EP97 Convincing Justin to Spend $4k on a Lens? The Random Photography Show

[00:00:22] Speaker A: Well, good evening everybody. Am I still on? Can you hear me? We've had some technical audio issues. Welcome to the Camera Life podcast. This is the random photography show, episode 97 on the march to 100. I don't know why I just said it one day a few weeks ago and it stuck. But it is the 14th of July 2025. This is the random photography show where we talk news, reviews, whole bunch of stuff. And you will notice that tonight we are obviously joined by Justin and Jim. [00:00:52] Speaker B: Hey, let's what's up? [00:00:54] Speaker C: Okay. Hey. [00:00:55] Speaker A: But we're also joined by Bruce Moyle Tasman is it? Hobart, Tasmanian based Lances and I'm sorry, I should. I can't believe I got that wrong. Lances and Tasmanian Bruce Moyle, welcome to the show. Great to have you on the other side of the comments. [00:01:12] Speaker B: I'm here to just give anyway, so. [00:01:15] Speaker A: Yeah, well you know, for those of you that are in the chat comments. Yeah, we'll get you those in the moment. This is your opportunity to get back at Bruce for all the, all the shade he has thrown in the past. [00:01:25] Speaker B: So. [00:01:26] Speaker A: But Bruce has been a long time follower of the channel and it's great to have you on, mate. We're going to talk about some of your work and maybe give Justin some advice on. On an upcoming potential purchase. Surprise, surprise. [00:01:40] Speaker B: If I could only get commission off it. That's, that's the catch. [00:01:45] Speaker C: Canon will give you a kickback or something. Yeah. [00:01:47] Speaker A: Hey, what is the fame of being on the random photography show? Not enough for. But thank you for joining us in the chat. We will jump to the comments in just a moment before we do some housekeeping. Just a reminder that we run two shows every single week. We have the Monday night random photography show 7:30pm Australian Eastern Standard Time. And we have our second show on Thursday mornings at 9:00am Australian Eastern Standard Time where we interview a photographer and get to know all about them and their craft and their work. So make sure you like this episode. Subscribe hit the bell notification because it lets you know when we have other episodes coming up. And yeah, thanks for joining us on this chilly, chilly evening in southern Australia. [00:02:35] Speaker C: Yeah, it's good to be here. [00:02:37] Speaker D: It's probably colder where Bruce is. [00:02:39] Speaker A: It probably is. [00:02:40] Speaker B: Maybe it's 7 degrees. [00:02:43] Speaker A: You're closer to Antarctica than we are. So you know, let's be fair. [00:02:46] Speaker B: True, very true. [00:02:47] Speaker A: To be fair. Good to have you, Bruce. Good to see you on the show once again. [00:02:53] Speaker B: Oh, thanks for having me guys. Even if, even if it is just to convince Justin to spend more money. [00:02:58] Speaker C: I'm. [00:02:59] Speaker B: I'm actually trying to whittle down his. His bank account so you don't get that trip. Greg to Japan. [00:03:07] Speaker A: Thanks, mate. I think that's just the eternal carrot that he dangles in front of me to keep me going. [00:03:12] Speaker C: I'll have to. I'll take my new telephoto lens instead of Greg. That'll be the choice I have to make. I'm like, which one can I take? [00:03:18] Speaker A: That'll get the se between Justin and. [00:03:20] Speaker C: Jim will be Greg's lens. We'll call the lens Greg. [00:03:24] Speaker A: But Justin, do you want to jump. You got some time to jump into some comments? I don't want to interrupt what you're in the middle of. [00:03:29] Speaker C: I know I'm rapidly doing things for the show that I should have done earlier today, but let's see who's in the chat. Jim's in the chat. He says late. Actually, before I do that, I feel like I just need to do a quick rearrange of the feng shui like this in order of beard length just while I do this. Just because Greg's beard has been shortened so now he's second. And then Jim and then. And then me right down the bottom corner. Jim's Photography. New, new subscriber. Welcome to the chat. Jim's Photography. That's a cool logo you've got there. That's great. Did you. Did you make that? It's great. The flanny. The flanny looks good. That is Tony. [00:04:11] Speaker D: That's any. Tony's burner account. Justin made that. [00:04:18] Speaker C: Actually. Chat GPT made that in one prompt. It's actually the first time that ChatGPT got something right for me in the last month. Probably that app is losing the plot, but it did this. [00:04:29] Speaker B: Well, the problem is that Jim's mowing and that are actually going to probably take that and run with it. [00:04:37] Speaker C: Well, perfect, Tim. You'll be able to get a job. You'll be able to buy your own franchise of your own name with your own face on your own franchise. Get a green trailer to put your nick on gear in anyway. Philip Johnson, good evening. It is a chilly evening. Crimson Comics. I'm just here for Bruce. [00:05:00] Speaker B: That's my fan club. [00:05:03] Speaker C: The Bruce fan club is here. [00:05:05] Speaker B: If you want some weird, weird stuff, go watch my little girls comics on her channel. There's a plug. There you go. [00:05:12] Speaker C: Yeah. Everyone head over and subscribe. [00:05:15] Speaker A: Not now. [00:05:16] Speaker B: Later. [00:05:16] Speaker C: Not now. Later. Don't go there. Gareth Davies is here. Good to see you. Tim Siamas, as always. Philip Johnson says three beards plus one. I know, I know. There's nothing I can do about it. [00:05:30] Speaker A: Maybe face castles. [00:05:32] Speaker D: Maybe zoom in. There's a little. [00:05:36] Speaker C: This is, this is eight months of growth. Grant says. Looking sharp, Greg. Good to see you, Grant. Grant. Congratulations are in order for young Grantee. Granny Poo. [00:05:50] Speaker A: Did he become a pupper for the second time? [00:05:52] Speaker C: He sure did. [00:05:54] Speaker A: Hey, congratulations, Grant. That's awesome. I hope that you're all well. [00:06:02] Speaker C: Moving on. Tim Siamas up. Vote for Bruce. Bruce has the best beard, says Crimson Comics. [00:06:07] Speaker B: Oh, come on. [00:06:08] Speaker C: Rick Nelson. Hello everyone. [00:06:10] Speaker B: Favoritism. [00:06:13] Speaker C: Nev. Clark says they call me Bruce. Haha. My lame humor. [00:06:17] Speaker B: That movie isn't. I haven't watched it in a couple of decades. [00:06:21] Speaker C: So what movie is that? [00:06:23] Speaker B: It's a movie called they Call Me Bruce. It was a, a Korean guy who like wanted like it was a piss take of Bruce Lee basically, but it was a Korean martial artist who did it and set in LA and stuff. And it's from memory. It's really funny. But my memory may be faulty on that because it is, you know, it's something from the 80s, so it could be dodgy as hell. [00:06:46] Speaker A: I, I remember years ago a friend of mine got me a dodgy copy of like a DVD of the original. Was it Battlestar Galactica? Yeah, remember that? That would have been early 80s. [00:06:58] Speaker B: Oh, the original was like late 70s. [00:07:01] Speaker C: Yeah. [00:07:02] Speaker A: So the original. And, and I thought, oh I love this show growing up, I'm gonna watch it. And it was atrocious. Trash. It was so bad watching the original. It just completely destroyed my, my childhood. I'm still in therapy anyway. Comments, Justin, go on. [00:07:15] Speaker C: Sorry, back to comments. I'm, I'm working and commenting. Greg's got a long way to go, says cribs and hey, listen here kiddo. [00:07:22] Speaker A: I was the front competition. Your dad's beard looks like nothing compared to mine. What was. What what mine was. [00:07:31] Speaker B: I trained her well. [00:07:33] Speaker A: I can't go on. [00:07:37] Speaker B: 11 year old Paul took it really well. [00:07:41] Speaker C: Hey all. Really looking forward to the discussion on the 100 to 500. Me too. Basically to prelude what's happening later in the show, Bruce is going to talk about his experience with the 104400 the Sony system and try and talk me into buying a 100500 for my upcoming trip to New Zealand. So that's what's happening later on in the show. Stick around for that. I think it'll be a good discussion on landscapes, telephotos and spending money. Dave Clark, Digifrog. Says, are you a Licorice? All sort. Justin. [00:08:12] Speaker B: Yeah. [00:08:12] Speaker C: Look, this. This lighting thing was a random accident. Pressing buttons on the Philips Hue system and actually, I'm just gonna roll with it. I actually like it, so we're doing it. Lucky straps Flannies. Yeah, we might make some. [00:08:24] Speaker A: I think we need to. [00:08:25] Speaker C: God, I can't even keep up. The comments are coming in faster than I can read them out. You guys, I don't know if we. [00:08:29] Speaker A: Can make some baby ones for. For Grant's little ones. Can we make some baby Jim Flannies? [00:08:35] Speaker B: Yeah. [00:08:37] Speaker C: Grant Fleming. Not. Not supposed to put your own name as the burner account. Yeah, that's a problem. Monica. O. Says token female. [00:08:45] Speaker A: Oh, Monica, we're sorry. [00:08:47] Speaker C: Well, yeah, you know, but bring. Bring more, you know, then you won't. [00:08:51] Speaker A: Be the token family, wherever you guys all hang out. [00:08:53] Speaker C: Part of the crew. Yeah. [00:08:55] Speaker D: Or is she talking about you, Justin. [00:09:02] Speaker C: Because of my lack of beard? Okay, okay. [00:09:05] Speaker D: There was a question mark there. [00:09:09] Speaker C: I guess. So. Gareth. Gareth Davies says thanks for the speedy delivery of the strap, guys. Very happy with it. You're welcome. You're very welcome. [00:09:16] Speaker A: Nice work, team. [00:09:19] Speaker C: Grant's doing well. Thanks. Thanks all. And I'm assuming you know the rest of the family's doing well, too, Granted, most of the work. Good job, Grant. Monica. Oh, love my lucky strap. Thank you. Thank you, Monica. Thanks, everybody. This is the best night ever. Paul's taking the 100 to 500 to New Zealand in two weeks. We're like the same person, Paul. [00:09:43] Speaker B: Okay, so you've already decided he's just bought it, right? [00:09:46] Speaker C: Have you bought it based on this podcast or. Actually, what I'd like to know later in the show, Paul, is what else are you taking? Yeah, Bruce's beard's still the best. And that's okay. All right. It's crazy. Finally get off my digital lawn. Says I have baby lucky merchandise. He actually does. One of the few. Not many have that. Since that was a ton of comments, I guess we should go on and read some more comments on YouTube because that's what we saw the show. Because that's. I don't know. That's the first section. I didn't press my button. I got a lot going on. [00:10:30] Speaker D: How many tabs you got open at the moment? [00:10:32] Speaker C: A lot. Too many. And then I'm trying to sort your photos out. You were supposed to give me five photos and there's eight. [00:10:37] Speaker D: I did three of them. [00:10:39] Speaker C: Are you. Yeah, that's. I look sad. [00:10:43] Speaker A: There's one that. You look very sad. [00:10:44] Speaker B: Yeah, we'll get to that in a minute. [00:10:46] Speaker C: Yeah, I know. No, we'll get to. That's at the end of the show. I'm just. Okay. [00:10:53] Speaker D: While you're. [00:10:55] Speaker C: I'm doing it. I'm doing it. You're really doing this. I'm bringing this up. I'm bringing up the comments from last week. There was a lot of comments on YouTube last week as well. [00:11:04] Speaker A: Now, just to remind you, Justin, no pressure, but you know, Bruce used to be one of the forefathers, the founding forefathers of podcasts, and we are being judged. Well, you are. [00:11:16] Speaker C: Look, this is pretty loose. This is pretty loose. When it turns podcast. This is kind of like live streaming and letting the chat drive the show and not having to do much in terms of preparation or anything. All right, let's see what we got. What have people been talking about in the last week? Someone wants to know if this is Marquis Romeo. Romeo wants to know if the R5, if the new hot shoe cover on the R5 Mark 2 fits on the original R5. I can't check because I sold my R5, but I don't think so. Sorry. Nick Fletcher was pretty happy with his own reel. He says, so good. [00:12:05] Speaker B: I'm pretty sure Nick just goes on YouTube to watch himself, I think. [00:12:09] Speaker D: So that's the impression on the video. [00:12:13] Speaker C: You know, it's funny, actually, before we. I'll get back to these comments. You know, it's funny is I was playing with this idea of getting to see if AI can go through our podcast transcripts and find quotes that I could post to social media just to be like, hey, don't forget this episode from a few weeks ago and have a quote to kind of catch people's attention. And I tested it out by running Nick Fletcher's episode through it to see what it would bring out. And some of the quotes are. And let me find a couple. The first quote it brought up was because this is out of a two and a half hour podcast and I just said, give me 10 to 15 quotes. And the first quote it brought up was, I always said I'd never shoot a wedding. And then I did the worst wedding in history. [00:13:09] Speaker D: He did say that. [00:13:11] Speaker B: He did. [00:13:12] Speaker C: I'm not a full time photographer, just a passionate fraud with a camera. It did a very good job of finding things that were very Nick Fletcher. We called it crossing the Simpson with a buffoon because that's exactly what it was. [00:13:30] Speaker A: Does it provide the timestamp as well? [00:13:33] Speaker C: It sure does. I got choked out and woke up outside the Fuji Store with a GFX receipt in my hand. This is a screwdriver, not a torque wrench, you muppet. [00:13:49] Speaker A: Oh, I wonder who that was directed at. [00:13:53] Speaker C: My kit. A Z9, a 70 to 200, a Tau and a two terabyte card. [00:13:58] Speaker B: See? Everybody should know where their towel is. Douglas Adams has always said. [00:14:06] Speaker C: I make sure everyone at BFOP gets paid, even the clowns. Anyway, it was a good set of quotes, so we might. We might have to bring that into our social media posting. All right, what else are we talking about? Gareth Davies on the last week's random show with Andrew Chapman, which was awesome. I can't wait to get him back on in October or whenever it is. That's going to be awesome. [00:14:32] Speaker B: Yeah. [00:14:33] Speaker A: Natural board storyteller. [00:14:35] Speaker C: Yes. We're just going to let him roll for hours. Yeah, we won't have to do anything. We'll just start him off and then we'll just. Actually just leave the podcast and just let him go. Because it'll be better without us. He said. Gareth Davies says. Great. Good show. Glad I listened to it since I'd rather not see photos of the surgery. It's actually. It was fine. The photos are actually very insightful. [00:14:55] Speaker B: It was pretty. It was pretty time. [00:14:58] Speaker C: Yes. Yeah, yeah. They weren't gory photos. They were quite. No, they're fine and amazing. So if you haven't listened that, go back. Especially, like, the first 40 minutes of that episode is well worth a listen. And also looking forward to receiving the strap next week. Well, now he's got it. It will look nice on the X Pro 3. Boo Fuji Wookie says, looking sharp, Greg. Some Shane beard praise best 20 bucks. I spent Nick Fletcher on his own video again, so. [00:15:29] Speaker B: Good. [00:15:30] Speaker C: Can I pay you to produce videos? Just bagging out Matt Crummons. He's back from holidays and totally confused by what's going on on socials. What else have we got? Ah, 2.28 photography. I love how it mixes up your usernames. They were talking about the wearables at weddings. [00:15:52] Speaker A: Oh, yeah. [00:15:53] Speaker C: If everyone could just stream and upload wearables and then no one would need to do photos or videos at weddings ever again because you'd have every point of view from every guest streamed and uploaded to some service. But then. [00:16:05] Speaker A: But what if there was a. What if there was like some connectivity issues and everyone's walking around holding their heads up higher to get better reception and so then you just get all these videos of the church roof? [00:16:16] Speaker B: Did. Did you. Do you know, no one thought to go there. [00:16:19] Speaker A: Did they. [00:16:20] Speaker B: Sorry, do you know like, did you know about what they did at a corn concert? [00:16:26] Speaker C: You told us that last time about the. The. [00:16:30] Speaker B: Yeah. Like, I don't know if it was me or not. [00:16:33] Speaker C: Of participants. I'm sure it was you. Yeah. Black magic. That's it. [00:16:39] Speaker B: It's really cool. [00:16:40] Speaker C: Yeah. Yeah. So that, and that's what this is. This comment is basically saying is that if everyone was doing it, you would need an editor to kind of sift through that crap and find something decent until AI figures out how to do that too. In which case, I don't know, maybe. Also mentions the AI chatbots jumping into Facebook groups that we talked about last week. What if the AI chatbot causes serious harm to a group member after telling them their photo is rubbish? Fair call. It's a fair call. [00:17:11] Speaker A: Stranger things have happened very quickly. [00:17:14] Speaker C: Last couple of comments before we lose all of our live viewers, before we get to the good parts of the show. Nick Fletcher again. I was talking to Genevieve Bell, anthropologist, intel executive now running anu. Wow, Nick, how do you find these people? About the A similar theme in terms of we're talking about will photography go extinct for mediums like video and that kind of stuff. Her view is that across history, art mediums are never lost. When something modern comes along, there's just more choices of mediums to consume. Think about books to Kindles or newspapers to digital apps or painting to photography. Photography will endure. It just might be smaller thoughts. [00:17:58] Speaker B: Agreed. Yeah, well, like, but yeah, if you said like all the painters got scared that when photography turned up that they wouldn't have no painters anymore. Nobody get portrait painted anymore. Obviously it's a lot less than back in the day, but people still do it because it's an art form. It's. I think the difference here is that the commercialization of like people made a, like a lot of people made a living out of doing this and that's going to shrink. But there'll still be the bespoke artists who still make stuff and then there'll always be companies and spaces that will actually prefer to have something as human made than, than what anything else. And I also think like if you look at like catalog furniture and stuff like that, like it's actually interesting to see