see, lots of sun behind the rider. [01:41:27] Speaker C: And it. [01:41:28] Speaker B: It did great. So very, very happy with. [01:41:31] Speaker A: That's good. [01:41:32] Speaker B: Very, very happy with that lens. So shot it on that. Shot it at a. What this thing in Bendigo called Electric Wonderland, which is like a. What is it? They like, light up Roslyn park with all these fairy lights and crazy light sculptures and animals and things. And, you know, one of those, like, after dark, kind of like vivid Sydney, but really, really small. And then they have kids run along to it. And we got invited as it's quite clever. They invite all the local photographers around town as VIPs. The night before to get in for free and go in before the crowds and obviously then all the photographers take photos of it and post them and promote it. So I thought I'd take the 20 mil and test it out and not post any of the photos which. So I did that with my nephew, nephews actually. And it did great there as well. Like focusing on eyes. Nice bokeh. Even though it's a 20 mil but at 1.4 like you know, you can basically see in the dark with it. [01:42:38] Speaker A: Yeah. [01:42:38] Speaker B: And that was great. And then I lastly I shot, I shot a friend's work Christmas in July party which was one of the wildest parties I've ever been to. I can't share any of the photos because none of them are safe for YouTube. Basically I was sworn to secrecy and I used this for part of the night and you know the weather ceiling. [01:43:10] Speaker A: Repels all sorts of moisture. [01:43:13] Speaker B: All sorts of moisture. It focused fast in basically zero light. You should have seen. I was actually. I wonder if I can show any photos. So I actually don't have an on camera flash anymore for Canon. When I switched back from Nikon, I procrastinated. I was like, ah, I never use on camera flash. I'll get one when I need one. And then this come up and I was like I'm gonna need on camera flash. This is basically. I was basically doing like nightclub photography essentially. Like it was dark and it was just party photos. And so I put the, just put my wireless. I've got a Canon wireless trigger for the Godox system and then I've got a nick on like Godox flash. But I can slave it as a wireless and just so I was just running around with the camera and holding this wherever I wanted getting like a little bit of directional light and just. [01:44:08] Speaker A: Yep. Yeah, it was kind of fun. [01:44:10] Speaker B: It worked really well. It's a lot better than the on camera flash. Like direct light. It's just a little bit more work and then having to think, you constantly got to think where are their faces pointing because that's where I want the light coming from. And then only other issue is drunk people start looking at the flash because they think that's the camera. And then so I've got a few photos where people are just like looking up at the flash thinking that that's the camera taking the photos. Even though I'm holding the camera taking the photos. Yeah, can't win them all. Paul Henderson says a big call. Justin, like vivid Sydney, although really small, it it. Yeah, I mean I couldn't think of. [01:44:50] Speaker A: How else to describe it. [01:44:51] Speaker B: Let me show you. So they did. Can't believe I'm getting shade in the chat for that. So we've got a cathedral in Bendigo. So they built this like 40 meter long replica of the cathedral out of fairy lights. That's the gold thing in the background. You know, it's got the spire and everything. And then there were these animals all over the place. Big blow up animals. [01:45:24] Speaker A: They look really cool. [01:45:26] Speaker B: They did look really cool. It was like miniature vivid Sydney. What else was there? There was like. I haven't edited any of these photos or anything and. But well, here's a good example. Where are we? So playing these like light up bongo drums. This is my nephew who me and him were both wearing bear hats. One which on my head as well. And let's just see this. So this was at 1.4. Is it? [01:46:04] Speaker A: Yeah, it's pretty good, isn't it? [01:46:06] Speaker B: Pretty sharp and he was like bopping around and stuff and that acquired focus in that light like in the dark. So yeah, it was. It was good. It did a good job. Yeah. Okay, maybe it's not like vivid Sydney, but it was