How to Get Better at Photography (without new gear) - The Random Photography Show

[00:00:00] Speaker A: Sam. [00:00:29] Speaker B: Well, g' day everybody and welcome back to the Camera Life podcast. It is the random photography show and it is Monday the 5th of October. It's the 5th of October, which is just a few days away from the start of bfop, but we'll get to that in a little bit. We don't want to isolate anyone from the, from the, from the discourse about befop. We know that not everyone goes to beflop, even though that's all we've thought about and talked about for the last. Feels like forever. But stick around tonight. We've got a fair bit to do, but we're going to do it quick. Of course we've got your images. Thank you to everyone who has sent in images today, even to those that sent them in at the last minute every week. Thank you, Nev. Not talking about you. We've got a little bit of industry news going on. Not a lot has happened. It's been a big bit of a quiet news, a week on the news front. But we're also going to get into a special topic tonight. But before we do, before we get into that, let me just welcome, of course, the boss, the man, the legend, Justin Castles. How are you, Jay? [00:01:28] Speaker A: That's about how I feel. Like a, Like a horn. No, I'm good. I'm just really, really exhausted. It's. It's been a big day. I. I was putting some stuff together for the stand, the BFOP stand, which we won't talk about, and I managed to put a. One of the tools into my thumb and then snap it off inside my thumb and then it bled for an hour. So at that point I want, I thought about giving up. I thought, you know what, Greg could just go by himself and just have like a. You could just have like a jacket that you open with camera straps in it. [00:02:07] Speaker B: Yeah, just like that. Yeah. [00:02:09] Speaker A: Yeah. Like a. Camera straps for sale. Camera straps for sale. Just walk around and then, and then I wouldn't. [00:02:16] Speaker B: They'll be, they'll be off brand, they'll be lackey straps. [00:02:24] Speaker A: Anyway, so I'm just tired, but I'm, you know, I'm excited. [00:02:30] Speaker B: Yeah. And you're still moving house, you're still getting the new place set up? [00:02:34] Speaker A: Yep. Like I needed to build. I need to move my workbench yesterday so that I could build the stuff today and it's just like it's never ending. And then we've got to pack everything into a van tomorrow and move it to Bright. Yeah, I don't, I don't want to move anymore. I just want to stay in one place. Yeah, I get a mushroom. [00:02:55] Speaker B: I get it. I. You know, moving house, like I rented a lot when. When Isabelle and I were first together and we had kids and even before that with school, with uni, I rented a lot. It didn't bother me. But as soon as I had kids there was just so much extra stuff in the house and moving was just like. It was just this horrible, stressful thing. So I'm just. Just pre warning you, I guess, you know, now you just stay there forever. [00:03:22] Speaker A: I think so. I think we're here and I'm. I'm not leaving. I'm not leaving. I'm staying here forever. [00:03:27] Speaker B: Change the locks, you'll be right. Well, should we say g' day to some people? What do we want to get? Combo? [00:03:35] Speaker A: No, no, let's. Let's just see who's in the chat because there was some good back and forth going on. Philip Johnson is here. Good evening all. Three days to befop. Beef up. Beef up, beef up. Yes, it's coming. I Wish There was 30 days so that I could go back and spend more time doing the things to get organized. Richard. Greetings all. Watching while editing another portrait shoot. And he goes on update from last week's deal with the wife. I keep all the funds from shoots I book from September 12th to October 12th. My Z6 III is now looking like it'll be a second Z9 and I'm picking up the 51.2s on Wednesday. Well. [00:04:13] Speaker B: Oh, well done. [00:04:14] Speaker A: Very nice. [00:04:15] Speaker B: Hefty month of work. [00:04:17] Speaker A: Yeah, you've been working hard. Well done. Don't spend it all on gear, but you know. [00:04:21] Speaker B: Yeah, get to that in a minute. [00:04:26] Speaker A: Chris Nielsen says hi. Hi everyone. From New Zealand, Lisa Leach. Hello, guys. Just arrived back in Melbourne and being driven home. Three sleeps to befop. [00:04:42] Speaker B: Welcome home. Good to have. [00:04:43] Speaker A: You've been gone for so long. [00:04:47] Speaker B: Yeah. [00:04:47] Speaker A: Need to see some photos. Start sending them in after bfop, please. Yeah. Rick Nelson. Felicity Johnson says hello. Last night's workshop with Dennis Smith was incredible. Nearly all full of beef operas. [00:04:59] Speaker B: Yeah. Past and present. [00:05:03] Speaker A: You'll have to tell me all about it soon because you went to that. [00:05:06] Speaker B: I did. Yes, I did. [00:05:09] Speaker A: David Skinner. Good to see you. Paul's here. G' day all. More importantly, it's only two more work days till beef up. [00:05:15] Speaker B: Yeah. [00:05:15] Speaker A: Brucie is here. I bet he's busy packing things as well. [00:05:21] Speaker B: Well, he's got a fly as well. Like he can't just throw it all into a van. He's got to actually fit it on a plane and then get it. [00:05:29] Speaker A: It's probably easy for him, though, because he's used to, like, traveling with cinema gear and he probably just travel here with. With one. One camera, two lenses or something. Nothing. Yeah, just borrows all the lighting off Matt and Nick. [00:05:43] Speaker C: Yeah. [00:05:44] Speaker A: So he's probably just loving life. John Latimer. Hope everyone had a great weekend. Yeah, I mean, I did have a good weekend. It was just busy, but I did have a good weekend. Peter Coulson in the chat. Good to see you. Can't wait to catch up in person on whenever. It will be Thursday, Friday, whenever we get to catch up. A new lens does not make you a better photographer. This is very true. [00:06:06] Speaker B: That's right. [00:06:07] Speaker A: That is the topic of tonight's show. What else can you do other than buying new gear to become a better photographer? Lucinda. John Pickett. Get your swaps ready to go. So do I. [00:06:22] Speaker B: Nice work, John. Yours already. You've actually done them now, have you? [00:06:27] Speaker A: All right. Yes. There was a question here from Richard. Have you chosen the paper for print photos yet? I have. I went with. [00:06:37] Speaker B: But have you actually printed them? [00:06:41] Speaker A: What did I end up going with? Gold. Ilford. What did I go with? Ilford. Gold fiber. Pearl, I believe. Yes, gold fiber. [00:06:54] Speaker B: Let's see, how many sheets does that come with? 6 by fours. [00:07:00] Speaker A: You can get different size boxes. This one was 50 sheets, but you can get 100 sheets in a box. [00:07:04] Speaker B: What does a fitty box. A fitty box cost approximately? [00:07:08] Speaker A: I have no idea. [00:07:09] Speaker B: Ballpark it. Like, I have no idea. 2050, 100? [00:07:13] Speaker A: I have no idea either. I added them all to my cart and the cart was expensive, but I don't know because I bought. [00:07:18] Speaker B: Just closed your eyes and hit. Hit buy. [00:07:20] Speaker A: I bought 100 sheets of metallic gloss. I bought 100 sheets of satin. Satin? [00:07:31] Speaker B: Yeah, from Ilford as well. [00:07:33] Speaker A: And hang on, I'm gonna sneeze. No, I think it's gone. Oh, it's gonna be coming back. And 50 sheets of Ilford gold fiber rag, which I didn't like. It wasn't thick enough. None feels like tissue paper anyway, so I don't know how much this one cost. We'd have to Google it. [00:07:54] Speaker B: I was just curious. [00:07:55] Speaker A: That's what I went with. [00:07:56] Speaker B: And I've got them printed out, but papers forever. Yeah. [00:08:02] Speaker A: Robert Varner. Good evening, Australia from New Jersey. What the heck am I doing up at 4.30am? What are you doing up? Yeah, you on for a jog or something? [00:08:10] Speaker B: I know what he's doing. Up. [00:08:11] Speaker A: He's here for us, photographing the sunrise. Craig, Bruce is cooking dinner and you write most of the gear is from KL for the workshops. But the. Oh, the photo albums. Yeah, you got to bring up all the photo albums for the print swap. [00:08:25] Speaker B: The print swap, Yeah. [00:08:27] Speaker A: I should have bought them, but. Yeah, that would have been easier. [00:08:32] Speaker C: Yeah. [00:08:32] Speaker B: Sorry, Bruce. Next year. [00:08:35] Speaker A: Oh, John Pickett printed his swaps out on a Canon selfie. The selfie goes okay. [00:08:42] Speaker B: Yeah, I used to have my job. [00:08:45] Speaker A: David Dare Parker. Haven't seen you for ages. How are you? Good to see you in the chat. Hope you're going well. [00:08:55] Speaker B: David, are we going to see you? [00:08:57] Speaker A: I haven't seen his name on anything, so I don't know. [00:08:59] Speaker B: He's not, he's not an instructor. [00:09:02] Speaker C: Yeah. [00:09:02] Speaker A: You think he just might be just tagging along? Why not? All right, tell me. So you went to a workshop on the weekend and that was where tonight's topic come about was like, we obviously, we all know this, we all focus a lot on gear, but we, we don't really want gear. We want to make better images. But we just, when we in our quest to make better images that somehow funnels towards like a new lens or a filter or a tripod or God forbid, a new camera. So. Yeah, what did you get up to on the weekend and did that make you a better photographer? [00:09:46] Speaker B: Well, I had a very busy weekend. I had two events on the weekend. On the Saturday morning, I ran one of my street photography workshops with, with special guest John Latimer. And we'll get to some of his images a bit later. But so I, I ran a workshop. But then Sunday afternoon and into. Well into the evening, I attended at one of Dennis Smith's light painting workshops and it was held over at Fabric, which is a photography studio that our friend Jason Lau owns and manages. He's got two studios side by side, huge spaces. [00:10:27] Speaker A: Which ones? Which one's Fabric? What does the inside of that one look like? [00:10:31] Speaker B: Fabric was the one I sent you with the gray, kind of the grayish wall and then there was a brick wall. [00:10:37] Speaker A: So it's the natural, natural looking studio as opposed to like the white studio. Like the white commercial? Yeah. [00:10:46] Speaker B: It doesn't look like that. [00:10:47] Speaker A: No, no, no. Okay. [00:10:49] Speaker B: And it was a great space. Really, really cool. Like it had allowed. It had like an entranceway and a lounge and, and then the big studio space and all the amenities you'd expect. But there's also these huge movable walls that know, were shifted throughout the course of the night to make space for different things that we were working on anyway, so amazing space, Jason, well done and thank you for allowing us to use it. There was two workshops denran over the weekend. One on Saturday for John, the one that John Ladman went to, and then one on Sunday night which I went to. And yeah, it was, it started at like did. It starts like two went to eight, but I don't think we left until after nine. And it was 12 participants myself obviously. And Lucinda was there, which was amazing. Got to actually meet Lucinda in person for the first time, which was lovely. Got to see my old mate Felicity. She was there too. Eager beaver as always. And a bunch of other people that mostly had been or were going to be FOB this year or had been in the past. So there was a lot of crap know, camaraderie around that whole beef up topic. But you know, Dennis was in absolutely fine form. You know, he took us on a journey of his art and his work and his passion and it was just such an incredible experience. You know, I, it's, it's hard to find the word sometimes. And I'm still like, you know, I only got home from it sort of at 10 o' clock last night. I'm still digesting what we did and what took place and, and it just elevated my awareness of different parts of photography that I hadn't thought that I would be, you know, able to actually achieve, you know. And within seconds of like he did a presentation and he projected it onto a wall and he said, I want to skim through this because I just want to get into it with you guys, you know, I just want to, let's just get hands on with light painting. And of course Jason showed up just at the very start of the workshop. He wasn't a participant or there. He just showed up to say g', day, which was lovely to see him. But he rode in on his Harley Davidson and so he brought it into the studio space and Dennis got him to stand there in front of it and he did his light painting magic. And within 15 seconds there was this phenomenal portrait of Jason with his bike up on the wall because he had instant live feed projected onto a big wall so we could all see what was going on. And Jason was quite moved, like he was quite humbled by it. Like with instantly he had this portrait of himself. I've never seen anything like that in my life. I, I like he was just, you know, and Jason's a really, really