Godox Made a Camera?!? - The Random Photography Show (EP197)

[00:00:00] Speaker A: Sam. [00:00:30] Speaker B: G' day everybody and welcome back to the Camera Life podcast. It is the random photography show. It is Monday 6th July and tonight on the show we, we've got a lot to look forward to, so stick around. We're going to talk about a brand new camera that has entered the market. This time from Godox, of all people. Interesting. Very interesting. Little bit of kit, that is. What else we got. We've got all the latest industry news. Once again, there's a lot of rumors, but there's also a lot of confirmed lens releases and a few cheeky patents that point to some more cameras being released sometime this year. And so we'll cover that off. We're going to catch up with Justin, see what he got up to over the weekend. He was out and about with the camera and also we're going to look at your images. That's right. Every week on the random photography show, you can send in an image or two or a short series of images and we'll bring them up on the show. Throughout the random photography show, we'll bring them up and we'll talk to them and showcase whatever it is you've sent to us. So if you want to be involved in that, we'll cover that off in a little bit more detail later. But first and foremost, we are joined by the boss. G', day, Justin. How are you, sir? Busy? [00:01:47] Speaker A: I'm good, I'm good. I'm tired. It's been, it's been a weekend. I went on an adventure, a photography adventure. So nine hours of driving and a lot of photos but nothing to show you. None to show you tonight. They're gonna wait a little. [00:02:02] Speaker B: Nothing yet. Fair enough. Yeah. [00:02:04] Speaker A: I want to marinate them a little bit, souve them and then not bring them out until they're perfectly medium rare. [00:02:12] Speaker B: Chef's kiss. [00:02:12] Speaker A: Yeah, Chef's kiss. [00:02:14] Speaker B: Yep. [00:02:15] Speaker A: I've got a, got a different photo to show tonight from, from a little while ago. But yeah, went to, went on an adventure up to the Hadda Desert Race just outside of Mildura, which is like a 4 and a half ish hour drive from Bendigo and left 4am early Saturday morning and got up there, went stopped in it at Lake Tyrell. Dennis clicked here, the lake, the lake. Stopped in at Lake Tyrrell. It's an amazing place. It's very beautiful. I got there, I was sort of on the clock trying to get there before sunset, sunrise. Sorry. So I left at 4am, got to Lake Tyrrell about 10 minutes before sunrise, so didn't really Have a chance to go anywhere other than there's like a viewing platform. You know the bit where there's the Lake Tyrrell sign. They just put signs up everywhere now. And Bendigo's got a sign. [00:03:08] Speaker C: Yeah, they do. [00:03:09] Speaker A: Everybody's got a sign. And so, yeah, went to. Went to the. The sign bit and I wanted to go. I'd already sort of thought that I could go further down and around the lake and sort of get away from that main area. There was already. There was like two or three other cars there before sunrise. So not. Not busy or anything, but there were other people around. I was like, I want to go somewhere else. But it's been so wet. All of the tracks around the lake are just full mud. Like you would need a. A nice full drive. The van wasn't going to make. Was. It was definitely going to get stuck. Like it was proper mud. Yeah. So I, I went for a walk and flew the drone. But it was also. It was a pretty drab and dreary morning. It was like clouds. The sun poked through the clouds for a little bit. I got some photos that I'm happy with. But Phil. Phil Thompson had said, sent me some inspiration from his trip to Lake Tyrell a few years ago. Oh, yeah. I was there for two nights and it's just like 10 absolute bangers. Like just the, you know, like the most amazing sunrises and sunsets with colors of gradients and a mirror image off the lake. And mine look nothing like that. So anyway, I'll bring them. I'll probably. I'll bring them up next week, I think. Yeah, it was. It was a great weekend that had a shooting hatter was really, really fun. Never shot in that way before, in a way where I'm not shooting lots of action. It was really focused on the people competing. So a lot of shots of them preparing in the pits the moment before the start. The boys were all nervous and, you know, getting sort of reassured by their family. So that's what I was there to shoot. Not the, not the, like roosting around berms and spraying dirt everywhere sort of stuff. I did get a little bit of that, but not much. So anyway, that was. [00:05:03] Speaker B: Well, we certainly look forward to seeing those images and maybe when you are ready to share them, you can talk about what gear you chose to take with you on this trip. Because we had a little conversation before you left. [00:05:13] Speaker A: Yeah. [00:05:14] Speaker B: And I was saying, pair it back, pair it back. But you were getting cold seat about the pairing back bit. [00:05:19] Speaker A: Well, yeah, I'll. We'll go through that and I actually. I shot some. I shot some Point of View video. Finally. I almost didn't. I took the stuff up there. That was the plan. Didn't do anything at Tyrell. And then I. I sort of. I didn't do anything on the first day of Hatter. And I was almost like, yeah, I'm just. It's going to be another thing where I just didn't have the drive to make a video. And I slapped it on and I think I've got some cool footage. So I'll try and trim that into a little something something as well. And once I've got the images ready, we'll go through the thought process of what I chose to shot it with, the pros and cons and whether everyone thinks it turned out. What was I. What was I going to say? I saw a comment here. Felicity said, the Tyrell master said, so much water in Tyrell. So droning not as good. I'm glad you said that because it. It like there was definitely more water in it, but I've never been there, so I could. I don't know what other people have experienced there. It didn't have that salt flatsy mirror reflection thing going on. And there was a light breeze, so there was sort of ripples and stuff on the lake. So when I put the drone up, you weren't getting, you know, sort of the textures and reflections of color and stuff that you see in other people's images. And I thought, man, I just suck. But maybe it wasn't just me, but I think it was mostly me. I'm sure if Felicity was up there, she would have found some gold, I'm sure. [00:06:43] Speaker B: Yep. No doubt. [00:06:44] Speaker A: But no doubt an amazing location to explore with a little more time and preparation. And maybe a Felicity or a dentist or someone who knows what's going on up there to. To show me around. [00:06:58] Speaker B: Oh, absolutely. Speak of the devil. [00:07:01] Speaker C: Yeah. [00:07:02] Speaker A: Dennis says there are early plans for a pre BFOP workshop up there. Wink, wink. Well, sign me up. [00:07:09] Speaker B: Yeah, I mean, how far. How far is Tyrrell from Bright? [00:07:13] Speaker A: It's nowhere near it. It's like the opposite way. Six hours, seven hours even close at all. [00:07:19] Speaker B: Might as well drive to Adelaide. [00:07:21] Speaker C: Yeah. [00:07:21] Speaker A: Yeah. We're basically driving towards Dennis and then back to Bright. But it would be worth it for that. Depending on how early it is, depending on when it is. [00:07:31] Speaker B: Yeah. [00:07:32] Speaker A: Yeah, we'll make that happen for sure. [00:07:35] Speaker B: That'd be very cool. [00:07:37] Speaker A: Since we're already chatting. Should I. Should I see who else has been in the Chat who was here. [00:07:40] Speaker B: Yeah, let's. Let's say g' day to some people. [00:07:42] Speaker A: Of course, it was the regular Stannis, Felicity and Philip Johnson. G', Day. John Latimer. Good evening. [00:07:52] Speaker B: Hey, John. [00:07:53] Speaker A: Apparently it's chilly in the Blue Mountains. It's chilly, sort of. It wasn't that cold this morning here in Bendigo, though it's not too bad. [00:07:59] Speaker B: Although I have been seeing Philip's every morning. He posts what the weather is at the time up in the Blue Mountains where he lives. Pretty chilly. Like the. It's impressive to see that. Like it's, you know, two degrees at the time, but the feels like is often below zero. [00:08:18] Speaker C: Yeah. [00:08:18] Speaker A: Yeah. That's what gets you the feels like. Yeah. Feels like going back to bed. David Leporati. Good evening. John Pickett. Hey, David Paul's here. Dennis says there's a bloody new Sony I must own. It's been a while. Yeah. I've been so busy. I haven't even looked at that. I didn't know if it was out or still a rumor. Is it out? What is it? The FX5. [00:08:43] Speaker B: I don't know if it's been launched yet. Oh, collated most of the news this morning. Let me have a quick squeeze while you say good day to some peeps. [00:08:52] Speaker A: Yeah. Who else is here at lpg? [00:08:58] Speaker B: I don't think it's out. I've beat. [00:09:01] Speaker A: I've bought some cheese and crackers to eat as I watch the show. [00:09:04] Speaker B: Oh, my God. [00:09:05] Speaker A: Smart. [00:09:05] Speaker B: That's very civilized. [00:09:07] Speaker A: Is your name different? Have you been in the chat before? Is this the first time? Either way, love it. Good to see you. Tweak Productions evening from Loreton, New South Wales. Getting my landscapes on. Nice. [00:09:19] Speaker B: Nice work. [00:09:20] Speaker A: Shamit Shah Parabellum. Roy Bigsby. First version of any camera. Like the Godox usually has bugs. Yeah. I don't know if the Godox has even got enough features to have bugs [00:09:33] Speaker B: or be called in camera. [00:09:36] Speaker A: That's also true. Right, what else? [00:09:44] Speaker B: Phil? [00:09:44] Speaker A: Greg Carrick. [00:09:46] Speaker B: Hi. [00:09:46] Speaker A: Chaps and chicks here for the first half of the show, then off to take photos. Well, hopefully we'll get to your photo before you have to disappear here. We'll see. There's a lot. We'll get into them early tonight. [00:09:56] Speaker B: There's a. [00:09:56] Speaker A: There's. It's a big. It's a big image week. They're getting bigger and bigger. Yeah. Phil Thompson said you need to be able to walk across the lake. There's no way I could have walked across the lake. It was like it got deep. Not deep But I would have been after my knees to waste. I'm sure fairly quickly. [00:10:16] Speaker B: But we got a. Got a lot of rain last week, I think. Felicity. I know Felicity. Where she lives. Just outside of Bendigo, isn't it? What's it? Gorong. Is that the name of the place? [00:10:27] Speaker A: Yeah, Gornong. [00:10:28] Speaker B: Yep. I think she said they just had 100 mils of rain on their property. And photos of all the dogs running through the puddles and having a blast. [00:10:38] Speaker A: Dogs love puddles. Chris Nielsen, good evening. Roy Bixby's in the Dandenongs. Yeah, cold, chilly, cold. Dennis is coming in late July. Coming in July. That's now. Now is July. We'll see you soon. I thought you meant like a pre beef up thing like the day before or something. Not pre beef up like in a few weeks. That's awesome. Robin Aldridge from a wet Avalon beach. Good evening. Paul Sutton from Perth. And yeah, that is that. I think that Greg's frozen, so that's good. I'll just do the rest of the show by myself. Hey, Greg, come back whenever you want. You're gone. [00:11:26] Speaker C: I'm back. [00:11:27] Speaker A: Oh, okay. [00:11:29] Speaker B: I don't know what happened. I just had to swap to hot spotting my phone. [00:11:33] Speaker A: Did you? You froze. You looked just surprised and concerned. Okay, where to begin? What did you do on the weekend? [00:11:47] Speaker B: Not a huge amount. Everyone in the house got a bit of a weird virusy bug thing with a really yucky cough. [00:11:54] Speaker A: Yeah. [00:11:55] Speaker B: So we're all sort of just working through that. Sash and one of the kids cleaned up their room, which was quite significant. So that took the whole weekend. So, yeah, just stuff around the house and I did a little bit of work because tomorrow we start our BFOP instructor interviews for the Camera Life podcast. So do a little bit of work on the weekend just to prep for that and make sure all of our ducks are in a very neat row. And they're not. They're all over the shop. [00:12:28] Speaker A: But that's ducks everywhere. Ducks everywhere. Well, if they. [00:12:32] Speaker B: Yeah, well, there was last year, wasn't there? There were ducks everywhere. [00:12:35] Speaker A: Yeah, there was. Well, nice. [00:12:40] Speaker B: Yeah. No, so not much photography. I did. I did a bunch of product shots this morning. I am working on a review that's going to come out on the Lucky Straps website and I set up a little studio space in the lounge room and yeah, took some shots. So that's coming. Stay tuned for that. But yeah, other than that, just shits and giggles. Really. [00:13:01] Speaker A: Pretty chill. Pretty chill. Just hanging out with the cats. [00:13:06] Speaker B: Yeah, that too. [00:13:10] Speaker A: Where to start? Where to start tonight? Do we start? You know what was fun? The interview on Thursday with Hashem. That was fun. [00:13:18] Speaker B: Yeah, that was such an interesting conversation. Well, we nearly went for three hours, I think. [00:13:23] Speaker A: Yeah, we really. We sort of dragged him out. We hung onto him. [00:13:27] Speaker B: We did. Yeah, he had gold. He was just dripping gold everywhere. Yeah, that was a great chat and really inspirational. Got some great ideas. [00:13:38] Speaker A: Did it. Did anything like. So you're like. I was very interested in a lot of stuff he had to say about, like, his process and all that sort of stuff. But you're a street photographer. Did you get any. Any nuggets out of there specifically for street photography? [00:13:58] Speaker B: Yeah, absolutely. But also, there was just some nice confirmation about the way that I do things sometimes, you know, when you hear, especially, you know, street photographers are often, you know, lone wolves, you know, we tend to hunt alone and. And, yeah, just hearing another street photographer or someone with that level of skill and capability kind of echo what you think and what you do or see, that's really nice. That's reassuring. But, yeah, no, he was great. He. Yeah, he had a lot to offer and really interesting conversation and amazing images. Like, just really clever. [00:14:33] Speaker A: Yeah. [00:14:34] Speaker B: And for the. [00:14:35] Speaker A: For those that aren't familiar. So we mostly chatted like, Hashem's got a huge YouTube channel mainly focused around film, but. But has done sort of. So a lot of film photography, street photography, but also has reviewed a few cameras, especially sort of more interesting cameras to film photographers like the X Pro 3 from Fujifilm and things like that. [00:14:59] Speaker C: Yeah. [00:15:01] Speaker A: He's currently on the hunt for an alternative to Lightroom to get off the subscription bandwagon. So we had a chat about editing with DXO and other options like that. So, yeah, there was. There was tons in the podcast to dig into lots of different tangents from, yeah, film photography all the way through to digital editing workflows and. And YouTube stuff, which is kind of fun too, making. Making videos. So if you. Yeah, check the interview out and if you want some. To see some of his stuff, just go to pushing film on YouTube. 