Exciting things are happening! The Random Photography Show (EP199)

[00:00:00] Speaker A: Sa. Well, g', day, everybody, and welcome back to the Camera Life Podcast. This is the random photography show. It is Monday 13th July, and we are beaming to your eyeballs and earballs live from Victoria, Australia. [00:00:44] Speaker B: But we're working on. [00:00:45] Speaker A: Joining me in the Bendigo office is the boss, Justin. How are you, mate? [00:00:50] Speaker B: I'm good. I'm. I had a great day. I'm very busy, but I'm good. It's like, busy good. Yeah, it might turn into busy bad, but at the moment it's busy good. We'll just see how it goes. [00:01:03] Speaker A: Yeah. All right, well, don't overdo it because I know you don't. You're not used to working so hard. [00:01:11] Speaker B: Busy days. Yeah. What do you do? [00:01:14] Speaker A: I, I've, I. I did a lot. I've got big news to share and you've got news to share. Big news stuff to get to. But, yeah, we both seem to be very busy at the moment. Plus, you know, we're still doing all the BFOP workshop instructor Spotlight series interviews. [00:01:30] Speaker B: That's right. [00:01:31] Speaker A: They kick off again tomorrow morning. We're starting off with Joel, Joel Elston at 8am oh, really? [00:01:39] Speaker B: Sorry, I should be. I'll talk to you about that offline. There's a couple. [00:01:44] Speaker A: Oh, okay. [00:01:46] Speaker B: No, tomorrow, Tomorrow I'll be there. I'll be there. But Wednesday, I think. I've got a shoot in Melbourne on Wednesday, so. Which is one of the things that's making me busy. But, yeah, it's good. Oh, you know what I made time for today, though, is so. Because I tried to make that commitment that I'm going to show images on the podcast again every week and try and curate them down into a bit of a set, depending on what it is, which is what we try and do. And I'll print one out, actually, I'll press print now on the show just so it's ready for later. [00:02:23] Speaker A: Okay, that'll work. [00:02:24] Speaker B: Come on, Canon. Can you do it? [00:02:25] Speaker A: Oh, I found an image and I think I'd like you to print. I'll have to send it through eventually. [00:02:29] Speaker B: Yeah, send me. I'll print it on the show next week. [00:02:32] Speaker A: All right. [00:02:33] Speaker B: Print it live. Hey, it's been. [00:02:36] Speaker A: Just put a camera at it and just watch it slowly come out. I could do that. [00:02:40] Speaker B: Have a little print cam. [00:02:42] Speaker A: You need a print cam. [00:02:44] Speaker B: A print camp has been giving me grief. It's been smudging things and stuff and I don't know. Oh, I need to get onto the Canon people, get them to help me out. They've Been helpful so far. I just need to give them some more information about the. The specific issues that it's been doing. Weird stuff. [00:02:58] Speaker A: Anyway, what is it with printers? Like, even home office printers are just batshit crazy. [00:03:04] Speaker B: They just, they're just so complicated. I mean, I understand with this one particularly, because it's got, whatever it is, 12 or 13 inks or something, and it's, you know, everything's highly calibrated and perfect and I understand that things can go wrong, but, yeah, I don't Understand why your average 250 home, home office, black and white printer can have so much trouble. That makes that sense. [00:03:27] Speaker A: You know what I think it is? I think it's. I think it's. It's a hate crime because it knows that we have made printers, office printers, the poster child of our disposable society. Throw away. You know, you buy a printer for 100 bucks, it costs you 120 to get the ink. So you might as well just buy another brand new printer that comes with inks. [00:03:51] Speaker B: So you think it's like paying back. It's like payback for being pretenders disposal. [00:03:57] Speaker A: I think the printer community out there is very angry with us and so it's going well. You know what? Screw you. WI fi problems, buffering problems, you know, like it just keeps happening. [00:04:08] Speaker B: Understand? [00:04:10] Speaker A: Yeah. Anyway, this is the Camera Life podcast. It is the random photography show. So stick around, folks. We've got a lot to get through. Justin's got news, I've got news. We've got all of the news from the past week. Not our news, but the camera news, the industry news. [00:04:23] Speaker B: The actual news. [00:04:24] Speaker A: The actual, actual news. Yeah. We've. We've got some images to show you right off the bat in place of a ad ready. But I think the images will do the job for us. And of course, we're here to look at your images. All the while, Justin is setting up a print camera. I think we need print cam. We just need to make it like a. Just flick to it every now and then. Like, you know, in sports they have like a weird camera mount somewhere. [00:04:49] Speaker B: You can see it. How come everything's reversed? It's there. You can see it here at some point. See it. Box of paper. No, it's. It's going to take a while. [00:04:58] Speaker A: Yeah, I did see it drop down. Yeah. [00:05:01] Speaker B: We don't have print cam. I'll get it, I'll get it set up. But yeah, so that's, that's one of my. Did I say that's one of my Lake Tyrrell Images. [00:05:09] Speaker A: Oh, okay, great. [00:05:10] Speaker B: Edited a little set, so we'll go through that later in the show at some stage. [00:05:15] Speaker A: Awesome. And of course, we'll look at everyone else's images. Speaking of everyone else, should we say good day to some people before we kick off with the ad? Ready? [00:05:24] Speaker B: Absolutely. Philip Johnson here first as always. Evening, all. Happy Monday. Says, big news. Greg gets Fujifilm ambassador status. Is that what happened, Greg? [00:05:34] Speaker A: No. [00:05:35] Speaker B: Dang. [00:05:36] Speaker A: That's second on my list. [00:05:38] Speaker B: Okay. Dana Smith, School of Light says evening legends. Big news indeed. Richard Mail. Am I pronouncing that right? MALE hi, all. Looking forward to a great show. Well, good to have you here. John Latimer is here. Evening, all. Massive weekend and a great way to end the day. Oh, what did you do this weekend, John? [00:05:58] Speaker A: He's been busy. [00:06:00] Speaker B: Paul is here. Aussie Buck Barbies is here. Good to see you. We should celebrate with a Barbie. We should. It's a bit cold outside, but, yeah, it's always good for Barbie. Mark. Bluetooth. Long time no see. Why, hello. G', day, mate. Chris. Chris Nielsen. Good evening. Tintype man is here. Says, evening all. Major success in the Tintype man studio today. I successfully fired from 14,400 watts of flash simultaneously without blowing all the fuses at home or browning out the area. Well done. [00:06:31] Speaker A: Wow. [00:06:31] Speaker B: That. [00:06:31] Speaker A: Nice work. [00:06:32] Speaker B: Can you see. Did you. Do you wear sunglasses when you fire that bad boy off? [00:06:37] Speaker A: I know. You wear one of those suits with the gloves and the. [00:06:40] Speaker B: I'm just. [00:06:42] Speaker A: Yeah. [00:06:42] Speaker B: Imagine your hair getting blown back when you like, Remember? What was it? Young Einstein. Remember? [00:06:50] Speaker A: I just thought of young Einstein. [00:06:51] Speaker B: I thought. [00:06:51] Speaker A: Oh, I won't say it. No one's gonna know that. [00:06:53] Speaker B: Oh, I know. [00:06:53] Speaker A: That's a great music. Every now and then I put on the Huda Gurus and just listen to that soundtrack. [00:06:58] Speaker B: Yeah, yeah. [00:06:58] Speaker A: It's just. It's just core Aussie, you know? [00:07:02] Speaker B: Yeah. Yep. For those of you in other countries, like the United States, you won't know what we're talking about, but Google Young Einstein, you'll see the movie. Lucinda, good to see you. David Skinner. Greg Carrick says, here to learn from the greats. I don't know who that is. Have we got any greats coming on tonight? [00:07:20] Speaker A: I don't think so. [00:07:21] Speaker B: Just you and me, boss. Sorry. You might have to go through our back catalog so you can find David Liberati. Good evening. Shamit Shah. John Pickett. Kanga kanga, Kanga. Pk. [00:07:35] Speaker A: That's Peter from Like a Night. Was it. [00:07:38] Speaker B: Was it the same username last time? Or is it different? [00:07:42] Speaker A: I don't know that it showed the username like that last time. [00:07:44] Speaker B: Anyway, I don't know either way. Good to see you. Lisa Leach. Nev Clark. Craig Carrick says the big news is that you're pregnant. Greg said it. [00:07:54] Speaker A: I'm pregnant. [00:07:55] Speaker B: Well, he said you're. I couldn't. I don't know. Could be. [00:07:59] Speaker A: Maybe it means both of us. Maybe we're sharing a baby. Maybe it's a custody thing. [00:08:06] Speaker B: Parabellum. Nathan. Ccp. Good to see you. Greg Stuffings. Phil Thompson. Gosh, everyone's in the house tonight. [00:08:11] Speaker A: I know they are. [00:08:13] Speaker B: Lisa Leach, if I haven't already said you. Good evening. John Latham is offering some help. If I need any troubleshooting, send me a dm. I battle with four big printers on a weekly basis. Oh, yes. Well, the last thing you need is my additional problems, my lack of skills. Jay Shannon, otherwise known as Jason Hannigan. Actually, I'll bring that up in one second. He sent some images in today. Fermi. [00:08:38] Speaker A: You did? [00:08:39] Speaker B: Samantha Olson. Can't wait to return to Sydney. I'm so freaking cold down here in Victoria. Yeah, it's chilly. [00:08:44] Speaker A: Catching up with Sam on. When are we doing that? Sam? Thursday. We're gonna go for a shoot. Gonna go for a street walk. [00:08:50] Speaker B: Nice. Yeah, Greg Thomas and everybody. Everybody's here. Dennis is clarifying. Aussie Park Barbies is me. I'm working on the channel today. I reckon you could cook a Barbie with 14,400 watts so you could just flash them and they're done. [00:09:08] Speaker A: Isn't that what Chernobyl reached before it melted down? Wasn't it 14 4? [00:09:12] Speaker B: It was. It wasn't actually an issue. Wasn't an issue with the nuclear reactor tintype. Man was just there trying to do some portraits and it just, you know, [00:09:20] Speaker A: comrade, just stand still, please. Trust me, that's terrible. Joke. [00:09:27] Speaker B: All right, let me bring this. Let me bring this thing up. Where are we? OG listener of the show, Jason Hannigan, otherwise known as Very Early Days. We kept calling him Jay Shanny and it was fun. Sent these in and said these aren't meant to be for the listeners picks on the podcast. Just a couple of random photos from out and about early this morning with the wrist strap, lucky straps, wrist strap and valorant gloves. Must have been chilly cheerlee, so I thought I'd bring them up. [00:09:58] Speaker A: Very cool. [00:10:00] Speaker B: It's a great way to mention the fact that this show is brought to you by lucky camera straps. So if you need one of these or shoulder strap or whatever. Very comfortable leather strap. Just go to Luckystraps.com and check them out. Also that we don't have a lot of stock left at the moment because Valarat, the glove company who are from Norway, very, very low on stock. We've got everything we can get off them. So if you want winter photography gloves, don't wait too long. Now is, now is your only chance for the Australian winter to grab some. We won't get stock again I don't think until maybe September, October, November sometime around there. [00:10:36] Speaker A: Yeah. Anyway, well let's hope we get some before bright. [00:10:41] Speaker B: Yes. Yeah, let's hope. [00:10:42] Speaker A: See what happens. Yeah. [00:10:44] Speaker B: Yeah. [00:10:45] Speaker A: Thanks for sending those photos. If anyone else has got photos of their lucky strap product that they've bought or won or acquired in whatever way you see fit. Yeah. Send us an image we'd love to see. See our kit out in the wild. And that, that deluxe leather wrist strap that Jason sent through, that's, that's one of my favorites. [00:11:06] Speaker B: That's. Yeah, that's one of your go to's, isn't it? Although we did convert you into a shoulder strap a little bit. [00:11:10] Speaker A: You're a wrist strap. Yeah, I'm running, I'm running the wrist strap on the X70 and I'm running the slim 30 on the XC5. So yeah, nice setup. [00:11:22] Speaker B: Jay Shannon says can recommend. Thanks Jason. Thanks for sending those in. What else are we going to talk about? [00:11:28] Speaker A: Well let's just have a, let's have a quick. Actually speaking of lucky straps products, last week's guest on the Camera Life podcast who was Jerry Jonas. Did I say the name right this time? I still can't. [00:11:42] Speaker B: Gionis Giones. [00:11:44] Speaker A: Jerry Gionis joined us. That was amazing. [00:11:47] Speaker B: It's actually funny how he explained that. He's like. Because it's, it's spelled GH and he's like, yeah, like ghost. It's not Jost. [00:11:55] Speaker A: Yeah. [00:11:56] Speaker B: And I was like I've never thought about it like that before. I'll be calling Jerry Jonas for however long it's been. [00:12:03] Speaker A: Yeah. We could put together a super clip of you saying it. Probably. Probably. Anyway, so we had, you know, one of the world's most highly regarded, highly sought after wedding photographers last week. Guess who we've got this week? Who? Steve Parish is joining us on Thursday morning, 9am live for a chat. He's got such a big career. I don't know how we're going to pack it into the One podcast but we're going to chat with Steve Parish, Aussie icon. It's been Crazy nature wildlife photographer. [00:12:37] Speaker B: Yeah, that's gonna be. That's gonna be an exciting show. Huge. Hopefully. Hopefully he'll stick around. So Jerry stuck around for three hours. I thought he was gonna be in and out pretty, pretty quick. Busy man. But no, he hung out for three hours and he talked about all sorts of stuff that I haven't heard on other interviews. Just things about working with his wife Melissa for so long. [00:12:59] Speaker A: Yeah. [00:13:00] Speaker B: The work that he's done with the Icon Awards, building businesses, how he's sort of started in the back of a charcoal chicken shop in Melbourne, all that sort of stuff. It was actually, it was very much. There was a fair bit of photography talk as well, but there was also a lot of business and life talk too, which I really enjoyed. [00:13:18] Speaker A: Yeah, yeah, it was good, wasn't it? Because, you know, he. He has this kind of aura that he's this big. This big shot in the industry, which he is. But when you have a chat to him, it's just this. This boy who grew up in Australia with his family running fish and chip shops and his brother running a charcoal chicken shop. And, you know, they just. The parents, sometimes money was tight and they had to, you know, his dad would go back to Greece to run a shop there to make money and really humble story. It was really quite, Quite a great story to listen to. [00:13:50] Speaker B: Yeah, it was good fun. So check that out when you get a chance. But yeah, otherwise, Steve, this, this Thursday is going to be amazing. Yeah. Mark Bluetooth says Steve was one of my early influences. Looking forward to his episode. And Nathan's gonna set an alarm for it. Good idea. Yeah. [00:14:09] Speaker A: Although. What are you doing? It's at 9 o'. Clock. Why are you out of bed? [00:14:13] Speaker B: What are you people doing? Oh, Paul just emailed me a pic. Oh. Should I bring it up or should I save it for next week? Ah, let's bring it up now. Let's see. All right, do that. He just, he just said, look at this. Just emailed you a pic of a deluxe.45 in the wild. Let's see. I just gotta find it. So, you know, bear with me. Oh, would you look at that. Oh, and just on a. On a tiny little 600 mil lens. [00:14:59] Speaker A: That's crazy. [00:15:03] Speaker B: Holy smokes. [00:15:06] Speaker A: That's a big lens. But look at that strap. [00:15:09] Speaker B: That's right. That's a beautiful. Nice. Looks well worn in too. You can tell. You can tell because of the. Look at the leather. [00:15:18] Speaker A: Yeah, softened. [00:15:20] Speaker B: Oh, personalization there too. Oh, very nice. [00:15:24] Speaker A: Nice work, Nice work. [00:15:28] Speaker B: Oh, he says there was a Canon Marquee at the show. Lending out big lenses. I was gonna say. I didn't think he had one of those bad boys. That's. [00:15:35] Speaker A: That's pretty cool, though. [00:15:36] Speaker B: That's nuts. You know, you can. You can connect your strap to that