Episode Transcript
[00:00:03] Speaker A: Hey, now we're cooking.
Hello, good evening and welcome to the Camera Life podcast. This is the Camera Light podcast and this is the random photography show. Clearly it's open mic night because we've already got someone in the hot seat. But we'll get to our guests in a moment. It's the 31st of March.
It's invoice day, by the way.
[00:00:43] Speaker B: Oh, I've got no Internet. Sorry, Greg.
[00:00:46] Speaker A: Oh, yeah, funny that. We'll get to that, too. So it's the 31st of March. This is actually episode 65 of the camera Life podcast coming to you live on YouTube. But you can. You can go back and watch our whole back catalog of 65 episodes. 65 now, plus all the random stuff that you've done.
[00:01:07] Speaker C: Do we have a link that we can send to everyone who's not currently listening?
Yeah, if it's live, like, can we. Can I send a link out right now live? Because that would be like Inception live within the live.
[00:01:20] Speaker A: Yeah, yeah, yeah. Do it.
[00:01:22] Speaker B: As in. Do you mean to bring someone on the show or to. For them.
[00:01:25] Speaker C: Just like, tell everyone that if you want to hear me on this delightful Monday. Because you wouldn't be doing.
[00:01:31] Speaker B: Yep, we can do that.
[00:01:33] Speaker C: Where would we find the link? If we were not regular listeners, where would we find the link?
[00:01:37] Speaker B: You go to you and you type in the Camera Life podcast.
[00:01:43] Speaker C: Right. There you go.
[00:01:44] Speaker A: It should be at the top of your favorites, Matt. And yes, for everybody watching along at home and. And elsewhere, we are joined by Matt Crummons. G'day, Matt. It's good to have you back. It's been too long.
[00:01:56] Speaker C: Well, yeah. Has it, though? I mean, I don't know. I don't think you've missed me that much, to be honest.
[00:02:00] Speaker A: No, you'd be surprised. I mean, look, I get to work with a guy who sits on a beanbag in a van in the middle of nowhere.
[00:02:07] Speaker C: Yeah, yeah.
[00:02:09] Speaker A: And he's calling this guys.
[00:02:12] Speaker B: Cheers. Matt with that. Cheers. I have a beer. Matt's got a red wine.
[00:02:16] Speaker A: Cheers.
[00:02:17] Speaker B: It's Monday evening. Greg's got some water. I'm in a van.
[00:02:20] Speaker C: I worked out that I was on this podcast about 15 minutes ago.
[00:02:23] Speaker A: Yep, me too.
[00:02:25] Speaker B: While we're doing the. What's everyone up to? I'll do some quick good evenings to the chat. Good evening, Philip. Philip Johnson, always. Sorry. Sorry we were late, Philip. We're nine minutes late. We had some technical difficulties. Trying to get Starlink to work in the middle of Mallacoota was tricky.
[00:02:40] Speaker C: Trying to get Matt Crummons to work at any time of day is actually quite tricky.
[00:02:43] Speaker A: So yeah, microphones just to get on the show.
[00:02:48] Speaker C: Yeah.
[00:02:50] Speaker B: Paul says evening. Tim Ciamas says Paul. Bruce Moyle. Evening.
[00:02:58] Speaker C: Oh, Bruce. Hey, Bruce.
[00:03:00] Speaker A: Hey.
[00:03:00] Speaker B: Paul Thompson. Paul Henderson. Ian Thompson. Good evening, Yelena. Yelena says we, Elena is in like, if you, if you could see just up here or if she put, puts her head down, you'll be able to see. She's, she's currently on the bed of the van right now. Hang on, is she gonna. No, she's not.
[00:03:17] Speaker C: I thought you were talking about one of our walking, our listeners.
I'm like, what are you talking about?
[00:03:26] Speaker B: No, no, she's, she's just laying there.
[00:03:29] Speaker C: We should get like the random hand just dropped from the.
[00:03:32] Speaker B: That, that's what I'm expecting. She mustn't be able to hear me.
[00:03:36] Speaker A: Yeah.
[00:03:36] Speaker B: And Digifrog Dave from Tassie also says hi. Wow, what a crew tonight. This is, this is the crew. They must be here for you, man.
[00:03:44] Speaker A: I've got the crew.
[00:03:47] Speaker B: There's the hand. Hello.
[00:03:49] Speaker C: Hey hand. It's like cousin it, it's just like creepily gonna give you a scratch on the head or something.
[00:03:57] Speaker A: Although I must admit poor Yelena is getting a glimpse of her potential future with watching Justin have what appears to her to be a one way conversation.
That's what 40s and 50s have in store for you, mate.
[00:04:09] Speaker B: No, no, I'm making a, I'm making her listen into this to get the extra viewership. YouTube needs it.
[00:04:17] Speaker C: Can I say that someone today. I'm gonna take this one, this one thing, I'm gonna run with it. But I had someone today say that I look like Ryan Gosling and they asked me to tag them in case I could get them more followers and I was like, I mean maybe the non screen ready, Ryan. But hey, just, just start out there. I, I, if you want to get followers, apparently I'm your guy.
[00:04:37] Speaker A: Yeah. That's cute, Matt, that you chose that story. Yeah.
[00:04:40] Speaker B: So Ryan, Ryan, welcome to the Camera Life podcast. What, what movies are you working on, Ryan? It's great to have you on. You're actually the biggest guest we've had.
[00:04:50] Speaker A: Yeah, next to Matt.
[00:04:52] Speaker C: Exactly. Both in, both in name and currently insulation levels.
[00:04:57] Speaker A: Nice.
[00:04:58] Speaker C: Yeah. No, look, I was applying.
[00:05:00] Speaker A: How are you, Matt?
[00:05:03] Speaker C: It's been really busy. If you could see what's going on just outside of the frame of this camera, including like it is chaos. My life right now. I have got camera gear scattered through I reckon three rooms, but nothing but floors full of Camera gear. I've been working non stop. This has been my first night off for quite some long.
[00:05:25] Speaker A: You joined us.
[00:05:27] Speaker C: Well, it's not a night off anymore, is it? So thanks, guys.
[00:05:30] Speaker A: It's always a night off. An open mic night.
[00:05:32] Speaker B: I feel like I need my sound effects for this.
[00:05:35] Speaker C: I know, right?
[00:05:37] Speaker A: Did you bring your stuff, your deck with you?
[00:05:40] Speaker B: I've got the whole thing. Yeah.
[00:05:42] Speaker C: Please. No.
[00:05:43] Speaker B: Yeah.
[00:05:46] Speaker C: When my notification came through, that is exactly the sound effect that needed to happen.
You know, I'll tell you how depressing my situation is, right, Greg, you know all about this. You've written an article about it. I had a little package right up on my doorstep from yours truly and I thought, hey, I've got this. I've got this great idea. I'm going to go and, like, do all these different things, you know, really put things through their paces. I'm sure this will come to light shortly for everyone and.
No, no, it got sent back today.
[00:06:21] Speaker A: I know. It sucks having to send it back, doesn't it?
[00:06:24] Speaker C: It does. Especially when you really don't feel like you've had a chance to actually do anything. So.
[00:06:28] Speaker A: Yeah, and we are talking, of course, about the GFX100RF.
[00:06:32] Speaker B: Yes, that's what I was going to say.
So you had that in your hot little hands, Matt. You got it sent to you.
[00:06:42] Speaker C: That's all that happened. I got to take it on workshops. I didn't get to do anything else with it.
And as, you know, like, workshop. Not exactly doing, you know, magic, are you? You're like, you're teaching other people and.
[00:06:52] Speaker A: You'Re not exactly focusing on your own work anyway, are you? You're focusing on helping everyone else.
[00:06:56] Speaker C: Yeah, but I do feel I know enough. I feel like I know enough now, so.
[00:07:00] Speaker A: All right, let's hear it. What is your. What is your.
[00:07:04] Speaker C: You've really come to the punchline here, aren't we? This is going to be a very short episode.
[00:07:08] Speaker B: Hang on, hang on. No, no, let's make the team wait. Let's make the team wait for it. So we're talking about. We've got two guys on here that have. That have had their hands on with the new GFX100RF. Two of the very few people in Australia that have actually used it and got to test it out and chop it up and talk about that camera later. So keep listening live or listening later because first we need to find out what Matt's been up to other than testing out that particular camera.
[00:07:39] Speaker A: Yeah.
[00:07:39] Speaker C: And I'm going to add to that one there, Justin. So Greg, you are being quite flippant with this. I even read on Fuji rumors, which I do follow all the rumor sites qu closely because you never know what you're going to find. And they posted a review in the last couple of few days or something like that saying that, you know, this photographer had reviewed the GFX RF and this is someone who runs a website dedicated to Fuji. And even in their humble, you know, situation they started out with, I haven't had the privilege of using this camera because I'm a mere mortal. And yet here you and I are, gods, obviously having played with this. So let's not underestimate the, you know, the, the privilege of, of playing with that, that equipment, you know.
[00:08:28] Speaker A: Well, maybe to be fair though, that the guy that runs those rumors because he runs a few of them all at once. I don't know how he does it, but obviously the ad revenue is good.
But you know, if you spent less time bitching and whinging about stuff and how, oh, we've got a rumor. We're, you know, we've got this like leaking things. Maybe Fuji would send him a camera every now and then.
[00:08:50] Speaker C: This is true. Although if they just sent him the camera, maybe he wouldn't feel the need to try and find all the rumors. I mean, yeah, it kind of breaks.
[00:08:57] Speaker A: His whole facade, doesn't it? It breaks his really does.
[00:09:00] Speaker C: Well, I do like the room. You can go any direction with it because even if you're wrong, you're like, whatever, who cares? Like I did. I said it was a rumor, you.
[00:09:07] Speaker B: Know, and if he had the camera, he couldn't talk about it. That's the thing. So it's like he can't even have if he sent a camera. Rumors are done because he can't talk about it otherwise. Unless of course, NDA.
[00:09:19] Speaker C: Yeah, unless it was dji because I think they deliberately go to the rumor sites and like send them like full res images and be like, you didn't get it from us, but months later, you know, here we are. So get out. Yeah, good working guy.
[00:09:33] Speaker B: This is a question I'd like to ask you both because you guys have both done the reviewing unreleased cameras thing.
How does that, how does that happen? Like first of all, how do you end up getting into that situation where camera brands want to send you a camera? And then second of all, I'm trying.
[00:09:54] Speaker C: Maybe that's why I don't know.
[00:09:59] Speaker B: And second of all, yeah, so, so how do you end up in that situation? And then also how does it work? Like what. What's the deal? Do they. They make you guys, like, leave your driver's license with them or something? Like, what's that? What. How does it unfold? But before. Actually, before you answer that, a couple of comments from Alex Kozas up from Bendigo. Can't believe we have Ryan Gosling on the pod spending.
[00:10:20] Speaker A: Cool icon too. That's Pink Floyd's wish you were here.
[00:10:23] Speaker B: Oh, I think that. Oh, yeah, it is too, I guess. I actually think he means here. Spending ten grand on a camera that has a fixed lens, that's when you know you've made it. Yeah, 10k.
[00:10:34] Speaker C: We'll get. We'll get to that.
[00:10:35] Speaker B: We'll get. We'll get to that, we'll get to that. But yeah. So how does it. How does it work? Why do. How does it. How do camera bands end up sending you guys cameras? What's the deal?
[00:10:43] Speaker A: Relationship building. That's what I did. I can't speak for Matt because Matt's in a completely different class to me. Yes, I'm godlike, but we kind of all, all us gods bow down to people like Matt.
I don't have the sort of qualifications or the output of someone like Matt, but I focus my energies on community building. So I worked really hard to build the. To work with the other admins to build the Fujifilm Australia Facebook group and through that built relationships with Fujifilm Australia.
And then when I started writing for Shotkit, they were really keen to start sending gear to Shotkit, which they were doing anyway, but it was always, we're getting this camera for Greg. So I kind of developed a bit of a reputation that I was a Fuji guy without being an actual Fuji guy. Still waiting for the invitation.
But, yeah, I just. I built relationships with likes of Charlie, who we've met before Neil Pash before Charlie. It was years ago. It was leader pros, who I also have known for a very long time and actually ran a business with during COVID So it's just. For me, it's always been relationship building.
And, you know, I have writing skills, so I write reviews, buyer's guides, education pieces. So I've got that skill set and I know how to use a camera. So that's. That's how it comes to me. And yeah, and so they'll. They'll contact Shotkit and say, here's the NDA and we sign that off.
And then a little beautiful little pelican case shows up with a nice silver Fuji badge on it and a couple of padlocks and.
[00:12:17] Speaker C: Yeah.
Hey, were there two padlocks?
[00:12:21] Speaker A: No, there was only one. Sorry. The bigger cases often have two.
[00:12:24] Speaker C: Good, because I only sent one back.
[00:12:28] Speaker A: That's right, yeah. That one only had one.
You messaged me at some point saying, what's the passcode? Didn't you?
[00:12:33] Speaker C: Yeah, I didn't get. I got you in the box without the passcode. Yeah.
What's it called?
[00:12:44] Speaker A: So tell us about your experience in becoming godlike.