70, 000 subscribers. Crazy. [00:15:34] Speaker B: Yeah, it is crazy. He's doing really well and it's great. It's really reassuring to see that there is still that thirst for film. [00:15:41] Speaker A: Yes. [00:15:41] Speaker B: But it's so strong, you know, and we talked a lot about, you know, why haven't Canon and Fujifilm and Nikon released a film camera? You know? Yeah, it's like we had the Pentac. We talked about the Pentax 17. Yeah, it's the Money, But I don't know, someone's gotta. Someone's gotta buck the trend. Someone's got to take a risk. [00:16:01] Speaker A: Yeah, yeah. You know, and not a half frame. A full. A full frame, yeah. [00:16:06] Speaker B: Not a heart. Yeah. Just go 35 mil for now, you know, let's just make it happen. [00:16:11] Speaker A: Yeah. [00:16:12] Speaker B: Anyway, yeah, we talked about that. [00:16:15] Speaker A: We didn't talk about his wedding photography really at all. He's a professional photographer, has been for a long time. And, yeah, he's just. There were so many different aspects that we. Three hours in and we barely even spoke about his, you know, the entire other half of his business. So, yeah, that's how interesting he is. [00:16:32] Speaker B: Yeah. [00:16:33] Speaker A: Speaking of wedding photographers, we've got on this Thursday, one of the world's top five, the wedding photographer, Jerry Jonas. So that is. That's. I'm looking forward to that one. That's pretty exciting. [00:16:48] Speaker B: You're a bit frothy about that, aren't you? You're a bit excited. [00:16:51] Speaker A: Yeah, I am, yeah. I'm keen to talk to him. It's been a long time. [00:16:56] Speaker B: Yeah. So that's on. That's this Thursday on the 9th. Of course, we go live every Thursday morning, 9am, Australian Eastern Standard Time, where we interview an amazing guest from mostly Australia, but often abroad. Jerry's in the States. And then the following week we have a wonderful guest, we have Steve Parish joining us for a chat. [00:17:16] Speaker A: Yeah. Gosh, the hits just keep coming. [00:17:19] Speaker B: Oh, they. [00:17:19] Speaker A: Stop it, Greg. [00:17:21] Speaker B: I can't. It's like you sent me on these. You set me on these little hunts. Jerry Jonas, Greg. I'd love to get Jerry Jonas on one day and then I have to make it happen. I can't let you down. I just. Look at that face. Who can. Who can say no to that? You know? [00:17:35] Speaker A: Exactly. So Bruce says. Bruce says spend all of Jerry's interview asking about his brother Nick, who's also a photographer. See, I don't know. I don't know any of the. I started after all of that stuff was not a thing, I think. So I actually don't know what the. What the inside scoop is on Nick Jonas. All I know is, you know, because I started wedding photography in basically 2013 and did a workshop with Jerry in 2014, and that was kind of when I was first introduced to. To that whole world. And the. [00:18:16] Speaker B: Yeah, the whole. [00:18:18] Speaker A: I don't know, they were running like, big wedding photography businesses, big studios, like tons of weddings. Winning a wppi. And. Yeah, I. So I. I've. I sort of have never met Nick or seen it. I don't know if I've even seen much of his work, but yeah, it's bizarre world. Very different to now, I think. Well, I don't know if there's new. There's definitely iconic wedding photographers now, but I don't know if there's as many new wedding photographers now that. That are. [00:18:56] Speaker C: What. [00:18:56] Speaker A: You know, that. That sort of like iconic. How would you describe rock star status? Yeah, you know. Yeah, don't know. Yeah, so it'll be interesting. [00:19:07] Speaker B: It is interesting. [00:19:07] Speaker A: But to find out off Jerry, like how. How he. Yeah. How his whole story evolved and all that sort of stuff and then dig into here some of the best nuts and bolts, like advice for making better images that can be applied to anything. It's a lot of. It's like wedding and portrait and boudoir focused, but it can apply to anything. [00:19:29] Speaker B: Yeah, well. And he also has all those. Those prepackaged workshops that you can buy from his site. Jerry's. [00:19:38] Speaker A: I mean, it's like a monthly subscription. Is that what you mean? Like the. The on the online tutorials and stuff? Because. [00:19:47] Speaker B: Yeah, all of those. Yeah. [00:19:49] Speaker A: Yeah. It's for 25 US a month. That's because I used to be a member. It used to be called the Ice Society. It used to be called the Ice Society and now it's Jerry Jonas photography training or something like that. But it was the Ice Society when I started and it was one of the only places basically you could watch him on a video because he. So he paid a videographer to come, got the approval of a. The couple and stuff for the wedding. And you would just watch him shoot all day. So I could watch. I could just sit there at home and watch weddings getting shot by Jerry Jonas. How's he talking to the couple? How's he posing them? And he would add some commentary and later on, sometimes it would just be the audio from the session. Other times, if he wasn't talking to the couple, he would sort of overlay some thoughts about why he did something or whatever. And yeah, it was. Yeah, it was amazing. At the time, there was no one. Now there are people on YouTube doing that stuff. They could throw a GoPro on there and stuff. Just wander around the wedding and the couples don't mind. But back then it would have been. These would have cost money, like quite a bit of money to produce. [00:20:55] Speaker B: Yep. So they're evergreen products, aren't they? [00:20:59] Speaker A: That's right. That's just. [00:21:01] Speaker B: Yeah, yeah. [00:21:02] Speaker A: So, yeah. Anyway, look really looking forward to that. Yeah, really looking forward to that. [00:21:09] Speaker B: So we've got that coming up. [00:21:12] Speaker A: We should, we should whip through a little bit of news. [00:21:15] Speaker B: Let's talk some news. All right, let me just go to my special sheet. What have we got going on here? I'm so out of, out of whack today. Let's talk lenses. Yeah, I'll read out some highlights and then I might get you to bring up one or two eventually. Here's the lens news for today, folks. So Mikay. Mika. M I E K E Mika. Rhymes with sneaker. Is that how you say, is it the same? I don't know. I don't know. [00:21:48] Speaker A: I don't know. [00:21:50] Speaker B: Apparently they've just dropped a teaser for a 85 millimeter F 1.8 for Fujifilm GFX mount which is going to be released this month. [00:22:01] Speaker A: Well, that will be autofocus, I believe it is. So will that, would that be the first or are there other autofocus third party lenses for GFX or would this be the first double check. [00:22:13] Speaker B: What does it B and H say? Yeah, it's an autofocus lens. [00:22:18] Speaker A: Yeah, but are there. [00:22:19] Speaker B: No, I don't think it'll be the first. I think there are other brands available. Okay, but maybe crackers. If, if you're in the chat, let us know. You might know better than me because I don't, I don't deal a lot with the GFX stuff anyway. So that's coming in July at the moment according to B h, it's only US$340. Oh, cheap for a, for a GFX mount lens. So make of that what you will. But that's, that's a pretty cheap way to get a piece of glass for a fancy camera. [00:22:53] Speaker A: Roy Bixby says Mika are very inexpensive but haven't been great performers so far. [00:22:59] Speaker B: Ah, yeah, yeah. 340 bucks for a medium format lens. You wouldn't. [00:23:03] Speaker A: I was going to say the issue is you're putting it on like the greatest sensor kicking around. That's not a phase one or something. So if. Yeah, it's. That's what's going to be tough with third party lenses for GFX is if they suck, you're going to know that they suck. Really? Clearly. [00:23:20] Speaker B: Very, very. Yeah, first shot. Oh, Crackers is blaming me again. I can't afford autofocus lenses after Chromie made me buy the GFX lens. I didn't, I didn't make you buy it. I just pointed out that it would be wise and that it would make you a better person. All round to have a GFX lens, you know, Encouraged. [00:23:41] Speaker A: Yeah, I was encouraged. [00:23:43] Speaker B: Yeah, I resent that. I resent that. Tone crackers. What else is happening in the lens world? TT Artisans are dropping some new. We talked briefly about these last week, but there's a TT Artisans lens. I think it's coming to Nikon. Might be Leica and Fuji X mount. It's a 50 mil, one of your favorites, Justin 1.8 Neo FE lens. This is for the Sony mount and it's only US$89. So again, another really cheap, cheap lens. And I mean TD artisans. I know a bunch of. I remember Greg Carrick being, you know, one of the first people I knew that was using TT artisan lens. I think it was on his G effect on his X series bodies years ago. But you know, picking up a lens for 89 bucks US which is what, 4, 000 Australian right now. [00:24:38] Speaker A: Yeah. Even if it was 150 Australian. Like they're. Yeah, they're cheap lenses. Although that's what the Canon Nifty50 used to be. I don't know. [00:24:46] Speaker B: Yeah, I remember. Yeah. [00:24:48] Speaker A: Used to always be about 149 bucks or something. [00:24:50] Speaker B: Yeah. [00:24:51] Speaker A: For the 1.8. [00:24:52] Speaker B: So accessible. [00:24:53] Speaker A: I think. I think they're dearer now. [00:24:54] Speaker B: But yeah, that's pretty good. You know it just makes. It just gives people an option, a cheap option. Play around with something before you maybe invest in a. A big meaty first party, you know, Primal. Yeah. [00:25:08] Speaker A: Or if it's just a lens that you're not that fussed on, you're like, hey, I use zooms for everything but I'd like to have a 50mm prime just for fun. Yeah, that one. Yeah. You don't need the world's greatest. [00:25:19] Speaker B: No, the Pete, the folks over at Surui, they've teased the launch of three new prime lenses coming out. Where did I see that? But we don't have the focal ranges. Yeah, we don't know anything. They just dropped a teaser. It's coming on the. It's coming sometime today or tomorrow, these three new Surui lenses. So we'll have to wait and see what that is about. And they've also teased a new comp, their prime lenses. They've also teased a new compact telephoto lens that should have come out in the last couple of days. So we'll have to sit tight and see what happens with that one. What else? Seven Artisans, another third party lens manufacturer have announced a new autofocus 135 f 1.8 lens for L mount and I think they're doing it for other mounts as well. [00:26:13] Speaker A: Crazy. [00:26:14] Speaker B: So 135. [00:26:16] Speaker C: Yeah. [00:26:16] Speaker A: Just the amount of navigating the third party lens world now requires an atlas, a map, a big. A big book. It's. There's just too many. There's too many brands making too many different things that are for different mounts. And what works with this Someone should just really make a. Just a mega lens guide. You know you can. You throw your camera in there and it just gets. Shows you every single. I guess that's probably chat GPT but it would be wrong. [00:26:43] Speaker B: Well now it is wrong. Yeah. I used to write guides like that for shot kit. Best first party, best third party lenses for. I know. [00:26:51] Speaker A: But if you had to do a third party lens guide now for like. Oh it'd be crazy for Sony. It'd take a month. [00:26:59] Speaker B: Yeah. [00:26:59] Speaker A: Like if you had to go through every option at every focal length. [00:27:02] Speaker C: Yeah. [00:27:02] Speaker A: Canon wouldn't you just link the Canon website? [00:27:06] Speaker C: Yeah. [00:27:08] Speaker B: But speaking of Canon, there's a rumor that they're dropping or they're going to release soon a Canon RF 105 millimeter F14L VCM again in that sort of that newer compact form that you've been enjoying. So 105 1.4. That's portrait photography lens. Is that what you would see that [00:27:29] Speaker A: lens as I owned the Nikon version of that A105 1.4. It was one of my favorite lenses that the 28 1.4 and the 5814 were my three favorite lenses and there was close runner up with the 20mm 1.8 on the Nikon F mount and Nikon haven't even done a 105 1.4 for their new Z mount yet. Like Jim's still adapting the the F mount lens. So it's very interesting. That's a big lens. I'll be. I would be very surprised if they could get a 105 1.4 into the VCM. But Canon have done some pretty crazy stuff with the 14 mil and the 20 mil in that that range. So it's possible. It would be pretty amazing because their 135 is a 1.8 and that's not a huge lens but it's much bigger than those VCMs. So yeah, they're all 67 mil filter thread and it would be interesting to see if they had a departure to that. Oh yeah. Richard says the Nikon 105 1.4 was the only lens I've regretted trading in when I moved to mirrorless, beautiful, chunky lens. Yeah, I agree. I'm. I regret the 28 mil 1.4 as well. And as I said, the 58 mm 1.4, I regret that whole set getting rid of them. I kind of wish I still had them and a D850, but it didn't make sense and I need to change to mirrorless. But yeah, Richard says, Richard says. Longtime listener, but you're actually at home at time of recording, so that's cool. Thanks for joining us. [00:29:08] Speaker B: Yeah, great to see you. So that's kind of it for lens news. [00:29:14] Speaker C: Cool. [00:29:14] Speaker B: But jumping to camera news, as, as our friend Dennis pointed out earlier, Sony is expected to release a brand new FX camera, the FX5. A few bits and pieces that have been floating around, rumors and that sort of stuff. It's looking at having a 16 megapixel fully stacked sensor. It can record open gate 5K32 triple base ISO. I don't understand what that means. What does triple base ISO? [00:29:41] Speaker A: Well, I, I didn't know. I, I thought it was always called dual gain ISO or whatever. Basically it means you would have like clean. I think the Canon R5 Mark II, although they don't advertise it has essentially like a native ISO at 800 and at 4000 and they're almost the same in terms of. So it'll get. You bid 800 and you'll go up and it'll get noisier, noisier, noisier until you get to the next native ISO and it'll go clean again when you're shooting Log. I don't know if you, it's as pronounced when you're shooting like a baked in color profile. Dennis could probably tell me that because he's saying. Yeah, yeah, exciting. Triple base ISO. He says I shoot cleanest ISO at 12,000, 806 40. It's witchcraft. Yeah, that's a, that's a massive gap. Whereas, yeah, a lot of the other ones seem to be at around that. Somewhere between 3200, 6400. Somewhere in there. [00:30:46] Speaker B: Yeah, but. And so this will have three of those sweet spots. Yeah. [00:30:50] Speaker A: Which I assume that's not very common at all in this world of like, not a really expensive camera in terms of, you know, this FX5. I don't know what this will cost, but I'm guessing It'll be sub 10,000. Yeah. So Bruce is saying native ISO basically switches a circuit in the chip rather than just increasing, increasing the gain, basically cranking up the signal. So, yeah, very, very handy. For videographers that can set their ISO, use an ND filter to control how much light's coming in. You know, use the aperture to set depth of field, shutter angle. And then, then if once they get out of the range of their, if they need to increase, they'll have to flip it up to the next native ISO and then still use their ND filter to bring it back down. Still results in a cleaner image than using one of those in between. Yeah, that's what I'm led to believe. Maybe I'm explaining it wrong. Tell me if I'm wrong. Pro video guys. Yeah, but that's how I understand it. [00:31:59] Speaker B: Speaking of pro video. So the Sony FX5, it is anticipated to also have a new larger LCD screen. A 3.5-inch the Nikon ZR, which was Nikon's first cine camera after acquiring Red, that has a 4 inch screen. It's got quite a large monitor on the back of it. [00:32:19] Speaker A: So Sonia boost everywhere. I want to see big screens everywhere. [00:32:23] Speaker B: Yeah, I think it just crank them up. Yeah, yeah, why not? It just seems silly not to. If you can fit it on, fit it on other Sony news, they've officially now, we rumored it last week, but they've officially now teased the release, the upcoming release of the bridge camera which is the Sony RX10V. And they've been doing these bridge cameras forever, haven't they? Yeah, these are these big bulbous lens and camera body all in one. They often have a zoom that goes from like you know, 20 mil to a thousand. But they just have, they're just these crazy kind of do it all cameras, aren't they? [00:33:03] Speaker A: Yeah, I'm just trying to see what they're. So the rx, when was the four released? Trying to see how old it is. Previous model. Wow. Release 2017, nine years. That's insane. How interesting that they're bringing out another one because you would assume that that would potentially be a dead line, you know. No, no upgrade for nine years. [00:33:35] Speaker B: Maybe they, maybe they're seeing a change in trends like the, you know that the push to compacts, you know, I mean this has a 24 to 600 mil lens. [00:33:45] Speaker A: Is that all? [00:33:46] Speaker B: That's all. But I know Nikon have done these before. I think they've still got some, haven't they Nikon? Haven't they still got some that are going. [00:33:55] Speaker A: Yeah, the P, is that the P 1100? Yeah, that's, that's even bigger lens than that, I think. And it's super popular. [00:34:02] Speaker B: I think it's up To a thousand. A thousand mil. But anyway, so yeah, a couple of Sony drops there coming soon and there was the final news article about cameras was that question was, is Nikon resurrecting the canceled DL compact camera range? These originally came out. I can't remember when they came out but it was a while ago and they had these two camera models that were coming and then they canceled it because you know, for whatever reason originally they announced years ago that there was going to be the DL, one with an 8 to 50 mil lens and the other DL camera with a 24 to 85. These new cameras, there's not a lot to substantiate that these are coming, but there's been enough rumors around it to suggest that they are resurrecting some older, older style of cameras, which is what we're seeing with Sony with this RX10. You know, maybe they're finding people are moving away from the bigger complicated enthusiast to pro level bodies and they're looking [00:35:11] Speaker A: for, I think maybe newer photographers are looking for simpler options to grab a camera and travel with or something and they're like, I don't want lenses and stuff. I just, just give me one that works, you know. [00:35:24] Speaker B: Yep. [00:35:25] Speaker A: And yeah, and they're just, they let these, these product lines just sit for a little bit too long because they thought they weren't selling. And yeah, all of a sudden there might be some renewed interest, I think a lot of people for cameras to take to family events and travel with and stuff and yeah, but not everyone wants to carry multiple lenses or have to make the buying decision to buy a camera with. Well, which lenses do I get this one? Like just give me the thing. [00:35:54] Speaker B: Clean and simple. [00:35:55] Speaker A: Yeah, yeah. [00:35:57] Speaker B: So anyway, so we'll keep an eye on that and we'll let you know if we come up with any other news. But it would be interesting to see any of the brands, Nikon or Canon or Sony because Sony were overdue for RX100. I think the Mark 8 would be the next one because the 7's been out for ages. Yeah, there's that, that demand again for those compact premium compacts, you know, that have got a zoom, they've got a few bells and whistles. [00:36:27] Speaker A: Yeah, which is great. Let's, let's have a look at, let's get into some images. But first before I do that, a couple of comments and then we'll talk about the Godox camera after we have a look at some images and in and around the images, you know, get it swirling. I want to hear everyone's thoughts on this wild thing. But before that there was a couple of comments I just wanted to highlight. First of all, Stefan Genov 7. Greetings from the UK. Good to see you. [00:37:02] Speaker B: G' day Cobba. [00:37:04] Speaker A: How's it going? [00:37:06] Speaker B: G' day mate. [00:37:07] Speaker A: Nev Clark. Good evening. And who else is, who else has joined? Dennis Smith says you'd love a 105. Yeah, a Dennis too. A 105. Not, not a macro. You'd got to try one of these 105s with like a wild low aperture, like a wide open aperture, 1.4, 1.8, something like that. It was so fun to shoot. 