iPhone Duo for Photography?

[00:00:00] Speaker A: It. [00:00:30] Speaker B: Well, good day, everybody, and welcome back to the Camera Life podcast. It is the random photography show. And what are we at? We're at 14th of September today. The month is marching on like you wouldn't believe. Before you know it, the footy will be over. It'll be time to start talking about Christmas or beef up first and then Christmas and, oh, it would just go around the roundabout all over again, don't we? [00:00:51] Speaker A: And of course, being a hey, years pretty much done. So just move on to next year. 2027. [00:00:59] Speaker B: Yeah, let's just call it this year's been. Although terrible. [00:01:04] Speaker A: It is. What do they call it? Tech Timber. Used to be Techtober. Now I think it's tech timber. You know, when the iPhone comes out, [00:01:13] Speaker B: which is what we're talking about. Well, we are going to talk about the iPhone today. And for those of you that are watching this podcast with your eyes closed, of course, I am joined today by the croutons to my soup potential. It is Justin Cassels. G', day, boss. [00:01:25] Speaker A: How are you? Hello, Greg. I'm tired, but I'm here and I'm ready to get pepped up by all the people in the chat. So I did. I had to drag myself into the podcast room this afternoon or this evening because I am pooped. [00:01:38] Speaker B: But I think, you know, on the way, if you got to check your privilege, because you just said you've got a podcast room, so, you know, hey, [00:01:45] Speaker A: you can call anything a podcast room. It is a bit true. You've seen it. You've seen it. You wouldn't say it. It's not grand. It's not a grand podcast room. It's not a hal. No, it's not soundproof. I can still hear the neighbor's dog barking right now. It's been. And when you're three hours. [00:02:02] Speaker B: Oh, yeah, it's still barking. [00:02:03] Speaker A: That dog, it still barks. Wow. Yeah. [00:02:06] Speaker B: And what about your grounds people? They obviously make a bit of noise. [00:02:10] Speaker A: Do have grounds people, but they don't do nighttime mowings anymore. [00:02:13] Speaker B: No nighttime mowing? [00:02:14] Speaker A: No, no. There was an incident, and after that, now they only mow in the daytime. So total stove. Yeah. [00:02:23] Speaker B: Oh, very nice. Very nice. We've got a lot to cover off tonight, folks, so stick around. We've. We've got a hot topic we want to talk about. We'll get to that in just a sec. But there's a lot of industry news going on. Sony's had a big week. A lot of lenses again. [00:02:38] Speaker A: Some actual lenses, too. Not. Not like. Yeah, not Like I should, I won't say any names but not like those no name lenses that come out that, for mounts that I don't even know and they're like apertures and stuff that I don't care. There's a lens that come out that I'm like that's pretty cool this week. So I'm excited to talk about that. [00:02:58] Speaker B: Yeah, Sony's had a good, that brought out some stuff for their cine range, Fujifilm for their cine range. They brought out a few things. Even Nikon who have been very, very quiet this week have brought out, have announced some new cine products and we'll get to that when we talk about the news. And then of course today being the Monday night, we're going to check out your images. That's right. If you're watching this live or afterwards you can send in your images and we'll bring them up on a Monday night show and we'll talk about them and you in positive terms. Of course that's right. We're nothing but support supportive. How do folks send in their images, Justin? Because I get the email address wrong every time I say it. [00:03:34] Speaker A: You just email them to the camera [email protected] that's the camera [email protected] Tell us a little bit about the image. Not too long, couple hundred words and tell us your settings or whatever and if you have any questions or you know, what would you have done differently or you can send an A and a B this edit or that edit, this crop or that crop if you like and we'll bring it up and we'll talk about it. [00:03:56] Speaker B: Indeed. [00:03:57] Speaker A: Anything, anything too. Sometimes we do topics but most of the time it's just like whatever image, whatever you feel like could be macro, could be landscape, could be portrait, anything. [00:04:06] Speaker B: Yeah and plenty of folks have been going through their archives because we talked about that last week and people have been digging through their gold, their old gold so to speak and sending in some older images which is amazing and lovely to see. But of course you know we mentioned earlier about the good old iPhone and actually yesterday, interestingly. Well, I think it's interesting. I ran a street level photography workshop in Melbourne yesterday and it was mobile phone only photography so we just used our smartphones and everyone had an iPhone which was interesting to see that ratio. [00:04:44] Speaker A: Apple 100 market share, Samsung 0. [00:04:47] Speaker B: That's right, Samsung 0. But so yeah we, we had a, we ran a. I ran a very successful, got great feedback. I was really chuffed, went really well. But you know, it does. [00:05:00] Speaker A: I have a question, I