[00:12:51] Speaker C: I think we're overstating. I think, I think probably at this point in time the biggest claim to fame I've got is looking a little bit like a fat Ryan Gosling.
I don't think that I've got the God like status in photography at all. I think that what happens with photography is that it's actually a really, really, really small network of people. I think these brands look like, like they are obviously very big brands but they look like these gigantic faceless behemoths. But the reality actually is that they're quite small and they're quite insular. Like I worked at Olympus for a long time and you know, you would work with, you know, people across the business. You would meet with the people, you know, the Japanese team and the Hong Kong team who were having a huge influence. What was going on here? I look at Fuji and I kind of, you know, as I said, I look at a Fuji rumors site and there's, you know, a big announcement from Fuji and here's the Japanese team up there, you know, announcing it. I'm like, oh yeah, I've been to, you know, to a whiskey bar with them, you know, before. Like it's a very, it's not as big of a network as what it looks, I think. And that doesn't mean it's not a big thing, it's just that the network's not that big and once you have an into that network, I think that there's just this natural, if you're like a trustworthy person, I think that you can actually ask quite a lot of brand. I think that there's obviously people who are ambassadors so they obviously have a lot of access. But then someone like myself, I'm not an ambassador for anyone. I don't have a sponsorship with anyone. I don't really want a sponsorship with anyone, to be perfectly honest.
But there is an element of truth that comes out as well. I think one thing I like about Fuji is they do actually ask your opinion, your real opinion about stuff. And I think they also do take it on board which is, you know, you wouldn't really expect, you'd sort of think a brand like that would be so, you know, they have so much data from everywhere that they wouldn't really care about what an individual says. But actually in my experience from the people I've spoken to who are Fuji ambassadors, it's actually not true. They do actually take on board a lot of things, even down to things like ergonomics and stuff. You're not talking about just firmware bits. So.
Yeah, yeah. So I think it's relationships as you say. It is relationships. You know, I run the Bright Festival. We've got a lot to do with Fuji. I've done Fuji projects before. I also think that there's an element. I don't know, I reckon the more excited you are about being a brand person, the less likely you are to ever encounter brand stuff because the reality is if you give someone who's an absolute die hard fan a piece of new equipment that's not come out, the odds of them keeping their mouth shut are very, very slim. Whereas if you're someone who's like a professional who goes, you know what, like, cool, don't get me wrong, awesome, excited, great gear, like, like, like seeing it. But it's not like kid at a birthday party, I think you, there's a little bit more, a different level of, I don't know, I don't have respect but like there's mutual respect there, you know, like, cool, great camera, very excited to see it, super excited to play with it. But I certainly wasn't, you know, if it, even if it came to me earlier, I think I got it like 10 minutes before it was announced or something.
[00:15:47] Speaker A: But yeah, that was my faul.
[00:15:50] Speaker C: But even then like if I've got two weeks, a month before, it's just not something that's worth talking about, you know, it's something that you go, cool, actually what a great experience and you know, let's see how this plays out.
[00:16:00] Speaker A: Yeah, I see it as a privilege and you know, the Fuji room is guys saying, you know, these, me, I'm a mere mortal. Well, yeah, okay, whatever. But eventually you're going to have access to buy it if it's something that's really for you. Let's, let's not forget we're not just getting privilege access to new gear and then no one else gets to touch it. It's, it becomes commercially available.
You know, we're just doing the groundwork so more people know about it. But I think, you know, it is a mutual respect thing because you've got to respect the NDA and you've got to respect embargo dates and, and all that sort of thing. And, and they're there for a reason. You know, the brand's got to protect its, its assets, it's got to protect its patents because, you know, everyone's keen to know what every other brand is doing. Like, you know, Canon wants to know what Nikon's doing.
And I think, you know, smaller businesses, like I've never dealt with Canon and maybe Justin, you can speak to this because you have dealt with Canon directly, not as an ambassador, but just as a, a known individual who uses their gear. You're trustworthy.
[00:17:02] Speaker B: You know, we made straps for them.
[00:17:06] Speaker A: Yeah, yeah. Plus you did the two, the two, what was it? The R5.
[00:17:11] Speaker B: R5 and the R5 two. Yeah, we did, we did limited edition straps for the launch. So we, we did have NDAs and, and pre release information, just not much. I think there was more on the rumor sites than I knew, that's for sure.
[00:17:27] Speaker C: I do love when you see things on a rumor site and you're like, oh, that's not true. But like, yep, okay, that's with that.
[00:17:34] Speaker A: Yeah, I love it. I love.
[00:17:35] Speaker B: See, shut up and just.
[00:17:37] Speaker C: Yeah, watch it play out.
[00:17:39] Speaker A: Oh, it's rumored to be this big and it's going to have this and it's. And then the thing that I was talking last week was, Justin about was that then people on socials are having arguments over the, over the value and the capabilities of this supposed camera that no one still hasn't seen. You know, so I find it a really interesting process and you know, but it is work, you know, it's not just like it's into camera for fun. I've got to test everything, you know, I've got to, I've got to run around with it. I've got to. And you know, the 100 RF is easier to hide. Yes, it's a street camera. Well, I've used it as a street camera and for a bunch of other stuff too in my review. But it's easier to hide a camera like that. I just put a little bit of black tape over the Fujifilm GFX100RF label and went on my way away. But when I got the GFX 1/ hundreds Mark II and that 500 that you were involved in, that as well, Matt. Another godlike performance, you know, running around testing that in a real environment without other, other photographers or people seeing it. Now that's a challenge, you know, especially in a City. Like if you live in a country, well, it's easy. You just disappear into the bush for a day.
[00:18:50] Speaker C: Well, I'll be honest, if you're around the city with a 500mm lens, you probably deserve a bit of attention, you know?
[00:18:54] Speaker A: Yeah, true.
You look a bit sus. You do look a bit sus. Yeah, yeah.
[00:18:59] Speaker C: What are you doing around the playground without lens? It's.
[00:19:02] Speaker A: Yeah. Stay away from school.
[00:19:05] Speaker B: It's interesting. I actually had this conversation while I was in Bright shooting a new bike that's yet to be released. I think it's released next week. And we're at the Bright Trails shooting a mountain bike that's worth twenty plus thousand dollars. One of the main models, the most popular sort of high performance E bike models on the market. Oh, maybe I've given too much away. Anyway, hopefully the rumor sites listen to this podcast for mountain bikes. Anyway, so they're testing it on the trails and I said to Will, I was like, because, because like we're on the trails, there's guys there that are running the shuttles at Bright. These are, these are like industry people. They know what's up and they were straight away onto it. They were like, oh, is that the new. And Will chatted to him about it and Will said the way that he always approaches it, it is.
You can't keep it completely secret because it's not possible to test it and keep it secret. Yeah, but he makes it so he doesn't. He'll chat to people about it, but he won't let them dig too deep.
[00:20:09] Speaker A: Yeah, and then he like, he'll shut them. Shut them off.
[00:20:12] Speaker B: Oh, no, not really. But if they're like, hey, oh, what, what's this? Or what's that? Have they changed that? He'll be like, oh, you know, like you'll have to wait for the review or whatever. But then if they go to take a photo, he's like, hey, no photos. You know, like, that's not cool.
But. Because obviously bikes, you can't test the bike in in secret really. Whereas I guess with cameras, people try to, they're smaller and they're probably a little bit easier to disguise the fact that it's new model, you know, they're not. Whereas bikes are quite the styling. It's like a car, you know, like if someone's into bikes, they'll see that it's a different shape or something like that cotton onto it if they're into it. So I thought that was interesting and I was thinking about the cameras because you've Seen. Disguise them a little bit, but do you try and disguise them, Matt?
[00:20:58] Speaker C: No, not at all. Nice.
No, not because, like, not. Not out of. Not out of a.
Not in a disrespect to the brand kind of way, but I just. I sort of figure that realistically, what are the odds of the average punter on the street? If you're in the city, for instance, what are the odds of somebody who cares enough about that brand happens to look at you notice there's something different, because cameras don't look that different either, you know, like, yeah, if you pick up the GFX RF, a 100 RF, as an example, it doesn't look shockingly different to an, you know, an X100VI. It's a little bigger, sure, but you have to really look at it, you know, or it doesn't look that different. Say, like a black Leica or an old film camera, or you'd have to really be looking at it. And if someone's that close looking at it, you kind of know. And if they even saw it, you'd be like, cool. Like, you're not there to answer questions for them, are you? Like, when you're taking photos, it's not a social environment generally, whereas I can understand, with bikes, yeah, you're waiting at the top, you're sitting in the van, you know, getting the ride up the top, you know, there's lots of social interaction points. Photography is not really like that, I don't think, on the whole. So I kind of look at it and go, if you had something that was really different, then people probably wouldn't even notice it because it's so different, they wouldn't expect it. And if it's not that different, like, most cameras that come out kind of look similar enough. It's like, if someone notices, good on them, you know, like, no one.
[00:22:21] Speaker A: You don't have to.
[00:22:23] Speaker C: You know, I always say it's like on a workshop, I go, when we're doing portraiture in the city, people feel awkward about it, but if they go overseas, they don't. And the reason being is because they think in Melbourne that they're going to notice they're going to be seen by someone. Like, people know who they are and that's not true. There's like 6 million people in Melbourne and most of us don't know each other. So you could be from anywhere in the world. When you walk past a person in the city, it's only when you open your mouth and tell them where you live. And so I think the Same camera like that. I think just, just odds are it's not going to happen and if it did, it'd be so unusual.
[00:22:58] Speaker A: Although having said that, I did have the, the Fujifilm XF500 pre production and I didn't take it to befop.
Yeah, anyone could imagine that. Probably not a good idea.
[00:23:10] Speaker C: Yeah, I would never take it on like a workshop, for instance, like just because that would be a conversation starter because there's, you know, group of us, you know, having a lot of time together. Yeah, there, there are things like that that you pay attention to but I don't really think in the long run it's, it's that big, you know, if you were, if you're a sports photo, important sports event, people are watching you, they're watching what you've got, they're watching what you use. If you're an average punter standing on the sidelines of your kids, you know, footy match, no one's watching that, you know. And if they are probably not looking at the camera, they're probably looking at how much I look like Ryan Gosling or something, you know.
[00:23:49] Speaker A: Yeah, that's true.
[00:23:50] Speaker C: Yeah, I'm gripping onto this today. It's like the one positive.
[00:23:55] Speaker A: Yeah, I think you should hang on.
[00:23:56] Speaker B: To it, you know, take it and run with it. Sorry I dropped out there for a second. Did you, did you guys talk about Bruce Moore's comment here? Don't, don't hang around a camera store and you should be fine.
[00:24:04] Speaker C: No, yeah, yeah, we did not. But that's a very good point. Yeah, yeah.
[00:24:12] Speaker B: Bruce. Bruce works at a camera store in Brisbane, I think. Do you Bruce?
[00:24:16] Speaker C: No. Bruce is in Tasmania. Bruce is an amazing portrait abstract portrait photographer in Tassie. He's got a studio, he runs video productions. He's an incredible photographer. Nothing to do with Brisbane or camera shops that as far as I know of.
[00:24:30] Speaker B: Well, who is it that. Oh, I'm so back the front is someone else then.
[00:24:35] Speaker A: Yeah, yeah.
[00:24:36] Speaker B: Oh really?
[00:24:38] Speaker A: I'm sure.
[00:24:39] Speaker B: Well then who was it? That's that works in a true story in the chat.
Crazy. Anyway, we'll find out soon. Anyway, I won't ask my question there. We'll see what happens.
[00:24:52] Speaker A: We've got a great message here from Glenn. Back in the ye olden days when I was a wee lad, we had a fake plastic Nikon F3 cover to go over the HanamX110 camera. Camera look good. Photos were shit. Oh.
[00:25:10] Speaker B: Sorry Bruce, I don't know. Bruce says no camera shots for me. I don't know why I thought that something. There must have been someone else in the chat a few months ago.
[00:25:17] Speaker C: Out of all of us sitting in this room, Bruce would probably be the most well known and famous of the photographers and would by far have won more awards than anyone else in this entire shindig. At least that I can see in the chat. Slash, our three Bruce is, he has.
[00:25:33] Speaker A: A killer beard too, so I think we see a trend.
[00:25:36] Speaker B: Well, now he'll know that I'm certainly not fan fan girling him or anything. I, I, I'm pretty oblivious to awards and stuff. I, I haven't, I haven't, I've never.
[00:25:45] Speaker C: Been in that world that Rick works in the camera shop in Brisbane.
[00:25:50] Speaker B: Sorry Rick. Sorry Bruce, I got you mixed up.
[00:25:52] Speaker C: Rick also has a beard.
[00:25:56] Speaker B: That must be it. Everyone, everyone has a beard except for me.
[00:26:01] Speaker C: You also work in a camera shop, Greg?
[00:26:04] Speaker A: No, no, Bruce, I walk into them a lot. I was in one this morning and we'll get to that too.
[00:26:12] Speaker C: I saw that. Yeah. That's exciting.
[00:26:16] Speaker A: Well, I wouldn't get your hopes up just yet.
[00:26:19] Speaker C: Well, I can tell you I have also blown a huge amount of money in the last 24 hours on camera gear, so maybe we could have a commiseration ceremony together.