135 was too tight for me. 105 for like full length shots were just so cool. Who else? East coast photography says talking lenses. I just received my Sigma 17 to 40F 1.8 for Fuji. Wow, what a nice lens. Quality 100. Have you used one of those Greg? [00:37:51] Speaker B: No I haven't but I'm borrowing off the team at Tamron Australia. I'm going to borrow the Tamron 17 to whatever it is. 70. [00:38:00] Speaker A: 70 that the 2.9 to 70. [00:38:04] Speaker B: Yeah, the one that they've also done for Canon and I've done it for everyone. [00:38:07] Speaker A: Yeah, Fuji's not special. [00:38:11] Speaker B: Nah. [00:38:14] Speaker A: Bruce Moyle says. Oh, sorry you were still continuing. [00:38:17] Speaker B: No, I'm just rambling. [00:38:19] Speaker A: Oh okay. Bruce Moore says parents that want a camera that does everything and put the phone away. Yeah, I think, I think you're right. That's what people are looking for and just not necessarily ending up spending two grand by the time they buy lenses and stuff. They just want what's good and it works. [00:38:37] Speaker B: Well one of our kids here, Juno, she's doing year 12 and she, she wanted a point and shoot. Just a cheap, you know, a couple hundred dollar point and shoot I think for a birthday last year to take on school camps and to hang out with friends and, and she much prefers using that over, over using a phone for you know, day to day photography. It's really interesting and you know she's 17, almost 18. Yeah, we're seeing a lot of that. [00:39:07] Speaker A: More of that I think. Yeah, I think phones are going to be boring to kids by the time they're, by the time they've got money to spend stuff on their own hobbies. Phones are not something they're going to want to. Yeah, it's not new and different, it's just the thing that they've lived their entire life around. Yep, very true. That's. We'll see, we'll See if that's true or not. I might be completely wrong. Paul Sutton says that the other manufacturers looked at the Ricoh GR range and said, I want some of that. Yeah, probably. [00:39:39] Speaker B: Yeah. [00:39:40] Speaker A: Small compact cameras. Dennis liked the Sony one. Richard says tax return time here in Australia. Depending on my tax return, I have a list of what I'm getting From a second Z9 all the way down to a Nikon sticker. [00:39:56] Speaker B: It's good sliding scale. [00:39:58] Speaker A: I was gonna say that's better than it sliding all the way to having to sell your other Z9 to pay. To pay for your tax bill. Hopefully it doesn't go that direction. Oh, dear. John Latimer started with a lumix all in one. It was a 24 to 602.8, but helped me work out what I wanted to take photos before invested in a decent camera. Yeah, that makes a lot of sense. When you've got every focal length, it makes it a lot easier to then look through your images and be like, oh, I never shot over 200 mil anyway, or whatever. Or do you need that long end? Okay, let's do some images. [00:40:41] Speaker B: Yeah. Before [00:40:44] Speaker A: the night is over. [00:40:46] Speaker B: All right. Should we start with John Latimer? Speak of the devil. [00:40:50] Speaker A: Absolutely. [00:40:50] Speaker C: Yeah. [00:40:51] Speaker B: All right. [00:40:51] Speaker A: Perfect timing. [00:40:53] Speaker B: All right, I'll start reading. [00:40:54] Speaker A: You get your image, figure it. I'll figure out how to find the image. [00:40:57] Speaker B: All right, good. [00:40:58] Speaker A: Great. [00:40:58] Speaker B: Don't leave me hanging. [00:41:00] Speaker A: I'm not. I forgot John, last week. This image was in for last week and I. [00:41:07] Speaker B: You were terrible. [00:41:09] Speaker A: I'm really happy that he. That he emailed to let me know. So thank you. [00:41:14] Speaker B: Yeah, yeah. Okay, here's what John has to say. Hey, guys. First of all, I want to say I watched Greg on the Tamron pod. I enjoyed it. I wanted to thank Greg for being open about mental health and how photography helped him. It was comforting to listen to someone being open about it. Thank you. Oh, thanks, John. That means the world. This week I've been swamped with work and traveling interstate for all these conventions and haven't felt like I had a chance to catch a break. I managed to squeeze in a bit of time to go down to a local river and do nothing for an hour but just to clear my head. This is a yellow faced honeyeater amongst the trees, chasing insects along Plenty Gorge in South Meringue. Shot with a Sony A7R III and a 200 to 600 at 600 mil F 6.3 shutter 1:4,000. There were some very fast birds around here and ISO at 12,800. Thanks to the pod and to the community. Have great week. Thanks. John, let's have a look at your image. [00:42:16] Speaker A: 12,800. It looks great, but the composition is odd. It's. It's banger. The berries in the background, it's. [00:42:26] Speaker B: Yep. And they're, they're contrasted because they're surrounded by the green leaves. So they, they kind of pop a little bit but they don't overtake the, the image. Your eye gets drawn back once you've sort of settled on the bird. [00:42:38] Speaker C: Mm. [00:42:39] Speaker B: It's wonderful. [00:42:40] Speaker A: Yeah. Beautiful. Beautiful shot. I think like if, if it was just the blown out background with no bear, like it just, just sort of plain, it would still be a nice photo. But I think the berries had a lot of. A lot of story to it and some composition elements and a little subtle pop of color. [00:42:58] Speaker B: Yeah. And there's some great comments in the chat already. What have we got? [00:43:04] Speaker C: Great. [00:43:04] Speaker B: Carrick, nicely placed. Great comp. Dennis. Damn. The subtle tones and the berries are amazing. Great focus and use of lighting. Absolutely great composition. Lovely depth of field. John. Love it all. The color, the background. Beautiful. And finally from. Is it Shamit? Samit Shah. [00:43:27] Speaker A: Yeah. [00:43:29] Speaker B: Nice clean shot and look at that detail. [00:43:31] Speaker A: It is nice. Yeah. I'm very impressed. That high ISO. Look at it. [00:43:36] Speaker B: Yeah, great. [00:43:38] Speaker A: Cameras are just so good these days. [00:43:40] Speaker B: Aren't they clever? [00:43:41] Speaker A: Aren't they clever? And the photographer, obviously amazing. I was, I was just commenting on that, not on the. Yeah, not like the camera did the job for you. Don't get me wrong. Don't get in trouble. [00:43:54] Speaker B: No, we don't. No, we want to keep the community, not lose it. [00:43:58] Speaker A: Yes. [00:44:00] Speaker B: Great image, John. Cracker of a shot. [00:44:04] Speaker A: And, and who else do we have back this week? [00:44:08] Speaker B: David Mascara. [00:44:10] Speaker A: The other David. The other David from San Francisco. We've missed him. [00:44:15] Speaker B: Yep, yep. He's. He's dropped some images in his true style. Hi guys. Sorry it's been a minute, but I've been watching the show, just not live. Hope all is well with you guys and your viewers. Anyways, this little miniseries was taken in Portland, Oregon. Hanging with my daughters. As we were leaving a coffee shop, I see this guy from the street and I made my daughter go around the block and park so I can go speak with him. This is David. Long story short, he was married, doing well, working for his father in law. Then the father in law died and his company sold and he was out of a job. Really nice man. More than willing to share stories. It's amazing what can happen by just saying hi Photos taken with an F6 and Ultra Max 400 film. Take care, guys, and have a great show. Thank you so much. David, let's have a look at your images. Oh, that's beautiful. [00:45:08] Speaker A: Yeah, it's a. It's a great little three image set. [00:45:11] Speaker B: Oh, but the body language in this one, the way that one hand's open, the other one's curled. Beautiful. [00:45:19] Speaker A: Gosh. Loving it. He's good with color as well as black and white. Stop there, David. [00:45:24] Speaker B: A smart ass. [00:45:26] Speaker A: Yeah. This is a really nice set. [00:45:30] Speaker B: Yeah. Oh, that's gorgeous. [00:45:32] Speaker A: Yeah, I think. Yeah, you spot like they. They're too similar. Like taking from a similar angle. Obviously this one's closer up, but there's such a difference in body language. [00:45:48] Speaker B: Yeah, it just changes the narrative completely, doesn't it, between the shots. Gorgeous. [00:45:59] Speaker A: I love it. Awesome. [00:46:01] Speaker B: Yep. And so does the chat. Lots and lots of amazing comments. Great connection. Parabellum. Wanted to know if that's Uncle Jesse. Who's Uncle Jesse? Jukes A Hazard. Did you. Did you have Jigsaw Hazard or were you too young? [00:46:15] Speaker A: Too young. [00:46:16] Speaker B: Have you ever watched Dukes of Hazzard? [00:46:17] Speaker A: No. There was a movie. There was a girl in tight denim shorts. [00:46:24] Speaker B: Not the porn, the original show. Shout out in the chat if you watch the original Dukes of Hazards. It was one of the highlights of my childhood. Watching criminals hoon around paddocks in this bright orange car. It was just gorgeous. What else we got? Tweak Productions. The story. The Way Life can turn. Dennis. So good. An actual portrait. [00:46:49] Speaker A: Yeah, an actual portrait. [00:46:51] Speaker B: Filming. Roxby says film is for masochists. Amazing. Great series. What a great character. Yeah. Really cool comments here. Well done and great to have you back. So you haven't lost your back. Yeah, absolutely. [00:47:10] Speaker A: We had no doubt. [00:47:12] Speaker B: Should we jump into one more? [00:47:14] Speaker A: Yeah, let's. Let's do one more. [00:47:15] Speaker B: Let's do Philip Johnson's. [00:47:20] Speaker C: Oh. [00:47:21] Speaker B: Oh, my. [00:47:23] Speaker C: Yeah. [00:47:26] Speaker B: Oh, wow. [00:47:27] Speaker A: This might be the. My favorite shot that you've ever sent in, Philip. [00:47:31] Speaker B: I think it might be mine too. Oh, gosh. It's. It's like a. It's like a painting from a different era, isn't it? It's just. [00:47:38] Speaker A: Yeah, yeah. It's a beautiful photo. [00:47:43] Speaker B: Incredible. Yeah. Here's what Philip had to say, folks. G'. Day. Justin and Greg Attached find my image I captured in Katumba in the Blue Mountains. I've shot many times. It has a certain character, I'll say. And on this occasion, it was early morning light on a damp, misty Blue Mountains morning. To me, the image process Well, I love when you zoom in and the clarity when you get good light and character and mist. It equals magic indeed. I think this is one of the best shots I've seen of yours. It is absolutely magical. [00:48:20] Speaker A: I just made it full screen on my 32 inch monitor. It looks awesome. [00:48:25] Speaker B: Yeah, I bet [00:48:27] Speaker A: the detail on the tree, but then it falls off into like an oil painting background. [00:48:33] Speaker B: Yeah. And just the mix of the green hues, like, it just. It's just stunning. This was shot with a. A 7 IV from folks at Sony with a Sony 7202.8 Mark II. Nice lens process using a combination of software. Adobe Photoshop 26, Nick Viviza, topaz photo. Yeah, I think you can use at least one or two more editing software there. I don't think three is enough. I think you should, you should push it. [00:49:10] Speaker A: I mean, whatever you did, it worked. [00:49:13] Speaker B: Yeah. It's a gorgeous, gorgeous image, mate. Well done. Congratulations. You should enter that in a competition. If not, print it or both. [00:49:20] Speaker A: Yeah, it definitely needs to be printed out. I've been printing, I've been printing. [00:49:24] Speaker B: Oh, have you? [00:49:26] Speaker A: Yeah, just. [00:49:27] Speaker B: I'll. [00:49:27] Speaker A: I'll tell you in a second. Let's. I'll read some comments. Comments first. [00:49:31] Speaker B: Sure. [00:49:32] Speaker A: Yeah. Everyone's ever like, tweak says, it looks like a painting. So does Parabellum. Same as Dennis. David Leporati just says, wow, amazing. Nicely isolated. Bruce says it is that the tree is very well isolated. I love that it's just sitting through that gap and the branches sort of curling over the tree in the background. [00:49:53] Speaker B: Yeah. [00:49:54] Speaker A: And, yeah, it just. It's great. Yeah. Moody image there. Phil Noice, East Coast Photography. Phil Thompson says, otherworldly with that light and color. Yeah. Felicity Johnson says, oh, wow. I'm busy studying the different forms of trees in the background as well as the main tree. Yeah. And that's the thing is when it's big, like, you guys are only seeing it on YouTube, but when it's big too, you sort of. You just get. You sort of go from tree to tree because there are different layers of fog, so there's different levels of how much detail there is, but you sort of get drawn backwards through the photo. It's. Yeah, it's really nice. [00:50:34] Speaker B: Yeah. [00:50:36] Speaker A: David Leporati says, cool tones, tweak production says 50 shades of green. Yeah. Richard likes landscapes with long lenses too. Yeah. I wouldn't have guessed 7200. I would have guessed 24 to 70. So, yeah, really well done. [00:50:51] Speaker C: Yeah. [00:50:52] Speaker B: It's not overly compressed at all. [00:50:54] Speaker A: Yep. [00:50:55] Speaker B: It's magic. Yeah. Well done. [00:51:02] Speaker C: All right. [00:51:03] Speaker A: Okay. [00:51:03] Speaker B: Should we move on with a little bit more news? [00:51:05] Speaker A: We should, yeah. [00:51:09] Speaker B: A quick little, quite literally a quick little news article. Fujifilm, some of you might have seen it on social media. Fujifilm have just released two new Quick Snap disposable film cameras. The first one is a black and white film camera. It also includes a flash. And the second one is an updated version of their Quick Snap active camera. So it can go in the water. You know, it's a bit tougher. It's got a more durable plastic shell. And so, yeah, if you want to get a quick fix of film, you know, maybe have a play around with it before you invest in a, in a secondhand film camera or a Leica. Yeah. Give this a shot. I'm actually tempted by the, the black and white option. Grabbing a couple of those and just having them in the camera bag and every now and then just, you know, not, not rush to fill a film, to fill a role. [00:52:02] Speaker A: Just have it, just work through it. Just let it. [00:52:05] Speaker B: Yeah, just work. [00:52:06] Speaker A: Take one or two here and there, [00:52:09] Speaker B: 27 exposures in each. Both have a flash. Oh, no, actually maybe the, the active one doesn't. Anyway, the black and white one does. So. Yeah. Quick, simple, relatively inexpensive way to get into film. Nice. Indeed. All right, should we talk about the elephant in the room? [00:52:31] Speaker A: Yeah. [00:52:31] Speaker B: That Godox made a camera. [00:52:34] Speaker A: Yeah. A weird camera. [00:52:36] Speaker B: Yeah, slightly. [00:52:39] Speaker A: Slightly. It's got no screen. Hang on, let's. [00:52:45] Speaker B: Well, I know it does have a screen. [00:52:47] Speaker A: It has a viewfinder. Well, I don't know. Yeah, I don't know