lens, too. [00:15:40] Speaker A: There's. [00:15:40] Speaker B: There's strap lugs on the lens so you could take it off your camera body and connected onto the lens so you can walk around with it nice and safe. [00:15:49] Speaker A: Very cool. Should we start with a little industry news, do you think, before we get into personal news? [00:15:56] Speaker B: Sure, sure. [00:15:58] Speaker A: Yeah. Let me turn this heater off. It's getting too hot in here. Where shall we begin? Let's start with the random social post that I dropped earlier today on the running sheet. Jay. [00:16:14] Speaker B: I saw that. I haven't looked at it yet. I'm excited to the suspense. [00:16:19] Speaker A: You know how often you see people add bling to their cameras and they'll put wraps on it or skins, and they'll change the grip to a different sort of texture, like snake skin or something. Well, this. This place in Japan. I think he said it was in Yokohama. Might be wrong. Is where you go to get your camera tattooed. [00:16:43] Speaker B: What do you mean? You can't. [00:16:44] Speaker A: Oh, Ian Gray. Like tattoos into the. Into the. The alloy top and bottom plate of the camera. [00:16:53] Speaker B: Really? [00:16:54] Speaker A: Yeah. I've seen a few people do this. Now you can buy wraps that look like it. [00:16:59] Speaker B: That's the same. Now you want someone to scratch it into it. That's cool. [00:17:04] Speaker A: A little window in the wall. [00:17:06] Speaker B: Oh, he does phones and all sorts of stuff. [00:17:08] Speaker A: Yep. [00:17:10] Speaker B: Wow. That's nuts. [00:17:13] Speaker A: Yep. [00:17:15] Speaker B: Yeah, I would. I would do that. If I could sit there and watch it happen. Do you know the problem I would have. I wouldn't be able to pick what to put on there. [00:17:23] Speaker A: Yeah. [00:17:24] Speaker B: The camera Life logo, maybe. Yeah, that's. That's. I've never heard that. That's pretty cool. Yeah. I've seen tons of wraps and things and. But I've never seen someone just. Just engraving it. [00:17:36] Speaker A: Yep. [00:17:37] Speaker B: Paul says camera engraving. Shut up and take my money. Would you do the. Would you do the Q3, Dennis? Would you? [00:17:46] Speaker A: Yeah, get like a ball of light motive engraved on it. All right, let's talk real news. The fun's over. Lens news. Start with Fujifilm just for something different. Striving for that ambassadorship that Philip Johnson wants me to have. Fujifilm released a brand new lens last week, but it wasn't for X mount. It was for GFX mount and it wasn't for photography. It's a videography lens. So they've dropped a brand new Fujifilm GF19-35T 3.5. And how much did they say it was? I don't know if they put a price up for it yet. Let me just check B and H quickly. Yes, here it is. It is US$5,500 for this new cine lens. And of course, you know, they've got the. What is it? The Eterna 55 now which is. [00:18:41] Speaker B: I assume it's to pair with that and. [00:18:44] Speaker A: Or gfx. Yeah. [00:18:45] Speaker B: Yeah. But. But obviously it's probably aimed at. Pretty serious. Yeah. Video work. Yeah, it looks, it looks like a Sydney lens. It's got the cool stuff on it. [00:18:55] Speaker A: It does have cool Sydney stuff. They've got about three or four of these lenses out now, I think. [00:19:00] Speaker B: Yeah. [00:19:02] Speaker A: Anyway, where else. What else is news? Also in Fujifilm news, These are just a couple of patents that have been spotted. The Fujifilm XF13 to 80F 3.5 patent has been spotted and an XF16 to 200F2.8 to 5.6. These are just patents at this stage and often patents get logged and nothing comes from them because they want to protect their intellectual property. But it's pretty rare to see this level of detail in a rumor that's not actually going to come true. They're very specific about what's coming out. So yeah, 13 to 80, which is APSC in Fujifilm. So that's about a 20 to. What would that be? To 120. [00:19:49] Speaker B: I was gonna say if that's actually a thing that's getting to one of those lenses because obviously your standard range is 24 to 24 to 105, 24 to 120 on a full frame which that. On a. On a Fujifilm what is theirs is normally like 18 to. To something seven or the. The 70 is. [00:20:08] Speaker A: It's a 24 to 70. That's kind of their go to. [00:20:12] Speaker B: Yeah, but I mean, I mean in terms of those slightly longer kit lens, usually like an F4. Like a, you know. [00:20:18] Speaker A: Yeah. [00:20:18] Speaker B: The equivalent of a 24 to 105 F4. But on a Fujifilm on a crop sensor is usually like an 1817 or 18 to 70 or whatever. [00:20:31] Speaker A: Yeah. [00:20:32] Speaker B: So if this could really be 13 to 80, that would be a pretty cool lens. Wider, you know, 20. I've often thought that like a 20 to 70 would be a pretty cool lens to get that wider end in instead of. Because often we just start at 24 and then. And then go. Do we go to 70 or do we go to 105 or 120 or whatever. Yeah, to get that 20 mil wider at 20 mil ish, which I think that 13. Yeah, it'd be. Yeah, it'd be probably even wider than that. Maths in my head isn't good. [00:21:04] Speaker A: Well, yeah, and I mean there's the Tamron. There's. They've got the 17 to 70 for X mount. [00:21:10] Speaker B: Yeah. [00:21:12] Speaker A: This just goes up closer. [00:21:13] Speaker B: 24. Yeah, this, this goes deeper into that wide angle that doesn't usually get touched by a sort of a normal zoom. I know Sony have a. Sony have a 20 to 70 F4 I think. Or is it a 20 to 50, something like that. But not many people have that. That's in full frame obviously. But yeah, I don't, I don't know if in crop if there is anything that that plays in that range, but I like it. [00:21:39] Speaker A: Yeah, I think it's. More lenses are great and especially these newer lenses that are being tailored to the new sensor. You know, a lot of the lenses that we currently have for Fujifilm came out before they stepped up to the 40 megapixel sensors and how that all renders and processes and everything. Whereas the newer lenses that are coming out are being set specifically for that. That, that style of camera. That sort of flagship level performance, which is great. And what was the other one? I said let it go. Can't see it. 16 to 200. So that's a 24 to 300, which is one of those kind of do [00:22:18] Speaker B: it all super zoom travel, do everything lenses. Yeah, very cool. [00:22:23] Speaker A: Yep. What else? [00:22:32] Speaker B: Viltrox have made another pancake lens. They just released one of those every week. [00:22:38] Speaker A: Pretty much every week. [00:22:40] Speaker B: Viltrox have released a pancake lens for Sony. [00:22:43] Speaker A: Yeah, this one's a 26 mil f 2.8 FE pancake lens. Again, very cheap. There's also a. There's one something coming out for Nikon Zedma. I think it's also coming to Sony. Anyway, it's the. The TT Artisans are also rele an AF so autofocus lens, 17 mil f 1.8. It's one of their Air APS C lenses for Nikon Z. It's only US$148. Oh, that's crazy. It's a 1.8. [00:23:15] Speaker B: Yeah. But crop sensor 1.8. [00:23:17] Speaker A: You watch your tongue, you watch your mouth. All right, what else? And here's another. Another interesting lens. Tamron have plans to Release a Tamron 12-20 f 2.8 FE lens coming in July in a couple of days apparently that's coming out. Really launched. Yeah. [00:23:41] Speaker B: 12 to 22.8. [00:23:45] Speaker A: Yeah, yeah. Wow, that's super cool. That's very nice. [00:23:50] Speaker B: Here's the leaked press text pro performance minus the weight, ultra wide, built for the field. Hmm, cool. Yeah, yeah. Apparently weighing 570 grams which is one of the advantages of mirrorless. I don't know if anyone remembers Nikon full frame F mount cameras. Maybe any, any of you are, you know, familiar but the beautiful 14 to 24 2.8 lens was about a kilo, had a massively bulbous front element and it was beautiful to shoot with, but it's like 2 millimeters on the long end. On the. Sorry. On the wide end is, is a big difference in width. Like it's, this is significantly wider and smaller and lighter. [00:24:46] Speaker A: Yeah. [00:24:46] Speaker B: And competing head to head with Sony's 12 to 24 and they're saying it's going to be half the price. So that's going to be pretty crazy. [00:24:54] Speaker A: Yeah. It's interesting that big camera brands and lens brands haven't looked to acquire some of these smaller companies to try and sort of contain it. And maybe that's because they're embracing it. Maybe they say that it's a flood, they can't stop. I don't know. It's just interesting. Like there's very compelling options coming out from third party. I mean there always have been, you know, bangers, but it just seems more and more are coming out where people are going, oh well, yeah, why would I get the, this brand kit lens when I can get the Tamron 17 to 70 or the, you know, whatever it may be. [00:25:32] Speaker B: Yeah, maybe. But there's always, I mean they can lock it down like Canon did. That's really the option, I guess because they work. Yeah, I don't know. They would, they do work in together as well. [00:25:45] Speaker A: They do sometimes. Yeah. [00:25:47] Speaker B: Sigma and Tamron have been supplying lenses to the camera market for so long. To sort of just go and say, well we don't, we don't need third party lenses anymore would be pretty crazy. [00:25:57] Speaker A: Yeah. [00:25:59] Speaker B: Greg says not new Greg, different Greg. Craig Thomas says one of the great 12-24g master is an exceptional lens. Yeah, I don't doubt it. I don't doubt that at all. And, and I would imagine if this thing is lighter and half the price, solid chance that the Sony's gonna have some advantages. It's rarely the case that a third party lens is lighter, cheaper and better in every aspect in terms of autofocus. Image quality, you know, like all of the. And all of the elements of image quality as well, because a lot comes into it in those wide angles, especially if you're shooting nightscapes. You got to deal with coma in the corners and all sorts of stuff. And so it's. Yeah, I would be very surprised if it's. I'm sure it's a great performer, but I'd say the Sony's still going to be a. Yeah, yeah. [00:26:49] Speaker A: But that gap is. That gap is shortening in quality. [00:26:52] Speaker B: That's right. Yeah. [00:26:54] Speaker A: So it's interesting. Jason said, what's that thing about diminishing returns? Sorry. [00:26:59] Speaker B: Yeah. Oh, there'll be feet in the shots. 12 is wide. [00:27:05] Speaker A: Super wide. [00:27:06] Speaker B: If you haven't shot with one, it's a different experience. [00:27:09] Speaker A: Yeah, yeah. [00:27:11] Speaker B: The. [00:27:11] Speaker A: The widest I shot with was the. Was it an 8 mil put out by Fujifilm? Oh, yeah, that was a 12. [00:27:19] Speaker B: I was gonna say that'd be pretty close to this. Yeah, yeah, yeah. [00:27:23] Speaker A: You had to be careful where. How you were holding your camera because. Yeah, it would. Yeah, absolutely. [00:27:28] Speaker B: And, yeah, it distorts everything as well. Like greg saying here, 12 mil is extra hard to get it right. Yeah. Because anything that's near the. Near edges or whatever just gets. [00:27:37] Speaker A: Yeah. And also flare. Flare is a big problem, isn't it? [00:27:41] Speaker B: Yes. [00:27:42] Speaker A: Ghosting and that sort of thing. Last little bits of lens news, folks. Panasonic dropped a patent application for a retractable macro lens. So it's an. So the lens actually ex. The body extends, not like a zoom, but actually to. To create the. The spacing between the elements inside. It's really weird. Yeah. So it. I. I don't understand what the logic is behind that. Why would you introduce more moving parts? But, yes, a retractable macro. [00:28:19] Speaker B: Is it just like, you know how, like old school extension tubes, kind of like. It's extension tubes that you can. That are built into the lens that you can extend and retract for portability or for adjustability of the magnification. I don't know. [00:28:38] Speaker A: According to this, the patent describes a lens with a ring that allows switching between collapsible normal and macro modes, improving storage and portability. But looking at the patent, the lens is tiny anyway. [00:28:54] Speaker B: So it's. Maybe that's the thing they're going for is like how to have a really compact macro lens. [00:29:01] Speaker A: Yeah, maybe. I mean, it is for Panasonic. So it kind of reminds me a bit of the. Some of the earlier Fuji primes. There was a 16 and a 23 and I think the original 56, Greg Carrick will correct me if I'm wrong. And they had clutch switches to go from manual focus to autofocus. So they didn't have, like an AF MF switch. They had like a ring. So the focus ring was a clutch. So you pulled it down and it would lock it into autofocus and then it was the other way around. I think you push it up for autofocus. You pull it back towards the camera to then use manual focus. And once you pulled the clutch back, all of those. You know, the little markings for distance in feet on one side of meters on the other side. Mm. Well, they all appear once you pull the clutch back. So you can do manual. Manual focus on distance. It's pretty cool. [00:29:54] Speaker B: I'll show you. [00:29:56] Speaker A: Oh, oh, not the 56. Thanks, crackers. Definitely the 16 and the 23. The original 1.4s. I had both those lenses when I first got you. [00:30:09] Speaker B: Don't pull this forward and back. You rotate it. See if I can get this to grab focus on it. So the Q3's got macro mode, so at the moment it's in normal shooting mode. Yep, that's macro mode. But see the. [00:30:24] Speaker A: The. [00:30:26] Speaker B: What do you call it? Distance markings change. [00:30:30] Speaker A: That's crazy. [00:30:34] Speaker B: To do your depth field and stuff. Yeah, it's very, very neat. Very mechanical. It's. Yeah, so it's nice. [00:30:40] Speaker A: That's very cool. Very cool. What else we got? Last bit of Lens news, folks. New Brighton Star APO M35F 1.7 aspherical lens is coming for Leica in August, and that's kind of it for the Lens news. Should we perhaps look at some images before we move on to camera news? Or do you want to get the news out of the way? [00:31:08] Speaker B: No, I want to look at some images. [00:31:10] Speaker A: Let's do some images. [00:31:11] Speaker B: Let's have a little break from this crazy news. Yeah. Who we start tonight? Who are we starting with? Chris Nielsen, I believe. [00:31:30] Speaker A: Chris. Chris Nielsen. Hey, Greg. Justin and co. Oh, I love that. [00:31:37] Speaker B: Yeah. [00:31:39] Speaker A: And Nathan just said he just sent you some photos since you were all so kind to me last week. I submitted with the image I submitted. I wanted to send just one more. You can send just one more every week, forever, if you want. We're happy with that, too. This one is at the Old Wharf at Thames, New Zealand. Shot with my D500 and a 16 to 80 with a 15 stop nd and a big bag of rock strapped to my travel tripod. 