[00:26:27] Speaker A: What did you buy?
[00:26:30] Speaker C: So I, I just bought myself a. Well, very broadly speaking. We'll start. Should we start with the cheapest item first?
[00:26:38] Speaker A: Go for it.
[00:26:39] Speaker C: So this is my, this is my latest cheap item.
This is the Angel Bird cfx. A card reader which was, that was an exciting purchase. Been a long time in the coming. That one.
[00:26:57] Speaker B: I've got, I've got the B version, the, the old, you know. Yeah. Because I'm not a. That's for Sony, I guess. A yes.
[00:27:07] Speaker C: Yeah. This one is for the Sony. Yeah.
Bruce has asked if I got an FX6 and I'll be honest, the FX6 is actually on my, potentially on my shopping list. But it doesn't have image stabilization which is annoying me and I've got a bigger story about that. Soon I bought a blimp, a rode blimp for my mic.
I had a shoot yesterday where I was stuck in a very windy location with only a shotgun mic that did not have any kind of fairies except for a little foam coat. It did not go well. So I bought myself a blimp.
[00:27:41] Speaker A: Nice.
[00:27:41] Speaker C: These are my two small ones. I bought myself a big pelican case. I have also invested in the Sigma 300 to 600 F4 and I am tossing up between the Sony A1 Mark 2 or just getting another A1. Because to be honest, they're kind of the same thing and I can't really get on board with their little, you know, thing. Yeah.
[00:28:06] Speaker B: You can't see this comment. The Rhodes blimp is called a dead Wombat.
[00:28:10] Speaker C: It is. Yeah. It's like the big fuzzy coat over it because, like, a little one's called a dead cat.
[00:28:16] Speaker A: Yeah.
[00:28:17] Speaker C: And it's like. Yeah, well, the, the blimp is so big, it's called a dead wombat. Yeah.
So. Yeah, so no, I have been. Have been hitting the. The checkout buttons like crazy today in between all the bits and pieces. So. Yeah. What was your purchase? I'm interested in your.
[00:28:35] Speaker A: Now I'm feeling really anxious because we have talked about that a lot and I have said that I do. I. I could see myself owning one or at least using one, and I can't even get a.
I see, I used to be an alcoholic, so most of my. Most of my organs are. So I just can't afford it. So, no, I didn't get the gfx. I am a Fuji fanboy. And typically my, my, my happy time is doing street photography.
Anyone that follows my stuff will know that usually I shoot with my trusty but old Fujifilm X70. I love this camera. This one's still like brand new and it's like a decade old now.
But no, I, I went big today. I walked into Digi Direct in Melbourne. For those of you not in Australia, Digi Direct is a chain here in Australia and I think New Zealand, they've got some stuff. They're just a camera retail store.
[00:29:38] Speaker C: Please don't, don't, don't promote them. Let's not do that.
[00:29:41] Speaker A: Okay, well, they looked after me.
[00:29:43] Speaker C: Name them by name and then move on.
[00:29:45] Speaker A: All right, we'll move forward. Anyway, I was looked after. I walked in and I know the manager at the Melbourne store quite well. I have purchased many, many, many things from him in the past. Anyway, I walked into him. I walked into him. I walked into the store. I said, hey, I want your cheapest, dirtiest, point and shoot digital camera.
[00:30:06] Speaker C: No. God, please, no.
[00:30:10] Speaker A: I did. I did.
But I want to tell you the backstory, Matt.
[00:30:15] Speaker C: You see, I know I could handle it.
[00:30:18] Speaker A: No, no, you. No, trust me, there's. There's method to my madness. Well, at least it makes sense to me. So basically, Matt, you know, I'm a street photographer, right? And I am a little over all of these people having a. Fighting and arguing over how good a piece of gear is oh, but you can't shoot weddings with that because it's only got this F4. And you can't do this with that because it's. Oh, you know, I need, I need IBIs. Otherwise it's completely useless. The amount of times I saw that comment about the Fujifilm GFX100.
[00:30:50] Speaker C: We should talk about, we should talk about that.
[00:30:52] Speaker A: Yeah, we will come back to that because there's, there's, there's, you know, there's arguments on both sides, but for what I do wasn't an issue. Right. I didn't need. I, you know, I mostly shoot in F8 and I don't need Ibis, you know, because I know how to actually use my exposure triangle to get us a clean, sharp image. Even with a medium format sensor that's absorbing everything that's going on in front of me. And I can see that Matt is so, so wanting to argue, but I'm not.
[00:31:23] Speaker C: But I'm just.
[00:31:23] Speaker A: I went to, I went to the store and I said, give me your dirtiest, cheapest camera so I can shoot some street photography. It just has to have autofocus and, and auto focus.
[00:31:36] Speaker C: What do you need auto focus for?
[00:31:38] Speaker A: Like, yeah, what do you need that anyway? And I went.
[00:31:44] Speaker C: Without manual focus.
[00:31:47] Speaker A: I went and got myself an Ilford, which is probably just a factory made camera that they put this, this logo on, different logos on everyone trying to say.
[00:31:56] Speaker C: If I knew the credibility of this podcast had gone this low, I would not have joined tonight.
[00:32:00] Speaker A: Hey, hey, Junior. It's got an LCD. It is plastic fantastic. It weighs about probably 40 grams and he only charged me 60 bucks. I think it's about 100 and between. 100, 150 on other stores. But I bought a $60 camera and I went and shot some street with it straight away. I put the battery in. Actually, he did it for me, put the battery in. He gave me a spare micro SD card because I didn't have any micro SD.
[00:32:29] Speaker B: It takes micro natively. That's the, that's the SD card that.
[00:32:33] Speaker A: Goes in 32 gig max card. That's all I can do.
But with this camera, that's like 8, 000 photos, right?
24. But it's a very. No, it's a small sensor though. It's. It's like.
[00:32:48] Speaker B: Yeah, but it's 24.
[00:32:50] Speaker C: It doesn't have a sensor.
[00:32:54] Speaker A: All right.
[00:32:59] Speaker B: Must be film in there.
It takes that. It takes that micro film. You know, remember in the library, like the micro fish stuff. It takes that. It's not a micro sd. Greg, it's microfilm.
[00:33:10] Speaker A: All right?
[00:33:11] Speaker C: I'm not saying.
[00:33:13] Speaker A: Meet you both in a second.
Let's go to my photos. Where are they?
[00:33:17] Speaker B: Oh, hang on. Let me take. I'll take Bruce. Bruce Moyles coming off. He said he bought the Fujifilm keyring.
[00:33:27] Speaker A: You know, enamel pins.
So this is. This is the very first shot I took with this camera. I walked out of Digi Direct. That orange on the left there is the wall of Digi Direct. Anyone who's been there will know. I'm sorry it's not a bigger view. I don't really know how to make it bigger. Sorry.
[00:33:47] Speaker C: To be honest, I wouldn't blow it up too big, because you probably won't. You'll start seeing pixels.
[00:33:57] Speaker B: Now. Greg, tell me, was this shot in RAW or jpeg and have you post processed it, or is it straight out of the camera?
[00:34:03] Speaker A: It only shoots jpeg.
It only shoots jpeg. No, no, no. I've applied my own lightroom presets to this.
[00:34:13] Speaker C: All right.
[00:34:14] Speaker A: We're going there?
[00:34:15] Speaker C: Yeah, why not?
[00:34:16] Speaker B: All right.
Bruce says it's gift.
[00:34:22] Speaker A: You guys are all busted. There's a word I want to use here and I'm not allowed to.
[00:34:26] Speaker C: We should get. We should. Genuinely. Seriously, Bruce, if you could join this chat right now, that'd be amazing, because I think we need some support.
[00:34:33] Speaker A: Yeah, I know. No, you don't. Both of you. Hang on a second. I can't talk with you guys talking. I'm going to turn you both off. There we go. All right, everybody, if you want a discount on your lucky straps, just use the code. Greg. It's G, R, E, G. And you'll now get 20% off your strap.
No, we'll get you 10.
Anyway, my photos.
So I played around with color. I played around with different scenarios.
[00:35:00] Speaker C: I think you need.
[00:35:01] Speaker B: Hang on.
I was going to say. So the motion blur there. So were you shooting in manual? What mode were you shooting in?
[00:35:08] Speaker A: No, no, no. It doesn't have modes, Justin. It's just a point.
[00:35:11] Speaker C: And shoot the camera it up, basically. And now it's up.
[00:35:18] Speaker A: It doesn't like low light at all. It doesn't like.
[00:35:21] Speaker B: I like it.
[00:35:21] Speaker A: This is a blur.
[00:35:22] Speaker B: There's a bit of sharpness.
[00:35:24] Speaker A: 10 o'clock in the morning, it wasn't dark. It was a nice, bright, sunny Melbourne day.
Oh, look, everybody. Yelena can change the discount code to 20% for my listeners.
[00:35:37] Speaker C: Wow.
[00:35:38] Speaker B: Hey, you're right.
[00:35:41] Speaker A: He can slap you from there. Give you a smack.
[00:35:43] Speaker B: No, not quite. I can throw something up there so it's okay.
[00:35:47] Speaker A: Around with it.
[00:35:49] Speaker C: Can we be honest for a second here? Right.
Don't get me wrong. Go back a shot. Go back one. No, not that one. The other way. Two.
[00:35:58] Speaker B: Back that one.
[00:35:59] Speaker A: That.
[00:35:59] Speaker C: To me, that is a. No, not that one. That's terrible.
The other one with the glasses. I think we all know what we.
[00:36:09] Speaker A: Make up your mind.
[00:36:10] Speaker B: This one, this one. This one, this one.
[00:36:13] Speaker C: So from a, from a photo perspective like that is a very clever composition and this is a great example of showing the photographer not the camera.
[00:36:23] Speaker B: Yes.
[00:36:24] Speaker C: Yeah. But what I want to point out here is that there's got to. I feel like and this is something that's going to play into this little whenever, if we get to it, the GFX RF conversation a little bit. There's got to be an element of deliberateness in shots. And I feel as though what is happening at the moment, because this is what you're doing now. You are actually quite late to a terrible trend of buying shitty old point and shoot cameras.
[00:36:48] Speaker A: But I've never done it.
[00:36:49] Speaker C: All I can say is I Hope you're on TikTok because it's a big.
[00:36:52] Speaker B: Thing but like about to go viral.
[00:36:55] Speaker C: I think the problem with this is that you've. You no doubt within this obviously you've caught some really, really great shots. But I can't help but think that those occasional great shots maybe were not 100% the work of the photographer. The work of a little bit of luck and a little bit of the great. Oh shit, great the camera performed and I sort of knew what I was doing. I don't feel like it's a very deliberate pursuit. And that's where I feel like photography can lose its way a bit, is when you get great shots. But there's an element of Luke or luck in it. I can't help but go, yeah, aren't we back into phone photography territory? Because realistically, and that's where I sort of go. Are we cheapening it by going like these old amazing pieces of digital. Like back then they were crap, they're crap now. Why not? Do you have to embrace the best tech? But I feel like there's a whole generation of people going low tech for the sake of going low tech. It's almost like saying I'm too cool to write on a computer. I actually type nails. I typewriter and it's like, you know, like.
[00:38:01] Speaker B: Okay, okay. So the question is, the question is, I guess Greg, is do you think you caught anything? Like obviously you've, you've been able to make some, some great photos with this camera. So sort of maybe working through its limitations or whatever. But do you think you captured anything that you couldn't have got with your Fujifilm X70?
[00:38:21] Speaker A: That wasn't the exercise.
[00:38:22] Speaker C: I'm not sure the X70 has like.
[00:38:24] Speaker A: 2 megapixels, the X70 16.
[00:38:30] Speaker B: So it was more an exercise in like, hey, don't let the camera hold you back. As opposed to an exercise of you should use a camera with more limitations because it'll push your creativity.
[00:38:42] Speaker A: Well, you know that, that's something that I sprug anyway.
I spruce people, you know, because Matt, you know, one of the things I noticed when I was at Beef up doing workshops is that people who appeared to be seasoned photographers, obviously a lot of retirees were there, but not a lot. But you know, there was a, there was a decent chunk of white haired people there. And what I found was that people were going up to the instructor with holding, you know, like a 10 to $15,000 camera and lens combo, asking what ISO they should dial it in. And I think that sometimes we lose sight of what photography is. Photography is about image making.
And you know, they weren't, there was no bravery to just shoot at whatever ISO they thought was right and then and they can look at the results, for God's sake. You know, it's not like it's film where you put in a 1600 ISO film. In actual fact, you should have put a 400. You know, you can, you can take the shot again and within three seconds change the ISO. But there was this lack of bravery. And I think for me, what this was, and I had such an inspiring day because I shot a bunch of stuff on my X70 as well that I'm really happy with. But for me, buying this little piece of junk wasn't about the image make or it was about the image making, but it was about the image making and the process of making images. It wasn't about what the end results were. It wasn't about this podcast, it wasn't about sharing necessarily sharing them with people. The byproduct of my exercise is that I feel like I can say, well, yeah, okay, so the dynamic range is crap and it's grainy as hell and there's, there's like a hundred missing pixels just in the bottom left corner and you know, all that sort of stuff. But I enjoyed the process. I went out and connected with my craft and loved the experience.
