[00:00:00] Speaker A: Sa.
[00:00:26] Speaker B: Well, g' day everybody and welcome back to the Camera Life podcast. It is Thursday, 22nd October. It is bright and early on a sunny, sunny Melbourne day. And of course, being a Thursday morning, we have an amazing guest in the studio today to discuss their craft. We are joined by the founder and director of Brunswick Darkroom. That's right, it's a film lab, but also an education space for folks wanting to get their hands in the chemicals and develop their own film and print their own images.
And having just come back from befop and seeing the success of our print swap program, you know, the need to print and the, the hunger for people, from people to print is great indeed. We are joined by Dylan Javon. G', day, Dylan. How are you?
[00:01:10] Speaker C: Good, thank you. Thanks for having me. Glad to be here.
[00:01:12] Speaker B: Yeah, no worries, no worries. Good to have you. We, we, we look forward to, to unpacking your story. But also, you know, what is Brunswick Darkroom? And, and yeah, we'll certainly get to that. And of course we're joined by the boss, Justin Castles. Great to see you've got some lighting finally happening there, even if it is candlelight.
[00:01:32] Speaker D: A couple of battery operated candles left over from bfop. So that's, that's the best I can muster at the moment. We're, we're doing what we can.
[00:01:40] Speaker B: Well, we celebrate your effort. Thank you.
Now, Dylan, we'd like to sort of kick off before we say g' day to anyone in the chat. People are still waking up and joining this morning, really keen to understand your relationship with film photography. You know, where did it begin for you? And you know, you know, how long ago did you pick up your first camera? What was that experience like for you?
[00:02:06] Speaker C: Yeah, so I was actually doing degree and kind of like advanced microscopy just before I picked up my first film camera. And I was sitting on an electron microscope, which is just this beautiful machine and I was using an analog version of it. So I think it was made in like 1999. So like one of the last analog electron microscopes, just an array of buttons clicking, tactile sort of feelings, but then connected to a computer so I'd see all my images on this not so analog screen. And one day my supervisor came in while I was using the microscope and told me a story of how they actually had to retrofit a camera under that microscope because they used to put sheets of 8 by 10 film underneath it, expose an image and then go into the dark room and develop it. And then she said, oh, and then you'd find out it's crap because it's, you know, difficult to. To get your development right, your exposure, particularly on an electron microscope. And that just kind of like clicked something in my head that I felt like I was missing, like, this whole other aspect which I should have been experiencing. Like, half of the fun, like, had kind of been replaced by something digital.
And so that week I picked up disposable camera. It's probably 2016, and I, you know, I grew up when I was very, very young with film and all that, but this was probably the first time where I remember really shooting film, getting it back and thinking like, oh, wow. Yeah, that's great.
[00:03:56] Speaker B: Yeah, amazing. I, I think despite, I mean, granted they're a lot more expensive now. I think I saw them at JB hi Fi for like 40 bucks to get a disposable with a 36 roll of film in it. But I, you know, for anyone wanting to just make that first little effort to try film photography, I think disposable cameras are the unsung hero.
You know, it's simple, it's compact, it's light, you can take it on travels. I remember picking some up at a convenience store in Osaka. I had all my digital gear, but I thought, you know what, Just for a bit of fun. And it just, it just changed the whole experience. And I can certainly understand that. You know, you get that taste for it and you just want to. You just want to sort of scratch that itch. And I think, yeah, disposable is a great place to start.
[00:04:40] Speaker D: It's tough because you do always hear about the environmental impacts of disposables. And I actually haven't kept up with that to see if that's gotten any better with the way that they reuse or recycle those. But I bought a ton of them. I don't know if you remember me saying, great, a ton of them for my family as like a family Christmas present. Yeah, that was a few years ago now. And yeah, so everybody got their own disposable camera. Some of them, the kids ones were waterproof ones and stuff. And everyone just clicked away over that kind of holiday period. And then I got every single image printed as six by fours as well. So then it was all physical. And then I got a cool, like, scrapbook style photo album made in Bendigo here by a guy, like a book binder in Bendigo. And unfortunately, that's as far as we got. So now we've got a giant stack of six by fours and an empty album and Someone just needs to make that go together. But we almost got there and had a family photo album and, Justin, it was the intent. The intent was there. The cool thing is, is it's just
[00:05:43] Speaker C: they're
[00:05:45] Speaker D: shouldn't say this about my family, but they're idiot proof. You know, you point, you point and you click and you can't.
[00:05:51] Speaker B: It doesn't fall far from the tree.
[00:05:53] Speaker D: Whereas if I got everyone, you know, if I handed everyone my film, one of my film cameras or something, you know, there'd be questions and how does this work and stuff. Anyway. Anyway, so, yeah, I agree. This is such a cool thing just to hand someone the disposable film camera and see that magic of no idea what you're taking on this thing. And then you get them back and you're like, oh, look at that.
[00:06:14] Speaker B: Yeah, yeah, yeah.
And what was your experience like with that first. That first role that you had developed?
[00:06:24] Speaker C: I. I probably still look at that. Those photos that I took with that camera.
[00:06:29] Speaker B: Yeah, great.
[00:06:29] Speaker D: Yeah, that's cool.
[00:06:31] Speaker C: Yeah, very cool.
Here's some of my favorite.
[00:06:37] Speaker B: Yeah, it's good. It's good to reflect on that sort of stuff. I think I want to explore this. This topic a little bit more with you about what came next after the disposable. But first, Justin, do you want to say good day to some people in the chat?
[00:06:48] Speaker D: I do. They're starting to roll in. Good morning. Philip Johnson from a damp, Misty Blue Mountains. Well, it sounds. That sounds wonderful, actually. Julie Powell. Morning. Bright and sunny, still slightly cool before a hot one in Melbourne. Yeah, I think it's going to be 30 in Bendigo today. Maybe so. Yeah. Starting to get warm.
[00:07:05] Speaker B: Yeah, it's gonna be hot. Yeah.
[00:07:07] Speaker D: Paul says morning from a dull and dreary Canberra. Is that just. That's just always, isn't it? That's just the vibe. No, weather's. Oh, he even. Weather's not too bad, though. Sorry I ruined his joke. He had it already.
Already in there. Good job, Paul. Great mind stick alike. Julie, are we creating a weather channel? No, but it seems like that's what everyone chimes in with.
Rodney Nicholson. Good morning, Lucinda. Good to see you. Digi Frog. Good morning. And David Mascara says. Hey, guys. Yes. That was the Salesforce Tower video I sent you. Well, that looks cool. And that's crazy. You get to go up on top of it. And I want to see some photos.
[00:07:41] Speaker B: And on top of the Golden Gate Bridge.
[00:07:43] Speaker D: Yeah, I know. Goes on top of everything. This guy.
[00:07:45] Speaker B: That was insane photos.
[00:07:47] Speaker D: He lives in San Francisco. He's an amazing film photographer. Rocks around taking street portraits with his nick ons and stuff. But somehow once or twice a year gets to go up on high buildings and photograph like fighter jets coming past at, at like eye level. Anyway, it's crazy.
[00:08:02] Speaker B: Yeah, yeah.
[00:08:04] Speaker D: If you're listening along live with us, throw something in the chat. Ask questions about dark rooms and film and things and we'll throw them at Dylan. Otherwise, just listen. And if you're listening later, you can always throw a comment down below later on if you're not live.
[00:08:19] Speaker B: Yeah.
[00:08:19] Speaker D: So there's that.
[00:08:21] Speaker B: Indeed.
So what, what did come after that first disposable? Was it that you want. You went and grabbed a bunch more or was it that you kind of thought, actually there is something here I want to, I want to maybe look into getting a camera. What, what came next for you?
[00:08:38] Speaker C: A whole lot of nothing. So for at least three or four years that that was the only thing I shot.
I didn't go back to it. I always meant to, but I was just focused on other things. Probably just focused on school, thinking that sort of my path in life was going to be a scientist and that that's what I'd be doing forever.
[00:09:02] Speaker B: Obviously to get a PhD you went to the trouble to get a PhD, so it's a fair assumption to make. Yeah. Yeah.
[00:09:09] Speaker C: So the next time I picked up a camera was another disposable. I ended up.
My first disposable was in Perth and then I moved to Sydney about four years later and just kind of there on my own, just wondering how can I experience this new city.
Yeah. And I picked up another disposable and from then on I was hooked.
[00:09:37] Speaker B: Yeah. Okay.
And how long did this disposables last before you. You saved up enough to get yourself a new film camera or a film camera?
[00:09:46] Speaker C: Yeah, I only bought two. So after I shot that first disposable in, in Sydney, I just thought like, you know, I've always been into things that are technical and all that. So I thought like, okay, let me get into a manual exposure and like manual focus and like different lenses and all that. So I got a Nikon because a lot of the microscopes I used in in university were Nikons.
[00:10:12] Speaker B: So. Yeah.
[00:10:12] Speaker C: Okay. That's why I love Nikon because Canon doesn't make sort of advanced laser microscopes and all that, but Nikon does.
[00:10:19] Speaker B: Yeah, I like, I like to consider Canada as the pissweet cousin of Nikon. So just saying.
[00:10:25] Speaker D: Well, I don't know. We make.
I say we photocopies part of the company. Just because I use their cameras. I'm like, we, we make, yeah. Fax machines and photocopiers. I think we probably still makes fax machines.
[00:10:36] Speaker B: Fax machines. Wow. You still make fax machines. That's great. Probably so good. You must be so proud of your company.
Sorry, Dylan. I'm a Fuji shooter. He's a. You know, we all make mistakes, like Justin, he's a Canon shooter. And we do like to rib each other over our choices.
[00:10:51] Speaker D: That's right.
[00:10:52] Speaker B: Keeps it light.
I think it's amazing that after, you know, only two.
Two cracks at disposables in a brand new city, which could be overwhelming on its own, you. You dived in. Do you remember what, what your first lens choices were to go with that, that Nikon?
[00:11:08] Speaker C: Oh, yeah. It was whatever.
It was, whatever came with it, which was. I think it was just some horrible zoom lens which I didn't. Very long.
Yeah.
[00:11:17] Speaker D: Kit lens.
[00:11:18] Speaker C: And then I soon replaced it with an 85 mil 1.8.
And to me, the 85 mil has been like. I know everybody says, like, nifty 50. You can do everything with a 50, but for me, I'm. I'm all about the 85 because you can just focus on one detail.
Like.
[00:11:35] Speaker B: Yeah.
[00:11:35] Speaker C: One person.
Like. Yeah, I really like that.
[00:11:40] Speaker D: It's, it's actually, it's a very interesting, like sort of first prime to hone in on because, yeah, like you say most people, it's the 50 or obviously very common is the 35 for a bit more of the scene. Whereas 85 is usually a. Yeah. Something people pick up a bit later on when they get into portraiture or that kind of thing. So that's. That's really interesting. You grab that and then kind of stuck with it.
[00:12:01] Speaker C: Stuck with it. Did street photos all over Sydney.
Yeah. 50 or 35 just too. It's just like I get too much in the frame.
I just want to look at one thing. And the 85 is good for that.
[00:12:14] Speaker B: It is a good lens for that. It's really interesting hearing that because I'm a street shooter, but I prefer to go a bit wider. I'm currently playing around with the 27 mil Fuji lens or 27 mil full frame equivalent. And I like the extra context. I prefer to have that, you know, that extra scope and width and even getting in close to people. I like the way that those sort of street portraits look.
But it's fascinating how different people see the world. So for Jay, would you say that 50 is kind of given that you own seven Canon 50 millimeter lenses.
Would it be fair to say that 50 is one of your go to focal views?
[00:12:50] Speaker D: 50 and 28. 28, definitely. For if it was one. One thing I like more of the scene and to be more in the scene. Definitely.
[00:12:58] Speaker B: Yeah.
[00:12:58] Speaker D: Just. But I gravitate towards those two.
[00:13:01] Speaker B: Yeah.
[00:13:02] Speaker D: Yeah. I don't know why, but 50, 85 is. Is a wonderful focal length, as is 105 and 135 that I used to heat when I was shooting Weddings. But I prefer just a little bit more scene than that. Yeah, Yeah. I don't know. But it's. It's. They're all so much fun, but if I had to stick with one, it'd be 28 for sure.
[00:13:24] Speaker B: Yeah.
[00:13:25] Speaker C: Yeah.
[00:13:25] Speaker B: I'm enjoying my 28 now. 27 and a bit Fuji.
[00:13:29] Speaker D: Don't make it 28. They almost. They were so close.
[00:13:31] Speaker B: I know. So close. So close. One of the. One of the third parties, like the TT Artisans or. They'll make a. They'll make a 27 and 3/4. That'll be close enough. It'll be a pancake and It'll be an F 1.1 and it will cost $47. So it'll be. It'll be great. It'll be absolutely great.
Dylan. Sorry, we digress.
So shooting film, you get a camera. You're. You're in Sydney.
Were you just dropping these. These roles off to, you know, your local chemist? Or were you going to a film lab? Or were you processing this stuff yourself? When did that sort of. How did that progress for you?
[00:14:08] Speaker C: Yeah, I probably went to a film lab for a couple years.
But then I think, like a lot of people, I ended up with a heap of time on my hands once Covid happened.
And I think it would have happened anyways because I didn't like the idea of outsourcing development because I found like, just, you know, I want to. I want to be hands on with it.
[00:14:40] Speaker B: Yeah.
[00:14:42] Speaker C: But, yeah, I just started developing it myself probably around 20. 20. 20, 21. Found a dark room in Sydney and started printing it myself.
And for a long time, this is when I was doing my PhD. I just became obsessed with. With the dark room. And I kind of had these two things that I was doing. Like I was working in the lab all day, but then I'd want to, like, rush to the dark room afterwards.
[00:15:15] Speaker B: Yep.
[00:15:15] Speaker C: And yeah, so, yeah, that became a real passion of mine. It's printing in the darker.
[00:15:26] Speaker D: The beginning of an obsession.
[00:15:28] Speaker B: Yeah, yeah, yeah. Telltale signs and did you find the dark room, especially around the processing and the chemical handling. Did you find that, that stuff?
Do you think you found that easier because of your education and what you were studying at the time? Given that you've got a science background, did that stuff sort of come into it? Did that help, do you think?
[00:15:50] Speaker C: Yeah, definitely. It's hard to me, it's hard for me to imagine what it's like approaching the dark room without that background.
Yeah, for. Yeah, for me is. Is just like a much more basic version of what I was already doing in the lab all day. So, like, in the lab, I might make a solution and I might mix 20 or 30 things together to make a solution that I'm going to use for the rest of the day. But in the dark room, I was just mixing like one thing with water.
So that. And sort of the chemical safety aspect of it came naturally to me.
[00:16:27] Speaker B: Yeah. And how did you learn the process? Was it. Did you just rely on YouTube? Did you attend some classes? Did the dark room you went to in Sydney, do they run workshops?
[00:16:37] Speaker C: Yeah, they ran workshops and I got a couple.
Yeah, just a couple workshops there and learned everything. And then, and then I built on it myself. I didn't get a color workshop, but I found somebody that knew one person. New color printing, another new color development. I just spent like an hour with them and then sort of worked the rest of myself.
[00:16:58] Speaker A: Yeah.
[00:16:59] Speaker B: Yep. And I guess, you know, understanding process, especially from. With a science background, would have greatly aided, you know, in mastering those steps to, to learn, especially color development. It's a different, you know, it's a different ball game.
I imagine that, that, that background of yours certainly came in handy and, you know, knuckling down a process that you flow through from start to finish, from roll to print.
I, I studied art, I studied film photography in art school too. And. And I always struggled with getting the process down right, you know, getting the steps in the right order. And maybe I was just sloppy at getting things set up before. Who knows? I drank a lot of beer back then, so, you know, anything's possible.
But.
And so, you know, when now, stepping ahead a little bit to Brunswick darkroom, you know, where did that spark of an idea, where did that first arrive for you?
[00:18:01] Speaker C: So after Sydney, I moved to Melbourne and I tried to get my. I tried to get back in a dark room, and it was difficult. I sort of show up to places and they'd be like, yeah, maybe we can take you through here in a month if we have time.