have a question. Was everybody a. Did anyone have cameras as well and they like as he. Not at the workshop, but they were photographers and they just wanted to learn about shooting with their phone or were these people that don't have a camera at all and they just want to start doing street photography and their phone is their camera? [00:05:19] Speaker B: Yep. People that don't have a regular camera, their smartphone is it. And the three guys that I had joined me, it was two friends and one of their sons and they travel a bit, you know, and obviously we always have our phones with us and they always have theirs with them. And they wanted to make the most of their travel and street photography, whether they're home or away. And so I ran them through a sort of a modified version of my beginners workshop, but dedicated to smartphone photography. So we started off about setting up the smartphone for photography. We then spent about an hour and a half going through a range of exercises that I've developed for, you know, basically training people how to see better images before they take them, how to find those elements that make an image pop. And then we spent about an hour afterwards sipping some nice coffee in Melbourne, of course, because you can't have a bad coffee and talking about editing and how we edit photos and why and, you know, what's underdone and what's overdone and those sorts of things. It was a really good. It was a really great time. Had a really good morning. [00:06:23] Speaker A: What I want to find out off you now that you've done that, you ran a workshop, everyone had iPhones because, you know, that's how the world is Now I want to find out, is this new iPhone duo, the Foldy Foldy, is it. Is it better for photographers than the standard iPhones? And don't. Before you answer that. Yeah, I just want to say hi to the chat, but that is in one second. And also, hey, by the way, this, this show is brought to you by Luckystraps.com the greatest camera straps on the planet. But we'll, we'll talk more about that later. Who's in the chat? Philip Johnson. Good evening. Happy Monday. Or beef up 24 days. Yeah, it's coming. [00:07:00] Speaker B: Right. [00:07:00] Speaker A: Festival of photography right around the corner. [00:07:03] Speaker B: Nice. [00:07:04] Speaker A: Richard Mayall, Lucinda Goodwin. John Latimer. Good evening, Hank. Hope everyone had a great weekend. I did. I had it. My weekend was long. That's why I'm tired. So it started on Friday, early. I went to the NFL game in Melbourne to the. With a hundred thousand and Something other lunatics who were so excited just to be having a day off on a Friday in the sun, that the little cards that you hold up to make like the signs, you know how they stick them on the seats and then they say in this moment, everyone hold up this sign. They're all different colors to make a sign. By the end of the. By the start of the fourth quarter, actually, it became a paper plane flying competition for the entire mcg to see if anyone could get it onto the grounds. It was crazy. [00:07:53] Speaker B: I bet they didn't see that coming. [00:07:56] Speaker A: No. So, yeah, it was a big weekend. Started on Friday and got crazier as it went on. [00:08:00] Speaker B: Well, I was in town both days. Sorry, just quickly. Both days for workshops, Saturday and Sunday in the mornings. And I've never seen so many American tourists in Melbourne. [00:08:10] Speaker A: Apparently there was 20,000. I don't know if that's true or not, but that was the number. Someone told me. But apparently a lot of people planned to cut to make it a trip to come over here. It wasn't just like the team and their people. It was. There was a lot of tourists and the 49ers really went around and just tourist up the place. I think it's actually gonna have a big impact on American tourism coming to Melbourne specifically because of this. I think it's made a splash. So anyway, we'll see. [00:08:42] Speaker B: Nice. All right, carry on. [00:08:45] Speaker A: You might even end up having some. Some. The next time they do it, you might book some street photography tours to some US tourists. [00:08:52] Speaker B: Yeah, good. [00:08:54] Speaker A: You never know. You never know. [00:08:56] Speaker B: Indeed. [00:08:57] Speaker A: See the signs. Greg Carrick, Bruce Moyle, Chris Nielsen. Evening from across the Ditch. Good evening. Who else is here? Greg Carrick says these screen intros are getting very polished. Who does them? Which screen intros? We don't have it. Nothing of ours is polished. What do you mean? He's watching the wrong channel again? Oh, tin type man. Haven't seen you for ages. Rodney Nicholson, Peter Coulson. Hi, everyone. Editing and listening tonight. Well, chime in anytime you want. Hey, speaking of chiming in, if you tell us in the chat your thoughts on this new iPhone duo foldy foldy thing, but also, if you've got a really strong opinion, just ring us, call us on 614-855-12370. You can just call the show and say whatever you want about the new iPhone or anything, whatever. Yeah, just have a race call in show. The only call in photography show in the world that I know of. Yeah, I haven't looked it up, but I'm pretty sure we're the only ones that do it, so make the most