The photos, you know, I barely look at the screen even on my X70 unless I'm like I use the screen to compose because it doesn't have an evf, you know. So for me, it was about. This exercise, wasn't about, look how great my images are with a $60 camera. It was about, look at the experience I can have without worrying about gear.
[00:40:52] Speaker C: Can I ask a different question then? Because I can see also Rick's got a question in there and asking about, basically, you learned the response time of the camera, et cetera, which makes a lot of sense. If you, if you learned about the camera enough, does that reduce the luck aspect of it? I definitely think, yeah, of course it does. Like, that's, that's a really good limitations of something. You work around the limitations. Of course, that's mastery of that particular PC. So no, no arguments there at all. But my question here is that surely pulling your phone out of your pocket with a camera that has also got no settings and a full depth of field, and it has a few zoom levels and stuff, we're talking image quality is obviously not an issue. Why is buying a new piece of equipment any different to just using your phone, however crappy it is? Because that is really, that is a stripped down. If that's, that's no gear, that's no outlay, and, and it arguably probably has less settings on it than what you. The, the $60.
Yeah.
[00:41:51] Speaker A: And it would handle it better. It would take better pictures, it would handle low light better, it has greater dynamic range, it's faster. You know this photo here that we're looking at here, so this guy, I pressed the shutter button when he was at that window on the left.
Yeah, that's how slow. So I had to work out. Yeah, I had to work out a bit of timing. And that was just part of the fun. Some shots work, some shots didn't. If they didn't work well, so be it. I'll try again tomorrow. You know, like me, for me, it was, it was about that experience. It was about.
And yes, I could have just pulled out my phone, but why do we buy anything if that's the case? You know, why. I guess why do we buy. Why do we buy? You know, I mean, you've just said you've gone and bought a whole bunch of expensive things today, you know, a new zoom. And granted you need that for your job, but I need this sort of stuff for my mental health. I need to get out in the streets. And if this inspired, if it cost me 60 bucks and it inspires me to spend. Hell, I was in that city for six hours today, not Just shooting with this because the battery only lasted 45 minutes, but shooting with my X70, like, I had such a great day. I was so engaged in the process and hunting light. And if this got me out the door and saved me from spending another day sitting on the couch feeling depressed, then that's a worthwhile expense.
[00:43:11] Speaker C: No arguments there. Like, there's obviously no arguments when it comes to your personal enjoyment of it. I think where I probably come from with my perspective on this is not maybe from what you're doing, but there is an actual resurgence in those cameras. So if you look past what you've made a decision on, it is a. If you go onto TikTok and look at like old shit digital cameras, there is like this huge, you know, it's like when film started to come back and it became cool.
And the amount of people I see buying these really old, like what would have been at the time, very expensive. But these days should be worth absolutely nothing. But they're really expensive again, a lot of them, like there's a lot of those more vintage, you know, like well known models and they're coming back and what I feel as though is like the type of content that's being created and I've got, actually got something like this again. I know this probably sounds like a mystery to a lot of people who are listening already, but this actually does really come back to my experience with the JFX camera, ironically, because you're talking about the world's greatest version of what you've just got in your hands. And now you know what is probably one of the world's crappiest versions that you could buy. And it really strikes me as this.
It's really difficult to reconcile the way that I agree we put too much emphasis on camera gear and if you need a particular feature, yes, that'll cost money. But if you don't need the features, it doesn't. Sure. But I'm also feeling as though there's a lot of haphazard photography these days that is statistics based. You shoot enough frames, you'll get a great one. And then if only everyone sees the great one. That sets up this pretense for like I bought this old terrible camera and look how amazing it is. And actually, you know, you've got a lot of experience, you're a good photographer to start with. But equally it might be the one in a thousand images, but that's not how it's presented. And I think that can be.
[00:45:03] Speaker A: Oh yeah, for sure.
[00:45:05] Speaker C: Mental health. I feel like that can Be as an industry bad for everyone else's mental health. Because what they see is themselves failing a thousand times that they didn't get the shot. But they don't know is it also took a thousand and one top times for you.
[00:45:17] Speaker A: Yeah.
[00:45:20] Speaker B: You're worried that people would see. So if Greg put that image up that, that great shot of that he was in the. Framed in a beautiful spot, had nice color to the side, leading lines and he puts that up and says shot with this camera and someone's going to look at it and go, okay, I need to buy that camera so I can shoot like that style of image. And Whereas, whereas for Greg, it wasn't even. It wasn't the actual. It wasn't the sensor. It was none of that for Greg it was. It was just whatever inspired him to get out that day and get that shot which happened to be a 60 camera. But it could have been.
[00:45:51] Speaker C: Exactly.
[00:45:51] Speaker B: It also could have been the gfx.
[00:45:53] Speaker A: Yeah.
[00:45:53] Speaker C: Or it could be.
[00:45:54] Speaker A: Anyone say that I. I need to go out and buy a $60 camera every time I. I feel a little flat and I want to do some photos. You know, it was, it was, it was a culmination of things, Matt. It was that, you know. Yes. For my mental health. My photography has always been a part of my therapy. It has been.
[00:46:09] Speaker C: Yeah.
[00:46:10] Speaker A: Since I took it up and I wanted to have fun, you know, I felt a bit cheeky. I just going to go. I walked into the store and said, I just want your shittest camera. And he goes, I'll give you this for 60 bucks. I said, dumb.
[00:46:25] Speaker B: Like, let me walk you over to the Nikon. The Nikon area. And you were like, no, like I wanted.
I'm kidding, Julie. I'm kidding. Julie, I love you. I'm sorry.
[00:46:35] Speaker A: Although he did walk me like a case and I was very angry about that.
[00:46:40] Speaker B: That's what I really want. No, not your worst value for money. Not the worst value for money camera. Just your shittest camera overall.
[00:46:47] Speaker A: Oh yeah.
[00:46:48] Speaker C: But I think that's the thing is like there is a really big, I guess almost what you're making the point is actually the exact same point as what I'm saying. But I think that because you've attached your point to a particular camera, I think I've got an issue with it.
Your point is that the camera doesn't make the photo. And I totally agree with you. And the purpose of photography is not always about the photo. Totally agree with you. I think what I find frustrating and I think the GFX is actually, that's what's getting to me this week is that I've seen so many promotional photos that people have shot. These cameras have been, they've been handed through all the influencer hands this, you know, the last month or two to shoot promo images, which is very normal, by the way. But when I look at those photos, what I find really starkly, like, glaringly like in my face is that very, very few if any of the photographs that I've seen shot on that camera take advantage of any of the technology in that camera. And that's what really interests me is that all of a sudden I've got this whole generation of generation, but a group of people, this following of photography that's using what is perhaps one of the greatest masterpieces of all time in terms of the camera build. And they're taking shots that I could shoot on an iPhone with it and saying that because it looks artistic, suddenly it's a medium format GFX image and it's like, I'm not convinced. I feel like that you could shoot that on a, on $1,000 camera, yet you're spruiking an $8,000 camera. Show me why it's worth eight grand. Don't show me why you're cool because your friends dress in retro clothes. Like it's a totally different thing, you know, and it's. I think that's why it's getting my backup this week is because I went into this experience with this camera expecting like something else. And I feel like all I've been fed so far is all the reasons why I probably wouldn't buy it. I've not been shown.
[00:48:40] Speaker A: Let's, let's get into that. What were you expecting with the gf?
[00:48:44] Speaker B: Wait, wait, wait, wait, wait, wait, wait, wait, wait. Before we get to the.
[00:48:47] Speaker A: You're still here, are you? Sorry, the podcast.
[00:48:49] Speaker B: Sorry, I'm still here. Starling's been going in. I want to do a quick roundup of a couple of comments that have been coming in before we get into the, the fun part of this episode.
Paul says, I'm with Greg on this one.
Tim Sciamma says, if you have fun creating Greg, then it was a worthwhile exercise. I agree. I think it was a good exercise.
[00:49:12] Speaker A: It was fun.
[00:49:12] Speaker B: Fun. I'm excited. And then, and then when you sent the photos, it was like you got some good shots and I think, I think there's a good article in there. Is, I assume, is that the plan? Like an article? A bit of a no.
[00:49:22] Speaker A: I'll Just put it on my own blog. I'll just talk about, yeah, you know, why I like what I've just said to you guys. You know, and I've said this on the podcast countless times, Justin, that, you know, I've been in a photography funk.
You know, I've had some ongoing mental health issues that have kind of flared up at the end of last year and it's made it hard to get back into feeling like going out and taking photos. The GFX inspired me a little and it kind of got me back into the vibe a bit because I had to take, I take my own product shots, Matt, for my articles and all that sort of stuff. And then this idea popped into my head after reading countless comments about the gfx, the new gfx and what it is and what it isn't and why it's useless and, you know, why it's amazing, all this stuff. And I thought, you know what, I just want to go back to. Let's just, let's just do something. It's just about image making and it's about the experience, it's about the joy of photography. And you know, and so I think that's what I'll do. I'll just, I'll just do an article, be very raw and very exposing about why I do these things because I think that helps other people. You know, part of what I do on my personal blog is talk about my mental health challenges and how I use photography to support them and to, to deal with what I'm going through in life and, and you know, I think it helps other people when they read that sort of stuff. It can't all be, you know, here's a new camera. It's glorious. Here's the, you know, like it has to be real, you know, and that's what I do on my personal stuff. But, but, but yeah, I love it.
[00:50:55] Speaker B: And when that article comes out, we'll try and remember to link it below. If you're listening back to this later, just go to go to Greg's blog.
What else we got here? Rick Nelson, who works in the camera store in Brisbane and is not Bruce Moyle. Rick Nelson.
A customer told me the answer to just that the phone looks too good. They want the retro look of the tiny sensors. So Rick's getting the people coming in looking for the old cameras.
[00:51:23] Speaker C: You know what, Rick, can I say, have you, I don't know if you've seen it, Rick, in your store or whether they're starting to sell these in actual stores. But I saw a thing on Facebook the other day and it was like this little pancake lens they're advertising for full frame Sony cameras on.
[00:51:35] Speaker A: So it's an one that looks like an Oreo.
[00:51:37] Speaker B: Yeah.
[00:51:40] Speaker C: Why are you spending $9,000 on a Sony A9 Mark 3 and then put putting an Oreo on the front of it? Like, don't get me wrong, all respect, if you want that look of your photo, but go and buy the camera that Greg bought. Don't, don't try and turn your other thing in. Like it's almost, I feel like it's almost a bit disrespectful to the people who, who developed that camera.
[00:52:04] Speaker A: What? Someone put a cookie on the front of her camera?
[00:52:07] Speaker C: Seriously, like, if you want the retro look, go for it. But like I just, yeah, it's, it's just the. Feels like the wrong way around, you know?
[00:52:15] Speaker A: And look, if you do like that look, then go and buy yourself a Fujifilm and just shoot raws, jpegs and apply color SIM and be happy with it. You know, like, and that's part of the reason why I shoot Fuji is because I do like that simplicity of applying the colors to. I shoot raw. But you know, it's just, it's, it's part of my workflow. I'm not selling billboards, you know, I'm not selling to commercial people. The most important element of my photography is doing product shots for my reviews.
[00:52:47] Speaker B: Like now, now that you're shooting with trendy cameras, you'll probably get picked up by creative directors who shoot a billboard.
[00:52:55] Speaker A: Ilford, I'm ready for a sponsorship. Ilford or whatever Chinese factory made this. I'm ready for a sponsorship.
[00:53:03] Speaker B: Bruce Moyle, who does not work in a camera store.
[00:53:07] Speaker A: No, he doesn't.
[00:53:09] Speaker B: Using here is fun if there's no pressure to perform with it. Yeah, I think that's, I think that's it.
Nev says it's funny. I use the GFX and after a six hour wedding shoot, I can't touch it. As an addictions counselor, I understand, I understand why our mental health is far more important. Yeah, very good. Lots of other comments coming in. Lot of Oreo lens hate.
[00:53:33] Speaker C: Good, I'm glad we're on camera.
[00:53:36] Speaker A: Yeah.
[00:53:36] Speaker B: Yes. The dispo lens thing, I've seen silly.
[00:53:40] Speaker C: You know what they tried to push with this? They tried to say that it was. They were recycling old disposable camera lenses. So it was like a good eco thing. But I can't help but think that there must be so Much more input in rebuilding a lens around a tiny piece of plastic you recycled than what it would have been to throw the. And how many exist out there? Probably not many. Like that is like. We're not talking about turtles choking on these things. These are not straws.
[00:54:07] Speaker B: I think they do. The turtles have been eating disposable cameras.
[00:54:11] Speaker C: The turtles are going around with bifocals. They've swum into two of them, and now they can see really clearly like.
[00:54:18] Speaker A: People are eating their soup and spitting them out too much.
[00:54:23] Speaker B: We're fixing the environment.
Greenwashing or something, is it?
[00:54:27] Speaker C: What's it called?
[00:54:30] Speaker A: Greenwashing? Yeah.
[00:54:31] Speaker C: Yeah, but that. That's. It's just.
[00:54:33] Speaker A: It.
[00:54:33] Speaker B: It's.