163 seconds F13 for this one. Yeah. That's magic. [00:32:13] Speaker B: The framing is beautiful. The symmetrical, but they're all just slightly wonky. The old pylons, you know, it's perfectly symmetrical, but they're all just slightly imperfect. [00:32:27] Speaker A: Yeah. [00:32:28] Speaker B: Because they're all leaning in slightly different directions and things. I love that. [00:32:32] Speaker A: Yeah. That's amazing. Well done. [00:32:35] Speaker B: Yeah, that's. And the treatment of it is beautiful as well. [00:32:38] Speaker A: Yeah. Yeah. That's incredible. [00:32:46] Speaker B: Yeah, It's a cracker. What a way to start. Print it. I just start pressing print on the favorite ones. [00:32:56] Speaker A: Great, great image. Who was that? That was Chris Nielsen. Thanks, Chris. Yeah, yeah. Keep them coming. [00:33:01] Speaker B: Yeah. Shot to start the show off. [00:33:04] Speaker A: Yeah. That's incredible. Let's move along. David Skinner. Yeah. [00:33:15] Speaker B: Always be here. [00:33:17] Speaker A: Yeah. Hey, everyone. Last week I had the wonderful company of Brendan Waits, beef up instructor and owner of Cameron photo with not Growth. He gave excellent instruction tuition for photography in his backyard, the Ballerine Peninsula. I shot out a shout out to his podcast with Cam Blake, the Down South Photo Show. We hate those guys. [00:33:38] Speaker B: We love those guys. I actually, I read this when I was transferring and I was like, we need to get him back on the show. [00:33:43] Speaker A: We do. [00:33:44] Speaker B: We should. [00:33:44] Speaker A: We should. [00:33:45] Speaker B: Yeah. We should reach out. I know they're always flat out, but surely one of them, if not both of them would have time to pop on a Monday night. [00:33:53] Speaker A: Very true. Here are some images. If you think you have too many, choose your faves. Cheers, David. Thanks, David. [00:34:00] Speaker B: Let me go through some of these now. I put. I put them all in just because they're. They're a little. Nice little set. Nice little set. Look at that. [00:34:08] Speaker A: Oh, amazing lighting. [00:34:10] Speaker B: Yeah, yeah. Lights on the wharf. [00:34:14] Speaker A: Yeah. [00:34:14] Speaker B: The pier. What would you call that? Pier? Oh, [00:34:25] Speaker A: yeah. That's amazing. Where's that? Did you say where that was? Ocean Grove. I have seen that before. Lucinda just said that's Rod's favorite spot. Rodney Nicholson. [00:34:38] Speaker B: Yep. I can imagine he'd be. [00:34:41] Speaker A: Yeah, yeah. [00:34:42] Speaker B: Be lurking, looking for. For cool photos. [00:34:45] Speaker A: Queenscliff Pier. Yeah. I think I've been there a long time ago, but that's obviously been there for a long time. [00:34:52] Speaker B: Yeah, probably. It doesn't look new. Yeah. I love this. There's just so much going on in this, but it's just framed perfectly. And there's a person back there. Oops. Every time this is going. Okay, look, there's someone back there. [00:35:11] Speaker A: Oh, yeah. [00:35:13] Speaker B: It's like a. A frame at the back of this. It is another scene. [00:35:22] Speaker A: Yeah. [00:35:24] Speaker B: Gosh. [00:35:26] Speaker A: Yeah, it's very cool. Amazing composition. Yeah. [00:35:31] Speaker B: All right. Is there any more? Let Me see one more, two more, three more, four more. Okay. There's actually quite a few more. I should go through them all. Gosh, it looks like it was a fun shoot. [00:35:45] Speaker A: Yeah. Oh, wow, that's clever. [00:35:53] Speaker B: Yeah. Cool crop. [00:35:54] Speaker A: Yeah. And again, it's got that. That serenity and sense of kind of repetition, but it's. Everything's slightly off skew from one another, so it adds character. It's not like perfectly straight pylons. Everyone has a bird. It's. They're crooked. There's, you know. Yeah, that's very cool. [00:36:16] Speaker B: A little bit of space on the right hand side. Or it looks like a bird's ducking under the water maybe. [00:36:23] Speaker A: Yeah. [00:36:24] Speaker B: This one. [00:36:25] Speaker A: Yeah, that's great. [00:36:25] Speaker B: A great set. And I think this is the last one. [00:36:31] Speaker A: Oh, wow. [00:36:33] Speaker B: Beautiful colors. [00:36:34] Speaker A: Oh, look at that. The pastels. Amazing work. [00:36:42] Speaker B: Fun weekend. [00:36:43] Speaker A: Yeah. Gosh, well done. Time well spent. Amazing. [00:36:53] Speaker B: Yeah. Very, very nice. Too nice. I think he might be a little too good. [00:36:58] Speaker A: Yeah. Cut it out. Should we look at one more? [00:37:03] Speaker B: Yeah, definitely. [00:37:05] Speaker A: Let's look at something from Dennis Smith. [00:37:07] Speaker B: We should. I can find him. Hold on. I've lost Dennis's photo. There it is, found. It's a lot of Ds you'll begin to find. We have many D names in tonight's we do episode. [00:37:31] Speaker A: Give me a moment just to take that in. [00:37:33] Speaker B: Bit of a peer theme going on tonight. [00:37:35] Speaker A: It's a bit of a peer theme. Dennis Smith. I'm hard at work on my SALA body of work. Huge arts festival here in South Australia. And one of the themes was jetty. This is my local one, about 10 minutes walk from my house. This is an older image I'm using as inspiration. Under these jetties is where I learned my craft and where I go to practice. It's my safe place. When I look at this, it makes me feel calm. This is a single exposure as all of Dennis's images are moonlight. And very nice new lighting on the jetty. 180 seconds. ISO 100 shot at f 5.6 with the A7R4. [00:38:19] Speaker B: Yeah. [00:38:20] Speaker A: And the crop too. The crop is gorgeous. You don't notice it at first. You don't notice the crop. You just get drawn into it. Stunning. Peace den. Amazing. Dennis. Whoops. Whoops. Oh, who's that? [00:38:35] Speaker B: I think it's just. [00:38:36] Speaker A: Oh, what do you have one job jumping? [00:38:38] Speaker B: Yeah. No, something's going on with my thing tonight. Anyway. Yeah. I was just about to ask this as well. Tweak, but I was like, I don't want to say something Dumb. What is the golden glow in the distance? [00:38:55] Speaker A: On the left? [00:38:56] Speaker B: Yeah. On the left. [00:38:59] Speaker A: Yeah. I'm not sure. Let us know. Dan. [00:39:02] Speaker B: Yeah. What is that? Is that the moon? He said like moonlight, so I'm assuming the moon is up in the sky. [00:39:08] Speaker A: Yeah. Because of the way the shadows are falling. Surely it's up. [00:39:11] Speaker B: So what? [00:39:12] Speaker A: Maybe that's just a city. Not sure. [00:39:22] Speaker B: Yeah, yeah. [00:39:23] Speaker A: Great feedback coming for everyone too. [00:39:25] Speaker B: Yeah, everyone's a fan. We all fan girl. When Dennis puts these out, look at it. Okay. Dennis is saying I'll figure it out. Exactly. So, okay, so it wasn't a silly question. Phil Thompson said maybe a squid boat maybe. Yeah. Three. Yeah. Greg Carrick saying three minutes picks up all sorts of light sources. That's a good word. Could be quite dull. But with three minutes of exposure. [00:39:59] Speaker A: Yeah. Very cool. [00:40:05] Speaker B: Yep. [00:40:05] Speaker A: Wild. Should we take a break from images? [00:40:10] Speaker B: Yeah, yeah, let's, let's. I mean there's not a lot of camera news. [00:40:13] Speaker A: Let's. [00:40:13] Speaker B: What, what do we got? [00:40:15] Speaker A: Let's skip through it a little bit. In terms of camera news, folks. It has been confirmed that the Sony FX5 will launch or, sorry, be announced. Announced July 22. Canon EOS R8 mark two specifications have been leaked. Rumored guests. [00:40:36] Speaker B: Yeah, they've been kicking around for a while too. And there's still rumors that it's going to be a like a retro. Retro inspired design. I'm really concerned that it's going to just look like the cannons that are silver. Remember you remember all the film EOS film cameras from like the 90s and stuff that are just silver where the black was. But other than that, it's not actually like retro like the, the Nikon ZF or whatever where it's a fully different look or like a Fujifilm design with dials and all sorts of stuff. It's just the same camera but with the silver body. I'm really. That would be disappointing, what they're going to do. It would be very disappointing for me because it's like it's just a normal camera, but uglier it's not. [00:41:25] Speaker A: It just looks like every other cat and. [00:41:27] Speaker B: No, it doesn't. It looks like every other can, but uglier because it'll be silver. [00:41:31] Speaker A: True. But I'm in the shape. [00:41:34] Speaker B: It's going to look like this. I'm. I'm really worried that it's going to look like. Like this. Remember these? [00:41:45] Speaker A: Okay. Yep. What is that one? [00:41:49] Speaker B: That's an EOS 300 with a 28 to 90 F4 to 5.6 listen to it. [00:42:00] Speaker A: Does it still work? [00:42:02] Speaker B: I'm sure it does, but yes, as Lucinda says, yucky, yucky. So let's hope if they're going to do a retro design that it's an actual retro design to compete with something like the Nikon ZF and not a 90s inspired change in body color to look like their old 90s film cameras. Please don't do that. [00:42:26] Speaker A: Yep, yep. [00:42:30] Speaker B: Dennis is selling all of his kidneys to get that FX5. Yeah, it looks like. So the FX5. For anyone that isn't sure what we're talking about, it looks like a new, very professional, without being crazy, professional cinematography camera. So the FX3 is one of the most popular cameras right now. It's like the more Cinema orientated a 7S3, same sensor and. And then they released the FX2 some time ago, which I don't know how popular that's been. But the FX5 is going to be. The FX2 I don't think was a jump ahead of the FX3. Whereas the FX5 is going to be a step ahead. You know, beefed up camera compared to the FX3, but not quite as beefed up as the FX6, which I think is the sort of thing that like Bruce shoots with for his sort of big video jobs, which is a beefier, bigger, beefier camera. Yeah. This might be somewhere in between just for anyone, but very much a bit like the zr. [00:43:35] Speaker A: The Nikon. [00:43:36] Speaker B: No, way, way higher level than that. [00:43:39] Speaker A: Oh, way higher. Okay. [00:43:40] Speaker B: Yes. Yeah, yeah. It'll be a lot more expensive and much greater capabilities and image quality. The ZR is almost like entry level cinematography. [00:43:50] Speaker A: Yeah. Okay. [00:43:51] Speaker B: This stuff is sort of multiple steps up from that. I actually don't know what sort of price point it'll be at. Maybe Dennis has got an idea, but I'm guessing it's going to be like 7:10 5, 7:10 12. So I don't even know. I'm just guessing. Yeah. So yeah, the ZR is a toy. It's a good toy, but compared to this sort of stuff, it's a, it's more of like a YouTube, really capable, but not. This is, this is like pro but without being so pro as the Fujifilm. A turn of 55, you know, it's not, it's somewhere. It's more of a. It's a working man's cinematography camera. It's gonna, this thing is gonna shoot a lot of content. This FX5, I would say. [00:44:36] Speaker A: Cool. Video is king. [00:44:39] Speaker B: Yep. [00:44:40] Speaker A: What else? In other news, the Titanium L10, which is made by my brain just went blank. Is that Panasonic Lumix, the L10? Oh yeah, the. The gold. I can't remember what it's called. I have to bring up the article. The gold titanium finish one. They're going to delay shipment because they've discovered that there's a big batch of them have cosmetic errors. So somewhere paint has run or something's gotten scratched in production or whatever it may be. And it's to do with cosmetics. It's not to do with the functioning or the performance or anything like that, but interesting. [00:45:23] Speaker B: Wonderful. Cheap. I'll have one of those. Yeah, send me the. Send me the ding ding. [00:45:28] Speaker A: Yeah, I'm happy to have a defect. [00:45:32] Speaker B: Is this next one, right? Insta360 are looking at doing a micro four thirds camera. Is that going to be like the GoPro one? [00:45:42] Speaker A: Well that's the, that's kind of the rumor from, from what I gathered that. Yeah. To be an interchange. Well, they're not sure if it will definitely be interchangeable lens but there's a lot of rumors flowing around. This one doesn't seem to have an EVF. It's only a 20 megapixel sensor. But you know, people like GoPro and Insta 360 do amazing things with small sensors. It's saying it's an f 1.8 lens which is fixed or interchangeable. If they know what the lens aperture is, then there's. Chances are it's fixed. Yeah. [00:46:16] Speaker B: Yeah. [00:46:16] Speaker A: This. [00:46:17] Speaker B: I don't know. [00:46:18] Speaker A: It's a weird rumor. [00:46:20] Speaker B: Yeah. Is it like. It makes more sense to me that they're just trying to copy GoPro in the same way that the GoPro takes micro four thirds lenses. But it's not a micro four thirds camera. It's not a mic. You know, it's not a micro four thirds sensor in there. It's got a micro four thirds mount and then the normal GoPro sensor or the bigger GoPro sensor. So are they going to do that or are they going to actually put a micro 4/3 sensor in one of their cameras? Which would be crazy. [00:46:48] Speaker A: Yeah. Anyway, stay tuned. We will bring it to you as soon as we know. And in final news here, the, the folks over at Ricoh around it again, they. They're set to release a special edition GR4 celebrating the 30th anniversary of the GR range or the GR1 which was the first one that came out, which was a film camera. [00:47:13] Speaker B: Wow, that's. That's crazy. I wouldn't imagine Ricoh to ever release various models of their GR series that's of the same camera. That's crazy. I shouldn't. It's great. I shouldn't pick on them, but it is. It's just funny. There's always so many like varieties of their G that are available. [00:47:33] Speaker A: Well, the three they had, so they had all the black versions. So they had the two different lenses and then two different filter like that. They had different filters inside them. So there's four of those. Then they brought out a diary edition, a street edition and something else, I can't remember what it was. Another one or two other different editions that were the same camera, just different body finishes, variations, which is. [00:47:57] Speaker B: Yeah, again, it's cool as long as they can keep up with supply. Because that was the issue with the other one. It's like that was the issue, let's have 10 different editions and. And you can't buy any of them. [00:48:06] Speaker A: Yeah, yeah. Stock shortages were notoriously bad, especially here. You know, some of the weights. Some of the retailers here in Australia were like three, four months at least. And that wasn't like from launch, that was like into the life cycle for a bit. So hopefully they find out their production all for them bringing out anniversary editions. I think it's great. You know, actually I shot this article off to a friend of the show alumni, Jason Lau, because he's been doing some work with Ricoh and he just finished a project with the Ricoh GR space in Brisbane, which is their retail space, and Alpaca, because Alpaca have just released a special Ricoh GR Space bag, their first proper camera bag, as part of that launch. So anyway, I sent this to Jason Lau saying, hey, there's another one coming. And we were chatting about and he's offered to lend me one a GR4. [00:49:00] Speaker B: So I have my pick, get hooked into that. [00:49:03] Speaker A: I have my pick of either the full color or the monochrome. So yeah, I think I might go the monochrome. I might go to monochrome. We'll do a review for Lucky Straps and we'll talk about it on the show. Yeah, but look how excited you are. [00:49:19] Speaker B: I love it. Also though, also, don't tell him I said this, but do you think it's weird for Alpaca to do a collaboration on their first camera bag for a camera that arguably does not need a camera bag, like it's small enough to go in a pocket. It's one of the least camera bag type cameras that I could imagine. It's just funny, you know, it doesn't have interchangeable lenses. It's Got no accessories really. And the lens retracts so it is absolutely tiny and light. Yeah, it's funny. Yeah. [00:49:56] Speaker A: Yeah, it is funny. [00:49:57] Speaker B: We've released our first camera bag. It's. It's like a snap lock sandwich bag that just fits the vkj. It's waterproof. Waterproof, yeah. [00:50:06] Speaker A: You can even fit a couple of spare batteries in there. Although I will say I've seen a lot of people who love to bling their GRs like they do with other cameras, you know, like, especially with Fujis and cameras like that. [00:50:18] Speaker B: Crazy. [00:50:18] Speaker A: Yeah, we love a bit of bling, but I have seen quite a few nice GRs with. With optional extras added. So. Yeah, anyway, we'll stay tuned for that. I'm going to chat to Jason. [00:50:30] Speaker B: Nice. [00:50:30] Speaker A: So we can go. That's it for camera news. Final few bits of random news. Can you bring this up? I think this is fun. Benny is a cute autonomous camera robot on wheels. So you know, we've seen drones. Drones are so yesterday. Why would you get a drone when you can get a Benny? That was your cue to bring it up. Your time. [00:50:57] Speaker B: I'm working on it. I'm working on it. But it's like I'm also sitting here going, how big is it? What is this thing? [00:51:06] Speaker A: So it's a. It's basically they've taken a Star wars droid. They've. They've strapped some cameras to it and there's a video there. Which one? That girl. That one where it chases the girlfriend upskirt. It's terrible video. [00:51:21] Speaker B: Well, she's wearing shorts. [00:51:24] Speaker A: But there's Benny. All right, so he's a little. [00:51:28] Speaker B: Right. [00:51:29] Speaker A: So it just gives you a different field of view. [00:51:32] Speaker B: He can't do that. Can he do that? [00:51:34] Speaker A: Of course he can do that. Why wouldn't he be able to do that? Look at him. He was made by George Lucas. This is an AI ad at all. [00:51:45] Speaker B: Oh dear. [00:51:48] Speaker