skilled photographer, commercial photographer, photography educator, you know, and he was humbled to see what [00:13:37] Speaker A: Dennis can do with it with very little requirement for like refining. Usually, you know, like, obviously he refines depending on what he's got idea in his head. But often he'll. He'll pull. The first shot would be the shot I would dream about and then he'll refine it maybe one or two other shots after that because he's got some thought in his head that he wants to, you know, perfect something. But that's the. That's the crazy thing with this. The. The light painting sort of dances. Most of us would work for half an hour, trial and error to try and get something anywhere close to what he can usually pull off on a first attempt. That's if we even know how to do it, which I don't. Yeah, but you know what I mean? Like, it's. It's that sort of. He's got. He can do it with his mind, I feel like without even moving his body, he could sit there and visualize what is going to happen already on a blank slate and then pull it off. Yeah. Crazy. [00:14:37] Speaker B: I don't know if you remember that the very, I think was the first time we actually laid eyes on Dennis or maybe, you know, at BFOP 2024. And we went into that church building, the old chapel. It was outside of Bright. And he was working with Kim. What's her name? Yeah, Kim. And they were doing light pay. He was just mucking around, but we were just there to watch. Like we weren't there as participants or anything. We just. We just walked in because, you know, we're lucky straps. We do what we want. And do you remember. Do you remember that watching it and he. [00:15:10] Speaker A: Oh, yeah. [00:15:10] Speaker B: And came with the lights and he did all these really cool things and it was just fascinating to just sit there and observe and absorb, you know, what this man was doing. And you're right. I think he. I think he. He obviously pre. Visualizes what he wants to achieve. And he's done it so many times that he can do that quite confidently, you know. Yeah, this is what I want to achieve. I'm pretty sure I can get to it. But then to watch him move and, you know, it's like a dance. [00:15:35] Speaker A: Yeah. [00:15:36] Speaker B: You know, and. And he did. So he did the portrait of Jason Lau and then Jason left. And then we pretty much got into it, you know, and he had this huge table covered in light painting tools, many of which he had made himself, you know, just phenomenal. And yeah, we pretty much got straight into it. And we. And we had a Whole bunch of different activities all working on. And so what. [00:15:58] Speaker A: What is that? Actually, let's check with the chat first, but. And then I want to ask you about what happens next. Jury says, I try not to upgrade gear often, but when I do, it needs to be worth it. I made a few mistakes in buying the wrong gear, but I've since corrected it. Tell me this, have you ever done a photography workshop before? Have you ever paid to go on a workshop? And was. Did you make any mistakes with that? You know, was it a fun workshop? Did you like it? [00:16:27] Speaker B: Yeah. [00:16:28] Speaker A: Or have you never been on one? Lucinda says, I knew Dennis was a wizard, but seeing it in person was next level. [00:16:33] Speaker B: Yeah. [00:16:35] Speaker A: The one and only Nick Fletcher has changed his YouTube name yet again. He says. Hola, sorry I'm late. Well, hey, Nick, I hope you. I hope you're, you know, all ready for the weekend. [00:16:46] Speaker B: Nick, you got a lot of pressure. Hey, no pressure. [00:16:49] Speaker A: Gavin Blue. [00:16:50] Speaker B: Hello. Nick is. Sorry. Nick is forecasting rain for bfop. Not that it matters. [00:16:54] Speaker A: Yeah, maybe on the Saturday, maybe. [00:16:55] Speaker B: Yeah. [00:16:56] Speaker A: Which is fun for rainy photo shoots of sports. And action. [00:16:59] Speaker B: Yeah. [00:17:00] Speaker A: Peter Coulson says 10,000 hours exactly. I. Dennis has well and truly done the 10,000 hours, which is why he can whip up something out of nothing, like he's not even trying. So what happens? Because light painting, so it's so hands on, but it's also, it's kind of. I. I'm assuming. I haven't seen him handle a big group yet. It's something you can only do one person at a time because otherwise your light's going to muck up someone else's photo. So. So do you, do you get a chance to. [00:17:32] Speaker B: Not at all. [00:17:32] Speaker A: How does it work? [00:17:33] Speaker B: So he's. There were 12 of us. He split us into four groups of three. And whilst it is a decent sized studio space and we did have those big movable walls, many of us were standing back to back, you know, there'd be a group behind us working on something and we'd be facing this way. I mean, you know, keeping in mind we were there to learn the process and experiment and experience light painting, not produce fine art pieces. So it didn't matter that there was light spillage and things like that as much. And so, yeah, he just floated between each of the groups and every now and then he'd come over, go, hang on, hang on, hang on. And he'd show us how to hold the light scanner differently or, you know, so try to move that bit a bit faster because otherwise this is What? You'll get a blown out section here. Because if you think about it, if you hold the light still for too long, long, and the shutter stays open, then you'll just get a burnout spot. And, yeah, he just sort of danced between all of us and provided, you know, feedback and encouragement and wisdom and correction. And he, you know, and by the end of it, you could tell he was exhausted, he was sweating, he was hyper. You know, he was really energized by it, but he was. He was exhausted. You know, I mean, granted, he'd just driven from Adelaide for, you know, and then stayed up all night last, the night before because Matt Crummons dropped into the Saturday night workshop and staying [00:18:53] Speaker C: and. [00:18:55] Speaker B: Yeah, so. And then they stayed up late that night and all of that sort of stuff. But, you know, and it's interesting because, like, I've done some workshop stuff before. Like, we've, you know, I did Emily Black's workshop at BFOP the first year 24. And, you know, I did one of Chris Hopkins workshops as well. And, you know, I did one of Carl's food photography workshops and they were great, but they're very short, very punchy, you know, very sort of entry level kind of thinking in a lot of ways. But this, this was a whole new experience. This is my first proper workshop that I've ever done. [00:19:30] Speaker A: Yeah, the first one. Dayer. Yeah. [00:19:32] Speaker B: Right. Yeah. So it was pretty big. [00:19:36] Speaker A: It's something that I guess a lot of people, I guess there's workshops. Landscape photographers tend to go on a lot of workshops because it's built into. Or landscape and wildlife, because it's kind of built into an experience. Usually it's like it's a workshop, but it's a tour. It's like, we're gonna go to this location I've dreamt about going, and I'm gonna go with a guide, a photography workshop guide and tour operator kind of thing. And then you obviously get all of their skills and learnings throughout it. But, yeah, I guess I hadn't really thought about that. I don't know how many workshops, like most of the workshops that I've attended that were paid have been because I was trying to run a business and I wanted to progress my photography skills. And it was in that sort of line of work. And I'm just trying to think, you know, how many would I have paid as much to go to if it was just for a hobby. But I absolutely think it's the right decision. But like, like a lot of the workshops I went to were and this was a long time ago. They'd be a lot more expensive now. But yeah, two, $3,000. [00:20:47] Speaker B: Yeah. [00:20:48] Speaker A: And that's. [00:20:48] Speaker B: We did a Jerry Jonas one, didn't you? [00:20:50] Speaker A: That's right. Jerry's was by far the most intense one. Intensive. There was a five day workshop. [00:20:58] Speaker B: That's pretty full. [00:20:59] Speaker A: Yeah. I did another wedding photography workshop with an Australian wedding photographer which is a two day. Yeah, I went to some ones that Joel actually helped organize which I was sort of there. I don't know why I was there. I was there, but I was there kind of half bit of lucky bit of like just sort of. But also absorbing a lot of knowledge. That was a two day, I think, which was super intense. But then. Yeah, I've been out on one of Richard Taddy's workshops for Astro. What else? I'm forgetting stuff. But yeah, it's of Joe McNally like a lighting workshop. That was only a one day thing, but that was very cool. That was sort of very early on with me learning flash, which is, was. Yeah, it was sort of like mind blowing. Kind of like watching Dennis Linepad. You're like, oh, wow, you can do that. Wow. Yeah, he just made the background black even though we're in a lit, you know, exhibition center room. How did you do that? Yeah, it was pretty cool. [00:22:03] Speaker B: Yeah. And so Bruce, you know, go on. [00:22:07] Speaker A: Sorry, Bruce has just got a little comment here, said I made the mistake of doing a Peter Coolson workshop years ago. It changed how I worked. Recommend it because becoming better at your craft is overrated. [00:22:22] Speaker B: Oh, Brucey. [00:22:24] Speaker A: Yeah, funny. [00:22:27] Speaker B: But yeah, you know, in terms of a, you know, in terms of an experience, not a formative experience, but just something that elevates you a little and gives you insight and inspiration and motivation to keep pushing your own style, you know, like light painting is not something that I'm going to go out and do every weekend, but now I've got some fundamentals that, you know, I could quite confidently do it, you know, and Dennis was saying, you know, glass wine bottles, just get yourself a glass wine bottle, ductate a torch to the neck of it and, and start with that. You know what, just open your. Open like take a glass wine bottle, like have put a torch into the neck of it, you know, the, the [00:23:11] Speaker A: like a Molotov cocktail. What are you talking about? [00:23:14] Speaker B: Yeah, like that, you light it on [00:23:16] Speaker A: fire and then throw it. [00:23:17] Speaker B: No, you don't. There's no fire. Justin, stop talking about your high school days. [00:23:22] Speaker A: Which way is the torch pointing? [00:23:24] Speaker B: Imagine you've got a You've got a bottle of wine standing on the table with the neck pointing up, right? [00:23:28] Speaker A: Yes. [00:23:29] Speaker B: You put a torch in it with the light pointing down. You duct tint into the bottle and there's your, there's your light painting tool. [00:23:37] Speaker A: And so that just becomes like a glowing. [00:23:40] Speaker B: Yeah, like a wand that you can, [00:23:42] Speaker A: that you can play with, that has a bit of. Yeah, sort of. Yeah, okay. I couldn't quite understand [00:23:49] Speaker B: what. [00:23:49] Speaker A: Yeah. Anyway, yeah, these are all custom made, aren't they? [00:23:56] Speaker B: Some are, yeah. Well, I think most of them are. And he, you know, he's had parts 3D printed and he's got this kind of universal adapter. So you can stick a torch in one end and then connect it to a piece of PVC piping with some holes cut through it, drilled through it. And, you know, the torch, the light spills from those holes. And when you're doing light painting, you'll get a soft glow from the whole PVC piping moving through the air. And then you've got these stronger highlights. And actually there's images which I'll show you over on a bit later. [00:24:28] Speaker A: I was gonna say, do you want to bring them up now? I was actually looking at these before, and I'm gonna just try and guess which one of those images you're talking about, because I was looking at these and I was thinking, I wonder how they did that. Is it. [00:24:40] Speaker B: Actually, I've got one. Hang on, I'll show you. Wait there, folks. [00:24:46] Speaker A: I'm not even connected to the thing. Podcast line. Hold. Hold on, caller. You're not connected yet. Give me one second. Hold the line. [00:25:00] Speaker B: Oh, is someone calling? [00:25:01] Speaker A: I think so. Just hold on one second. The Bluetooth is not yet working. Hold on, we're almost there. Where is. Come on. Oh, can you hear us, caller? You're live on the air. [00:25:27] Speaker C: Hey, Justin. Peter. [00:25:28] Speaker A: Hey, what's up? [00:25:31] Speaker C: I just thought I'd just quickly ring in. I spent the weekend doing workshops myself, and the one thing I told every single participant is, and I run workshops, I make money out of them worldwide, is you will learn more by getting into your studio or into environment and spending eight hours playing than you will going to any workshop. [00:26:00] Speaker A: Interesting. [00:26:01] Speaker B: Next. [00:26:02] Speaker A: So, so you think it doesn't matter? It's not, it's not about the workshop. It's just about dedicating the time in a space that allows you to be, to push yourself and be creative. [00:26:13] Speaker C: Yeah. Get out there and play. I, I, seriously, I. When I made a transition from being a fishing lifestyle photographer shooting, you know, fish Dirty fishermen and canoes and mountain biking and all that stuff. And next minute I wanted to be a fashion photographer. I did 15 or 20. Super expensive. I'm talking expensive. I'm talking two and three $4,000 workshops. I end up learning nothing. I learned more sitting in a studio and teaching myself what I like. [00:26:50] Speaker A: Interesting. So, okay, so how do people, how do people know though, where to even begin? How do they, if they, like, is it. Do you think you picked up anything from those workshops that then led you on a path of like, well, I didn't like what they did, so I'm going to try something different. Different. [00:27:05] Speaker B: Or. [00:27:08] Speaker C: I won't lie. Every single workshop, I picked up something, one thing. And if I can say, was it worth paying that money to learn that one thing, I can't say yes or no because that one thing could have been a big thing over many years. [00:27:23] Speaker A: Yeah, right. [00:27:24] Speaker C: But I do also say too many photographers don't spend enough time behind a camera. And my main thing is, if you treat a camera as a piano, if you want to get good at piano, how many hours a week do you need to play piano to get better? So if you want to get better with photography, think that put an hour every day into your photography and you will just get better. 