[00:54:33] Speaker C: It's.
It just feels like there's a lot of that. Yeah, that happening there.
[00:54:41] Speaker A: Most definitely.
What are we up to, boss?
[00:54:46] Speaker B: Well, I. I think. I mean, we've. We've kept Matt on here for an hour when he was supposed to have the night off. So I think we probably need to talk about what. What was promised, which is the thoughts. The GFX100RF. So I like to call this segment Matt versus Greg.
[00:55:02] Speaker A: Why?
Why is it versus?
[00:55:05] Speaker C: I think it'll be versus. Let's just run with it.
[00:55:11] Speaker A: Let's hear what you got to say, old man.
[00:55:15] Speaker C: I gotta say so. So this is where I feel like I probably won't be sent another camera in the future.
It's.
No, it's not. It's not. I'm not.
[00:55:25] Speaker A: I'm not.
[00:55:25] Speaker C: I'm not negative like that. But I do think that there is something that's really, really interesting about this. And I've had lots of discussions over the last week. I have taken this camera out now, as I said, on lots of workshops and shoots, not things that have been just for my own fun. So I haven't actually gone out and, like, fallen in love with it. I've had it with me when I've been doing things.
So that's probably an important distinction as well. Right. But I can't help but think that this is a camera where for every pro that I can think of, there's an equal con that makes me negate the pro completely.
There's almost no one aspect of this camera where I think, wow, that's an incredible thing that I can't do without.
And I'll give you an example here that really kind of almost. It sort of almost annoys me that we're all really excited about this aspect ratio. Switch on it. That's got, like, little, you know, different Aspect ratios. And don't get me wrong, it was probably one of the most fun parts of the camera. Like I really enjoyed. It's like, what is it, 64 by 24 or something like that. 68 by 24 ratio. Like that?
Yeah, yeah. And I said to a friend of mine, if that camera only shot that aspect ratio raw and there was no weird crop thing about it, it was only shot that I'd probably buy it for the price.
But the reality is that I look back and think to my days at Olympus OM systems now and they've had aspect ratio switching in their cameras since day dot. Now maybe not the exact crops that are being talked about in this Fuji system, but the concept is not different. The idea of blacking out portions of your frame to change aspect ratios is not new. This one happens to have a physical dial, but it's also a very clunky physical dial in a spot that's actually really hard to kind of change whilst you're looking.
And so I was sort of going, you've got this really high res camera, love that, 102 megapixels, love that.
That requires you to crop a huge portion of those pixels and bring it down to what is a regular pixel camera.
Then if you were to use the zoom on it, you're essentially smashing more pixels out of it to the point where I think I got down to like 20 megapixels at one point. You know, it was like a panorama on the 60 millimeter equivalent crop. And I just sort of thought if it was only JPEGs as a camera you probably wouldn't care. But when you put it in Lightroom there's something almost a bit like, you know, you've got a safety net because you can re crop it, you know.
[00:58:02] Speaker A: Like the whole, it's not the whole sensor data.
[00:58:04] Speaker C: Yeah, you're not really committing to anything. And I just sort of felt as though, don't get me wrong, I've got some photos I could show you. Insane quality. Like the actual photos are stupid. Like the quality out of it's insane. The dynamic range, the sharpness, the color that comes out of it is amazing. Exactly what you'd expect from Fuji. But I felt as though that all the things that are being advertised and things that people are talking about are actually novelty features that have existed in many other cameras for a long time and for some reason now we're excited about them. And I just don't quite understand that.
[00:58:35] Speaker A: Well, the thing, the thing too, and this is brands do this with not just Cameras like it happens in almost every consumer product. And it's the, it's the little bells and whistles that they, they dangle in front of us to go, oh, an aspect ratio dial. But we've been able to change the aspect ratio on our Fuji, on every Fuji camera. You just have to dive into the menus. The difference is, is that it's a, it's a neat little dial on the body. And again, Matt, I think it also, it always comes down to the pros and cons and I agree with them. I, you know, I thought if I was a pro shooting with this or if I was an enthusiast, like a high level enthusiast and I'm doing a gig and this is the camera I've got, you know, and if I didn't have it on the right aspect, like I would find it some elements of this camera quite frustrating. But it also depends on what you're using it for and what your, what your mind, level of mindfulness is going into using it. If you're just there for the joy of patrol, which is something that I bang on about. I'm sorry.
I like the fact that I had control over my aperture, shutter speed, ISO and my aspect ratio. Not that I changed it that often without having to go into the menus once.
[00:59:45] Speaker C: I totally agree. Yeah. Do you think though that. But talk to me about this, right? So let's just. And this is where it's really a real battle in my head because I actually completely agree. I would never use this camera from a commercial perspective, as in like I was doing run and gun commercial stuff. It doesn't make any sense. For a start, you're not going to use 250 megabyte files. Like that's just ridiculous.
But here's the thing, you talk about the mindfulness part of it, which I completely agree with, by the way. I think that you'll find most photographers have some form of therapy in the work that they do.
But actually that's what, that's the magic that was lost for me because there wasn't any therapy in it because what you could do is change the aspect ratio. But what actually like behind the scenes, behind the facade, you knew that if you didn't quite get your composition right, you could recompose later. And I feel, yeah, no pressure. And it's like almost what I want is if the RAW files actually crop that data out completely, take out the megapixel, I don't care, you know, no one needs 50 mega, 100 megapixels. No one needs that. Right. But if you actually had a RAW file that committed you to that aspect ratio, but it gave you all the push and pull of what was in your frame, then I can kind of see the therapeutic part of it, because I'm like, yeah, I'm going out there and, like, it's making me commit, it's making me make a decision. It's making me think I have to stop and I have to really think, much like, you know, your Ilford camera, you couldn't go. And if you screwed it up, it's totally rooted. You can't fix that. And there's something about. It's not pressure. It's almost like. There's almost a joy in the fact that, well, if you stuff it up, well, that's it. Like, you can't try and fix it. Don't try and go back and do that. But I felt like this camera, from a RAW perspective, what I want is the push and pull of the raw. I want the color of the raw. Because that is something that genuinely, like, you want to put your own flare into. It's not about fixing things, it's about putting a flare into it. Yeah, but I felt as though the fact that you could recompose later meant, well, what's the bloody point of that dial? Because, like, yeah, I'll just sort of recompose.
[01:01:49] Speaker A: It almost reminded me, Matt, I don't know if they brought out a phone, a smartphone. Well, I don't think it was that smart, but it was more of a concept, I think. And it had, like, about eight lenses on the back. And it used computational photography where you would take a photo and it would take a photo with all of those lenses, and you could later choose which elements were in focus.
[01:02:13] Speaker B: The light. Yeah, you remember that?
[01:02:17] Speaker A: It was that. Yeah. And it failed because we don't have it now and cameras haven't adopted. It's not like it was the, you know, the birth of a new era of photography because it didn't make sense that, you know, you could go and take this photo and later in software, choose which parts of the photo you wanted in focus and which parts you didn't.
[01:02:37] Speaker C: I think from a photographer.
Yeah, from a commercial photography perspective, which is ironic because that's not why I would use the camera. That's really useful, because if you stuff something up, you actually need to fix it. But when it comes to personal stuff, like the stuff I love, the things that your passion is, I don't want to be able to fix it. If I got it right, I got It.
[01:02:58] Speaker B: Right.
[01:02:58] Speaker C: And if I didn't, it's like too bad, Matt, you failed there and go out and have motivation to go again, you know.
[01:03:03] Speaker B: Yeah.
[01:03:03] Speaker A: And that, yeah, that's like a street photographer's approach. It's like that moment in time and space is gone, you know, move on.
[01:03:10] Speaker C: Yeah.
[01:03:11] Speaker A: You know, you can do about that photo.
[01:03:13] Speaker B: Can I offer some perspective, Matt, or maybe your thoughts is. I think you might be. I think there's like, there's levels to this photography thing and you might layer it's at a level where that commitment pushes you and excites you. But even though this, this camera is pitched at people with quite a lot of experience in photography and quite deep pockets, I would say being ten thousand dollar camera.
[01:03:45] Speaker C: Yeah.
[01:03:46] Speaker B: A lot of those people don't have your experience and potentially don't need the push that you need for that commitment. So for them that in camera crop is enough of a push even though they've got the safety net of the raw.
[01:04:02] Speaker C: Yeah.
[01:04:03] Speaker B: And maybe that, you know, so, so you, you need that and I, I feel you what you're saying.
[01:04:08] Speaker C: Yeah.
[01:04:09] Speaker B: But I think if, you know, if you haven't, if you haven't literally delivered 100,000 photos to clients or you know, obviously if you're a landscape photographer, something not that many but you know, depending on your chosen skill, if you haven't delivered thousands and thousands of photos to paying clients, just literally choosing that switch might be enough to, to push your creativity and, and think, oh, now I'm shooting in a, in this panoramic mode.
[01:04:33] Speaker A: So that's what they're hoping for.
[01:04:35] Speaker C: But. And I'm totally up for the pan. I'm up for the crop. I just think it's the, it's the lack of, the lack of. It's almost like it's kind of like a pointless part of the photo in a way. And I totally understand what you're saying. Don't you know, I'm not talking for everyone. I get that there are people out there who desperately would like this stuff and I think that's really important to recognize. I just think that when you start looking at the price tag, which is $8,000 or more, I think it's like eight and a half.
You should be at that point talking to a group of people who are either experienced because to spend that much money, you should be experienced. If you're spending that much money just because you've got the money, then like I'm not really talking to you for the same reasons. I'm like nothing against it. But at the same time you're kind of jumping into the very, very high end of something. And I feel like if you're going to jump into the high end of something, you should come. That should come with all of the commitment of jumping into the high end of it. I feel as though it's like if you're going to buy this camera, you're probably someone who is experienced. Otherwise, why not the X100VI? Amazing option that's completely almost the same in a lot of ways, but it's the baby brother. It's still an expensive camera, it's still a great quality camera. It's got all the things, almost all the things anyway.
But the moment you step up to that level, you're kind of talking about people who shoot the Leica cues and stuff like that. And I feel as though in my world, my experience of running workshops, I see people who have a Leica cue are people who are really bloody good at what they do or they've got a lot of money and they've just walked in and gone, what's the best camera I can buy? That's one of you, Justin.
[01:06:11] Speaker B: I'll leave it up to the chat to decide. I don't need to weigh in on that one.
No, I think you're.
[01:06:17] Speaker C: There's not always a lot of commitment, you know, like there's not the people who have the money part, not the passion and the experience. They tend to not really have a commitment to caring too much about what the photo looks like anyway. They're kind of like, oh, I've got this camera and often it doesn't actually get used that much. It's the people who've got the passion and the knowledge that really get the most out of those cameras. And much like what we've already seen with Greg, you know, he's got a 60 buck camera he's played with today and got some cracking shots.
That's almost.
[01:06:43] Speaker A: I feel great about the day. Like, you know, the 60 camera could do that to me. You know the thing, I think that just very quickly on the gfx, it's a contradiction of a camera. It really is. You know, they've, they've created basically like a big brother to an X100, but they've, they've put 100 megapixels in it and a lot of people's like, oh, why didn't they just go with the 50? I think Fuji are done with their 50 megapixel sensor. It doesn't make sense to them financially. To produce two GFX sensors, they're better off sticking with the one, which is what they're doing because this sensor has been in multiple GFX. Now it's the same sensor as the 1/ hundreds mark 2, which you and I both got to test and play with, you know, and that's, that's the interesting thing because the X100 also has the same sensor as this new GFX.
Not sensor, sorry, the same processor. Yeah, it's got the same processor. It's got a, you know, it's got a faster lens. It's. It's got ibis. It's.
It's not it.
I felt, I feel like the 100, the gf, sorry, the x100 mark vi is more than enough for the type of camera it is.
[01:07:56] Speaker C: Yeah.
[01:07:57] Speaker A: You know, the GFX takes it almost to a ludicrous level.
[01:08:01] Speaker C: Sorry, Matt, can I share it? Can I share my screen for a second and just show you where I'm coming from?
It's going to ask me to do system preferences and stuff.
[01:08:11] Speaker B: Wait a sec, we'll figure it out. Hang on, let me, let me just see what comments. There's a lot of comments coming in from Bruce and Nev. Nev was actually messaging me today about the, the Q3 and the, and the GFX 100 and stuff. Bruce says Justin likes that red dot. Yeah, I mean it's. Look, the red dot's fun. I like it.
[01:08:32] Speaker A: I got a bit excited when I walked past the Leica cabinet today, had a little peek.
[01:08:37] Speaker C: It's not going to let me. It's asked me for. To restart the whole program, so I won't.
But I'll give you an example here. Right. So like I shoot a lot of stuff and I'd like to think that I'm relatively experienced in, in a range of genres.
[01:08:50] Speaker A: You've got a reputation, let's leave it at that.