And it kind of struck Me, like, there's nowhere I can. I can really go, like, I'm happy to pay someone, but there's nowhere I can even, like, pay for this.
[00:18:32] Speaker B: Yeah.
[00:18:33] Speaker C: So I kind of made it in a way for myself first, but, yeah, almost actually not for myself as a. As a photographer, but for myself as, like, thinking when I went to these other dark rooms and asked if I could use it and they tell me what their processes are, I'd always be thinking like, oh, this is actually. I think I have a better idea for how that process should work.
And so I made it for me to get this out of my system, like, these processes that I'm thinking about for people to come into the dark room and use it easily just to satisfy that itch, really. And also.
Yeah. Feel like a niche which I thought wasn't being, like, represented.
[00:19:19] Speaker B: True scientist, indeed.
See a better way to do it.
[00:19:23] Speaker D: Why not?
[00:19:23] Speaker B: I think that's great.
I think it's amazing. And so what was it like for you, you know, securing a property that you thought would be appropriate for. For a dark room? You know, was that. Was that on the back of COVID Was that a challenge or was there a. A glut of available retail, you know, spaces, given how many businesses folded during
[00:19:45] Speaker C: COVID Yeah, that's a really interesting question because not many people pick up on that. I don't think I've been asked that. But it's.
If making Brunswick Darkroom took two years or a little bit over two years, finding the property was the first year of that, and it was extremely difficult. I mean, there's a lot of spaces, but working through what's best was crazy.
I mean, we signed a lease for a place in Fitzroy and they ended up rejecting it because I changed something in the contract where I said it was just a very minor detail, but I said, yeah, I don't think I want to agree to that. So I changed it.
[00:20:29] Speaker B: Yeah.
[00:20:29] Speaker C: So we were almost in Fitzroy, almost signed a place that was going to cost us.
I think it was over 50,000 a year, which is a lot more than we're. Yeah. In rent, which is. Wow.
[00:20:44] Speaker B: Yeah.
[00:20:44] Speaker C: So thinking if that had been accepted.
Yeah, I know what I was thinking back then, jumping into that. That far of it, even.
[00:20:55] Speaker B: Yeah.
Oh, maybe fate stepped in.
[00:20:58] Speaker D: I was gonna say. You're obviously excited, though, and. And just really. Because that's the other thing. When things like that drag on for so long and it's so hard, you just want to make it happen and you try and. Yeah, you keep pushing and maybe end up making a decision that wasn't, wasn't necessarily the right one because you were just, you know, so feel like it's taken so long to get that close to the finish line. That's.
But maybe it was good fortune.
[00:21:23] Speaker B: Yeah, yeah. But I equally, I understand because, you know, that period in time, we were just coming out of lockdowns, like the most extensive in the world. And here, here in Melbourne especially, and I think from memory, real estates were frozen from rent increases during COVID a period of time. But then once that was over, the real estate agents and the, and the property owners wanted to recoup loss, you know, and they had a lot of vacant properties.
There was. I remember even just driving down Chapel street where I live here in South Yarra, you know, like two out of three shops were, were for lease or for sale at the back end of co. It was crazy how many businesses, businesses that had been here for decades, they just disappeared, you know, it's crazy. And, and then I imagine that real estate jacked those prices up as soon as they possibly could.
And that's probably why you face such an extreme, you know, first offer. But just as well, you, you, you, you fiddled with the contract because I didn't like that. And now look where you are. Fitzroy Darkroom doesn't sound just as good as Brunswick Darkroom anyway, so I think you saved yourself some marketing pain there.
[00:22:30] Speaker C: Yeah, we still have pain because we needed a company in order to sign leases, so we made the company first and thought that we were going to be in Fitzroy. So the company name is still Fitzroy Darkroom. And I don't want to pay it changed.
[00:22:45] Speaker D: I think it's nice.
[00:22:46] Speaker B: It's, it's a, it's a reminder of where you began.
[00:22:49] Speaker C: Yeah, but people get confused when they get invoices because the invoice says Fitzroy Dark Room.
[00:22:54] Speaker D: Yeah.
[00:22:55] Speaker B: Yeah, yeah.
Well, maybe you could. One day you'll open a second one and you can make that in Fitzroy. Then it will all come together. Who knows? Maybe there's an empire waiting for you.
[00:23:05] Speaker C: Yeah, Dark room empire.
[00:23:09] Speaker B: Now that's really interesting. And so you found the space you're in now.
Brunswick Dark Room.
How long have you been in that in that particular location?
[00:23:21] Speaker C: Since.
So the, the contract of sale was finalized two years ago, and then we opened one and a half years ago in April 2025.
[00:23:35] Speaker B: Yeah. Well, yeah, you're still a newbie yourself.
[00:23:39] Speaker C: Yeah.
[00:23:42] Speaker D: How was year one? How. What, what did you think it would be like? And how did it end up turning out?
[00:23:56] Speaker C: I I think.
I. It's been so much. I've learned so much.
What did I think it was going to be like? Yeah, we had all these projections of, like, numbers that we were gonna do. And.
And yeah, probably towards the end of. Of year one, we started hitting that bottom line of revenue which we projected, which was like, crazy, because that's almost like a dream come true.
Yeah, it is a dream come true. But the sort of distributions were way off. Like, where, where, you know, the products that we're selling were completely different to what was projected.
And then the expenses as well, the expenses became way higher because that's what I. Every month you're just hit with something else, like.
[00:24:51] Speaker D: Yeah, and there's just little things that you. It doesn't matter how many, like business plans or, or whatever or, you know, people. There's just things that you just don't think about that, that. And they all add up. Those are just tiny little.
And then, like you say, the way it's been too, like first, the last couple of years, everything has gone up across the board, every expense, and it just squeezes the ability to keep a business afloat.
It just gets squeezed every time.
[00:25:22] Speaker B: Yeah, yeah, yeah, yeah.
[00:25:24] Speaker C: That's what I really. I really feel like the light at the end of the tunnel for me, though, is those costs are generally sort of fixed. So I guess I didn't expect my accountant to be charging this much. But, yeah, I don't think the bill.
Yeah, I don't think the bill is gonna go up, like, as revenue goes up. So that's kind of what I'm hoping, that revenue goes up, but my costs can stay, you know, maybe revenue climbs higher than expenses.
[00:25:54] Speaker B: Yeah, yeah, that's the hope.
[00:25:56] Speaker D: Yeah, that's it. There are some things that cost, like you say for an accountant is to look at your stuff. There's just a flat fee that they kind of don't go under. But then until you get massive, they're not going to, you know, it's not going to be super complex, so they're not going to have to. If you double your revenue, it's not going to cost double for them to do the accounting.
[00:26:14] Speaker C: Yeah.
[00:26:15] Speaker D: So, yeah, that's light at the end of the tunnel. So it's working, though. It's good. Like, the revenue is there, the customers are there. People are excited.
[00:26:25] Speaker C: Yeah. In general. Yeah, yeah, it's. It's working.
Still tough. It's definitely tough.
[00:26:33] Speaker B: Of course, all creative industries are, especially now more than ever, you know, because a lot of people see our industries as kind of like a, you know, it's a nice to have, but when things get tough, it's a, you know, it's one of those things that can be put on hold or dropped altogether, you know, especially when people are struggling to find money to meet everything, you know, that they need, let alone what they want.
Quick comment here from Tulamantis, which I'll just drop in.
I was told I needed to plug in with Brunswick Darkroom. Never heard of it before. So glad to learn the science brain behind it. Fun to learn the progress of it. Sydney was the test. Indeed, indeed.
So, you know, obviously starting up a business, you know, we as photographers, we've all done it.
I particularly struggled with it, but I've resourced peers like Justin and other friends in the community to help me sort of solve problems because I didn't learn any of this stuff in school. You know, I went to art school and, you know, farted around painting and drawing and sculpting for 18 months. I didn't learn anything about business.
And so I've always struggled. Did you have any business knowledge or background, whether it be from family or did you have to outsource some of those, some of those elements of running a small business?
[00:27:54] Speaker C: Yeah, I didn't have business experience.
My grandpa actually started a business, but he's, he's passed away and I was in South Africa as well. But I like to think that, like. Oh, yeah, it's like in my nature somehow deep down I'm bringing it up.
[00:28:16] Speaker B: Yeah.
[00:28:16] Speaker C: But yeah, it was, it was learning everything from scratch for sure. But I, I think one thing that helped me was thinking.
Telling myself not to think far, far in advance and just tackle the day because if you go one day at a time, then it's, it's manageable.
But I almost didn't do it, like, just kind of just froze like a deer in headlights if I thought too far ahead.
[00:28:47] Speaker B: Yeah, yeah, get that. I get that. Indeed.
So Brunswick Darkroom you've set up, you're running, you're offering a range of services and products at the moment. So it's an analog darkroom workshop. You run classes there. You also offer film development and printing for Melbourne, and you also offer memberships for folks who want to use a darkroom, from casual right up to kind of pro level subscriptions.
Starting off with the workshop side of things, how does that sort of play out for you? Is that a core chunk of your business income or is it sort of balanced out across a range of products?
What's sort of the greater of of the lot.
[00:29:39] Speaker C: Yeah. I think for the past three months probably between 50 and 60 has been workshops.
[00:29:47] Speaker B: Yep.
[00:29:48] Speaker C: And next would be memberships and then the services like film development, printing, retail sales coming at sort of a smaller portion around like maybe 10 to 20% for all three of those things.
[00:30:09] Speaker B: Yeah. And what's. What sort of retail products are you offering?
[00:30:15] Speaker C: Just film. We've linked in with Ilford. Ilford are really, really easy to work with. Like as a. As a business.
They ship everything to us for free and there's no minimum order quantities and we get. Oh wow, really nice trades. Discount trade discount with them.
As a business, Kodak is a bit harder to work with so there's kind of a lot bigger minimum order order quantities from their Australian distributor and they charge shipping. So we don't. I haven't really been at a point where I can sit consistently stock Kodak just because it's such a. An expenditure to get it in.
[00:30:56] Speaker B: Yeah. Especially when you've got to make that a bigger payment for a minimum order.
You know, it's. It's not something you can just sort of drop an order every week, is it?
[00:31:07] Speaker C: Yeah, yeah.
[00:31:09] Speaker D: And the shipping, the shipping just, just means that you end up selling like you, you might, you might not make any money if the shipping fees are too high. You're ordering stuff in and way in advance and stuff. And then it's like is, is this even worth?
Would be.
[00:31:25] Speaker C: Yeah, exactly. So I have a. I'm going on holiday next week and I want to buy five portrait 400 and I was looking at buying it from the supplier and with shipping I'm paying the same price as I would pay going down and purchasing it as a retail customer in Melbourne. So the margins are thin, really thin.
[00:31:49] Speaker D: I. I often wonder what the margins must be like for film because I can't imagine there's much there for businesses selling it, but must be a big part of it. They must have to do. I think about places that specialise in film in Melbourne, like some of the smaller stores and stuff. Surely the film is mostly just getting people in the door to offer other services and things that they do, whether it's development or things like that.
I imagine that's may be similar with you guys that, you know, maybe it. You might make a small amount of money but you can't run a business off off that alone.
[00:32:26] Speaker C: Yeah, that's right.
Yeah.
[00:32:28] Speaker D: Yeah.
[00:32:29] Speaker C: For. For us it's really about getting even.
Even. We're offering film development now. Our margin is almost non existent on that as well. It's all about getting people in and. And getting hands on in the dark room, attending a work, trouble getting membership.
Yeah.
[00:32:45] Speaker B: Yep. I really like how with your membership. Sorry, you're going.
[00:32:50] Speaker C: I'm sorry. I was just gonna say it's what we offer that's unique. So it's, you know, a lot of people do film development and film, so it's nice we can offer something unique.
[00:32:56] Speaker D: Yeah, that's right.
[00:32:59] Speaker B: Dylan, can you tell us a little bit about the success of your memberships? I noticed that you run a whole range of offers. There's casual passes and then there's all going right up to studio and pro level subscriptions. But also for membership, people have to either demonstrate skills and knowledge in film development and printing or at the very least run one of your workshops, which I think is really cool because not only does it get them used to your space, but also your process and equipment that's available. Tell us about the subscription services. How are they going for the business?
[00:33:36] Speaker C: Yeah, I think they're going really well.
So we.
The philosophy with the darker membership is that we want to make it as easy as possible for somebody to come in off the street and create art. So if they have a thought like, I want to develop film and I want to make a print and I want to hang it at my house, or I want to give it to a friend or I want to do an exhibition, there's as few barriers as possible.
And you touched on a couple barriers that we do have that are super necessary. Like if somebody's never been in a dark room before, then they need to attend a workshop where we teach them how to operate specifically in our dark room, but how to develop film and print.
If they have been in a dark room, then they can just book a quick induction and they just come through for half an hour or an hour and we just show them sort of what's specific to our space and how we run a space which might be different from other dark rooms.
Yeah.
And we see a whole different huge range. I saw somebody asked if there's a typical dark room customer.
[00:34:53] Speaker D: I've been waiting to pull that up. Yeah, I wanted to know because I reckon that's a great question. Like, is there. Is there a.
Maybe in certain categories even? Like, is there a sort of person that you attract for workshops? Is there a sort of person that is after memberships or is it just pretty. Pretty random?
[00:35:10] Speaker C: You'd think it's like a type of person who's interested in film photography, but it, it's so different. You meet so many different kinds of people running these workshops who are interested in film.
Yeah, it's really. You could look at anybody on the street and there's a chance that they would be interested in our workshop. You can't really predict. Yeah, yeah.
[00:35:38] Speaker B: And I guess on that, on that topic of, you know, how interested people are in doing something like this, have you seen a growth in that area? It feels at the moment like film is having. Enjoying another resurgence.
And that's just from my casual observation, chatting to people, but also seeing product and things that are coming out. And obviously Kodak sort of lifted their game yet again and they were re releasing film. And along with a phenomenal amount of merchandise that you can buy from a whole range of places, Kodak has gone from a filmmaking company to a merch company. It feels like, you know, they do everything from Reebok collaborations through to, you know, backpack brand collaborations and all those sorts of things.
But have you. Yeah. Have you seen an increase in the interest and uptake of film photography, do you think
[00:36:28] Speaker C: so? I think having this business open for just a year and a half, I mean, the business has definitely grown, but I'm not sure whether that's due to an increase in the amount of people interested in film or it's just naturally sort of our business hitting the niche of film photographers that already exists.
It's always been our biggest challenge to keep workshops full every weekend. And I'm not sure if there's enough people who are specifically interested in film to fill the amount of seats, which is around 20 seats per weekend of people coming in to do workshops. So one thing I'm really trying to do, and I'm not sure if I'm doing it well, but I keep reiterating my efforts in this is to actually get new people interested in it just through our chat channels, through brands of darkroom. So we've developed workshops which assume that you've never even picked up a camera before. But we still get people into the darkroom making prints because I think it's something that's worth sharing with every everyone. It's just a whole meditative process that allows people to slow down and I don't think you have to be a photographer to enjoy it.
So I'm really trying to increase the amount of people who come in and use the dark room, whether or not
[00:37:52] Speaker D: it makes sense too. As photography becomes this, this weird thing that, you know, people can now wear meta glasses and take photos of anything they see all day or you can conjure up your own image in a, out of your imagination without ever picking up a camera. Like all of that's changing so much.
It makes total sense that just like oil painting or anything, someone in the future might want to pick up photography as a hobby and have never really taken a photo of anything other than just on their phone. And they want to just do it with film only, full film in a dark room, just like you would painting a picture. You know, just, just because we could take photos, people didn't stop painting or anything like that. And it just, I think that's actually a, a brilliant way to look at it. Obviously camera companies don't necessarily want that. Camera companies want people to buy film style digital cameras that come out this year and you know, they're trying to sell things. But in terms of photography as a, a passion and a hobby and a pursuit, it makes total sense to be like, hey, you've never done it before. Why not start the traditional method with film and we'll show you through it as a, as a more in depth learning practice rather than just saying, hey, grab a digital camera and start snapping away and then, then watch YouTube for how to get better kind of thing.
[00:39:24] Speaker B: Yeah, yeah, I agree.