10,000 hours. [00:27:53] Speaker B: Yep. [00:27:54] Speaker A: Yeah, 100%. That's. It's. And so in that sense, if, if doing a workshop gets you to spend some time honing in on stuff and, and even, I guess, maybe even learning how to experiment for yourself, so then you can go away and do it then. Perfect. But it's, it's, it's a great point because I like when I was playing guitar, it's, it's not always fun. And I think with photography we often want it to always be fun, but it's, it's not always. It is fun, but it's sometimes it's kind of hard work to get to the fun. [00:28:30] Speaker B: Yeah. [00:28:30] Speaker A: If that makes sense. The practice isn't always, like, constant. Like, I just made a great image. Like, sometimes it's not, you know, it's not easy. [00:28:39] Speaker C: Yeah. 100. I, I say this thing that workshops aren't complete waste of money. Otherwise I'll be out of a business. And I'm doing, I'm doing. I did last week in three days, and I'm about to do three days again. What it is, is so many people go learn, learn, learn, learn, learn, learn. They never do. They didn't learn anything. They really need to learn, then do, then make it their own. [00:29:05] Speaker A: Yeah, I see what you're saying. Yep. Put it into practice and then. And iterate on it. Don't just go to the next workshop after that. Spend some time. Yeah, spend some time pushing. Pushing the boundaries. I'm so sad that I couldn't go to your workshop because with BEFOP coming up, there was no way that I could have spent a weekend down in Melbourne, especially with how crazy. [00:29:25] Speaker C: I fully understand. I was going to you up and give you a deal, but I thought, no, I know how busy I am. So you'll be 10 times with you, [00:29:33] Speaker A: but I'll be the next, the next one that runs. I'm. I'm there for sure. The next one that you do in Melbourne. [00:29:38] Speaker C: Yeah. I don't want to take over your podcast. I just wanted to jump in and give my 5 cents and I'll see you in a couple of days. [00:29:45] Speaker A: Absolutely. When are you, when are you heading up? [00:29:48] Speaker C: I'm going to get the Thursday. [00:29:50] Speaker A: Oh, nice. All right. [00:29:52] Speaker C: I'm gonna do lots of scouting and I got some things I want to do up there for myself. [00:29:56] Speaker A: Nice, nice, nice. We can't wait to see you. [00:30:01] Speaker C: Cool. Looking forward to see you too, too. [00:30:03] Speaker A: All right. See you better, mate. [00:30:04] Speaker B: Safe travels. See ya. Well, I mean, I feel like we could just end the podcast now. Yeah, he's coming in from [00:30:16] Speaker A: that. [00:30:17] Speaker B: It's a very good point though, isn't it? You know, and look, you know, not to discredit people that chase workshops and love it because it does keep them actively involved in photography in one way or another. But yeah, he's got a really good point about, you know, you learn some stuff now get out and practice, practice, practice, and then work out how to make it your own. And it's at the end. [00:30:39] Speaker A: It's something I hadn't really thought about because when I did most of the workshops that I've done, it was in. It was while shooting weddings. So that, that was what was happening by default was like, you know, there was. There was maybe two years of weddings between each workshop. So yeah, it was practice, practice, practice kind of thing. But I could, I could see if you were, you know, like now when I'm shooting less, if I was doing regular workshops every year, it's like, am I getting enough practice in between those workshops to really put it into, into my craft and try and make. And then make it my own, not just be like, I imitated Greg Chromie's street photography. Okay, cool. Now I'm going to go do a Bruce Moyle workshop. You know, like it's it's like, can I then take what Greg's taught me and take it into what my street photography is going to look like and push it for sure. Yeah. It's interesting. [00:31:33] Speaker B: That is just very quickly on the light painting. So this is one of the light painting tools. It's very hard to see here. So it's just a. Probably a 20 mil piece of PVC pipe and he's cut probably with a circular saw, fish tank, aerator, slits in it. Yeah. And it's got. Here's all equally distance holes and then there's just like a little cap on the end just to cap the light from spilling out. [00:31:57] Speaker A: Oh yeah. [00:31:58] Speaker B: And then this end has like a 3D printed and adapter and then he's got these rubber. It kind of. It's just like a rubber piece of hose that kind of flares out and you just put that on the end and you take any small torch and you. And it just sits inside that because it's rubber, it grips it and then that's your light painting tool. And then. [00:32:19] Speaker A: Did you steal that from his workshop? [00:32:21] Speaker B: No, he gave it to me. I'm fairly sure he did. [00:32:25] Speaker A: Checking. I'm going to be checking with him on that. [00:32:28] Speaker B: Anyway. Bring up the photo. [00:32:30] Speaker A: How did you get it? How did you worry how I got it? Is this one of the photos that you did with something like that? [00:32:36] Speaker B: Exact one, but yeah, basically the same concept. So on one side it has holes and that produces the, the long thin lines and on the other end I think it had, it had the dashes. So it depends on which way you're moving that brings out those lines. But yeah, just phenomenal. Yeah. And we were only doing, you know, I was doing bulb mode for like 20, 30 seconds. [00:33:02] Speaker A: Some of his are like 2 minutes, 3 minutes long. [00:33:05] Speaker B: Oh yeah, yeah. [00:33:06] Speaker A: And Dennis is like creative dances. [00:33:10] Speaker B: Yep. Yeah. I mean and often he's lighting like a landscape as well. You know like when he did the shots at Easter island with the giant. [00:33:19] Speaker A: Yeah. [00:33:19] Speaker B: What are they called? The Maui statues or the Moai statues, you know, or anger in Thailand in the old sort of dilapidated temples. Like, you know, he's also like painting big chunks of background and foreground. But yeah, it was just an incredible experience and it just really, you know, I've been really focused on my street photography. I've been putting in hours, I've been pushing myself to elevate my craft, but doing something like this, which was completely unrelated to street photography, but it just gave me a greater appreciation of how light and time influence an image, you know, because that's basically what we're doing. We're controlling light, time and space to create these images. And. And Dennis sees that very clearly and. And so. And really sort of stretches that out to create things that are just magical, you know. Yeah, but this was like, one of my first light paintings. These ones. This is no subjects, no models. Just like we use each other as models for light painting portraits. But that was just getting out there and just spinning around with the. The light wand and. Yeah, creating smart. It was very, very cool. [00:34:36] Speaker A: And then. [00:34:37] Speaker B: And then we all. We all did portraits. So in our three groups, we did portraits of one another. I'm not going to bring up portraits of the other participants because I didn't get this. They're okay to show them online, but there's a couple there of me. One where I'm sort of just sitting still. The other one, I decided to turn my head left or right. This one here? [00:34:53] Speaker A: Yeah, this one head turn. And so you can see a little bit of the. The. The person painting in that one. So is that the sort of thing? So you can see how you can. More of their feet, less of their upper body, maybe because it was moving so much. Maybe their feet were planted for a little bit too long. Is that the sort of thing. [00:35:10] Speaker B: What happened was when. When they. When they do the scanning first. So the scanning tool has a very thin blade of light that's about 20 centimeters wide across. Okay, 20 centimeters long and only about a centimeter wide. And you're meant to scan it close to your subject without allowing it to spill onto the floor or, you know, illuminate yourself. And this was one of our early, you know, examples where scanned a little bit too slow and held the light too low at her feet. And so you can see her feet and that really bright spot at my feet as well. [00:35:41] Speaker A: Yeah. [00:35:42] Speaker B: And then, you know, with more practice and you move faster. [00:35:44] Speaker A: And so that's what I was going to say. Is that the sort of stuff that Dennis would help, like, check in on and sort of help troubleshoot. Be like, how come I keep getting my shoes in this? Or whatever. And yeah, yeah, this one's good. Who did this one? Well, not. Not necessarily who did it, but, like, this is good. I thought this one was almost. I almost thought it was a dentist, but the, The. I don't know why. I just have a feeling that where the light ends on your legs. I don't think he would do that. [00:36:16] Speaker B: Yeah, no, it wasn't. [00:36:17] Speaker A: I was like, oh, is this a Dennis no, it wasn't. [00:36:19] Speaker B: This was, this was just in our group of three, just using a diff, using the blade tools that are like the colored acrylic. And when the light spills through it from the torch, it has a soft glow of the light as well as sharp edges of light, like stronger light where the light's pushing through the end of the acrylic. And that was just playing around with these. Yeah, we just took it in terms of doing portraits of one. So first we scan each other with the scanning light. So open the shutter, scan, scan the model, pick up whatever light tool you want to use, and then do your little dance, waving the light around and then, you know, shutting bulb mode off, shutting the shutter and. And then, yeah, one second later, you've got a, you've got this. It was just, I think, the most phenomenal thing for me. And it, it really hit home. I mean, I've seen Dan do this stuff before and I've watched his videos and. But seeing him do it in person with Jason when he brought his motorbike in and just how quickly he scanned the bike, scanned Jason up, a tour went whoosh, whoosh, whoosh. And there was this beautiful portrait of Jason, you know, and it was so overwhelming. Like, like I said, it humbled Jason. And you know, Jason's a really seasoned photographer. Like, he's seen some, you know, like he's done some, but he was just, he was like, oh my God. Because it was just instant, was. It was very cool and it, you know, and like I said, you know, I've done workshops at, at bfop, which are great, but they're short term things and they're part of a greater whole. Whereas this was a very much a standalone, full day, full afternoon, evening workshop. But the other good thing about the workshop experience is that I got to meet a whole bunch of other amazing photographers and watch them do it and learn and struggle with things and work it out together. And that part of that experience, you can't replicate that in any other way, you know, than learning something alongside someone else who's just as keen as you to understand it. So that, yeah, that was, that was pretty cool too. So, yeah, it was, it was a, it was a great night. And it's just given me a greater appreciation for the power of work. The wonders of workshops, I called it and that. Yeah, you know, you can, you can. You know, keeping in mind what Peter Colson just said about, you know, the 10,000 hours and learn something and go out and master it and then make it Your own, you know that that is phenomenal advice. But there is some power in workshops to, to pick up some