[01:08:53] Speaker C: The thing that I look at here which really frustrates me is that I took some shots of some shots, some scenes that I. So I found the panoramic sort of version. I found that really inspiring because it actually lets you shoot scenes you wouldn't shoot in a 4 by 6 or a 3 x 4 or 4 x 3 aspect ratio. Right. Like long skinny scenes, especially street scenes. I actually did a trip up to Benalla last week or this week. I don't even know what week it is, but last week I think it was. I went up to Bennett, it was Monday, right. So I went up to Benalla last week and on the way, I actually left four hours early for my shoot to take the. To take some shots as the sun rose and stuff on like these small towns. And I got some really cool like, you know, small towns under like the two street lights of the small town kind of thing.
[01:09:39] Speaker A: Yeah.
[01:09:40] Speaker C: But what was really frustrating is because it's an amazing sensor. It shoots really well at high isos, it's got great dynamic range, it is brilliant in so many ways. But when you pull the IBIS out of it at 102 megapixels, there is literally a zero tolerance for anything at all. And so I found that I could hand hold this camera comfortably to get like proper sharp. Not just it's in focus and looks kind of sharp, but it was worth shooting 102 megapixels for. Sharp, I could get as slow as 1/60 of a second now when it's paired with an F4 lens. Yeah, F4 is pretty good, but not amazing for a wide lens. It's actually pretty slow. What ends up happening is you inevitably end up shooting at like 8000 ISO because in dark scenes you just can't get the light from either one of those settings. And so what I found was that a lot of my shots were right up at the very high ISOs, which does look amazing, but when you. It looks amazing for a camera at that ISO. But if I could shoot a camera that had ibis and I could shoot three stops slower, for instance, the ISO wouldn't have to be that high in the first place. So the actual comparable image quality is probably the same. And I found that to be really, really frustrating. Was that for all these benefits, we've got amazing sensor, stupid sharp lens, but to take advantage of those two things, you have to have crazy, crazy fast shutter speeds, relatively speaking. I even did some street photography. I took it into the city on Saturday afternoon. And Saturday night I had two workshops and I had about an hour in between. And I tried to do. I love the style of shooting at 18 of a second, shutter priority mode, handheld street scene. So you get that little bit of people movement with the one person still or a still subject.
Could you hold it for an eighth of a second? Absolutely not. I took hundreds of photos and not a single one of them turned out to be sharp. I couldn't do a panning shot because it had no give whatsoever.
I took some night shots on a tripod and even then I had one of the night shots actually turn out to be usable, and that was on a tripod. And that was because the wind vibration of my tripod was too much to handle at 102 megapixels. So I think that what I find frustrating is that we've got so much amazing tech and I feel like the pressure to make it into a smaller camera has almost made them sacrifice something that we take for granted these days. Like, every camera, maybe, except the one you bought today has amazing Ibis. And we shoot to Ibis now. Like, we've almost always so used to it, we assume there's an element of that in your camera. The moment it's switched off, you're like, oh, my God, I'm rooted. And it kind of goes back to, like, what Bruce said before he asked if I bought an FX6. And I was like, that is actually on my shopping list, except it's got no Ibis and I do a lot of running guns. So the FX3 would make way more sense, even knowing it's not, you know, got all the other bells and whistles.
[01:12:37] Speaker A: Who do you think the camera is actually for? Putting aside.
[01:12:41] Speaker C: Yeah, I think the camera.
[01:12:42] Speaker A: Putting aside costing. Let's put aside cost.
[01:12:44] Speaker C: Yeah. I think that. I hate to say it because I really love the Fuji system and I love their gfx. Like, I would much quicker buy a GFX in a lens, but this particular camera, I feel in my heart of hearts, is for people who are fanboys or fan girls who need to have the latest tech. And I feel like, what's going to happen with all the feedback? Because I've not read anyone who any review that doesn't have a similar vein to it. I think the JFX100RF Mark 2 is going to be incredible.
I think that it's going to be. The public pressure on this is going to make them put Ibis in it, because you can't shoot 102 megapixels without it. It just doesn't make any sense at all. It's straight, so unforgiving that it's almost like, why give us the ability to recrop a shot for forgiveness when you can't get a shot sharp in the first place if it's in any remotely difficult situation.
[01:13:35] Speaker B: I just feel we.
[01:13:38] Speaker A: Justin. And then I've got a question.
[01:13:40] Speaker B: Yeah. Just quickly, like, we. So when we shifted to the D850s, which were DSLRs. No IBIs.
No Ibis in those. No, no Ibis.
We. We consciously ended up shooting our minimum, unless we were super steady and had something planned. And we really, being careful, our. Our minimum shutter speed was 13 20th was like, we were like, we know if we're sort of moving around, doing something on a commercial job or something like that, at a 3 20th we can get a 45 megapixel file sharp with a non stabilized lens because we're shooting some with primes and stuff like that that didn't have optical image stabilization. And when I move from, yeah. From like a D5 or D4 or whatever it was, you know, to a D850 it was. And D750s and stuff.
[01:14:31] Speaker A: I.
[01:14:32] Speaker B: We consciously, you know, we would often shoot at maybe 2-50th or 200th. It was like, no, no, we're at, we're at a 3 20th now. And that was on. Yeah, a 45 megapixel sensor. And I can only, only imagine that being closer to 400, 500 for what you're talking about, which is critical sharpness, which is what you want. If you're buying 100 megapixel sensor. That's, it's, it's. I heard you say that specifically. Like you can get it sharp enough. Like we can accept less sharpness. But why bother doing that on a hundred megapixel sensor like you say? Then you might as well just get the X100, you know. Yeah, what's the point?
[01:15:10] Speaker C: Yeah, and that's the, that was the frustrating thing to me is with like, it almost felt like all of the novel new features, there was an element in my brain that went, yeah, that's amazing. But because of this setback, what's the point? Like, why bother having a medium format camera if you can't get, if it's on an F4 lens, it's got the equivalent depth of field of like an F2.8 or F 3.2 full frame. If you made an F2.8 medium format, I'd be like, cool. That's got an impressively shallow depth of field. Now pair that with a 28 millimeter lens super wide. Realistically, you don't get much depth of field out of a 28 millimeter lens, regardless of its aperture. So at f4 it's incredibly hard to blur a background even. And so whilst you might have these kind of crops, it's like you're not really getting that benefit. And I just threw me, you know.
[01:16:05] Speaker A: Yeah. Like I said, it is a contradiction, you know. And the other thing I said, you know, who's it for? Take price out. But when you bring price back into it, it's, there's a little, there's a little confusion because you know, the GFX100RF is 8,880 8,800 from Fujifilm. Okay. I'm sure you can get it cheaper at other places. I'm just using Fujifil site for price reference. The 1/ hundreds mark 2 which has the same sensor and processor but it's interchangeable is currently $100 less.
[01:16:40] Speaker C: Yeah.
[01:16:40] Speaker A: So it makes it a very tricky purchasing decision. I can go with this, the RF fixed lens. I got all that, all that glorious sensor, but I can't actually put it, I can't use it as much as it's. As it could actually be used. Yeah, that's. I can get the One Hundreds Mark two and yeah, I'm going to have to spend another two to three thousand dollars just to get a pancake, just to get a, you know, a wide prime.
But it's going to be able to do so much more because it has Ibis for one.
So it's an interesting proposition that Fujifilm have made because you know, on the one hand it's like yes, it's the big brother of the 100 Mark VI, the X series camera.
You know, it's three times the price at the moment.
Who's actually going to buy this now? Now that all the sort of dust is settling and, and we're seeing that, you know, real world scenarios like the camera for me when I used it, well, it works perfectly fine because I usually shoot F8. I generally don't do street at night. You know, I'm a street photographer. I made that very clear in my review. You know, this is how I use it.
I didn't say I shoot birds, I didn't say I shoot weddings like because I don't. And that's not what I would use this camera for anyway.
[01:18:01] Speaker C: And I can't say anyone, to be honest. I can't see anyone shooting a wedding with it because just, I mean probably more so because there are some genuine limitations around even just the zoom level on it. And I don't think it's trying to be a wedding photography camera. So anyone who.
[01:18:13] Speaker A: Oh gosh, no, no, no, no, no.
Yeah. But the other thing too is, you know, it's. You Talked about the GFX100RF Mark II and it makes me wonder did they throw this one out there to see how it would stick?
And if it's. Yeah, I think that then they can actually go, well, because think about everyone's going, oh, I wish it had Ibis, then I would definitely get it. I wish it had a 2.8 lens, I would definitely get it. And then if they go and bring out a mark two in two years or 18 months that has those things, all those people that park that purchase are going to jump on it, even if it's not a sensible decision.
[01:18:51] Speaker C: But I don't know, I think that, I think like I hear what you're saying, but I don't think a brand can afford to bring out a camera just to test the water. Like that's.
[01:18:58] Speaker A: No, no, I get that, I get that. Like I think they wanted to sell.
[01:19:02] Speaker C: I think what's happened is that you've got, you've got a situation where the RX100VI and all its predecessors are so popular that you go, well, what would make all those people jump? You know, we'll make a medium format that'd be like. That is. It is literally the coolest camera on the planet right now, ladies.
[01:19:19] Speaker A: Yeah, I love it.
[01:19:20] Speaker C: The problem is that unfortunately, you know, I hate to say this, but people who are cool tend to not have the eight and a half thousand dollar budget for the cool thing. I mean this is, this is like the ultimate. If you're a hipster right now and you could rock that, you'd be the coolest hipster ever. But hipsters typically don't have eight and a half thousand dollars to spend on a camera. So that's where I kind of. It throws me. I've just sent you something, Greg. I don't know if you got your text messages there, but I couldn't share my screen. But this is what I wanted to show you guys before.
[01:19:48] Speaker B: Let's try and bring it up somehow.
[01:19:49] Speaker C: Yeah, I thought this was just a really glaring example of what I'm sort of talking about here where you've got this incredible sensor. And my experience, remember is looking at this as a crop photo. So I'm not looking at it as the wide. But then I've put it into lightroom. I've done a screenshot for Greg of a screenshot of how I shot it. But then also when I've gone into crop to see what the actual frame looks like. And the reason I wanted to show this was because I wanted to give you the example here of how bloody capable this camera is. Like color wise, it's insane. And I'm just going to show you that this the time I cropped it from 100 megapixels down to this panoramic image which was using the full zoom, you know, digital teleconverter and using the panorama crop. It's actually 19.6 megapixels, which in photography land when you're talking about starting at 100, that's 80% of that quality is being cropped out. And whilst it produces amazing color and sharpness and all that, and there's no doubt you zoom in 100%, it still looks stupidly good. But that's, that's what I saw in the shot. Right, right. That's the frame that I shot. But going back into, into Lightroom and hitting crop, that's what I'm seeing. So that's, I don't know, that just throws me because I'm kind of like if I'd spent 8,000 or eight and a half thousand dollars, that I can't help but think that that would maybe disappoint me a little bit.
[01:21:19] Speaker B: Yeah. Which, which basically mean like you had, you had a mind essentially you needed a different lens on a GFX like body. And, and yeah, if you could, if you could have at least had that framed width wise correctly and then just cropped the top and bottom, you would have been much more satisfied. Like, hey, full width of the sensor, perfect. I'm happy with that. But you're looking at it and you're like, man, this is basic. Like you could have whipped out any.
[01:21:50] Speaker C: It feels haphazard, you know, And I feel as though that's the disappointment here is that like 28 millimeters is actually very, very wide for a lot of applications. Which means that I feel at least I feel like if you're doing anything to do with portraiture as an example, you're not shooting 28 mil. That's ridiculous. People look stupid. They've got big bobbly heads. So therefore, straight off the bat, you're forced to sacrifice a huge portion of what you've paid for. It's like having, you know, it's like having an insurance policy where you never claim, you know, you never will. Like you're insured for skydiving, but you've never been skydiving before. Like, I sort of feel like even if this started off as like a 35 mil sensor, at least 35 mil I think is kind of zoomed enough or cropped enough or narrow enough. I should say that for a lot of applications, 35, you can get away with portraiture, you can get away with a lot of landscapes, you can get away with a lot of genres of 35, 28, that little bit wider. It's not shockingly different, but it's enough that you know that it's not applicable to a Huge handful of genres.
[01:22:56] Speaker A: And I get it by unnecessary restrictions, doesn't it?
[01:23:00] Speaker C: Yeah. And I get that like you go to 35 and all of a sudden we can't go wider. So you're really stuffed. If you want to do something wider, at least at 28 you can go more cropped. But if you're always. Or if you find that 90% of the time you are going to be on some form of crop. Again, a question.
Why are you investing so much money in such a high end sensor when it comes to all the other limitations, you know, like, need a fast shutter. It's an F4. It's, there's too many, there's, I feel like there's too many things that sit in that cons column for me to go, yeah, like if it didn't cost a grand, if it cost 5,000, I'd actually probably go, hey, this is a really compelling unit because for $5,000 you can't buy a sensor like that and a lens that's going to resolve it. You know, you can't get anywhere near that. When you start talking about 8,000, you are, as you say, you start to talk about the territory where you could actually buy, almost buy a GFX camera with a lens and you know, it might cost you extra thousand bucks, but at least you've got choices.
[01:23:59] Speaker A: Well, that was the other question that I raised with some people who were saying, oh, but you know, it needs to have a 2.8 and yes, would be amazing if it did and it needs to have Ibis. And yes, it would be amazing if it did, but it would also be an extra $3,000.
[01:24:14] Speaker C: Yeah, but I sort of think.