[00:39:26] Speaker D: Yeah.
[00:39:27] Speaker C: I, I love how you touched on painting as well because now obviously we have like digital painting and what you might call it, graphic design or something like that.
[00:39:43] Speaker B: Yeah.
[00:39:43] Speaker C: To me, I think film photography is like the, the most true artistic expression of photography. And I don't think that as a method is or should go away because digital photography is something which evolves sort of every year and it's always getting better.
But painting is something which we've had for thousands of years.
[00:40:14] Speaker B: Yeah.
[00:40:14] Speaker C: And I, I think as, as sort of like a physical way to practice photography. I think that, that film photography should always stay there as, as sort of like the.
Yeah. The hands on expression of, of photography rooted in something physical.
[00:40:36] Speaker D: Yeah. Kind of like the root, the center. And then they can be offshoots all the way through to, to AI creation. But the center of it is here
[00:40:48] Speaker B: where it started.
[00:40:50] Speaker C: That's what I see. Or hope
[00:40:54] Speaker D: just to shift gears very quickly. I was just looking on your Instagram and I don't know how I missed this because I've often thought about it.
So if I get film developed there, I can get prints that have never been scanned digitally.
[00:41:17] Speaker A: Yes.
[00:41:18] Speaker B: What was that, Jay? Say that again for simpletons like me.
[00:41:21] Speaker D: So for a long time, like when you get your film developed and scanned, it's it then did then if you Want prints? They're digital prints from a digital file, a scan of your, of your film. And this probably comes back to my previous life as a terrible musician. And not so terrible, but still not great audio engineer where doing a full audio like album recording on tape, mixed analog and, and put onto like analog masters and then vinyl. It never touched digital. It never got converted into ones and zeros and then converted back again.
Yeah, and that was, that was a very sort of purist way of doing things. It's why recordings from the 60s do sound different than they, than they do now when it comes to music. Anyway, I didn't know that this was still a thing. And it makes total sense. You have a dark room, of course you can do it, that you can get. Take a photo on a camera.
Sorry, there's some crazy noise coming through from the other room. I don't know what that is. I hope Yulayna's okay.
Okay, yeah. So you can take a photo on a digital camera, sorry, a film camera, expose the film, get the film developed, and then the film can be the negative. The developed negative can be enlarged onto a print without it ever going through a digital process where it gets converted into ones and zeros.
Is that correct, Dylan?
[00:42:55] Speaker C: Yeah, that's correct. And I started offering this because when I used to get my film developed and get my prints back, I always thought of them as analog prints until I became a bit more wiser and I realized, oh, they're actually scanning it and then digitally printing it onto paper.
So if you kind of compare the two, a digital and an analog print, it's a lot like what you've just described with comparing the sound between analog and digital.
You just know it's different.
There's no pixels on there.
[00:43:28] Speaker B: It's.
[00:43:29] Speaker C: It's, it's beautiful. Yeah, yeah.
[00:43:33] Speaker D: Now, now the difficult part of this conversation. How expensive is it to get this done?
Because I assume it's. I assume it's not cheap.
I'd love to get this done. But, but how does it work? And I think it said on here that you get. You. Then you select which ones you want done from your scans and then.
[00:43:54] Speaker C: Yeah.
[00:43:55] Speaker D: How do you price this stuff? Is it like just a price per image or do you have. Does it get cheaper if you do more images from the same roll or anything like that? And what sizes can you do?
[00:44:06] Speaker C: So I think for this specifically, this is for people who get their film developed with us. And then, you know, when you receive your scans back, we put a link in there that said, like, click Here to order darkroom prints.
And then we had another field in that, like, checkout link that says, like, which photos? And you just like, type the file name. So it might be like 0414-0415. And then we go through your neck is. And select the photos. I think we started at about $40 per, like, a 6x4, which is obviously way more expensive than a.
A digital print.
But nobody actually bought those, so I wonder why. Probably way too expensive, right? So we're not. Yeah, we're not actually doing it like that anymore. We definitely have people who come through with specific frames and say, like, I want this analog printed.
But I found that the market.
The customer who was getting their film developed with us wasn't really interested in that offering. The people who come through to get analog prints are usually photographers or artists themselves who have something very specific in mind.
[00:45:31] Speaker D: Yeah, so it'd be more like, so I've got tons of film. Not tons. I've got some film here that I've shot. And so if I went through my negatives and found one that I thought was worthy of a darkroom print, is that then something that I could contact you guys and be like, hey, I've got this image, you know, I'd like to get printed. And then we'd talk about specific sizing and, like, what's possible and that kind of thing. And then it would be. Yeah, yeah, quote, almost like on to do that one image.
[00:46:03] Speaker C: Yeah, totally. So it's like a consultive process, and we talk about it, and I kind of show you proofs halfway to see what direction to take it and what you like. So, yeah, I think with that offering that I had launched, where it's just kind of link and you type things in, I was trying to go, like, less sort of, like, consultive with it. Like, just give me the number. We'll print it. We'll just do it, and it'll be easy. Yeah, but that didn't really. That didn't really catch on.
Yep.
[00:46:34] Speaker D: Yeah, I think it's. It would be tough because that $40 price point's kind of like, it's not cheap enough that you'd be like, yeah, cool, just do it. But it's also not.
Yeah, it's. Obviously, it costs a lot for you guys to actually get it done. You know, if it was me as a customer, if there was an option, and this obviously can't happen, but if there was an option that was like $70 to get everything on the roll printed, I would just Tick the box and be like, yeah, I want that. You know what I mean? Yeah, but that's possible.
[00:47:07] Speaker C: Yeah, with some hybrid sort of like machine, automated analog workflow, something like that might be possible.
But how we're doing it, placing every negative in the enlarger, lining it up on the easel, color correcting it by hand through multiple prints.
Yeah, but yeah, I did, I did one off service.
Yeah, yeah, I think they made some machines in the 80s that like automated about half of it, but it still doesn't really feel right to me.
Yeah, so, yeah, yeah.
[00:47:42] Speaker B: And with automation comes complexity and cost as well. It might feel.
[00:47:47] Speaker A: Yeah.
[00:47:48] Speaker B: More moving parts and, and you start to lose that. And I remember very fondly that the dark room experiences, you know, and putting on the enlarger for the first time and, and you know, sharpening the focus and just seeing your print, you know, coming to life. There's nothing quite like that. And it'd be a shame, you know, like we've seen with digital, we lose all of that side of the process all too often.
You know, I remember that it's like, you know, in the days when we used to make mixtapes and you know, I used to sit there with finger paused over the record button, waiting for the radio announcer to play the song I hope was coming up and trying to get it without the announcers. Like it was just all, it's all very different. It's very, you know, you can control your experience.
[00:48:32] Speaker D: It just sounds like. That sounds so old fashioned to me. Greg. Mixtapes in my day it was, it was Napster or Limewire.
A stack of, a stack of blank CDs to, to burn the pirated music onto. That's how we did mixtapes. And then you write on them with a Sharpie.
[00:48:48] Speaker B: No, that's not a real mixtape.
That's still digital.
[00:48:53] Speaker D: I love the, I love all of the behind the scenes stuff on the Instagram page that you've got. It's so cool, like documenting the process, like the build process and stuff. But then all just the behind the scenes, it's. Yeah, it's great. Have you had a good response on social media by putting this.
[00:49:11] Speaker C: Yeah, social media response has been. Yeah, really, really strong. Especially like the deeper, the more personal we get, the better response we get.
[00:49:21] Speaker B: Yeah, yeah. And I think it's. People are looking for that authentic experience, you know, especially in a world where AI is becoming more and more dominant over all the arts. Visual, you know, audio, the whole lot.
People, people are looking for those authentic experiences. And I think you Know, on social media, when you show your authentic side of whatever it is you're doing, people will gravitate to it because it doesn't feel mass produced. It doesn't feel like, yeah, just another post about photos. It's something a little bit more interesting and something worthy of people stopping the scroll.
And I think that speaks volumes, especially when you're running a business through it. You want people to stop the scroll and look at your stuff.
You want people to engage and potentially turn into a lead.
It's just the nature of running a business.
Dylan, I'm interested to know about these workshops that you run. Could you walk us through what's involved in a beginner group workshop over at Brunswick Dark Room? You know what, what can people expect?
[00:50:23] Speaker C: Yeah.
I'll take you through our core offering. We have a couple workshops, but I'll take you through our Darkroom Foundations workshop, which is five hours on a Saturday.
And a lot of people think like, oh, five hours doing dark room stuff. Will I get bored. But you're pretty active the whole way through. And everybody ends up thinking that they want to stay for longer. So you come with a.
We don't really teach the photography side of it.
So you come with your own black and white roll of film, which you've shot from, you know, wherever, whenever, and bring it to the dark room. And then we start at 10am and we go up until about lunchtime and spend all that time developing your film, teaching you how to develop it by hand.
We then put the film into a dryer, put a fan on. It'll dry in about half an hour. And while that's happening, we can break for lunch. We're nearby some really great food, so people go off and sample the local cuisine.
[00:51:31] Speaker B: Brunswick's good for that.
[00:51:32] Speaker C: Yeah. And come back and then the film's dried.
So we have a huge light table in sort of the entryway of our. Of our studio.
The light room, we call it, because we kind of have two rooms. We have the dark room and we have another room which is light. So just call it the light. Yeah, with the big light table. Put them on the light table, cut them up, put them in sleeves and select a negative that you want to print. And everybody's always so surprised when I say just. Just choose one negative, even though we might have like two and a bit hours.
Like you need that amount of time just to get one print, Right.
And we go into the dark room with that negative and we print it by hand under red light, open trays of chemicals, making Test prints and adjusting the exposure and the contrast and yeah, then you take your prints home
[00:52:33] Speaker D: and
[00:52:34] Speaker C: it's great because everybody always leaves with a smile. Like, people love it. Yeah.
And yeah, the difficult part, the workshops are so easy to run because, like, the instructor has a fun time, the participants have a fun time.
Yeah, it's great. The hard part, the thing, the, where the business side comes in is like, now we have to advertise it and convince people who might not know anything about a dark room, let alone Brunswick dark room, that they should like spend their Saturday with us.
[00:53:12] Speaker B: Yeah, yeah, yeah, it's a good point. And I think, you know, like I said, we've just returned from the bright festival of photography, where at its core, it's a weekend of workshops run by some of Australia's best photographers in their fields. And, you know, the thirst for learning in photography is still great, which is amazing to see, you know, and there was a huge spread of people from young teenagers who were involved right up to, you know, some people, you know, in their 90s were still, you know, showing up and, and doing workshops and, you know, lugging their cameras around. So the, the hunger for it is there. So, you know, how do you guys go about letting people know what you have on offer? Like, what is your kind of approach to, to advertising? You know, how do you get people in the door?
[00:54:05] Speaker C: It's.
Yeah, it's all Instagram.
Maybe word of mouth is a part of it too.
Done. Yeah, a couple sort of like flyer handouts.
But it's all, it's completely different than photography because it's this game that everybody is playing on social media now, which is just like, how do you get more eyeballs on you?
Yeah.
So I, I think a lot of people are in different industries are experiencing this and some people don't like it, some people do like it. I'm probably in between. I'm probably learning to, to like it a little bit. But it's, you know, making an Instagram.
[00:54:48] Speaker B: The social media side of things, you mean?
[00:54:50] Speaker C: Yeah, the so and then the social media side. But then looking at your analytics, like, okay, how. What percent of people are actually stopping scrolling.
[00:54:59] Speaker B: Yeah.
[00:54:59] Speaker C: When they see that, that reel. And what percent of people are, are clicking on my profile and how many seconds of that 20 second reel are they watching?
And then paying for the reel to be sent out as Instagram ads. Because on word of mouth alone, you really can't.
I, I found, I don't think you can sustain.
Yeah. Kind of like selling many, many workshop seats or getting Enough customers to sustain our business, at least, I find difficult. Just. Yeah,
[00:55:36] Speaker D: yeah. It's a tricky one because a lot of people's friends won't be. So I'm trying to think of a way. I have a business brain. I can't switch it off. I know we're supposed to be on a photography podcast, but I'm just like, how would I grow this business? That's all I'm thinking while I'm hearing you talking about it. And I'm trying to think of a way that you could.
Because. Because. Do all of your workshops book out?
Do you sell out all of them?
[00:55:59] Speaker C: They. Yeah, typically they have been for the last, like, six, seven months, but this month we're going through a tough period and they haven't been selling out this month, so.
[00:56:07] Speaker D: So I would be. Yeah, I would be maybe coming up with an offer where it's like. And it's a very limited offer to people that have booked in if the workshop hasn't sold out is like, hey, we have one spot left this weekend.
We have a bring a friend offer. First in Best Dressed, where you can bring a friend. It's half price for that friend.
[00:56:30] Speaker C: Yeah.
[00:56:30] Speaker D: You know what I mean? To fill an empty spot.
But that's encouraging someone to bring someone they know to come. And I was trying to think of a way to do that. But if they're selling out, then it's less useful. But if they're not selling out, that's how I'd fill it. Empty spots would be like, you know, but it's only. You know, there's only one spot left, and only one person can bring one friend. Like, it's. Not everyone can't bring a friend for half price. It's like, we're just trying to fill this one spot.
I don't know. There's. But I think. I think the way you're doing it, where you're using your best social content to then use those paid ads, that's definitely the. That's definitely the way to. To do it, for sure. The ones that perform the most, because they're the ones that already resonate with the audience that.
That you guys are sort of trying to attract the people that are naturally attracted to Brunswick Dark Room. It's a. Yeah, it's a whole. It's a whole thing. I just. I think this is.
It's so cool that a beginner's shoot to print experience for people that have maybe even never picked up a proper camera before is a really exciting proposition. Like, hey, we'll Give you a camera to use, you know, like, we'll teach you everything you need to know or bring your own camera and we'll, and if, you know, we'll see if it works or whatever. I know that's, that's a pretty hands on.
That's a pretty more hands on workshop than this one because I assume this one, you, you bring your own negatives. Did you say, for the standard foundations workshop, you bring an already shot roll of film?
[00:58:10] Speaker C: Yeah, yeah. So we've tried to do this sort of whole, like, come with you from the start. Like we shoot photos together.
Yeah, yeah. I think we've. I found that they don't sell as well. I think it's just because the dark room is such like a unique experience. It's like something you can't really get anywhere else. And when I try to put something out there that says like, okay, we'll shoot the film, we'll teach you how to do it. Now we're competing in this whole marketplace of, you know, I don't know how many photographers are running workshops like that, but I'd say maybe like dozens in Melbourne. Whereas we're one of the only people doing the actual darker and.
[00:58:50] Speaker D: Yeah, I see.
[00:58:52] Speaker B: Yeah, it's, it's definitely your, your strength, isn't it? That's it, that's your big seller, is that that experience.
Yeah. Is really unique.
[00:59:00] Speaker D: And that's what people.
The proposition is really like, hey, like, you love film photography. You're obsessed with it, but you're missing half of it.
You know, like if you're sending, if you're sending your roles off to a lab and then just getting scans back in and that's the end of it. And then you post them on Instagram.
You know, your obsession with film photography is getting cut off halfway. Like you don't even know what you're missing. That, that's kind of the angle that I'd be then going after. Because that's the, that's the thing that appeals to me is like there's this whole world beyond the part that I'm used to at the moment that I don't get to experience.
[00:59:41] Speaker C: Yeah, you're exactly right. That's. That's our, our best angle for the foundations workshop. Yeah, you've hit.
[00:59:48] Speaker B: Yeah, I think it's really clever. And we found that doing the print swap a couple of weekends ago at Bright Jay where people were and Bruce, Bruce Moyle actually said this in one of the meetups for the print swap that, you know, when you take a photo Even if it is with your digital camera, take it home, you edit it. You know, you might put it on social media, and that's where it ends for most of us. You know, it doesn't go beyond that unless you're selling them for a client or, you know, for a gig or whatever.
But, you know, Bruce pointed out that the true essence of photography is about the experience. It's about getting prints done, regardless of how that may be, and sharing them with others. And people actually standing there, holding your artwork in their hands and feeling the texture of the paper they choose, and.