like that people go, oh, if you put a product there, it's going to be. You could just generate it with AI, but you won't get the product you've made. Not necessarily. You need to, you need to train the model, what your product looks like and everything else. So there's actually a cost involved in that where if you could just whip out a phone or pay somebody to do it properly, it's probably going to be less in the short term when your company gets bigger and you become an ikea, then you have everything trained and you pay people to do that and then it's like a click of a button. So it becomes more about efficiencies than losing the art form. [00:19:24] Speaker C: I suppose that makes sense. Definitely makes sense. I agree. I hadn't actually thought about Dragon. Back in the day. Before photography, there were like fairly average churn and burn painters just doing people's portraits. But they weren't great at it. But that was their job. They were just like, yeah, I do. [00:19:41] Speaker A: It still is, there's still packs, you know, and they're passionate people. Yeah, there's still lots of people that do art and I mean, making a. [00:19:48] Speaker C: Living from it though, like that was their job. That was like, oh, yeah, Pete. Pete the portrait guy. Yeah. I mean he's not great. I always look weird when he does mine. But. [00:19:55] Speaker B: But you know, think about the character cheer, people who do it like a busker. Like it's the same sort of thing. [00:20:03] Speaker D: So there's lots of bad photographers making money. [00:20:07] Speaker C: So that's. That's kind of what I was getting at. That was the parallel. I was kind of drawing that that maybe that will become a lot less likely. It is interesting though, bad photographer. [00:20:17] Speaker A: And I'm starting to see more like I walk past our local. Down on Chapel street, there's lambs on chapel. Lambs is still called lambs, I think it is. Anyway, and in the window they've got these sort of A2 posters of the meal deals you can buy and they're all AI generated. They look incredibly, incredibly fake. Like the food looks too perfect, especially for that shop. [00:20:40] Speaker D: Yeah, probably, yeah. [00:20:42] Speaker A: Is, you know, it's. And I've heard that there's more and more of it being used in marketing because it's quick and because it's often there. It's building images from existing, from an existing database. You know, it knows what the Heinz logo looks like, it knows what the Macas Archers looks like. You know, it's not like you're having to train it in every little aspect. You're saying, create me a gorgeous looking burger and chips and AI pops up an image. [00:21:07] Speaker B: But also think about the attention economy. Like in those things where you're walking past or flicking through a reel or whatever else, it's fractions of a second. So if as long as it gets the communication across. Nobody's going to look at it in depth, so. Particularly in that commercial space. [00:21:23] Speaker C: That actually brings me to Nev's comment, which. Nev, if you want us to read your comments, you gotta go smaller. I can't, I can't read all of this. I actually asked Chat GBT to summarize it and it said, I'm sorry, I can't. I don't have the power of that. You'll have to wait till chat GPT5 comes out. [00:21:44] Speaker B: Just read every fourth word. [00:21:47] Speaker C: No, but what I wanted to get to is he's talking about video, what we're talking about video, photo, different things and stuff like that. But I think the, the key that I found here after many hours of digging through Nev's comment was an image can be a slower burn rather than sort of a quick hit. You know, you come back to it and look at it a second or third time to get joy out of it. And I think that is, that is one thing that will never change with photography is that you can get drawn into an image over a period of time. Whereas with video, because of the movement, I think it's harder to. To get that same feeling. I don't know, I'm thinking about slow. [00:22:28] Speaker D: Mo or something where you do get the time to, to I guess, enjoy. Yeah, that shot and the finer details. [00:22:37] Speaker C: Yeah. [00:22:38] Speaker D: Whereas if it's just a fast moving thing, you don't get to. [00:22:40] Speaker B: It's. Yeah. Well, there's. Once again there's a commitment. Right. A temporal commitment. Like still can. You can look at it forever in a day if you hold it there on a wall or on your feet or whatever and it won't change. A video is by its nature has time. So no matter how long it is, you've got to commit if you want to enjoy it to that amount of time, like a movie or whatever. But even if it's like a scenic landscape for like 10 minutes or whatever, like you're not going to sit there all the time and watch a scenic landscape for 10 minutes, like. Yeah, it's one of those things which we don't do. Whereas we can have things in the background, I suppose the cat, the, the thing that would be slightly on, I don't know, slightly different to that would be like those frame TVs where you can have like those slow motion or ambient like paintings or you could put pictures like, like slow motion, like, you know, seascapes or whatever else on there. I suppose you could do that, but it's always Going to be in the periphery. You're not. Unless you're like really high. You're not going to sit there and just watch. [00:23:51] Speaker C: I think the thought of having movement in your house always. I don't know. I'm not. I don't know if I like that or not, but maybe I just haven't been shown it in a way that, you know, someone who's more creative than me said, oh, this, look at this on your wall. This would be amazing. But I just don't. [00:24:07] Speaker A: I think it's different strokes for different folks, you know, because, like, my folks are of the generation. They're both in their 80s and they have the radio one in the background all day. [00:24:16] Speaker B: Yep. [00:24:16] Speaker A: And it's not. Not music. It's often just like abc, you know, AM chat kind of stations. [00:24:24] Speaker C: Have you sent them a link to the podcast? [00:24:27] Speaker D: I don't want to go down that path. [00:24:29] Speaker A: But often it's, you know, right wing extremist. [00:24:34] Speaker B: But. [00:24:34] Speaker A: But aside from that, you know, like. [00:24:38] Speaker B: And they. That. [00:24:39] Speaker A: That to them is. Is how they consume like news and information and current events, you know, it's just always on in the background. And I remember growing up with friends, they always had the TV on, like, just constantly. It was on. [00:24:54] Speaker B: Yeah. My mum always has the TV on. Yeah. [00:24:57] Speaker A: And I can't stand it. I can't stand the noise and the. And the constant feedback. So I guess it's just different for different people. Some people will. Will hang beautiful artwork in the house and other people couldn't give a. We'll just have plain white walls. You know, it just depends on. On how you choose to absorb visual medium. [00:25:19] Speaker B: You know. [00:25:21] Speaker C: It'S true. [00:25:24] Speaker A: I just said it. [00:25:25] Speaker C: Oh, okay. Facts. [00:25:27] Speaker B: No, it can't be. [00:25:27] Speaker C: Then. Cool. All right, well, that's all of the. All of the comments. We've done everything. We've done all the stuff. I guess we can move on to the next segment if I can figure out where my buttons are. Does anyone know where they are? [00:25:46] Speaker D: That's that one. [00:25:46] Speaker C: That's it. Hang on. [00:25:48] Speaker B: To your left, to your right. Down, up. [00:25:52] Speaker A: Anytime you're ready. [00:25:53] Speaker C: I'm just. Hang on, hang on, hang on. I'm really getting back in the zone and. Oh, no, now we've lost everything. [00:26:01] Speaker B: Just watching Justin's brain and. [00:26:10] Speaker C: Look at how excited he is. [00:26:13] Speaker D: We're gonna get Seb to clean up. [00:26:15] Speaker B: Guys, guys, guys. Well done, well done. [00:26:18] Speaker C: Wait, wait, wait, wait, wait, wait, wait, wait. Not that one. Okay. Bring these news things up, Craig. Yeah, go on, go. Oh, look at. Oh, cool. A Fuji news article. [00:26:39] Speaker B: Wow. [00:26:42] Speaker A: Hang on, hang on. Let me just get a little bit of context. I, I wasn't going to, I was going to just be tight lipped about fujifilm. There's a $20. But I decided to add this article because it's something that is interest of interest to just not to me. I couldn't care less. But according to this, Fujifilm have launched a pair of new infrared cameras and we've been talking about infrared a lot lately about converting older cameras and we've had some people on and people sending Justin emails and man, I'm sure you. [00:27:18] Speaker B: Made this website up. I didn't. [00:27:23] Speaker D: If you look at my other website, this, this. [00:27:27] Speaker C: First of all, before we talk about this, the, the infrared thing for me has been so much the. You know, when someone says that, you know, you buy a red car or whatever and then you see red cars everywhere or something like that. I'm just seeing the stuff everywhere now and even. Is anyone, Bruce probably familiar, the filmmaker, Philip Bloom. [00:27:49] Speaker B: Yeah, I've met Philip. Have you guys? Yeah, yeah. [00:27:52] Speaker C: So I really enjoy his like YouTube stuff and that but I don't think I follow him on socials and unlike non YouTube socials I don't. I've never seen his stuff ever. And then today I was heading onto Facebook Marketplace. Wow, this thing's just freaking out Greg. Oh, it's the 900,000 ads that they put on websites now. Yeah. That don't load and then they reload and anyway and he, so he just posted the thing today that was like, you know, shooting with my A7S3 full spectrum conversion. Been shooting photo on video with it and stuff like that. Really enjoy. And I was like, man, it's coming at me from every angle. Everyone's doing it. [00:28:32] Speaker B: Yeah. You're feeding the algorithm by just. [00:28:34] Speaker A: You are. [00:28:35] Speaker D: Why don't you get your 5D Mark II done? [00:28:39] Speaker C: I don't have a 5D Mark II, R5 Mark II. [00:28:44] Speaker D: You know what I mean? [00:28:45] Speaker C: I don't know if I think it's a little risky doing it to my main camera. [00:28:51] Speaker D: You've dunked it in a pool. [00:28:54] Speaker C: I might have to sell it. Don't tell anyone. Keep that on the down low. Yeah, anyway I could. That's actually a good point. [00:29:05] Speaker A: I think you should do your R3 if you're gonna go, if you're gonna go large, then go really large. [00:29:11] Speaker C: Anyway, speaking of large, GFX100 infrared camera and an XH2. [00:29:17] Speaker A: So not current gen bodies. So these are a little older. Although the XH2 isn't terribly old but it's been replaced by the XH2s. [00:29:25] Speaker B: Very different. [00:29:25] Speaker C: The GFX100II is current gen. No, no. [00:29:28] Speaker A: That'S the one hundreds mark II is. [00:29:31] Speaker C: No, that's the, that's the smallest. That's the smaller camera. The 102 is still the flagship. [00:29:36] Speaker A: Yeah, but it's still older. I'm saying. [00:29:38] Speaker C: Yeah, but it's current gen, current tech. [00:29:40] Speaker D: So have they just. Have they just made their cameras that they've got in stock, converted them to infrared to try and sell them? [00:29:48] Speaker A: No, no, these are not available for consumer purchase. However, I'm sure there are ways around that. In fact we know we could get. Who was on the other day who's a scientist from Tasmania. [00:29:59] Speaker C: Louis Moyle. [00:30:01] Speaker B: No, not Bruce Sharkey. [00:30:03] Speaker A: Luke Sharkey. He's got a sponsor. Get him to buy you one. [00:30:06] Speaker C: Yeah, because it does say under, under the how to purchase. It says that they're for forensic scientific and cultural preservation applications and will not be made available to general customers for personal use. I say why not? We can't handle it. [00:30:21] Speaker A: Yeah, but it also stipulates that Fujifilm will only sell this if you agree to their terms of use for the camera system. [00:30:30] Speaker C: Gosh, this website is terrible. [00:30:32] Speaker D: Yeah, so do better. [00:30:34] Speaker A: It's an, you know, it's, it's heavily caveated. You know, there's a lot of kind of hoops to jump through to get your hands on this. You might as well just pick up an XH1 off the secondhand market and send it off to get it convert. [00:30:50] Speaker C: It's also very limited to four small locations. Asia, North America, Oceania and Europe. Outside of those four small regions you might not be able to get it. So if you're in Antarctica or South America or green. South America. Yeah, yeah, there's a few. [00:31:10] Speaker B: Or Africa. [00:31:12] Speaker C: Yeah. Okay. Okay. But still, um, it's. Yeah, it's weird because you'd think they'd potentially sell a few of these to just general, general puzzles like us. [00:31:23] Speaker D: I wonder why they wouldn't. [00:31:24] Speaker B: I wonder like why scroll down to the actual frequency like. [00:31:29] Speaker C: So if we zoom into this terrible website, it's kind of glitch on us. [00:31:35] Speaker B: Yeah. So all they're doing is not putting the, the filter on on it by looks of it. They're just leaving the filter off. [00:31:43] Speaker C: Yeah, yeah. [00:31:45] Speaker B: So it should be cheaper. One less bit of glass on the sensor. [00:31:52] Speaker C: Yeah, yeah. So. So it's just being shipped with what you. What would happen if you did a full spectrum conversion is that essentially what. Unless you've done. Yeah. [00:32:02] Speaker B: Normally what you do is like you have a filter in front of your sensor and you peel that off. [00:32:08] Speaker C: Yeah. [00:32:09] Speaker B: Which is your IR filter basically cuts all that. So you don't get. Because if you look at a full spectrum photo with that filter off, like when you've got every color in there and every luminance, your, your reds go muddy. You're not your reds, your blacks, your blacks get muddy because there's a lot of pollution in the bottom end from the ir. So that's the reason why they put the filter on. [00:32:35] Speaker C: Right. Okay. So it does have a purpose. [00:32:38] Speaker B: Yeah, yeah. 100%. [00:32:43] Speaker C: New commenter Jim's portraits says you must talk about fuji at least 20 times a day. [00:32:50] Speaker A: I don't know what you're talking about. [00:32:52] Speaker C: Jim's Portrait Paint. Wow, that's cool. Good to see you, Jim's Portraits. I hope your business is going well. In these modern times. There's a niche for everyone. [00:33:04] Speaker B: There is. [00:33:05] Speaker A: Franchises are booming. [00:33:07] Speaker D: I thought that was the other one still. [00:33:09] Speaker C: Oh, that's so good. Oh, dear. [00:33:13] Speaker B: Somebody's gonna get done as a bot. [00:33:19] Speaker A: So anyway, that's, that's all I have to say on that matter. [00:33:24] Speaker C: Yeah, it's, I mean, it's, it's, it's interesting. It's cool. I, I, when I first saw the news, Nev sent it to me, I was like, oh, wow, that's, that's great. And then when you see that it is for just specific technical applications, I guess it limits their, limits their warranty and their, like, liability and also all the other stuff that goes along with maybe just a random person buying these cameras and the education that's required and stuff. But I don't know, it seems like maybe a missed opportunity. [00:33:52] Speaker A: Having said that, the XT1 still available on Amazon with the infrared conversion and the XT4 is still, well, it's saying temporary out of stock, but they're expecting it within two to four weeks. The XT4 with an IR conversion, which they've been selling those well since the XT4 came out, pretty much, which is interesting. [00:34:13] Speaker B: You could just see some dumb camera shop salesperson like, you know, the unknowledgeable one, if they had it in stock, just selling it to somebody who has no idea they've just got cash and this is the best camera ever have this. And then all the issues that come out of that. [00:34:31] Speaker C: Yeah, because, because essentially without filters on the front of that camera, you're going to have problems. Yeah. [00:34:37] Speaker A: Yeah. [00:34:37] Speaker C: So, yeah, it's, it's interesting Next news article. [00:34:43] Speaker A: Yeah, which one you got? [00:34:45] Speaker C: Canon, Fuji, Canon. Canon to add password protection to 10 EOS cameras. And when I saw this I was like, oh yeah, why don't cameras have passwords optionally? [00:34:59] Speaker D: That's a pretty good idea, I guess. [00:35:02] Speaker B: Well, it feels like they've had their. [00:35:04] Speaker A: Hand forced by the European Union regulations. Under radio equipment directives, password is meant to protect network protocols such as IP addresses, Mac addresses and other networking systems. It's not really an anti theft thing because obviously if someone nefarious has their hand on your camera, it's already too late. But provided instructions on how to add a password. [00:35:31] Speaker B: Great. [00:35:31] Speaker A: Guaranteed. I mean, sorry. Granted it's all in Japanese, but why. [00:35:34] Speaker D: Would you want a password and turn it on? That'll be. [00:35:38] Speaker B: I don't think it'd be turning it on. Is it. Or is it start off password? Oh, I can see what they're doing it for. Protecting network credential access. Because you could. It becomes a vulnerability in certain spaces. But. [00:35:50] Speaker C: Yeah. [00:35:53] Speaker A: But I, I don't, I can't read Japanese. [00:35:56] Speaker B: So. [00:35:58] Speaker A: Compatible cameras. R1, R3, R52, R5, R6, R7, 8, 1050 and 50 volts. So pretty much all of them. [00:36:08] Speaker B: It feels like something that would be used for like, you know, if you're using for forensics or something like that, or military use. Because they do use stuff like that. I know, I know. Here in Australia, I think a lot of it is done with Nikon, not with Canon, but I could be wrong with that just from talking to Julie Crimpton from Nikon. But yeah, that's fascinating. [00:36:31] Speaker C: Yeah, it's interesting. You would think it's probably something that should have just been built into a long time ago that never gets, you know, never gets used unless it's needed kind of thing. [00:36:43] Speaker B: But what about other cameras like, like my FX6. And that does. Has all that stuff in there as well. Does it? [00:36:49] Speaker C: Does it? [00:36:50] Speaker B: Yeah, like, because I, I can stream to cloud and stuff like that and FTP and. [00:36:55] Speaker C: No. Oh, but it doesn't have password though, yet you're saying. But it should. [00:36:58] Speaker B: No, it doesn't. It doesn't, but it has. You can put credentials in it to link into networks and then, you