[01:24:16] Speaker A: And then, so that whole camp would then jump to, oh, well, who's it for? It's ridiculously expensive. I might as well buy a GFX 1/ hundreds Mark II.
[01:24:23] Speaker C: But yeah, don't you think it's a line though where you kind of go, you're the sort of person who's going to spend $10,000 or you're not.
[01:24:30] Speaker A: Like, I think it's, I don't think it's that, I don't think it's that black and white. I don't think it's that black.
[01:24:34] Speaker C: Yeah, I reckon, I reckon my workshops, I reckon I've got people who, they're like, this is my passion and I've got money and money is not a problem.
[01:24:42] Speaker A: So therefore, oh, there's definitely those people. I mean this podcast is sponsored, sponsored by one of them. But you know, I mean if this Camera was, was in the 7000 category then junior there with his peach fuzz would currently be the owner of the GFX100RS.
[01:24:57] Speaker B: No, actually that, I said that to you, Greg, when I was reading the rumor sites. But then once I saw the specs and I really dug into it, this was, this is the thing. And it, and it's for these reasons that ultimately if I was weighing this up, compared to the Leica Q3, which is a legitimate competitor, this camera, like, it's a, it's a fixed lens, 28 mil.
The Leica 60 megapixel, which is not, it's not, you know, it's a lot of megapixels still. It's not a hundred medium format, but it's still pretty good.
It offers like the ability to go to 1.7 and it be tack sharp and it's got optical image stabilization in it. I handheld the thing all the time at a 30th or lower. But how much is just for notch it. It's, it's 11.
It's crazy.
[01:25:46] Speaker C: That proves to me though that there's a market there that says whether it's 8,000 or 11,000, if you're going to spend that much money, that becomes. I don't want to say it's a rounding area because I don't want to. I know that sounds really, you know, dismissive, but I do think that, like, I know when I look at cameras and I know that I'm a professional and all yada, yada, yada, but I think that when I look at my students as well, I mean, I've had four and a half thousand people come through my workshop and I see the cameras that come through. You have people who are going, I don't care what the lens costs, if it's the best lens and I'm going to improve, like I'm retired or I've got money or whatever, like photography is a luxury sport to a large degree. Like, let's not forget that whilst you can get away with it cheap on the whole, photography is a bit of a luxury.
[01:26:28] Speaker A: Come on.
[01:26:29] Speaker C: I think people do have.
[01:26:34] Speaker A: But people do have like luxurious. Yeah, go on. Sorry.
[01:26:38] Speaker C: I think if you put two cameras, if you put a Leica Q3 at $10,000 and a Leica Q2 at $8,000, people would buy like a Q3 or 10,000 because. Yeah, well, it's only an extra two grand and I'm already spending eight. So 10's not that it's already a dent. I already had to Ask the wife whether I could spend it. So therefore I'm in trouble regardless, you know, whereas that's, that's the thing that throws me. It's got to be in the cheaper category where it's like cool. This is an aspiration camera for someone who doesn't, who wants to just try, you know, get into this like big person, you know, like grown up camera space or it's got to be a camera that's got enough flexibility that it can actually handle all the situations. Because here's the thing you said before, like the great thing about this reframing and the re cropping and stuff was that it doesn't make you commit. So therefore it's got some flexibility. It can do that. You're saying that, you know, with the wide angle lens that makes sense because you know you can crop in but you can, you can't crop out. That makes sense. But then throw me with the F4 because it's like, well at F4 you almost can't get a shallow depth of field. So it's like it actually eliminates a whole bunch of creative options before it even gets off the bat.
[01:27:42] Speaker A: Yeah, yeah. But you know, and when this first came out and I was speaking to a friend of mine because I, you know, being in the Fuji group, you know, and like I think we've got over five and a half thousand members now and there's a, there's a whole. And Nev's in the group as well. And, and you know, there's a lot of Fuji photographers who are pros or high level enthusiasts and they've got two Fuji X series flagship bodies, whether it be XT5 or the XH2s.
I mean the XH2s is almost four grand on its own and it's only a, I can't remember what the sensor is now. It's not massive anyway.
And they buy an x100 mark sticks as their weekender, as their everyday carry, as their hobby. And when, when I first started hearing about this and started thinking about the review for it felt like to me, given my experience with that, with, with other photographers in the Fuji ecosystem, that this was a camera for people like Nev Clark, our good friend, who already has either one or two pro level gfxs and they just want a weekender, but they love the GFX experience, they love the sensor, they love the, the ecosystem, the color, the size. It works for them. And this is just their throw in their bag every day. And yes, it's an eight and a Half thousand dollar everyday carry camera. But if you already have a 30 or $40,000 GFX kit, well then that isn't a lot.
[01:29:05] Speaker C: And that's what I'm saying. If you asked for an extra 11, it'd be in the same category. It'd still be like, well, I love my 40,000 kit. And so I don't know. That's what I think. It's a bit weird because it sits in the, it's, it's got, it sits in this middle, this middle void where as you say, it almost seems like it's testing the water, but it doesn't.
[01:29:21] Speaker A: Maybe they're trying to create water, maybe they're trying to convince us that this is a new space.
[01:29:27] Speaker C: I don't know. I think what's happened is that I think personally the way I would say this is that Ibis is not just expensive, but Ibis actually takes up a lot of space.
[01:29:35] Speaker A: Yeah.
[01:29:35] Speaker C: You know, it's a whole mechanism in there. And I think the next 2.8.
Yeah. So like, I don't know about you, but when you. When I unpacked it out of the box, I was like, wow, this is bloody tiny. And then I put the lens hood thing on and then the filter adapter thing and I'm like, it's still very small for what it is, but it's actually a lot larger. And I said to a friend of mine who I've been talking to all week about this.
Hi, Nick. Hope your face is feeling all right, Nick. Actually, I should just throw it out. Anyone who knows Nick from befop, send him a text message. Send your loves and prayers and thoughts. He had a little whoopsie on his scooter this week and ended up in hospital with a broken face and a broken leg.
I know he did the most manly way possible, but anyway, I've been talking about this a lot this week and kind of going, you've got this camera that's really looking small and you can put on paper that it weighs this much and it's this size and it's not that much bigger. But I think in reality, if you're the sort of person who loves the GFX experience, it was 25% bigger and 25% heavier, but it actually had those few key things. An f 2.8 lens, you'd just be like, it could be twice as heavy, twice as big, or maybe not twice as big, but twice as heavy and twice as expensive. And suddenly it's just like, holy crap, this has got all the things this is like my golden camera. But the moment there's a shadow of a doubt about one of those things, suddenly it looks expensive for what it is. And I know it's probably psychological, but I would, as I said, like, I mean, I don't even like gear these days. I hardly buy gear unless I absolutely, desperately need it or something really, really unique comes out. But if this had had those two things I'd be owning. I'd have one already. I probably wouldn't have sent it on to the next person. I would have sent them a check for it. It just didn't feel like, you know.
[01:31:26] Speaker A: Yeah. I mean, given. Given what I shoot, Matt, it felt perfect for me.
[01:31:31] Speaker C: Yeah.
[01:31:33] Speaker A: Because I, you know, there's no. There's, you know, and I'm. I don't need a fast aperture lens. Sure, it's nice every now and then, but for what I would use that camera for, which is purely as my workhorse street camera, which I know doesn't make sense to spend that much money on a street camera, but plenty of people do.
It makes perfect sense.
But that's a very niche genre.
[01:31:57] Speaker C: Yeah. And I just sort of go like, if that didn't exist with the X100VI, would that have filled the void? And I kind of feel like the answer is yes.
[01:32:05] Speaker A: Yeah, absolutely would. Yeah.
[01:32:06] Speaker C: The fact that it exists is why we want to buy it and that's probably not a good enough reason to buy it.
[01:32:12] Speaker A: Yeah. Well.
[01:32:15] Speaker B: Do you guys remember.
[01:32:20] Speaker C: Nothing to show you.
[01:32:21] Speaker B: I know.
[01:32:21] Speaker C: Hold on, let me.
[01:32:22] Speaker A: What is that?
[01:32:22] Speaker C: Just I saw there's a couple people who asked who said in the chat. They were saying this poor Nick and I just thought I'd just quickly trying just a white.
[01:32:31] Speaker A: Oh, oh, there it is.
[01:32:33] Speaker B: Oh, my gosh.
Oh, no, hold on.
[01:32:38] Speaker A: Oh, mate. Well, it's maybe an improvement. Nick, we're sending you all of our love.
[01:32:43] Speaker B: I know.
[01:32:47] Speaker C: That was what I sent him when it happened.
[01:32:51] Speaker A: You're such a good friend.
All right, look, I think we've. I think we've covered the gfx. Justin, you had a question or a point you wanted to make?
[01:33:00] Speaker B: I was just very briefly going to just say just like. Because we're talking about a camera that's just come out and I want to preface this with I love that Fujifilm made it. They've taken a swing. They've done something no one's done and put a massive sensor in a tiny camera. Everyone's been screaming for another Sony, what's it called? RX1, you know, tiny camera, nice sharp prime on it. The Q3 series of Leicas have been super popular. The X100 has been super popular. So I think it's great that Fuji have gone, let's see what we can do.
[01:33:33] Speaker C: Yeah.
[01:33:33] Speaker B: And they needed to do it. But whether or not it's something that makes, for most people is going to be. It's going to be up to the individual. And for me, it's not something that I'm running out to grab, even though it is very cool that they've made it. And I think, yeah, maybe those pano modes. I was walking around taking shots here and in Wilson's Prom, and a lot of them I was cropping to like a panorama shot. And I was thinking, man, maybe, you know, when I was shooting at 5, 6, F8 most of the day, because it was, you know, it was daytime and stormy, moody weather and stuff like that on beaches. And I was, okay, it would be cool right now. But then as. Then as soon as the light drops or whatever, you lose those benefits and you're stuck at F4.
So that being said, the advantage is.
[01:34:22] Speaker C: That you shot at 12,800 ISO. It's the equivalent of shooting at like 100 ISO on any other camera. But. But I do agree, it's like, it's got that.
It's. It's got its place, I think. And I think that's the important thing. It's not a bad camera. I just think that it's not as versatile.
[01:34:37] Speaker B: What I think they're missing is, do you guys remember when Leica brought out the Q? Do you remember when the Q first come out and everyone was like, holy shit, it's the lens on that normally sells for about that same price. You know what I mean? People. That's how people were talking about it. They were like, oh, this lens is so sharp, it's so good. And if you had to buy that lens for an M camera, it would cost about the same amount of money or maybe more or whatever. So it had that on its side, which obviously Leica's pricing is completely different to Fujifilms and they couldn't do that. But like you say if it had one of their. Like, if it had an iconic lens built into it where people had already, they were like, that's a $7,000 lens. I can get the whole thing for 10 or 11 or whatever. That might have been a different prospect to people. But the lens isn't something they already make. And it's not. Yeah, it's not a style icon.
[01:35:34] Speaker A: I think the two things that it has is its compact form and its sensor size. And there is some versatility to it, but you've got to really, you've got to fight it to get it.
[01:35:46] Speaker C: So what about, what about this though? Like, how do you feel about this as an idea? Because I totally agree that this is a bit of a, it's a swing. I don't know whether it's a miss yet, but it's a swing, that's for sure. Yeah, but I think that what's going to happen is that, I mean if you look back, the first person I think to, or the first camera brand to really release something of note in this space was probably Sony when they released the RX1. Remember that full frame 35 mil sensor? It actually had incredible at the time, incredible focus tracking and like, you know, image quality was amazing and had all these things. But it was like $5,000 or four and a half thousand dollars and everyone was like, oh, it's amazing but it's $4,000. And they were scoffing at that price. If you go onto ebay at the moment, you can buy one of them. They're out of production, but you can buy one for like $6,000 on eBay. And I feel as though this space has been, there's been toes dipped in this space before. Sony were the first, I think, to do it. I mean Leica may have been first, I don't know, but Leica's kind of playing, they playing a different game, they're in a different ballpark. You know, like a shooters are like a shooters. But I feel like Sony did it. I don't know that it worked. I think if Sony did it today, which I suspect they're about to do it in the next couple of years they're going to bring out their full frame RX1II because the success of all these other fixed lens cameras is so high. The problem with this is that Sony's going to throw in not just the flexibility to crop and some of those nice things. Sony's going to chuck in all the stupid technology that they've got. I hate to say it, Sony are the leaders of ridiculousness when it comes to like, oh, we could just do that, you know, like, don't get on. Love Canon cameras, love Nikon cameras, love Fuji cameras. But there is something where so, and I actually don't even really love Sony that much as a brand, but in their cameras, the stupid things they managed to cram into the bodies of those cameras, I just go, what the hell? At the Size, they manufacture those. Imagine what they can do with their fixed lens full frame camera now. And if this proves to be popular, what's going to happen is Sony's going to come in and they're going to wipe everyone off the table with it because they're going to put everything they got into like these, all the stuff we're talking about. And that's probably what makes me a bit nervous about this camera is I feel as though, because it's the only one out there outside of a Leica, it seems really exciting. But the moment everyone else starts doing it with the other side of their technology, the fast focus, the eye tracking, the things that make it seamless, the things where you don't have to think about it and you can just enjoy it for the experience of being a photographer. But it still gets it right.