what you would call this. [00:52:52] Speaker B: I don't know what you call it. [00:52:53] Speaker A: Let's bring up this. [00:52:58] Speaker B: So Godox have indeed. This is not an April Fool's joke. They have indeed released the Godox C100. It's a transparent viewfinder camera with a large, intelligent, transparent display that performs multi aspect ratio shooting for both stills and video, so. [00:53:17] Speaker A: And video. Oh, I didn't know that. [00:53:20] Speaker B: Yeah, a little bit of video doesn't say what sort of video. At this point in time, expected to cost around 42 Australian dollars, which doesn't make any sense to me. [00:53:34] Speaker A: No, that's what everyone's been saying. It's going to be super cheap. Maybe it'll end up being 50 or $60 here. It's like a step up from the, the Kodak charmer in terms of image quality. Maybe. [00:53:47] Speaker B: Maybe. [00:53:48] Speaker A: Yeah, yeah, it's, it's. Well, I don't know. Let me read on, Dennis. Every time sick light Painting beast. [00:53:58] Speaker B: Yep. Well, why not? [00:53:59] Speaker A: I'd like to see that. [00:54:00] Speaker B: I would like to see that. And no doubt we will at some point. According to this, it's only weighs 65 grams. It measures 104 by 72 by 19 mils. And half of the actual body is. Is that screen. Now that screen, it does cut some of the light out, apparently. I saw somewhere that it can. You can lose up to 50% of light transmission through that screen. [00:54:25] Speaker A: These weird little GIFs that they look, they look like this stop motion, like fast motion. Yeah. But yeah, you can kind of see that it's shading, like cutting the light as you look through it a little bit. [00:54:38] Speaker B: But it's not, it's not just a dud screen. It actually has digital overlay on it. Camera settings and information will appear on that screen, which I think is pretty cool. Pretty remarkable, especially for such a cheap device there. [00:54:53] Speaker A: I've seen it, like people have talked about it, that you could actually use it as a light meter. And that's, that's what this GIF is actually advertising. And I didn't realize Godox, I thought people on the Internet had just said, oh, you could use it as a light meter because it's displaying your settings. [00:55:09] Speaker B: Oh, but that's one of its functions [00:55:11] Speaker A: they're using like, this is a film photographer in a GIF with these same girls that move really fast. But he's. They've also got the cameras too, which is wild. But he's using the camera attached to his Godox photographer's vest to I guess, meter for his Bronica film camera. And if it works for that, and it's priced at sort of trinkety gadget pricing of 50 or 60 Australian dollars. I mean, they'll probably sell quite a few of them. Yeah, this article and I also. This is. So what are we looking at? We're on digital cameraworld.com if you want to read this. [00:55:53] Speaker B: It's also on Petapixel. [00:55:54] Speaker A: It's on Petty Pixel 2. And I think both of them have pointed out that at CP plus, either the most recent one or the year before, potentially even they saw this. What's that say? [00:56:09] Speaker B: Escura. It's pretty much. Pretty much the same thing. [00:56:14] Speaker A: Yeah. But this viewfinder didn't change. It was just a fixed printed. [00:56:20] Speaker B: A fixed. [00:56:21] Speaker A: Yeah, overlay. Like it says FPS 31.3 million pixels. Like you don't need that information. That's just there to make it look cool, you know, it doesn't, it doesn't serve any purpose. Because it doesn't change. Whereas the Godox one having settings that actually change. The light reading is pretty cool. [00:56:45] Speaker B: Yeah. It charges with a USB C and connect to a computer or smartphone via that USB C so that you can download, upload info and images. It supports 128 gig micro SD card, so that's a decent amount of data. [00:57:03] Speaker A: And considering the size photos that it take. How many megapixels. [00:57:09] Speaker B: What did I say it was? It was not much. [00:57:12] Speaker A: Yeah, no, it's not much. It's not. Image quality is going to be like, like the Chimera. They've wanged the cheapest phone camera that they could find into it. I would say. [00:57:22] Speaker B: Yeah. But yeah, look, it's cheap, it's fun, it gets people looking at photography, it gets people out looking at the world in a different way. The battery, the built in battery will last for about one and a half hours of continuous video recording. My Fujifilm doesn't even do that. [00:57:41] Speaker A: Yeah. But anyway, it's got no screen. Okay. It's amazing. [00:57:45] Speaker B: Watch yourself. [00:57:46] Speaker A: You know the only thing I'm worried about is. [00:57:54] Speaker B: Greg Carrick wants to know if it comes in black. [00:57:55] Speaker A: Does it come in black? I actually like that. It kind of really looks like an ipod. If they had put a click wheel around the button. Yeah, that would have, they would have got sued. But that would have been awesome. [00:58:06] Speaker B: That would have been awesome. [00:58:09] Speaker A: Does it have open gate? Well, if it doesn't, I'm not buying it. Yeah. No. [00:58:14] Speaker B: How dare they? [00:58:15] Speaker A: How dare they. But it's cool. [00:58:21] Speaker B: Like if it's, if it's the price they say it is. If it's 50 bucks, you go to JB and you pick one up, you hang it on your keychain. [00:58:29] Speaker A: The only thing I'm worried about is that. Not that I'm worried about. [00:58:32] Speaker B: Well, you don't worry about anything. What do you mean? [00:58:34] Speaker A: People can buy whatever they want, but [00:58:36] Speaker B: I've never seen you worry about anything in your life. [00:58:38] Speaker A: I don't want us as a photographic community to get tricked into buying too many fifty to eighty dollar trinket cameras that we don't end up using. And that's me projecting my own insecurities because I haven't used the charmer for anything meaningful. But it's now sitting on my shelf as a little hunk of. [00:59:00] Speaker B: How many have you got now? [00:59:01] Speaker A: Just one. I have no intention of buying any others. You can have mine if you want because that would actually make me feel better about buying it. [00:59:09] Speaker B: I think we've got six. [00:59:11] Speaker A: Do you have this color and the [00:59:13] Speaker B: new one, the new, the new retro ones, the new fancy ones haven't cut. No, I don't have that one. Ah, Sashmite. I've got them all up there on display. I can't see it, it's dark. Have you seen the new ones? I don't have that one. No. [00:59:27] Speaker A: Congratulations. You do now. Yeah. [00:59:29] Speaker B: All right, thank you. I really appreciate that. I've got a. I've got a shitty old X100 here. Fuji X100. [00:59:35] Speaker A: I'll borrow this one day when we actually do the, the Charmer street photography challenge or something. But yeah, I. It hasn't happened yet, so. [00:59:45] Speaker B: No. Anyway, yes, it's one of my many disappointments. But the new ones look cool. They've got sort of metallic finishes and they're a bit more kind of 90s retro. [00:59:56] Speaker A: Yeah. And the thing is, if it brings you joy, like if you, if you, if it brings you joy to have it on your shelf, then I'm all for it. [01:00:04] Speaker B: Yeah. [01:00:05] Speaker A: As long as it's just not. We don't end up just sort of buying random stuff that just comes out because we're like, oh, Godox brought this thing out, but it's cheap so I'll grab it and then you don't use it. [01:00:14] Speaker B: You've had a kit, a lot of random stuff. Yeah. [01:00:16] Speaker A: But it's got to be expensive. Yeah, it's got it. I just find it really interesting that Godox obviously has an insane level of tech development. [01:00:31] Speaker B: Yeah. [01:00:31] Speaker A: And this. I never thought that they would make a camera and they still haven't really. This isn't a camera. It is, but it isn't. [01:00:39] Speaker B: Yeah. [01:00:39] Speaker A: But it made me think what would happen if they did decide to make a camera. [01:00:45] Speaker B: Yeah. I've often wondered that about these sorts of brands that, you know, would it, would it kind of go the way of some of those earlier Sigma concept cameras? [01:00:53] Speaker A: Yeah. [01:00:53] Speaker B: You know, the BF is, is a more recent example. But you know, people go, oh, that's cool, that's brave. But. [01:01:01] Speaker A: But I'm not buying it. [01:01:02] Speaker B: Yeah. [01:01:02] Speaker A: I'm not that brave, you know, but [01:01:04] Speaker B: at this price point, like it's, it's clever because at this price point and with how it looks, it looks like fun. It looks cool. [01:01:12] Speaker C: Right. [01:01:13] Speaker B: They're gonna sell a shitload of them. [01:01:15] Speaker A: Yeah. [01:01:16] Speaker B: They don't need to put out, they don't need to sell a thousand, a thousand, four thousand dollar cameras. They're gonna sell a million of these. [01:01:24] Speaker A: Yeah. [01:01:25] Speaker B: Instead, you know, and I just say good luck to them. Well, this sort of stuff wakes up the rest of the camera industry and goes, oh, we didn't think of that. [01:01:36] Speaker A: That's right. What is interesting is that the focal length of the viewfinder is variable based on limb length. And I have extremely long arms. Quite long. So the question is, you know, if I hold it versus like a 12 year old kid, we're going to get quite. We're going to see different photos, but then the camera is going to take a particular photo. I'd like to know what the calibration on limb length was for the way that they, you know, chose the camera focal length in relation to the viewfinder size. That's what I'd like to know. I'd like a technical document, maybe an internal Godox technical document about limb length. [01:02:26] Speaker B: Yep. Hmm. I'll get on to that. [01:02:32] Speaker A: What did everyone else think of this? Let's see. Okay, we are going to go back up a little bit. David Leporati says it's a Game Boy. Does look like Mimo Bass says it's so cute. Mimo, you knew. Have you been in the chat before? There's some new new faces and names tonight. I'm loving it. Loving it. Greg Carrick says, does it have a faux film winder? No, it's not a Fujifilm. A bigger viewfinder than the Charmer, that's for sure. The Charmer is quite impractical to look through. You have to scrunch your face up like this. [01:03:05] Speaker B: Yeah. [01:03:06] Speaker A: To be able to see through it. [01:03:09] Speaker B: But it's quite wide. Don't bother, just hold it. Shoot. [01:03:13] Speaker A: Just point. Just point. [01:03:14] Speaker B: Shoot. Yeah, yeah, yeah. [01:03:17] Speaker A: Nev Clark says, I don't know about it, but no one thought the Insta Instant Max. Insta Max would be very successful and it's one of the best selling cameras on the planet. People sometimes quirky funky things sell. Yeah, exactly. [01:03:32] Speaker B: The insects range. [01:03:33] Speaker A: Yeah, insect, yeah. Rory says I'd rather have the Bronica Parabellum. Wants to know how do I attach my 200 to 800 to the Godox C100. And Roy said use a hammer. Okay. Who else? Yeah, Godox is probably still better than a smartphone. I doubt it. It would be. This will be like iPhone3s level of camera at best, I would say. But I'll be interested to see battery grip. Does it come with a quarter 20 thread on the bottom for a tripod? Yeah, we will see. Lucinda, what's up? David Liberatti says it's got four aspect ratios. Square 4, 3, 3, 2 and 16 by 9. [01:04:22] Speaker B: Fun. [01:04:24] Speaker A: Limb length can be Calculated with a tape measure. I don't understand. Greg. [01:04:30] Speaker B: Yep. [01:04:31] Speaker A: No, I know my limb length. The focal length of the. Because you hold it out like this, you know. [01:04:37] Speaker B: Do you? [01:04:39] Speaker A: Yeah. Where do you think you hold it? [01:04:41] Speaker C: What. [01:04:41] Speaker B: What about if you just sort of been casual, you just want to just flick it then it's only here. Or maybe they use the old. The old Egyptian. Ancient Egyptian pharaoh. What was that called? A cubit. Wasn't that the length from the tip of the pharaoh's finger to the end of his elbow? Does anyone else remember that? If I got that wrong, I'm sure that was a cubit. [01:05:03] Speaker A: A couple more comments. John. John Latimer says my work partner, I both have the same Kodak chambers. So after each event we work, we swap our cameras and do photos of our week and swap back at the next event. Terrible photos. But it's fun that. That's actually a really fun way to use cameras that are that small. That's. That's a great idea. That's. That's the right way to use a camera. Be cool to be able to do that with like Q3 monochromes. But no one's got that kind of cash. Be like here, Greg, we swap. We just swap each week. You can have a look through the photos I've been taking. What else? Shamit says sales will probably be more than the Fuji xf. [01:05:47] Speaker B: Yeah, I don't think that'll be hard. Yes, it's a qubit. Thank you. Thank you, Roy. [01:05:53] Speaker A: And apparently that's how Noah's ark was measured. [01:05:57] Speaker B: Cubits. [01:06:01] Speaker A: Anyway. All right, final piece of C100 stuff. There was a very interesting. So this, this article on digital camera world was actually very useful because it had some links to some other cameras that had done this kind of thing in the past. And let's have a look at them. Let me show [01:06:27] Speaker C: you. [01:06:28] Speaker A: Canon made this ugly. Son of a bang. Look at that. Canon made that. They really did. [01:06:39] Speaker B: That's. [01:06:39] Speaker A: This was called. So the article says this Canon is the worst camera I've ever bought. By James Arta. I think so. This was published on 4th February 2021. Good job, James. It's like I'm not even going to try. It's. It looks so. Basically from what I can understand, it's got a. Also probably very average phone camera type thing on it. It's a shutter button up the top. This is the viewfinder. But it's also a carabiner to hook onto your jeans, which is cool. [01:07:15] Speaker B: I like that. [01:07:17] Speaker A: And it says herein Lies. The first problem, it's impossible to frame your shots. I shoot with instant cameras quite a lot, so I have instincts for composing. But those instincts won't help you here. It's so. Yeah, apparently it sucks. It had these. This little mode dial on the back. It did video and stuff. Anyway, so it was an actual Canon. You can see here the Canon logo. I can't believe they put their name on this. [01:07:45] Speaker B: Where's the Canon logo? [01:07:46] Speaker A: Yeah. [01:07:49] Speaker B: Oh, wow. [01:07:50] Speaker A: Yeah. And then so as much as that brought quite a lot of shame on Canon and I was like, oh gosh, that's rough. Don't think I'll bring that up tonight. But then it was made okay, because there was another article about another terrible camera with the same concept made by Fujifilm. Well, Instax, the Instax pal. Have you heard of this? [01:08:20] Speaker B: Yeah, I saw them when they came out and I. And I contemplated getting one, but. Yeah. [01:08:26] Speaker A: What is. What is the thing on the top? What is that? How come we didn't review this on the show? Were you too scared to bring it up? [01:08:34] Speaker B: No, no, I'm not scared of anything. It was, yeah, it's just a weird little camera that pairs with a Instax printer or you can send the images to your phone, I believe, or both. But yeah, it was again, it was, you know, trying to sort of grab that probably that teen young adult market, have something fun and easy hanging off your keychain. [01:08:57] Speaker A: Something fun and easy. [01:08:59] Speaker B: Fun and easy. [01:09:01] Speaker A: Fun and it's just fun and easy. Yeah. Anyway, so that it was a 4.5 megapixel. Cool. Had USBC 350 shots, 41 grams, you know. But yeah, that. So Anyway, the Godox C100 is. Is different, but it is, yeah, kind of the same and well, I think [01:09:26] Speaker B: I'll get one when it comes out. [01:09:28] Speaker A: Yeah, I mean we better review it. Oh yeah, we can do it ahead with it. The charmer. Yeah, you could do a. Do you want to do a roundup with that? You can try and get your hands on Instax PAL as well and just do a full roundup of just odd [01:09:43] Speaker B: cameras that I think they still sell them at JB hi Fi. [01:09:46] Speaker A: Really? [01:09:47] Speaker B: I think so. It wasn't that long ago I saw them in a shop. [01:09:50] Speaker A: Hashem in the chat. Good to see you. Hey, boys. Interesting move from Godox on this one. In my opinion at least it's priced quite cheaply. Yeah. So would it be of any use to you, Hashem, for metering at all? I know you camera doesn't Have a meter. I'm sure you have an actual meter somewhere if you need it. But is this of any use to film photographers, do you think? Or is that a bit of a gimmick that they're trying to pitch? I'd love to know if you're still listening. What else? [01:10:24] Speaker B: Yeah, they still sell Instaxpel. [01:10:27] Speaker A: I would duck and hide if I was