know, link into streaming or whatever else, whatever application you're doing. Yeah. [00:37:09] Speaker C: A couple of good comments. Jim's portrait. Sorry? Jim's portrait says imagine getting locked out of your camera mid shoot. Crimson Comics says Bruce would password lock himself out. That was a good one. Rick Nelson says camera should have fingerprint scanners to prevent Theft, I mean that would be a much better option. Is that when you hold your finger on the. If it was as good as the apple one though, it couldn't be like cruddy on the shutter button. If it just, you know, that unlocked your camera. I mean that'd be cool. So you get stung on the index finger by a bee in the middle of a wedding shoot. [00:37:44] Speaker B: Why not like the EVF have a. [00:37:49] Speaker C: I like that. [00:37:52] Speaker B: Yeah. [00:37:52] Speaker A: Cameras are expensive enough. [00:37:54] Speaker C: Let's not make it. [00:37:55] Speaker B: The Leica one will just have to scan your wallet. Yeah. [00:37:59] Speaker A: You've got to put your credit card into the camera. [00:38:04] Speaker B: Is it a Black, black diamond? MasterCard. [00:38:08] Speaker D: Part of their subscription service. [00:38:12] Speaker C: Creativo says password protection is rocket science. Yes. [00:38:18] Speaker B: Yep, yep. [00:38:21] Speaker C: What else? Anything else on those? Not much. I want tracking inside my cameras. Yep, yep. [00:38:29] Speaker B: My friend Chris, you can get them on the bottom. You plate your camera like Arca, Swiss or whatever. You can get ones which have the ability to put an air tag in. [00:38:38] Speaker A: Them and someone else put one out that you could put a air tag or an SD card in the lens cap. Oh, it made no sense because if you take the lens cap off and lose your lens cap. [00:38:49] Speaker C: Well, yeah. [00:38:50] Speaker A: Say goodbye to 100 bucks worth of tech. [00:38:52] Speaker C: I was going to say I would have lost a lot of air tags and lens caps because I don't even get them to work. I can't get that stuff to work. I can't find my iPhone to work. [00:39:01] Speaker A: Just get your Landers to do it. [00:39:02] Speaker C: She would get it to work. Greg Carrick says I turn my cameras on and off between taking shots. No way would I want to input a password each time. Yeah, me neither. Yeah, I think that's about it for that one. I'm just going to quickly. There was a rumor on the Canon rumors site the other day about this wasn't in the. I didn't put it in the thing though. It's gone. I'm sure I saw about a new lens coming later this year. An un. A never before made by Canon lens coming out later this year is the rumor. I can't see. Doesn't say that. Oh, here it is. Never before seen lens coming from Canon. A good one. No. [00:39:46] Speaker D: It doesn't tell you what it is. [00:39:47] Speaker C: They have no idea what it is. They said it's going to be somewhere in that mid focal range of 16 to 135. Could be this. They're like it could be a replacement for the 28 to 70. And I'm like that by definition is not new. And Then they're like, maybe it's a 24-70 F2. I really doubt it. That, that would make it way bigger than it. Yeah, that'd be huge. So I don't know, I reckon maybe it is that thing that's not in this article. But there's talk of a. I don't know if there's ever been one. But a 70 to 152.8 lightweight, I mean that would be different. Maybe it's a 50 to 150 or something. Don't know. [00:40:26] Speaker A: The thing with these rumor sites though, you know, I always, I mean obviously, grain of salt, all of that. But you know, they, they kind of come up with these sweeping statements. It'll be somewhere in the 16 to 135 focal range. Well, no shits, Sherlock. Like chances are they are working on, on, on more. On more lenses for the future. Of course some of them might cover existing focal ranges. Of course some of them might be upgrades or replacements or slightly different by a couple of mils. Like it just, it gets to the point where it's like oh, just, just report on it when it's done. Like report on it properly when it's actually coming out. Or build rep reputation so that you can actually get an inside edge with Canon and actually. [00:41:06] Speaker B: Great. [00:41:06] Speaker A: Do a preview. [00:41:07] Speaker C: Greg, Greg, Greg. [00:41:09] Speaker A: That the AI, Justin? It's just, it's. Oh, I'm going. [00:41:12] Speaker C: If they stop, if they stop doing these half baked rumors, what are we going to talk about? It'll kill our podcast. [00:41:22] Speaker D: We don't have 400 flashy ads to pump into people's faces on our. [00:41:26] Speaker A: Yeah, we're not making any money off that. [00:41:29] Speaker C: Oh my gosh. All right, let's move on from that. Canon, they launched a 75 to 300 and an R100. That doesn't really matter. What else we got? [00:41:43] Speaker A: System is still considering a Pen F camera successor. [00:41:47] Speaker B: Really? [00:41:52] Speaker C: Wow. Photo rumors is taking the cake for I think the most ads. I have been thinking about buying a Honda hybrid. Well that's, that's an amazing placement of ads there for us. Well done, Internet. You are really making leaps and bounds. [00:42:06] Speaker B: I can't wait just until you buy all that ad space so when we actually use these sites it's just all the camera life podcasts. [00:42:14] Speaker C: Let me read, let me actually try that. [00:42:16] Speaker A: Let me read the. This report from the Faux. Faux Blographer. What a stupid name. I've hit that age where I'm just yelling at everything. Now we have the need from the market regarding the Rangefinder Style camera with a viewfinder. It's great feedback for us. And now we're considering what new PEN series model we can offer as OM system. [00:42:36] Speaker B: Yeah. [00:42:37] Speaker A: Of course, we cannot say more, but of course we are thinking, okay, that's good to know. There's a nothing burger. There's a nothing burger right there. [00:42:45] Speaker C: Yeah. They might be making a camera. [00:42:48] Speaker A: We might. [00:42:50] Speaker D: That lens that's coming out in that focal range. [00:42:53] Speaker C: Yeah. Oh, I mean, it'd be cool if they did, I guess. [00:42:57] Speaker B: Yeah. [00:42:58] Speaker C: Looks cool. [00:42:59] Speaker B: But will it have a crop button to crop the crop? Yeah, I was. [00:43:06] Speaker C: What's important. Okay. Oh, here we go. Some news about Sony. Do you want to take the lead on this one, Bruce? [00:43:17] Speaker B: Yeah, it's not really news. I thought it was just an interesting thing. It's pop. I've seen them talk about a little bit. But Sony, I think every camera manufacturer is having a go at this in some way, shape or form. But I think Sony's the first one to really put something out there. And I think it's already. I think parts of this is already out. They're trying to deal with AI and everything and authenticity and so they're putting in digital certificates into RAW files. I haven't read through all this properly yet, by the way, so I might get some of it wrong, but it's made for photojournalists and things like that to start with. But what I found really interesting is that it's got a full lifecycle on it. So from capture through to publication, you can track the authenticity of something, including the edits. And I'm not sure how that works with say if you're using Lightroom or Photoshop or Photo Mechanic or whatever. So I'm not sure how that works, but it's pretty cool. But this bit here where you're on, it says highly accurate verification. Real life subject was captured. It's actually putting depth data into the actual file as well. So you can. Which is really interesting. So as you can see, like if you're shooting a TV screen or an image of another image, because it's flat, it won't register as a real person or real thing because you're like. [00:44:45] Speaker A: Because it's bouncing off the panel to determine depth, isn't it? [00:44:48] Speaker B: Yeah. So I'm not sure how that works because it says at the moment this is already available or firmware available for like the A93, the A7, S3 and a few others. [00:44:59] Speaker C: Is it. Wouldn't it be mathematical based on the focal position of the lens? [00:45:04] Speaker B: Well, no, like maybe I'm, I'm, you. [00:45:07] Speaker C: Know, like focal distance and then, but then I don't know how. [00:45:11] Speaker B: Yeah, like if it had a LIDAR. [00:45:13] Speaker C: System in it then yeah, that would make sense. Yeah. [00:45:16] Speaker B: But it doesn't, like, not that I know of. My, my cameras don't. Yeah. So I thought it was fascinating. But when you scroll to the bottom, this is what really got me. So. Oh yeah, it's in beta, so that's really cool. There's the photo generalist obtain, shoot, edit and then you've got certification all the way through it. Photojournalists. But at the bottom this has got me is news organizations. Somewhere around there it says and we're going to roll it out for video. [00:45:51] Speaker C: Let me see. [00:45:55] Speaker B: Saw it somewhere on there. News camera verify maybe if you just can't see it, just do an old F and search or control F might have been. I, I did see it there somewhere. [00:46:10] Speaker C: But anyway that won't work. [00:46:12] Speaker B: But I thought that was, I thought yeah. [00:46:14] Speaker A: Camera authenticity. It's at the bottom. Camera authenticity solution support for video after fall 2025 Sony's commitment to content authenticity is planned to be extended beyond still images to include video as well. By supporting video authenticity, we aim to contribute to enhancing the reliability of blah, blah, blah. It doesn't say how they're doing it. [00:46:33] Speaker B: It's not really news as in I'm throwing this as a news. But I'm just thinking it's an interesting topic of. Yeah. Companies trying to combat and make our products are certified real things. We're producing real stuff. I don't know if it's going to beat anything. Hopefully it'll bring some maybe, I don't know, people start believing stuff that's being shot correctly. I don't know if the news articles will have like here's the, here's the certificate for that photo or video or whatever. You can check it. [00:47:08] Speaker A: Yeah, yeah, I don't care. [00:47:11] Speaker C: Well it's gonna, it's gonna become an issue at some point once it's sort of. It's obviously an issue at the moment but nothing, no major incident has happened where everyone's like holy, okay, we need to reign this in. You know, everyone just got tricked into electing a goat. We gotta, you know, or something like it hasn't. But at some point there's going to be a major incident or everyone's going to be tricked into thinking that the, the world is ending and it's not or something like that. And then they're going to figure out how to be fair. [00:47:41] Speaker A: Justin Social media, like when you see natural disasters, like we just saw the floods in Texas, horrible situation. But I reckon at least 50 of the content that I saw on socials was from other natural disasters in other places that they just tagged as, look what's happened in Texas. [00:47:58] Speaker B: You know, do that all the time. [00:48:00] Speaker A: Japanese houses that, that flooded down the river in the 2011 Great Earthquake. [00:48:06] Speaker B: Yeah, yeah. [00:48:07] Speaker A: With the tsunami, the earthquake and the nuclear power plant, gosh, those people know how to do a disaster. But you know, they're putting those up with, you know, look what's happening in Texas, you know, so there's, there's that. [00:48:18] Speaker C: Yeah, but they're getting, yeah, they get. [00:48:20] Speaker D: The clicks and that's unfortunately also. [00:48:23] Speaker C: And yeah, I guess these sorts of content authorization things are great, they're good initiatives and we need them. But yeah, that's, that's gonna say, yep, that's definitely a real video of a different, of a different event. But it's a different. [00:48:36] Speaker A: There's a lot of work to go into it. But it's also just like even looking at still images, let's just put a video aside for the moment. Looking at stills on socials, I am now spending more time trying to work out whether things are actually real or not or whether they have been manipulated with AI versus an actual image. You know, so the, the, the face of the game is changing where, you know, people were using socials to put out their, their still images to promote their photography or to, you know, to show off their art. And now people are second guessing whether it's real. And you see it in the comments, people saying is that real or AI, you know, or people will just say that's AI. [00:49:16] Speaker B: Yeah, yeah. [00:49:18] Speaker A: So it's, it's. And so this sort of stuff, it's an early step, but hopefully at some stage it will lead to whether it be news outlets or platforms, whatever it is that's showing work that could or could not be done by AI, that there is some sort of, whether it be a check mark in the corner of the screen or something that just says, hey, this is legit. [00:49:38] Speaker B: Yeah, well, even if it's that insta or whatever, like if you're taking a video on your phone and it knows that it's come from that phone, from that sensor, it's not coming from a camera roll or anything else, it's direct, then it can go because it knows the authenticity pipeline for that bit of imagery. At least what's come into that sensor is, yes, it was what's been put in front of the sensors, a totally different game. But at least you could be able to say that part of the pipeline is authentic. [00:50:08] Speaker A: But yeah, here's a little comment from Crackers Carrick. He said Steve McCurry posted an image today that he took in the 60s and people were screaming, AI. [00:50:21] Speaker B: Steve McCurry is interesting because he, he never denied or said that he didn't edit his images for. Yeah like his whole entire career. And then somebody worked out that he had been and he. I actually, I. Full props to him. He never went. I don't. I've just never said I did. Yeah, yeah. So like that. That's an interesting one. Well, if he came out and said everything, it's out of the camera, it's all authentic and stuff like that. He would have been in the. Yeah, yeah. It's. It's funny with him. I respect the work he's done over his lifetime and the spaces he's been in. [00:50:59] Speaker C: Yeah. [00:51:00] Speaker A: The thing that I worry about with some of this authenticity stuff is that, you know, Sony, it appears that they're going their own way. Fuji and sorry I said it again, $20. Fuji and Leica have signed up to the same international program for credentials and authenticity. They might be all linked. But my concern is like we saw with when memory cards became a thing, you know, in the dawn of digital that everyone's going to go their own way and no one will know where to look to look for authenticity because everyone's got their own little secret pipeline that you have to go through to work out whether an image is real or not, depending on which camera shot it. [00:51:38] Speaker C: Well, I know who I put my money on. We all remember the memory stick, don't we? [00:51:45] Speaker B: Memory duo too. [00:51:47] Speaker C: Yeah, let's go with Sony's one. Yeah, I agree. And that's what LTK photos mentioned here is the content credentials in the Leica M11P, they're the same ones that I think Canon are using the same system. But it I. Without looking into this Sony one, the Sony one sounds more, potentially more like it's doing more. Theirs is really about a number, I think that gets paired with the. The image at capture or something like that. It's, it's, you know, it's basically saying, yes, this photo was captured by this camera at, you know, it's additional metadata or something. And then that's somehow connected to a broader system that people can reference. [00:52:28] Speaker A: You're spot on. They're calling it a digital signature with an embedded metadata. [00:52:33] Speaker C: Yeah. [00:52:34] Speaker B: Which is, which is basically how you do it anyway. Like you like if, you know cryptography, you take it and you'd hash it and then you. And then you'd embed that. So it's a one way ability to go, okay, if I read, run the algorithm on that, it should match this. [00:52:50] Speaker C: Yeah, but that's not where Sony's saying. They're also doing things to do with depth matching and literally looking at. Hang on, is this a real image of this event or is this an image of a tv? [00:53:02] Speaker B: Yeah, I'm. [00:53:03] Speaker C: This event. It's different. Yeah, it's a. More. They're adding a memory stick. [00:53:07] Speaker B: Yeah, but we need, we need the. [00:53:13] Speaker C: Everyone's got to push, push it forward until someone figures out like a nice way to do this that everyone can maybe adopt and. Yeah, and then someone. [00:53:22] Speaker A: And I think this is another example where, you know, AI technologies come in combined with some political, you know, deep fake kind of pressure as well. That sort of stuff is all, you know, that whole conspiracy side of things is pushing it as well. But, you know, it's this, it's. The horse is already bolted and now we're trying to scramble and build a fence. Yes, that's what it feels like to me. With AI, it's the same in a whole bunch of other different industries and applications where, you know, we talked about. When was it last week we talked about the Fuji Xbot in the Facebook group that I am an admin of, that they've just added this chat bot that's going to start answering questions for members. [00:54:04] Speaker B: You know, they're doing that across the board. [00:54:06] Speaker A: Yeah, but it was, it wasn't an opt in option. And to opt out is bloody painful. Like you've got to go through a lot of hoops, you know, and it's this whole thing of people are just dumping AI wholesale into spaces that aren't really ready for it, I don't think. But anyway, I'll start raging at the clouds again in a minute if you get me started. [00:54:29] Speaker C: Rage against the Machine, Greg. [00:54:31] Speaker A: Oh, it must have been a stage in life. [00:54:33] Speaker B: Rage against the AI. That's. That's your band, isn't it? [00:54:37] Speaker C: Yeah, it might be. Yeah. [00:54:38] Speaker A: That's a good one. [00:54:39] Speaker C: That is a good one. [00:54:40] Speaker B: I think I'm gonna have a good visitor, guys. [00:54:42] Speaker C: Oh, okay. [00:54:43] Speaker B: Hey, come on, Ebony. This is. [00:54:47] Speaker A: Yeah, I got a few things to say. [00:54:50] Speaker C: Hello. Hey, kiddo. [00:54:52] Speaker B: What do you want to say to Greg? You've been copying Bruce. [00:54:57] Speaker A: Just from what I love most is how little confidence you have as a young person. You're incredibly confident. [00:55:05] Speaker C: That's awesome. [00:55:08] Speaker B: Yeah. Is that all you came here? [00:55:11] Speaker A: You've learned how