new skills. [00:38:49] Speaker A: Well, Bruce even had a comment here after Peter called in. Says in all seriousness, Peter's workshop got me to understand lighting and that was fundamental. But I can, I, I can. I think he said I can. But can I remember anything else? Not so much. But I've done thousands of hours in the studio now. So yeah, it's like you know Bruce, he's done it. Peter's saying to spend time playing in the workshop and Bruce has done that obviously afterwards. Yeah, but he certainly picked some stuff up by the sounds of it. Quick comment here from a Mr. Daniel McMahon. McMahon. McMahon, McMahon. I'm a good photographer but I want to buy my first camera as I only use the phone at the moment. Definitely a Leica. A like Fujifilm1. Leica this one like this, you don't want that. Much better than a Fujifilm. [00:39:41] Speaker B: So wanky. [00:39:43] Speaker A: Realistically though Dan, I think a Fujifilm X100VI would be perfect for you. Very cool little camera, Mr. Phone. Dan's my friend. [00:39:54] Speaker B: Or save yourself a few bucks and get like a Mark 4 or a Mark 5 at most. Don't get the 6. No, you think just go straight in. Just lean into it 100%. [00:40:04] Speaker A: All right, well I don't think Dan would want the old one. [00:40:09] Speaker B: No. Okay. But yeah, that's a great point. [00:40:12] Speaker A: He says, he says he's a good photographer. He is actually quite a good photographer. He just only uses his phone. [00:40:19] Speaker B: So what's wrong with that? [00:40:20] Speaker A: I think nothing, but I think, [00:40:25] Speaker C: I [00:40:25] Speaker A: don't know, maybe not. Maybe there is nothing. I don't know. I just think a dedicated tool for the job might take it to the next level for him as something that he, you know, he actually identifies with as doing. Not just something that he, you know, has his phone. [00:40:40] Speaker B: Yeah, I've got a comment here. Lisa Leach has just texted me this because she can't log in at the moment. Hi. Cannot get on the chat but here's my contribution workshop and Lisa does lots of workshops, is prolific with doing that sort of thing. Workshops provide the benefit of support and tutoring combined with an itinerary or a mud map of pre scouted and research locations. Plus the added bonus of connecting with like minded people and the safety of working in numbers and that. That's especially important when you're doing landscapes and seascapes and wildlife and stuff like that. [00:41:15] Speaker A: Yeah, for sure. [00:41:16] Speaker B: You need someone who knows the lay of the land. Like even Even a seasoned landscape photographer like our friend Samantha Olson. I don't know if you've seen one of her latest videos where she got absolutely dunked by a rogue wave while standing on rocks doing a Seascape shot. Her camera went under her Nikon. What has she got? Z8, I think that went under. She went under. And it's all on film because she had a B roll camera up on a railing watching the beach. So, yeah, it happens. Safety numbers. But yeah, that's where we're at. [00:41:52] Speaker C: Cool. [00:41:53] Speaker A: Very cool. Should we whip through a little bit of news? Yeah, let's do a little just like, just like blast through it. Since it's all so boring this week. [00:42:04] Speaker B: And we've also got an update with John Norris's open studio, but we'll get to that in a minute. [00:42:10] Speaker A: Oh, yeah, that's true. [00:42:13] Speaker B: Let's get. Let's just knock out the small news very quickly. I won't bring up any articles. I don't think I'll just read these out quickly to everyone who. Why Hawaii? [00:42:21] Speaker A: Huawei. [00:42:23] Speaker B: Huawei. Huawei. The Chinese phone manufacturer launches entire camera country into it. [00:42:29] Speaker A: No, I'm kidding. Why can't they just be a phone manufacturer? Okay, sorry, I wasn't being racist. I'm kidding. What did they do? [00:42:41] Speaker B: They launched an entire camera that connects to your phone. So basically what it is is that you can have these interchangeable camera sections that you put onto the. Onto like a bracket that attaches to one of their phones. And I guess you use the phone battery and the phone screen obviously for composition, but you attach these elements to it. There's not a lot of info on it. There's not a lot of images on it. So I think it's a fairly new announcement, but I thought it was an interesting. We often see quirky little phone camera rigs, but this is a whole new thing. [00:43:16] Speaker A: But it doesn't say is it got its own sensor or is it the phone sensor? [00:43:20] Speaker B: No, I think it's got a small ccd. It's got its own sensor sensor. It more just uses the. So you, you know, it has an app and it has. I imagine it would have an app or firmware on it. And it uses the phone battery and the phone screen. That's kind of it. And then you've got the phone computational power for editing. [00:43:42] Speaker A: Yeah, right. Okay, so let's. We weren't going to bring it up, but this is. I'm actually interested to see whether anyone's actually going to try and do this. That's definitely. So I Don't know what I'm looking at. Does it? Is it attached to the phone? Where's the phone? By itself? Oh, that thing attaches to the phone section. [00:44:05] Speaker B: Yeah, I think it's all built into that one component. And then that attaches to the mount that you attach to your camera. And then based on that previous image, it looks like there's a grip. [00:44:17] Speaker A: Yeah, that's what I was trying to work out. But in this photo, the grip doesn't look like it detaches this. It wouldn't surprise me if some kid just drew this and was like, put this out as a teaser, you know, like. Yeah, yeah, because it didn't look. It doesn't quite look like what they say it is, but. [00:44:34] Speaker B: Yeah, because so the. There's not a lot of product photos. [00:44:39] Speaker A: No, no, there's not at all. [00:44:43] Speaker B: I think it's more just a proof of concept at this stage. But it's a real thing they're doing. [00:44:48] Speaker A: I'd even love to know, like, what's left on your phone when you disconnect that big hoofer of a lens sensor. A lens. Do you still have a normal camera, like underneath here? Like what's underneath this mount? You know what I mean? [00:45:03] Speaker B: Yeah, I'm not sure. Don't know. Can't help you there. [00:45:06] Speaker A: Or maybe they have. [00:45:07] Speaker B: If you give me the Lucky Straps credit card, I'll order one and then we'll work it out. Yeah, my card hasn't arrived in the mail yet either. I don't know what's going on there. Up next, Lauer, our friends at Venus Optics launches the world's first full frame autofocus. 35 mil one to one macro lens. You know this is coming. [00:45:29] Speaker A: I saw that headline and I thought, oh, is that not a thing yet? Because I've got a 35 mil macro. It's definitely not a one to one. But I just, yeah, when I, when I saw that, I was like, oh, I didn't realize that that wasn't yet a thing, but I guess it makes sense. [00:45:43] Speaker B: Yeah, well, Lauer often do this sort of. They often try to fill in the gaps that the big brands just don't bother touching because the demand is so [00:45:51] Speaker A: small and they push the limits on stuff. They push the limits on little things like that. Like how close can we get a 35 mil. I wonder what the working distance needs to be for it to be one to one. [00:46:04] Speaker B: Yeah, I'm not sure. I was just trying to have a look for that through the specs [00:46:10] Speaker C: and [00:46:10] Speaker B: I couldn't See it at a glance? No, but. So there's two versions of this lens. So the autofocus version's been made for Sony E, Nikon Z and Canon EF mounts. [00:46:24] Speaker A: Oh, they'll sell a lot of those. [00:46:26] Speaker B: Yeah. There's also a manual focus version for Canon RF and out mount. So. Yeah, but yeah, like I said, I mean they've been pretty busy this year. They've launched a lot of product in the cine space as well. They've got a lot of. And speaking to Adam, who is the Aussie rep for Lauer lenses here in Australia, they do a huge amount of work with cine stuff. That's where a lot of their demand is, you know, because they create these weird and wonderful. Like you know that the probe lens that they brought out years ago, that was one of their first kind of commercially available lenses that proved really popular with, you know, people that were making, that were doing advertising and that sort of thing because it just gave them a whole new way to see the world. What else we got? We'll come back to the dog photography thing in a sec, but we'll do that a bit later if we've got some time. Samyang. I haven't heard anything from them for a little While but the 28 to 135 F 2.8 FE is coming in February so that's going to give you another cheap option for fe. Seven artisans are dropping an eight yet another pancake lens. Seven artisans. I think that we, we talked about the rumor last week. Well, it's now been announced officially. 18 mil f2 APSC lens. Brighton Star added again. They've got a new 50 mil f2 trisite full frame art lens. This one's really interesting. They've got this, they've got this way that you can. I think it affects how the bokeh looks and you can actually change. There's like three. This is why it's called the Tri site. It's got three different sort of unique looks that you do in the lens that changes it, which I thought was clever or novel. Maybe that's the word. [00:48:16] Speaker A: Rotatable blades are three distinct shapes allowing photographers to create custom shaped bokeh patterns such as stars or hearts on the fly without using any external filters. That is something that I would not be interested in in any way at all. Have you ever, have you ever wanted to have heart shaped bokeh? [00:48:40] Speaker B: No. But I did see a guy on. I should have saved it on Instagram and he creates these sort of filters that he puts over the front of his lens and he'll do different shapes. He'll cut like a shape into them. So basically it's like a disk he puts on it, tapes it on and there's a shape cut in the top of it. And so his subject is in focus but the bokeh will be. Have that shape through it in the light spots. And he did one that looked like a. Like a doodle and testicles and I [00:49:07] Speaker A: thought that was okay. That's. [00:49:08] Speaker B: So if, if anything I would want. [00:49:10] Speaker A: That's pretty good. Yeah, that's pretty good. [00:49:12] Speaker B: Maybe a pair of breasts. I mean you. I'm a simple guy. [00:49:15] Speaker A: Just, you know. Yeah. Something naughty. Something naughty. [00:49:19] Speaker B: Boring. Yeah, I love hearts. That's just lame. And finally you can bring this one up. This is a bit weird. Jason Momoa, who's the. The Hollywood actor, he was. What was the Aquaman and Aquaman. Is that all he's done? He's in the Minecraft movies. He got himself a custom made Nikon ZR camera. [00:49:41] Speaker A: Oh, look, it's got his tattoo on it. [00:49:45] Speaker B: Yeah, I don't know what that is, but yeah, it's. [00:49:47] Speaker A: Wow. It's got a little cage and stuff. I wonder what he. What he films with it. [00:49:55] Speaker B: Well, I imagine he does his own. Probably does his own movie making and just documenting stuff. I don't know. [00:50:02] Speaker A: Oh yeah, Here we go. Can't wait to get these all brass ZRs out in the world. Filming more on the roam, traveling with us, putting them to work everywhere we go. Interesting. So they've got. He's got like. He's got like a on the roam thing that I don't know about. [00:50:23] Speaker B: Yeah. [00:50:25] Speaker A: They can't be real brass, can they? [00:50:27] Speaker B: I don't know. They don't even look like brass. [00:50:30] Speaker A: No, they look like plastic. [00:50:33] Speaker B: Yeah, yeah. Or not like not even gold. They just look beige but like in a US desert camo kind of beige, you know, whatever that means. [00:50:45] Speaker A: Lucinda says Jason Momoa is actually a pretty keen photographer. He was high fiving everyone at Blues Fest in the photo pit. He was kicking around with his mate. With mate, Chris Hemsworth. [00:50:57] Speaker C: Wow. [00:50:57] Speaker A: Name droppers. Bruce. Bruce Moyle says Jason is a big liker and red camera person. My mate, who you should interview is a good friend with him. Yes. Can you please send through your mates everything, Bruce, and we'll try and get them on the podcast and then we'll try and get Jason Momoa on the podcast and then we'll be famous. [00:51:19] Speaker B: Yep. [00:51:21] Speaker A: I wouldn't even know what to ask him. Be like why your muscles are big. [00:51:26] Speaker C: Hello. [00:51:27] Speaker A: Look at your hair. Can I touch your hair? [00:51:30] Speaker C: Yeah. [00:51:33] Speaker B: So that's it for the small news man Mountain. Should we come some. Would you want to do an ad read? I haven't done that read yet. It's a bit slack. Yeah. [00:51:40] Speaker A: If you want a camera strap, go to Luckystraps.com. it's pretty good. Oh, and subscribe to the podcast, please. We're really cranking along. We're at 2,700 subscribers. We're going to be at 3,000 in no