pretty cool. [01:46:23] Speaker A: We get the idea. It's okay. [01:46:25] Speaker B: They're these giant domino sets that all lit up and. [01:46:30] Speaker A: Oh, that's really cool. [01:46:31] Speaker B: Is the guy from the Bendy Advertiser with his on camera flash tilted up but with the bounce pad down. It's an old photogenalist trick. [01:46:43] Speaker A: So this was more family friendly than what some of the ones I've been to. Like I used to go to the one in Melbourne but it always just felt like it wasn't really fairy fan. Maybe they. Maybe I was just there at the wrong time. [01:46:55] Speaker B: This one is all families like it. It's. There's. It's just kids everywhere. [01:47:00] Speaker A: Yeah. So because I remember the one in Melbourne, we went to it like two in the morning just to avoid the crowds all night. [01:47:08] Speaker B: Yeah. This one's like I don't know what time it stops but it's like 5:30 to 10 or something like that. Yeah, it's all for families. They run it through school holidays. [01:47:18] Speaker A: Okay. Yeah. [01:47:21] Speaker B: Anyway, so yeah, I've been shooting and it was good. And yeah, going down to Luna Labs and learning how to develop film. I shot a heap of behind the scenes footage. I don't know if I'll ever do anything with it. I'll see. Maybe I'll try and get editor said to put together like we just. We edited film all day. I learned how to Use a film scanner. And I was nice. Changing all the colors and stuff. [01:47:42] Speaker A: Yeah. I'm sad I missed it. [01:47:45] Speaker B: We can go. We go again. We're just. [01:47:47] Speaker A: Yeah, we'll go again. [01:47:49] Speaker B: I want to get some. I actually want to get photos I didn't get because I was shooting footage. I didn't get to get any photos of John doing his thing. He's. He's a cool dude. Like he's got a room in his house full of old computers that he repairs. Like. Old computers. Oh yeah. And he's like, it's just a hobby. It was a full like massive room. Way bigger than my office. Just stacked up every wall with ancient boards from computers. It was very cool. Let me just see if there's anything that. That's worth looking at from the film. [01:48:25] Speaker A: My light died. [01:48:31] Speaker B: Not really. Nah. We can look at them another day. [01:48:39] Speaker A: Yeah. [01:48:40] Speaker B: It was fun though. We are running out of time. It was fun going through the whole film process. We didn't do. Obviously didn't do darkroom stuff. It was more like film lab processing. So color. Checking out the machine. The machines are so there's so much going on. Pumps and stuff and liquid around. Yeah. [01:48:56] Speaker A: Well, it's a behind the scenes look that we don't always get to see. So I do hope you do something with that stuff. [01:49:02] Speaker B: I will. I just don't think it'll be. That might not be that interesting on YouTube for people because it'll be slow. Like I had to shoot it. It was just like while we were doing stuff and I was just shooting bits. I'll probably be a long slow video. But some people might find it interesting. So I'll do it. I just don't think I'm going down to a 10 minute video or whatever. It'll be longer. Final. The final segment. I wanted to just put this out there into the world. It's random. Is I'd like to have a segment on this show where we look at other people's images. Your images. You listening to us right now? [01:49:39] Speaker C: You. [01:49:41] Speaker B: So I don't know how to go about it. So I'm like, let's just start. And the. The only way to start will be send us an image or a few images. Send it to justinuckystraps.com and my team. No, I'll get back to you. And so basically we'll just try and like compile a few. Yelena will check and be like, you haven't replied. So. Yeah. [email protected] make the subject like image for review or Image for not, I don't know, the camera life. Make the subject something I'll notice and just send us an image that we can bring up on the show and talk about and just tell us whatever is interesting about it. Whether you're trying a new technique or it's just something you're proud of or you got a question that, you know, the chat can potentially, we can crowdsource information and help you with. It's not going to be like full on critique or anything because that's not who we are. We don't do the critiques. If someone calls on the