to throw shade? [00:55:12] Speaker B: I'm just hanging about here. Okay. [00:55:14] Speaker C: Just hanging out. I'm just gonna be watching from the actual scene. [00:55:20] Speaker B: Yeah. Peanut gallery and firsthand podcasting. Yeah. [00:55:24] Speaker C: See if he can throw a pencil into Bruce's beard. [00:55:28] Speaker B: No. God, don't encourage you. [00:55:31] Speaker C: Oh, he's got a pens over there. [00:55:33] Speaker B: Yeah. [00:55:34] Speaker C: No, sorry. [00:55:36] Speaker D: Or like a camera lens or something. [00:55:40] Speaker C: No crust from a piece of toast. [00:55:42] Speaker A: All right, let's move on to Bruce's big lens. [00:55:46] Speaker C: Yeah, hang on. I got to get my graphics sound sorted for Bruce's big lens while. While Bruce finds his big lens. [00:55:54] Speaker B: All right, I'll find a little one. [00:55:56] Speaker C: Why didn't. Oh, there is. [00:55:58] Speaker A: Carrick wants me to have a Snickers. I don't know what that's about. [00:56:02] Speaker B: It's not a pancake, but it'll do, right? [00:56:04] Speaker D: It was. It's an old ad, Greg. They had. Have a. Sneakers. [00:56:10] Speaker C: Yeah. [00:56:11] Speaker A: People are raging out. You're saying I'm reaching out? [00:56:13] Speaker D: I think so. [00:56:15] Speaker C: That one. [00:56:16] Speaker A: I'd like to have words with you, sir. [00:56:19] Speaker C: All right. [00:56:19] Speaker A: I must have hit a stage in life because everything is me. [00:56:23] Speaker B: Here's my small lens. [00:56:25] Speaker A: Oh, my God. [00:56:27] Speaker B: And it's. [00:56:32] Speaker C: Hang on. [00:56:33] Speaker B: It's almost bigger than my bloody head. [00:56:35] Speaker C: Look at the size of that thing. [00:56:37] Speaker B: Yeah. [00:56:38] Speaker C: What. What is that? [00:56:39] Speaker B: That's a pancake, guys. It's a 600 F4. Like a really old Nikon one, like from the Olympics. No stabilization or autofocus or. Or anything in it. [00:56:53] Speaker A: No Ibis? [00:56:55] Speaker B: No. I would say definitely not going to help Matt at all. [00:57:01] Speaker D: So it's not a Z mount then? [00:57:03] Speaker B: No, no, no. Anyway, this is the one you want to talk about. [00:57:08] Speaker C: Yeah. Which is what? Tell us. Tell us about it. Why did you buy that in the first place? [00:57:14] Speaker B: Let me remember. I bought it because I sold my go back. I was a Canon user. Canon didn't catch up to what I needed at the time, so I ended up on Sony because. And. But I used Canon glass forever. Just adapted and then I slowly transitioned off and I sold my 70 to 200F 2.8 Canon at BFOP actually a couple of years ago. And I went, I don't need that focal range. And then because I was always using the 24 to 105 and things for video and things. And then I went, if I get the 100 to 400, then I get the extra length. I don't need to be an F 2.8. And I can use. I'll have that like range the 24 to 400, basically between the two lenses. And that's the reason why I got it. And when I went to New Zealand two years ago. Yeah, two years ago with Canson Infinity and KL Australia, I took this like the 24 led to 24105 and like a little Lumix or something I borrowed off somebody as a little point and shoot and my phone, obviously. And this thing was awesome because the thing I was going to say the reason why I liked it is I'm not a landscape photographer is the distances in New Zealand are huge. And this made it so I could actually compress that landscape pretty significantly. And one pull abstracts out because I like doing that, obviously. But also when you're across the valley and the remarkables are one one end and you're at the other end, you can actually get all that information and you don't have all this stuff at the front. I suppose I just didn't like the idea of shooting with a wide angle or even a semi normal range, like a 50 because there's too much foreground. I want it, I want all that. So if you look at the images I put in, like, I'll bring it up. [00:59:22] Speaker A: Yeah, we'll bring them up. [00:59:26] Speaker C: How much before we bring him up? While I'm bringing him up. How much shooting would you say you did on this versus other, other lenses while you're in New Zealand? [00:59:35] Speaker B: Wish I had my other computer open. Just I think, I think, I think I did about 70, 70, 80 on this. And I. Even outside, like, even like. Because I was in a, like in a car or in a bus and I was shooting out the window with this. [00:59:51] Speaker C: Yeah, okay. [00:59:53] Speaker B: Yeah. So there's a little bit of bits and pieces like these are. I. I haven't looked at this stuff since I edited it while I was in New Zealand two years ago. So I sort of just grabbed those. I didn't really go. I did have a look at how many images I shot was like 9,000. But I wasn't going to go back and edit stuff because I didn't have time. [01:00:13] Speaker C: We'll play a little game while we go through these. We'll play a game called guess the focal length. Anyone want to guess on this marvelous duck? Because I can see it. [01:00:23] Speaker B: 400. [01:00:24] Speaker D: Yeah, I was gonna say great. [01:00:26] Speaker C: Greg wins. [01:00:29] Speaker B: All right. No, I showed everything down, like South Island. I didn't go North Island. This is all like Queenstown and Twasal area and all through that space. [01:00:40] Speaker C: And this was in March based on the metadata, assuming the camera was accurate. Yep. Okay. Any guesses on this one? [01:00:49] Speaker A: 200. [01:00:50] Speaker D: 300. [01:00:52] Speaker C: Wrong. Wrong. [01:00:53] Speaker B: 400. [01:00:54] Speaker C: Yes. [01:00:57] Speaker D: Is everything at 400? [01:00:59] Speaker B: Yeah. [01:00:59] Speaker A: Let's just get it out of the way. [01:01:00] Speaker C: I don't know if it is so far. Yes. This one is also 400. [01:01:05] Speaker D: Maybe you just searched via 400 mil focal length. [01:01:10] Speaker C: Look at that. [01:01:11] Speaker B: I like the little Easter egg at the top. Yeah. [01:01:13] Speaker C: Yeah. That's cool. [01:01:14] Speaker A: What is that? [01:01:16] Speaker B: Somewhere. Alex, what is that? [01:01:18] Speaker A: What is that in the top? I didn't see what was in the top corner. [01:01:20] Speaker B: It's a little bench seat. [01:01:21] Speaker C: A bench. Did you sit on that bench seat? [01:01:24] Speaker B: No, no. [01:01:26] Speaker C: Too far away. Rick Nelson. Rick Nelson says 378 millimeters. No, that one was 400. Let's try Rick. That was close. Yeah. [01:01:37] Speaker A: No prize. We were going to give you a strap away too, but you just missed out. [01:01:41] Speaker B: Yeah, yeah. [01:01:44] Speaker A: 200. [01:01:45] Speaker B: No. [01:01:46] Speaker C: Oh, no. [01:01:47] Speaker B: Other side of the bloody island. If you go to that bottom. Third bottom, right hand side. Yeah. The car drives the road. Oh, wow. [01:02:02] Speaker C: Yeah. [01:02:03] Speaker A: Did you take that from the plane? [01:02:06] Speaker C: That one is. That one's 288. [01:02:09] Speaker A: That was close. [01:02:10] Speaker C: So he's getting. He was starting to stretch his legs out a bit. Just experiment. [01:02:14] Speaker B: I got it stuck on 400. Did I? [01:02:18] Speaker C: Did I have a lock switch? [01:02:20] Speaker B: Yeah. [01:02:20] Speaker C: Very nice. It's so cool how you can see like all the roads just. Yeah. [01:02:28] Speaker B: That's the thing about New Zealand. Like, obviously I've been everywhere but the forest or the bush or whatever you want to call it is so totally different over there. And like when you get into the altitude areas, there isn't like here. You sort of go like bush, bush, bush. And then boom, you've got rock, they've got a grass sort of thing going on. And they don't have those like really big changes. It sort of melds into that and I found it fascinating. [01:02:58] Speaker C: This one was only 156mil. You must have tripped over or something. [01:03:04] Speaker B: I'm always. It's composition, mate. [01:03:06] Speaker C: Position. That's beautiful. [01:03:09] Speaker B: Light. Yeah. [01:03:10] Speaker D: It looks like lava. [01:03:12] Speaker C: It does look like lava. [01:03:14] Speaker D: It's cool. [01:03:15] Speaker C: Yeah. Crazy. Any guesses on this one? No. [01:03:21] Speaker A: I give it 100. [01:03:23] Speaker C: 154. [01:03:26] Speaker B: There you go. I do like my square crops, but. [01:03:31] Speaker A: I do love the square crop. I think that's really cool. [01:03:35] Speaker C: I'm interested in it. Was there a river down here or something? [01:03:39] Speaker B: Probably, yeah. [01:03:42] Speaker C: Oh, there's a. There's a town. There's a something that's probably. I want to know. [01:03:47] Speaker B: It's probably Queenstown. [01:03:50] Speaker C: Wow, that's beautiful. Cool. [01:03:54] Speaker B: Yeah. [01:03:54] Speaker C: Okay. I'm getting a little convinced. Although I'm wondering if I could get away with Grant 70 to 200F4. [01:04:02] Speaker B: All right. Maybe. [01:04:04] Speaker A: Well, yeah, of course. Of course you can. But as Bruce said, it depends on how much you're actually prepared to travel the distance to close that gap between you and, say, a mountain range or an interesting peak or probably not this one. [01:04:18] Speaker B: I don't know how much you want to crop it. [01:04:20] Speaker C: Yeah, that's right. It's probably more that. And I'm not much of a cropper. I'm. I sort of. If I can't see it, I probably didn't think about it. So I don't. I don't end up going there later usually. [01:04:34] Speaker B: Yeah. [01:04:34] Speaker C: So that one's 324mil. Very cool, very moody. Oh, abstract. I like it. I can't even get a. Like, I can't figure out what's happening there. [01:04:49] Speaker A: Two flanks of a mountain, one closer, one further. [01:04:52] Speaker B: Yeah, pretty much. So that. That's the other thing. Like, this is not a. This is a pretty slow lens reality. It is a G master. What is it? I think it's 4.5 to 5.6 or something. [01:05:06] Speaker C: That's pretty good or something like that. [01:05:09] Speaker D: It's pretty slow, though. [01:05:10] Speaker B: It's pretty slow. But when you're doing. Doing this stuff. Oh, here we go. 4.5, 5.6. Yeah. When you're doing this sort of stuff, it doesn't matter because you're so far away. It's going to compress anyway. [01:05:22] Speaker C: Yeah, yeah, yeah. The Canon's 4.5 to 7.1. It drops to that in that 500. I think it's probably still worse at 400. It doesn't. It doesn't sit at 5.6. At 400, I think it's like maybe goes up. It loses another third of a stop, but it's not bad. Rick Nelson says 175 mil. It is 400. Good guess, though. [01:05:48] Speaker B: You got three. 103. [01:05:51] Speaker A: Oh, I like that. [01:05:52] Speaker C: Yeah, it's cool. [01:05:54] Speaker A: Yeah, that's beautifully framed. [01:06:01] Speaker C: Comment from Nev Clark. I was dreading this show, and the reason I'm dreading the show is now I have to buy a 500 millimeter lens. I'm sending it. [01:06:09] Speaker A: Yes, you do. [01:06:10] Speaker B: And send me the commission. [01:06:12] Speaker C: Send me the commission. It sucks for a gfx, too. I don't know what that thing's worth. I'm sure it's not cheap, that 500. [01:06:18] Speaker A: I tested that lens. It's slow, but it's. It's pretty sharp, especially if you've got IBIs, obviously. [01:06:27] Speaker B: I reckon that is 200. [01:06:32] Speaker C: Anyone else? Any other bids? [01:06:34] Speaker D: Seriously, what lens are you using again? [01:06:38] Speaker B: 100 to 400. [01:06:43] Speaker D: I think 150. [01:06:45] Speaker B: Okay. [01:06:46] Speaker C: Oh, even 100. Ding, ding, ding. Greg's a winner. It is. 100 is racked all the way out to 100. It was actually at f13. 1 400th of a second at ISO 400. [01:06:59] Speaker B: There you go. This is all shot on the A7R 2. 3. [01:07:04] Speaker C: Rick was onto it with a couple of guesses. Nev one hundred and forty. Jim's portrait says the canvas on the easel chooses its own focal length. [01:07:13] Speaker B: Oh, my God. [01:07:18] Speaker C: Road is in focus. 140. Yeah. 100. [01:07:22] Speaker B: 100. [01:07:23] Speaker C: All right. What else we got in this? Beautiful. [01:07:26] Speaker B: I shot that out of a car as we're driving. Nice. [01:07:31] Speaker D: Very cool. [01:07:33] Speaker C: Yeah. [01:07:34] Speaker B: Oh, my brother was driving because I'm. [01:07:36] Speaker A: Gonna say 200 then. [01:07:40] Speaker C: Anyone else? Jim? [01:07:44] Speaker B: I'm gonna go 100. [01:07:46] Speaker D: I'll go 150. [01:07:49] Speaker C: 171. I think that puts Jim technically the winner. [01:07:53] Speaker B: Yeah. [01:07:54] Speaker A: Said 200. [01:07:56] Speaker C: 171'S closer to 150 than 200. I don't know. [01:08:00] Speaker D: 21 millimeters away from what I said. [01:08:02] Speaker C: Whatever. [01:08:05] Speaker D: Not 29. [01:08:07] Speaker C: Oh, that's cool. [01:08:08] Speaker B: Yeah. Okay. That won't be with the 100 to 400. I remember that one. [01:08:15] Speaker C: It is not. [01:08:17] Speaker B: No. I definitely did not take that out and hang it out of an aircraft. [01:08:22] Speaker C: Oh, yeah, that's a. That's a 105 mils at F4. So technically, it could have been shot on that lens at f 4.5. Like it could. A very similar shot could have been done. [01:08:32] Speaker B: It could have been. [01:08:33] Speaker C: Yeah. Technically. [01:08:39] Speaker B: That'S also the same lens, so. [01:08:41] Speaker C: Same lens. [01:08:42] Speaker B: 105. [01:08:43] Speaker D: Yeah, 105. [01:08:46] Speaker B: Oh, I reckon. [01:08:47] Speaker C: Yeah. At 105. The other one was at 105 as well. Yeah. [01:08:52] Speaker B: So, yeah, we hired a fixed wing. [01:08:58] Speaker C: Was that worth. [01:09:00] Speaker B: Was. It was awesome because you. I think we had an hour, and we went up around Mount Cook and back, and we could tell him where to go and stuff. So it was awesome. [01:09:09] Speaker C: Oh, you had a pilot, too? I was gonna say, are they hard to fly or. [01:09:14] Speaker B: Well, it was funny because, like, everywhere in New Zealand's got helicopters. [01:09:19] Speaker C: Yes. [01:09:20] Speaker B: But the helicopter was way more expensive than a fixed wing, so went with that. Even though they're a lot rarer, so. [01:09:26] Speaker C: Yeah. Okay. Interesting. Yeah. Well, that one was it. That one was at 80, so. No, Rick, you're wrong. That one said. I don't know, I don't know. The chat could be delayed. I don't know what's happening. Rick says he loves the 24 to 105 lens. I'm gonna sell mine. My can. My Canon one. It's going. See ya. [01:09:49] Speaker B: I use it all the time for video work and when I'm doing headshots and stuff because it's just good standard crunchy lens that does the work. [01:09:58] Speaker C: I like the. My new 28-70F 2.8. I like it. [01:10:02] Speaker B: Yeah, it's fair. [01:10:03] Speaker C: Yeah, it's. I've side by side. The 2870's got better image quality and is lighter and is more useful in low light for me. Yeah, I do like having that focus. Oh, that's cool. [01:10:17] Speaker B: That one's got some sharpening issues in it. I can see that. The helicopters have got a halo around it. That's a bad me. Bad me. [01:10:27] Speaker C: Bad you. Well, wait, I edited later. Quick and dirty. Yeah. [01:10:36] Speaker B: Yeah. Well, the only thing I took like editing wise was an iPad. [01:10:44] Speaker C: Any other guesses on the focal lengths? Greg Carrick's guess is iPhone. IPhone. [01:10:49] Speaker D: That was on the previous photo. [01:10:51] Speaker C: Oh, was it okay? [01:10:52] Speaker D: I think, yeah. A photo or two earlier. [01:10:54] Speaker C: Yeah, right, right, right, right. [01:10:56] Speaker B: Yeah. [01:10:57] Speaker C: Any guesses on this focal length, people? Because this is. We are back to the 100 to 400 now. [01:11:02] Speaker D: I'm gonna go back with Rick Nelson and say 400. [01:11:05] Speaker C: 250. 400 LOL. 250 for Greg. [01:11:10] Speaker B: I'm gonna go 200. [01:11:12] Speaker C: Interesting. [01:11:13] Speaker A: Because he had to zoom out to keep the helicopter in shot. [01:11:16] Speaker C: ERNESTO Creative says 405. That'd be tricky. [01:11:22] Speaker B: The five is this. [01:11:24] Speaker C: Yeah, yeah. Lean forward or crop it a little bit in post. Rodney Nicholson says 100 and he is a winner. And that is why he is a five decade master of photography, because he is 100. 