time. So if you'd like to do that, do that. Subscribe Luckystraps.com if you want a camera strap. They're the best. They really are the best. I don't need to do an ad for them. Use Code Greg if you want a discount. But I'd be better, actually, if you didn't use a code, because then they're more expensive, which means Greg can afford to go to Japan eventually. So it's probably actually better if you want to help Greg go to Japan. Don't use Code Greg. [00:52:14] Speaker B: Don't use Code Greg. [00:52:15] Speaker C: Just. [00:52:15] Speaker A: Just pay full price. [00:52:16] Speaker B: I've never thought of it that way. You're actually. You're actually cleverly manipulating me out of a trip to Japan because you won't earn enough money because of said discount. [00:52:24] Speaker A: That's right. [00:52:26] Speaker B: Yeah. It's rough. [00:52:29] Speaker A: And what else? Actually, you know what? You should tell everybody about John Norris's. [00:52:38] Speaker B: Oh, yeah, John Norris. Okay, let's get to that. Yeah. So John Norris, amazing Aussie photographer. We had him on the podcast probably a month ago now. I reckon he did a lot of Alpine region photography. He, you know, went to France and worked in ski resorts and has done so in Australia a lot and still lives up in the. In the. In that sort of region. He's in Hillsville, I think. Yes. So John has a studio in. In the Yarra Valley area in Hillsville, and he hasn't. He's part of the Yarra Valley Arts Open Studio program for this year. And if we. Have you got the thing there? [00:53:19] Speaker C: No. [00:53:19] Speaker B: Do I bring it up a sec? Anyway, so the dates are this weekend, the 10th and 11th of October, and then on October 24th and 25th, open 10am to 5am on all of the days. John will be there for all of the days. He's also promoting his latest photo series, which is called Gates of the Forest. And they're double black and white, double exposures that were all shot in the. In the Yarrow Rangers. And there's a Lot of. There's a lot of historical connection there for him, based on his research about the early photographers back in the late 19th century, using double exposures to create this sort of ghost spirit images for studio clients and things like that. So amazing body of work. And John's just such a lovely guy to chat too. He's got some fascinating stories about, you know, he was out and about doing alpine photography with film cameras and, you know, just creating exceptional bodies of work that. [00:54:19] Speaker A: That sort of shots that I would struggle to get with modern cameras. And he was shooting him on just like the old film cameras and really [00:54:27] Speaker B: define, you know, a big chunk of his career was as a result of being able to do ski photography and, you know, work for the resorts and create content for tourism boards and the whole gamut. So if you are in the area on either the 10th and 11th of October or the 24th and 25th, head to. Head to John's studio. There is a. There's a PDF there with basically like just the poster of it. There's not much to learn from that, but yeah, certainly worth. Certainly worth having a look if you've got some time and you're going to be in the area. And we wish John all the very best and he was lovely. He sent us all this information and invited Justin and I to come up and hang out with him and check out the exhibition and just chat and catch up. So unfortunately, we've got a little bit too much on it. [00:55:13] Speaker A: Be fop has taken over our life. [00:55:15] Speaker B: It has, it certainly has. [00:55:17] Speaker A: That would be great. [00:55:19] Speaker B: But yeah, we wish. We wish John all the very best with that. And if you haven't seen that interview, then the best thing you can do is obviously subscribe. You can go back and check out our back catalog, catalog of all of our interviews. Amazing people like Peter Coulson, like Bruce Moyle, like John Norris, and many, many more. How many interviews you reckon we've done? Like a hundred. [00:55:40] Speaker A: A hundred? Yeah, probably a hundred. I'd say so, but I think we have to do 10,000 before we're masters of it, so. [00:55:49] Speaker B: Yeah, yeah, we'll just keep. [00:55:51] Speaker A: It's going to take a while. [00:55:53] Speaker B: Yeah, no, that's great. That secures my employment for at least a decade. [00:55:58] Speaker C: Forever? [00:55:59] Speaker B: Forever. I'll be doing it from my hospital bed. Look at some images and there's a couple of other news items, but we'll park those for the moment. [00:56:08] Speaker A: Okay. [00:56:09] Speaker B: And I have some other images to share with people too. Let's start off with some viewer images. [00:56:17] Speaker A: You tell me Who? And I'll bring it up. [00:56:19] Speaker B: Let's start with Miranda Mail, which is the MKM [00:56:23] Speaker C: files. [00:56:24] Speaker A: Any particular order? There's a bit of a jumble. [00:56:27] Speaker B: No, they're just. No, they're all part of a theme. So this was actually sent in by Miranda Mail, who's Richard Miles? Richard Miles. Often in the, in the chat, listening, watching. Oh, There he is. 5,000. They're usually two hours each. Okay. So yeah, Miranda. So here's what she had to say. Miranda Mail here. Richard Miles, other half. We're a household of photographers, including our 10 year old kiddo, Riley. The attached shots are hers, so well done, Riley. Great work. She's grown up around professional photography and has dragged to many events, branding and family portrait photo shoots. She's got a website, she's got a third shooter, wedding bookings in the calendar and even a four day conference book next year. Yes. She's paid for any photos delivered to the clients or behind the scenes shots used in our marketing. We're super proud of her skills and the perspective she brings. She's currently using a Nikon D750 with a 50 mil or an 85 mm lens and is no longer on auto. These photos are from two family portrait shoots, including one behind the scenes. She had over 40 images making the cut in both of these sessions. Isn't that phenomenal? [00:57:41] Speaker A: That's awesome. DC50 is a great camera too. [00:57:46] Speaker B: Yeah, yeah. So Miranda and Richard, well done. You're doing parenting right. That's for sure. Get your kids into a creative, creative outlet early. It'll serve them well in the future, that's for sure. But congratulations too to Riley. These shots are absolutely beautiful. I took some time looking through them when they came through today and yeah, you should be really proud, kiddo. They're amazing. Well done. [00:58:07] Speaker A: Yeah, yeah. Epic photos. You got a great head start. We're all in trouble. [00:58:13] Speaker B: Yeah. Yep. So is AI. Riley's coming. [00:58:17] Speaker A: That's right. [00:58:18] Speaker B: Yeah, yeah. Don't let it win, Riley. So, yeah, well done, great work and thanks to Miranda and, and Richard for sending them in. Nice. That's a warm, fuzzy story, isn't it? That's so cool. Yeah. [00:58:34] Speaker A: Let's just stop. [00:58:35] Speaker B: Third shooter at weddings. [00:58:36] Speaker A: Third shooter. Yeah. That's so good. [00:58:39] Speaker B: She's gonna need a harness. [00:58:41] Speaker A: A kid would actually get great shots at a wedding because everyone's like, everyone would just be in a different mood around them and they would have a different point of view angle, they'd be a little bit lower and everyone sort of looks at them like oh, that's cute. Yeah, you could probably get some great shots as a kid at a wedding. Especially on a dance if she's out. [00:59:02] Speaker B: Yeah, yeah, yeah. Up next we have Greg Carrick [00:59:12] Speaker C: and [00:59:12] Speaker B: Lucinda says, yes, Greg, she's going to need a harness. I'm not sure if Lucinda's talking about Riley or herself there, so we'll just park that for the moment. Crackers. Crackers. Said in something like this last week, this three image panel, some people like the triptych photo panel from last week. So here's another. I'd encourage you all to repurpose your images in zines, postcards, panels, T shirts, stickers, books, etc, so they get off your hard drive and they live a life. Well said. [00:59:43] Speaker A: It is great advice. I probably won't do it because I'm so tired, but that is great advice. [00:59:49] Speaker B: Not tonight anyway. [00:59:50] Speaker A: Not tonight. [00:59:51] Speaker B: Yeah. It is a good point though, you know, and sorry for everyone that we keep speaking about B, but it is a big part of what we do and it's happening in two days. But you know, the print swap for B, we've got 170 people out of 600 participants who are doing the Beef up print swap this year. It's the first time ever that we've done it. [01:00:13] Speaker A: It's going to be cool. I got mine, hope someone wants mine. I have this fear that I'll be my 20 when someone's like, oh, show me what you've got. And I'll be like, I've got my 20 still. [01:00:26] Speaker B: I think someone's calling me and they'll just wander off. [01:00:28] Speaker A: Imagine, imagine if I finished the weekend. I still had all of my photos because no one asked me. I'd like. [01:00:36] Speaker B: I would like to have at least one of your photos here up on the. Up on the walls. So. [01:00:40] Speaker A: Yeah, you haven't seen it yet or have you? [01:00:43] Speaker B: Yeah, no, I haven't. You haven't told me which one. Although you just showed me a hint of it. I think I know which one it is. Yeah. Oh, no, you did send them to me, didn't you? I did ask my opinion. Yeah, that's right. And look, Lucinda wants one. See, all your. All the people that you. You're taking to befop are all sucking up to you right now. [01:01:04] Speaker A: That' anyone that's staying in our Airbnb is like, yeah, I want one. [01:01:09] Speaker B: Thanks for paying the rent, Daddy. [01:01:11] Speaker A: Justin, I'll have a photo. You just want to go to Tunnel Hawks for dinner on Thursday night. [01:01:16] Speaker B: Oh, yeah, I'm expecting it. I don't want to. I'm expecting it. Well done Crackers. Thank you for sending in and thank you also for the reminder that we need to get our images off digital formats and into our hands in whatever way, shape or form that may be. So well done. [01:01:35] Speaker A: Should we read out the captions for this? [01:01:38] Speaker B: Oh yes please. Sorry. Yes. [01:01:43] Speaker A: So for anyone listening on audio, their images I believe ducks at a sunrise or a sunset and the captions are thus. Wouldn't you love to go to the outback and take those photos? No, I wouldn't, I replied. I'd rather take my own. Oh great Carrick. [01:02:05] Speaker B: Oh, so cryptic, so deep. Thanks Crackers. Nice work mate. And we'll see Greg at befop. Not that it matters. Up next, batter up. Philip Johnson. I think Philip is sending an image every Monday night that we've been doing Monday nights. [01:02:25] Speaker A: Pretty, pretty much. [01:02:26] Speaker B: Pretty consistent. [01:02:27] Speaker A: More consistent than me. [01:02:29] Speaker B: Yeah, that's true. Hi Justin and Greg. One image for Monday night. Tree bark abstract captured in the rain. Always best with wet bark. This was shot on a Sony A74 70 to 200 mark 2.2.8 shot at f 5.61 fifth of a second ISO 125th and and focal length at 140 shot handheld process with Photoshop 2026 Topaz photo. Have a safe trip to Bright. And you you're driving down from the Blue Mountains. Take your time, make sure you stop for rest. I think he's doing it over a couple of days. He's going to find somewhere to stop along the way. But yeah, that goes for anyone traveling to Bright to join us this weekend. Just take your time and play it safe. See you all there. But yeah, I love Philips tree bark work. [01:03:25] Speaker A: Me too. It does make me want to spend a bit more time looking at trees. Don't know if I would do tree bark but I think there's. I often thought about light painting trees. This is long before I knew what was capable with like what Dennis does. I just like early on I can't remember who I saw doing it but sort of just lighting up objects with torches, you know just using that to light them and I've often thought about doing that trees on the Murray. Some of the really big trees from [01:04:00] Speaker B: the comfort of the Murray's boat. [01:04:02] Speaker A: Well that would be nice. That would be nice but the problem [01:04:05] Speaker B: is it moves from the rooftop deck [01:04:07] Speaker A: but then it moves a little bit because it's on the wall. The photos wouldn't be sharp. Oh poor emotion. But yeah I have thought about that. I think light painting Trees would be a fun project to do. [01:04:22] Speaker B: Well, Philip has just said that, quite literally. [01:04:25] Speaker A: Yeah, it'd be really fun. [01:04:28] Speaker B: Yep. Amazing. You know how we had the big. We had a lot of rain on the weekend, especially on Saturday, and fright was it Friday and Saturday, just bucket it down in Melbourne and just traveling around, doing stuff. I was always looking at, like, seeing trees that had, like. They'd completely transformed because they were wet. And it just made me think of this sort of work that Philip does. It's really