boasting, being a cannon shooter. Yeah, mate. Anyway, okay, some more images. [01:10:39] Speaker B: Yeah, let's look at some more images. Let me go back to my list. [01:10:44] Speaker A: Let me go back to my list. Oh, yeah, this is another good one. Let me bring it up. We're up to Paul Carpenter, I think. Are we? [01:10:54] Speaker B: Our friends at camera house have that Fujifilm Instax pal in pistachio green. Okay. For 150 bucks. [01:11:04] Speaker C: Whoa. What? [01:11:06] Speaker A: Yeah, I thought you were gonna say, like, 50 bucks. [01:11:09] Speaker B: 150. Yeah. [01:11:12] Speaker A: No one's gonna buy that, which is [01:11:16] Speaker B: probably why it didn't sell very well. [01:11:18] Speaker A: That's insane. [01:11:19] Speaker B: Yeah, I think it's cool. I think it's clever. Like, again, it's brave, you know, but what's with Fujifilm getting cameras pricing so wrong? [01:11:29] Speaker A: Well, yeah, it would want to have it. Even if it had decent image quality, you don't know what you're taking. And 150. They wouldn't have sold many of those. [01:11:41] Speaker B: No. [01:11:43] Speaker A: Anyway, Paul Carpenter, check this out. Oh, no. Just before we do pushing film, the main interesting thing for metering is having a way to aim if the frame lines match your composition. I think that could be fun. Like using a director's viewfinder. Yeah, yeah, that could be an interesting use for it. And if it meters. And the other thing that a few people have mentioned is it doesn't look like a camera. So when you point it at stuff, people aren't going to react the same way you point a camera at stuff. But also probably. People probably just think it's a phone or something. [01:12:19] Speaker B: Yeah. [01:12:21] Speaker A: And another bonus Hashem says is could be grabbing basic digital reference shot for your film photo. So if you were. [01:12:27] Speaker B: Yeah. [01:12:28] Speaker A: If you were just shooting film, could be handy if you want to leave your phone at home and go out shooting film, but you just want to have this as like a. Yeah, reference tool. A metering tool that it doesn't have any apps on. It's not going to buzz at you. It's not going to interrupt you while you're out shooting. It looks like an ipod, so you kind of wish you could plug your headphones into it, but you can't. Yeah. That makes Sense. Okay, I'm convinced it's great. [01:12:55] Speaker B: All right, we'll order 10. Paul Carpenter. G', day, Justin. Greg. Here's an image for Monday evening. Love. Reminds me when I was a teenager, I used to make model airplanes. I was terrible at them. I'd get glue everywhere and the paint wouldn't work and because it was fun. [01:13:17] Speaker A: Should you get back in? [01:13:18] Speaker B: Anyway, good enough to do. The historical warbird aircraft scene over in the UK is massive, and I was lucky to get to a number of air shows while I was over there last month. The only shot I really wanted to get over there was a Spitfire with a decent amount of propeller blur and a long focal length. Well, I think you nailed that. Very happy with this one, particularly as I had a poster of this very aircraft up on my wall as a teenager back in the 80s. The plane is 83 years old and shot down about 10, 10 aircraft during the Second World War. And this was shot with a Canon R5 with a RF100 to 500 at 500mil F10, 11 25th of a second and ISO 100. [01:14:07] Speaker A: Nice. Paul says started to get some sharp images through sheer number of attempts. Well, yeah, you're nailing it. You've. Look at it. She's a beaut. Beautiful clear sky and perfect propeller blur. I love that. Did the. Did the. Paul, did the issue you were having with the 100 to 500 and the motion blur, did it turn out to be a filter or anything like that? [01:14:36] Speaker C: Or. [01:14:36] Speaker A: There was a particular focal length. Sorry. A particular shutter speed that was causing you grief. Are you getting a higher keeper right now? I'd like to know, What does this say? Parabol and collectible. Says submarine Spitfire Mark 8. Very, very accurate. [01:15:00] Speaker B: Yeah. Specific. [01:15:01] Speaker C: Yeah. [01:15:02] Speaker A: David Lebrati's a fan. [01:15:06] Speaker B: Yeah. No surprises. There [01:15:09] Speaker A: must be a later Spitfire. Cannons instead of machine guns. Gosh, you guys know your planes. [01:15:15] Speaker B: Yeah, yeah. [01:15:17] Speaker A: Phil Thompson's a fan. Everyone's a fan. Look at it. [01:15:23] Speaker C: Oh. [01:15:23] Speaker A: The aircraft has been a number of films, including the Battle of Britain. Wow. And Dennis says planes are hard, like kids. They never stop moving. [01:15:34] Speaker B: Yep. What's. [01:15:37] Speaker A: What's a mark? [01:15:38] Speaker B: Is that a. [01:15:38] Speaker A: Is that nine? [01:15:39] Speaker B: Yep. [01:15:40] Speaker A: Oh, yes. Forget my Roman numerals. You rarely see nine. [01:15:47] Speaker B: Yeah, Very cool. Very, very cool. [01:15:56] Speaker A: Bruce is skeptical. Just feels like it's a model, like looking for the fishing line. Yeah, yeah, it looks that good. [01:16:07] Speaker B: Yeah. That's a really cool shot. [01:16:09] Speaker A: Yeah. Epic. Speaking of epic, what do we got next? [01:16:16] Speaker B: David Liparotti. [01:16:18] Speaker A: Yeah. [01:16:22] Speaker B: Hi, Justin, Greg and everyone. Please find attached infrared Images as promised last week. Thank you so much. These three images are of an afternoon storm over Evans Head, northern New South Wales. Wow. It looks alien, doesn't it? [01:16:40] Speaker A: Yeah, creepy. [01:16:42] Speaker B: Like another image one, which I think is what we're looking at. This is the RAW file out of camera using a custom white balance in camera. Then we Jump to image 1, a raw file out of camera using a daylight white balance. Then image two, edited image with color swap ACR using luts. Oh, that's crazy. Look what it does to the clouds. [01:17:11] Speaker A: Yeah, [01:17:14] Speaker B: that's amazing. And then image three, which is actually image four, black and white version ACR with luts, Photoshop, Silver effects. [01:17:27] Speaker A: And that's incredible. To convert my camera. [01:17:30] Speaker B: Yep. Yeah, that's incredible. And it's all one frame. Like it's not a composite, it's just. Yeah, exactly. Speaking of the camera, this was shot with a Canon EOS 400D converted 600Nm plus the EF S 1785 is USM lens. It seems we have a caller. [01:17:54] Speaker C: Hello? [01:17:54] Speaker A: We do, David, can you hear us? Oh, hang on. [01:17:59] Speaker C: Yeah, I can hear you. [01:18:00] Speaker A: Perfect. [01:18:01] Speaker C: Justin. [01:18:02] Speaker A: Excellent. Well, the phone's working. This. It just worked. That's amazing. You have to reconnect it. What's going on? [01:18:11] Speaker C: Well, I just thought I quickly call in the second image, the very red image. That's actually when you shoot a infrared image or an infrared converted camera, you will get a red image like that. And when you open it in Camera RAW or Lightroom, the color temperature slider will be right across the left hand side. So you can't adjust it. So you need to use a custom white balance in camera and you will also need to create a camera profile using a Adobe Profile editor, I think it is. I can't remember the exact software which embeds and enables you then to actually move the color temperature to adjust the image accordingly. Right. [01:19:01] Speaker A: So what custom white balance do you choose in camera when you're shooting a shot like that? [01:19:08] Speaker C: Well, basically it's fixed. So when you get the camera converted. So that particular camera was the Canon 400D which I've had for many, many years. When I purchased it, it actually came with a custom white balance embedded. And so I just leave it on that I don't change it. [01:19:26] Speaker A: Okay. Whereas. [01:19:28] Speaker C: And then if I get it on an overcast. Yeah, if you do a complete full spectrum. Yeah, full spectrum, yeah. I'm not sure how that works. So I don't have full spectrum, but I believe you'd have to do a custom white balance for the infrared filters, I think when you had the chat from Imaging By Design on, he was saying depending on the filter, when you're in the 720 and higher, it's basically near pure black and white. There weren't much color in it. So you'll just get a red image and you can convert accordingly. But when you have 600 and well, the Canon is a 680 nanometer and my Fuji is a 590 nanometer, you get massive color shifts. So you need to do custom white balance off green grass on a bright sunny day. So there's, there's other things. But yeah, when you, when you basically get your camera converted to an infrared conversion filter, it will be custom white balanced for you. [01:20:31] Speaker A: Right, okay. They'll do that as part of the process. [01:20:35] Speaker C: Yeah. So with, with the cameras I have like the Fuji I have, my in camera is set to black and white. So when I actually view the images, they're in black and white. But obviously I'm shooting RAW and jpeg. So I open the RAW files, add the custom profile and then it allows me to use the luts that I have to actually do the color swaps and the white balance in camera. So when I open the image you've got on the screen of the actual storm and so on, I do a white balance off the storm clouds or something that's close to being white. After I actually load it into Lightroom or into Camera Raw and then that allows me to use the luts to actually do the color swapping. [01:21:23] Speaker A: Right. [01:21:23] Speaker C: And I used to, I used to do that in Photoshop as a channel adjustment layer, but now I have luts, which I managed to get from Rob Shear in the us So I don't even go into Photoshop, rarely go into Photoshop nowadays with those. [01:21:40] Speaker A: Okay. And so the only ways to really, to do that in terms other than Photoshop, like there aren't. There's no sort of standard manipulations you can do in, in say lightroom to finish a, an in a color infrared image to do the, the channel swaps. [01:22:00] Speaker C: Yeah, it depends on the, on the filter obviously, as we said before. So the lower the ometers, as in 590nm, you're going to have from orange red to infrared. The 680 is red to infrared. So depending on the filter, you may be able to go in and do some slider adjustments. But to do the full channel swapping, which is what the LUT does in Camera Raw or in Lightroom, you can only do that in Photoshop if you don't have a LUT specifically to do that. [01:22:31] Speaker A: Right. [01:22:32] Speaker C: It's, it's very difficult to try and do it any other ways. I haven't been able to replicate it personally, but there's obviously some way of doing it. But yeah, I haven't been able to. [01:22:42] Speaker A: Yeah, right. I'm so excited. When I was away for the weekend, I was like, okay, so I drove back just in the middle of the day on Sunday and I was like, oh, it'd be, you know, just from Mildura to Bendigo. It'd be so nice to have a, an infrared camera right now. [01:22:57] Speaker C: Well, that's the great thing about the infrared. You can shoot any time of day from basically sun up through the day, right through the middle of the day to sundown. So you can certainly shoot all day. You don't have to wait for the golden light in the morning or the afternoon. Most landscape photographers want to do. And the middle of the day, bright sunny days is certainly much better. As you can see by the RAW file, it's fairly flat looking because it's an overcast condition. So when it's overcast it will always be a flatter image when you look at it and you've got to add a lot of contrast to it and so on. So. But I never had an issue with the actual image captures. Doesn't matter what I shoot. You'll never get highlights blown out or shadows blown out. You'll always have a fairly nice histogram and it allows you to then use a bit more. So infrared actually gives you a little bit more to play with. [01:23:52] Speaker A: Does it? Really interesting. [01:23:55] Speaker C: Yeah. Well, that's what I've found so far anyway. [01:23:57] Speaker A: That's exciting too. So you're not, you're not constantly sort of trying to fight against nature and cram this really high dynamic range scene into, into, you know, a sensor that can't quite handle it. [01:24:12] Speaker C: Yep, very cool. I've had no issues with that at all. So it's great, lots of fun. [01:24:18] Speaker A: I can't wait. I can't wait. I got to get it done, but I've got to. I'm going to go down, I'm going down to Imaging by Design to watch them and I haven't organized that yet. That's what on my list. I got to figure out what, when, when they'll book it in, where I can go down there for the day and watch them just take it apart and cry while I see the sense of that. [01:24:37] Speaker C: Yeah, I don't know if it'd be Game enough to sit there and watch it being pulled apart. But yeah, no, certainly it's worth it once you get it done. But. And the advantage of like the Fuji with the 590 nanometer, I can put a 680 nanometer infrared filter on the lens. I can put a 720 nanometer. So what I'm doing then is because the camera is already seeing infrared, I can put on the other filters with. No. And it's still handheld. I don't have to worry about signal. It's still basic, straightforward handheld photography. [01:25:11] Speaker A: Right. Whereas normally if you put that filter on a non converted camera, it cuts out. [01:25:16] Speaker C: You've got. You're looking through a black screen and you can almost see through it. So. And you then looking at slow shutter speeds. [01:25:24] Speaker B: Yeah. [01:25:26] Speaker C: So yeah, there's. There's lots of good things and bad things with it but yeah, it's great fun. [01:25:31] Speaker A: Awesome. Well, thank you very much for calling in because now you've got me even more excited about getting my. [01:25:36] Speaker C: Yeah. [01:25:37] Speaker A: Camera converter. [01:25:37] Speaker C: I thought it's a bit easier to explain it. It took me too long to try and type it in. [01:25:41] Speaker A: Yeah, yeah, exactly. [01:25:42] Speaker C: Phone calls easier. [01:25:43] Speaker A: That's it. And that's why we got the phone line. [01:25:45] Speaker B: That's it. [01:25:46] Speaker C: Yeah, yeah, yeah. [01:25:47] Speaker A: I wish more people would call in. Lucinda thinks it should be the new format. She says everyone should call in and explain their images. I love hearing everyone's watching. [01:25:53] Speaker B: Perspective. [01:25:55] Speaker C: You'll be here, you'll be here to midnight. [01:25:57] Speaker A: That's right. [01:25:57] Speaker B: Yeah, yeah, very much so, yeah. [01:26:02] Speaker C: All right, awesome. [01:26:03] Speaker A: No worries. [01:26:03] Speaker C: But anything you want to know, just give us a bell. All right, thank you. Thanks everyone. [01:26:08] Speaker A: See you, David. [01:26:10] Speaker B: See you, mate. [01:26:17] Speaker A: Just have to, you know how good. [01:26:21] Speaker B: Yeah. [01:26:22] Speaker A: How so good [01:26:26] Speaker B: looking at this image. [01:26:27] Speaker A: Yeah, yeah, it's a banger. Yeah, it's a banger. [01:26:31] Speaker B: Incredible. [01:26:31] Speaker A: I was, I was, I. I had was thinking about after I got back from Bali, I was like, I've got to organize to do that camera but I've got so much going on and stuff. But I think I've just got to make it happen because I know it'll take him a while to book it in because they're usually pretty busy. So I've just got to book it in and do it and. Because I would have loved to have it on the weekend, but. Yeah. Anyway. [01:26:51] Speaker B: Yep. [01:26:52] Speaker A: Nice quick comment from Robin Aldrich. Tona G, who created Clir, did a white balance for my full spectrum camera which I had converted in Melbourne. Tony did a number of different profiles for different cameras. That he created. It was much better than the one I achieved. Whatever you can't get from Melbourne, you can get through Kolari Vision. Yeah, that's, that's what I was thinking. I was going to get, get the camera converted at Image Imaging by Design and then Kolari Vision sells the filters I think that I need and stuff like that. [01:27:30] Speaker B: Oh, okay. Yeah. And you can just order those off their website, can't you? [01:27:34] Speaker A: Yes, yeah, yeah. But they often out of stock of, of various ones, which is, which is annoying only because I, when I, when, if I get it done, I'm like, all right, now I want everything. And yeah, they probably won't. I think some of them you have to wait six weeks for and stuff like that. But that's just, it's all part of the fun. Build the suspense. [01:27:53] Speaker B: That's right. Okay, let's look at another image. [01:27:57] Speaker A: Let's do it. [01:27:59] Speaker B: From Parabellum Collectibles. [01:28:02] Speaker A: Oh, yeah. [01:28:05] Speaker B: Hi, Justin and Greg. Once again I will be submitting some images for your enjoyment and judgment. As to your question, Greg, from last week. This was my first trip abroad and was to just explore the more regional and cultural areas of Japan. The wildlife was the bonus to the trip. All planned by myself with no tours and 25 days from Kagoshima to Mount Fuji, then back to Osaka. 