100 millimeters. [01:11:43] Speaker A: Nice. [01:11:43] Speaker C: Well done, Rodney. Sorry, Tim. No good. [01:11:46] Speaker B: Yeah, I should have looked at these before I gave them to you. [01:11:49] Speaker C: No, this is fun. This is great. [01:11:51] Speaker A: It's really good. [01:11:52] Speaker C: It's a good segment. [01:11:53] Speaker A: So Justin, tell me this. Is this starting to. Is this making your wallet itch? [01:11:59] Speaker B: It. [01:12:00] Speaker A: Is that something you need a cream for? You know, is it. Are you getting inspired to maybe pick up a long lens? [01:12:07] Speaker C: I am, but I actually think for. Let me get. Let me bring these down off the. Off the thingy. Make me bigger. There we go. No, not that one. That one. I think for this trip with how quickly it's coming up, if I can convince Grant, even though I do have a 70 to 202.8 for the weight of it. I don't think it's worth taking with that sort of limited focal length. But if I can get Grant 7200F4, I think it would satisfy me at 200mil. I think I'll get a lot of creative landscape shots with a bit of compression. Not as cool as 400. The other option is Canon has a 100 to 400 cheapo lens that it is actually quite reasonable in terms of its image quality. But long term, I think I want the 100 to 500, but I think I need a more compelling, potentially financial reason to purchase it. Like, I need a job coming up where I'm like, man, that would be really handy on that job. [01:13:10] Speaker D: But you always say if you're going to buy something, the sooner you buy it, the better value it is. So if you bought it before this trip, it's better value. [01:13:20] Speaker A: And then you can come back from New Zealand and decide, I'm gonna hate it when you kite surfing photographer or. Or, yeah, you know, you might get into something that you need it. [01:13:31] Speaker C: I hate it when you use my. [01:13:32] Speaker A: Genius against me to reawaken your style photography. [01:13:37] Speaker B: You could sit next to the Esky and photograph Those motorbikes or BMXs or whatever else without getting off your ass. It would be amazing. [01:13:45] Speaker C: Yeah, whatever it is you do. [01:13:47] Speaker B: Whatever you do. [01:13:48] Speaker C: And I got a message from Grant. [01:13:50] Speaker B: That's right. Nick does the motorbikes. Nick does the real bikes. You do the push bikes. That's correct, isn't it? Yeah. [01:13:56] Speaker A: Nick does push bikes too. Rick Nelson says, buy the lens, then create the job. [01:14:01] Speaker C: See, I like that. [01:14:02] Speaker B: Build it and they will come. [01:14:04] Speaker C: If Matt Crummins was listening to this episode. No. Was it Matt? I can't remember who it was. Actually. It wasn't him. Someone was. Someone talks about how it's like justifying buying gear for, like, I've got this job coming up or whatever is such a terrible, terrible, like, way to run a business, you know, I don't think Canon would lend me one for that long. They usually try and keep that if you loan one for a little bit less. Unless you've got a really good, you know, like, I'm not going over there to shoot some cool project or something that. No, I'd have to try and make something up. They would probably lend me one for a week or two, but not three weeks. The other thing is renting one. Financially, I would be better off buying it if I was gonna buy that money. Yeah, buy it, Keep it for as long as I want and then sell it and probably come away with whatever it would cost to rent one for three weeks. Probably even less. It's renting. Renting for that long. If it was a one day shoot. Yeah, rent it. But three weeks, it's going to cost a bit. [01:15:06] Speaker B: Buy it, use it and keep. Look after it and sell it at BFOP if you don't like it anymore. [01:15:13] Speaker C: That's a good idea. I could have a booth there just selling my gear. [01:15:16] Speaker B: People have done it. I've sold heaps of stuff at befop. [01:15:20] Speaker C: That's a great. [01:15:21] Speaker D: So when, when does it arrive? [01:15:23] Speaker C: Yeah, look, next week's show literally got. I've got a Canon printer. It's in transit right now. I've got a printer coming which it's Bruce's fault of the printer. Oh cool. He's the one that pushed me over the edge on that and yet you. [01:15:41] Speaker A: Invited him back on the show. Like I don't. [01:15:43] Speaker C: I know, I don't understand. [01:15:44] Speaker B: I really need to get affiliate links sorted. [01:15:48] Speaker C: I wouldn't click on them. I'll just type the URL in just. Just to diss you. Hang on. Rick Nelson wants to get a live unboxing of what? Rick the printer. Oh that'd be. I could just live stream it. I wonder if anyone would watch me just. Just fighting with a printer box and then trying to get it set up. I hate setting up printers. Yeah, I don't know. I'm. I am. I'm not swayed enough to buy it yet but I. My mind is open because I hadn't thought about. Last time I was in New Zealand I shot a lot on the 28. All my landscapes are on 28 which was fun but it is challenging. [01:16:29] Speaker B: Just get the 200. The F4 will be fine. And as you said white is. White is actually a premium. [01:16:35] Speaker A: So is there an RF teleconverter like a magnificent. I can't speak. You know what I mean? Like a 1.4 or 2 times. [01:16:44] Speaker C: Yeah, I don't like. I've had tallies in the past before teleconverters. I've never really enjoyed the image quality or the you. The they. They make the lens feel really front heavy to carry around and use and the image quality does suffer a little bit and changing them out is like a double pain to change lenses is double handling everything. So the last time I used it was for like desert racing when I did shoot big boy grown up bikes. Nick. I don't even know if Nick Fletcher was a photographer then But I was shooting desert racing and I did. I found it painful to use with it because I sort of got a. I think I got a 1.4 tally converter and the 7200. The older 7200 Canon EF. [01:17:26] Speaker B: Yeah. [01:17:27] Speaker C: Actually it might have even been a 22 bike teleconverter. And yeah, I thought I was on. [01:17:32] Speaker A: Them do don't you lose a stop. [01:17:34] Speaker C: You lose a stop. [01:17:35] Speaker B: Yeah. [01:17:36] Speaker C: So I thought I was ending up with a 1140 to whatever, you know 140 to 400 F4. Does that work? 5.6 F5 6 would have been. I can't remember. Yeah. Anyway, whatever it was I was like oh yeah, that's perfect. Like that gives me the best of both Worlds and I can 7200 and I can do this and it in reality it wasn't great. [01:18:01] Speaker A: I love this comment. You can also use that lens, that new lens with the IR camera when you get your R3 converted. [01:18:09] Speaker C: Yeah. [01:18:10] Speaker A: See it's all falling into place, boss. [01:18:13] Speaker D: Do your R5. [01:18:14] Speaker C: What are you trying to do to me? I do like that idea though. Would be cool to shoot some infrared with a long lens. [01:18:22] Speaker A: Here's a comment from Logan. [01:18:28] Speaker C: So from the other end of the spectrum, Logan says, I own the Sony 200 to 600 and I use it about as often as I use my 2024 millimeter Lauer probe lens, which isn't very often. [01:18:41] Speaker B: You can give me the Lauer probe lens because those things are fun. I've used them. [01:18:46] Speaker A: They're good for video, aren't they? [01:18:47] Speaker B: I've used them for stills. I've done a lot of abstract portraiture with it as well. Yeah. [01:18:53] Speaker C: Really? [01:18:54] Speaker B: Yeah, they're awesome. They're really cool. My Lauer is 100 mil though. That's. I got a cine macro. [01:19:03] Speaker C: Oh, that's fancy. [01:19:04] Speaker A: I got to test that, that 24 millimeter probe when it was in pre production. That's such a cool lens. So clever. It's got LEDs on the end of it and good for macro where they're. [01:19:19] Speaker B: An ultra wide macro. So. And because they've got the snorkel on it, you can put them in like all those fancy shots. You see product shots are coming through beans and things like that. That's. That's where people have used them a lot of. Yeah, yeah. [01:19:33] Speaker A: You see them set up like on a rail and they just push it through something. [01:19:38] Speaker C: Anyway, I see what's happening here. It's not going to happen. Like I'm not buying a Probe lens. That's a nice try, all of you. I'm sticking with Logan, but yeah, well, in. [01:19:51] Speaker B: In. [01:19:52] Speaker C: So Sony 200 to 600, that's where I do think it would become something I very rarely use. Whereas 100, you know, like Bruce was saying, I could potentially do away with my 70 to 202.8 and. And use. Go to the 100 to 500 for some stuff. Not all stuff. [01:20:14] Speaker B: The only thing I would say the other thing you're probably not thinking about and it may. Probably doesn't work with your workflow at the minute, but if you had. If you're doing video work on sticks and you wanted to track somebody. Yeah. It doesn't have a servo or anything on it, but if you want to track somebody on a bike going around a course, you could use that quite effectively to do that. [01:20:38] Speaker C: Use what to do that? [01:20:40] Speaker B: The 100 to 500. [01:20:42] Speaker C: Ah, yes. Yeah, yeah, for sure. It definitely gives you. The thing is, with most of the sports stuff that I'm doing at the moment, my access isn't limited, so reach isn't an issue. It's usually like, you know, I'm getting in close, which can. Can create compelling images. But yeah, as soon as you're limited by a little, A little bit of distance and then also, yeah, if you want to track someone through a long section, having that reach would be super beneficial. So. Yeah, I don't know. [01:21:16] Speaker B: All right, so next week we'll be seeing the. [01:21:21] Speaker A: Yeah, we'll see a probe and a 100 to 500. [01:21:25] Speaker C: Well, there's a lot of talk about the probe. Logan says buy my probe. Greg Carrick says buy the probe lens and rent it out to others. Tim Siama says, what's the going rate for a probe lens? Sounds intrusive. Greg says it's alien tech. Yeah. Is there any other shots besides laying under them going over you? There is other shots. I don't know what. Huh. [01:21:50] Speaker A: Is it about the bikes? [01:21:51] Speaker C: I have no idea. Maybe the bikes. I don't know. [01:21:57] Speaker B: I like this one. [01:21:58] Speaker C: Yeah. [01:21:59] Speaker A: Pro 100, 500 and Preacher unboxing next week. [01:22:03] Speaker C: So I thought about it, guys. I bought all of it. No, I don't know. I'll think about it. I really think especially for being able to cruise around lightweight, the 70 to the 70 to 200 might be the answer for New Zealand. Although we are in a. We are in a camper, so I actually don't need it to be lightweight. We're gonna be driving. It's actually kind of perfect to have a 100 to 500. Just point it out the window. What are you doing? [01:22:29] Speaker A: You keep changing the playing field. [01:22:31] Speaker C: I don't know. [01:22:33] Speaker D: Why are you taking 7200? [01:22:34] Speaker C: Oh, here we go. Here's a question none of us, except for potentially Bruce can answer. Logan says side note, do you guys have a recommendation on a solid lightweight video head? [01:22:45] Speaker B: Oh, I haven't bought a video head in a long time. [01:22:48] Speaker C: Do you buy. [01:22:49] Speaker B: You buy once and you, you use it for decades. Like you devise something good. Like I'm a fan of Miller Australian made stuff. They do some really good stuff if you've got the money. Satchel is awesome as well. I think the thing with that is that there's no such thing as really a lightweight video system because you want. You need the weight and to. To be able to keep your camera stable. It depends on how big a camera you're running. So as well. So if you're only using a little like Alpha body or whatever, something like that. Yeah. I'm not a fan of the man Proto stuff. I've got Man Proto stuff. [01:23:27] Speaker C: Does anyone want to buy this? [01:23:28] Speaker B: Was it 202 HD or something? Is it. [01:23:31] Speaker C: It's a 701 HDV. [01:23:34] Speaker B: Yeah. Yeah. [01:23:35] Speaker C: I bought it when I bought my Canon 60D. [01:23:40] Speaker B: Yeah. [01:23:40] Speaker C: And it still looks almost brand new. So if anyone wants a almost not used video head. That's not. It's not lightweight at all but it works. [01:23:49] Speaker B: I've got one of those 15 years old. I got I think the slightly bigger one of those on my slider and I've got. I've got the Monopod, the video monopod that manfrotto makes with the toes and stuff on it. [01:24:03] Speaker C: Oh, they look cool. I've never. [01:24:05] Speaker B: Yeah, it's not too bad. I've used it for a lot of stuff. I think there are better options out there these days. Ifootage do some really cool stuff I wouldn't mind looking at but yeah, just not like the Man Frodo systems. I don't know. Don't. Don't work as well as I want them to. [01:24:22] Speaker C: I. I hate that they're not Arca Swiss but anyway that pisses me off as well. [01:24:26] Speaker B: But once you get into the top end stuff as well, they're all different like the dovetails and that. The RE stuff, it just. Yeah, every. Everything's bloody different and costs a fortune proprietary. [01:24:39] Speaker C: Rick. Rick Nelson says Leo photo makes some decent ones. So try that Logan. Rick knows what he knows. What's up? [01:24:46] Speaker B: Go into a camera store and just take your Rigging and plonk them onto it. Go, go into, say, K Australia if you're in Melbourne or Sydney and, and just get to look at them or drag an image or wherever, because that's the only way you're going to find something that's going to work for you. But the catch is with a video head, if you're doing proper video work, you want it to be fluid, you want it to counterbalance properly, you want to be able to slide the plate back and forth so you can actually balance your. Your rig on top of it. Because that's the problem with Arca, Swiss or anything like. Generally it's like you put it there and that's. You can't. You can't move it back and forth, like. Or anything like that. Yeah, that's, that's, that is an advantage of that. Although the, the locks fall off, it's unfortunately. [01:25:26] Speaker A: How much. Hang on a sec. Just quick question. How much is the 100 to 500 you want, Justin? [01:25:30] Speaker C: Ballpark retail's about four grand. But. [01:25:35] Speaker A: So, Logan, if you're looking for a new video here, Justin is selling one, coincidentally, for about four grand. [01:25:41] Speaker C: I'll do it for three and a half. [01:25:43] Speaker D: This is about the same price as a trip to Japan. [01:25:45] Speaker C: Greg, this, this video head is made in Italy. There is no way they still make these in Italy, surely. [01:25:51] Speaker B: No, There is one good thing about Manfrotto, actually. Manfrotto spare parts. Have you ever had to get a manfrotto spare part? [01:25:59] Speaker C: No. [01:25:59] Speaker B: They have a website with every item they make on there, with every, every single component listed. And you can break it down and go, I need that thing. And you can pay for it and it'll send it to you. Might take a few weeks and you'll have that spare part. It's. [01:26:16] Speaker A: That must cost them a lot for warehousing. [01:26:19] Speaker B: I have no idea how they do it. Really, really cool. [01:26:22] Speaker C: Yeah, that's super good on them. Well, we'll clip that out and provide some manfrotto love out on the interwebs. Remove this. [01:26:31] Speaker B: Maybe that's why I say don't like it. [01:26:33] Speaker C: Yeah, yeah. All right. I don't want to keep you too long, Bruce. I know we've probably kept it too long already, but we've got literally almost half the show still to go in our segments down here. We'll fly through them. Let's go to the. Let's go to the next one. This one I call what Else in New Zealand? Secret on Secret Squirrel Talk. What Else in New Zealand? What I wanted to know One is, you're going to New Zealand soon. I wanted to talk about that and just see what you got going on over there. And then two, I was going to say, you got any recommendations for places I should go in New Zealand, maybe with a photography spin on it. [01:27:20] Speaker B: I've only been there for a bit over a week, so I don't. And south island, as I said, I didn't go to Milford Sound or anything like that, so I can't really talk to that. If you're going to Queenstown, there's lots of. Lots and lots of things there to go and see. Just make sure you've got a decent car that would. Oh, you're in a camper, aren't you? [01:27:41] Speaker C: Yeah, we are. We're gonna just. We're gonna like a juicy. No, it's not a juicy. That's. I have done that. I have done that in the past. Yeah, I think so. We're a pretty cool big camper. [01:27:56] Speaker B: All right. Skipper's Canyon is where some of that photography you saw came from. That's really. That's like that, you know, really windy, like, you know, hills like this, you're. You feel like you're in the Andes and stuff. It's got some really cool stuff there. But I'm not sure if you'd be able to do it or if you're allowed to do it with a vehicle like. [01:28:17] Speaker A: No, we went on the bus. [01:28:19] Speaker C: Oh, perfect. We'll be fine. [01:28:20] Speaker B: We had a little mini bus, so you must be able to do it. But yeah, you got to be careful. Okay. [01:28:24] Speaker C: Skippers Canyon. Noted. [01:28:25] Speaker B: Yeah, so that. That's pretty cool. Go do stuff at dawn and dusk up and up in the mountains like. [01:28:34] Speaker C: Y. [01:28:36] Speaker B: I actually didn't mind the touristy bits of Queenstown for street photography. Early in the morning I did that. I actually really enjoyed that. There's some really interesting little nooks and crannies through there. Twysel is a darks. Dark sky area which is sort of middle of the island. So it's a quite little town up there. But if you want to do any astro up in that space. And that's also where the airfield is, which we went out and flew around Mount Cook and stuff. There's fjords and stuff around. Just be really careful because once you get too far off the beaten track, you. You that they go. You can't go any further sort of thing like with certain vehicles. So. Yeah, but I. I think it's. There's lots of really long, like flat areas with mountains beside the farmlands. Are like super flat and then the mountains come up to the side. Just take your time. It's really cool. [01:29:42] Speaker C: Yeah, yeah. [01:29:44] Speaker B: So I'm. Yeah, so I've only done sort of half the island. I haven't done the top part of the south island. [01:29:53] Speaker C: Yeah, yeah, that's. That's part. I'm sort of familiar with the middle down to Queenstown, having gone south of Queenstown, haven't gone north of Christchurch and haven't ever done the west coast at all. So it's. I haven't done most of it and that's what we're hoping to explore a little bit this time. [01:30:10] Speaker B: I've been told like the west coast, because I didn't go right to the west coast is more like Tasmania and I think that's the reason why we didn't go. But it can't be because it's got bloody mountains that are huge. [01:30:21] Speaker C: Yeah, yeah, exactly. The mountains along that coast are massive and rugged. So yeah, I'm pretty keen to. To maybe kind of do a full lap, but we'll have to obviously skip sections because, you know, two and a bit weeks isn't enough time to, to really look at it all. But. [01:30:35] Speaker B: Yeah, yeah, but yeah, the reason I'm going over for the New Zealand photo show and Iris Awards, which is in a few weeks time, beginning of August. So I'm presenting some workshops there and judging, if you're in New Zealand, should come along. It'd be awesome to see. [01:30:55] Speaker C: What, what categories are you judging? Do you know? [01:30:57] Speaker B: I don't know, I haven't been told. So I've just been invited as a judge. So they'll put me in whatever categories they deem fit more likely like they. A lot of people know that I do portrait, commercial, that sort of work and the arty stuff don't tend to do family stuff or weddings because. Not my genre, but I can talk to anything really technically. But it's. Yeah, it's just more like I. I've done like newborn stuff and I'm like, I haven't seen this before. And every. Every other photographer on the pen, I was like, we've seen this a thousand times. [01:31:35] Speaker C: And you're like, this is amazing. [01:31:38] Speaker A: Well, you mean someone else has put a baby in a flower pot? [01:31:42] Speaker D: They've wrapped them up like a teapot. [01:31:45] Speaker B: Sometimes that's what they want. They want the fresh perspective of somebody that hasn't seen everything, which is really cool as well. Yeah. So that's part of the New Zealand Institute of Professional Photography, nzipp. So that's their annual big shindig and judging and everything, so I'm looking forward to getting invited. A privilege. It's my first international like thing for photography in this respect, so. [01:32:12] Speaker A: Yeah, that's cool. Congratulations, man. [01:32:15] Speaker C: That's very cool. [01:32:16] Speaker A: Well deserved. [01:32:17] Speaker B: Do you think Justin can replace you if you weren't going to New Zealand? Replace me? EBONY wants to know if you would replace me, Justin, if I. I