lovely. [01:04:52] Speaker A: Yeah, it is cool. I love that you get to pick out a little section, a little composition. Anything you want from a trunk. I really like that. So you've been able to make the decision, where will those little squibbly bits go, you know? [01:05:07] Speaker B: Yeah, it's. [01:05:10] Speaker A: Yeah. [01:05:11] Speaker B: And it just creates this photography, abstract composition from nothing more than nature. You know, what's there. It's very cool. Well done, Philip, and thank you. We'll see you in two days. Up next, we have David Skinner with a single image. Good evening, one and all. Here is an image I have printed on matte paper, which has really brought out all the texture as well as the vibrancy. I ventured into this month's print section at the East Gippsland Photographic Society, taken at Phillip island earlier this year. Handheld 1 1/60 of a second, F11, ISO 200 shot with a Tamron 70 to 300 at 276 on a Nikon Z7 Mark II. And David's titled it. Found Something. I hope you like it as I do. Cheers, David. See you at bfob. [01:06:07] Speaker A: Found something. [01:06:08] Speaker B: Found something. [01:06:10] Speaker A: It's almost got. It's almost like it's got a characteristic of, like a bird, like some sort of big ibis or something. You know what I mean? Like the. Yeah, the body language. [01:06:24] Speaker B: Yeah, the bent likes. [01:06:26] Speaker A: Yeah, the bent knees and then sort of the bent over. It's like. It's like if someone said, hey, go out there and pretend that you're a flamingo or something, or whatever, you know, it's. I think that's what makes. It. Makes it interesting that in the. The. The composition with the foreground water and the water at the top, that's got a bit of. A bit of motion through the. The lines up there. [01:06:52] Speaker B: Yeah, it just frames it a bit, doesn't it? [01:06:54] Speaker A: Yeah. [01:06:55] Speaker B: And I love the narrative that, you know, that. That she's so focused on that nothing else matters, like everything else disappears because she's just so focused on looking for that one little thing, whether it be a shell or, you know, interesting pebble or something like. Yeah, I love it. Very cool. David, thank you. Thank you for sending it in. Up next we have John Latimer with a couple of images. Evening all. On Saturday, I ventured into the city and met a street wizard. He was wise with his teachings and imparted a vast amount of knowledge on me. We ventured through Melbourne where he taught me and demonstrated different skills and techniques for me to carry forth. Then after a wonderful morning and the wizard pushed the boundaries of how weather sealed a Fujifilm camera can be in Melbourne weather, I departed to seek out another wizard to the east. Dennis. I found him in a dark room with a vast array of lightsabers. This wizard was different, though his movement and techniques. He wouldn't appear on camera. He taught many different skills and a huge amount of knowledge. We even managed to rope Dennis BFOP insurance navigator Matt Crummons as our group's designated light spinner. Long story short, did Greg street photography workshop. Amazing. Thank you, John. Then had Dennis's light painting workshop that evening. Amazing day, wonderful people and great to put so many faces to names and to Greg and Dennis, who I just see through YouTube. Have a great week and a wonderful beef up weekend. Talk soon. Thanks, John. How's that for a ball of light? [01:08:34] Speaker A: Yeah, you get to make a ball of light. I've never done that. [01:08:38] Speaker B: Yeah, I did one. I did one. Wasn't as tight as that. [01:08:41] Speaker A: That's. [01:08:41] Speaker B: That's pretty good. [01:08:44] Speaker A: Yeah, I guess so. You got to make every. [01:08:45] Speaker C: Yeah. [01:08:46] Speaker A: You got to not miss any gaps. [01:08:48] Speaker B: Yeah. Because they just look like straight, like stray strands if you kind of go out of, out of sync a little bit. But that's really neat. Got to be proud of that. [01:08:57] Speaker A: Yeah, it's a nice ball. [01:08:59] Speaker B: That's a great ball. [01:09:02] Speaker A: And this is a fun moment. [01:09:04] Speaker B: Yeah, [01:09:08] Speaker A: yeah, that's a very fun moment. I'd. I was trying to think I'd love it if it didn't have that. What's that thing called? Like the cafe fencing stuff. [01:09:18] Speaker B: Oh, yeah. [01:09:19] Speaker A: In it because it's such a strong color. But then there's no way you could really crop that out without kind of wrecking the photo. Yeah. Makes it tough. [01:09:31] Speaker B: And sometimes in street photography you want to crop out something that's too much, you know, because it does pull you away from, from your subject or your defining moment. [01:09:40] Speaker A: Yeah. [01:09:41] Speaker B: It's like having a bin in the back of a park shot when you're doing a bridal shoot, you know? [01:09:45] Speaker A: Yeah, exactly. But if it was a wedding shoot, you just, you Just remove it. But yeah, street photography, you don't really go and remove stuff so much. But yeah, I just found myself, I found myself being drawn into them. But then my eye kept getting pulled back down into that strong color in the corner. [01:10:01] Speaker B: Yeah. [01:10:02] Speaker A: And just thinking it's not really, it's not adding anything. Like maybe it adds a little bit of context that there's cafes around here. But the background does that. [01:10:11] Speaker B: Yeah. [01:10:12] Speaker A: So it was sort of. Yeah, I think if that was deleted it would be because it's that that yellow umbrella is so strong. It's so cool. Like of all the umbrellas they could be holding. That's a great one for a street photo. [01:10:28] Speaker B: Yeah, we were quite spoiled for choice because we're in, so that was in center, Center Place and we're into Grave Street a lot just because it's kind of semi covered and it was pouring with rain and we worked that area for quite some time and yeah, lots of really cool umbrellas and people in bright jackets and yeah, just lovely scenes. [01:10:48] Speaker A: Apparently Matt was, oh, hang on. [01:10:51] Speaker B: Oh, that's not yours, John. [01:10:52] Speaker A: You were just shooting your ball. Mine were oval. Oh. And they're not even holding that umbrella. Oh my gosh, it's someone else. It did look small. [01:11:05] Speaker B: It did look small. [01:11:06] Speaker A: And I was like, is this some kind of hipster small umbrella? You know, like they're too cool for a full size umbrella so they get one from like the op shop from the 60s or something and it doesn't even cover them. But no. Yeah. Now that makes way more perspective sense. [01:11:22] Speaker B: Yep. [01:11:23] Speaker A: It's actually facing the other way, isn't it? Yeah, I, I, it's a trick of the eye. I thought it was going the other way, but it's. Yeah, you know what I mean? Like we're looking at the top of the umbrella. I thought we were looking inside the [01:11:36] Speaker B: umbrella and I think I got a photo. I don't know if I. Anyway, no, I didn't. Mine was different. Well done. Amazing. And such a keen student. Justin. [01:11:52] Speaker A: You are John. [01:11:53] Speaker B: No, John was. [01:11:54] Speaker A: Oh, he, he was. Oh, that's good. Whoops. [01:11:58] Speaker B: Yeah, tried everything I said and then sort of. Yeah. Worked with it, you know, wandered off and played with those concepts, which was great. [01:12:07] Speaker A: They're the people that get the most out of workshops, aren't they? The people that actually listen and then jump in and just go for it with a beginner's mind. Not like, oh, I already know that or I don't want to look silly in front of anyone or whatever. They just go, I'll just go for it. I'm just going to try what they say. [01:12:23] Speaker B: Yeah. Yeah, for sure. Up next we have Phil Thompson two images. Hi, Greg and Justin. Attached to my images for this week's show. On my return trip from Ballarat to Geelong after my grandson's birthday lunch, I diverted off the Midland highway through Navigators and Yenden, chasing some low cloud that had settled and ended up in a forested area somewhere near Scotsburn. These were just a couple of shots in the fog that I shot along Atwoods Road. Once back on the highway, I continued to drive in the rain, dodging potholes all the way back to Geelong. Enjoy yourselves. A beef up next weekend. Kind of wish I was going, but this time is tight. But sorry, time is tight. And the following weekend I fly out to New Zealand for two weeks, touring the south island again. See for a moment there I felt sorry for you. But not anymore. [01:13:13] Speaker A: No, no, no. [01:13:15] Speaker B: Cheers. Keep up the great work, Phil T. Thank you, Phil. [01:13:18] Speaker A: Thanks, Phil. Nice shots. Love the fog. This looks like something in bloody Scotland does, doesn't it? [01:13:27] Speaker B: It's got that more kind of look. [01:13:32] Speaker A: Yeah. Creepy. [01:13:37] Speaker B: Can we go back to the other one with the road disappearing? Yeah, I love that. I think because just above where the road sort of three perspective tapers into a fine point, it looks like there's an arch above it caused by the tree branches. Do you see that? [01:13:57] Speaker A: I see. [01:13:57] Speaker B: It's almost like a perfect arch. Yeah. I think that really elevates it. It just really draws you in along with the road. Very good. [01:14:08] Speaker A: Yeah. And what it is, is I know exactly what it feels like. I've been in spots like that in that weather where everything is wet and it's, you can, you can remember what it smells like. [01:14:23] Speaker B: Yes. Yep. [01:14:24] Speaker A: And the photo took me there because I know what it, what it, what it sounds like and what it smells like to be on a road like that in that kind of weather. [01:14:33] Speaker B: That's pretty cool. Very, very cool. We've only got a few more images left if that. So let's, let's just finish off the slightly bigger news first if we could. Okay. I, I put this at the top of the list obviously because it is Fujifilm related. But then Justin, before we went live, took great delight in teasing me about this topic because it affects no one here. But I just thought it was interesting. It's a sign of the times. According to latest reports, Fujifilm in Japan, only in Japan for the moment is raising their price in some cases by up to 23% increase on some products that's huge. [01:15:17] Speaker A: Did it say it is huge? 23% is huge. But as I said, we don't live in Japan. But also, whatever. Did it say what the average. Anything like, overall, you know, like, what is it like, all the products, like what, most of them are going up or anything or not most of the. [01:15:37] Speaker B: Well, the GFXs are all going up between 6 and 15. A whole bunch of Fujifilter. Yeah, yeah. The XE5 is going up XT50 as well as some kits and some standalone primes. And the X100VI is going up as well by up to 15. Instax is the. The worst offender by going between 16. Sorry, 6 to 23. Increase. [01:16:05] Speaker A: Whatever. That's their money maker. [01:16:07] Speaker B: Yeah. [01:16:08] Speaker A: So it doesn't bother me. [01:16:09] Speaker C: Yeah, I don't know. [01:16:10] Speaker B: They need to make more money on that. But anyway, so that's what's happening in the Fujifilm space. [01:16:17] Speaker A: Speaking of price increases, did you see that I'm wearing new merch? [01:16:22] Speaker B: I didn't. Is this the fancy. [01:16:26] Speaker A: Oh. [01:16:28] Speaker B: Oh, hello. This is the ultra warm hoodie. [01:16:31] Speaker A: This is the ultra warm hoodie. This is the warmest hoodie you can get. It's very, very warm. It's very expensive. [01:16:41] Speaker B: Have you got one of those for Greggy? [01:16:44] Speaker A: I don't think so. [01:16:47] Speaker B: So no credit card and no warm hoodie. What am I supposed to do this weekend? [01:16:52] Speaker A: This one? You can. Yeah. If you have a look at them, see if you like one. You didn't order one. [01:16:56] Speaker B: No, I didn't. I don't think they made them in my size. [01:17:02] Speaker A: Yeah, that's right. They need the mic on the other side to see anyway. So it's, it's. It's 500 GSM, so it's almost twice as as thick as your average warm hoodie. Oh, yeah. Greg got a zip. [01:17:17] Speaker B: I got a zipper hoodie. I think Julie Powell's after one of those too, so. It was so long ago I ordered them, Yelena, I can't remember. [01:17:27] Speaker A: Oh, can you see it? [01:17:29] Speaker B: That's the first sneak peek, folks. These will be available at befop, along with some other new merch options. And. [01:17:36] Speaker A: And for you, non B floppers and [01:17:38] Speaker B: for non beef operas, of course. Yep. And I think Justin's even got something at a high. I'm not even aware of coming in the merch line. So I'm pretty keen, maybe pretty keen to find out. [01:17:49] Speaker A: This is a very limited edition, the Mega Warm. The Mega Warms will not last long, so if you're going to befop and you Want the warmest? You want the mega warm. [01:18:02] Speaker B: Yep, yep. [01:18:04] Speaker A: We'll be beef up hq, start saving your pennies, ring your bank, get your credit card limit increased because this will be the most expensive hoodie you've ever bought. The mega warm. The other ones will be normal price. [01:18:20] Speaker B: Richard. [01:18:21] Speaker C: Mar. [01:18:23] Speaker B: If I drop back to a Z8, I could afford the hoodie as well. Maybe. Maybe. Are you still there? Justin? You're frozen. Oh yeah, I froze. You did. [01:18:36] Speaker A: I'm back. [01:18:38] Speaker B: Couple of quick little news bits. There's a new Sigma lens coming which I thought was interesting. It's an APS C. So for crop sensor cameras It's a Sigma 50 to 120F 2.8 APS C. It should be launched on the 8th of October. 