A: So stay tuned, folks. Flight drones are so yesterday. Now you get a robot that can follow you around at ground level. [00:51:58] Speaker B: Hang on. This is a real thing. It's a Kickstarter. [00:52:01] Speaker A: It is, yeah. [00:52:02] Speaker B: 499 on Kickstarter with early bird discounts. Hey, I don't want to poo poo this. I hope they bring it to life, but I would not back that. Unless. Unless you like donating to cool stuff and you don't mind if you get. If you get the thing. [00:52:22] Speaker A: It comes with accessories. Look, you can get hats for it. [00:52:26] Speaker B: You get different hats. But. Did you order one, Greg? [00:52:30] Speaker A: I might have. I Might have backed it. [00:52:34] Speaker B: I mean, I hope they can bring it to life, but I wouldn't be, I wouldn't be waiting for mine. I wouldn't be waiting at the post office for my life. [00:52:42] Speaker A: You know, as a, as a, as a kid of the 70s, this is like, this is like they finally fulfilled their promise. You know, like they said that we would have flying cars by now. Well, we don't quite, you know, and they said that we'd all be, you know, using jet packs to get to the office. And that didn't happen. No. But we've got Star wars like droids following us around recording everything. So pretty cool with that. [00:53:05] Speaker B: We've got a Kickstarter promising Star wars like droids for us around. [00:53:09] Speaker A: It'll happen. Someone will do it eventually. [00:53:11] Speaker B: I mean, it's not that far off. A robot vacuum cleaner that we've already got. I don't have one. One's just on the end of a stick and I pull the thing. [00:53:18] Speaker A: But yeah, same. Anyway, I thought it was cute. [00:53:25] Speaker B: Yeah, you should order one. [00:53:30] Speaker A: Yeah, not quite, not quite over the days of Jetsons. You know, we watched the Jetsons the other night. Phil. Phil Thompson's just dropped a comment saying, oh, for the days of the Jetsons. Does anyone else remember the Jetsons? I was watching it the other day. My God. It's terribly sexist. And anyway, it didn't age well. [00:53:49] Speaker B: It is funny. That's what all that, isn't it? I'm sure. What did I put on the other day? It come up on YouTube like Looney Tunes and stuff. Like it's all. Yeah, yeah, it's all. It's great. It's just a bit of cringe. [00:54:02] Speaker A: Yep. [00:54:03] Speaker B: Yeah. [00:54:03] Speaker A: And the final bit of news, the 110 film market. So we've talked about 110 film cameras before. They're the little cassette style, the kind of a flat looking camera. Do you want to bring this one up, Jay? [00:54:15] Speaker B: Yeah. [00:54:17] Speaker A: Because this was the very first camera I shot with was a 110. My nan gave it to me. I don't know whether it was a gift or I borrowed it. Got a feeling it was a Disney themed one because she'd gone to Disneyland. Her sister lived in the States. Long gone now, but two new film stocks coming out for 110. [00:54:37] Speaker B: Yeah. And there's, there's next to nothing. Did lomo make make 110? Who's. Who is the person making 110 now, I think. Oh yeah, here we go. Exclusive available from Lomography for the last 15 years. And they sell a 110 camera as well, or a variety of 110 cameras. Yeah, but, yeah, it's. It's. I mean, it's cool to see someone else throwing in some. Yeah, some stuff, yeah. Wow. [00:55:08] Speaker A: Kind of makes me want to pick one up again. [00:55:10] Speaker B: Does. Doesn't really make me want one, really. [00:55:16] Speaker A: I guess you don't have that same nostalgia I have. [00:55:19] Speaker B: No. But, yeah, I mean, it. More is always better when it comes to companies producing film. So I think that's great news. [00:55:34] Speaker A: Yeah. But there will be. There'll be, you know, a clique of individuals who still love shooting 110 film. I think this is good. [00:55:44] Speaker B: Phil Thompson says, I used to sell Hanom X110s in Myers back in the 70s, and John Pickett had one of those. He probably bought it off Phil. [00:55:54] Speaker A: That's where my nan got it. [00:55:56] Speaker B: Bruce Moyle says hi. All popping in real late because shoots and things. Can you start from the beginning so I can comment? Okay, everyone, let's roll back to the start of the show. No, Bruce, all we really need to know from you is are you getting an FX5? And how much do you think it'll cost? That's all I want to know. [00:56:19] Speaker A: Yeah. [00:56:20] Speaker B: Paul says first camera purchase was 110. But does anyone sell the cassettes for the Kodak instamatics from the 70s? Were they 120 or 126s? [00:56:29] Speaker A: I don't know. [00:56:31] Speaker B: I don't know. That's outside of my skill set. [00:56:37] Speaker A: And so that's the end of the news, folks. There is no more. Well, that's the end of that news. [00:56:42] Speaker B: There is no more. Well, does that bring us to. Oh, let's. Let's look at a couple more photos first, and then we've got to get onto your news and your news. Yeah, and my news. One two six s, Paul. They're one two six s. Oh, there you go. Kodak Instrument 126. Yeah. David Leporati's all over it as well. Oh, Bruce, you're not sure atm. Yeah, yeah, yeah. Okay. [00:57:16] Speaker A: Very cool. All right, let's look at some of David Leporardi's images while he's in the chat. Good to see you here, David. I'll start reading. [00:57:24] Speaker B: Yeah. Okay. [00:57:25] Speaker A: Hi, Justin, Greg and everyone. Please find attached infrared images following on from last week's chat. I thought a visual of the workflow would be a little easier to understand. So is that image one. Image one. Examples of infrared. He did it again. Examples of infrared filter options. Image from Rob Shea's book Color Doesn't Exist. A Practical Guide to Infrared. Might need to look for that, Joe. [00:57:56] Speaker B: Yeah, yeah, I need it flange or clip in. [00:58:00] Speaker A: So they go over the sensor inside the body, don't they? [00:58:03] Speaker B: Yeah, yep. And that's the sort that I'm going to get when I get mine converted. So they'll sit between the sensor and the rear element of the lens. [00:58:10] Speaker A: Yeah. [00:58:10] Speaker B: So they're protected. And it means I can then put a. What's it called? Hot mirror cut filter. But in one of. It'll look like one of these and it's essentially replaces the filter that gets taken out in the convert in the full spectrum conversion. So essentially dropping one of these in brings it back to being a normal camera, this light camera. And then drop one of these other ones in and it'll filter it to, you know, 850, 720, 590 or whatever. Yeah, that's right. UV, IR cut. This one. David Leporati saying that one. [00:58:47] Speaker A: Yeah. [00:58:47] Speaker B: So that, that will bring it back to being a. Essentially a normal camera for me. So I can still use it as my second camera, hopefully, and a backup and stuff like that. But it can also be. Yeah, full spectrum. [00:59:01] Speaker A: Yeah. Amazing. Okay, image two. This is a comparison between a Canon 680Nm. What does that stand for again? [00:59:14] Speaker B: Nanometers. [00:59:15] Speaker A: Nanometers, maybe on the Fujifilm 590 nanometer. Raw plus color invert swap images previously shown. Oh, okay. [00:59:26] Speaker B: Wow. [00:59:27] Speaker A: Yeah. [00:59:28] Speaker B: So the two on the left are out of camera temp slider over to the left. Hang on. Okay. Yeah. RAW plus color invert swap images previously shown. So that's the difference. The top left is 680 nanometers. The bottom left is a Fujifilm, but at 580. And that's just the difference in those two wavelengths. On the right hand side is the difference in. After their channel swapped. And Greg Carrick says that's a set from the Jetsons. [01:00:04] Speaker A: Yeah. How cool is that location? [01:00:07] Speaker B: Yeah. All right, image number three is a. [01:00:13] Speaker A: Sorry, image number three. Yeah. Image number three is an infrared image workflow series in acr. Lightroom and ACR do not recognize infrared images. Step one, white balance in camera temp slider over to the left. Moving the temp slider to the right increases the red color. Step two, custom white balance in camera temp slider over to the left. Moving the temp slider to the right increases the red color again. [01:00:52] Speaker B: Okay, just trying to roll over to image three. There we go. [01:00:57] Speaker A: Okay, step three, change default camera profile to a AI Camera profile. I have several options. Requires Adobe DNG profile editor to create a profile. That's number three. Step four. Depending on which IR profile you used, the temp and tint sliders are available for adjustments. [01:01:21] Speaker B: Okay, let me go back over here. Number five. [01:01:27] Speaker A: Yep. Use the White Balance eyedropper tool to select clouds, temp and tint slider. Adjust accordingly. [01:01:36] Speaker B: Okay. White bounce off clouds. [01:01:43] Speaker A: Huh. Balance. Step six. Yep. Select a LUT LUT for the required effect, channel, mixer, invert, etc. And then over to step seven. Once the LUT has been added, the color slides are reversed. For example, temp slider to the left is blue. Adds yellow to the image. So everything swapped around. [01:02:10] Speaker B: Oh, my gosh. That will blow my head. I was following up until about step six. Then I'm like, all right. [01:02:17] Speaker A: Yeah, I'm a bit lost. The final step, step eight, refine the image. Look, using color mixer saturation, et cetera. And the color mixer sliders are reversed as well. [01:02:30] Speaker B: Wow. It's gonna be fun to play with this stuff. [01:02:34] Speaker A: Yeah. And then finally, image four. So not these. Yep. Separate image, color and black and white comparison. The camera used was the Fujifilm XE2 converted to 590Nm and a Nikon 20F 2.8 lens on a kip on tilt shift adapter. The exposure equals aperture priority of F8 at 1.3/20 of a second. ISO 200. Look what it does with the contrast. [01:03:07] Speaker B: Yeah. And normally, like, it's the black and whites that normally make me really excited to get my camera converted, but for this particular scene, I love the color because of the crazy, like, chromy looking, like, building and those. And that foliage. It just. Yeah, it looks. Just looks futuristic. [01:03:27] Speaker A: Yeah. [01:03:28] Speaker B: Bruce, you should Definitely get your 5D Mark III converted, and then we can. We can experiment together. Thank you, David, for continuing. David, amazing to educate us, number one, but also keep me excited about getting my camera converted. [01:03:50] Speaker A: It's got to do it, Jay. [01:03:51] Speaker B: It's you. I know, but it's. It's been put on the back burner for the reason. For the reason that, you know, that no one else knows yet. That we'll talk about soon on the show. All right. If anyone can guess why I can't get my camera converted for a little bit. [01:04:05] Speaker A: Does anyone know what Justin is up to? Yeah. [01:04:10] Speaker B: David Liberati says a mirrorless conversion is better as what you see is what you get. Yeah, that'll definitely help speed up the learning curve for sure. [01:04:17] Speaker A: Yep. Amazing. Great work. Great, great work. Who we got next Chat. We got Greg Crackers Carrick, the one and only. [01:04:27] Speaker B: Where is he? Here he is. [01:04:29] Speaker A: Hardjacker. He calls this image perfectly named Lilydale Show Wood chop competition. I used to love watching Woodchop as a kid at the show. Let's go to the Melbourne show. And then I went and saw it at in Dalesford once. They had like a Main Street. I think it was like their Christmas kind of carnival thing. And they had wood choppers. It was amazing. Sorry, I got distracted. Back in my Nikon days before I saw the light. Nikon D5200 with a Tamron 18 to 270 lens at 55 shot at 112 50th of a second. ISO 405. [01:05:10] Speaker B: I was gonna mention that Crackers because I was surprised it was in focus with the guy swimming in the axe and stuff. But then obviously it wasn't when you would switch to Fujifilm, so that makes more sense. What? [01:05:22] Speaker A: Ella. [01:05:25] Speaker B: Just kidding. Just kidding. Whatever. Even some Fujifilm people say that the focus is just a little tricky. A little tricky. Yeah. Gotta know what you're doing. [01:05:37] Speaker A: Absolutely. [01:05:38] Speaker B: Although your skate park photos always seem to be pretty tack sharp. [01:05:43] Speaker A: Yeah, but I only show you the ones that work. I mean there's often ones that just don't. [01:05:47] Speaker B: There's 900 before that. Before you're like, damn it, stupid. No, I'm sure. [01:05:52] Speaker A: Actually. And I went out for a quick walk in the city today and I didn't go far from Flinders street because there was so much good light and good activity there. But you know, I came across a few when I went through the images just before we jumped on Live here where. Yeah, focus on the subject was missed. It went to the background. But the person, it doesn't like surprises. The person was moving past me pretty quick. I was turning at the same time to lift my camera because I could see this person in my peripheral. You know, there's just that mismatch. But I, you know, I ended up editing the out of focus images because they kind of work. [01:06:26] Speaker B: Oh, nice. [01:06:27] Speaker A: You know, happy accidents, but amazing image, Greg. And I love the square crop. [01:06:34] Speaker B: Yeah, black and white. It's nice. Very cool. I love the expression on his face and the wood chips just flying. [01:06:41] Speaker A: Yeah. Yeah. It's got lovely detail. [01:06:46] Speaker B: Yeah. Yep. Phil Thompson says character expression. And action. Well done. [01:06:52] Speaker A: Great. [01:06:53] Speaker B: And Jason says, is that one of the o' Toole family? Aren't they every competitive wood chopper in the country? Yeah, probably. And a few guesses coming in about why I can't convert my Camera yet, Dennis says, I reckon Justin's decided to join a monastery in the foothills of the himalayas, taking a 13 year vow of silence. There is a strict no infrared camera policy. Could be. [01:07:18] Speaker A: I've heard that too. Yeah, good guess. They're notorious for their bigotry towards infrared. [01:07:23] Speaker B: Yes. And Bruce has said Justin's decided to sell his 50 mil and just use 12 mil from now on. Yeah, well, good guess, But yeah, Bruce makes a good point. Shooting a wood chopping compound. Like if you, if you hung around for the day, you would get some epic shots, you would most definitely want to wear protection because we'll. [01:07:49] Speaker A: Yeah. [01:07:50] Speaker B: So I went to the Benio show this October. Just gone or whatever last year with my nephew. There was wood shopping there. Just, just normal wood shopping. I didn't take any photos, I don't think, but like we were getting wood chips flying at us and we were standing behind the, the fence, the roped off area. Like they go a long way. So if you were gonna shoot, you'd want to have some. Definitely have some eye protection. Probably some gloves too. Maybe a filter on your camera. [01:08:18] Speaker A: Yeah. And a Perspex housing around you and the camera. [01:08:22] Speaker B: Well, maybe that'd be good. One of those bubble balls that I took photos of my nephew in at the show that they. [01:08:27] Speaker A: Oh, yeah, there you go. Perfect circle. [01:08:30] Speaker B: Lucinda says I can't convert my camera because I bought a Leica. Good guess. [01:08:38] Speaker A: That wouldn't be surprising. Listen to that would be. If you, if that was, if that was the situation, then you would be. Yeah, you'd be spot on. But it's not the other thing I love about wood chopping. I remember when I used to go to the Royal Melbourne show, used to be in September, I think, anyway, and they would have like a tall log and they would have to like chop so they could wedge in planks, like thick cuts of wood and then they'd climb up to go higher and higher and higher. That was part of the competition that they're almost like building steps into this massive log that was going up. [01:09:14] Speaker B: That's crazy. [01:09:15] Speaker A: Yeah, it was really cool. [01:09:17] Speaker B: Wow. [01:09:18] Speaker A: Really cool. But yeah, it'd be great to photograph again because, you know, you've got, you've got huge amount of expression coming off your subjects. You've got moving parts, you've got an interesting subject. So, yeah, highly recommend. [01:09:34] Speaker B: Print it, print it, print it. Do we do one more? You want to talk about your news? [01:09:40] Speaker