25 days. [01:28:30] Speaker A: Oh, the dream. [01:28:33] Speaker B: The dream indeed. All images were shot on the R7 canon with a Sigma 16 to 300F, 3.5 to 6.7 DC OSCRFS. Gosh, they're greedy with their titles, aren't they? Sigma. This week I am submitting images from Kagoshima, a large city on the southern tip of Kyushu, Kyoshu. The subject of this week is that Sakurajima, Japan's most active volcano and one of the most active in the world. I was fortunate on my last day to drive around and well, as you can see, it did not disappoint and has been one of my bucket list items to experience in life. This area of Japan is absolutely beautiful and I would recommend it to anyone, especially fellow photographers. Yeah. Wow. Look at that. Apologize for the amount of images, but it's just too hard to send a couple of an event like this. How often do you get to photograph a volcano? [01:29:37] Speaker A: Volcano? Yeah, it's crazy. [01:29:41] Speaker B: That's been hard. [01:29:41] Speaker A: I didn't realize there was one this active in Japan. I know there's, there's volcanoes everywhere, but yeah, this. Wow. [01:29:48] Speaker B: Yep. Thank you both for an amazing show, an outlet for us hobby photographers. Your input has been very valuable. To me and always makes me strive to get better. Stay tuned. More to come. Well done. We certainly look forward to them. What incredible experience. [01:30:06] Speaker A: Yeah. [01:30:07] Speaker B: A, spending, you know, almost four weeks in Japan, B, in such an incredible location in Japan that, you know, a lot of tourists don't go to and, you know, see. To photograph an active volcano. That's incredible. [01:30:23] Speaker A: Yeah. Very, very cool. Now, I. I took it upon myself because I've been listening to a lot of. There's a. A photographer called Daniel Milner on YouTube. He posts a lot of stuff. They'll be called. The videos will be called, like Shifter. Daniel Milner. He talks a lot, just about. They're almost like solo podcast episodes. Although he'll have visuals and stuff too. But it's. They're mostly like him talking to the camera about thoughts. And I actually binged a few of them. Hashem mentioned him on the show. That reminded me to download a few for my drive on the weekend. And he. Yeah. Dennis says Milner is a bloody legend. Yes, he is. I'm really enjoying listening to his thoughts on photography and the way he approaches things. Yeah, Greg's keen too. Maybe we'll have to get him on the show. Try. He probably won't come on the show, but we could try. Shifter is awesome. This Daniel Milner challenge, Greg. So he's a photo book legend. Yes. And that's what's fun. And one thing that I don't know if this is something that he does or that he was taught as a photojournalist or if I know some other photographer popularized it, but he talked about when you look, have a set of images you should like from any shoot, you should always do what he called the 10, 5, 3, 1, which I'm gonna start doing for fun and see how it goes. But it's you. You must get your images down to from a single shoot. Top 10, top five, top three, top one. He said it's, it's. And top 10 being the story in 10 images, top five being the story in five images, top three being the story in three images, and then top one being the story in one image. And I think it was a photojournalistic thing for publication or whatever to be able to quickly tell the story from your set of images, depending on, you know, is this going to be a one pager, is it going to be a one imager or is it a full photo essay of 10 images? So that process, not just of taking images and not just of editing images, but selecting them down to tell the story, is something that you can learn through practice. And it's something that I've been practicing a little bit because I was introduced to the concept more so from Chris Hopkins and Harriet Tarbuck at Beef up about sequencing and telling a story. The order of the images is important. So anyway, I took it upon myself because you said, I apologize for the amount of images, but it's too hard to send a couple of an event like this. And I took it upon myself to go, well, if I. If these were my images, what would my top five be? To tell this story in five images. So I'm going to share that with you now. [01:33:24] Speaker B: Wow. [01:33:25] Speaker A: Okay. These were my five images from. From Parabellum set that I thought told the story the best. This one shot out of a car I like. There was two shots like this. This one's got slightly more context in it, but it does have the car in it. But I thought, that's fine. But I like the way that everything was framed. Then some like closer in detail. Yeah. The volcano erupting. This is quite a dramatic shot. I really like this one. Wider shot, more context. And then I liked this one. I'd probably put them in a different order. These are just in the number order still. That is file number order. I'll put them in a different order. But I like this one just to show it sort of had this like closed up feeling, almost like closed for active volcano kind of feel of the surrounding area. [01:34:24] Speaker B: Yeah. [01:34:24] Speaker A: So that would be. That would be my set of five. From this. From this, which was. I think he sent in 16. Yeah, 16. [01:34:34] Speaker B: Okay. [01:34:34] Speaker A: So I think that that's a fun exercise to do because you don't lose anything. You know, you're not deleting images or whatever. It's just going, okay, if I had to tell this story in 5, what would they be? 10, 5, 3, 1. Give it a try. [01:34:48] Speaker C: Yeah. [01:34:48] Speaker B: It's a good process, [01:34:51] Speaker A: definitely. It forces you to think what's important. What's the viewer getting out of each frame in this story? [01:35:01] Speaker B: That's clever. Yeah. I'll have a look into Daniel Milner. We'll see what we can do. [01:35:09] Speaker A: Work your magic. Maybe not just yet. Which is, let's, you know, [01:35:16] Speaker C: let me [01:35:17] Speaker A: binge a bit more of his content first. [01:35:18] Speaker B: Oh, okay. [01:35:19] Speaker A: All right. [01:35:19] Speaker B: You let me know when you're ready to geek out, fanboy. Oh, no. Where'd you go? Oh, sorry, my computer. My computer went dark. [01:35:29] Speaker A: I was like, I'm still here. Where did you go? I know you are. I know some boat images next week. Nice. [01:35:35] Speaker B: Oh, Very nice. [01:35:38] Speaker A: Excited. Epic trip. Lucinda learned from a doco photographer to print and get people to number their top 10 on the back and survey a few people to cull down. Oh, that's a clever idea I liked. I was actually looking for six by four paper because that's the other thing I want to do is print six by fours out to be able to sort of select and arrange but I can't find the paper I like in six by fours and I can't find a good six by four paper. [01:36:07] Speaker B: Do you need a paper if it's just for mapping out your series? [01:36:11] Speaker A: No, you're right. I should just get some cheap. Whatever. [01:36:15] Speaker B: It's better to do it. I mean, it's not like you're framing them and hanging them. This is to help you reach a point. [01:36:23] Speaker A: Yeah, I just thought if I was wasting my fancy inks anyway, which I've been. Which I've been printing actually. I'll show you. Let's do my image next. I've been printing some stuff. I had a lot of troubles with my printer the other week. I was going to throw it through. [01:36:38] Speaker B: That's all I hear from you. [01:36:40] Speaker A: Yeah, it's. It kept putting smudges on some of the images which is really frustrating. Which. I don't know. You won't be able to see them. He's a really bad one. It was like from the. The rollers. Will you be able to see this? I don't know. [01:37:03] Speaker B: Obviously it's in the bottom right corner. [01:37:06] Speaker A: Yeah, yeah. [01:37:07] Speaker B: What's causing that? [01:37:09] Speaker A: That would have been from the rollers or something. That only happened once. That was pretty bad. [01:37:13] Speaker B: Yeah, it's terrible. [01:37:15] Speaker A: So that. But then it did it lightly on this one and then on these ones I could see really faint, like light lines. You won't be able to see them so I won't even try and show you. But that was. That was really frustrating me. But while I was playing around with it, I printed out some of those skate photos we looked at last week or whatever. I really like the look of them printed. I'm glad I went through and re edited those. That was fun and that's cool. And then my image for this week, which is a photo I took in Surabaya in East Java, which is this one. But I'll show you it in a digital so you can actually see because I want to get the feedback from the chat. This one. So it's this skeleton of a building, just this abandoned building in amongst this metropolis. And it always blows my mind when I see Stuff like this, because you just don't see this in Australia. Like, it's. The building's been there long enough that it's been abandoned long enough that. Where are we? Where's the building? You know, they've spray painted one story high letters on 16 floors. Like, this thing's been. Wow, sitting there for a long time. [01:38:42] Speaker B: Yeah. [01:38:42] Speaker A: So. And I just, I really like the scene, but I took it. This is, this is uncropped. So this was at 70 mil, and that was the longest focal length I had. And I like the colors and the framing of the building on the left hand side, but when I cropped it out, does that just make the. The actual subject of this, the photo, that much better? So. [01:39:11] Speaker B: I think it does that and the, the, the building and the cloud especially. I find looking at the full version with the building on the left, that the, the beautiful color of it is too distracting and takes away from what, what, you know, what most people would assume is your true subject, which is the, you know, the, the, the abandoned building. Yeah, I mean, that's just, that's just my view. I think cropped is better. [01:39:39] Speaker A: Yeah, I think you're right for this. I, I was, I think I was drawn to the, the really nice colors on that building on the left. But that's not the subject. And it's. Yeah, yeah. It's taking away from it because. [01:39:50] Speaker B: Yeah. [01:39:50] Speaker A: It's just that this thing on the left is. It's so. Whoops. So interesting that you get drawn to it and you're probably not supposed to. [01:40:00] Speaker B: Yeah. [01:40:02] Speaker A: You know, that's. That's some glistening on it. But. Yeah. Okay, so it's unanimous. I should have just cropped it to start with. And honestly, if I had a longer focal length, I probably would have shot it like this. [01:40:12] Speaker B: Yeah. [01:40:13] Speaker A: So. [01:40:14] Speaker B: Yeah, of course. [01:40:17] Speaker A: So it's not like I'm. Yeah. Choosing something that I didn't really think it was more just. I was trying to make the best of what I had in the moment and I usually try to stick pretty close to what I shot. I don't crop a lot, but. Yeah, okay. [01:40:32] Speaker B: Yeah, I think it works. We got this. [01:40:33] Speaker A: But, you know, Chimit says, likes the contrast on the building on the left with the lights. [01:40:39] Speaker C: Yeah. [01:40:39] Speaker A: And that's what. Yeah. [01:40:40] Speaker B: Okay. [01:40:40] Speaker A: Anyway, I got. That's what I kept getting too. I'm like, oh, but I do like that. [01:40:45] Speaker B: Yeah, [01:40:50] Speaker A: Yeah. Phil Thompson's cropped is better. Yeah, [01:40:56] Speaker B: yeah, for sure. [01:40:57] Speaker A: John Latimer. Like the crop. Yep. Okay. [01:41:00] Speaker C: Yeah. [01:41:02] Speaker B: Lots of votes for crop. [01:41:03] Speaker A: David leporati. Says having tactile printed images is a great benefit to your photography. I agree completely. [01:41:09] Speaker B: Yeah. [01:41:09] Speaker A: Yes. Printing, printing, printing. [01:41:12] Speaker B: Yep, yep. I don't do it nearly enough. [01:41:15] Speaker A: No, I have to send stuff that to me that you need printed and I can print it. Then you can, you know, come and get it. [01:41:24] Speaker B: Yeah. All right. [01:41:25] Speaker A: Like a really frustrating print process. Like to get a train, 4 hour return train ride to pick up your prints. Pick up my so convenient print that's [01:41:35] Speaker B: got smudges and shitty lines in it and canon colors. [01:41:38] Speaker A: Yeah, look. Oh, sorry. There's no guarantee of quality in this. No, there's not. House. Yeah, you get what you get. [01:41:44] Speaker B: I think someone there said, just get it from Kmart. Get your four by sixes done at Kmart. [01:41:49] Speaker A: Nah, it's just the. It's just annoying. Dennis has got a box of five by sevens that sits near his printer and I'll quickly knock one out and whack it in a frame for a quick and dirty gift. Yeah, it's a good idea. What paper do you use for the five by sevens? Do you remember or are they just. Just something you found? Okay, should we crack on with a few more images? [01:42:12] Speaker B: Yeah, yeah, let's. Let's look at Andrew Connors image next. Okay. G', day, Justin, Greg and anyone else there this week. I remain firmly obsessed with capturing our feathered friends. And this probably, this is probably my favorite cocky image taken so far. Taken just the other day. Kind of sums up their character for me. He or she has just launched from the tree. So purposeful and as usual was telling the world all about his presence in that so subtle way. Shot on an OM5, 100 to 400, shot at 300 and cropped f 6.31 2000 shutter and ISO 250. Keep up the great work with this show. I watch each episode over a couple of mornings on the train to work. Oh, nice. Oh, and unrelated. But now, seriously, looking at those Sea Star Astro telescopes after the interview with Andy Campbell photography, the obsession that just continues indeed. [01:43:11] Speaker A: Yeah, yeah, that was one that I had to say. I was like, oh, telescope. Nope, nope, nope. [01:43:17] Speaker B: Yeah, yeah, you can't go there. Can't go there. [01:43:20] Speaker A: Not even going to entertain it. [01:43:22] Speaker B: I will say this though. I now I've been following a lot. I've started following a lot more Astro deep space astrophotographers on Instagram and I've come up with a couple that I think might be worth getting on the show in time. But yeah, like just that, that deep space stuff is just Bananas. Especially when they sort of. They throw in all the science behind it, like the numbers and the distance and the time it would take to travel and like it's just staggering. Yeah, Absolutely staggering. Yeah. [01:43:53] Speaker A: This expression on this cockatoo's face is also staggering. Look at it. It's like it's coming straight at us. That's pretty crazy. [01:44:03] Speaker B: Yeah. [01:44:04] Speaker A: Like the, ah, what they say here. Greg Carrick, the teenagers of the bird world. [01:44:11] Speaker B: Yeah. He's also going out with Sea Star tonight. He's gonna go and do a shoot. Yes. [01:44:17] Speaker A: Yeah. Keen to see what you get. [01:44:22] Speaker B: Yeah. [01:44:22] Speaker A: Yeah. Beautiful shot, Andrew. [01:44:24] Speaker B: Yeah. [01:44:24] Speaker C: Yeah. [01:44:25] Speaker A: Especially to get just launching like that. You don't have a lot of. A lot of time to react. [01:44:30] Speaker C: Yeah. [01:44:31] Speaker A: Great. [01:44:31] Speaker B: Full of character. [01:44:33] Speaker A: Yeah. [01:44:35] Speaker B: Amazing. [01:44:35] Speaker A: I'm just, I'm glad it didn't come at you. Yeah. [01:44:41] Speaker B: What have we got next? Gosh, we still got a few to go. Let's, let's look at Greg Carrick's because he's got to go soon. He's got to go do his shoot. Whatever he's doing, he does. [01:44:49] Speaker A: Before we do that, Phil Thompson says a real character shot of the cockatoo. The subtle lighting of the wings gives just enough detail. Yeah, I think that's, that's probably the thing because you often see them backlit like birds. You get a lot of backlit bird shots when the sun's out in the, you know, blue sky. But seeing the clean details of the feathers underneath is actually. It's a treat. [01:45:09] Speaker B: Yeah, it's great. [01:45:11] Speaker A: Okay, great. [01:45:12] Speaker B: All right, let's look at crackers. Taken at a street party in Mount Everland back in 23. Lots of old cars, but I wanted a bit of a story rather than picks of engines and paint jobs. So this one tells me of the relaxed companionship of like minded people enjoying their hobby. Taken with the Fujifilm GFX50R, probably with the Pentax 50 F2. Shot at 1 125th. ISO 125 and a black and white square crop in camera. [01:45:44] Speaker A: Nice in camera. [01:45:45] Speaker B: Yeah. It's got that gorgeous gritty contrast that he just, he just. Chef's kiss. He just masters every shot when he does this. [01:45:53] Speaker A: He sure does. [01:45:55] Speaker B: I've been trying to edit heavier with black and white images lately. I've been trying to sort of replicate a bit of this stuff and it's, you know, I keep sliding those sliders and I just, oh, gosh, is that too dark? I just, you know. [01:46:07] Speaker A: But it goes sliders. His sliders go to 11. They just got Different. He's got a different version of lightroom. [01:46:14] Speaker B: Yeah, indeed. That's amazing. I love it. And it does tell a story. [01:46:20] Speaker A: Yeah. And a bit timeless too. [01:46:23] Speaker B: Yeah. [01:46:23] Speaker A: Nice. [01:46:25] Speaker B: Indeed. Amazing. Nice work, Greg. What's next? Chris Nielsen. Hi, everyone. Continue. Sorry. No, continue. I'm losing my eyesight. Curious to hear what you think of my image. Shot this weekend at the famous church on the oh, Hitu Peninsula near Auckland. It was only meant to be partly cloudy, but I caught the last of the light before the clouds rolled in. Shot on my trusty D500 with the 16 to 80. Oh, sorry, it happened again. 