That's when I'm nervous because people won't tolerate not being able to shoot below a 30th of a second. I mean they're not going to tolerate not having depth of field. They're not going to tolerate a lot of these things. Things because there's another option and at the moment there's no other option. So it seems like a better one. But that won't last long because if it's popular everyone's going to jump on board, you know. Yeah, well, I feel really negative saying this, by the way. I feel really bad. I'm sorry, Fuji, I actually love gfx, but I'm going to buy the big GFX with all the lenses. You'll get a lot more money from me rather than the one little one.
[01:38:44] Speaker A: Look. And it comes back to what, you know, and I said this last week, Matt, it comes back to how I settled a lot of the debates that were happening in different groups that I'm in, you know, well, maybe this camera is not for you. Maybe it wasn't made for you, you know, and we don't really know fully who it was made for because they're being a little bit coy because they're just hoping everyone will latch on. They don't want to come out and say this is the ultimate camera for enthusiasts because then they'll, they'll isolate the pros and the entry levels. I think they want to see, I think this is the space that we all need to watch. Obviously food, you'll be watching it very closely. But like I said, sometimes, you know, I come back to, well, okay, but just maybe it's not for you and that's cool. There's Plenty of other cameras out there and you know, some of the people who were putting out the loudest arguments, like I said, already had a couple of GFX cameras. They were already well and truly covered. You know, they don't really need this camera but they were, they were arguing the loudest. Not Neville. Never Nev.
On that note, we, we are running over and I, and I am.
[01:39:49] Speaker B: Yeah, I think this is a really important sleep.
[01:39:52] Speaker A: Yeah. Matt, Matt looks exhausted. You look.
[01:39:53] Speaker C: I'll get no sleep tonight. I'm off at, off the pilot at six o'clock tomorrow morning.
[01:39:58] Speaker A: So Justin looks like. Justin looks a bit tired. Looks like he's had a touch of sun today.
[01:40:05] Speaker B: I've been, I've been. It's been pissing down rain here.
[01:40:08] Speaker A: Oh really?
[01:40:09] Speaker B: We've had 50 mils today. We've been running around in the rain. I was taking photos in the rain. I've got some stuff. We'll look at it next week.
Some photos I was taking out in the rain. I had a great time just taking, taking photos of like stuff that's washed up on the beach. And I was doing, I was doing exactly what Bruce said this camera was made for. It was made for Bob. Bruce says the GFX100 was made for Bob. Uncle Bob. Anyone knows who that is?
If you've been a wedding photographer, you know who Uncle Bob is.
[01:40:35] Speaker A: Right?
Well, Justin, Justin wanders around being a white woman of Instagram taking photos of flowers and deadwood and driftwood.
[01:40:44] Speaker B: It was actually dead octopi. Octa. Octopuses. Octopi. Yeah, octopi.
[01:40:50] Speaker A: Still Instagram worthy. Octopi. That's sad. Why were they dead ones?
[01:40:55] Speaker B: They got washed up on the beach. That's fine.
[01:40:57] Speaker A: Why didn't they swim?
[01:40:58] Speaker B: Circle of life. I think there was a storm. They pushed them up. You know, it's. It happens.
[01:41:03] Speaker A: All right.
[01:41:04] Speaker B: Food for something.
[01:41:05] Speaker A: Well, speaking of things coming to an end, I think it is time.
Forgive me for that sloppy segue, but I just want to thank Matt for joining us tonight. It was very last minute. We both forgot and then we both last minute remembered.
But Matt, always a pleasure to talk to you. We were going to cover bfot. We're going to get you back for that, I think in a couple of weeks. Anyway, we want to hear more about bfop. We want to hear more about what you're.
[01:41:33] Speaker C: Can I put one thing in there?
[01:41:35] Speaker B: Yeah.
[01:41:36] Speaker C: What do you got?
[01:41:36] Speaker B: What's happening?
[01:41:37] Speaker C: So I'm not going to go into it. Right. So Beefhop. That's, that's a Long way away. But we do have a special event coming up on May 10th for anyone who has been to BEFOP and likes the vibe of befop. Nick and I have had a couple bottles of wine and planned a different event which is like a micro event leading into the Camera House 40th birthday party. But there are tickets available. You got to go onto the Facebook, I think to get them. You can put a link through the site. But anyway, it's I think about like the stupidest stuff that we do and then imagine us going, how can we do it in half a day?
[01:42:08] Speaker B: Okay, yeah, good pressing.
[01:42:11] Speaker A: Because I think a lot of people were calling for that anecdotal discussions around beef up. Oh, I wish we could do something in the middle of the year.
[01:42:20] Speaker C: And here we are, the dates.
[01:42:21] Speaker A: And here we are.
[01:42:22] Speaker B: So tell me, I've got questions, I've got. Where is this happening?
[01:42:27] Speaker C: So it starts in the city. We are being a little bit coy about the details and that's not because we don't have anything planned.
[01:42:34] Speaker B: This is the city of Melbourne. Correct.
[01:42:36] Speaker C: Melbourne, yeah. So we have it planned. We start in the city. The whole idea is Camera House is having their 40th birthday party out at Croydon. So we start in the city. We have an art thing to start with, so we're doing an artsy activity and then that's followed by a very fun activity and then some more photography, hands on artsy activity and then we go out with a bang and we end up at Croydon.
[01:42:59] Speaker A: So sounds like a camera crawl.
[01:43:02] Speaker C: It is. Look, I'll be honest with you, it is basically a camera crawl. Yeah, we've been coy on the details of this because it's the sort of thing that it needs to be a surprise. But we have got so much planned. We have spent double the budget that we were supposed to and now we just need people to actually come. So I think We've got about 55 people at the moment. We've got about 100 tickets on offer. All up. I know we're still a little way up, but we're going to lock our numbers in soon because we've got actually booking a lot of these experiences that we're doing.
[01:43:32] Speaker A: Yeah, all right, we'll drop some links.
[01:43:35] Speaker B: Wait, wait, wait, I got more, I got more questions, I got more questions. How much does it cost?
[01:43:39] Speaker C: It's $70. A bargain. I mean only 10 bucks more expensive than an Ilford camera.
[01:43:46] Speaker B: Do you have to have been to befop to be able to go or can anyone go I can't go.
[01:43:52] Speaker C: Anyone can go. Absolutely anyone can go. But if you've been to Befop before, you'll get the vibe and you'll understand what's going on. If you haven't been to Be Pop before, you have to go with a very open mind.
[01:44:02] Speaker B: Yeah, it could be pretty wild. It could be, yeah.
[01:44:08] Speaker A: And I said this to Matt the last night of bfop. I said, this has been magical. And I think it is. I think there's a little bit of magic involved in Beef up.
[01:44:17] Speaker C: Yeah, I think so.
[01:44:19] Speaker A: Most definitely.
[01:44:20] Speaker B: Greg and I will talk about it. But if Greg's available and if I'm available, we might. We might snag ourselves a couple of tickets.
[01:44:27] Speaker C: I think you should just come down. You should just come down and join us. You can be some of our hosts. We're getting our instructors to be hosts.
[01:44:33] Speaker B: We'll figure it.
[01:44:34] Speaker A: We'll work out some.
[01:44:35] Speaker B: Yeah, we can buy some.
[01:44:37] Speaker C: And there's a cocktail party at the end, which is nice.
[01:44:39] Speaker A: Oh, I can be the designated driver.
[01:44:42] Speaker C: Yeah.
[01:44:43] Speaker A: Perfect. Because Justin doesn't like it.
[01:44:46] Speaker B: You don't have a car.
[01:44:47] Speaker A: Maybe you do. I can drive the van.
[01:44:49] Speaker B: Okay. We can get public transport.
[01:44:54] Speaker C: All right.
[01:44:55] Speaker B: Is there anything else that you need to tell us about Matt before we go?
[01:44:59] Speaker A: Yeah, that's coming up for you. Anything. That's you. What have you got on workshops?
[01:45:04] Speaker C: I've got workshops coming out the wazoo, I think. I've got workshop. I've. Workshops have booked. I've got dates up till June. I put up the other day. I've got trips to South Africa that you can join me. Next November is the next availability, I think.
[01:45:17] Speaker A: Wow.
[01:45:18] Speaker C: Lots of stuff on. I'm always doing stuff. You know what it's like. The. Probably the biggest plug that I'll do, though, is if you are interested, if you're someone who's getting into Lightroom. I've got a beginner's Lightroom course that's on my website now. It's five and a half hours. It's really a detailed insight into it all. You can go and check it out, but. But no, look, otherwise, you know, I'm always doing everything. So, yeah, jump on there and. Yeah, see what's going on. I've got the calendar.
[01:45:40] Speaker B: Hang on. The chat's asking. The chat's asking for the event details. So you're telling. You're saying the only place to find the details is in the face. The.
[01:45:48] Speaker C: Well, it was. It's literally as we speak.
Okay. So I've just put it on the homepage of BFOP as we speak because I realized as I was saying that how ridiculous that is. So now if you go onto the bfop Australia.com website, you'll see there's a button that says BFOP Special Event May 10th. You click on that, it'll take you to the special event.
Cool.
[01:46:16] Speaker B: We'll track it down, we'll put it in the description. I'm trying to put it in the chat, but I don't have.
[01:46:23] Speaker C: I'm not in the chat, so it asked me to log in and I don't know my passwords and it's related stress.
[01:46:28] Speaker A: We'll, we'll get the details, we'll put it in the description for anyone that's interested.
Oh, there we go. It's in the chat now. Thank you.
Yeah, check that out. Because if you haven't been to beef up and you've always wanted to, or you've missed tickets or the timing wasn't right, have a crack at this. It's a, you know, it's a, it's a one day event.
[01:46:47] Speaker C: Look at the photo in the product description and that will give you some hints as to the things that may or may not be occurring.
[01:46:55] Speaker A: Okay. All right, well, look, we'll leave it at that. Matt, as always, such a pleasure to chat to you.
There's so much more that we could go into, but we'll get you back on the show closer to beef up and we'll start talking about some bright photography. Bright festival of photography action. I'm tired too.
Carrying that little Ilford around all day. It's really worn me out.
[01:47:21] Speaker C: But look, that's a massive band all of a sudden.
[01:47:25] Speaker B: I thought I'd just give you guys a view. You should see the. This setup I've got going on here. I got the rodecaster and stuff. I've got the full podcast set up. I want to do a test and see if it worked. It mostly worked.
[01:47:34] Speaker A: Yeah, it's been pretty good.
Have you kicked her out?
[01:47:38] Speaker C: Yeah, yeah.
[01:47:39] Speaker A: Did you kick her out?
[01:47:41] Speaker B: Huh?
[01:47:42] Speaker A: Did you kick Yelena out?
[01:47:43] Speaker B: She's up, she's up there. That's the bed.
[01:47:46] Speaker C: Yeah, she's in the back riding. Comments?
[01:47:48] Speaker B: Yeah, she's up there. I'm down here. I have a rodecaster down here. I got the full deck.
[01:47:54] Speaker C: Oh, Jesus.
[01:47:56] Speaker B: We're good to go. That's why it's got all the good sounds.
But yeah, before we go, I just want to see out the chat out because they're going crazy tonight. We, we've, like, we've missed the last 600 messages that you guys have put in there. I'm glad you've. They've figured a few things out. They figured out that Nev is not buying.
Nev's not buying the GFX100RF.
Bruce show everyone. Have a good evening. I'll go back to not being in a camera store. Sorry, Bruce. I don't know what was wrong with my brain. I'm an idiot.
Philip Johnson says, thanks, Matt, Justin. And the Ilford ambassador, Greg. Oh, yeah, that's right, Tim. It's in the. In the thing. Tim says thanks and good night, everyone. Rick Nelson, who is from a camera store, says, great show as always, Matt, Greg and Justin. And yeah, there's a million others. Thanks, guys.
[01:48:48] Speaker C: I think you should cut back to the fact that they said good night about an hour ago, but they're all gone.
[01:48:54] Speaker B: It's just us now.
[01:48:55] Speaker A: Yeah.
[01:48:57] Speaker B: Seem like we still had listeners. Anyway. We had fun.
[01:49:00] Speaker A: All right, on that note, thanks once again, Matt, Justin. Great that you could join us from wherever the hell you are.
And look, you've been. You've been watching and listening to the Camera Life podcast, the random photography show. Open mic night. How's that for a title with Yelena in the background? Hey, Elena. She can't hear me.
Never mind.
[01:49:25] Speaker B: Delayed.
[01:49:27] Speaker A: Oh, okay, cool. Well, it's the 31st of March and it's April Fool's tomorrow, so be aware.
[01:49:35] Speaker C: Amazing.
[01:49:36] Speaker A: Beware.
[01:49:37] Speaker B: There's going to be pranks.
[01:49:40] Speaker A: But look, we'll let everyone go now. Have a great night, everyone. Be safe, get out and chase the light and we'll see you on Thursday morning. Yep, 9:00am thanks so much, everyone.
[01:49:49] Speaker B: And see you on the 10th call. Maybe. Hopefully.
[01:49:56] Speaker A: You ready, Jay?