A: No, let's talk about, let's look at Paul's. Paul Carpenter's image. [01:09:45] Speaker B: Where is It. [01:09:46] Speaker A: G'. Day. Justin and Greg, here are two variations of the same image which I captured an air show in the UK last month. The aircraft are the Royal Air Force's aerobatic team, the Red Arrows. And this move involves the seven aircraft splitting into two groups and heading straight for each other. Yeah, that's just stupid images captured on the R5 with the 100 to 500 at 159 mil F5, 1/8,000th of a second and ISO 320. [01:10:20] Speaker B: Yeah, that's crazy. I can't believe this planes did doing that. [01:10:27] Speaker A: Have you seen the incock. You know, there's the. What's the American one? The blue something. They Blue Angels. [01:10:34] Speaker B: Yeah. [01:10:34] Speaker A: And you. They. They have like GoPros in. In their cockpits. [01:10:38] Speaker B: Joe McNally went in the cockpit with them. You know the photographer Joe McNally. [01:10:42] Speaker A: Oh, wow. [01:10:43] Speaker B: He. He went. He got to take photos in the cockpit. I think that's one of his sort of career highlights. We've got to get him on. [01:10:49] Speaker A: Yeah, yeah, okay. But they had these. They have cameras set up and you see how, like when they invert and they're flying, you know, upside down. It's just crazy how close they are to one another. [01:11:01] Speaker B: Yeah. [01:11:02] Speaker A: And have you ever seen their training videos? They sit in their flight prep room around a big board table, and they've all got their eyes closed and they're. And the. The lead guy, the lead angel, he's calling out the moves and they're all sitting there with their eyes closed and their hands are moving as they. As they're, you know, going through the. The motion of what they have to do to. To make that move work. [01:11:25] Speaker B: Yeah, crazy. Fully just imprinted in their brain, locked in perfectly. Do you think that the. The boss of. Of them, of that whole squadron comes over on the radio at that boardroom table and says, good morning, Angels. [01:11:44] Speaker A: Such a. Okay. Anyway, I tracked one group in the viewfinder and then started shooting as I saw the other group appear in my peripheral vision. What a great challenge. Was a great challenge. Interested to see which one you prefer? [01:12:00] Speaker B: That's the other one. [01:12:02] Speaker A: Can we go back? This one, I think I like that one better because you can see all seven. That one, that one at the back is slightly obscured by this by the smoke trail. [01:12:14] Speaker B: Yeah, the. The spacing in this one is quite cool. Yeah, I think. Yeah, I, I think it's. Yeah, I think that one, the first one that we brought up, it's very clean. It looks like a poster. Print it. Wondering. Print it. That has you wondering how they were able to get through without crashing. Like, it's got my eye looking at the. Trying to figure out the lines of everything. This one is a bit more chaotic. And then you're. Because you're sort of. The illusion disappears because of the smoke. Yeah, that plane. You're like, oh, yeah, okay, I see what's happened here. And that illusion gets shattered a little bit. You know that it was a stunt. That was obviously. Whereas this one, you're almost like, hang on, is this Photoshop or something? Like, it's so clean. What. What's happening? That's me. [01:13:13] Speaker A: Anyway, no, I think this is really, really cool. [01:13:16] Speaker B: Oh, gosh, it's. [01:13:17] Speaker A: Where'd you go? [01:13:19] Speaker B: It just keeps flickering between everybody's shots. [01:13:21] Speaker A: Anyway, amazing, amazing work as always, Paul. Thank you for sending those through. Should we talk some personal news? [01:13:30] Speaker B: Yeah, I can't. [01:13:32] Speaker A: Well, the re. The reality is, Justin, I. Justin and I are expecting. We've been trying to keep this quiet for some time. So, yes, I have some news. I'm not really. I'm not really in the headspace. I'm not really prepared, but any of you that follow me on social media, and if you don't. [01:13:55] Speaker B: Why not? [01:13:57] Speaker A: Well, I've seen. In the last couple of days, I've. I've released a barrage of images for a couple of different reasons. One is that I really needed to desperately update my Instagram account. I've been shamefully slack on putting my street photography work on my Instagram. And so I've been sending out lots of images and I thank everyone for their amazing, lovely, warm feedback and encouragement. The other reason why I'm doing that, not just to bring everything up to date, is because effective today, I have just launched a new arm of my business and it's called a street level Photography workshops. And I'll be running. [01:14:31] Speaker B: Cool name. [01:14:32] Speaker A: Why, thank you, sir. [01:14:34] Speaker B: Did you come up with that? [01:14:35] Speaker A: I did, I did. I mean, it's so hard to find original names for things like that these days, you know, because it's just everywhere. Anyway, still falls under my business, but it's. It's just street level photography workshops. So I'll be running street photography workshops in the city of Melbourne, predominantly in the cbd. And Jay, do you mind bringing up my website? [01:15:00] Speaker B: I do. [01:15:01] Speaker A: So good. [01:15:02] Speaker B: No, Greg. Or should I Google? Should I try Googling street level photography workshops, see what comes up. [01:15:10] Speaker A: Yeah, you go for it, big guy. [01:15:13] Speaker B: Hang on, where are we? Share. Add to stage. There we go. Oh, yeah, it's right here. Up the top. Click on. [01:15:24] Speaker A: Yeah, click on that. So yeah, I'm launching. This is the first time I've done, I mean I've done workshops for people, I've done workshops for camera groups, small groups, done lots of solo walks with people. But you know, I need to diversify. Like we've been saying, I've got expensive hobbies, not quite as expensive as Justin's hobbies, but they're still up there and, and so I decided to put my money where my mouth is. I've talked a lot over the years about photography education. I've wrote, written hundreds of education articles for Shotkit and other websites and obviously the work that I do here for Lucky straps and the camera life. And I thought, you know what, I'm going to bring those two things together. I love teaching people skills, especially around photography because it's something I'm so passionate about. Obviously I thought, you know what, I'm going to run workshops, they're paid workshops, each workshop. So basically there's the two main workshops I've put out at the moment I've got small group workshops for four people and me and they'll be conducted in Melbourne in the CBD three hour workshop and includes obviously tuition and guidance and support and education about how I approach street photography, some street photography practices and exercises and challenges as well as talking a little bit about the post, the post walk, you know, what do you do now, what do you do with your images, how do you edit them, those sorts of things. And then the second workshop I'm running is the solo define your own style workshop. So it's a one on one workshop with me again it's three hours plus a one hour mentoring session to take place days after the walk to talk about editing and curating a collection of images and those sorts of things. But yeah, really, really focusing on that street level. See the city that you've always seen but see it differently kind of thing. So, you know, and I've designed these workshops really to suit anybody with any level of gear. If you show up with an iPhone, I really don't care. It's more about the mindfulness of the process. It's about looking for the light, looking for the compositions, the subjects and how all those elements come together. What camera you have in your hand really is. It's just the final part of the process. So yeah, so they're launching, they're now live. So if you can head to my website, it's gregchromy blog, it's that simple. And there's a page for street level photography workshops I'm also planning some other workshops. You mentioned my skating images earlier. This one here is a Prahran South Yarra Windsor workshop. Got a bit of an urban exploration which can include. Will include the Pran Skate and Basketball park, where I've done a lot of work, especially over the summer. Previous summer that's just passed. Those aren't ready to book yet. I'm just going to start with the Melbourne CBD ones and I'm also looking at doing some other stuff. I. I think eventually I'll offer one on one mentoring. Regardless of the genre. I'm looking at doing maybe a street photography, not a walk, but a street photography workshop for mobility impaired folk and doing that from somewhere in Melbourne that's obviously accessible for people with mobility impairment, but gives us enough play space that I can actually, you know, support people and teach them some skills around that. And eventually I'd like to do school groups and that sort of stuff, but they're all down the track. So. Yeah, that's my big news today. [01:19:00] Speaker B: It's exciting. [01:19:01] Speaker A: I'm going to run workshops. Jay. Yeah, you got it. [01:19:04] Speaker B: They're up. They're ready to go. [01:19:06] Speaker A: They're ready to go. In fact, if you click on the small group, the orange button there, click on that, that should take you. Or open up a new tab. Actually, it will. [01:19:17] Speaker B: Oh, yeah, sorry, I got to do that one. [01:19:20] Speaker A: Yep, yeah, sorry. And it goes to Try Booking. So I've decided to use Try Booking because then they manage all of the transactional elements of. Of booking a workshop with someone and that way it keeps it safe for everybody else and me to make sure that it's all managed effectively and, you know, ticket numbers and all those sorts of things can be controlled through that website. So for Camera Life, Camera Life podcast viewers, I've got a bit of a deal on offer. [01:19:48] Speaker B: Use Code Justin. If you use Code Justin, you'll save 90%, Justin. [01:19:54] Speaker A: Oh, 90%. Wow. [01:19:56] Speaker B: Yeah. My codes are real. [01:19:58] Speaker A: Yeah. Yeah. But no wonder I hadn't gone to Japan yet. Anyway, for Camera Life podcast viewers, many of which follow me on social media, which is amazing and I've received amazing level of support and messages and well wishes and congratulations from, from my community, which is, you know, largely our community here, and it's just been. It's been very humbling. I've had a lot of anxiety about this leading up to it and, and I have to say, two people that I have to thank. First and foremost is Sasha, my partner. She's amazing and has, you know, supported me as I Explore my craft and. But also she's been a huge, you know, obviously a huge support through my, my recovery, through my neck surgery and, and all that sort of stuff too. So love it to death. And amazing what she's done for me. And then you, Justin, you've been an amazing mentor and support. Yeah, you, you big dork. But no, you've been incredible support and you've been encouraging and you know, I think the other day I was umming and arring about stuff and you kind of said, look, you just got to do it, just do it. What's the worst that can happen? Exactly. And that, that really resonated with me and I went, you know what? I'm. I know what, I know my stuff, I know what I'm doing. I've run workshops before. The difference is, is now that I'm asking people to support me financially to learn what it is that I do. And so here we are, folks. [01:21:26] Speaker B: And, and so how do, how do the Camera Life people get their special deal? [01:21:30] Speaker A: Sorry, Yes, I got sidetracked. So when you go to the booking, you can add code tlc. Not for tending, Love of care, Tender loving care. It's for the Camera Life TLC for the Camera Life and 15% discount for anyone that makes a booking either on a group or a solo workshop for the month of August. And there's plenty of dates available and there's four or five dates, I think, for August, Saturday mornings, 9am and also then the solos will be every second Saturday in the afternoon, all in the CBD at this stage. However, if you know, if you've got a small group and you want to do a different time or you want to organize a special event, then you can just reach out to me either through my email or my socials or on my website. There is a contact form in which you can make inquiries and we can organize whatever it is that you think you might want. If you want to do something different with your group, go to the Docklands or go to St Kilda or whatever, it may be always open to being flexible with that sort of stuff. But for now, these are the stock standards that I've put up. So, yeah, there you go. [01:22:50] Speaker B: I think the one thing that you haven't mentioned too. So obviously there's two. I see this, there's two lots of people, or there's probably many types of people that would enjoy these workshops, but there's two. And the one that you haven't really spoken much about is the non Melburnian. [01:23:05] Speaker A: Yes. [01:23:06] Speaker B: This is not just A street food photography workshop for the non Melbournian. This is a guide to Melbourne from someone that's been living in Melbourne for a very long time, knows about history, food, great places to visit, like it's coffee. Coffee. It's almost like a walking tour combined with street photography tour that might even be great for someone who lives near Melbourne, but especially valuable for someone that's visiting Melbourne from, you know, another city in Australia or potentially even overseas. I think, if you can. If we can figure out a way to get the word out in that way. [01:23:44] Speaker A: Yeah, absolutely. [01:23:45] Speaker B: Someone visiting Melbourne for a week to do this, to get like the lay of the land of the city and, you know, what it's like and where all the cool places to eat and drink and all that stuff are and do some street photography and just get immersed in the culture of Melbourne. [01:24:00] Speaker A: So that's absolutely. And, you know, most of the, most of the routes that I've mapped, depending on the time of day, the light, all that sort of stuff, it takes you right through Melbourne, cbd, around some of the art precinct of, you know, South Bank, north bank of the. Of the river. You've got Fed Square, you've got a lot of historic, historic buildings and architecture as backdrops, as well as having a cosmopolitan, bustling city right before your eyes. The other, the other thing that I think this sort of workshop would be good for people that are thinking of going overseas to a new destination for the first time, a big city, and they want to make the most of their photography there. And by taking on this sort of workshop. Yeah, practice at home. With this sort of workshop, I can run you through all the core elements of good street photography, but also help you to define your style and break all of those rules. The beauty of street photography is that you just pretty much do it for you. You know, you might show images to friends and, you know, we share images here, which is amazing and we're a safe community. But more often than not, most of my street images people never see because I just take a lot of pleasure in the process, in the mindfulness, the exploring the streets, the being out and about upright on my feet, not sitting at home feeling sorry for myself for whatever reason. You know, it's, it's, it's a really mindful exercise that has an artistic outcome to it and I want to show other people how beneficial that can be, how great that can be for your overall photographic skills, regardless of what genre you shoot or what level you're at. If you've never shot street photography or You've come back from a holiday and think, oh, really not happy with these images and you want to elevate your game, then that's what this is for. So, yeah, that's what's happening. So if anyone's got any worries, please reach out, let me know. All the information is there on gregchromy Blog and that's obviously also my blog site where I'll be putting regular updates about, you know, what I'm doing, what I've been doing, what's coming up for the street photography business. And yeah, and once again, just thank you to everyone. The support and praise has been overwhelmingly amazing. So thank you. [01:26:23] Speaker B: Love it. I won't read out everyone's comments, but there's lots of great comments in there. [01:26:28] Speaker