And hearing the story behind the photo.
Not how easy it was to upload to Instagram, but how was that process for you? You know, what was the experience like? Where were you? Why did you take this shot? Why did you choose to print it? You know, that's. That's the true goal, I think. And Bruce echoed that at Bright, you know, of photography and the print swap. When we organized this print swap, you know, Bruce and I thought, oh, maybe 30 people, but we had 170 people showed up with prints to do print swap. Each had 20 prints. We also had a bunch of rares. So we tried to treat it a bit like a Pokemon trading card game. So we got a bunch of rares from. From the workshop instructors, and we made those in. We printed those in limited numbers and.
And the response to people swapping prints. So there was over. There was over 3,500 prints in circulation that weekend, whereas previous years, I'd never done anything like it, you know, and just. Just seeing the emotion and the. The authenticity of people sharing their prints and swapping them with each other, you know, and I went so far as to say, you know, print swap doesn't end with this weekend. Like former pen pal, relationship with someone. Swap prints once a month, just print Your favorite print 6 by 4. I don't care how you do it, but send it to someone and get them to send, you know, and everyone was sort of getting into that idea of photography doesn't end just because you've uploaded it to Instagram. Like, the image doesn't end. And I think that's where somebody like Brunswick Darkroom almost said Ballroom Darkroom, you know, offers to fill that gap for people. It offers to complete that photography process and get people, you know, looking at the whole journey of image making, not just the digital aspect.
So I think. I think that's wonderful. I think you should be congratulated for creating products that, you know, fit those. Those gaps that are currently in the industry.
Even Just for, you know, everyday shooters that just do it for a hobby, you know, they're not really getting the full experience just because they see it on the back of the camera or on a postage sized, you know, scroll as they go through.
I think especially with the rise of AI, I think that's where we can make a stand and become more authentic is through printing and sharing.
Actually, even, even just last night, I know this is probably going to irk you somewhat and I'm sorry Dylan, but I was even looking at the Canon selfie printers last night. You know, the 6x4. It's like the triple pass printers, little portable printers just, just so I could just have prints around. I know it's not high quality and it's not going to a lab, but because I only shoot digital now and. But just. Yeah, just that concept of just being able to print something out and you know, just blue tack it to the wall and just observe it and experience it differently. I think that's really important. I encourage everyone obviously to do that.
I am conscious of time. Dylan, because I was going to say conscious of time.
[01:03:25] Speaker D: That's quite the monologue.
[01:03:26] Speaker A: Greg.
[01:03:26] Speaker D: That was.
[01:03:27] Speaker B: Sorry, sorry guys, sorry.
[01:03:30] Speaker D: I was gonna. I wasn't wrestling in.
[01:03:32] Speaker B: No, I know.
[01:03:33] Speaker D: But yeah, Dylan does have to go in a sec. So I want to quickly ask before he does have to go.
[01:03:40] Speaker B: What?
[01:03:40] Speaker D: Have you had time to shoot much for yourself since you've opened the business and if so, what, what sort of photography are you doing at the moment?
[01:03:51] Speaker C: Yeah, if I was on the pathway to becoming a photographer before I opened the business, that kind of.
The business stopped that because I'm now a businessman or something of the sort. I'm not sure. I'm trying to operate the business.
I've always said that if, if I didn't open the business, I would have been getting into large format at this point.
But I don't really have time to shoot like artistically the way I used to take these long exposures of things like the Opera House and reach out to artists to take their portrait like I used to when I lived in Sydney and I was doing my PhD and I somehow had this extra time to do things like that on my hands.
Today I just take photos of, of my daughter and my wife and when we go on vacation it's a great
[01:04:47] Speaker B: project as far as I'm concerned.
[01:04:49] Speaker D: Still, still though, on film. On and always on film.
What sort of camera, what sort of camera do you use for like day to day family stuff?
[01:05:00] Speaker C: Pentax 6 7.
[01:05:03] Speaker D: I thought you were gonna say like,
[01:05:05] Speaker B: a point and shoot.
[01:05:06] Speaker D: A K1000 or something? Like something easy and small. Just a point and shoot.
[01:05:10] Speaker B: Hey.
[01:05:11] Speaker D: Yeah.
[01:05:12] Speaker C: I love the big negatives because I always take it into the dark workroom and print them, and I make photo books, and so it's always the Pentech 67.
My wife uses my Nikon F3, so
[01:05:25] Speaker B: that's a little smaller.
[01:05:27] Speaker D: Yeah.
Have you. Have you used one of these before? The Fuji G?
[01:05:32] Speaker C: Yeah,
[01:05:35] Speaker D: so. Oh, damn. I was gonna ask for some tips, so Nick Fletcher lent me this.
First of all, it's freaking enormous. I know it's not as big as your camera, but it's bigger than a G. Like, it's massive.
[01:05:47] Speaker B: Yeah.
[01:05:48] Speaker D: And I bought some rolls of 120, and that's as far as I've gotten. I haven't even loaded one yet. I'm too scared.
[01:05:53] Speaker B: Shame on you.
Shame on you.
[01:05:56] Speaker D: So. But maybe I'll be able to bring them down. Bring a roll down and develop one at the dark room if I get one.
Yeah, maybe I should do it. I'll do a test one first before I. Before I do that. I don't want to get down there. And they're just all. Yeah. Anyway.
[01:06:13] Speaker B: Light leaked and blown. Yep.
[01:06:15] Speaker D: Yep. Exactly.
[01:06:16] Speaker B: Nice.
Now, typically, at the end of each interview, Justin and I ask a question each.
My question to you is that, you know, if there was someone that you'd like to see take your seat on the Camera Life podcast for an interview with us, someone who you think's got an amazing story to tell or they're an incredible visual artist or whatever it may be, is. It could even be a hero of yours.
Who would that be? Who would you. Who would you like to see share their story online with us and why?
[01:06:50] Speaker C: Yeah, my mind is going to somebody who I've been working with recently, who's a great photographer and thinks about photos very differently from me, Asher Millgate. And he's just a great guy to have a conversation with.
[01:07:08] Speaker B: What was the first?
[01:07:10] Speaker C: Asher. Asher.
[01:07:12] Speaker B: Asher Millgate.
And is he Australian?
[01:07:17] Speaker C: Yes, he is. Yep.
[01:07:19] Speaker B: All right, I will track him down.
And, sorry, why. Why would you recommend Asher?
[01:07:29] Speaker C: I tend to think of photography in a very technical way. Asher always breaks it down into, like, composition and light, so, like, much more artful than I do. And he's also.
I just love talking to just. Yeah. Good guy to talk with.
Good voice.
[01:07:54] Speaker D: Perfect.
[01:07:55] Speaker B: Nice. We like that recommendation. All right, I'll look Asher up, and we'll see what we can do.
We're booked up for the rest of this year. But Justin and I are about to sit down soon and plan out 2027 if you can believe we're already saying that for our guests and our schedule for the Camera Life podcast. Speaking of which, just quickly before Justin asks his question, you are watching the Camera Life podcast. If you're new here, jump in the chat and say good day.
Give us a like. It certainly helps out a lot. And don't forget to subscribe to the Camera Life podcast. We do this twice a week. Every Thursday morning like today, we talk to an amazing photographer, someone working in the industry and we unpack their story and find out what makes them tick. Tick in the hopes that you'll learn something from it and maybe gain some inspiration or insight. And then every Monday evening at 7:30pm Australian Eastern Daylight Time at the moment we have our random photography show where we cover industry news, product launches, what we're up to in our own photography. But also we look at your images. You can send in your images and we will bring them up during the Monday night show live and we'll have a chat, chat about them and give you some feedback if that's what you're after or just celebrate your success. And Justin, that email address to send
[01:09:02] Speaker D: in images is the
[email protected] thank you.
[01:09:10] Speaker B: The reason why, Dylan, the reason why I get Justin to say that bit is because I get it wrong every single day, every time, every time I try to send an email. So I just throw to my, my trusty co host here, Jay, do you want to ask, ask your last question.
[01:09:25] Speaker D: I think I already know every episode lately. I already know the answer before they say it, but I'm gonna ask it anyway. Dylan, if it was the end of the world, I'm thinking zombie apocalypse in Melbourne. They're, they're going through the streets like the Walking Dead TV show. I might re watch that. That was pretty good. Some of it.
What camera, one camera and lens would you grab to document said end of world?
[01:09:52] Speaker C: Know that Fuji you just showed me? There's another Fuji. I think it's the GX617 maybe.
[01:09:58] Speaker D: Oh yeah.
[01:09:59] Speaker C: It takes even wider negatives. I've always thought it would be cool to take documentary photos with that. Just these huge ultra wide.
[01:10:09] Speaker D: Yeah, I think I know that. I can't find a gx.
[01:10:13] Speaker C: Probably take.
[01:10:14] Speaker D: Yeah, yeah. Big cage around it.
Yeah.
[01:10:17] Speaker C: Big cage around it.
[01:10:19] Speaker D: Yeah, yeah.
[01:10:20] Speaker C: Takes a 180mm lens.
[01:10:24] Speaker B: I think those cameras feel more like the front end of a Land Rover that a Land Cruiser than anything else, don't they? Because they've got that, that bull bar on them, don't they?
[01:10:31] Speaker D: Yeah, they've got the bull bar.
[01:10:34] Speaker C: Yeah.
[01:10:34] Speaker D: I think John Newman had one for sale.
I'm pretty sure I saw one on Facebook, a marketplace or something or like a buy swap sell photography page and I was like, oh. And then I clicked on it and I saw the price and I was like, oh, never mind. Yeah, I'm not even going to read the description. Yeah, it's way out of my price range.
[01:10:53] Speaker B: I do have one. One additional final question. You know, we are seeing some brands, mostly small, smaller brands, bring out new, mostly point and shoot film style cameras. Do you think that any of the big brands will ever lean back into developing film bodies? Canon, Nikon, Fujifilm for that matter?
[01:11:12] Speaker C: Yeah, I think it might be a really long time because the 20th century camera bodies are performing so well. But at some point they're not going to last forever. At some point we're going to run out of film cameras and the demand, I don't think the demand is going to go away. I think somebody's going to have to start making.
[01:11:31] Speaker B: Yeah.
[01:11:31] Speaker C: Proper film bodies again.
[01:11:35] Speaker D: If you had to put, if you had to put your money on a camera brand that you think will be the first one, obviously Leica, do it now and Pentax made that half frame thing, but that doesn't count.
What, what, what major camera brand do you think will be the first to release an actual film body?
[01:11:55] Speaker C: I, I'd love to say Nikon and I, I think, you know, eventually they would but I probably have to say Pentax because they made the half frame like.
Yeah, they can just make a full frame.
[01:12:09] Speaker D: Yeah.
[01:12:10] Speaker C: You know.
[01:12:11] Speaker B: Yeah. I've learned from the first, the first outing, haven't they? You'd hope.
[01:12:15] Speaker D: Yeah.
[01:12:16] Speaker C: Yeah. That thing's actually well made. Like, I mean I, I don't like half frames but like I think it's, it's all mostly metal construction.
[01:12:24] Speaker D: Yeah.
I wonder if that would have been way more successful if it had just been a full frame normal, like exactly the same thing but just a, basically a full frame version of that. Would it have been way more popular?
[01:12:39] Speaker C: Yeah, yeah, I think so. That's the only thing that put me off it. Well, and they need manual controls on it because it was a bit too.
Yeah, I think they had just like three focus settings and like automatic exposure, something like that.
[01:12:53] Speaker B: But it was brave and I think, yeah, they should be recognized and celebrated for at least giving it a shot, to pardon the pun. But Yeah, I hope we see it too.
And like you said, I hadn't even thought of that side of it. I was always looking at, purely from a marketing opportunity for companies, you know, to be the first to sort of really get back into film, especially from brands like Canon, Nikon and Fujifilm.
But not Sony.
[01:13:19] Speaker D: Hey, not Sony.
[01:13:21] Speaker B: Not so I don't. No.
[01:13:23] Speaker D: If it was Sony, that would be insane.
[01:13:27] Speaker B: Yeah, that would be so shameful.
[01:13:29] Speaker D: But if they made a really good film camera, they've got like, no. No heritage there at all. That would be.
[01:13:35] Speaker B: And everyone would just point at all the others go, shame on you.
Shame on you for letting this happen.
Well, you know, who knows? Maybe we'll see it one day.
[01:13:43] Speaker D: All right, it's 10:14. We better let Dylan go and get on with regular day life and the business of having a. A young child and a business.
[01:13:54] Speaker B: And a business.
[01:13:55] Speaker D: Yeah, you're a businessman.
[01:13:57] Speaker C: Yeah.
[01:13:59] Speaker B: But look, on behalf of us here, Dylan, thank you so much for your time this morning. Always amazing to get an insight from someone who's approaching photography in a very different way to what most people are these days. And I think that's really wonderful and you should be proud of what you're doing. I think it's an important service that the arts side of photography definitely needs.
So well done. Now, of course, everyone can check out the Brunswick Darkroom. If you head to Instagram, you can check out some of those posts that Justin was talking about. And it's just at Brunswick Darkroom and then the website, if you just Google search. Brunswick Dark Room couldn't get be any easier. But it's BrunswickDarkroom.com you can check out the services, the workshops, the lab services, in case you want to get some stuff developed or maybe even take a workshop and learn how to do it for yourself. Certainly well worth considering. And as Dylan himself said, it's a really unique experience and I think these days we could do with more unique and authentic experience experiences than ever before.
So thank you so much for your time. Dylan's been an absolute delight chatting to you and I wish you all the best and hopefully we'll. We'll see you. Maybe we'll see you back on the show. Some stage to talk about something that's coming up for the Dark Room.
But. But yeah, thanks a lot.
[01:15:17] Speaker C: Thanks for having me. It's been a lot of fun and enjoy the rest of your day.
[01:15:22] Speaker B: Yeah, you too.
[01:15:23] Speaker C: Cheers.
[01:15:23] Speaker D: You too.
See ya.
[01:15:25] Speaker B: All right, see ya. Well, we'll let you go. Are we going to stick? Oh, he's gone.
[01:15:29] Speaker D: Yeah, yeah, yeah, we'll. We'll stick. We'll stick on for a bit. I want to bring this comment up. Drunk wedding photographer says Sony can afford to do it and they have all the know how of Conica Minolta. Yeah, good point. Okay. I shouldn't be too.
Shouldn't be too anything. How are you? Drunk wedding photographer.
[01:15:46] Speaker B: Long time.
[01:15:47] Speaker D: How's the. How's the wedding industry going over there over in socal?
What's life like?
[01:15:53] Speaker B: Tell us.
[01:15:56] Speaker D: Yeah, we'll stick on for a bit because Dylan had to go, but it's, it's, you know, it's an hour and 15. Okay. I have to. What's happening? You've been. You've been holding.
[01:16:04] Speaker B: I'm having mic problems. I'm so sorry. I should mute myself. Sorry. You chat amongst yourselves.
Something's gone wrong with my mic.
[01:16:11] Speaker D: Yeah, but what's gone wrong? What's happening?
Oh, no, he's muted himself. Okay, so it's just me. I'll just. I'll just hang out here with you guys in the chat.
I've got a busy day today. I got so much to do. I got a trip. I got more trip planning to do.
It's just.
It's hectic, but it's good. Life is good. My studio's coming along. I should see if I can bring you guys up. What Chat GPT said my studio should look like it did like a mock up and it's. It's pretty funny.
Can I send that to the MacBook Pro?
Let's see.
Let's see if it does it. And this was done off studio tour. It's not going to be a studio tour. This was done off an actual photo. So it is the actual room. But Chat GPT has added all of the bits that it thinks are photos. Photo workspace would look like, which mine definitely won't.
Let's remove this and add this.
There it is. So this is what Chat GPT thinks it should look like.
Ta da.
Yeah, it's got podcast and work workstation area with some, you know, acoustic paneling.
Lots of cupboards along the left hand side, which I have no idea where I would get a row of cupboard. Like I'm. If they think I'm building cabinetry into this, they obviously. Chat GPT didn't get the memo about the budget.
[01:17:51] Speaker B: Just get flat IKEA stuff and just buy one of their tabletops.