50 to 1 20. So on a Fujifilm, that's like a 75 to 180. [01:19:05] Speaker A: Yeah, it's like a 70 to 200 type basically lens for a crop sensor. [01:19:11] Speaker B: Yeah, yep, yep. Yeah. [01:19:14] Speaker A: I just can't get excited about lenses anymore. Unless It's a Canon 50. The Canon 50 mil I just don't get. You know what I was thinking we're going to do after beef up. I had this thought today. [01:19:28] Speaker C: All right. [01:19:29] Speaker A: We're going to do a Monday night show where and we need probably one other person as well, I don't know who yet to come on. And we're going to do the news, but we're going to do the news headlines and read the headlines and the articles that we wish was in the news. Oh, so it'll all be fake news. [01:19:49] Speaker B: Yeah. [01:19:49] Speaker A: And each one of us can come up with like two or three articles and headlines that we wish was were in the actual camera news this week. [01:20:00] Speaker B: Yep. Can I give you a sneak peek of mine? [01:20:04] Speaker A: Tell me. [01:20:05] Speaker B: Fujifilm release an updated model of the XE5 with the WR version for weather resistance. [01:20:12] Speaker A: Oh, interesting. [01:20:14] Speaker B: Weather ceiling. [01:20:15] Speaker A: Boring. [01:20:16] Speaker B: Boring. But that's the only thing about this camera that that bothers me is that it's not weather sealed. [01:20:21] Speaker A: Yeah, well, yeah, you know I was thinking more along the lines of Fujifilm released the X Pro 4 and the autofocus actually works. Wow, it's crazy. He pointed something and it just immediately locks on. Immediately. All the time. [01:20:41] Speaker B: Immediately. That's immediate. Yeah. [01:20:44] Speaker C: Okay. [01:20:45] Speaker B: And finally in other news, Canon are rumored to be working on an ESR 7V model. So tell us Justin, the current R7 EOS. R7, that's an APSC sensor sized. [01:20:59] Speaker A: Yes. R model and the 7 line goes all the way back to like. So it's Always been an attempt at a pro body crop sensor. So there's a 7D and then the 7D Mark II. The 7D Mark II is a super popular sports camera because it had like a pro ish body, but you could put it on your like long telephoto lens and get that extra reach. You know, before we had. Before we had 50 megapixel sports bodies that people could crop in on. It's like they, they would take the 7D Mark II to football games and stuff like that. So they could get in close anyway. And then. So the R7 was supposed to be in that lineage. I don't know if it really lived up to the name or not. But then when you add the V, that takes it into like video territory, but more rather than cinema more Vlog, probably. [01:21:56] Speaker B: Yeah. They released a V last year, didn't they? [01:22:01] Speaker A: Which one? [01:22:03] Speaker B: Because they brought the preview to befop. [01:22:07] Speaker A: That's right. What was that there was the. [01:22:11] Speaker B: Was it the 60? No. But it's interesting that this rumor has dropped, you know, a week after Nikon released this Z5 mark IIC. Granted. That's a full frame. [01:22:25] Speaker A: That's a full frame though it is [01:22:27] Speaker B: an entry level full frame. And they've taken the EVF off, which is what this R7, Rick's onder will have. [01:22:34] Speaker A: R50, R50V. [01:22:35] Speaker B: R50V. Thank you, Rick. Yeah. [01:22:37] Speaker A: 50V. So this will be a more capable camera than the R50V. [01:22:42] Speaker B: Okay. [01:22:43] Speaker A: But based purely on numbers. [01:22:45] Speaker B: Yeah. [01:22:46] Speaker A: Like I don't know. But the R7. Yeah, yeah. The R7 is a higher specced camera than the R50. So it will just be a more capable sort of vloggy style camera as opposed to. Don't be confused with something like the R5C, which is where you're getting up towards proper video cameras as opposed to vloggy style cameras. [01:23:11] Speaker B: Vloggy stuff. Yeah. More cine stuff than vloggy. Yep, yep. But they didn't release one in all. Brass. So there's no R7V brass or Momoa. [01:23:27] Speaker A: Not like the Momoa Z. Yeah. Can't believe he shoots Nikon. I guess he does like the red cameras, but he could, I mean, imagine what Leica would make for him, you know, imagine. Imagine the Q3 mimoa. It have fish scales on it. [01:23:43] Speaker B: What was the. What was. Fish skulls. What was the Leica? Yeah, they'll use a barramundi to create the wrap. What was The Leica? Daniel Craig 0071. They brought our special edition for, I think this first or second movie? [01:23:59] Speaker A: Yeah, I didn't buy that one. [01:24:01] Speaker B: I didn't. [01:24:02] Speaker A: I couldn't afford it. [01:24:03] Speaker B: Yeah, I don't think anyone could, apart from Daniel Craig, but yeah, I like it when they do special editions sometimes it's kind of cool. [01:24:14] Speaker A: Good night, Bruce. See you and see your beef up. [01:24:16] Speaker B: Yep. [01:24:17] Speaker A: He said he has to go to go to bed. I do too. [01:24:19] Speaker B: No, no, Bruce. Yeah. [01:24:21] Speaker A: No, no, Bruce. [01:24:21] Speaker B: We're almost done. We're almost done. Would you mind if I bring up the last of my couple of images? We'll get those out of the way. [01:24:29] Speaker A: I would. How many do we have? Any more of the. [01:24:32] Speaker B: We got two more viewers images, you bastard. [01:24:34] Speaker A: It would be easier to do the two more viewers first, if that's all right. [01:24:37] Speaker B: All right, whatever. [01:24:38] Speaker A: And then, then we'll go and then I'll get yours back up. [01:24:41] Speaker B: Honestly, sometimes you act like you're in charge of. Up next we had Phil Thompson. We've got Craig Murphy with a single image. Hi. Justin and Greg will likely miss this week's livestream, but thought this image I took back in 2014 might be appropriate for us as we head into Australia's greatest photography festival. Grab the bull by its horns. Sydney around this time frame 201314 had a very vibrant insta me, insta meet scene. Lots of cool photo walks around old Sydney town. I don't remember a lot about this walk, but this image just caught my eye and quickly got the camera up to capture this image. It's not perfect, I'm no street photographer, but it tells a story. What is this guy thinking? Was this his life changing moment? Does he see the irony of what I saw? Or is this just a part of his normal day? He stares at the fountain. Whatever it was, this has always been a powerful image for me. It was my wallpaper background for a very long time. For those who don't know, this is the Archibald fountain in Hyde park and the sculpture depicts Theseus slaying the minotaur taken with the Olympus EM1 with a 12 to 40 F 2.81 500th of a second ISO 200. I feel this might be a good analogy for us who are working at BFOP this weekend. Time to grab the bull by the horns. Looking forward to seeing you both on Thursday. Cheers, Craig Murphy. Thank you, Craig. [01:26:04] Speaker A: Thanks, Craig. [01:26:04] Speaker B: And yeah, we'll see you soon. [01:26:07] Speaker A: A very cool photo. The water spraying, really, it's like, you know, the subject. You're trying to wonder what they're thinking, what they, you know, are they pondering life or Are they just, you know, blank stare, Looking at nothing but the water. Kind of gives it this unsettling for me feeling. [01:26:31] Speaker B: Yep. [01:26:32] Speaker A: Scattered in the background. [01:26:35] Speaker B: Yep. [01:26:39] Speaker A: Felicity just asked if we got her photo. She sent it to me. [01:26:42] Speaker B: We did, but it was too good. I deleted it. [01:26:45] Speaker A: Ah, fair enough. I can see it in mine. [01:26:49] Speaker B: Can you? Because it wasn't in mine. [01:26:50] Speaker A: Yeah, yeah, I can see it. And it's to the right email address to the camera. Life One. [01:26:55] Speaker B: Yeah, I didn't get a copy. Sorry, Flick, I didn't see it. [01:26:59] Speaker A: I can, I can pull it up once we're done with these ones. [01:27:02] Speaker B: All right, last one that I have is Nev Clark. Single image. Never said. He just loves the symmetry. Have you got it from. [01:27:13] Speaker A: Nev's not in here. [01:27:14] Speaker B: Oh my God, Greg, what are you doing these days? [01:27:17] Speaker A: What are you doing? [01:27:18] Speaker B: Greg, TCL your images. I swear if it's in there, I'm going to get really angry. No, you're right, it's not in there. [01:27:26] Speaker A: I'll bring felicities up. [01:27:27] Speaker B: In the meantime, I'll find here. Sorry, Nev, I did get. I got his email because I replied and said. Yep, got it. Pending your images. Neville Clark. Here we go. [01:27:39] Speaker A: Let me just do this download. [01:27:45] Speaker B: Let's just put that on desktop. [01:27:48] Speaker A: Can I put that in there? Yep. Then I can share. Thanks for sticking with us guys while we figure out how to use. [01:27:53] Speaker B: Yeah, sorry guys, we're still trying to work out what's going on with that email system. [01:27:58] Speaker A: All right. I mean it is coming through. Felicity Johnson says. Oh, it's gone to the wrong screen. Okay, what's happening? Professional podcast Share screen okay, this one. [01:28:17] Speaker B: Where'd you go now? I can't see you. Well, it's all falling apart here in the last five minutes, isn't it? [01:28:23] Speaker A: That's right. Felicity Johnson has an image on the screen. We made it happen. It's up there for you all to see. And it is a very cool macro shot. Here is a macro of a sundew, a carnivorous plant. This one was photographed at Mount Ida near Heathcote. The leaf has small tentacles sitting on a disk at the end of the petiole. The gland tipped tentacles secrete sticky mucilage that traps and digests invertebrates. This one had a dew drop of water. Nikon Z8, 105 mil Macro Flash plus diffuser. [01:29:10] Speaker B: That's very cool. [01:29:12] Speaker A: Let's zoom in a little bit. What? [01:29:18] Speaker B: Look at the landscape in the back. You can see it reverse and upside down there. [01:29:23] Speaker C: Yeah. [01:29:25] Speaker A: Right, so that plant eats stuff. It's crazy. Oh, leaf. Leaf, stalk. Leave stalk. [01:29:34] Speaker B: Okay. Yeah, that's very cool. Amazing work. Flick. What was that shot? With which lens? The 105. [01:29:46] Speaker A: 105. Yeah. [01:29:50] Speaker B: Beautiful. [01:29:51] Speaker A: Yeah. Nice. Nice photo. I had no idea that sort of plan existed. Look at me learning stuff on this podcast. [01:29:57] Speaker B: Yeah. Yep. [01:29:59] Speaker A: It's about millimeters wide. Wow. [01:30:02] Speaker B: Great shot. [01:30:04] Speaker A: Yeah. [01:30:05] Speaker B: Love the detail. Well, according to this, lucky last is Nev Clark. [01:30:13] Speaker A: Okay. [01:30:14] Speaker B: Who currently he says I'm in my car at a remote place taking epic drone pics. Nice. [01:30:24] Speaker A: How do we pull this one up? Have you got it or. [01:30:27] Speaker B: Yeah, I've got it here. And I've put the image in the folder. Promise. [01:30:33] Speaker A: You got it? [01:30:34] Speaker B: Have you got it, Nev Clark? [01:30:39] Speaker A: Have I got it? No. Yes, I do. [01:30:44] Speaker B: I just love the symmetry of the road in this shot. This was shot at Quaranap Quaran up in Albany, Western Australia. Shot with the DJI Mavic 4 Pro ISO 100F 2.82 images stitched. Shutter speed 1/30 altitude at 80 meters. Yeah, it makes a beautiful shape, doesn't it? Just slice landscape. [01:31:15] Speaker A: Two images stitched. Hey, [01:31:21] Speaker B: Two vertical shots. [01:31:23] Speaker A: That's what I'm trying to work out. I wouldn't think so. Yeah, I'm not quite sure they are native like 4, 3 ratio, but this looks almost. [01:31:39] Speaker B: Yeah, it's hard to tell. [01:31:41] Speaker A: Yeah. [01:31:42] Speaker B: Lovely shot though. Great perspective. [01:31:45] Speaker A: Yeah, beautiful. Great treatment of the sky too. It's pretty bright sky. You've done a good job. [01:31:51] Speaker B: Yep, Yep. Greg Carrick's got some advice for us. He says you guys need a holiday. I suggest you go to Bright next weekend for an easy time. [01:32:01] Speaker A: Yeah, yeah. [01:32:02] Speaker B: We're just gonna chill out, hang at [01:32:04] Speaker A: the Airbnb, you know, set a hammock [01:32:07] Speaker B: up at hq, fire pit, sit around that one night, smoke a doobie. [01:32:13] Speaker A: Who knows it was two verticals that was. [01:32:17] Speaker B: There you go. [01:32:17] Speaker A: Okay. [01:32:19] Speaker B: What a quality accepted. [01:32:21] Speaker A: He must fly it like this. [01:32:25] Speaker B: Yeah, just