A: Yeah, thanks guys. [01:26:29] Speaker B: Yeah, from everybody. Dennis says the website's super clear, awesome, that it doesn't matter what the gear is and everyone's just very, very positive. You can use Code Justin to pay 10% more, he gets his cut. Yeah, lots of great comments, but I won't read them all out because we need to keep on rolling because it's [01:26:48] Speaker A: almost, it is almost 9 o'. Clock. [01:26:50] Speaker B: A heap more images to look through. Plus my images, plus what's come out of the printer, plus my big news that no one's been able to guess yet. [01:26:59] Speaker A: We've run out of time for that now. Thank you everybody. [01:27:01] Speaker B: This has been the demo and good night. Let's do a couple more. We'll do a couple more images, but I'll throw out another hint. So why, why, why can't I get a camera converted yet? Can anyone guess? The hint is I'm going on a bucket list photography trip. Can you guess where it is? Okay, should we have a look at an image? David Mascara has sent one in. [01:27:37] Speaker A: Yeah, let's look at David's image. Let me just go back to the running sheet. So many Davids. You're right, there are no, it was [01:27:45] Speaker B: a very David heavy show. Just nd in general. [01:27:48] Speaker A: What did they love? Let's move on from that. So. Hi guys. So my daughter and I did a road trip two weeks ago that started for her in Oregon, then to the Bay Area, then we drove to Taos. T, A, O S. Is that how you pronounce that one, do you think? Tao. Taos in New Mexico and then back through Arizona and back up to the Bay Area. Wow, what a trip. That'd be amazing. This was a 10 day road trip total. Quick history here. I am of Selena, Indian descent, California Mission Indians. So Native Americans Nothing as awesome as being Apache or Navajo, et cetera. Those are much bigger tribes with much more interesting history, but none of the. But nonetheless very proud to be Native American. So my intent was that I would try and get as many portraits as I could have of other tribes people and their stories, but not so. I swear I never felt so guilty of carrying a camera onto a reservation, seeing how they lived. Some stories I heard and then to try and ask for portraits, I just couldn't do it. Long story short, the only portrait I did was of a cowboy in a coffee shop with his wife and. And a few of my daughter. Anyways, this was taken with the 68 year old Nikon SP rangefinder and Trix. [01:29:09] Speaker B: Wow. [01:29:11] Speaker A: Gosh, that's beautiful, isn't it? [01:29:13] Speaker B: Yeah. [01:29:15] Speaker A: Gosh, that's almost cinematic. No meter. So I just opened to 2.8 at 1 25th and hope for the best. You guys have a great show and take care. Thank you so much, David, and thank you so much for sharing more of your story with us. We appreciate you sharing that and being brave and, and letting us know, but this image is just magic. [01:29:38] Speaker B: Yeah, it's, it's. And it's such a. It's. Yeah. That knowing that position that you were in and what. That we can only try to imagine what that might have felt like. It would be so tough and it. And especially since, you know, of all people you would be, you know, you're a master of street portraits and getting to know people. But. Yeah. [01:30:01] Speaker A: Yeah. And I think that's a really important distinction to decide to put your camera down. That it. Now's not the time. [01:30:09] Speaker B: Yeah. Yeah. [01:30:11] Speaker A: You know, I think that shows great maturity as an artist. Yeah. [01:30:14] Speaker B: Yeah. If it doesn't feel right, it doesn't feel right. [01:30:16] Speaker A: Yeah. [01:30:17] Speaker B: But that's always a tough one to know, to know whether it. Does it not feel right or am I, you know, am I sort of in a position of being a bit scared? But someone like David's got the experience to know the difference between those two different feelings, you know, Whereas sometimes I'm just worried about taking a photo and it's more of a. Just in my own head, you know, rather than reading that. Reading the situation. [01:30:43] Speaker A: Yeah, yeah. [01:30:44] Speaker B: And that takes experience. [01:30:47] Speaker A: Yep. Life experience. David too. [01:30:50] Speaker B: Yeah. [01:30:53] Speaker A: Amazing. [01:30:54] Speaker B: Should we do John Latimer? [01:30:55] Speaker A: Yes, do another John Latimer. Hey, guys. Another week of traveling for events. This week at Darling harbor in Sydney. Was wandering the city looking to do some long exposure shots around the maritime museum of the tall ships. But shots were average. Nothing Special wandering back, feeling like I got nothing good for the night. Came across this man busking. Unbelievably talented finger guitarist from Japan. Not a street photographer. So see, if you did my workshop, you could. Not a street photographer. So no real idea of what I was doing. But the photo holds strong memory of his playing. Yeah, that's great. Where was I? Makes me want to explore more street photography now. Do it. Have a great week. [01:31:46] Speaker B: Do it. [01:31:47] Speaker A: Stay safe and thanks, everyone. [01:31:52] Speaker B: Yeah, it's a tough one. It's a tough one as well. Without knowing what's around, there's some nice light on the ground behind him, which is. Is good. It's hard to know if there might have been a better place to frame him. Like he's framed reasonably well with the. The bright sort of surface of that pylon. But there are some sort of things. His head is a little bit lost, a little bit with the background. [01:32:17] Speaker A: So. [01:32:17] Speaker B: Yeah, I know it's tricky. It's one of those things you just. I don't know how much you worked the scene walking around to try different angles. But that's what I always do. Especially if it's a scene like this where street photographers are usually very happy. Especially if you give them some money for performing, for you to take some photos and wander around, you know, Especially if you give them a smile and, you know, they'll nod that it's okay or whatever. It depends on the person. Yeah. And then. And then if you have that sort of unsaid permission. Yeah. You would sort of move around and. Yeah, like Lucinda's probably thinking what I was thinking, which is I would shoot from the other side so it's more open and that's it. So you. So you could get a bit more facial expression, you could see a bit more of the guitar. But it depends on what the background is when you move around, you know, as to whether that would be the background might have been worse. I don't know. Maybe you found the cleanest, nicest background. Because it is. It is sort of has a nice warm light behind him over there. And without knowing the rest of the scene, who knows? Whoops. It's done it again. One thing I would do, though, an easy one, something like this in the image. See these fairy lights, they'd be in or out for me at the moment, they're just in and there's one over here. If that was the only thing I had to deal with, I would crop them out. Otherwise I would have changed my framing to maybe try and include them. If I wanted them to be part of the image, but otherwise great focus. Nice soft background. Yeah, beautiful. [01:33:46] Speaker A: Yeah, yeah, wonderful. Very cool. All right, let's talk about you. I suppose you want to do me. [01:33:57] Speaker B: Let's do, let's do David Tarlington first because I've got him here ready. And then, and then we'll do some me. [01:34:02] Speaker A: All right, let's do Parabellum Collectibles AKA David Tarlington. Hey, Justin and Greg. This week I am submitting some older images that were taken on my Canon EOS 80D and at the time use the Sigma 60 to 600. F 4.5, 6.3. DGoshm Sports. These images were taken at Sydney's Taronga Zoo Park. Taronga Park Zoo, sorry. Back in 2024. All images have various ISO and F stop as I was shooting more on the manual side with this unit, I've included the as promised boat shot for Justin. Imagine image taken in the fishing village of Ine I N e located two hours north from Kyoto. Look at that. That's very cool. Oh, what? [01:34:51] Speaker B: Yeah, gosh, that's cool. [01:34:53] Speaker A: That's so cool. [01:34:56] Speaker B: Staring straight at. Kind of looks unhappy that you're there. I'd be like, okay, I'm going, yep. [01:35:05] Speaker A: Sorry. Oh, that's a great shot. Look at that blown out background. That's cool. [01:35:14] Speaker B: Yeah, A big long lens just obliterating everything. But yeah, that, that look, that, that's, that's pretty nuts. And actually when I was, when I was looking through these, the other one that I thought was really cool, there was this one, the, the funny expression on that. His is just, I don't know, like goofy expression. And then this. Yes. Is it, this is a good. [01:35:41] Speaker A: Oh, that's really cool. [01:35:43] Speaker B: Yeah, Yeah, that's a great school. And then this is the boat shot that he was talking about because we're talking about the last week. And I was like, yeah, I want to, I want to see some again. I want to see some shots of the boats and yeah, there it is. [01:36:01] Speaker A: Amazing. [01:36:02] Speaker B: Very cool. But yeah, great shots. [01:36:04] Speaker A: Yeah, thanks. David. Another David. Oh my God. [01:36:07] Speaker B: I know. I told you. Told you. Yeah. Apparently he was not happy. Launched at the fence later on. Yeah, that's. Dennis says it's a bogan tattoo right across the map. You bring this in about, you're like, I want this on my chest. [01:36:26] Speaker A: You do it today? [01:36:27] Speaker B: Yeah, yeah. Also, do you have bin tanks? [01:36:31] Speaker A: Yeah, yeah. Amazing. [01:36:36] Speaker B: Okay. [01:36:37] Speaker A: All right, let's talk about you. [01:36:39] Speaker B: Yeah. So I've got a set of images from Lake Tyrrell. We'll have A look at some of those and I'll just see if anyone's been able to guess yet. Dennis says Easter Island. No. Antarctica. Nathan said no. Germany? No. Space? No. India? No. Mars? No. Parabellum. Aubrey. Wodonga Bucket list? No. That was a good guess, though. No, no one so far. No one so far. [01:37:13] Speaker A: Yep. [01:37:14] Speaker B: All right. All right, bring up some of my. [01:37:15] Speaker A: Let's look at some images. [01:37:18] Speaker B: So this is from last weekend. Went to. When was it last weekend? The weekend before? I don't know. [01:37:27] Speaker A: No, it was last weekend, wasn't it? [01:37:28] Speaker B: Last weekend? Yeah, it was going up the weekend [01:37:32] Speaker A: before we had Leica. [01:37:33] Speaker B: That's right, Yep. So stopped in at Lake Tyrrell, was there for, I don't know, maybe an hour and a half at sunrise and took a set of images, whittled the images down to about 45 and then edited them lightly and then cut it down to about 25, edited them properly and then cut that down to what I think is a set of 10 or thereabouts, 11 images of what I thought of Lake Tyrrell and I've got a couple of behind the scenes ones as well, so I'll just go, cool. [01:38:06] Speaker A: All right, let's do it. [01:38:08] Speaker B: Oh, bonus points while everyone's trying to guess where I'm going. Bonus points if you can guess the camera. I use three cameras, each with one lens. However you want to look at that to take these photos. Bonus points if anyone can guess those. [01:38:21] Speaker A: 50. Oh, that's cool. Bravo. [01:38:30] Speaker B: It's a pretty beautiful lake, but as I said, had more water in it than normal, so I'm led to believe. Wow. [01:38:50] Speaker A: Is that a fish? [01:38:52] Speaker B: That's. No, that's a bit of wood. [01:38:55] Speaker A: It looks like a dead eel. [01:38:56] Speaker B: It's. [01:38:59] Speaker A: I don't know what's in Lake Tyrell. Maybe there's giant eels, who knows? I love the color. The gold and that contrasting blue in the clouds is magic. [01:39:10] Speaker B: Oh, yeah, it was. It was weird. Stunned again. It was a dreary kind of a morning, but there was sort of good color around. It just had to keep keep moving and keep looking as the sun sort of changed as it rose. Yeah, I'm. Look this. It's fun. There's a lot of people saying, did you find the abandoned bus? Did you shoot the grader? No, I didn't find anything. Any. Nothing like that. I had no idea what I was doing. I didn't go anywhere. I'll show you in a second behind the scenes where I went. So this is. Yeah, this is sort of right near the lake. I Don't know what this normally looks like when it's less rainy, but I found it really interesting that these sort of running into the lake and there was these. These little sort of deserty type plants with beautiful, vibrant colors. But then it almost was like a. This looked like a microcosm of the lake itself with its little inlets and islands and things. I just thought that was really interesting. [01:40:16] Speaker A: Yeah. And I love the contrasting colors, too. [01:40:19] Speaker B: Yeah. [01:40:21] Speaker A: Oh, that's lovely. Is that from the drone? [01:40:26] Speaker B: Yes. [01:40:27] Speaker A: How high up was that? [01:40:30] Speaker B: Off the top of my head to 100 meters, I'm not sure. [01:40:34] Speaker A: Okay. Yeah. I love the color. That gold. [01:40:37] Speaker B: Yeah. [01:40:38] Speaker A: It's just magic. Oh, wow, Joe, that's gorgeous. [01:40:46] Speaker B: Print it, print it. And then that's the last one. [01:40:53] Speaker A: Yeah, that's great. It's definitely a theme that runs through all of them with that golden. That golden and blue light. There's kind of a. Kind of a softness. There's a softness, but also an energy. Like the blue brings softness and the red, the golden light brings more of an energy to the image. I think it's just wonderful. The contrast is gorgeous. [01:41:20] Speaker B: So this is a shot. This is a shot from the drone looking back at where I was shooting. There's another one of these as well. I'll enhance. That's my van. [01:41:31] Speaker A: Oh, wow. [01:41:32] Speaker B: So that's where I was flying the drone from. You driving from here. And then this is a sort of a firmer road that runs down to that Lake Tyrrell sign that everyone gets photos with over here. [01:41:49] Speaker A: Oh, okay. [01:41:50] Speaker B: And then this is a, like a foot walkway down here. And that's where that shot of the, like the bridge over the curved walkway was taken. But I think there's this road here. Actually, I've got a different angle of it. Where is it? See here? That's the curved walkway. The main road that goes to the Lake Tyrrell sign. But then on the left of that, there's a track that you could go further around the lake, but it was like proper mud all the way along. And you had to link through from one of these tracks. And there's no way my van was going to get through there. So I don't know. [01:42:31] Speaker A: How did it go otherwise? [01:42:33] Speaker B: The van. [01:42:34] Speaker A: The van, yeah. [01:42:35] Speaker B: Oh, Loves it. I just know. I know where to and when to push it. Yeah, you gotta know when to hold them, know when to fold them. [01:42:42] Speaker A: Yeah. [01:42:43] Speaker B: And then final behind the scenes shot. Yeah, that's kind of like what Lake Tira was. Wow. So, yeah. Let's see what. Let's. Let's see what photo come out of the printer. [01:42:55] Speaker A: Oh, yeah, Guesses are still coming in. Tasmania, Iceland, Patagonia, Kenya. Safari in Africa from Maya Hall. Listen to saying you're going to Canada. Oh, that's great. [01:43:16] Speaker B: Printed that one out. Looks a bit. [01:43:18] Speaker A: How'd that turn out? No, no smudges or lines. [01:43:21] Speaker B: No smudges, no smudges. Looks pretty good. [01:43:25] Speaker A: Good job. [01:43:25] Speaker B: Canon. Yeah, it looks good. [01:43:31] Speaker A: Yep. Amazing. Well done. The guesses go on. Scotland, Galapagos. Someone called you a rookie. Oh, Nathan. Cheeky boy. [01:43:42] Speaker B: Standard. Standard Mungo. [01:43:47] Speaker A: Yeah. Yeah. And lots of. Lots of love here. Yeah, Mungo was in there. But also lots of love for your images. Fantastic images. Great shots. [01:43:55] Speaker B: Philip Johnson says, good job, Justin will make a landscape photographer out of you. [01:43:59] Speaker A: Yeah, really great shots there. Just. Oh, hang on. I'm not even bringing these up for people. Really great shots there, Justin. And some very different aspects, point of views and those colors that most people. I wouldn't go for that. [01:44:12] Speaker B: That's what I. I mean, you'll notice in there. So just to give you a bit more background on why I decided to shoot the way that I did, obviously lots of people