don't. If I don't go to New Zealand. It's a job application. [01:32:31] Speaker C: I need him to stay here. [01:32:33] Speaker B: She doesn't want me to go. No, Bruce is. [01:32:36] Speaker C: He's not replaceable. He is not replaceable. He must stay. [01:32:42] Speaker B: Oh, I know. [01:32:43] Speaker C: Offering me to the cat this morning. [01:32:46] Speaker B: Yeah, I was gonna feed you to the cat anyway. [01:32:50] Speaker C: Big cat. [01:32:50] Speaker B: Welcome to my life. [01:32:52] Speaker C: Yeah. Okay. Awesome. Well, that's exciting. Shall we very quickly go on to our final segment? [01:33:04] Speaker A: In our final segment, just before we do, though, if anyone in the chat has done any photography in New Zealand or has heard of any good spots or locations, drop them in the comments because we'll cover them off next week. And. And Justin doesn't have a day job at the moment, so he just spends all day reading our comments pretty much. So, you know. [01:33:22] Speaker B: So it's just you reading Nick Fletcher's comments, basically, and. [01:33:26] Speaker D: And Nick Fletcher's burner accounts. [01:33:28] Speaker C: Yeah, yeah. And now burner accounts of people that have made gym, photography or painting accounts. Greg Carrick asked, will I mainly do landscapes or seascapes as well? I honestly don't know. Great. I'm going over there. I would like to come up with a bit of a project or something, either before or while I'm over there, purely for just. I've never done that before, you know, like a intentional project beforehand. I've done. I've tried to do stuff afterwards, but not before. So I'm trying to think of something like that, but I'm not really. I'm not too stressed yet. I just don't know what. Don't know what I'm doing. Trying to figure out. [01:34:05] Speaker A: So jump in the chat, folks, and give Justin a hand. [01:34:09] Speaker C: All right, so the next segment. The final segment before we let. [01:34:13] Speaker A: Can't believe we got the final segment. [01:34:18] Speaker C: It's called your images. It's new. What we want. Want to do is trying to get you guys to email me justinuckystraps.com an image or two, whatever you want that you would like us to bring up on the show and make fun of. No, that's not actually what it's for. It's for us to look at it and go, cool. Just to see what everyone's doing. And so we got one this week from Gareth Davies legend. Hopefully he's listening still. He was here before, but. So we're going to bolster that with some photos that Jim and I have taken. And then Bruce is going to judge those photos. But first, let's look at the. Let's look at the actual image that we got. If I can pull it up, Gareth is still here. [01:34:59] Speaker A: Hey, mate. [01:35:00] Speaker C: Boom. And then I'll bring it up and I'll also read out what he included in the email. Can I do this? Feel like I have to do too much on this show. I need some help. Window. [01:35:16] Speaker D: This one taken. The control of everything. [01:35:20] Speaker B: Control freak. [01:35:21] Speaker C: Boom. There is our image stage cameraman. All right. [01:35:27] Speaker B: The lead camera. [01:35:29] Speaker C: So Gareth's photograph sports for just over 10 years. Some elite, most amateur. At the moment, I'm photographing quite a bit of mixed abilities rugby. Some of the players might be in their 50s, while others have varying disabilities. Joel, in the center of this photo, has down syndrome. I've only seen him play a couple of times. He loves being part of the team and is full of confidence. He loved the photo and the club presented him with a print. Later on that season, the team played at the Principality Stadium in Cardiff and he had an amazing day with the other players. This makes it one of my favorite rugby photos. Even if some of the other photos have been used to promote various tournaments and were probably better photos taken with a Fujifilm XH2S and the XF50 to 142.8 using Acros. The only editing I do is a bit of cropping. Nice. Straight out of camera. [01:36:27] Speaker A: That's a beautiful shot. [01:36:28] Speaker C: Yeah, it's got some soul. [01:36:31] Speaker A: It does. It has character and it's got. It's got warmth, you know, it's got meaning. I love it. [01:36:39] Speaker C: Yeah. Very good. And officially the first photo in the your photo segment. [01:36:46] Speaker B: Well done for being brave to actually send it in because it is from only Gareth. [01:36:50] Speaker A: And that's it. Look, it's a cracker of a shot. I think it's really important. It tells a really important story. [01:36:57] Speaker C: As Monica said. Tells a story. So thank you. And now onto much worse photos from me and Jim. So how are we gonna do this? So this is how we're gonna. We've got 10 images in a random order. I shot five, Jim shot five. How do you want to do it? Either way, one of us has to be the winner. Is it just one of Us, best photo. One of us has to be the winner. There can't be a tie. Bruce can't be like, well, you both get a participation. No. [01:37:29] Speaker D: Why doesn't images. And he gets to pick three. His three favorite. [01:37:35] Speaker B: Yeah, let's do that. Something like that. [01:37:37] Speaker A: I like that. [01:37:38] Speaker D: Then no matter what, even if he picks a mixture of both, one of us will win. [01:37:45] Speaker B: Okay. [01:37:45] Speaker C: Yeah. [01:37:46] Speaker B: You're gonna put the hard word on. [01:37:47] Speaker A: Justin doesn't like that because he. He needs it to be a competition. [01:37:50] Speaker C: You can tell it is a competition. No, it is a competition because out of three, there can't be any. There can't be any ties. That's perfect. That's perfect. [01:37:57] Speaker B: I like it. All right. [01:37:59] Speaker C: All right, I'm getting ready. [01:38:01] Speaker A: Let's go with the three. [01:38:02] Speaker C: Are you going to write something down? Well, while you're doing that, I'm going to bring up some place, a placeholder image. [01:38:08] Speaker B: Blank screen, please. [01:38:14] Speaker C: Hang on. I just need to check. There's no file names or anything showing. [01:38:18] Speaker D: We can't say file names. [01:38:20] Speaker C: You guys can't. [01:38:21] Speaker A: Well, I don't think you took that photo. [01:38:24] Speaker C: This is a placeholder. The first three. [01:38:25] Speaker A: Well, we're off to a flying start. I think it's obvious. [01:38:30] Speaker C: Just to set the scene just like this. This one's also just setting the scene. [01:38:37] Speaker A: I love that photo. [01:38:38] Speaker C: That's so funny. I really like that, too. I'm gonna post that on now. Instagram. [01:38:43] Speaker A: Those shoes, they're like clown shoes. Are they even yours? They're not yours, are they? [01:38:47] Speaker C: They're my work. [01:38:49] Speaker A: Really? [01:38:49] Speaker C: They look huge. [01:38:50] Speaker A: They look like clown shoes. [01:38:52] Speaker C: I'm a working man. [01:38:54] Speaker B: Still caps. [01:38:56] Speaker C: I mean, that's. Now that's too professional, that one. I'm gonna make this my profile picture. That's actually. [01:39:01] Speaker B: Just crop it so it's just your hands and feet. [01:39:05] Speaker C: Rodney Nicholson says puss in boots. [01:39:12] Speaker A: Oh, that's funny. [01:39:14] Speaker C: Okay. All right, onto the show. [01:39:17] Speaker D: So we're just going to wins. [01:39:18] Speaker C: We're just going to go through the images. Yeah, no, those three don't count because I didn't put any of my funny ones of you in. All right, first image. [01:39:27] Speaker A: All right, image one. [01:39:29] Speaker B: Image one. Maybe I should make my screen bigger for a minute. [01:39:34] Speaker C: I can also zoom in if required. If you just say zoom. [01:39:38] Speaker B: No, I'm good. [01:39:39] Speaker C: Okay. [01:39:40] Speaker B: I. I don't. I don't want to see all the mistakes. [01:39:45] Speaker C: Or do you? [01:39:46] Speaker B: All right, so. [01:39:47] Speaker C: All right, next image. Feel free to add any. Any commentary, whatever comes into your head. Just, you know, feel free to be mean. [01:39:58] Speaker B: Well, I I suggest you get focused next time. [01:40:04] Speaker A: You asked for it. [01:40:08] Speaker C: All right, next take. Take that, Jim. [01:40:16] Speaker B: This is why we get wildfires, guys. [01:40:20] Speaker C: Motorbikes. And burn off. [01:40:22] Speaker B: Burning off, yeah. [01:40:23] Speaker C: Was very professionally actually controlled burn off, but, you know. [01:40:27] Speaker B: Cool. Nice. Sounds pretty good. Zoom in on the helmet. What's in focus? What do you got in there? It's a bit of motion blur. Okay. [01:40:49] Speaker D: It looks pretty sharp. [01:40:51] Speaker C: I'm like. I'm pretty close to. I don't know if I see Team Motion Blue, but. [01:40:57] Speaker B: I am looking through a compressed. [01:40:59] Speaker C: Yeah. If I had to analyze this, I would say it's haze. If. If you're seeing anything up here, it's like flare, probably. [01:41:10] Speaker B: I can tell it's flare through it. Yeah. [01:41:11] Speaker C: Yeah. Whereas, like, if you. Yeah, there's, like. That's all very, very sharp. [01:41:15] Speaker D: Yeah, I'd call that shout. [01:41:19] Speaker B: Yep. Yeah, a lot. There's a lot of blockiness on. On the stream for me. [01:41:24] Speaker C: Yeah. It's kind of hard to judge over a 1080 live stream. Yeah. Oh, we got a. Okay. Bit of crop. I like that. This would have been for a bit. Cool. Cool with the sun. Yeah. [01:41:41] Speaker B: Oh, how about we go through it and then I'll come back and we can quickly talk about them because otherwise. [01:41:47] Speaker D: You can roast them. [01:41:48] Speaker C: Yeah, perfect. You just tell me when to say next. [01:41:54] Speaker B: Yeah. Okay. [01:41:55] Speaker C: We'll fill the air. [01:41:57] Speaker B: All right, next. I'm just doing judgment calls on what I see. All right, next. Next. [01:42:20] Speaker C: It's just going to zoom in, but I don't. I guess we don't need to. [01:42:22] Speaker B: I need to. I really like that shot. Yeah. And next. That's it, isn't it? That's 10. [01:42:39] Speaker C: That's it. That's 10. [01:42:41] Speaker B: All right. You want to go back to the beginning. [01:42:43] Speaker C: Done. [01:42:45] Speaker B: I think that one works well commercially because you've got a lot of good space to throw logos and stuff on the left hand side, and then you get the dirt and everything looks pretty good. Yeah, that one's not too bad. I think that's. I think that's reassessing. I think that's pretty cool. I don't think. Yeah, I don't think you need to crop it or anything like that. If you wanted to do the, like, just the. If it was just the cyclist, you might want to bring it in a little bit. But I think overall it's pretty good. I'm talking about my ass. [01:43:24] Speaker C: Garrett says that's. Gareth says that's the strongest photo. [01:43:28] Speaker B: Yeah. And I suppose it depends on, like, if I. I'm trying to put My brain, whether it's a commercial thing or if it's. [01:43:36] Speaker C: It's. It's purely what you like. It doesn't have. You don't. You don't have to judge this as if we're submitting because I didn't pick these photos based on what I would submit to a client. I picked these based on what I. What I think Bruce would like. [01:43:52] Speaker B: Yeah. Okay, so if I was going to give a criticism, then, like, this is sort of a catch 22, right. Because you've got the dirt flying out the back, which is really cool, but the bike looks static. And that's. That's like. You want to get all that, like, dirt, like crystal and like sharp and, and. And held in space. But also it's that, you know, at what point do you want to have a little bit of motion blur in the back tire versus the crystal? Right. So that's. That's where I look at it a little bit. [01:44:26] Speaker D: If. Yeah. If we showed you some of the other riders we shot this weekend, don't try to. [01:44:31] Speaker C: Don't try to back it. You do try to. [01:44:36] Speaker B: I'm looking at it separately. [01:44:37] Speaker D: No, no, I'm saying, like the, the diamond, you could tell that they were going fast. [01:44:43] Speaker C: Yeah. So this was action. This was all with our friend's son, who is a great rider. He's not at the level of the other riders. We're shooting for the job. We're actually up there to do. We just wanted to do some shots with him. And it's. It can be hard to make a bike look dynamic in sand unless you're an elite rider. So even though he was pretty good, if one of the elite riders was going around that corner, even though if the wheels might have been frozen, you could. You would have been able to tell they were on it. [01:45:10] Speaker B: Yeah. Because of the way the body is. [01:45:13] Speaker C: Exactly. Yeah. [01:45:13] Speaker D: And the suspension would have been compressed. [01:45:15] Speaker C: Yeah, yeah, exactly. But, yeah, I get. I totally get what you're saying. A bit of blur. A bit of, you know, the knobs on the tires, if they were a little bit blurred or something, would certainly make that a stronger image. Yeah. [01:45:25] Speaker B: Yeah. Okay, next one. [01:45:27] Speaker C: Again, the out of focus one. [01:45:30] Speaker B: I kind of like it because it's dynamic, but I think the thing I would have loved is, like, because the only thing I can see it's in focus is the spray. Sort of that top, middle and top right of it. Like, there is spray on the left, but it's not as visible because of the contrast. [01:45:48] Speaker A: Yeah, it's. [01:45:52] Speaker B: I feel like It. I. My. My eye always is going to the logo on the back of the guy's shirt, not to the spray. So that's the reason why I don't think it's a strong image. If that logo was. Was not as predominant or something like that, or if it was in focus or if it was a little bit deeper in depth, I think it would be even more dramatic. Okay. [01:46:15] Speaker C: Ernesto says it's his favorite, and Monica says it's cool. [01:46:20] Speaker A: My. My. My only criticism or feedback, I should say, is that you can't tell that they're on a bike. It almost looks like they're just falling. So maybe, you know, half a second later, you would have seen more of the bike maybe flick out. [01:46:35] Speaker B: I don't know. [01:46:36] Speaker A: It's just. [01:46:37] Speaker C: Yeah. [01:46:37] Speaker A: Yeah. I could never take a shot like this. So I. I'm, you know, I'm humbled by it. But I'm just saying it almost makes it feel like it's someone just falling over. [01:46:46] Speaker D: Probably not with a Fuji, though. [01:46:48] Speaker B: And to be honest. To be honest, I am a sucker for black and white, but I do wonder what the color contrast would be, if that would actually make it work better in this instance if it was in color. [01:47:02] Speaker C: Interesting. Should we move on? I really would like to. I'd love to reveal, but we can't. We can't until we get the winner. [01:47:10] Speaker B: Yeah. [01:47:14] Speaker C: Too dangerous. This one. Process enhance. [01:47:20] Speaker B: I hear something. You'll see people, when they're doing, like, judging, professional judging, they crop with their fingers or have a bit of paper or something. I think this one could just be cropped in more. I think there's too much negative space around it. I think the focal point is that brighter. Yeah. Let's crop the sky out. I think it could be just pushed in a little bit. [01:47:47] Speaker A: My eye keeps getting drawn up to the pole. [01:47:50] Speaker B: Yeah. Yeah. The pole is definitely a distraction. [01:47:52] Speaker C: The pole. Yeah. See, Ronnie's onto it as well. Naughty pole. [01:47:56] Speaker B: Yeah. Yeah. Leave your pole out of it, mate. All right. So I. I do like this one. It's really dynamic in that. And, like, the tires leading into the bottom corner, so it feels like it's going somewhere. And you've got that bit of dust kicking out the back and that. I think this is a strong, dynamic image. Yeah. It's hard to tell because of the flaring what's sharp and not on the stream. So that's the reason why I asked about zooming in. Like, I thought, like, the front tile was sharper than the back, but when you zoomed in, I Could see like the leg was in focus and stuff as well. Yeah, I think that's a. I think that's one of the strongest images you've got actually in. In the set here. [01:48:45] Speaker C: Nice. [01:48:46] Speaker B: Yeah. I think. I wish the person was slightly more around so we could see more of the bike. Just a little bit more. It feels very like a stick in the middle of everything. [01:49:08] Speaker C: Not enough. Not enough. What do you call it? Shape to the subject. [01:49:12] Speaker B: Yeah, exactly. I would also like potentially crop. Crop it in off the right hand side a little bit to give a sense of direction. Because at the moment in the middle there is a little bit going to the left, but you could emphasize it a little bit more by having them sitting more on the right as if they're going to the left. That's more of a cinematic way, I think, as well. [01:49:41] Speaker C: Question from Rodney Nicholson. Are they flames in the grasses? Yes, they are. [01:49:45] Speaker B: And look like in color. [01:49:48] Speaker C: And that was. Yeah, that was not just for the photo shoot. This was during a controlled. A controlled burn off. I know it sounds crazy, but it was. This was all very safe, but yeah, they are flames. And color did this was. Color looked different color. That's for sure. [01:50:08] Speaker B: Yeah. [01:50:09] Speaker A: Question for you, Bruce, is part of cropping in the right. Would you also crop out the horizon line? [01:50:14] Speaker B: Potentially. Potentially, yeah. Yeah. Just that top. That. Just that top. Little bit up top. It doesn't add, but it. I. I think it also. It's a catch 22 because depending on that burn off that smoke because you can see the haze through it, I think that contrast is lost in the black and white in this conversion. Like you could do a different conversion potentially and make it work better. I don't know. [01:50:40] Speaker C: I don't know if. I don't know if you guys can see, but you can actually see the heat. [01:50:44] Speaker B: Yeah, that's what I'm talking about. [01:50:46] Speaker C: Okay, cool. Yeah. That's the thing that's probably the most interesting, I think, is the actual heat. And. [01:50:52] Speaker B: And that's the reason why I'm saying the con. The contrast could be emphasized to make that heat pop more so you can tell it. And I think in this instance, color might be the way to do it because you'll see the contrast, the color contrast as well as the heat contrast, like from the luminance and then you'll see the distortion in it at the moment. I don't. It. I. I spotted it. It's more at the top of the image than the bottom, but they're just. Yeah, it's. It's harder to Tell than the black and white. Which is funny because as I