2.8 to 4. Sorry about the yawn, everybody. [01:47:05] Speaker A: What do I think of your image? I love it. [01:47:07] Speaker B: Yeah, I think it's great. [01:47:08] Speaker A: Beautiful sky. [01:47:10] Speaker B: The contrast. Beautiful. [01:47:12] Speaker A: Exactly. Because the white church just. It's on that drab gray. It's. Yeah. And the clouds, all the lines. The clouds seem to be either. They're sort of like. It's like they're emanating from the church. You know, the lines. So up here. Up here, up here. [01:47:30] Speaker B: Yeah. [01:47:30] Speaker A: They say everything's. Yeah, everything's leading you into this beautiful white church. [01:47:36] Speaker C: On. [01:47:36] Speaker A: Otherwise, what looks to be sort of a little bit of an isolated landscape. [01:47:41] Speaker B: Yeah. It's interesting. It's in New Zealand, but it's got a very Scandinavian vibe to it too. [01:47:49] Speaker A: It definitely does. Yeah. Yeah, it definitely does. [01:47:55] Speaker B: Yeah. [01:47:55] Speaker A: You'd almost imagine it with one of those, you know, when. Like a really long exposure sky, you know, and it's got the. Like a bit of motion in the clouds almost. Yeah. [01:48:05] Speaker B: Yep. [01:48:07] Speaker A: Yeah. Wow. What a. Yeah. What a great scene. So curious. I. Yeah, I dig it. [01:48:15] Speaker B: Yeah, I dig it a lot. That's great. Print. [01:48:19] Speaker A: Print to it. [01:48:20] Speaker B: Print it. [01:48:21] Speaker A: Bruce Moore wants to see it in the infrared. Agree. That'd be cool. David Leporati loves the black and white. [01:48:30] Speaker B: Yeah. [01:48:31] Speaker A: LPG 8.8L. Nice shot. So nice. Great leading lines in those clouds and the contrasting light on the church. Goes well together. Yeah. [01:48:43] Speaker B: Yeah. [01:48:45] Speaker A: Bruce Moore says nice angle on the church. Feels like a three point drawing. That's true. [01:48:49] Speaker B: Actually. [01:48:50] Speaker A: I hadn't even considered that. [01:48:52] Speaker B: But it's. [01:48:54] Speaker A: Yeah, it's. It's just right. [01:48:58] Speaker B: Yeah. [01:49:00] Speaker A: For the character and the shape of that church because. Yeah. Any more to the side and it might be too much of a obvious quarter shot. [01:49:10] Speaker B: Yeah. [01:49:11] Speaker A: And. And obviously front on would be a completely different feel. Losing those windows down the side. [01:49:16] Speaker B: Yeah. Well, that perspective draws you into the building and then the clouds kind of push you back out again. You've got this Constant kind of motion in the image. It's just beautiful. Yeah, very cool. [01:49:32] Speaker A: Gareth Davies says hello. That's a nice photo indeed. Cool. Shamit Shah. [01:49:41] Speaker B: Shamit Shah. Hi Justin and team. I don't know what you're going to mention. Please see attached two images which I took last year at Wall Yunga National Park. They were both taken with a Nikon D60 300mil F 5.61 400/th of a second ISO 400. Just trying not to yawn. The first picture is of a white faced heron and the second one is that of two white billed spoonbill birds. Thanks in regards Shamit. Thanks for sending these in. [01:50:15] Speaker A: I like the spoonbill one with the reflections. [01:50:20] Speaker B: Yeah, yeah, yeah, that's lovely. [01:50:25] Speaker A: Yeah. I think it, this does have a reflection in it but you know, it's not quite as obvious because it's lower in the frame. [01:50:35] Speaker B: Yeah. [01:50:36] Speaker A: I'd be interested to know what this would have looked like. Yeah. Had you aimed down just a little bit and included more of the water in the frame similar to this one. Whether that reflection would, would be more obvious or because the bird's mostly gray. Maybe, maybe. And because it's not getting the full reflection because it's set back on the sand a bit, maybe it wouldn't be obvious. I don't know. There might have also been stuff in the water that you're trying to avoid or who knows. But yeah, I think this, this composition with the reflections and, and more of the water in the foreground is cleaner and I think just highlights the birds a little bit more. What do you think? [01:51:14] Speaker B: Yeah, yeah, it does because the, the contrast between the white birds and the negative space is really strong and so it kind of draws you in to try and work out what's going on in the frame. Where does the reflection start and the real birds stop and all that sort of stuff. [01:51:30] Speaker A: So yeah, yeah, I think it is, it is also fortuitous but that they're white whereas this, I mean the background is a different color but yet this one blends in just a little bit. Yeah, a little bit more. [01:51:46] Speaker B: If anything I would be interested to see if cropping that to either square or horizontal and chopping out some of the top would actually elevate the image a bit. [01:51:59] Speaker A: Yeah. Just really play around with it and that's something you can do too, like crop heavy to play around with framing. Even though, you know, okay, this is too much of a crop for it to really look, you know, you might be cropping beyond what your sensor is really going to enjoy. And it might look a bit pixelated, but even to sort of simulate longer focal lengths of lenses to think, okay, so if I had. I've been thinking about getting something that goes to, you know, to 400 or whatever. What would. What would I have been able to achieve with that lens? Would it be worth it? And that sort of stuff? Yeah, yeah. Can be fun. Playing around with cropping is fun. That's something I want to talk to Jerry Jonas about on Thursday, because he. [01:52:38] Speaker B: He. [01:52:40] Speaker A: He had a whole, like, session in what. How did it do it? I need to remember. I'll talk to him about on Thursday. We all sent him photos before the workshop of photos that we'd taken, which he used to get an idea of where we were at and what we could improve on. But then I'm sure he did this. Just basically, we all sat there for like an hour while he cropped in live in front of us, all of our photos. [01:53:11] Speaker B: Oh, really? [01:53:11] Speaker A: And. And cropped to the point where it wasn't. It was like, some of them. You could have cropped it like that in post and been fine. Some of it was like, I would have framed it like this and been like, so instead of here, he would be like, cropped to here, you know, like, crop. Crop to. To this or crop, you know, and it was. It was super interesting to see the way his brain worked with a scene compared to what we had. Just think. Thought, oh, yeah, that's how you take this photo. Yeah, it was just like. Yeah, it was. It was a fun exercise. It sort of. You can. And you can do it with your photos anytime you want. Just jump in the lightroom, just start cropping. Just being like, oh, yeah, that would look cool. I'd need a different lens or I'd need to move over there or get way closer. But yeah, yeah, unfortunately, it's hard to uncrop. [01:54:00] Speaker B: Yeah. Yeah. But you're right, though. There is a lot to learn from just. Even just being a little brutal with some of your images. You know, going into really heavy crop. Going with a heavy black and white overlay. Like, just. Yeah, there's. There's nothing stopping you from experimenting with those. And. And as a result, that's often how we develop our own style. [01:54:20] Speaker A: Yeah. [01:54:22] Speaker B: So never be shy of experimenting with that sort of stuff. But amazing. Let's look at some mediocre images from Dennis Smith, because they're never good. [01:54:37] Speaker A: Never sends us in just amazing images. [01:54:41] Speaker C: No. [01:54:42] Speaker B: All right, Dennis, here are four images. Great. Four images created at a good friend's durational performance Here in Adelaide. She is in this room seven hours a day for 40 days. Moving, interacting, holding space for those who come to see. It is a complex performance for her and everyone who comes. I spent seven hours in there with the two of them this week. Time to breathe into the performance and find the right moments. These were all shot wide. Sorry, Wide open, I should say at high. So 3200 and 6400 on the Q3. It was super dark. They are imperfect, which is perfect. There is a wild video coming from the sessions and I will be back many times. Let's have a look. [01:55:30] Speaker A: Yeah, these are great. 7. [01:55:33] Speaker B: So what, you're gonna let the rest of us see them or what do you talk about? [01:55:37] Speaker A: Oh, you didn't tell me they weren't up on the screen. [01:55:40] Speaker B: I was reading the thing. You had one job. [01:55:43] Speaker A: I'm looking at these images, like, wow, these are amazing. Great work. Oh, gosh, look. [01:55:48] Speaker B: I can't. [01:55:49] Speaker A: Can't get it right every time. All right, let's go back to that. This is number one. [01:55:52] Speaker B: Yeah. Oh, I love that. Oh, the way that the light moves along that line. Like it's not just a constant. Like it's. It's different levels of brightness and. And glow. That's gorgeous. And the way the light behind her head. [01:56:17] Speaker A: Mm. [01:56:19] Speaker B: Wow, Dan, that's amazing. [01:56:24] Speaker A: Yeah. And this one too. [01:56:28] Speaker B: He's just dropped a comment saying, I made about 1500 images on that day. [01:56:33] Speaker A: Wow. Yeah, this. This one's just. [01:56:39] Speaker B: Yeah. [01:56:39] Speaker A: Haunting. [01:56:41] Speaker B: Yeah. [01:56:45] Speaker A: I really love that. I think that. I think the motion. I don't know. Yeah, it's. It's. It's like halfway through. Halfway between beautiful and disturbing in. In a great way. [01:57:01] Speaker B: Yeah. [01:57:01] Speaker A: Like maybe. Maybe that. It. Maybe now that I know what's happening too, it's like it somehow conveys the. The seven hours a day for 40 days, sort of. [01:57:15] Speaker B: Yeah. [01:57:17] Speaker A: Wow. [01:57:17] Speaker B: You know, and shot on a. On a fixed lens camera. Granted it's a Q3 and you've got a lot of megapixels to play with, but regardless, the camera itself introduces limitations. And this is, you know, this is obviously a fairly dynamic space. And I love that. I love the idea of being. Taking a very simple photographic mechanism and applying it in a very complex way. And I think Dennis does that in spades. [01:57:45] Speaker A: It certainly helps you push. Push your ideas in the sense that you've got this sort of. This tool with a lot of limitations in it. So you start thinking about more other ways you can work with it to create different looking images. So you're not just shooting the same thing over and over for seven hours. [01:58:03] Speaker B: Yeah. And I would imagine the first thing that Dan does is he doesn't see the Q3 as a. As a. As a mechanism with limitations. I'm sure he, he probably, whether he knows it or not, probably sees it as a limitless opportunity, you know? [01:58:19] Speaker A: Yeah. Phil Thompson says, Mr. Smith, you've done it again. Incredible set of images. And that reddish light is amazing. Schmidt Shah says, wow. Wow. Dennis, wizard of light. Third one is spiritual. Super cool, says Bruce. Yeah, very, very cool. [01:58:42] Speaker B: And like a reds. Come on. [01:58:46] Speaker A: Dennis says, I wanted to send so many, but hard selected. Yeah, it's. It's, it's part of the process and it's, it's a very part of the process and you're a master at it. [01:58:57] Speaker B: Amazing. [01:58:58] Speaker A: Having the time to really find the moments that mattered. Breathe into it. Yeah. Spending that, that day there, that's, that's really. [01:59:05] Speaker B: Yeah, yeah. Forcing yourself to slow down. [01:59:09] Speaker A: Yeah. [01:59:10] Speaker B: Yeah. [01:59:14] Speaker A: All right, Carrick's off. He says bye. Bye, boys and girls. Catch you on the flip side. Well, we should. We should go through it too. I gotta. I gotta get to bed. [01:59:22] Speaker B: Yeah, I got an early start tomorrow. What's going on? [01:59:25] Speaker A: Next one. [01:59:26] Speaker B: All right, so next up we have Tweak Productions. Jamie Vanden Brink. A little greedy on the names there. Jamie spent the week in Laureaten Laurriton on the New South Wales north coast. Beautiful spot for landscape. Have taken so many this week, it was hard to choose one. This one was taken at the wash house. The wash house. The wash house beach. Camden Head. A popular spot the afternoon for people walking their dogs. I love the silhouettes, layering and the golden hues. Yeah, that's crazy. Good light. Hey. [02:00:02] Speaker A: Yeah. [02:00:04] Speaker B: Yeah, that makes me sing. This was taken. [02:00:09] Speaker A: I was just gonna say I love the. I love that the subjects are all clearly separated and visible. The dogs and the people, which always makes silhouettes work, you know, when people are sort of blobs and blend into each other or the dog blends into a person. [02:00:25] Speaker C: Yeah. [02:00:25] Speaker A: But yeah, you can see limbs. You can see what's happening. A little bit of action. Yeah, I think that really. [02:00:30] Speaker B: And that tree on the left. [02:00:32] Speaker A: Yes. Yeah. [02:00:33] Speaker B: And how cool is that? [02:00:35] Speaker A: The row of the row on the right. Yeah, yeah, it's just great. [02:00:39] Speaker B: Gosh, you could just keep looking at this all day, couldn't you? Your eye just travels all around it. Where was I? This was taken on the Canon R5 Mark II. We all make mistakes with the EF100 to 400L Mark 2 and a hider. H A I D A. I've never heard of that brand. CPL and a variable ND filter settings, 50th of a second. F11, 640 ISO. Have a great show. [02:01:05] Speaker A: Well, thank you. Thanks for sending this in because it is beautiful. [02:01:08] Speaker B: Gorgeous camera. A gorgeous image. Not camera, it's a Canon. It's not gorgeous. Print. Definitely print. [02:01:16] Speaker C: Yeah. [02:01:17] Speaker A: Dennis says the juxtaposition of the gold and the cool water. Yeah. That's sort of orange and blue. [02:01:22] Speaker B: Yeah. [02:01:23] Speaker A: Very, very nice. [02:01:25] Speaker B: And so many layers to it. [02:01:27] Speaker A: Yep. And a lot of people talking about the lines. Felicity says the shore leading you up to the people and the dogs layering in the golden light and their title lines. Phil Thompson says, very, very beautiful indeed. [02:01:41] Speaker B: Well done. [02:01:42] Speaker A: Tonight's been a bit of. [02:01:44] Speaker B: A. [02:01:45] Speaker A: Bit of a winner. [02:01:46] Speaker C: Images. [02:01:47] Speaker B: A banger fest. [02:01:49] Speaker A: A banger fest. Just out of control. [02:01:53] Speaker B: We should make that into a T shirt. Up next, Felicity Johnson. The other day I headed to the Melbourne Zoo. It feels like, Felicity, that every day. Not every other day, but every day you're somewhere new with your camera and I love that for you. The other day I headed to the Melbourne Zoo. Got some shots of the male lions. Not as sharp as I would like, but I like them. The lines were quite distance away and I had to shoot through glass smeared with hand marks from visitors and a little monkey poo. I'm off to South Africa. We hate you. Next year with a couple of friends. So he's hoping for some wild shots. Indeed. This one was taken on the Nikon Z8 with a 180-600 millimeter. [02:02:39] Speaker A: Wow. [02:02:40] Speaker B: It's quite imposing, isn't it? [02:02:42] Speaker A: Oh, it is. It's an imposing. It's. It's very. Jay Collier, who we had on the show, did. [02:02:48] Speaker B: We were. [02:02:49] Speaker A: You might not have been. [02:02:50] Speaker B: It was before me on the show. [02:02:51] Speaker A: It was before. It was one of our very early interviews. Jade does a series of these shot in Africa. He's. I think he's. I can't remember how many he said. They're like this, though. Fill the frame portraits. [02:03:08] Speaker B: Yeah. [02:03:08] Speaker A: Different ones with different scars and stuff like that. And they've all got this same. That just. I don't know, they just stare straight through you, you know. [02:03:18] Speaker B: Yeah. Like you just made to them. [02:03:21] Speaker A: Yeah, well, yeah, something like that. [02:03:25] Speaker B: Yeah. [02:03:26] Speaker