That's too much effort.
[01:17:59] Speaker D: That sounds expensive.
Yeah, I mean, I guess maybe your
[01:18:02] Speaker B: ground staff can help you do it.
[01:18:04] Speaker D: The ground Stuff.
We've actually.
We've got ground to staff now. It's, it's. I don't have the staff for it, but I have the ground.
I was me trying to figure out why one of my sprinklers was stuck on. I was like, this is the sorts of things that you have to deal with when you've got more space.
So anyway, this is what it thinks the studio could look like.
The main thing I was actually doing for this mock up was my trying to figure out lighting. And I think this is the lighting I want. I just don't think I can afford it.
[01:18:37] Speaker B: Yeah.
[01:18:37] Speaker D: So when they're doing a quote. But what does everyone think of this idea of lighting? It's like linear LED strip lighting. It would all be on one switch. It would be dimmable.
Because the other option is to have like nine lights in the roof in like a grid pattern.
A three by three grid. But this, everyone said this would look way better and I agree, it does look way better. And it still produces consistent light. It's soft and consistent. Yeah.
[01:19:04] Speaker B: Yeah.
[01:19:05] Speaker D: What does everyone think?
[01:19:06] Speaker C: Yeah.
[01:19:09] Speaker D: And what does it. What does everyone think about the acoustic panel? Now, see that fireplace that's actually there? It's an old rusty fireplace. ChatGPT made it look quite new. It's actually existing in the house. It's old and rusty and it's staying. Because I love the idea of having a fire going in winter while it's raining outside. And I'm doing a podcast.
[01:19:27] Speaker B: Such a romantic.
[01:19:28] Speaker D: Such a romantic.
So it's gonna stay. The question is, where do I put the acoustic panel I've put in the corner. I could make it in. I could put it somewhere else. I don't know.
Like, it could be all along that other wall.
Let me see if there was another angle that Chat Chatgpta did for me.
[01:19:47] Speaker B: So where.
Where is it at the moment? Like, is that what the dark paneling is behind the desk in the corner? Is that acoustic paneling?
[01:19:55] Speaker D: Yes.
[01:19:57] Speaker B: Okay.
[01:19:58] Speaker D: Yes, it is.
[01:20:01] Speaker B: So you'll be speaking at that.
So that should do the trick.
[01:20:04] Speaker D: I don't know what I'll do yet. I can always. I can do other acoustic treatments if I need to.
[01:20:12] Speaker B: Yeah, I really like the trolley in the middle of the floor. I love that.
[01:20:16] Speaker D: I don't have that.
[01:20:16] Speaker B: So. No, we took one to bfop or is that Jim's?
[01:20:23] Speaker D: It's. Well, they're. They're lucky's. So they live at Gyms for Dispatch and I could try and get something like that made. Unfortunately, the guy that made those three for us that we have for gyms.
I can't find him anymore. I should have got heaps of them, mate, because they're actually great.
[01:20:39] Speaker B: Yeah, that was really handy while we were away. It was good because it became like a. Like an Apple Expert bar. You know where you go in with your problem and you stand at the bar with the Apple expert. That's what it was like. It was the lucky Straps expert.
[01:20:52] Speaker D: But instead of Apple Experts it was us.
[01:20:54] Speaker B: Yeah, just us. Yeah.
[01:20:57] Speaker D: So.
Oh, Jason says get color adjustable LEDs might be useful. I would love to, but I don't think that's anywhere in the realm of possibility. With the price point of having, you know that lighting in that track in the ceiling is going to be so expensive to just have regular dimmable.
[01:21:18] Speaker B: Yeah.
[01:21:19] Speaker D: LEDs. It would be insane to put like Philips hue strips or something in there. I don't think.
I don't think they can even do that. I don't know why it would actually be cheaper to do Philips hue strips. It's the extrusion.
I don't know.
[01:21:34] Speaker A: Yeah.
[01:21:35] Speaker B: What about Nanoleaf? Do they do anything like that?
They do like connectable Nanoleaf.
They advertise to gamers and streamers that want lighting.
Live streams.
[01:21:48] Speaker D: But they're probably all like hexagonal and weird looking.
[01:21:51] Speaker C: Yeah. They had.
[01:21:52] Speaker B: And they had these leaf shaped ones that kind of. You connect them in organic, not organic geometric patterns.
[01:22:00] Speaker D: Yeah.
[01:22:00] Speaker B: I don't, I don't know if they do ceiling lights.
[01:22:03] Speaker D: Look at how many plants are put in there. Like it thinks I can keep plants alive.
They would all be dead. I should, I should tell it to show it what it will look like when I don't water the plant.
Yeah.
And what my gear looks like because I don't put it back where it's supposed to go.
Show it messy with dead plants. Because that's the real.
[01:22:24] Speaker B: I just think it's wonderful space for you given that you have so much more floor space just to throw everything in disarray.
[01:22:29] Speaker D: On the floor. Yeah.
[01:22:30] Speaker B: On your floor like you do with your current office.
[01:22:33] Speaker D: That's right.
[01:22:34] Speaker B: Yeah.
Yeah, yeah. It's cool.
[01:22:38] Speaker D: Only black and white landscapes on the wall, which is also interesting.
[01:22:42] Speaker A: Yeah.
[01:22:43] Speaker D: It thinks I own a lot of pelican cases. Far more than I actually do.
It's. Yeah, it's interesting.
[01:22:51] Speaker B: It is good.
[01:22:53] Speaker D: Yeah.
[01:22:54] Speaker B: Yeah.
No, I think it'd be good.
I think that light is a good outcome.
[01:23:00] Speaker D: The light.
[01:23:02] Speaker B: Yeah.
[01:23:03] Speaker D: Yeah.
[01:23:05] Speaker B: So now the photo has been taken pretty much from where that desk was in the previous one. Yeah.
[01:23:11] Speaker D: Basically I'll flip back to the other one.
[01:23:13] Speaker B: Yeah.
[01:23:14] Speaker D: But yeah, pretty much the opposite angle because I got it. I took the angles and then got it to use those
[01:23:22] Speaker B: photos. Yeah. Oh, yeah.
And you've got some good natural light coming in, which would be good when you want to do, you know, natural light portraits and stuff.
[01:23:30] Speaker D: I won't be taking natural light portraits in here.
[01:23:32] Speaker B: You don't know how, do you?
[01:23:34] Speaker D: No.
[01:23:35] Speaker B: No, you don't. Yeah, I might need to take a glen lavender workshop, maybe.
[01:23:38] Speaker D: I was gonna say. No, I've never worked with natural light photography. Not in weddings. No.
[01:23:44] Speaker C: It's all. It's a little fake.
[01:23:46] Speaker D: No, I mean, I'm probably. I'm probably only going to do product photography in here and maybe some videos and stuff and. And dog photography if that becomes the thing that I have time for.
[01:23:57] Speaker B: Yep.
I hope once you get settled here, of course, you know, you'll have heaps of times on your head when the baby comes.
[01:24:06] Speaker D: Tons, tons of free Runs this podcast on my own, I think Rodney Nicholson says pop some skylights in. Look, I would if you saw what the ceiling like, what the roof trusses looked like above this. There's not a lot of spots for skylights. Also, in between this beautiful clean ceiling with the LED light, there will be a dirty, great big air conditioner vent in the middle of the room. So. Oh, yeah, it's. It's not going to look as. It never looks as good as what AI thinks it's going to look, that's for sure.
[01:24:34] Speaker B: Yeah, well, yeah, it took that vent out.
[01:24:37] Speaker D: Yeah.
[01:24:38] Speaker B: But it's good to have, you know, you've got climate control now.
[01:24:44] Speaker D: Yeah, that's right. It'll be. Yeah, it'll be comfortable, which will be nice.
[01:24:48] Speaker B: You can sit there with your hot chocolate in winter with the rain and the thunder and, you know, have your little slippers on, have your open fire going.
[01:24:57] Speaker D: Bosley sleeping next to the fire.
Yeah.
Show me what it will look like.
Really messy, dead plants, you know, real life, Air conditioning vent in ceiling.
Let's see. Let's see if Chat GPT knows what real life is.
[01:25:41] Speaker B: Now. Have you got floorboards in there at the moment or is it concrete?
[01:25:45] Speaker D: No, it's concrete, but that's the thing I was trying to mock up is that's why if you have a look at.
So I just tried to get it to mock up vinyl planks. Let's zoom in and see what the sorts of stuff that AI does incorrectly. Obviously it's a bit pixelated, but like so. See these planks that are like this? Oh, it's done. Vinyl planks.
[01:26:07] Speaker B: Yeah.
[01:26:08] Speaker D: But they're all wonky. Yeah. Wait, what's going on here? It's a square room. Look at this, look at this. And then this. Why is it doing that?
Yeah. What's happened there?
[01:26:19] Speaker B: That looks like something I've done. Because I can't, I can't hang. I used to be so good at hanging out and pictures. I can't hang a picture straight for crap anymore.
[01:26:27] Speaker D: That's funny.
[01:26:29] Speaker C: Yeah.
[01:26:33] Speaker D: Yeah, I, I. So I had to pick. I mean, do you want it? Do you guys want to pick the flooring while we're here?
[01:26:40] Speaker A: Sure.
[01:26:41] Speaker B: What are the options?
[01:26:42] Speaker D: Why not bring him up? Hang on.
[01:26:47] Speaker B: Solve all of Justin's problems. How long have you folks got?
[01:26:50] Speaker D: Yeah.
How do I send these to the computer?
Let's show you.
These
[01:27:03] Speaker B: drunk wedding photographers is concrete.
[01:27:06] Speaker D: So it's already got concrete flooring. But the thing is if I did that, I'd have to polish it, which would be cool. But the issue with polished flooring, I'll tell you the multiple issues. If you drop something on, it shatters and I'm clumsy.
The other issue is where's my.
Is it in downloads? There it is.
Yeah. It's going to cost money because the concrete. Or you'll be able to see it. In this photo I'm about to bring up. The concrete's definitely not in a condition that I can just leave it. So I'd have to polish it.
It's cold, it's slippery and it's especially slippery for dogs. And I do want to do dog photography in there. And they're pause. They just slip around all over the place and they're always scampering.
So I don't.
[01:27:50] Speaker B: Rodney says black and white dance floor squares like what Lucinda did in that photo shoot. Didn't she do that with the.
[01:27:57] Speaker D: That's.
[01:27:58] Speaker B: I think she hand colored them or something.
[01:28:00] Speaker D: Seems like too much. All right, so these are the four options that I picked from the million and bazillion options at the place that does the flooring.
[01:28:10] Speaker B: Yeah.
[01:28:11] Speaker D: Any thoughts? Any thoughts at all, team?
[01:28:14] Speaker B: I would probably go for the mid tone one second from the left.
What's that one?
[01:28:21] Speaker D: Hold on.
[01:28:21] Speaker B: If it's too light, it will show up too much stuff.
[01:28:24] Speaker D: Enhance.
[01:28:24] Speaker B: Enhance.
[01:28:26] Speaker D: It's pure Danish oak. And by pure I mean made from petrochemicals.
[01:28:31] Speaker B: I would go the pure petrol oak.
The darker one is good, but darker flooring can make the room feel squished.
[01:28:39] Speaker D: Okay.
[01:28:40] Speaker B: It is a big Space though.
[01:28:42] Speaker D: You know what's super interesting?
[01:28:44] Speaker B: What's that?
[01:28:44] Speaker D: Oh, why is that showing up so bright? Did I just do something that's so weird? See that on your screen, how bright that is?
[01:28:51] Speaker B: That's not pretty normal to me.
[01:28:52] Speaker D: Oh, something's just gone weird for me then on Streamyard. Anyway, so the one second from the left is the one chosen by my sister.
[01:29:05] Speaker B: Got good taste.
[01:29:05] Speaker D: Who's a bit of a. Yeah, she's a bit of a, you know, pick things out kind of person.
Just, just built their. Their new house and picked it all out and reads all the design magazines and whatnot and it's the one Chat GPT picked.
[01:29:20] Speaker B: Yeah. Which do you like?
[01:29:23] Speaker D: I've just. I'm leaning towards that one now because I don't know. And so you picked it. My sister picked it and Chat GPT picked it.
So let's just go with that.
[01:29:31] Speaker B: All right, well if the robot says it's okay, then it should be okay.
[01:29:35] Speaker D: Yeah, exactly.
And then now let's.
[01:29:38] Speaker B: Oh, now the image just went darker. That's really dull.
[01:29:41] Speaker D: Yeah, that's what I just saw. It's. It's. Something weird just happened.
Download.
Let's now see what else we've got here.
[01:29:54] Speaker B: Philip Johnson wants to know where the printer is going to fit.
Yeah, I don't think the bin is big enough for it, Philip.
[01:30:00] Speaker D: I've actually got a nice cabinet stored in a shed that.
It's like an old plan cabinet so it can fit like up to a ones flat with like 10 drawers.
[01:30:12] Speaker B: One of those for ages.
[01:30:14] Speaker D: Yeah, yeah, well I got one and it's. It's old and metal and like it come out of a. Yeah. Old architect's office or something. And the printer that my printer used to sit on that back in the day.
[01:30:26] Speaker B: Yeah.
[01:30:28] Speaker D: So.
[01:30:28] Speaker B: Oh, back at Lucky hq, the old Lucky.
[01:30:31] Speaker D: This was year before that, like way back when Jim and I worked out of the same room in a different house.
[01:30:39] Speaker B: Oh, okay. I thought you meant to call the cooling container.
That's more like it.
[01:30:45] Speaker D: That's what it's going to look like.
[01:30:47] Speaker B: Where are the plants? Can we zoom in? Hence the plants.
Plants, plants.
That is very much.
And can we superimpose you into the shot? Can we get.
That's.
[01:30:57] Speaker D: That is way closer to what it's going to look like.
[01:31:00] Speaker C: Yeah.
[01:31:01] Speaker B: What's all that on the ground near the wood, near the firewood?
[01:31:06] Speaker D: Leaves from the dead plant.
These are. What do they look like? Is that Lucky Straps merch. Camera life merch that's been unboxed. But it hasn't been taken anywhere yet.
[01:31:16] Speaker B: That is so close to the truth.
[01:31:18] Speaker D: Notes written on the ground. If you guys could see where my office right now, it's like there's a camera in here and then it's used that to create this. Yeah. Lots of random open photography cases like.
[01:31:32] Speaker B: Like parcels, packaging.
[01:31:34] Speaker D: Like.
Like this that's sitting right behind me on the floor.
Parcels, packaging, definitely check. Ripped up open cupboards. Yes.
Yet more dead plants, coffee cups.
[01:31:48] Speaker B: Lots of lens caps, not on lenses. That's very.
[01:31:50] Speaker D: Lots of lens caps, not on lenses. This is exactly what it would look like. Look, this plant, this plant down the back because it's near the window, isn't quite dead yet. It's like it's hanging on for life. There's a couple of green leaves near the top.
It's like, I'm not gonna die.
Yeah, this is.
Anyway, so this is what the office will look like. Guys, what do you think?
The air conditioning vent will be actually uglier than that one, but it's pretty close.
Which does make it a lot more realistic. Less. Less arty and more like a real normal playroom.
[01:32:23] Speaker B: Yeah. Yeah.
[01:32:25] Speaker D: Dear.
[01:32:26] Speaker B: Well, I think you should print that.
How I like to say. Print it. Print it and give it to your design person and say, here, make this dream a reality for me.
[01:32:35] Speaker D: Yeah, I love this. This is. Actually shows me way more like what it might turn out to be. And that's even though the fact I'm not going to have that fancy equipment like table and power. All those pelican cases and they. Cabinetry along the back wall.
Yeah, it's pretty nice.
[01:32:54] Speaker B: Oh, it's going to be a good space regardless of what you do with it. Just having a dedicated space for a studio.
It'll be good. Yeah, it'll just open up your opportunities and you know, you don't have to pack down stuff when you do dog photography because you want to use the gym. Where are you putting all your gym gear? In a different shed.
[01:33:12] Speaker D: The big shed.
[01:33:13] Speaker B: There's a big shed.
[01:33:15] Speaker D: Oh, yeah.