have taken photos there, people that have better knowledge of the area and have been there on more amazing mornings. And so I always like to look at what could I maybe see differently. That's why you'll notice there's no Lake Tyrrell sign photo and that sort of stuff. It's just not. It's. It's one of those things that I'm like, that's not what I was there for. [01:44:43] Speaker A: Yeah. [01:44:44] Speaker B: So I tried to find some stuff that maybe go a little bit more unseen. But then there's obviously plenty of sort of normal Lake Tyrrell type stuff in there too. [01:44:52] Speaker A: Yeah. So you mentioned the gear. Obviously you had your drone. What drone did you use? [01:44:57] Speaker B: DJI Mavic 3 Classic. Just the standard one that like. Yeah, the normal one. I. I'd love to have better image quality, but I don't use it enough to justify an upgrade. It's fine. Those. Those shots are good. They're just not. Not super high resolution like the Mavic 4 is, but they're fine. Yeah, it is fun to do this sort. That sort of stuff with it, but I don't do that that often. I use it more for video than anything. I was. Most of those shots are with the Q3, the Lyca Q3. And then one of them. There was a lot more, but I culled them down. One of them was with the R3. Canon R3 with the 7200. I did a lot more shots with the 7200, but I like trimming them down. I was actually going to show you guys my trimming down process because there was tons of more variety of shots that were different to what I showed there, but they were not different enough that they added anything to the story. [01:45:52] Speaker A: Okay. [01:45:53] Speaker B: Yeah. Really working on that. Trimming down a photo set to make sure there's actually some relevance for that photo to be in there. Is it actually adding something or is it just more of the same? Oh, more guesses coming in. Aerial photography over Exmouth Ningaloo. No, that sounds amazing, though. [01:46:12] Speaker A: It does. [01:46:15] Speaker B: Japan? No, I'd have to take Greg. [01:46:19] Speaker A: Richard Mayer wants to know if you're going to Frankston. [01:46:21] Speaker B: Frankston? No. All right. So where am I going? [01:46:27] Speaker A: Where are you going, Justin? [01:46:28] Speaker B: I'm going to Kruger national park in South Africa on a wildlife safari. Yay. Oh, where's a button for that? [01:46:41] Speaker A: Yeah. [01:46:47] Speaker B: Last minute opportunity to. [01:46:49] Speaker A: It's not a vacay, is it? [01:46:51] Speaker B: No. Well, it. I mean, it's going to be pretty cool. It's going to be pretty cool. But I will be working a bit. I'm going to be filming. Filming a wildlife photography tour for the one and only Mr. Matt Crummins. So I'll be taking my. All my gear to film and it meant I had to buy another lens that I've wanted to buy for a long time and now I have another 50 mil. [01:47:14] Speaker A: Was it a 50? [01:47:15] Speaker B: Not another 50 mil. The Canon 100 to 500 does that did it. I did. Well, I kind of need it. There's going to be freaking lions and. Yeah, yeah, yeah, yeah. Dennis says, are you going with Crummins? I am, Dennis. I'm going with Crummins. I depart in less than two weeks. Yeah, it was. [01:47:39] Speaker A: Don't forget your shots last minute. [01:47:41] Speaker B: Yeah, I did. I got. I got a. I got. I negotiated down. I got. I got one shot today. They recommended six shots. I said, you can. You can give me one. Which ones? You know, if you could only give me one, which would it be? It's like, oh, that's not how we normally do this. I was like, well, you've never met me before. Yeah, I just. I was like, I really, you know, which one is really important? He's like, this one. I'm like, all right, hit me. [01:48:09] Speaker A: Yeah, let's roll the dice, baby. [01:48:11] Speaker B: It was fun to see him. Have to decide. It was actually pretty interesting. Yeah. Because he was like, oh, no. They're all or important for different reasons. You know, you never know what's going to happen anyway. Oh, dear. [01:48:23] Speaker A: But you're going to go back to the rest. Yeah. [01:48:25] Speaker B: What? [01:48:26] Speaker A: No rest of the shots? [01:48:28] Speaker B: No, no. [01:48:28] Speaker A: That's it? You're just gonna roll the dice? [01:48:30] Speaker B: Yeah. [01:48:32] Speaker A: Okay. [01:48:32] Speaker B: Well, yeah, I mean, I've. I've been to a lot of countries without the shots, but there was one. Can't remember which one it was. One that's like. It's like, you don't really want to get this kind of one. I'm like, yeah, like, you know, I don't want to die, so give me that one. [01:48:50] Speaker A: Yeah, that's fair. [01:48:51] Speaker B: I'd rather not die. [01:48:53] Speaker A: Yeah. [01:48:54] Speaker B: Dear. [01:48:55] Speaker A: That's amazing. Congratulations. I'm so proud of you. That's. That's huge. [01:49:00] Speaker B: I'm excited. I'm sure it'll be a bit of work. I'm sure it'll be really awesome. Yeah, it's going to be a long. A long flight over and a long flight back, but it's going to be cool. [01:49:08] Speaker A: And I think it's really sweet that even after 327 other videographers said no to Matt's, that he still came to you. [01:49:14] Speaker B: He told me I was only number 196 on his list. [01:49:18] Speaker A: That's not what I heard, so. [01:49:20] Speaker B: Oh, okay. Yeah, that's a good point. My hall wants to know, will Greg have a Fuji news time limit per episode while I'm away? That's actually a great point. I will be away. I won't be on the podcast at all while I'm away, so we'll have to come up with a plan for that. Maybe we'll see if we can rope in some co hosts to stop you from talking about food you filmed for. Hey, I am very measured. [01:49:43] Speaker A: No one. You didn't answer. He didn't back me up there. Anyway, tell me about your lens. What? [01:49:49] Speaker B: Philip Johnson hit the nail on the head. That's a lens you can take to the zombie apocalypse. Exactly. You can hide in the bushes and take photos from a long way away. And then if they get too close, you zoom it out and hit them on the head with it. [01:50:03] Speaker A: So it's the. What did you say it was? 200 to 500. [01:50:08] Speaker B: No, 100 to 500l lens. I've got to decide. I'll have to wait and see how my. My luggage allowance ends up. But I've got to decide whether I take my 70 to 202.0 as well. It kind of seems like a lot of crossover, but Apparently a lot of the shots are in that range, so. Yeah. Oh, bye, Dan. Good to see you. [01:50:29] Speaker A: Good to see you, mate. Yep. And what's the aperture range on that one? [01:50:36] Speaker B: 4.5 to. I think it's actually ends up at like 7. 7.1 or whatever by 500. So it does get pretty dark by the end of it, but it'll be fine. The handy thing is with. For what, like, obviously I want to take some photos and stuff while I'm there too, but for video, particularly you, you can let a lot more lighting because you're usually using a much slower shutter speed. [01:51:00] Speaker A: Yeah. [01:51:01] Speaker B: If you're using a normal frame rate, you might be shooting at a 50th. And if you're shooting slow motion, you might be shooting at a 200th of a second. So you can let in a lot more light than you can with, you know, you're trying to freeze action as a photographer, so. [01:51:17] Speaker A: Wow, that's amazing. [01:51:19] Speaker B: It's gonna be fun. [01:51:21] Speaker A: Well, I think you should keep us up to date on what, what your process is around choosing the right gear to take. Even though I know I give you a lot of grief for taking everything always. But you've been getting better lately and it'd be great to hear your process on, your thought process and your decision making on what you do take and what you don't and why. And then after the fact, what worked and what didn't. I think that'd be really cool. [01:51:42] Speaker B: Well, Lucinda said here. What's the gear packing list look like? Maybe I'll. Because we're. This show's getting long. We still get a few more people to look at photos of. Let's, let's. Maybe I'll do that next week. I'll have my list. I'll talk to you about what I'm taking, what I'm not taking and what I would cut if I absolutely had to kind of thing. Yeah, I have a bit of a philosophy on backups, duplicates and backups and the way that I do that, because that's the thing. I'm not just going for fun. I do have to produce something. So there's got to be back. [01:52:17] Speaker A: Yeah, it's a working. Well, it's a working trip. [01:52:20] Speaker B: Yeah. [01:52:20] Speaker A: You know, you've got a client and even though he's a mate, it's still. He still needs you to do a job because it helps him with his business, you know. [01:52:27] Speaker B: Exactly. [01:52:29] Speaker A: Well, maybe one day, you know, when, when my budget allows, I'll fly you down to Melbourne and you can do it. You can do a behind the scenes ad for me? [01:52:38] Speaker B: Yeah, absolutely. With this 100 to 500. [01:52:42] Speaker A: Yeah, with that. [01:52:42] Speaker B: I'll be two. Two blocks over while you. [01:52:45] Speaker A: Absolutely. [01:52:45] Speaker B: I think no one will know that I'm getting shots of you guys. I'll be in, like, a camera. [01:52:50] Speaker A: I won't even know. [01:52:51] Speaker B: You won't even know? You won't know. [01:52:54] Speaker A: Yeah. [01:52:55] Speaker B: Great. All right, let's. Let's go through some. Let's go through the last of these photos. There's still quite a few. [01:53:01] Speaker A: Yeah, okay. [01:53:02] Speaker B: Let's do it. Let's do it. [01:53:03] Speaker A: All right, we're up with Philip Johnson. [01:53:05] Speaker B: We are. Phil Johnson. There he is right here. [01:53:09] Speaker A: All right. Greetings, Justin and Greg. Back to tree bark. The Philip Johnson effect, I call it. Quite often I can sit for ages in front of a tree finding patterns in the bark. And my favorites are squibby. Squibby gums. Is that how you say that? Squibby gums? Because the pattern in the. Or is it squibbly gums? [01:53:28] Speaker B: I don't know. I think it was squibbly last time, but I don't know. [01:53:32] Speaker A: Anyway, because of the patterns in the gums, wet, damp weather is the best for colors. In this sample, I picked up abstract patterns that remind me of Picasso patterns. Add a little painterly processing, and this is what you get in this image. I used Adobe Photoshop and Topaz. Viveza. Viveza. I was traveling light on this occasion using a 6400, Sony 6400 APS C crop sensor camera with a Sony 20. Sorry. 70 to 202.8 mark II. And the settings he said were attached to the image. [01:54:07] Speaker B: Yeah, there was a screenshot for those, but. [01:54:10] Speaker A: Yeah. [01:54:10] Speaker B: Where are they? I don't want to take the photo down. They're on a photo. [01:54:13] Speaker A: It is. It is so abstract though, isn't it? When you sort of step back from it being a tree bark and you look at it like a flat pane, almost like a painting. Like you said, it becomes, you know, it becomes expressionism. [01:54:27] Speaker B: And it does. It has that Picasso thing. Yeah, it's. It's. [01:54:31] Speaker A: Yeah, it's beautiful. Philip, print it. Easy. Done. [01:54:37] Speaker B: Yeah. Really love it. [01:54:38] Speaker A: Yeah. [01:54:39] Speaker B: Apparently these make lovely honey from them as well. [01:54:43] Speaker A: There you go. [01:54:46] Speaker B: Yeah, it's very cool. Yeah. Really nice colors, too. Rich. [01:54:51] Speaker A: Yeah. And such a. Such a wonderful project that, you know, anyone can learn from, you know, just wander your neighborhood. I mean, I live in the city and, you know, inner city, and I went out and had a crack at it after seeing Some of Philip's images on the show one night. And it's just lovely. You just become so mindful about studying this tree, you know, this bark and looking for the detail and the texture is quite. It's quite interesting because we just walk past that stuff, you know, and I think that's one of. That's one of the powers of photography to help people see what they don't see or can't see or won't see. [01:55:27] Speaker B: And the cool is. The cool thing is you can play with your compositions in camera and experiment on the spot for hours if you want to. You know, you can frame it slightly differently. You can include, you know, exclude this squibble and include this spot. And you know what I mean? Like, you can really play with what you're putting on into your image. Yeah, yeah, I think it's great. [01:55:53] Speaker A: Yeah. And it's a good study in framing, too, this. This shot, because there's obviously a lot going on. There's some subtle stuff. There's some deep marks. There's color, you know, there's texture. And I imagine that he had quite a. Quite a, you know, quite a space to work with, and he chose this particular frame. I think that's really interesting. [01:56:13] Speaker B: It's interesting as well. After, you know, talking to Jerry Guyonis on Thursday. It's almost like if this. If this was the face on the. Whoops, I've changed images again. [01:56:30] Speaker A: What are you doing? [01:56:31] Speaker B: On the right hand side is almost like the shadow side of the face, the short side, you call it, which is, you know, normally when you light a portrait, you light from the front. The face is beautifully lit, but, you know, then you have a shadow side and the way that this color is on the tree is just like that. It's really interesting. [01:56:47] Speaker A: It is, yeah. Amazing. [01:56:51] Speaker B: Awesome. [01:56:52] Speaker A: A couple of quick comments here from Phil Thompson's very art gallery stuff. Philip. [01:56:58] Speaker B: I'm. [01:56:59] Speaker A: I agree. Love that look. What else we got here? And then Philip has chimed in again with great. If you have mobility issues and unique trees, absolutely. You don't have to travel far. Very cool. Amazing stuff, Philip. Thank you as always. [01:57:19] Speaker B: Yeah, thanks, Philip. [01:57:22] Speaker A: Let's look at Neville's work next. Nev Clark from wa. This photo was taken on the weekend. I was walking back from a shoot, having captured some wave photography, and I saw this beautiful pattern in the sand. So I got down a little bit lower and I've just accentuated the texture and clarity and editing to bring out this pattern. This was shot with a Leica Q328. This is why I'm loving this camera is that it just lives on my wrist when I'm walking around. Yeah, that's the way to do it, mate. Settings include f8, ISO 401 60th of a second. The location was the conspicuous cliffs at Walpole, Western Australia. Amazing work. [01:58:08] Speaker B: Great shot, that. That Q3 is a beauty. [01:58:13] Speaker A: But it's a really interesting composition because he's pushed his horizon really high. [01:58:17] Speaker B: Yeah. [01:58:18] Speaker A: Into the frame just to give that space for that texture to really stand out and lead you to the horizon, you know, it's very cool. [01:58:31] Speaker B: Yeah, I've just made it bigger on my screen. It's definitely like. It just sucks you right in the textures quite. [01:58:38] Speaker A: Yeah. 60 megapixels, baby. [01:58:42] Speaker B: That's right. It is nice. [01:58:48] Speaker A: Let's move along to the next one. There we go. Is it John Hall? It is John Hall. Hey, Justin, Greg. And everyone way behind on editing at the moment, so another older image tonight. We don't mind at all. We're heading up to Newcastle on the weekend, so I thought I'd share an image from one of our last trips last year. I'm so sorry. It's happening again. This was taken at Newcastle Baths, a very popular spot for photography. Oh, it's a clean shot, isn't it? Beautiful. Clean lines. Taken late on a winter's afternoon as the sun had already dropped below the building behind me. There was just a hint of the last of the sun creeping around the edge of the building, which happened to catch the couple on the left in a golden light. I also like the juxtaposition of the couple in the warm sunlight and the lone figure in the cold staring out to sea. Yeah, this is. [01:59:42] Speaker B: This is one of those classics Seaside street photography scenes that, you know, that you just. That you see in books and stuff, you know, that just. Yeah, it's beautiful. [01:59:54] Speaker A: Yeah, it's remarkable. I love it. This was shot with a Nikon D7518 to 300. Again, 18 mil, 1 200th of a second. F8, ISO 100. Cheers, John. Nice work, John. [02:00:11] Speaker B: Now, the colors are beautiful pastely, but I would love to see it in black and white too. And maybe you probably tried it. Maybe it wasn't. Maybe