A: So, yeah. Well done, Felicity. I hope you can get something like this in the wild. That would be an amazing experience. But great work. Yeah. At the zoo too, because it, you know, you've got no control over over what they do, the animals, they're just. They cruise around. Sometimes they just snooze. [02:03:42] Speaker B: So. Yeah, especially at a zoo. [02:03:46] Speaker A: Yeah. Dennis Smith says Jay is a bloody legend. Anyone who loves wildlife should go down that rabbit hole. [02:03:53] Speaker B: Indeed. [02:03:54] Speaker C: Yeah. [02:03:55] Speaker A: Jay's over there at the moment I think. I'm pretty sure he's posting stuff from there. He does tours over there every year but he's. Yeah, his series on lions, the portraits of lions is crazy. Oh yeah, well no wonder. Felicity says. I've done a couple of workshops with Jay. He is fantastic. [02:04:14] Speaker B: Of course you have. Yeah. [02:04:16] Speaker A: Yeah, he knows his stuff. Dennis. Suggestion from Dennis. I reckon that line image is a good candidate for the clarity slider. Yeah. Or even I've found doing obviously dog portraits aren't quite the same as something that could literally eat you. But using selective like brushing some clarity and texture in. In certain points but not doing everything can be really, really powerful. Sort of subtle editing on an image like this. I even bring it usually bring the global clarity and texture down a touch to start with and then just bring other bits that are in other parts. Yeah. And play with it. [02:04:59] Speaker B: Yeah. I never thought to do that with a mask. [02:05:02] Speaker A: Yeah, it's. It's very handy on like textures of fur and things like that and around the, the nose and different like around the eyes to bring. Just to bring your eye to certain points but without over sharpening the whole image. So yeah, there's definitely things you could [02:05:18] Speaker B: play with but I'll try that with the cat photos. [02:05:23] Speaker A: You should do a series on the cats like this where it's just their like face just, just staring into your soul. [02:05:28] Speaker B: Yeah, yeah, I'll give that a shot. Good suggestion. [02:05:33] Speaker A: Great work Flick as always. Thank you for sending it in. [02:05:38] Speaker B: Up next, Phil Thompson. Hi Justin and Greg. I got out on Saturday night not long after sunset and was able to capture some of the aurora action that had been happen happening for some hours. We had cloudy skies here for a while which were beginning to break up. So I headed down to a property in Conaware Conaway that I have access to and was able to get a number of shots. Like the first one where the property is. I often have to contend with the lights of Torquay, particularly if there are low clouds. The second shot. Oh wow. The second shot is one that I captured a little further west at Peterval on a country road as the skies were clearing from the west or right hand side of the photo. This one was taken at a point during a major or storm level Aurora around 9:15. [02:06:31] Speaker C: Wow. [02:06:31] Speaker B: Look at that color. [02:06:33] Speaker A: It's cool, isn't it? Yeah, you got light pollution on the left hand side, I assume. But then, yeah, you've got like a light kind of streaking up from a shed or something in the distance. But then, yeah, beautiful. Like a part of the Milky Way up the top and the aurora coming out from clouds, like it's. There's a lot going on here and the leading lines, it's like an explosion, a night sky explosion. [02:06:57] Speaker B: Well, I think, I think that's the lights of Torquay, because he goes on to say, I decided the lights of Torquay weren't too bad when looking at the back of the camera and they added some sort of perspective. I did go to another location further west, near Moriac, but by the time I got there the action had subsided. This was shot on a Pentax K1 Mark II with the Pentax 15-38 second shutter speed and 10 seconds respectively. Aperture f 2.8, ISO 6400 and the white balance was at 4000K. I also ran them through DXO Pure RAW to reduce the noise. As always, thanks for doing the podcast, being informative, having great guests on and having a platform community for photographers. Well, it's our bloody pleasure. [02:07:45] Speaker C: Yeah. [02:07:45] Speaker A: Well, thanks for sending in the photos too. [02:07:47] Speaker B: Yeah. [02:07:51] Speaker A: But yeah, this is, this is great. Yeah, the light pollution. I definitely think, obviously if the light pollution wasn't there, you would, it would be a great photo too. But it certainly isn't bad. It's just, it adds a different, like, level because you can see the city down the bottom. So it's, it's obvious what's happening. But then to have that aurora just poking through the clouds, wing behind everything. [02:08:13] Speaker B: Yeah. And I like the way it bleeds from the orange into the purple. [02:08:17] Speaker A: Yeah. [02:08:18] Speaker B: You know, I think that, yeah, it does add depth and perspective. [02:08:22] Speaker A: Yeah, very cool. [02:08:24] Speaker B: Actually, I saw it, I saw a thing. I think it was on Instagram. It was a video about complaining about. All these companies are planning on launching, you know, tens and hundreds of thousands of mini satellites for communication and all sorts of stuff. And how the astro community at all levels, you know, kind of pushing against it because it's just making it harder and harder to get clean astro shots. And you've got all of these streaks and light pollution and, you know, coming from outside of the atmosphere. [02:08:56] Speaker A: Yeah. [02:08:57] Speaker B: So, yeah, it's interesting. [02:08:59] Speaker A: Yeah, I can see both sides of it because on the other hand, where we were over the weekend, there was zero phone reception for a race that had 600 participants riding 40 minute loops around a track doing very high speeds. But there were starlinks everywhere that people were using for all sorts of reasons, you know, so it's like. Yeah. On the other hand, the technology that it's provided is amazing, but yeah, it does suck when you try and take it. It comes with a photo and you get just streaks everywhere and you're like, yeah, yeah, yeah. [02:09:45] Speaker B: Lucky last. Yeah. [02:09:47] Speaker A: And then there's that. And then there's that one other one as well from Peter. But yeah, let's do Neville. [02:09:52] Speaker B: All right, let's do Nev Neville. The story. Salmon holes. What's a salmon hole? Is that the name of the place? Must be. This place is a place of danger. And many people have drowned slipping off that rock chasing fish. I was asked to create an image that shows the danger of this place. So using a half second exposure, almost gets the wave to pause and bear its teeth. Yeah, look at that. [02:10:23] Speaker A: Yeah, that's just. Just the right amount of motion for it to look angry, but not because otherwise if it gets too smooth, you start losing the anger. [02:10:34] Speaker B: Yeah. Yeah, that's very cool. Tech and settings. Fujifilm GFX1 hundreds, Mark 2 and a GF100 to 200 with an ND3 stop filter shot at f14, ISO 100. And the shutter was half a second. Perfect timing. I say. [02:10:58] Speaker A: Nice. [02:10:59] Speaker B: Yeah. And as Felicity's just pointed out, there's this beautiful contrast between the. The orange and the blue or the grainy blue in the middle and the orange on that. Is that a rock above? [02:11:13] Speaker A: Yeah, back here. [02:11:14] Speaker B: And there's sort of like a golden hue in the water as well. [02:11:18] Speaker C: Yeah. [02:11:19] Speaker A: Beautiful colors. He knows how to get out at the right time of day. [02:11:22] Speaker B: He does, that's for sure. Yeah, he knows his subjects really well because he's out there, you know, every weekend doing this, which is amazing. [02:11:35] Speaker A: He says added some texture and clarity into the face of the wave to almost give it a claw like effect. Yeah. [02:11:42] Speaker B: Yep. Very cool. [02:11:46] Speaker A: David Leporati says, nice colors. And Phil Thompson says the motion on the water is cool. Also a nice wave face. Makes me want to get back on the knee board. Yeah. Great shot. Thank you for sending it in. [02:12:05] Speaker C: Oh, yeah. [02:12:06] Speaker B: I've got to do the thing, don't I? [02:12:07] Speaker A: The words from. For this last photo. [02:12:10] Speaker B: Yeah, I do here somewhere. This is the one from Peter. [02:12:14] Speaker A: Yes. [02:12:16] Speaker B: So you guys may have remembered after we came back from the locker event last week. Last week. Anyway, whenever it was, we're talking about a guy we both met who was dressed A little like a farmer, Amazing man. Very, very knowledgeable and knew his gear, knew his cameras, loved his Leicas. Anyway, so we've been talking and he sent me a couple of photos. He's been making larger size pinhole cameras, like even like large format size pinhole cameras and taking them out into the Dandenongs and you know, grabbing these amazing shots. Anyway, so as I said, we've been talking back and forth and he sent through this image. So I thought let's bring it up tonight. Let's, let's look at this person, Peter Kitchington. And this is a portrait appropriately titled Me. Hi again, Greg. I watched your recent podcast and it was good cheese. We're talking about the cheese at the Leica event. I'm 68 regarding Leica cameras and I have many other brands ranging from Olympus to Hasselblads. They have never been techie but solid performers and agree with Justin that their appeal is in their ergonomics and color science. When the M6 came out in the 80s, I bought one with a 35 1.4 lens and shot Kodachrome with it. You have to see these slides on a lightbox to see how eye popping they are. I sold the camera because I needed a lights microscope for my scientific photography. I also have Leica Ultra Vivid binoculars for bird watching and they are great for low light under the tree canopy and at dawn and dusk. These are excellent for spotting feather details and identifying species. When I worked down at Queenscliff near Geelong in the 80s in the marine labs, I used R series Leicas. I still have an R3 mother. The lenses were superb and they did have long lenses. Then I used a 400 and a 560 mil lights lenses. I like the old German glass and one of the important features of the new Leica lens lineup is that they are creating a spheric element using hot glass, 700 degree hot glass in a molding process. So they're not, they're not carving, [02:14:31] Speaker C: you [02:14:32] Speaker B: know, waste off grinding glass. Yeah, not grinding glass, they're actually molding it, they're pouring it, which is incredible. Blah, blah, blah. This along with the new AF motor design has allowed for more compact lenses. And I tend to like my old manual focus lenses because they are much smaller than AF lenses and include a lot of information on the lens itself. So with all those markings and guides, where was I? Anyway, so yeah, this is Peter's self titled image Me, [02:15:10] Speaker A: which is very cool. [02:15:12] Speaker B: Dennis says shot in 1951. What? [02:15:16] Speaker A: No, no, there's a 1951 model camera. [02:15:20] Speaker B: Thank you. Sorry. [02:15:24] Speaker A: How old do you reckon he was? I don't know if he looked like this in. 51. Yeah. And he's 18. [02:15:32] Speaker B: Yeah. [02:15:33] Speaker A: Yeah. [02:15:33] Speaker B: It's a really, really. Yeah, interesting character to me. And now it's part of our community, which is great. [02:15:40] Speaker A: Exactly. Thanks for sending an image into the show. Send some more in, Peter, please. Yeah, we'd love to see them and everyone that sent in images to Images tonight. It was awesome. It was crazy. [02:15:52] Speaker B: Yeah. [02:15:53] Speaker A: I thought we were gonna. This show was gonna be done by 9 o', clock, but no, say that every week. Too many great images. [02:15:59] Speaker B: Yeah, yeah, definitely, but. And do you sense. Sorry, you go and you finish your thought? [02:16:08] Speaker A: No, I was just gonna say I do have to go to bed though. But yeah, same go. [02:16:11] Speaker C: What? [02:16:12] Speaker B: I. I just feel like that amongst the people that are sending in images, the caliber just seems to be creeping up. You know, people are being brave, people are pushing their craft. You know, they're looking, they're looking for feedback, which is a huge step in improving your photography, you know, And I think that's amazing. I think that's wonderful and it makes me happy that we're able to create this environment, this space where people can do that. Safely [02:16:39] Speaker A: born 1958. Is that you? Cool. [02:16:46] Speaker B: Hey, we got to your image. Lucky last. [02:16:50] Speaker A: Well, thanks. That's awesome. Put a face to the name, to the. To the YouTube handle. Yeah, very cool. Yeah, it's awesome. I think. Well, the level of photos tonight was just. Yeah. Off the chart. So I'm really stoked. [02:17:05] Speaker B: Yeah, same. [02:17:07] Speaker A: Good job, everyone. This team's going places. [02:17:12] Speaker B: Yeah, but that, that pretty much brings us to the end of your images. And I dare say, given that we both have an early start, that might bring us to the end of this episode of the Camera Life podcast random photography show. As we mentioned at the start, we do this every week. We go live every Monday evening at 7.30pm Australian Eastern Standard Time. And every Thursday morning, we interview an amazing photographer from locally and abroad to unpack their story and learn what makes them tick and what makes them hunt light. And so that's at 9am every Thursday morning, Australian Eastern Standard Time. And again, all of our podcasts are live because we want you, the community, to be involved. You can jump in the chat, you can ask questions, and on Monday nights you can even call us and have a chat live on air like an old school radio show. I love it. [02:18:00] Speaker A: You can actually call us during the other interviews too. But I just don't tell anyone that because we well, no. What if people try and call and talk to Jerry Jonas live on the air? What would he think? Just get random phone calls during the show? We'll see. [02:18:14] Speaker B: Yeah, no, it'll be an experience he won't forget. [02:18:17] Speaker A: Dennis made a good point here with his comment. Ad read. Yeah, we haven't actually mentioned the sponsor of the show at all tonight. That's. That's pretty silly of us. If you would like to support the show, but you mean more so would just like an amazing camera strap. Go to Luckystraps.com we make the greatest camera straps on the planet. Leather, quick release, anti theft cut resistant webbing, locking, quick release system. They're amazing. They fit on any camera almost other than the canon R50 or something because they made tiny little slots. But Anyway, you Leica SLS, your canons, your Nikons, your Fujifilm X series and GFX's, it just slots through there. Doesn't leave any dingly dangly dongles on there either. Just you can put it on or you can take it off. And when it's off, it's off. Anyway, ad read. Done. [02:19:02] Speaker B: Yeah, well done. Well played. Yeah. [02:19:05] Speaker A: Okay. [02:19:06] Speaker B: All right, I think we need to call it. Thank you to everyone for watching us tonight. Just reminded once again we have Jerry Jonas coming up on Thursday morning. If you give us a like for this episode, it helps us out a lot. Don't forget to subscribe and tickle the bell icon to always be notified. And that way you'll get a notification in your time zone when we're next going live. But we'll see you on Thursday. [02:19:30] Speaker A: Dennis says see you in the morning. [02:19:31] Speaker B: We will, Dennis. [02:19:32] Speaker A: We'll see you 8am Robin Aldridge, thanks for another great show. David Leporati says love the new show format. Thanks everyone for another great show. Yeah, thanks. We love it too. I like it. It's good. [02:19:43] Speaker B: Yeah. [02:19:44] Speaker A: Shamit, great effort. Thank you. Thank you for sending the photos in. Bill Thompson. Another fantastic show, guys. Incredible calorie photos from everyone. Felicity says another great session night all. Twig production says smash that like button. Yes, please do that. [02:19:58] Speaker B: Thanks. [02:19:58] Speaker A: Tweet Nev Clark says, I think it creates a deep sense of community when you see someone's image and see how they're thinking about it. It's an extension about personality. Bruce Moyle. Thank you. [02:20:11] Speaker B: Thanks, Bruce Paul. [02:20:12] Speaker A: Great stuff. Dennis. Good night. Philip Johnson. Good night. Tweak production said awesome self portrait. Yeah, it was a great self portrait. I should do one of those. Oh, musician Luca. Great show. New subscriber. Well, thanks. Don't be a stranger. Send a. Send a photo in. [02:20:29] Speaker B: And how do they send photos? [02:20:31] Speaker A: Tweak. Email them to justinluckystraps.com and just tell me about the photo. Otherwise we'll catch you guys in the next one. Gareth, Good night. [02:20:41] Speaker B: Be safe, everyone.