keep saying, I prefer black and white for most things, but in this instance. Yeah, I think. I think it might work better in color maybe. [01:51:29] Speaker C: Yeah. A few comments. Gareth Davies. It's a bit central for sports. I try and get the subject coming in from the side with space ahead of them. See what Gareth did there? Similar to what Bruce said. Excellent comment for sports. I try to get the subject coming in from the side with space ahead of them. He didn't say for sports you should. He said, I try. But it's still a great bit of feedback on this photo. Wonderful way to give feedback, Gareth. Thank you. Nicholson says, stuntman. [01:52:00] Speaker B: You like a black and white? [01:52:03] Speaker C: Yeah. [01:52:04] Speaker B: Is the. Oh, I can't ask because I don't know who did it. But like I was going to say, the conversions are just straight. Like hit black and white. Yeah. We can talk about that afterwards. [01:52:14] Speaker C: Yeah, we can. We'll get. We'll get into it. Let's, let's. [01:52:17] Speaker B: Yeah. I like how dynamic this one is. My only problem is the position of the guy's head towards that tree. I feel like he's about that rounding. It's an overcast sky or it's completely blown out. That's not a huge issue. This is good because the contrast of the color of the pink and the greens obviously work with the yellow. They're always garish, aren't they, the uniforms? [01:52:45] Speaker C: Yes. Trying to stand out in a race. [01:52:47] Speaker B: Yeah. [01:52:48] Speaker C: Yeah. I do wonder when he bought the uniform, you know what his dad said doing when he bought a white and pink full head to toe kit. He said, son, you'd want to be fast. [01:53:05] Speaker B: I wonder. This is just me because I like things like this. I wonder if he cropped it panoramic just slightly off the top. [01:53:14] Speaker C: Even more because it's already. Is it already 16 by 9? It's already something. [01:53:18] Speaker B: Yeah, it's. It's something like that. But I'm wondering if it was even wider. It depends on how well you want to go with that tree in the background. You don't want to make that too low because it will get too messy. Like it won't read as well. But I do wonder if you can ever so slightly whether it would just make it feel even more like running around that corner. [01:53:41] Speaker C: Monica O says maybe just a second earlier before he hits the turn. So, like if he was in that patch of light. Yeah, maybe with the spray. Rick Nelson says, the right side to me would be good. Cropped out just to curve in the Dirt. I agree. That's a little bit of empty space over there. Just hanging out. Rick Nelson, 65 by 24 crop. [01:54:03] Speaker B: We'll go to ultra ultra Petavision. Like. [01:54:05] Speaker C: Yeah, yeah. [01:54:07] Speaker B: It's two pixels high. [01:54:09] Speaker C: Another second throwing sand. All right. [01:54:14] Speaker B: I don't know where we're at. I like that this has more in it than just the bike. Like, it has this person, but I don't know the sport, so I don't know what he's doing. It feels like he's like. Like throwing fingers. [01:54:29] Speaker C: I can tell you the story. I can tell you the story of what's happening in this image to try and make it more compelling for the judge who's awarding points to it. So this is a dad helping his son train for an upcoming race. And he's telling him two more laps to go. He's just. He's got his goggles. So they change out goggles every so many laps. So in the early morning fog, he's just helping him get laps in, changing his goggles out and keeping track of his laps to hold him accountable to finish the training race. [01:55:01] Speaker B: Yeah. Cool. Yeah. I don't know if we need all the stuff on the right hand side again. Maybe tighten it in. Because I feel like he's. The bike is too close to the left hand. Yeah. Part of the image. I feel it feels off balance. If it was. If, if it was slightly. [01:55:26] Speaker A: I'd go square. I'd go one to one. I don't. [01:55:30] Speaker B: Yeah, I don't think you get a square out of it. I think you'd be. But you'd be close. [01:55:36] Speaker D: Like a 4 to 310 or something. [01:55:39] Speaker A: Yeah. [01:55:40] Speaker B: Yeah. [01:55:40] Speaker A: Just crop it in a bit maybe. [01:55:41] Speaker B: But yeah, that's with the story. That's good. And that's the thing. Like, it depends on the story and who it's going to and stuff. Like as somebody, probably if you're. If you were judging a competition who. And say it was on bikes and stuff like that was the thing and you didn't have the context statement. You probably get that having the context of what you just told me helps. But if it was standing alone and you don't know any other stuff, then it. It feels a bit odd. [01:56:12] Speaker C: That's right. And then also, I guess you could look at it from the point of view. If you can't figure out what the story is from the image, then is it really telling a good story? [01:56:20] Speaker B: Well, some, like, is if you threw this at somebody else, they might go, well, I don't know what the guy's doing apart from throwing fingers, maybe crop them out. And it was. If it. If you just took him out and just had the bike and had it like as a vertical portrait. It's actually a pretty dramatic shot. Like the, the. The guy has got, you know, he's up. He's up on his heels. He's like really going for it. Yeah. But then you've also got to contend with the shadow and stuff like that. But as a documentary shot, potentially works if you know the story. [01:56:55] Speaker C: Gareth says you can see a connection between the two. He's clearly not a spectator. So father makes sense. Doesn't feel odd to me. Tells a story. Love it. [01:57:05] Speaker B: I'm playing devil's advocate a lot. [01:57:07] Speaker C: This is great. This is the best segment ever. Bruce normally charges for this sort of stuff. We tricked him into it. [01:57:17] Speaker D: Got him at the end of the night. [01:57:20] Speaker B: I've already judged two categories of Australian Photographic Prize. I've got to do one on Wednesday. [01:57:25] Speaker C: So we'll keep you sharp. [01:57:28] Speaker B: Keep me sharp? [01:57:31] Speaker C: What's that? You want to zoom in on the helmet, see if it's sharp? Yeah, sure. [01:57:34] Speaker A: I didn't even say that, but okay. [01:57:40] Speaker B: Oh, I can't tell. It looks. It doesn't look sharp because. But it could be the compression. I actually think the issue with this one is the optics. It's got a lot of. Oh, that background sharp. That tree trunk shot. [01:57:57] Speaker C: This might be slightly sharper than his helmet. Maybe. I don't know. This could be my image. I'm not sure. I can't remember. [01:58:05] Speaker B: This was shot in the Olympus. [01:58:10] Speaker C: It wasn't. None of these are actually shot on the, on the iii. [01:58:17] Speaker B: I don't. I find the, the, the barrel distortion quite. It doesn't help in this instance. It's not giving a sense of motion. It's just giving a sense of like you. You can tell that it was shot with something that was ultra wide, like because it's sitting. So like if we cropped it to a square, it's kind of cool. I think there's too much. Too much nothingness on the left hand side. [01:58:47] Speaker C: Actually. No, there's not. My beer's on the left hand side there. [01:58:51] Speaker B: There you go. [01:58:52] Speaker C: That's a Yeti holder. [01:58:54] Speaker B: It's still sitting there, isn't it? [01:58:56] Speaker C: Yeah. [01:58:57] Speaker B: You left it there. You're a litterer. [01:58:59] Speaker C: It was an Easter egg. [01:59:04] Speaker B: Yeah. I think the biggest thing for me is the distortion on this one where it's not actually helping showcase the rider very well. Like they're elongated. Their heads become quite big with that Helmet when it's already big because of the helmet. Yeah. A whip pan on. That would have been cool, though. [01:59:22] Speaker C: A bit of motion blur. [01:59:23] Speaker B: Yeah. [01:59:25] Speaker C: All right. We should. We should. [01:59:27] Speaker B: I really like this one, but this one tells me more of a story than that last one, the dad. Even though it's more of a, like, even I like that it hasn't been pushed to like a full silhouette because of all the dust. The dust. That actually helps tell the story that there's been a lot of work going on. There's a lot of stuff going on. I. I don't know. [01:59:50] Speaker C: It's fog. [01:59:51] Speaker B: Yeah, it's fog or whatever, but it's, you know, sets the scene a lot more. I'm just wondering. [02:00:02] Speaker C: Pano. Oh, hang on. Rick Nelson just said this one deserves Pano crop. [02:00:07] Speaker B: Yeah, it could go. You could pull it up from the bottom a little bit and. Oh, yeah, just a slight off the top. Just keep them on the bottom of the frame and just give it that, like. Yeah, yeah. [02:00:20] Speaker A: I, I. Can I make a comment? I find the pine tree that's on the very right hand side that's just peeking in. Yeah, I find that distracting because it's dark. It's as dark as the rider. [02:00:31] Speaker B: Yeah. [02:00:32] Speaker A: Whereas the other trees are fairly faded. So I would crop in from the top right corner and lose the edge of that tree. So you've just got the one tree on each end. [02:00:41] Speaker C: Interesting. [02:00:42] Speaker B: I would agree. There's a really good trick you can do in Photoshop if you know about. With levels. You can in. If you put a levels adjustment on there and you turn the black point on and you drag the black point up. I think that's this. If I'm getting around the right way, you can do it on the. On the highlights as well. You can find out what is exactly the darkest part of the image. [02:01:04] Speaker C: And then you can just. In Lightroom, you hold the optional command key. You drag that tool, whether it's white or black, whites or blacks, in Lightroom, and it'll do that same kind of thing. So it'll show you just those elements as you hit black point or white point. [02:01:22] Speaker B: Yeah. But the reason why you can do it is then you can adjust what is what. If you're going to do any sort of local adjustments, you can actually then go, I want that bit to be darker than that bit. So I'll lighten that bit up and I'll keep that where it is or darken it. So you can actually. It's like a Dodge and Burn, but. Or you can Use it in Dodge and Burn if you're going to go in Photoshop because you've got lots of options. But you can actually then manipulate the contrast a little bit across the frame to actually really emphasize things quite subtly if you want. [02:01:52] Speaker C: Yep. A lot of love for Greg's comment about that tree. Good call, Greg. And also agrees on the. On the Pano crop. So, yeah, local adjustments. [02:02:10] Speaker B: It's got a lot easier in Lightroom with all the. The masking tools and stuff. They're not perfect, but they're a lot better, I think. [02:02:20] Speaker C: One more shot. [02:02:21] Speaker B: My two. Oh, this one. Yeah. I don't like how the lines get completely clipped out. I find that this is probably a sensor thing or whatever, that it's pretty garish. That's the flames and stuff. Isn't that. [02:02:45] Speaker C: Down here? [02:02:46] Speaker B: Yeah, yep. [02:02:49] Speaker C: See, I didn't notice that AI. AI generate. [02:02:53] Speaker B: I didn't notice them at first because my eyes have been drawn to the. To the power lines. [02:02:59] Speaker A: Yeah, that's the first thing I saw, too. [02:03:03] Speaker B: Horizon almost straight. [02:03:04] Speaker C: Either you could. You could. Oh, thought my monitor was crooked. [02:03:16] Speaker B: Horizon doesn't have to be straight, but it is something people get really particular about, particularly in camera club. [02:03:22] Speaker C: Do they? [02:03:23] Speaker A: I think it's emphasized by the fact that the power pole is leaning as well. [02:03:26] Speaker B: Yeah. The power poles tend to lean. [02:03:29] Speaker C: If you actually. Yeah, I was going to say it probably up here. [02:03:31] Speaker B: It probably exacerbates. [02:03:33] Speaker A: It exacerbates. [02:03:35] Speaker B: It gives you. I. I would. If I was going to do anything with this, I would edit those lines out. [02:03:41] Speaker C: Yeah. Just get rid of them. [02:03:43] Speaker A: Get rid of the pole. [02:03:44] Speaker C: Yeah, yeah. And then. Then it could probably get a Pano crop like all the rest of these images. [02:03:51] Speaker B: Well, straighten horizon, maybe. I don't know if that's going to help or not. And then. Then you've got a bit more to play with with the actual contrast as well. Because he's quite dark. The sky's quite bright. [02:04:04] Speaker C: Yeah, it's pretty. [02:04:05] Speaker B: And you're losing a bit of detail in. In. In. In. In him. So there's a bit more to play with vignetting or. [02:04:13] Speaker C: Or average names. [02:04:15] Speaker B: I'm not a fan of vignetting generally. [02:04:20] Speaker A: Tiny bit, but maybe smoke cleared a tiny bit. [02:04:25] Speaker C: Cheap Nikon lens or after this one dirty sensor. [02:04:31] Speaker A: I don't think there's a cheap nickel lens, is there? [02:04:35] Speaker C: All right, do you want to do. We can't tell you who shot what until we know who won. All right. [02:04:42] Speaker B: So my two. My two at the top, I think is number four. And number Nine are the two top ones. [02:04:49] Speaker C: So that's four. [02:04:51] Speaker B: Yep. [02:04:53] Speaker C: And that's nine. [02:04:55] Speaker B: They're the two top ones for me. [02:05:01] Speaker A: They're both yours. [02:05:01] Speaker B: Are they? [02:05:02] Speaker C: Oh, yeah. Oh, that's amazing. I was very worried then. I thought I was going to lose 3, 0. The way that you were talking about my photos, I was like, oh. I was like, I think I'll be saved to get 2, 2 to 1 just by this one. I was like, I think that's one that I was worried Jim was going to get the other the two for a second. [02:05:22] Speaker B: I think the thing is, is that I'm not. I'm not critiquing in respect to say they're bad photos. What I'm saying is if I was sitting beside you and working with you with the photos, these are the sort of suggestions I'd say you don't have to use them or keep them. It's just that's. There's a difference between judging when you need to give a score and when you want to critique and help or mentor like you should be working with. With the. The artist, the photographer, or whatever you want to say they are, because you need to be on board with the vision. And unfortunately, when you're doing it this way, it's a little hard because obviously I don't know who's, who's, who's, who's and what their exact vision is. So you're sort of always guessing. [02:06:06] Speaker C: Yeah. [02:06:08] Speaker B: But yeah, it's. If you're ever working with somebody and want to give somebody good feedback, I feel like you sit down and talk through the idea and the images and say, oh, how about this? What about that? And they can go yes or no to it. Yeah, it's collaborative. Yeah, you need to be collaborative about it. I like this one because it feels commercial. The other one I like because it feels more story. Yeah. [02:06:33] Speaker C: Yeah. And then what was your. What was your third? Did you have a third or you weren't there yet? [02:06:38] Speaker D: You just want a clean sweep? [02:06:40] Speaker C: No, no, I know it's not going to be this one. [02:06:45] Speaker B: What was. What was 81? What was number seven? This one I can't remember. Go. Go forward one and go back one. No, not that one. I think it was maybe with the corner. No. Oh, no, definitely not. I just wish that one was focus. It would actually be really cool. [02:07:24] Speaker C: So. Okay, I can unveil. I shot this photo. The reason I picked this photo, which is not focused on the rider and also not focused on the bulk of the. The reason I picked it, there's something that drew me to it. And I've shot that shot hundreds of times, whether it's at Baruga or at Fink Desert Race or whatever. And it often. It looks amazing when the rider is in focus. It looks amazing when it's just the spray in focus, really sharp focus, like, all the way back here, all in focus, but the rider would be out. And this itself, it's like in the middle there somewhere. And I don't know why, but I really liked it. I kept wandering around the frame, wondering what. What I liked about it. Anyway, that's probably one of those. [02:08:15] Speaker D: And then his pink. Like, the back of his pink top. [02:08:18] Speaker C: It's probably worse. I've got it. I've got it. Do we really want to do that? I've already kept Bruce here forever. He's got it. Get a life. You know. [02:08:31] Speaker B: You'Ve been. [02:08:35] Speaker C: Where is it? Where is it? [02:08:38] Speaker B: Second thirds and fourth. I get it because sometimes you. You. Because if you shot the same image so many times and you get something different, it's totally like, oh, that's cool. Like, where did it go? It definitely, like, back when we first talked, like, that whole idea of, like, obviously wasn't probably purposeful to go what you got. But those mistakes or, like, those aberrations of what you're expecting, what you got is actually sometimes the way to go. Huh? There's something new there to play with, and I'm going to try something different next time. Yeah. [02:09:12] Speaker C: Yeah, that's right. And it's. It's one of those things where it's. It's sort of. Yeah, it's probably just not a great photo, but there was something about it that I liked. But, yeah, usually the rider would be in sharp focus or the. Or the spray would be all in sharp focus. [02:09:28] Speaker B: I think the. I think it's easier to look in color in and like. Okay. Because I was going to talk about how you do your conversions. Are you just hitting the black and white button? How are you doing your conversions? [02:09:42] Speaker C: It's like a tweaked preset, and then I smash. I smash the blacks and stuff to pieces. Yeah, that's. You won't be able to see it. This is my lightroom. It doesn't matter anyway. It's like. No, it's. It's actually a Masten Labs preset that I've changed. And it's. It's. Yeah, it's pretty aggressive in terms of contrast. [02:10:09] Speaker B: One of the things you can do, and this is something I don't think a lot of People know about. You've got a drop down in your lightroom or in camera raw, which is calibration. [02:10:23] Speaker C: Yes. Yep. I'm seeing it. I cannot bring it up though, but I got it. And in this, because of the Masten lab stuff and that. Yeah, it's all over the shop. [02:10:35] Speaker B: Yeah. But what you can do is when you go into black and white, obviously you've got your different colors you can pull back and for your luminosity and stuff like that, but you've also got the ability if you tweak your. [02:10:49] Speaker A: Your tin. [02:10:54] Speaker C: We're losing him. We're losing you. Bruce. Bruce. [02:10:59] Speaker