[01:33:16] Speaker B: Is that the one that you ran the garage sale out of?
[01:33:19] Speaker D: Yeah.
[01:33:19] Speaker B: Yeah.
[01:33:20] Speaker D: Okay.
[01:33:20] Speaker B: That is a big shed.
[01:33:21] Speaker D: It's a big shed. It's going to have a very well fitted out gym like that. You always put a loft in that shed.
You could, but I don't think we need one. We've got so much more space than we used to have where we're living the dream.
Yelena says that one was way more realistic.
She knows she has to live with it. Yeah, she knows.
Oh, that's very cool.
[01:33:46] Speaker B: Yeah, that's very bright.
[01:33:48] Speaker A: Get that.
[01:33:51] Speaker B: Nice.
[01:33:52] Speaker D: What are you up to?
[01:33:53] Speaker B: And so what's the rest of the. What, what's the next step?
You want me to talk?
[01:33:59] Speaker D: Yeah, yeah.
[01:33:59] Speaker B: Dumbest words.
[01:34:00] Speaker D: Is that what you're saying? What's the next step? What, for the studio?
[01:34:03] Speaker B: Yeah. What's the first thing that you hope to do? Is it the lighting? You want to get that right?
[01:34:09] Speaker D: I'll do anything in the order that it has to get done. At the moment it's just been painted. No floor yet, no lights yet. But the electrical is roughed in with PowerPoints and network cable coming out everywhere.
[01:34:24] Speaker B: Oh, nice.
Smart move.
[01:34:26] Speaker D: The flooring could be a four or five week wait. I'm not sure because we hadn't picked something. I should have just picked something the first day and just moved on, but I got, I got stuck.
[01:34:37] Speaker B: That's not like you.
[01:34:38] Speaker D: Not like me at all.
[01:34:39] Speaker B: And then have you booked bright for next year accommodation?
[01:34:42] Speaker D: No, that won't be happening forever, Greg.
[01:34:47] Speaker B: He's gonna find himself in a tent on the ground.
[01:34:49] Speaker D: That's right. If you're lucky, do it.
[01:34:51] Speaker B: I'd do it for befop.
[01:34:55] Speaker D: So, yeah, the lighting get done at some stage, the flooring will get done and then, then we'll be in, I think.
[01:35:00] Speaker B: Yeah.
And the rest of the house has that coming along. Have you, have you painted the nursery yet?
[01:35:06] Speaker D: No, we're not going to paint. We're talking about that the other day. Like we're not the sort of people that are like, what color should we paint the nursery? It's white like the rest of the house. And that's what color it will be at the most you can hope from maybe a picture getting hung up on the wall or something. Yeah, and I'm more practical. I'm like, what equipment do we require to keep this baby alive? That's what I'll be focused on.
[01:35:31] Speaker B: Yeah, you know, what tech can I buy?
[01:35:33] Speaker D: Well, not even that. What, like what, what, what is it? What sort of, what size cage does it sleep in?
You know, all that sort of stuff.
[01:35:41] Speaker B: You know, you can't cage. Raise children like a dog, Justin. Sorry. Oh yeah, I'm sure people do, you know, but they end up in jail usually, so. Yeah, be careful about saying that in public in any way, let alone on a podcast.
[01:35:56] Speaker D: Okay.
[01:35:57] Speaker B: Just a parenting tip.
[01:35:59] Speaker D: The Internet doesn't get humor as well as it used to. They remember.
[01:36:02] Speaker B: They always remember.
I knew. I knew he'd turn bad. He said he was going to put his child In a cage, See? Comes back, always comes back.
[01:36:09] Speaker C: See?
[01:36:10] Speaker D: Lucinda thought it was funny, but in all seriousness, I meant like the thing that they. I can't remember what they're called. There's so many different names. Is it bassinet?
[01:36:20] Speaker C: Is it.
[01:36:20] Speaker D: Is it cot?
[01:36:21] Speaker B: There's a bassinet for newborns and there's a cot for slightly bigger.
[01:36:24] Speaker D: And then what's the difference between those?
[01:36:27] Speaker B: Well, a bassinet is fairly small and contained, so the baby doesn't roll around. They sort of fairly. Because they usually just sleep when they're tiny, they just sleep on their back, usually facing up like a vampire bassinet, like, just like a vampire. With their little arms crossed and little chubby fingers.
And then as they get older, you move them and you know, we had. We had a bassinet when Sevyn Indy were born because we kept them in our bedroom next to the bed.
So when Isabel had to feed in the night, they were right there.
But then once they got a little bit older, we moved them into their room and they got a cot and then from there.
[01:37:03] Speaker D: Is that the sort of, that. I know there's a lot of different schools that thought on this, but is that kind of the normal route that most people do where it's like in. In the same room to begin with and then move them out, or do some people not do that as.
[01:37:15] Speaker B: And then I don't know what's normal.
I mean, plenty of people have opinions. You'll hear lots of that. I. I can do it.
[01:37:23] Speaker C: Do.
[01:37:23] Speaker B: It feels right for you guys, for all of you.
You know, if you're struggling with sleep, then maybe, maybe because the baby's making noise or maybe every time the baby murmurs, you wake up because you're an extra alert parent, you know, and you.
And that happens. You become so hyper fixated on every little thing they do.
And that can often disturb sleep and that sort of stuff. And then maybe that means that the baby needs to sleep in its own room sooner. I don't think there's a. There's definitely wrongs, but I don't think there's necessarily a right either.
[01:37:51] Speaker D: The cage is different.
[01:37:51] Speaker B: Wrongs. Yeah, the cage. You know, some people say never have the baby in the bed with you when you sleep. But, you know, I disagree. And I did that with both Sebi and Indy and Brendan when he first came to us
[01:38:05] Speaker D: full time or just when required.
Like in the bed when required or like all the time.
[01:38:10] Speaker B: Yeah, no, more, more just when required. Sometimes Isabel feeding and she'd just drift off and the baby would drift off, and it just, you know, there's nothing wrong with that connection. Actually, it's more important than ever.
[01:38:21] Speaker D: You know, I thought that would be pretty normal. I thought. I thought. I know some people are like, yeah, you. Not. Not, you know, full time, because then it's this big shift for them to go into their own bed when that. When the time comes. But I can. I mean, it would be weird to be, like, never. Never in our bed. You know, like, you shall not to the shed.
To the cage with you. Yeah.
[01:38:43] Speaker B: Does daddy need to get the cage out again?
[01:38:46] Speaker D: It'll get the hose.
[01:38:48] Speaker B: Yeah. But do what feels right. I mean, you'll get lots of opinions and take them on board and, you know, and different. You'll find that different demographics of people will have different advice. Like, older people have, you know, different advice to, say, people of my generation and then even newer parents. I have no idea what they're doing, but you got to just do what's right for you. And then, you know, if you. If you do decide to keep the baby in another room, then you just invest in a good baby monitor so you can hear what's going on, you know, when they wake and cry for feeds or, you know, nappy changes or whatever it is.
[01:39:20] Speaker D: Here's an excellent question from Roy Bigsby.
No kids in bed. Does that go for doggies, too?
I assume you're talking about the dog. Dog. I'm not gonna dog lots of doggos. Yeah, yeah, yeah. Just the word dog. Anyway, so no, definitely no dogs in bed. That dog, that. Our dog, our new dog has weaseled its way onto couches, which we tried to put a stop to at the beginning, and now we're like, yeah, come up on the couch. Yeah, come and hang out.
[01:39:53] Speaker B: He's a good boy.
[01:39:55] Speaker D: He keeps jumping on the bed and, like, when we're not around, he'll, like, sneak up on there and we'll find him asleep on the bed. But we've trying to stamp that out of him because there's got to be some sort of decorum on the bed. Can't just have this. This giant pooch just launching himself up onto the bed anytime he feels like it.
[01:40:18] Speaker B: Yeah. And especially if you're going to have a baby, you know, sometimes, even if. Even if, you know, you're feeding or whatever in the night, you don't want Boz jumping up and accidentally landing on the baby or, you know, because then that just results in the dog getting yelled at and yucky energy. So, yeah, I think that's Fair. I mean, we, we've. I've always let. When Yuki was alive, he always slept on the bed with me. And even when Isabelle was still with us, she.
Because Yuki was more her dog at first.
Yeah. He would sleep up on the end of the bed.
[01:40:49] Speaker D: Yeah.
[01:40:50] Speaker B: But yeah, I don't know. Like I said, just, just do it. Makes you feel good. Do it. Do what feels right. You'll learn from it.
[01:40:56] Speaker D: Yeah. I like asking people though, because that's the weird thing everyone says, oh, you know, there's no right and wrong and everyone's done. You know, everyone does what's right for them or whatever. And you're also like, yeah, but this, there's like billions of parents.
Surely we've got to the point where we had narrowed down that, you know, the top three ways to do something, but then you go, you look into it and you're like, no, we haven't yet.
You would think everyone could come to a consensus. Everyone could put their opinions in and be like, hey, this is how it worked out. We've done a study of billions, billions of children sleeping. And these are the best ways to handle it in these situations. But yeah, you look into it and everyone's got different opinions. It's like if you.
[01:41:35] Speaker B: Well, I think a lot of family go on.
[01:41:37] Speaker D: Sorry, I was just going to say if. I mean, it's becoming a little bit clearer now. But for a little while a few years ago, if you googled our eggs healthy, like the Internet didn't know. Yeah, but then people would be like, no, I'll kill you. Too many eggs will kill you. And then someone else is like, nah, they're super healthy. And there are super.
[01:41:52] Speaker B: Wasn't there a Simpsons clip about eggs? Probably. And Homer was cross at the eggs because they said all of a sudden there was a news article about eggs aren't healthy for you. It's like, damn you, eggs.
[01:42:03] Speaker D: Yeah. And it was like we couldn't even agree on that. Something that should be object. Objectively scientific. We couldn't figure out whether eggs were healthy but. Or killing.
[01:42:11] Speaker B: Yes.
And I think things have changed though, because, you know, previous generations, the, the new grandparents were very hands on, you know, and often grand. Like, often families were extended and they had multi generational households. And so you were getting this feedback instantly from your parents, you know, or your parents in law from their experience in raising you.
[01:42:35] Speaker D: Multi generational households and a close family connection. Yeah.
[01:42:40] Speaker B: And we've lost a lot of that sense of community, you know, where it takes a village to raise a Child, that kind of concept. We don't do that so much. We do often do it more in isolation than ever before.
But even. Even back when Isabella and I first had Sebi, I mean, he's 28 now, editor Seb. And you know, we joined a parent group, like a local council parent group. And that was good because we were getting or sharing those questions with people who were going through exactly what we were going through and seeing what they were doing and what advice they'd been given. And I highly recommend joining something like a parent group.
And then when the kids are a little bit older, a playgroup, local playgroup. Pretty much every council has them in some form or another because they're just good opportunities for you as a parent to sit and share some of the things that you find challenging, share some of the successes and learn from one another. You know, don't do that enough anymore.
[01:43:32] Speaker D: That's true.
[01:43:33] Speaker B: Failing that, you know, Uncle Greg is here.
[01:43:36] Speaker D: Call Uncle Greggy now. Uncle Greggy, what's wrong with your microphone? I saw. So you were fidgeting with it all. Show making all. It sounded like this.
[01:43:45] Speaker C: Sorry.
[01:43:45] Speaker D: Just so you know, this is what.
[01:43:46] Speaker B: I'm sorry.
I didn't realize it was making that noise.
[01:43:50] Speaker D: It wasn't that bad. But I saw you. I think I saw you holding the. Putting one finger on your mic. Is that. Is that headphone cords? Yeah.
[01:43:58] Speaker B: Remember how when it was a beef up, I had to use my cable ties that you all rejected to kind of pull the microphone cord up just a smidge to make it connect properly
[01:44:08] Speaker D: so it's not just switch you to a fresh one and you refused.
So now I'm. This one.
[01:44:13] Speaker B: This one smells like me.
[01:44:15] Speaker D: Well, it's gonna spit all over it. You're gonna have to spittle on a new one because you can't have you.
[01:44:21] Speaker B: No.
[01:44:21] Speaker D: I know the microphone for two hours during a podcast.
[01:44:25] Speaker B: Well, today it just cut completely. Like, usually it's just in my left ear.
[01:44:28] Speaker D: Okay. Yeah.
[01:44:29] Speaker B: And today it just kept cutting out completely.
[01:44:31] Speaker D: Yeah.
[01:44:32] Speaker B: So, yeah, I think I need to do something about it. Whether I send it off the road and get it repaired or.
[01:44:37] Speaker D: Well, regardless, now I'll have to post you now. Oh, you've made it so hard. We could have swapped it. Beef up hand to hand here.
[01:44:47] Speaker C: Yeah.
[01:44:48] Speaker B: Okay. All right. Well, I was too busy cleaning up all your other messes that you left around.
[01:44:52] Speaker D: Now I'll post mine to you and then you post that one to me. If we post them on the same day, we might be able to get them in time for the next show.
[01:45:06] Speaker B: Yeah, maybe, maybe.
[01:45:08] Speaker D: But today's Thursday. If we post them on Thursday, they should arrive by Monday for that.
[01:45:14] Speaker B: Aha.
[01:45:15] Speaker D: I have a witness. Lucinda says. I did witness.
[01:45:18] Speaker B: Oh, whatever. Whose side are you on?
[01:45:20] Speaker D: I did try.
[01:45:21] Speaker B: I was advocating for you. I asked Justin if we could. Could keep you and he said yes, only because I asked. And now you're turning it back on me.
[01:45:30] Speaker D: Yeah, I think.
I think we better. We better sort it out. We'll figure it out.
[01:45:34] Speaker B: Yeah, sorry, folks, it's. I've tried to stick with it for a few months, but now it's just getting worse and I need to do something with it.
[01:45:41] Speaker C: But.
[01:45:41] Speaker B: Yeah, well, I've got to come out to Bendigo soon enough anyway. Once you're back from your holiday, do you want to tell people that you're going to be away?
[01:45:47] Speaker D: I'm going to be away.
[01:45:49] Speaker C: There you go.
[01:45:49] Speaker B: Going to be away, folks.
[01:45:51] Speaker D: Early November, but I'll. I'll pop in. I'll be in the live chat. Greg will hold the fort down. It'll be fine. Don't stress.
[01:45:58] Speaker B: Oh, yeah, it'll be easier.
I've got some co hosts lined up for your absences, which is lovely.
Get some folks on board to help run the pod and just add some interest so everyone just doesn't hear me monologuing. Someone has to cut me off. Clearly.
[01:46:14] Speaker D: That was quite the monologue. I think I just lost where he's going to go with this.
[01:46:20] Speaker C: I know.
[01:46:20] Speaker B: I don't know that I know. I just fell into a stream of consciousness and you were.
[01:46:24] Speaker D: It was like print swap into just. I can't remember where it went after that.
[01:46:28] Speaker B: Yeah, I'm sorry. That was.
[01:46:31] Speaker D: Anyway, it was deep. I mean, the print swap clearly struck a chord with you. It really resonated.
[01:46:40] Speaker B: Oh, yeah, yeah. It's pretty powerful.
And just seeing, like being at.
At Bright, obviously, you know, really.
[01:46:47] Speaker D: Hang on, hang on, hang on, hang on. Don't do it. Don't, don't, don't, don't, don't start monologue again.
[01:46:51] Speaker B: Sorry, folks. Yes, it was important to me.
I'm a writer. I'm flowery with words. What do you want?
Well, this is why you liked me.
I'm the artsy fartsy one, you're the tech. Eventually, to the point.
[01:47:05] Speaker D: One.
That's right.
[01:47:07] Speaker B: Eventually.
[01:47:08] Speaker D: Eventually.
[01:47:11] Speaker B: So you're going to be way first week of November. So two of our Monday night shows and one interview show.
But I'm hoping to rope Jim in for something and reach out to a couple of Other folks.
Yeah. And try and fill some seats, but that'll be good.
That'll be good.
If you can just leave the lucky credit card just in case anything comes up, that'd be great.
[01:47:34] Speaker D: Yeah, I'll do my best.
There's nothing left on it at the moment, but you can try.
Okay.