show, someone that knows what they're talking about, they might critique it. We'll either make fun of it or just look at it and be like, this is awesome. But if we make fun of it, it'll be in a fun way. Bruce says make up a Dropbox submission folder and save your inbox. I'll do that after I get the first two or three and I know that people actually want to do it. And I'll figure out how to make a Dropbox submission folder. It's a good idea. [01:51:09] Speaker A: Please make sure you include, you know, what camera and Lindsay shot it with. Yeah. Especially if you want any, any technical discussion around it. [01:51:17] Speaker B: Yeah. And just any context, like what was it for? Was it just for something you were trying out your own personal project or is it on a client, client shoot or whatever. Try and trick us if you want. Use an iPhone, telescope. It's a hassle. Blood. [01:51:32] Speaker C: Don't, don't do that. [01:51:33] Speaker B: We'll look silly. But yeah, just. I, I don't know. I would like to get it rolling, but we'll just test the waters a bit. So email us. Let's. Let's see if we've got anything next week or the week after and we'll go from there. [01:51:44] Speaker A: Yeah, cool. Nice. Well, look, I think on that note, everybody, we're going to read out some final comments and then we're going to wrap up the show for tonight. Do you want to jump to the last few comments here, Justin? [01:51:55] Speaker B: Paul says we had White Knight a couple of times several years ago back. Yeah, we did. First one was great. Second one not as good. Bruce, I don't think it was profitable in Bendigo. Yeah, I don't know what happened with White Knight. That was, that's where you like light up the buildings more. So whereas this is all paint in the park and it seems very family friendly because they, they're like fenced in so the kids can't escape in the Dark, but yeah, other than that. Thanks, everyone. Thanks. Thanks, Philip Johnson. Thanks for being here first and last. [01:52:27] Speaker A: Yeah. [01:52:29] Speaker B: And thank you, Greg Carrick. Oh, my things zoomed in. Thanks, Rick Nelson. Thanks, everybody. Thanks, Bruce. [01:52:36] Speaker A: Yeah, thanks, everybody and all the Davids. [01:52:40] Speaker B: Thanks, Nev. Nev. Nev. Said a while ago, DJI and Hasselblad, same company. Exciting to see what they'll do with that combo. Imagine that. That's the rumor. Imagine. Imagine if they actually made a mirrorless. A proper mirrorless camera. [01:52:54] Speaker A: Yeah. That'd put a lot of fear in a lot of companies. [01:52:57] Speaker B: Well, with what they've done with E Bikes, making E Bike motors has scared the crap out of bike brands and motor brands and yeah, they could do the same thing to the digital camera market. So let's hope Bruce says thanks, guys. Use code, Greg. This is the one and only time that he's letting you have this one because Jim's not here, I guess. Thank you, Paul. Thank you, Paul. Yeah. [01:53:23] Speaker A: Yeah. Thank you, everybody. Let's wrap up. Just a reminder that this has been the Camera Life podcast, the random photography show, episode 95. We're on the march to 100 now. We're doing well. We've got some amazing guests coming up and we've also got a rather impressive list of co hosts to help Jim and I run the show while Justin is away snowboarding in New Zealand. So stick around, make sure you like and subscribe and that way you get noted and hit the bell button notify of all outcoming content. [01:54:00] Speaker B: Did you see? [01:54:01] Speaker A: We hit. [01:54:01] Speaker B: We hit 1200 subscribers. [01:54:04] Speaker A: Thank you everybody. But most importantly, give this episode a like because it helps the algorithms Share the love with other viewers who might be interested in the Camera Life podcast. Why wouldn't you be interested in the Camera Life podcast? There is nothing more than the Camera Life podcast. But on that note, on behalf of Justin and myself, thanks everybody for watching, listening. Please make sure you comment. And we really value everybody who joins us live in the chat to. To be a part of the show and keep things rolling along. We, we love you for it. It's why we do what we do. So thank you. [01:54:38] Speaker B: Thanks, everyone. [01:54:38] Speaker A: Dustin's going to sing out. The outro music doesn't really work properly. [01:54:48] Speaker B: Not everybody.