thought it's strong winds. Yeah. That's it for your images. Now, I did see a question here. Someone who's just recently found us. Where did I see that? Here we go. Morning from the UK. Just found you guys. And I'm one and watching at 10:58 in the UK AM, that is. How do I upload images for you to have a chat about? Well, Justin, email them. [01:32:53] Speaker A: Email them to the cameralifeuckystraps.com tell us a little bit about the image and why you sent it in. You should include your settings if you want and if you have any questions. About something. If you're like, oh, I don't know if I like, like the way I've edited it or the crop or, you know, what could I have done differently? Let us know. Otherwise, if you just want to show it off and you don't want any feedback, just do that too. That's fine. So the [email protected] AU it's awesome that you're from UK and that you can actually catch this show. That's great. [01:33:28] Speaker B: Yeah. Welcome, welcome, welcome, welcome, welcome. And to finish up, there's some shots that some wizard apparently sent in according to John Latimer. [01:33:39] Speaker A: Oh, your photos. [01:33:41] Speaker B: Yeah, thanks. [01:33:42] Speaker A: Rude, rude. [01:33:44] Speaker B: The wizard [01:33:49] Speaker A: Harry street photos. Here we are. [01:33:51] Speaker B: Yes. This is from Saturday morning with with [01:33:54] Speaker C: John [01:33:57] Speaker B: on my street photography workshop. Anytime you're ready. [01:34:02] Speaker A: It's not easy, you know, let's pick one. It's not easy. [01:34:06] Speaker B: There's the man himself. Look at that smile. [01:34:09] Speaker A: He looks happy. [01:34:10] Speaker B: He was having a ball. He was in the zone. He was focused but he. Yeah, I could tell he was enjoying it. He had that look in his eye. Hunting light. [01:34:22] Speaker A: I like that. You got him in front of the senior art supply store. [01:34:26] Speaker B: Yeah, you know, keep it classy. Up next, so these are most of these. I think this one's shot with my original Tokyo chrome, which is based on the Fujifilm classic chrome preset. But I kind of tweaked it a little just to wash it out a bit. [01:34:49] Speaker A: Okay. Back the color off a little. [01:34:51] Speaker B: Yeah, just back it down a little bit. [01:34:55] Speaker A: Why? [01:34:56] Speaker B: I don't know, just for shits and giggles. Because I can really. Good morning in the city. Like it was busy, it was so, so wet. But that it kind of elevated the experience because you had lots of reflection, lots of amazing umbrellas and jackets and people, you know, scuttering about, trying to avoid the rain. Just got some nice body language and poses and stuff. Next up, this is a 16 by 9 crop that I did. I've been doing this a little bit more lately. This is with a brand new film simulation which I just developed on the weekend when I started editing these. I wanted something a bit more. Little richer, good dynamic range. But really elevate primary and secondary colors like oranges and reds and yellows and blues and. [01:35:49] Speaker A: Yeah, so yeah, the oranges and the blues and this are definitely popping. [01:35:54] Speaker B: Yeah. And twisting. I've been doing twisting. I was talking to John about that on Saturday. Yeah, twisting the camera a little bit. Just change perspective, change the flow of it, change the weight and, and how [01:36:08] Speaker A: it leans twisted in Camera or cropped after? [01:36:11] Speaker B: Not in camera. No. Mostly in camera. Trying to get it right at the time. I will crop afterwards and try sometimes. And I said to John, you know, you don't want it to look like. You don't want it to be such a small amount of twist that it looks like, you know, you've stuffed up your horizon line and your vertical. [01:36:29] Speaker C: Yeah. [01:36:29] Speaker B: Crooked. But you don't want it so much that it just looks ridiculous. You know, just. Just a little. Little shove. Just playing around with it. [01:36:36] Speaker A: You know, I think the. The lines on this roller door help the twist. [01:36:44] Speaker B: Yeah. [01:36:44] Speaker A: Because they're essentially like a foreground element leading you in. Yeah. I think they actually help it very much in this one. [01:36:51] Speaker B: Yeah. [01:36:56] Speaker A: Cool lines. [01:36:56] Speaker B: Next one. Thank you. We played around with reflections a lot, obviously. We had a lot of wet footpaths and pavements and roads, but also just, you know, working with windows and mirrors and things that were just naturally around shop fronts and street fronts and things like that. I like reflective shots. [01:37:27] Speaker A: And the last one, were they walking past? Were you walking behind them? How did this happen? [01:37:33] Speaker B: No. So I was just standing against the wall. So I was right up against the wall, and my camera was pretty much touching the. The window on the left. Yeah. And they just walked past me and then stepped up onto that little bit of footpath in front of me. [01:37:47] Speaker A: Okay. [01:37:48] Speaker B: Yeah. [01:37:51] Speaker A: Yeah. Very nice. [01:37:57] Speaker B: And then this. I think this is my favorite. [01:37:59] Speaker A: I was gonna say. I think this is the strongest of the. Of this set. [01:38:02] Speaker B: Yeah. [01:38:02] Speaker A: I think the low angle really helps. [01:38:06] Speaker B: Yeah. [01:38:06] Speaker A: And that. [01:38:06] Speaker B: So I was pretty much squatting almost on the ground. [01:38:09] Speaker A: Yeah. [01:38:10] Speaker B: Yeah. [01:38:11] Speaker A: Bike in the foreground. Great. Blue umbrella. Great. Rainbow lady jumper. Great. And then you've just got that. That strong main character with the dark eyes and the just looking, like. [01:38:26] Speaker B: Looking. [01:38:26] Speaker A: Yeah. Short lighting on his face with the shadow on this on the short side. Just like, mid stride. He's. He's got something on his mind. [01:38:41] Speaker C: Yeah. [01:38:43] Speaker B: Yep. So, yeah, that was. That was my Saturday morning. Well, it was good. [01:38:52] Speaker A: I think it was worth you heading out. [01:38:55] Speaker B: Indeed. Thank you. [01:38:56] Speaker A: Indeed, indeed. [01:39:01] Speaker B: But that's it for the your images sections, folks, section, folks. Yeah, it's late. We should go to bed. I can't even talk anymore. [01:39:09] Speaker A: Yeah, I've got. I wish I had some photos to show you guys, but I'm just so tired. I couldn't even think of looking for something to bring up on the show, which is bad because I really wanted to submit images every week this year, and I definitely haven't, so that's sad. [01:39:27] Speaker B: Well, after beef up, I'm sure you'll have some stuff. [01:39:31] Speaker A: Probably not. No. [01:39:35] Speaker B: Not taking a camera this year. [01:39:38] Speaker A: Look, that was a whole nother thing. Like, I still haven't packed my camera gear and I think I have to take everything, but I don't really want to use any of it. [01:39:47] Speaker B: I'll probably use Q3. [01:39:50] Speaker A: I feel like I need to. We've got so much. I've got to do the podcast. [01:39:54] Speaker B: Oh, yeah. [01:39:55] Speaker A: Like Lucinda's coming up and I'm like, what if she needs some extra gear? Like so. So I might as well toss it all in. But I really don't. Like, I was like, I'll either shoot film only or probably the Q3. Maybe throw a 50 mil on my R5 Mark II. [01:40:11] Speaker B: Oh, what a surprise. [01:40:13] Speaker A: What a surprise. [01:40:15] Speaker B: But yeah, or maybe just bring four fifty mils this time. [01:40:18] Speaker A: I don't think I'll be taking a lot of. Lucinda says I don't need more gear. For the love of God. Yeah, but you haven't seen my pelican case yet. [01:40:29] Speaker B: It's like a toy box. [01:40:31] Speaker A: You won't have to go to the cannons there and just test anything out. [01:40:34] Speaker B: Just go to the van. [01:40:36] Speaker A: Go to the van. Nah, I don't know. I figured, who knows? If I don't bring it, then we'll be like, oh, I have that lens. You could have used it or whatever. [01:40:45] Speaker B: Yeah, so. [01:40:46] Speaker A: But I don't think I'll be doing much shooting this year. I really don't. [01:40:49] Speaker B: Yeah. I think I'm only bringing one body and one lens and. [01:40:57] Speaker A: Really? [01:40:58] Speaker B: Plus the X70. Got to have the X70. It just goes everywhere. Anyway, sorry I cut you off before you were finished. Sorry. [01:41:04] Speaker A: No, that's okay. I don't. I forgot what I was talking about. Really? One body and one lens? [01:41:09] Speaker B: Yeah. I think I'm just going to take the XC5 and the 23.1.4. It's the 35 mil equivalent. [01:41:16] Speaker A: Yep. [01:41:17] Speaker B: Just do everything with that. Make it work. [01:41:23] Speaker A: Yeah, that. [01:41:24] Speaker B: That makes you terrified, doesn't it? That thought. One body, one lens only. Yeah, it does. [01:41:28] Speaker A: I do. I've done. I did. [01:41:30] Speaker B: I can hear your teeth chattering through the microphone. [01:41:32] Speaker A: I did three months with one body of one lens in the us Remember? [01:41:38] Speaker B: Yeah, I remember. [01:41:39] Speaker A: I'm the ultimate. Leave everything at Homer. [01:41:43] Speaker B: Yeah, fair enough. [01:41:46] Speaker A: Yeah, I. I think it's the way to go if you. If you're trying to simplify your beef up weekend. [01:41:53] Speaker B: Yeah. [01:41:54] Speaker A: Nev says I need a Q3.43. I don't. I mean, I would love one. I'm sure I would. I don't think I do need one because for me, if I'm taking this body out, I really want the 28. And then I, I love actually pairing it with one of my cannons which are faster by far in autofocus with a 50. And when you're using the 50, you need better autofocus because you're usually talking about a shallower depth of field. [01:42:22] Speaker B: Yeah. [01:42:23] Speaker A: So it's like. Yeah, I actually really like that. Pairing 50 mil on a Canon and then the 28 mil on the Q3. It's a good little two camera setup and that's probably what I'd rock around at befob with either one of those cameras, but don't know. [01:42:42] Speaker B: We'll see. Yeah. Anyway, interesting. Well, I think that pretty much brings us to the end of tonight's episode of the Camera Live podcast. Just a reminder for anyone that is new here, we do this a lot. Twice a week in fact, we go live live to YouTube and later you can watch it on YouTube or you can listen to it on all of your favorite audio podcast platforms. But every Monday evening at 7:30pm Australian Eastern Daylight Time at the moment we have our random photography show which is what you've just witnessed, where we talk about what's going on in our world. We talk about a topic that we think people find interesting, we cover the news and we look at your images. And then every Thursday morning at 9am Australian Eastern Daylight Time for the time being we're in daylight savings. Now we have our interview show where we we have a long form live chat with amazing, amazing Aussie and international photographers to talk about their craft, where it began for them, their inspirations and where it's heading. So if you join the Camera Life podcast and you subscribe, tickle the bell icon because that way you'll get notified in your time zone and you'll know when the next episode of the Justin and Greg show we'll go ahead. Speaking of which, Justin needs to go ahead to bed, eh? [01:44:00] Speaker A: I see what you did. [01:44:02] Speaker B: Thank you everybody for joining us tonight. For those of you that are making the pilgrimage too bright for the bright Festival of Photography 2026 10th year, please travel safe, take your time and we look forward to catching up with each and every one of you. Drop by the lucky strap stand and say good day and yeah, we'll see you up there. And for the rest of you suffering new jocks, that's all I got to say. [01:44:26] Speaker A: That's right. Yeah. Lucinda says show this Thursday, boys. Yeah, and you'll probably be on it. Oh, no, you won't. You won't be up there yet. Anyway, 9am on Thursday, we'll do a show from our Airbnb at Beef Up. We'll do a livey. [01:44:41] Speaker C: Live. [01:44:41] Speaker A: Live. We'll be live live and we'll see if we can get some other. Oh, Adam Edwards is going to be on that one, actually. We're going to go through some. Some of the images that are getting auctioned that you could bid on and buy amazing photos. What else is going on? Rick Nelson. Thank you, John Pickett. See you at bfop, Richard. Enjoy. Beef Up. Very jealous. Yeah, sorry, Liz. Okie. The Faceless Man. Nev Clark. See you later. Thanks for sending the photo in. David Skinner. Night. Night. Greg Carrick Stone. Smash that like button, please. Smash it like this. Smash it. Go and smash it. It'll make that sound. Or you can just pretend it made that sound. Philip Johnson. Well, gents, safe travels. And to those heading to Bebop, the same. Thanks for the image. Feedback is always appreciated. I was at a great image, so thanks for sending it in. Tim Pates is limiting himself to two camera cases. Two cases. All right, Toodaloo, everybody. Goodbye. [01:45:40] Speaker B: Yeah, guys.