[01:47:42] Speaker C: Okay.
[01:47:44] Speaker B: Well, I think that's kind of.
Gosh. We've gone from film photography to babies and dogs to studios to.
Apparently I modulated too much.
[01:47:53] Speaker D: That's why we call it the camera life. You never know what you're going to get. It's just life. Life in general with cameras sometimes.
I'm gonna try and load some film into this, potentially this weekend.
The. The thing I'm actually scared about loading film into it is Nick said there's a roll of film in there already. And I'm like, well, now I have to figure out how to wind that, like, not ruin that film, so I'm gonna have to.
[01:48:14] Speaker B: Well, why don't you just finish it for him and get it developed for him?
[01:48:17] Speaker D: Look at that. Look at that lens. Look at that.
[01:48:19] Speaker B: Yeah.
What is it?
[01:48:23] Speaker D: I don't know.
Fujinon, 90 mil, 3.5.
And it's actually made by Fuji Photo Film co.
They dropped the photo.
Just. Lucinda says just wind it off before you open it. Yeah, that sounds simple to someone that's got a million film cameras. I don't. How do I even know how to do that? It's got a couple little things on the bottom.
I don't know what to do. Wind it. Which way?
Wind. Both of them? Just one of them.
[01:48:54] Speaker B: You should feel the tension release. I'm not sure if that's a metaphorical, spiritual or a practical direction, but either way, you're in for a good time.
[01:49:04] Speaker D: Yeah, I don't actually know. And the other thing I have to do, I'm gonna have to get some sort of meter.
I've always just guessed, but these. This film's too expensive to guess. The metering?
[01:49:15] Speaker B: Yeah.
[01:49:16] Speaker D: Each shot, $5 or something. I can't afford to guess anymore.
[01:49:20] Speaker B: Yeah.
[01:49:23] Speaker D: She say at the top.
On the top.
Wind it off just like a 35. What?
No, there's no winder at the top.
The winders are at the bottom. There's nothing on the top.
Look, this is the top.
There's nothing there. Like, there is a counter there.
Is it gonna focus that close? Not quite, but there is a camera
[01:49:49] Speaker B: at the top that's like my XE5. It's got that same little window. I think that's maybe that's where the inspiration came from.
[01:49:55] Speaker D: Push the button and pull the film advance.
Should we do it now, together? I feel like I need to take one more shot. And if I can take a shot of Greg close focus, what would that be? Let's guess. Let's guess what? The exposure of my sturdy shadow on that.
[01:50:15] Speaker B: Coming from there.
[01:50:16] Speaker D: 3.52, 50th. 3.52, 50th. Nah, nah. F.
5. 6. 2, 50th.
And then we focus.
We focus. We get Greg's head lined up. Oh, that's way too close to focus.
Gotta go back. Got to go back.
[01:50:45] Speaker B: Don't trip over your pelican cases.
[01:50:49] Speaker D: Still too close to focus.
There we go.
All right.
Smile, Greg.
No, not cocked.
Last one.
No. Can't even press the button. Is something locked? Oh, we're locked. We're locked. I probably just advanced over a frame. Smile, Greg.
Nope, it's not that.
Okay, maybe it is done. Do you reckon?
[01:51:23] Speaker B: Keep advancing.
Keep advancing the lever. You've taken the last shot, and once you've taken the last shot until you feel it give.
[01:51:30] Speaker D: Yeah, keep advancing the lever.
[01:51:32] Speaker B: I know. Once you've taken the last shot.
[01:51:34] Speaker D: Well, I think there's no more. It's not. It's not letting me press. Why wouldn't it be letting me press?
[01:51:38] Speaker B: What's happening? I don't know, boss.
[01:51:40] Speaker D: Nick. Nick Fletcher. So there's a lock and a no lock. What's this button here do?
Is that for the lens? No idea.
[01:51:48] Speaker B: Once you Google it. You're a clever man.
[01:51:52] Speaker D: But, yeah, no pressy, pressy.
[01:51:56] Speaker B: So, yeah, maybe it's at the end.
[01:52:00] Speaker D: Is it? Is that how it works?
[01:52:01] Speaker B: Well, I'm going to find out.
Is he brave enough to open that door, folks? Will he?
[01:52:07] Speaker D: Maybe. I'll have to do this when there's a when I can get a live call in with Nick.
[01:52:11] Speaker B: Yeah.
[01:52:11] Speaker D: Lens cover off. Philip Johnson. The lens cover is a nice one.
[01:52:16] Speaker B: Yeah.
[01:52:17] Speaker D: Empty.
[01:52:18] Speaker B: Rodney says maybe it's empty. That might be a reason.
[01:52:21] Speaker D: Nick said there's film in here.
Do I just advance it again?
Yeah, it's not so. Okay, so the film counter isn't advancing.
The film counter is no longer advancing.
[01:52:34] Speaker B: Yep.
[01:52:35] Speaker D: So now I have to figure out how to wind it off, wind it back so that I can open the back.
[01:52:43] Speaker B: Yeah.
[01:52:45] Speaker D: Any tips? Anybody?
Yeah. Okay. Lucinda said it's done. Now I've got these two things on the bottom roll. Finished. Let's go. This is great. It's like troubleshooting via live chat. Must be an amazing audio.
[01:52:59] Speaker B: Lucinda says keep Winding on the advance.
[01:53:02] Speaker D: Keep winding on the advance again. Yep. Oh, it feels lighter now.
Now it's lighter.
[01:53:10] Speaker B: Give.
[01:53:11] Speaker D: Yep.
No. She said no.
I don't know what's happening.
[01:53:19] Speaker B: Oh, no.
Well, Lucinda, you can't. You can't give one direction and then say, don't do it.
Oh, you goose is so good.
[01:53:30] Speaker D: The film goes from one roll to the other. Oh, so you don't wind back, like, 35 mil.
Well, how does that work?
[01:53:40] Speaker B: So it must have a spool at each end.
Rodney's giving up Google.
[01:53:51] Speaker D: Well, that was my plan, but then everyone said, oh, it's so simple. It's simple. Oh, no, no. Okay, so she's saying, no, you're right. It doesn't go back. Okay, so basically, I just fully winded on to the other side.
Put the phone number up, and I'll call. The phone's not connected. Oh, actually, is it?
Hang on.
Media.
The phone number up. I don't know if I have the phone number in this one. Oh, yeah, There we go.
So let's just see. Phone numbers up. I'll try and get the Bluetooth connected before Lucinda calls.
This would be a good way to finish the show. Do some tech support on.
[01:54:35] Speaker B: Well, it's on topic, isn't it?
[01:54:36] Speaker D: The world's biggest film camera. I think we're connected. We'll see what happens.
Gosh, that's funny.
I better just not touch anything until Lucinda calls.
Oh, there she is.
Hang on. Let's see.
Hold on. Lucinda, can you hear me?
[01:55:07] Speaker A: I can hear you.
[01:55:08] Speaker D: Oh, it worked first time. Heck, yeah.
[01:55:10] Speaker A: Yay.
[01:55:11] Speaker D: Okay, what do I do?
[01:55:15] Speaker A: So you keep winding like you would advance the film. So with 120, there's two rolls.
So on the bottom of your camera, where those two holes are. Yes, there's two rolls in there. So you have an empty roll and a full roll.
[01:55:29] Speaker D: Okay.
[01:55:30] Speaker A: And so when it's full, like when you first load the camera, the film goes on the left and it takes up on the right.
[01:55:38] Speaker D: Okay.
[01:55:40] Speaker A: Yes.
So then you just keep winding it with the film winder until you feel it give. Which I think you've already done.
[01:55:48] Speaker C: Yeah.
[01:55:48] Speaker D: The advanced lever. Not the things on the bottom.
[01:55:53] Speaker A: No.
[01:55:53] Speaker D: Okay. Which. It feels way looser now than it was. Yeah.
[01:55:58] Speaker A: Yep. Just, like, do it a couple more times just to, like, make sure of it.
[01:56:02] Speaker B: Oh, asmr.
[01:56:04] Speaker D: I know. I thought that'd be fun. I don't know why the shutter wouldn't click. Would the shutter not click for some reason once it's finished? Is it that. Would it be that Automated.
[01:56:13] Speaker A: Yeah.
[01:56:14] Speaker D: Okay, cool. Well, then it was done.
It definitely feels done.
[01:56:21] Speaker A: Yeah. Cool.
[01:56:21] Speaker D: Now what?
[01:56:22] Speaker A: So then you have to open the back, which all of them are different. So my Pentax has, like, a clip on the side that you have to pull down. Yep.
[01:56:34] Speaker D: We all want to unveil this together to see whether I'll just ruin film. We'll expose it together. I've got the LED light. Like, I could do this in the dark just in case, but now I'm literally pointing it at the LED light for the podcast.
[01:56:47] Speaker A: Oh, my gosh.
[01:56:49] Speaker D: Yeah.
[01:56:50] Speaker A: Yeah.
[01:56:51] Speaker B: Oh, there it is.
[01:56:53] Speaker D: One roll of film.
Yeah.
[01:56:56] Speaker A: So then there should be, like, a little piece of paper where you have to lick it and, like, put it around it so that it doesn't unroll.
[01:57:03] Speaker B: Rodney says lick the leak, so, Jay,
[01:57:07] Speaker D: lick it before I even understand what you guys are talking about. Lick where. Hang on. I'm gonna. I see the little bit of paper.
[01:57:14] Speaker A: So take the roll out.
[01:57:15] Speaker D: So now take it out.
[01:57:17] Speaker A: Is.
Is you.
[01:57:20] Speaker D: Is that what these bottom things are for?
[01:57:23] Speaker A: Yeah. So you should be able to pull it out.
[01:57:25] Speaker D: Done.
[01:57:25] Speaker A: It should, like, un. Yeah, and then pull, like, pull down, and it should pop.
[01:57:30] Speaker D: Done.
[01:57:30] Speaker A: Out.
But you don't want the film to unravel. So just make sure that you don't, like, let go.
[01:57:35] Speaker B: Lick the leader. Just lick the leader.
[01:57:42] Speaker D: Get in there. Do I lick?
[01:57:43] Speaker B: Show it that you mean it.
[01:57:44] Speaker A: Hang on. So that there's a little. There's a little tiny, like, rectangular part in the middle that's like paper.
[01:57:52] Speaker D: There's two bits sticking. There's one that's folded over and white. And then there's another bit.
[01:57:57] Speaker A: Yeah. So the little. The skinny part of the paper, like the. In the middle, that's the leader. That's what Rodney's talking about.
What you normally do is, like, there's.
There's a bit that's, like, as wide as the film, which is just, like, the backing of the film. So you normally fold that over and push it down, and then lick that leader part, and then you just wrap it around, and it'll just hold it in place.
[01:58:19] Speaker D: I mean, it seems like it's okay.
[01:58:24] Speaker A: The paper might be sort of all rolled up in the.
Yeah, pull the little tiny piece of white paper.
[01:58:31] Speaker D: Pull the. Pull the white paper. All right, here we go.
[01:58:34] Speaker A: A little tiny piece.
[01:58:35] Speaker D: Yeah, it seems like it's stuck in there already.
Is it wound around that?
I should be doing this in the dark, not under the LED light.
[01:58:49] Speaker A: Oh, gosh. Yeah.
You want to just kind of un.
[01:58:53] Speaker D: Okay. So it says Exposed on it.
[01:58:56] Speaker A: Yes.
[01:58:56] Speaker D: And then so I wrap that around. I see. Yeah. It was stuck in there. It was stuck in. Now I've got this big tail.
Yeah, I lick that.
[01:59:06] Speaker A: Yep. That should feel like a postage stamp.
[01:59:09] Speaker B: Oh, wow.
[01:59:10] Speaker D: Similar.
[01:59:10] Speaker B: Never want to see that again.
[01:59:11] Speaker D: Linked. Done.
[01:59:14] Speaker A: Yes.
[01:59:15] Speaker D: Okay. Portrait four hours.
[01:59:17] Speaker A: Now you're just going to work out.
You just got to work out. Load it.
[01:59:22] Speaker D: No, no, we've got to load it. Oh, Rodney says put it in a film safe. Well, if I only had a time machine so I could go back in time and purchase a film shape.
[01:59:31] Speaker B: I think he meant it safe now.
[01:59:34] Speaker D: Oh, don't buy a film safe, okay?
[01:59:38] Speaker A: No, Rodney's saying it's safe and you're not going to have it unfurl on you and expose again.
[01:59:45] Speaker B: We shouldn't have told him, Lucinda. We should have just let him go hunting for a film safe on ebay and see how it goes.
[01:59:51] Speaker A: Oh my God.
This is not the stress I needed this morning.
[01:59:56] Speaker D: So look, this isn't my first time with film. It's just my first time with 120. I don't understand. It's a whole 35 is so simple compared to this.
[02:00:06] Speaker A: But it isn't. It isn't like. Yeah, I feel like 120 is almost easier, but. Yeah. So in your camera now before you load your film, you want to put the blank roll in the other side where you just took the film out.
[02:00:22] Speaker D: Oh, so I keep reusing the roll. You keep one stays in the camera. Right. So I pop that. So just for those watching at home, I'm popping the this side out. Hang on. Can't do this with one hand and holding it up. Pop this out.
[02:00:40] Speaker A: Yeah, it's too heavy.
[02:00:43] Speaker D: Fiddly. Right. Pop that out. Put this on the winder side.
[02:00:49] Speaker A: Yep.
[02:00:49] Speaker D: Try and do this with one hand with Nick's camera. Okay, so now it's on the winder side and there's a blank slot for where my film goes.
[02:00:58] Speaker A: What you call a take up spool. So you. That's where the film's being taken up by. Right.
And then you just flip that latch.
[02:01:09] Speaker D: Flip what latch? Oh, this one.
[02:01:11] Speaker A: The latch on the bottom of the camera.
[02:01:12] Speaker D: Yeah, yeah. Can't wait to put a better camera strap on this bad boy. Gotta pick one.
Okay, guess what? We get to pick now which film? So we have, we have Ilford Delta 100 black and white, which is becoming my favorite black and white film.
[02:01:37] Speaker A: Okay.
[02:01:37] Speaker D: I like it. I like. I know no one else does, but I love it.
Everyone likes that. Other fancy Ilford one.
[02:01:45] Speaker A: But I.
I like 3200 personally, but I don't think you have much use for that.
[02:01:50] Speaker D: No, I have Delta 400 so that I can be a little bit more run and gunny.
[02:01:56] Speaker B: You go to Delta.
[02:01:57] Speaker D: And then I have Ektar 100, one of my favorite.
One of my favorite color films.
Kodak Ektar 100.
[02:02:09] Speaker A: Oh, yeah.
[02:02:10] Speaker D: And then I also have CineStill 800T so I can photograph some of some of the finest petrol stations in Bendigo.
[02:02:21] Speaker B: Yeah, if I was too.
[02:02:22] Speaker A: I feel like that's too scary to start with.
[02:02:25] Speaker C: Correct.
[02:02:26] Speaker D: I agree. So let's pop that to the side. All right.
[02:02:28] Speaker A: So, yeah, maybe keep that for when you've learned how to use it.
[02:02:31] Speaker D: Yeah. Which. Which one would we start with out of these three?
[02:02:35] Speaker A: Well, what are you gonna. What are you thinking?
[02:02:37] Speaker D: You're gonna go shoot probably some out of focus.
Out of focus, blurry frames of nothing.
[02:02:45] Speaker A: Okay, well, maybe. Well, are you gonna do daytime or.
[02:02:48] Speaker D: Well, yeah, daytime.
[02:02:51] Speaker A: Yeah. Yeah, so probably. Probably the hundred.
[02:02:53] Speaker D: The black and white.
[02:02:55] Speaker B: Yeah, I'd go.
[02:02:56] Speaker A: Well, black and white.
More expensive to develop.
[02:03:00] Speaker B: So.
[02:03:07] Speaker A: Unless you want to start your own dark room.
[02:03:10] Speaker B: Give him time.
[02:03:13] Speaker D: Okay. Delta 100 it is.
[02:03:16] Speaker A: Okay,
[02:03:20] Speaker D: let's load it up.