D: The Internet's turned off in Tasmania. [02:11:01] Speaker C: Yeah. [02:11:01] Speaker A: Oh, is it 10 o'? [02:11:03] Speaker B: Clock? [02:11:04] Speaker C: Is that when they turn it off? [02:11:05] Speaker D: They turned it off. [02:11:07] Speaker C: Hold on, Bruce. Don't say anything. Wait, stop. Pause. He's unleashing the knowledge and we can't hear it. [02:11:16] Speaker D: Yeah, we didn't get any of that. [02:11:19] Speaker C: Bruce. We didn't get any of it. We lost you. No. Oh, damn. Yeah, that's sad. [02:11:36] Speaker A: Tim Siamas has said probably sharing the hottest tip of the night. I know itself. [02:11:42] Speaker C: It's shattered self. Yeah. Oh, dang it. Oh, he's back. [02:11:46] Speaker B: Am I? [02:11:47] Speaker C: Yeah, sure. You've just come. You've come up sharp and clear. And we're like. We're just on the edge of our. [02:11:53] Speaker B: Seat because I was getting you. Okay. You guys were sharp and clear. You guys were sharp and clear all the way through that. So I don't know what was going on. [02:12:03] Speaker C: No. [02:12:05] Speaker B: Am I still gone? [02:12:07] Speaker C: You're coming just in and out a little bit. But we've got you back. Ernesto Creativo says great cinema. Yeah. That was unfortunate. Yeah. You were saying about. So are you talking about changing in the. So down the bottom calibration, you've got like your red primary, green primary, blue primary. Is that what you're talking about? Adjusting the saturation or the. The hue? [02:12:31] Speaker B: Both. [02:12:32] Speaker C: Okay. [02:12:33] Speaker B: So you. With the combination of the black and white, with the calibration and your tint and your white balance, you can really play with the contrast of the image without actually having to hit the contrast. And then you can then use your contrast, your tone curve to emphasize different parts of it as well. You can see, like, look, especially with the pink, right. The pink changes quite significantly. [02:12:57] Speaker C: So currently I'm just playing with the saturation, the saturation of the blue primary going from one end to the other. And that's how the image is changing. [02:13:06] Speaker B: Yeah. It can be quite dramatic. So as a tip, if you want to look at doing different things with your black and white play with those settings. You can obviously reset it if you don't like it. It's also a good way of doing color grading and you can save those as presets. [02:13:25] Speaker C: Yeah, very cool. Now what were we going to do? I will quickly just do a little. Where are we down here? Back to these brilliant pieces of artwork that we created. So this was a gym. Great shot for putting some graphics over the left hand side or something. This was a me missed attempt at creativity. This is Jim, the pole king, we'll call him. Loves the poll. It does actually. I'm looking at this on my screen versus that screen. I don't know what it is. That does actually look better. The like looks better on my screen than it does the way it's coming through the Internet. Looks sort of creamier or something. There's something. It looks nicer on my screen. It looks. Yeah, looks nice. Yeah. But it's. [02:14:22] Speaker B: I can't wait for Jim's polls to turn up on the comments. [02:14:29] Speaker A: Oh, what about Jim's fencing? [02:14:30] Speaker B: That was last week. [02:14:31] Speaker C: Well, that's true. Oh yeah, this. So this was me. This was me. I actually put this in. In black and white. I do have it in color obviously, but I put it in black and white specifically one. Because the heat waves on my screen look way more dramatic in black and white actually. But obviously that's not translating as well. But also because Jim put this in, I was like, I think my version of that probably isn't as good as his. So I've got to throw a curveball, just see if I can, you know, if black and white makes it better or something. So that was my strategy there. [02:15:02] Speaker D: I think both of us tried when you said get the bike on more of an angle. Yeah, we both were trying. So we've basically. I think with this shot is the same as my shot. We were trying like we were shooting sort of opposite and we were trying to tell him what we needed, but neither of us kind of got that. So what you were saying, like more angle is correct. I think we were aiming for that. And it just. It doesn't always. [02:15:30] Speaker B: It's. It's always circumstance. I always hate when you say like this is something that happens in judging as well where you see something and slightly you go, I wonder if there's a frame before or after which will be just slightly better. You never know. You're never going to get that sequence again. It's just one of those things that sometimes you just go, maybe you might have something that's slightly better positioned. [02:15:52] Speaker C: Yeah, but it is, but it is the thing. Because this is exactly what Jim and I used to do to each other. Four years sitting on desks next to each other when we would shoot weddings and stuff like this. And we would do exactly that. I would be like, hey, Jim, how come you didn't do this? And he'd be like, oh, but there was something there. And I was like, well, still, you know, like I couldn't move. I couldn't move over. There was a wall there. And I'd be like, yeah, but you still crop their head off or something. I don't know. [02:16:14] Speaker B: Like. [02:16:15] Speaker C: And he would do the same to me. And that's how we learn of trying to think about it while you're shooting. Go, oh, could I do that? Could I move over? Could I crouch down or do something different to get a better angle, get rid of that pole, you know, like next time Jim goes up to Bruga to shoot, he's not going to shoot any of those polls because he'll be terrified that the Internet will pick on him for being a pole guy. [02:16:36] Speaker A: To be fair, to be fair, let's put some context here. You're standing in a burning field holding $10,000 worth of camera equipment each shooting a motorbike that is racing at you at 100 km an hour with a beer in your hand, trying to get. [02:16:52] Speaker C: Trying to get a 17 year old boy to mono through a f. A brush fire at the angle that we were hoping for is tricky. [02:17:00] Speaker B: Yeah, yeah. I always say like when I'm like, especially when I'm doing video editing on that, on my footage or whatever, I'm like, editor Bruce absolutely hates cameraman Bruce. [02:17:12] Speaker D: Yeah. [02:17:13] Speaker B: He's always got like, he cuts it off too early, he misses the shot, he's in the wrong spot. [02:17:18] Speaker C: Don't you hate when you shoot, when you shoot video and then you go back to do the edit and you're like, why didn't I leave an extra second there so I can do a decent transition? [02:17:26] Speaker D: Yeah. [02:17:26] Speaker C: Why did I do that? [02:17:28] Speaker B: I haven't on my monitor. Not the one right here, but the other one in a different office which says hold the shot longer. It's just. [02:17:36] Speaker C: Yeah. [02:17:36] Speaker B: Planted on my monitor. Yeah. [02:17:39] Speaker C: So many times I've just like gone, oh, I'm done. And then I go to put like the transition I want in. It's like, clip. Not long enough. I'm like, oh, I'm an idiot. Anyway, this one was Jimbo's panorama. [02:17:52] Speaker B: Yeah. [02:17:52] Speaker D: And I've Got the frame before it and I did three star it and it's not as good as that one. The roost. He was in the sun. It doesn't look like you think it was gonna look. And I cropped it. I did get rid of the right bit of the frame in the other. [02:18:08] Speaker B: Bit of the right and down a little. [02:18:10] Speaker D: Yeah, I didn't spend a lot of time on this. [02:18:12] Speaker C: Yeah. [02:18:14] Speaker B: But yeah, that's how much he values the podcast guys. He didn't spend much time on it. [02:18:21] Speaker C: It's how much he values his clients. [02:18:25] Speaker B: See, that looks pretty cool. [02:18:26] Speaker A: That changes it, doesn't it? [02:18:27] Speaker B: So, like, if you have that as a banner image on. On a website or something like that, that'll look pretty sick. [02:18:38] Speaker D: Scrap the whole image out. [02:18:41] Speaker B: Just crop the motorbike out. [02:18:42] Speaker A: Yeah, I just want the tree on the left. [02:18:47] Speaker B: I think we're getting a bit ridiculous now going to these people. [02:18:55] Speaker C: He's teaching us. And then. So then. Yeah, this was me. This was Jim with. What was that lens? [02:19:03] Speaker D: It was the 14 to 30 and it was. I was. Yeah, it does have a bit of a vignette. [02:19:09] Speaker C: No, that's on the. On the. Yeah. Okay. [02:19:11] Speaker D: So, yeah, I was looking at that earlier and I was like, oh, that's a bit. [02:19:14] Speaker C: Yeah. Which I don't have the raw, so I can't play with the corrections or whatever. But yeah, and then. Oh, and then this was me. And then this was Jim with. So, yeah, I want to know, did you add vignette to this or did you not. Not remove it on the lens? [02:19:28] Speaker D: Yeah, I tried to un vignette it. [02:19:32] Speaker B: Is it. It's wide open or is it close to wide open? [02:19:36] Speaker C: 4.5. So, yeah, close to wide open. But usually on any of the modern lenses, the, like the auto corrections almost seems to overcorrect for vignetting for me. [02:19:46] Speaker B: Yeah. Yeah. Sometimes you just need to do it in, like go in and hit manual and tweak. But yeah, a lens vignette is better than a digital vignette because optics involved my default. [02:20:03] Speaker C: Yeah. My default profiles actually back the vignette correction back a little bit for like, for when I'm. If I doing portraits or something like that. I do like a little bit of a vignette, but I just. I just don't correct the. Did the. The lens as much as it's trying to. Basically. Yeah, I corrected a little bit. Half. About 50% or something. [02:20:27] Speaker D: I've got to pull a fair bit, like add a fair bit of vignetting out. [02:20:32] Speaker C: Could be because it's just flaring from the center as well. Maybe. [02:20:35] Speaker B: Yeah, yeah, that'll be a lot of it. But also remember that while the lenses are measured and, and they've done their correction and they put them into lightroom or whatever else, no lens is exactly the same. Even if you get the same model on the same one next to each other, they'll be slightly, slightly different. [02:20:53] Speaker C: Yeah, that's actually, that's actually a great point that I've never thought of. I know that lenses do differ, but I've never thought about that from the perspective of like corrections that those, those profiles are based on an average, I guess, of lenses. Not. Not your lens. [02:21:08] Speaker B: Yeah. And they're supplied. And this is the thing with like Adobe versus say like Capture One. So Adobe, like the lens corrections are supplied, I believe most of the time, if not all, all the time by the manufacturer. So they're, they're the generic ones and stuff. But like your color and your lens correction, the other parts of the lenses, if Adobe doesn't, they're very generic. So when you see like this is an Adobe model or whatever else, they're really, really generic. They're not done for every camera. So whereas Capture One, I believe this is still the case. They get the cameras. That's why not every camera is in Capture One as a raw converted supported file. It's because I measure each of the camera sensors and then put the profile together. So that's the reason why like professional commercial photographers really prefer Capture One if they're being very color accurate as well as lens accurate and stuff like that. [02:22:08] Speaker C: No, I didn't know that. Interesting. We learned something again. Thanks, Bruce. That segment in my head, that segment was going to take 10 minutes. [02:22:20] Speaker B: So I think this. [02:22:22] Speaker A: Have we made. [02:22:23] Speaker B: Have we become the longest podcast, the. [02:22:25] Speaker C: Longest random show, but the longest. The longest other podcast is three plus hours. I don't know. But definitely the longest random show. [02:22:36] Speaker D: You got dinner to do, Bruce. [02:22:40] Speaker B: It's breakfast now. [02:22:44] Speaker C: Midnight. Don't know. They say don't feed them after midnight. They turn into. [02:22:47] Speaker A: No, that's gremlins. [02:22:48] Speaker B: That is gremlins. Either you end up with multiples. Talking about gremlins today I was. [02:22:57] Speaker C: That's funny. LTK Photography says as someone who works in manufacturing, as quality product will have a percentage range that is. Will be accessible. Every product will vary. Yes. [02:23:10] Speaker B: Yeah. You know this, Justin. Fault tolerance. [02:23:14] Speaker C: Yeah, yeah. I mean every. We do 50, 50. So one strap's good, one strap's bad and then we just send them out. [02:23:23] Speaker A: Get the good ones in Australia. [02:23:24] Speaker C: This is not true. Every strap we send out is awesome and perfect. Jim double checks them just to be sure. [02:23:30] Speaker B: Jim, why'd you do this one? [02:23:32] Speaker A: It's. [02:23:32] Speaker B: It's fun. No, it isn't. [02:23:34] Speaker C: It's a nice looking strap. [02:23:36] Speaker B: It's a nice looking strap. Somebody had a strap on his camera forever. [02:23:44] Speaker C: Because I just want more stickers. [02:23:47] Speaker B: Ebony likes the stickers. [02:23:48] Speaker C: We can send you more stickers. I'm trying to get more stickers made so that we've got some cooler ones. So when we get some, like, different ones, we'll send them down. [02:23:58] Speaker B: Yeah, cool. Well, thanks, but yeah, no, it, it works well. And yes, as somebody has not been a camera strap person forever, it's, it's actually nice to have something good. [02:24:10] Speaker D: You stepped into the premium one. [02:24:13] Speaker C: Yeah, yeah, Straight up luxury. [02:24:15] Speaker A: Nice. [02:24:16] Speaker C: It's a good choice. [02:24:17] Speaker B: All right, all right. [02:24:19] Speaker A: I think we have to call it, everybody. It's. It's just shy of 10pm here in Australia or at least in the southern eastern states of Australia. Who, God knows what they're doing in Queensland right now. But look, we are going to wrap first and foremost. [02:24:35] Speaker D: Sorry, it's the same time in Queensland. [02:24:37] Speaker A: Well, they have different rules SW you've got to worry about. [02:24:41] Speaker B: Yeah, you gotta. [02:24:42] Speaker C: Yeah. Where is Nev? [02:24:43] Speaker D: Yeah, they're only. They're two hours having lunch. [02:24:47] Speaker A: But look, on that note, everybody, this has been the Camera Life podcast, the random photography show, episode 97, proudly brought to you by Luckystraps.com speaking of straps, if you're looking for a premium leather camera strap, head to Luckystraps.com and use code Jim. I've just given up. Use code Jim at checkout and you'll get yourself a healthy little discount. [02:25:11] Speaker C: Use code Greg. [02:25:13] Speaker A: Enough about that. [02:25:14] Speaker D: You know what? Code's actually winning, Greg. [02:25:18] Speaker B: What? [02:25:18] Speaker D: It's. Thanks. [02:25:20] Speaker B: Thanks. [02:25:22] Speaker D: Yeah. [02:25:23] Speaker C: Yep. [02:25:24] Speaker D: From the other day with the gloves. [02:25:26] Speaker A: I was gonna go for that, but. [02:25:27] Speaker C: I forgot some sort of cruel joke played on all of us. [02:25:33] Speaker B: I don't trust you anymore. Oh, well, look, on that note, I. [02:25:37] Speaker A: Do want to thank Bruce. Thanks Bruce and, and his entourage for joining us this evening and, and sharing. So you are sharing so much of your wisdom, knowledge, your insight, but also, you know, just. Yeah, just sharing so much of your time with, with us and obviously with the people watching and listening along at home. So thank you so much. I would have offered to send you a camera strap, but you've already got one, so it doesn't matter if, if. [02:26:06] Speaker C: You enjoyed all of Bruce's comments and insights, head over to Crimson Creative YouTube channel and subscribe and like some videos. Crimson Comics. Yeah, Crimson Comics. [02:26:19] Speaker B: They're nuts. They're weird little Crimson Comics. [02:26:22] Speaker C: Head there. Subscribe. Let's get those subscribers up. Ernesto Creator, Creativo. Quick comment. Are you delivering to without tariffs to Europe? No, we leave that. So you buy the strap. There's no tariffs included, but we don't. They're not added on. You're just not paying for them yet. But then when it arrives, arrives, you'll have to pay them separately. So instead of us adding 20 on here and then paying the taxes on your behalf, we just sell it without the 20 and then you pay the 20 in your country when it arrives or whatever it is in your particular European country, you pay your own import duties. Unfortunately, we're not big enough to be set up to do all of the European VAT stuff. It's very expensive and very complicated. So Gareth Davies says I didn't have to pay anything. That's because you. You're awesome. We put a note in there that said, nah, not this one. Unless you get a bill later. Now, some seem to slip through. I don't know what the deal is, so you just gotta. Yeah, it's a bit weird, but yeah, in general Europe you will have to pay import duties when it arrives. Yep. Cool. [02:27:22] Speaker B: All right, guys, well, throw one last plug in. Yeah. Wanting to learn about judging and stuff like that. Australian Photography Prize is still going until Sunday. All the stuff has been live streamed on YouTube. You can watch back the categories that you're interested in or watch the one other ones as well. Then we've still got stuff all the way through to Sunday. [02:27:46] Speaker C: Australian Photography Prize. Go to Australian Photograph. Photographic Prize. [02:27:50] Speaker B: Photographic Prize. [02:27:51] Speaker C: Sorry, go to Australian photographic prize.com to the website. Everything is on there. Get amongst it. Cool. [02:27:59] Speaker A: Handy. [02:27:59] Speaker C: Yeah, that's very cool. [02:28:02] Speaker A: Guys. Well, it's getting late. [02:28:05] Speaker B: All right? I'm an old man, I get tired. [02:28:07] Speaker A: And you don't want to see me. [02:28:08] Speaker C: Trust me too. I'm gonna play the music and. [02:28:11] Speaker B: And we're gonna say good night. [02:28:12] Speaker A: Thanks again, Bruce. Thank you, Jim. Thank you, Justin. Everyone have a good night, be safe and we'll see you on Thursday morning. [02:28:20] Speaker C: And thanks to everyone in the chat. Thanks, Rodney. Thanks, Rick. Thanks, Gareth. Thanks, Ernesto. Tim Siamas, Philip Johnson. As always, LTK Photo. Greg Carrick. Oh, that's a good dance. When do we talk about Fujifilm? Thanks to all of you. Oh, where's our one female commenter, Monica? Oh, thank you, Monica, for representing and good night.