it didn't work. Maybe it did. I don't know. But yeah, I'd love to see what it looks like and what. I think with that light on the couple, they would pop. I think they'd be really cool. Highlights along the stairs in black and white. There'd be some depth in the water. In the pool, Whether you would lose the lone figure. I don't know. It'd just be cool to try. [02:00:43] Speaker A: Yeah. [02:00:44] Speaker B: And I'm sure you did, so I'd love to know what. What you thought. But the colors are also beautiful. The green is so soft and I don't know. [02:00:50] Speaker A: And just the transition between gold and blue. The other thing that, that I, you know, I'd be interested to see is whether a longer exposure would smooth out that water to replicate what the sky is showing. You know what I mean? Like, I love the tech. Like, don't get me wrong, it's a great shot. I love the way it is, but I just wonder how that would change the feel of the image. [02:01:16] Speaker B: But then you would potentially lose. You'd potentially lose the figures because if they. [02:01:20] Speaker A: If they're moving. [02:01:21] Speaker B: Yeah, yeah, yeah, yeah. You could. You definitely play with it. But also, you never know how long you get to take a photo as well. Yeah, yeah. [02:01:30] Speaker A: Another great shot. [02:01:32] Speaker B: Epic shot. [02:01:34] Speaker A: All right, moving along. [02:01:36] Speaker B: Just quickly. Doozledumbler5393 says, what's the big news again? Greg is going to be running street photography workshops in Melbourne. So if you're in Melbourne or you're visiting Melbourne and you want to see the city, learn a little bit about street photography. Learn a bit about Melbourne. Find the greatest coffee in the whole world. Go to gregchromy blog, check those out. Yeah, and my big news is I'm going on an African wildlife safari in about 1112 days. [02:02:07] Speaker A: Yeah. [02:02:07] Speaker B: So that's that. [02:02:09] Speaker A: Yep. Nice. Oh, and John Hall's dropped a comment. [02:02:12] Speaker B: Yeah. Tried black and white. Felt there wasn't enough contrast. Okay. And that. That's a good point. Yeah, it's. Maybe it is a bit too gray. Took a while to get the color to where I was happy. Couldn't take a longer exposure as I didn't have a tripod with me. Yeah, totally get it. It's, yeah. Epic. Epic shot. [02:02:29] Speaker A: Yeah. [02:02:29] Speaker B: So don't get me wrong, I just. I love black and white, so I always get sucked into, like, street photography. Black and white Doozle dumblers in Melbourne. Well, go to Greg Chromie blog and learn a bit about street photography. [02:02:44] Speaker A: Indeed. [02:02:45] Speaker B: Indeed. All right. [02:02:46] Speaker A: Indeed. Phil Thompson's next. [02:02:49] Speaker B: Phil Thompson is next. [02:02:50] Speaker A: He's always got a delight for us. Hi, Justin and Greg. Oh, something different attached to my photos for this week. These are shots of one of the ice sculptors that they have displaying their talents each night at the Winter Glow Festival. I'm sorry, folks, I can't control it at The Winter Glow Festival. Well, earlier at the winterglare Festival at Adventure park, which is at Wellington between Geelong and Ocean Grove. Amazing. This was last Friday evening and the theme was Nemo and Friends. It is quite incredible to watch them as they skillfully chainsaw, carve, file and chip away at the three blocks of ice stacked on top of each other to create the various themed figures. Themes, figures, characters and logos, all well inside of a two hour window. Yeah, these are great. Look at that bokeh in the background for a bit of fun and laughter. Sometimes they will direct the filing sprays towards some of the children and adults too. As always, shot on the Pentax K1 Mark II lens with a Pentax 70 to 200 shutter speed, 1/60 of a second 1.100 of a second aperture, f 5.6, ISO 6400 on all images. As always, thank you so much for your podcast, the greatest guests that you have and the community that you've created for us as photographers to learn from and to show some of our work. Oh, it's our pleasure. Our absolute pleasure. Thanks. [02:04:25] Speaker B: This one's awesome. [02:04:27] Speaker A: Yeah, that's great. [02:04:27] Speaker B: What's going on? His glasses and everything. Yeah, yeah. Bit of motion in there too. [02:04:33] Speaker A: Yeah, That's a beautiful shot. [02:04:36] Speaker B: Yeah. Yeah. They'd be stoked with these epic great colors. Everything just clean, clean, crisp, professional work. [02:04:43] Speaker A: Yep. Yeah. And great lighting control too, Phil. Yeah, nice blacked out backgrounds so you can get the contrast of the ice. You've got the, you know, he's really well lit. Obviously there's a lot of lighting in the venue, but still, sometimes that can be the hardest things to photograph because you don't have control over lighting. [02:05:05] Speaker B: Exactly. [02:05:06] Speaker A: Yeah. All right, who we got next? Lisa Leach. Hi, Justin and Greg. Please see attached my freshly edited first draft image for this evening's podcast. Having recently moved house, I'm exploring a whole new area with the Nikon Z7 Mark II whilst taking the dogs out for a walk in the nearby woodland. The light inspired me to return the following morning with the morning with the camera. The light was not quite as captivating the following morning, but this will inspire me to keep on returning settings. ISO 143 mil at f13, 1/10 of a second. [02:05:52] Speaker B: Wow. [02:05:54] Speaker A: My apologies for my absence from the live podcast last Monday. How dare you? A migraine got the better of me. Oh. Will a stat deck suffice or do I need a medical certificate? I'll just. We'll take it. Look, first time? [02:06:09] Speaker B: Yeah. No medical certificate required? Yeah. [02:06:12] Speaker A: Not for the first time. But after that we'll. Yeah, we'll have to have a chat. Kindness regards to you both in all the chat crew, Lisa. Thanks, Lisa. I love this. This concept of something inspired me so I returned. It wasn't quite right. So I'm going to come back again. [02:06:27] Speaker B: Yeah. [02:06:28] Speaker A: That's such a lovely story, isn't it? Of exploration and hunting light especially, you know, in a newly found area that you've just moved to. Like, what better way to discover your surroundings and get out with a camera? [02:06:39] Speaker B: And I like the way you've. You've really sort of honed in on trees and the characters of trees. [02:06:46] Speaker A: Yeah. [02:06:48] Speaker B: Trying to sort of even. I don't know what the right word would be. Find scenes where there's. There's a story in there with the trees or. [02:06:58] Speaker A: Yeah. [02:06:59] Speaker B: Personified a little bit. [02:07:02] Speaker A: Yeah. [02:07:02] Speaker B: It's a great, great pursuit. A good theme to run through your work and it can run through your work even when you're not on, you know, some bucket list photography trip or whatever, you can always find a beautiful location with beautiful, beautiful trees to. Yeah, keep pursuing that theme. [02:07:17] Speaker A: Yeah, Amazing. Lovely. [02:07:23] Speaker B: Nathan, we're almost there. So we're now into the. The last minutes, the late entries. [02:07:30] Speaker A: This, this is a late entry. Nathan even goes on to say last minute throw in. Good on you, Nathan. I spent last week up and out back New South Wales in Lightning Ridge, home of the Black Opal, for a mural project with Australian painter John Murray. Well, well, well, look at you. Other than being up there to document the mural project, I was there to contribute to an ongoing project I've been working on for the last five years. I know I'm only meant to show one photo, but I have added three photos from different spots around Lightning Ridge and the Groen g r a w I n opal fields and one from the drive up taken in parks, the Shepherd Inn. Oh, and I forgot to say, we won the meat tray at the Shepherds in on Friday night and cooked our winnings in the van for dinner. Nice. Oh, that's such a great Aussie story. [02:08:23] Speaker B: Yeah. I'm guessing this is the sheep yard in this one here. Yeah. Yeah. Well done managing to snag the meat tray. It's very Aussie. [02:08:32] Speaker A: Yeah. [02:08:32] Speaker B: And yeah, this is a great shot of the parks dish as well. [02:08:35] Speaker A: It is. [02:08:36] Speaker B: Just having it nestled amongst the trees there. [02:08:39] Speaker A: Yeah. [02:08:41] Speaker B: Yeah. That's awesome. [02:08:42] Speaker A: Yeah, you would. You don't normally see it shot from that angle. [02:08:45] Speaker B: No, exactly. And that's. [02:08:46] Speaker A: That's how people struggled. It yeah, but. [02:08:49] Speaker B: But if everyone shot it from, you know, the front. [02:08:52] Speaker A: Yep. [02:08:52] Speaker B: Find a different way to tell that story. I love it. [02:08:55] Speaker A: Yeah. Yeah, I love that too. [02:09:00] Speaker B: Yeah. Thanks for sending those in. Our last was from Jason. Jason Hannigan said if tonight's theme is Ballerina Peninsula and sent these ones in. Oh, wow. Just to. To continue. [02:09:19] Speaker A: More pylons. [02:09:21] Speaker B: Yeah, I like that. [02:09:23] Speaker A: Oh, wow, that's moody. Hey. [02:09:25] Speaker B: Yeah, it might be. It's probably hard for you to see on there, like, because it is dark. Gosh, this would look cool printed, but that lot, the light on the lighthouse and then on the cloud. [02:09:37] Speaker A: Yeah. Balancing a little bit of the surf. Is that the surf on the right? That horizontal, that horizon line? [02:09:43] Speaker B: Yeah. [02:09:44] Speaker A: So there's like a little bit of white surf. [02:09:45] Speaker B: Yeah, yeah. Bit of surf. But then through here, there's. There is. It's done it again. I have to figure out this software. Yeah. You can see detail coming down from the lighthouse and rocks and stuff. Yeah, it's. It's really good. [02:10:02] Speaker A: Yeah. [02:10:02] Speaker B: Really, really good. And then this is the last one. [02:10:05] Speaker A: Oh, wow. [02:10:07] Speaker B: Yeah. Higher contrast. Oh, gosh. [02:10:09] Speaker A: That's timeless, isn't it? [02:10:10] Speaker B: Yeah. [02:10:15] Speaker A: Yeah. Amazing. [02:10:17] Speaker B: Yeah, I really like that one too. [02:10:20] Speaker A: Yeah. Where's Rodney when we need him? He's not in the chat tonight. [02:10:23] Speaker B: Yeah, it. It's missed the theme. Yeah. [02:10:26] Speaker A: It's his. It's his domain. That's incredible. [02:10:29] Speaker B: Yeah. I think this one's my favorite. Out of those three. This one's. Yeah. Just that big cloud just floating around, offsetting the. Yeah, the lighthouse. [02:10:41] Speaker A: Yeah. Great editing. [02:10:44] Speaker B: Yeah. [02:10:45] Speaker A: Really working an image. [02:10:47] Speaker B: That's what I was going to say. [02:10:49] Speaker A: Yeah. [02:10:50] Speaker B: Beyond just a standard edit to something. [02:10:52] Speaker A: Yeah. [02:10:53] Speaker B: Where you're really sort of putting your stamp on it. [02:10:55] Speaker A: Yeah. Absolutely gorgeous. Epic. I thought we had some shots from. Sorry. He's so excited. You're pushing buttons everywhere. [02:11:09] Speaker B: I didn't mean to press that. My fingers. I was just getting it ready. [02:11:13] Speaker A: I was just gonna say I thought I sent through some images from Peter. Yeah, the infrared images. There's a collection of them that were [02:11:25] Speaker B: all filmed on an email. [02:11:28] Speaker A: No, that's okay. We'll cover them next week. It's already late. [02:11:33] Speaker B: Yeah. [02:11:33] Speaker A: Sorry, Peter. [02:11:34] Speaker B: Well, I'll. I can't see him here. I'll. [02:11:37] Speaker A: That's right. [02:11:38] Speaker B: I'll shoot it through, track them down and we can kick them up. Kick next week's show off with them. Yeah. [02:11:43] Speaker A: Yep. [02:11:45] Speaker B: Yeah, I can't see. [02:11:47] Speaker A: Yeah, that's okay. I'll send it. Maybe I didn't send it. I'm sure I forwarded the email and said, oh, there's a few images, but maybe if you choose your two favorites or something, that's okay. You never respond to my emails. When do we get anything done? All I can say is thank God for Yelena. That's all I can say right now. [02:12:05] Speaker B: She keeps everything she does. [02:12:07] Speaker A: Amazing, amazing. Everyone, thank you so much for sending in your work. You know, it's. It takes bravery to put yourself out there. And yes, we create a safe community here and everyone's wonderful, but it's still a big deal for some people. So we thank you for sending in your images. You know, continue to do so. And if you new here and you're watching, you think, oh, maybe I should send something in then. Do we do this every week? On a Monday evening, 7:30pm Is the random photography show. And then every Thursday we have a 9am Australian, Australian Eastern Standard Time at the moment at 9am every Thursday we have an interview with an amazing photographer. Last week we had Jerry Guionis. I get it right then. Yeah. And coming up this week we've got none other than Steve Parish. Just a couple of names we had kicking around and we thought we'd invite them on and here they come. So, yeah, send in your images. Send them to justinuckystraps.com and if you can name the image, file your name. It just helps out a lot for Justin. He can't handle too many things at once, so you know, best if we just keep it simple for him. [02:13:18] Speaker B: I found it. I found it, Greg. But yeah, I can't. Yeah, well, we'll do it next week. I was going to say, where is he? Sorry, Peter, I will do it next week. Greg did send them to me, so don't blame Greg. I think because of the way that I filtered them today to sort them out. It went into Greg's other stuff that he sends me. So sorry. [02:13:33] Speaker A: Yeah, the stuff that he doesn't reply to. But yeah, send in your image if you know, send him one or two. If you've got a short series like we've seen a couple of them here tonight with a theme, then send in a few more. Let us know what camera, what lens, what your settings were, but also what was your experience in taking that shot. And. And if you are new here and you're listening or watching along, please give us a like. It helps us out a lot. It lets other people, just like you and me and Justin, some of them know about the Camera Life podcast, but also subscribe. Costs you nothing. Helps us out a Great deal. And tickle the bell icon, because that way you'll get notified of every episode as it is about to go live on the YouTubes. And we've also got some amazing befop as the Bright Festival of Photography Workshop Instructor Spotlight series interviews coming up soon on the Camera Life. So stay tuned for that as well, where you'll get to hear the the goss on every workshop instructor for this year's bfop. [02:14:30] Speaker B: Yeah. [02:14:30] Speaker A: Amazing. [02:14:32] Speaker B: Very cool. [02:14:33] Speaker A: All right, shall we? Well, I think congratulations are in order for you. For everybody. No, for everyone. For you for nailing that job, getting, you know, getting such a cool gig. Africa, Justin. Africa. And thank you to everyone who sent in amazing images. People are out and about with their cameras and that's why we do what we do. [02:14:58] Speaker B: Yeah. [02:14:58] Speaker A: Thank you. Yeah. [02:15:01] Speaker B: Cracking show, cracking show. Looking forward to next week. It is. Yeah. We're gonna get up at 5am okay, let's do the thing. [02:15:11] Speaker A: All right. [02:15:12] Speaker B: Philip Johnson. Thank you. He says looking forward to Steve Parrish. Yeah, so are we. Thanks. John Pickett, Robert Varner. I'd like to take a photo, but my camera has a restraining order on me. Oh, that's. [02:15:25] Speaker A: No. [02:15:25] Speaker B: Good night. Phil Thompson's. Once again, thanks for a wonderful show. Fantastic news for you, Greg and Justin. Well, thank you says thank you all. Great show. Greg Carrick. Good session. Parabellum says, great show, lads. Thanks for another amazing outlet and useful information. Great shots, everyone. From David Skinner. Thanks. Tweak. Sorry I. I missed your photos, Peter. I'm a goose. Next week for sure. [02:15:57] Speaker A: Next week. [02:15:57] Speaker B: Paul. Thank you. Jason, good to see you. Crackers. Phil Thompson's. Oh, yeah, Everybody. Doozle, Dumbler, Nev Clark. Who else? John and Maya. Good to see you. [02:16:14] Speaker A: Yeah. [02:16:16] Speaker B: The Gaz, everybody. Rick Nelson. Everybody was here. It's a party. [02:16:23] Speaker A: Thanks, guys. Be safe, everyone.