[02:03:21] Speaker B: What is the average cost of a roll of 120 these days?
What does it cost?
[02:03:26] Speaker D: $35, was it?
[02:03:27] Speaker A: I don't know. Yeah, so like 10 to 12 frames?
[02:03:32] Speaker D: Yeah, I get eight frames.
[02:03:36] Speaker A: Eight?
[02:03:37] Speaker D: Yeah, on this thing.
[02:03:39] Speaker B: Wow.
[02:03:42] Speaker D: So expensive.
[02:03:44] Speaker B: Yeah.
[02:03:45] Speaker D: Let's load this up and then we're going to turn this podcast off.
[02:03:52] Speaker A: This is riveting. Riveting viewing.
[02:03:54] Speaker D: All right. It's all taped up in a little. In a little thing. Like it's already been pre licked. Does someone at the factory lick these before they get sent out?
[02:04:02] Speaker A: Yeah, yeah, they pre lick them for you.
[02:04:04] Speaker D: Okay.
[02:04:04] Speaker A: Yeah. So see. See the difference between the one that you've exposed, probably has exposed written on it, versus just the.
Yeah, the standard.
[02:04:13] Speaker B: Yeah.
[02:04:14] Speaker A: So, yeah, you can un. You can un.
Ravel that little white bit of paper, but make sure that you're holding onto the film because otherwise it might just unfurl on you.
[02:04:23] Speaker D: Yep. Okay, so unwrap paper.
Don't let film unfurl. So hold that bit with my. Oh, it's ripping. Should it rip? Is that okay? Like the paper is ripping?
[02:04:37] Speaker A: Yeah, that's okay.
[02:04:38] Speaker D: Didn't come off cleanly. That frustrates me.
[02:04:41] Speaker A: Yeah, never. Never does. Okay.
[02:04:45] Speaker D: Yeah, it's.
[02:04:46] Speaker A: Unless you like Joel and have a knack at unrolling them.
[02:04:50] Speaker D: All right. And then that. Okay. So that paper comes off completely. It goes away. All right, done.
[02:04:54] Speaker A: Yeah.
[02:04:54] Speaker D: Now I'm holding the film. I'm holding the film so it doesn't unspurl itself on me.
[02:05:01] Speaker A: Yeah.
[02:05:01] Speaker D: Okay.
Do I pop it in the thingy?
By the thingy, I mean the camera.
[02:05:10] Speaker A: Yep. So you pop it in the left hand side of the camera.
[02:05:15] Speaker D: Yes, in.
[02:05:18] Speaker A: And.
[02:05:19] Speaker D: Oh, come on in.
We are in the left.
[02:05:23] Speaker A: Okay, so then you're going to pull a little tiny bit out. There should be like a squared off piece at the very front of that paper.
[02:05:32] Speaker D: Before I do that.
[02:05:34] Speaker A: Yep.
[02:05:35] Speaker D: It's going to go all the way across the back.
[02:05:38] Speaker A: And then this is gonna go across the film plane.
[02:05:40] Speaker D: And then I'm gonna have to ram it into. There's like a slot in the. This blank one.
[02:05:45] Speaker A: Yes. So I normally use the, the lever to try and find there's like a little slit in the very middle of that piece of plastic roll and that's where it's gonna feed into. So I normally try and like, use the lever to try and just like square it up. So it's gonna go in like nicely.
[02:06:02] Speaker D: Yeah. At the moment the slot is. So that. Yeah, I'd be basically pointing it straight through. Through towards the front of the camera where the.
[02:06:09] Speaker A: Yeah, that is great.
[02:06:10] Speaker D: Okay, perfect. All right, we're doing it.
We're doing it.
[02:06:16] Speaker A: We need a top down angle of this because it's easier to just like put it on your desk and like do it.
[02:06:20] Speaker D: Yeah, I'm. It is on my desk right now. And there's no way I can really point that camera easily at it. I'll just have to talk you through it. All right, I'm progressing across the back.
[02:06:30] Speaker A: Pull the. Yeah, pull the piece of paper across. There's a squared off piece that goes in the slide lot. And then you're gonna slightly advance it so that it starts to wind on. But you don't want to like go crazy.
[02:06:40] Speaker D: Well, it's just going everywhere.
I'm losing all of extra paper probably.
That just cost me an extra $5.
How far through the.
It kind of just bottoms out in the.
[02:06:55] Speaker A: It bottoms out because it's. Yeah.
[02:06:57] Speaker D: Okay, so.
[02:06:58] Speaker A: So hold, hold the, the paper very loosely with one hand and with the other hand, just advance it just slightly so that you can see that the paper's rolling onto the. To the spool.
[02:07:08] Speaker D: Okay. How much rolls on? How much, like how much do I need to have on to know?
[02:07:15] Speaker A: Hardly any. Like, it just. You just need to be able to see it sort of like, roll, like taking it up.
[02:07:21] Speaker D: It's taken up. It feels pretty rigid and good. And it's like sitting in there.
[02:07:25] Speaker A: Cool.
[02:07:26] Speaker D: Okay.
[02:07:27] Speaker A: Yeah. So it's like it's not going anywhere.
[02:07:29] Speaker D: I don't think so.
[02:07:30] Speaker A: Feels good.
[02:07:31] Speaker D: Feels good. Looks good.
[02:07:33] Speaker A: Yeah. Cool. Okay, so what you then gonna do is shut the back and then you're gonna wind it on until it stops and then that will be your first frame.
[02:07:41] Speaker D: You sure it stops? Like, what if I just keep winding it to the end? At the moment it says no, it'll stop. Oh, okay. It says S on my little film counter. I don't know what that stands for.
[02:07:52] Speaker A: Yeah. So you're going to keep winding it on
[02:07:57] Speaker D: another one?
[02:07:58] Speaker A: Yep.
[02:08:03] Speaker D: Another one.
[02:08:05] Speaker A: Mm.
Say one yet.
[02:08:07] Speaker D: Says one. It didn't stop.
Well, I mean, I haven't tested it, but it's right on one.
[02:08:13] Speaker A: Okay, well, if it's right on one, then that's where you're going to stop.
[02:08:16] Speaker D: Okay, I'll just stop there and then maybe it stopped or maybe it hasn't. I don't know.
No, it doesn't feel like it stopped. I'm too scared. I'm going to stick at that.
[02:08:27] Speaker A: Look, the worst that's going to happen is if you haven't like. If you've loaded it in and it hasn't like fully wound on, you're just going to get like a half frame to start with and end up with more shots on the roll.
[02:08:39] Speaker D: Yep, yep, yep. You know what sucks, though? I forgot I was going to. Oh, yeah. Can I put. How do I remember what I've put in the back of this? Can I. Is this that what I normally get?
[02:08:48] Speaker A: A bit of tape.
Yeah. So there's this. Some cameras have like a little metal. Yeah, that one. Yeah. So what you do is you normally pull the little end off the film box.
[02:08:58] Speaker D: Nice.
I've always wondered. Shove it in there. Always wondered what the pros do.
[02:09:04] Speaker A: Yeah, my. Some of my cameras don't have that.
So I just like get a bit of tape and just put it on the bottom of my camera to tell me which film stock I've got in there.
[02:09:16] Speaker D: Oh, it's like. It's made for it. Look, it's like. It's like a Fujifilm now.
[02:09:22] Speaker B: It's like the X Pro 3 with. Remember they had that little E ink display with the film stock. Yeah.
[02:09:28] Speaker D: It's not even E ink, though. It's real ink.
[02:09:30] Speaker B: It's real.
[02:09:31] Speaker A: It's real paper.
[02:09:32] Speaker D: It's real paper.
[02:09:33] Speaker B: Amazing.
[02:09:34] Speaker D: Now I won't forget what ISO. I'm at perfect. Or if I'm shooting black and white or color.
Happy days.
[02:09:43] Speaker B: And as Rodney says, good job. Well done. Listen to. Good work.
[02:09:47] Speaker D: That's the best tech support ever. Yeah.
[02:09:50] Speaker A: Oh, my God. The only other thing, Justin, is to check if there is like some sort of like if it's got an internal meter or something. Just check if there's an ISO setting somewhere or an ASA setting somewhere.
[02:10:01] Speaker D: Zero metering on this bad boy. So I just. I'm gonna have to. Either I'm gonna guess it or I'm gonna.
I haven't got a. I've got a meter.
[02:10:07] Speaker A: I can send you a.
I can send you a meter. Cause I've got a spare one.
[02:10:11] Speaker D: Ah. If not, I just. Often when I'm learning a new camera, I'll just take.
Yeah. Phone. I just take one of my other cameras with it. Cause I know how my cannons meter or whatever. Or I just. Cause I just guess.
[02:10:22] Speaker A: Yeah.
[02:10:23] Speaker D: And then I usually get a handle on it pretty quick, but I wish. I should buy a meter.
[02:10:27] Speaker A: Yeah, yeah, yeah. Just put it. Put an alert on ebay. I picked one up pretty cheap, so.
[02:10:33] Speaker D: Yeah. Yeah, I don't need anything fancy.
[02:10:36] Speaker A: Yeah.
[02:10:38] Speaker D: Cool. We're done.
[02:10:40] Speaker B: There you go.
[02:10:40] Speaker A: Good job.
[02:10:41] Speaker B: Nice work.
[02:10:41] Speaker D: Good job.
[02:10:41] Speaker B: Thanks, Lucinda.
[02:10:43] Speaker D: Thanks, Lucinda.
[02:10:44] Speaker A: No worries.
I'll go back to editing my social media stuff now.
[02:10:48] Speaker D: Okay.
[02:10:48] Speaker C: All right.
[02:10:48] Speaker B: Good luck with that.
[02:10:49] Speaker D: I'll let you go. Thanks.
Bye.
[02:10:54] Speaker C: Bye.
[02:10:56] Speaker D: Well, that was fun.
[02:10:57] Speaker B: It was fun. Gosh, we've had a journey today, haven't we?
[02:11:01] Speaker C: Yep.
[02:11:02] Speaker D: Maybe this should be the call to random photography show.
[02:11:05] Speaker B: Yeah, maybe.
[02:11:05] Speaker D: It's funny. This is what the random photography show was supposed to be, but now it's so packed with news and images and just the stuff that comes up. The real. The real stuff that we don't get time to chit chat very much.
[02:11:18] Speaker B: Maybe we need a third show.
[02:11:21] Speaker D: The. The really random photography.
[02:11:23] Speaker B: Yeah, the really, really random photography show. We just sit here and talk problems and crap.
[02:11:27] Speaker D: Yeah, maybe it's good.
We'll see.
[02:11:33] Speaker B: Paul says a random bonus. Nice. It was a nice random bonus.
Well, I think that's probably a good place to tie a bow in this episode of the Camera Life podcast. For anyone watching along, thank you so much for your time this morning. Of course. We. We spoke to Dylan from Brunswick Darkroom. You can head to brunswickdarkroom.com if you want to look up more information about that. They have great workshops, they have memberships if you're into film photography. But also to be a really, really nice gift for the photographer in your life or the photography co host in your life.
But what else you got on this week, Jay? You got any other photography work coming up? Anything photography related?
[02:12:13] Speaker D: I don't think so.
I'm trying to avoid photography work at the moment as much as possible. I've got too much to do with Lucky and the podcast and the new house and stuff, so I'm sort of actively hiding.
[02:12:29] Speaker B: You've got a bit on your plate, so.
[02:12:31] Speaker D: No, nothing, Nothing really. I will. On my trip, I plan to do some street photography and my ultimate plan at some point is to have somewhere to put my.
I don't know what you call it. It's not street photography. Whatever it is that I've done when I was in Vietnam, Indonesia and wherever else I've been that I've taken these types of images that I take, I don't even know what they are. I need somewhere to put those, so I've got to do that. Maybe a website or something.
[02:13:01] Speaker B: Yeah, I think you should.
[02:13:03] Speaker D: I have to figure out what that
[02:13:04] Speaker B: photography is or at least start a fresh Instagram account.
[02:13:08] Speaker D: Yeah, I just don't know whether.
Yeah, I can't have another Instagram account.
I've already got one that I don't post to and multiple other ones and it's too much. So, yeah, I don't know. I don't know where that photography is going to live. I definitely want to print some of it and have it framed in the new house, but I just don't know quite what it says yet. But I'm working on it.
[02:13:30] Speaker B: Fair enough.
Fair enough. Well, good luck with that.
No, just some bits and pieces for my business. I need to sort of start proactively promoting my workshops again now that Bride is over. I can sort of put some more energy into that and get some more workshops happening. I mean, I'm currently developing a golden hour into night street photography workshop that I had to roll out soon.
Yeah, and the other one that I'm working on is a.
A street workshop that incorporates the concepts that I introduced and the elements of street photography, but for mobility impaired folk. So it's, you know, not something that we have to spend three hours walking through the city to achieve. We can go to a nice accessible space and. And yeah, and just.
I had a couple of people actually at BFOP ask me and talk to me about, you know, I'd love to do it, but I can't walk very far.
And I said, well, you know, we can, we can build a workshop around that. We can just Keep it in a location and.
And go from there. So yeah, so I'm going to work on those two and yeah, just bits and pieces. I've got. I'm in the middle of writing a couple of articles. I'm writing obviously an article for the Lucky Strap site. For those that don't know
[email protected] is which we have a blog post area where I contribute blogs once a month and also all of our guest short form blogs are there from each and every interview that we do.
So I'm doing that. I'm also writing an article about Beef up for the Beef up team for them to use in their whatever it is they're using it for. So yeah, got a few bits and pieces but I'm also still kind of getting back on top of from Beef Off. It's crazy how, you know, I'm still editing photos and I can only do so many at a time because I just go, I just can't look at these anymore, you know. Yeah, but yeah, bits and pieces. Sorry, I might have monologue there.
Very conscious now that you don't like me talking too long.
[02:15:32] Speaker D: I need a sound effect to cut you off. I don't know, I'll come up with something.
I'll come up with a new one.
[02:15:40] Speaker B: Yep.
[02:15:41] Speaker D: Just a gong maybe.
[02:15:44] Speaker B: Yeah, yeah. Or if it was Lucinda and I, we'd be saying hey squirrels. Because that just sort of means we got distracted and on a team.
[02:15:50] Speaker D: Maybe just. I'll bring the slap sound effect back just to like slap you out of it.
[02:15:55] Speaker B: Wow.
[02:15:56] Speaker A: Wow.
[02:15:58] Speaker B: That's a bit violent.
Anyway, yeah, so bits and pieces. But of course folks, we'll be back on Monday evening, 7.30pm Australian Eastern Daylight Time.
We have a random photography show.
We'll be talking shop again. Send in your images. Don't forget we always love to bring them up but please try to stick to one image per submission per week.
We're happy for you to send images week after week, but just try to send one or a small short series if there's an interconnecting story between a small number of frames.
Let us know why this image matters to you.
If you're looking for feedback, ask away and we'll certainly give it our humble opinions. But on that note, now it's time to say goodbye.
[02:16:44] Speaker D: It is.
I'm going to play the music.
Don't forget, this show is brought to you by Luckystraps.com so go to Luckystraps.com if you would like to buy a camera strap or if you just want to have a look at our camera straps or if you want to buy Lucky Camera straps, merge and soon the Camera Life merch, which I don't think is available yet, but it'll be available very soon.
Actually we're having a big family sale in a couple of weeks. So if you do want to buy anything, might be best to sign up to our newsletter now and just hold off until then to get the best deals. There'll be deals very much close to what we were doing at befop, which is the best deals you can get. So yeah, check that out. If you're not sure, email me if you need to find out. Justin, like Luckystraps.com and I'll let you know the details when they're live.
Otherwise cool. Thanks. Thanks. Philip Johnson. Thanks Roy Bixby. Thanks Lucinda for helping me with my camera. Thanks everybody. Rodney for helping with the camera. Everyone that threw their two cents in on how to get film loaded into Nick's amazing Fujifilm medium format camera.
Everyone else that was here, Elena, of course, the drunk wedding photographer. Good to see you, Paul.
You're all awesome. Robert Varner. We'll catch you guys in the next one.
[02:17:59] Speaker B: Yeah, Be safe everyone. Bye.