of it. Julie Powell is here. The original Ron Johnson. Don't panic. I'm here. It's good to see you, Nick. [00:10:06] Speaker B: Good. [00:10:09] Speaker A: Rick Nelson, Craig Murphy. Gosh, everybody's here. Phil Thompson's. I'm not going to be able to read everybody out. Phil Thompson's. Hello from Geelong. [00:10:19] Speaker B: What's. [00:10:19] Speaker A: Oh, Bruce Moore's sorting out a print for an exhibition. Kind of a chore. David Skinner, Tweak Productions. Nev Clark, Greg Carrick make AFL great again. That's funny. Greg Stubbings. Good to see you. Rick Nelson says, I knew I should have bet the Ford Nice would win as the Rams arrived the day before. Lost by jet lag for sure. Absolutely. That was a rocky move. That plus. So what was weird was the Rams were technically the home team. I don't know if that's because of the way their draw works or whatever. Like, obviously they're both in Australia, so neither of them are at home. But it had all. More. They had. The Rams had cheerleaders, the 49ers didn't. The Rams had, like more signage and stuff around the stadium. But everybody. Most people were cheering for the 49ers because they had been there for a week and just been like doing all the Australian stuff. Whereas the ramp. The Rams just arrived the day before and played the game and lost even though they were the favorites. It's very interesting. [00:11:22] Speaker B: I wonder how. How all the Aussie sports photojournalists went, you know, trying to document a sport that they were unfamiliar with. [00:11:29] Speaker A: I was watching them. Well, I'm. I assume there was quite a few NFL. I assume there's quite a few NFL photographers there. I was wondering how that worked because they were all wearing NFL media vests, obviously, because that's probably part of how it works. So whether they're Australian media or not, I couldn't. There's no one I could recognize. But I don't know a lot of sports photographers in Australia by face, but I was looking out there. Everyone had their big, long white lenses and their monopods and, you know, one camera on each shoulder. And you know what the sports photographer, the classic sports photographer tire. So they got the media vest on camera on one side, camera on the other side. Monopod with the big lens, backwards cap. The backwards cap is like the. That's the uniform and. Yeah. Rocking around the outside. And they would. They would sort of. Because it's such a. It's such a different game to afl Obviously. And there's so many stoppages that they move up and down the field. There's even a big cart, I should have taken some videos of it. There's a big cart that they just drive up and down the field. Imagine like a golf cart with a massive tripod and a 3 meter or 4 meter high elevated TV camera on top of it. Oh wow. It's just going up and down the field. And it would stop wherever the main play had stopped, you know, on those lines, on the yard lines. And so there's two guys all day, all game. Their job was just to move the lead for that. So there was one, like two. They're just holding the cable bunch for that wheeled camera. That's all they did is just walk up and down the field holding the cable so that it wouldn't get like caught up or something anyway. But yeah, all the photographers, they would move in like a little swarm, pack up and down the field as the play moved. Yeah, just all together like chatting and it was very interesting to watch. [00:13:22] Speaker B: Yeah, that's really cool. Very cool. Yeah. [00:13:27] Speaker A: Lucinda reckons there was a fair few Aussies doing me to it. That's cool. Maybe we'll try and get one on. Especially if it's someone that does AFL photography or whatever as well, which you would think be somewhere. We should try and get an AFL photographer on here on the list. [00:13:43] Speaker B: Make a note of that. [00:13:44] Speaker A: Make it hard. I'll take it down. All right, so tell me. Yeah, iPhone duo. [00:13:51] Speaker B: Yep. Good or look, it's both. Okay. And it's both for a very good reason. It's good because what an incredible piece of technology. And I know Samsung have been doing folding phones for a very long time and you know, good old Apple for finally coming to the party, but you know, they've kind of gone all out with this model. It looks slick. It opens to look like an iPad mini. You know, the engineering looks very, very nice as it always does with Apple products. And it's feature packed. You know, you've got all the, you know, you can pose it, you can stand it, you can make it sit like a, like an a frame. You can, you know, it elevates the uses of it significantly compared to a standard, you know, single screen iPhone. Did we need it? [00:14:41] Speaker A: We don't need it. It's questionable really. We talked about that last week. We don't need any technology. [00:14:45] Speaker B: Yeah, I know. [00:14:46] Speaker A: Any camera. [00:14:47] Speaker B: I know we don't need it. But did we really, really need this? Like, is there a demand in consumers that we Want to have, you know, basically three screens, five or four cameras and a huge dent in our bank [00:15:04] Speaker A: balance because what'd you say the price was? [00:15:08] Speaker B: So there's a few prices depending on what you get. It's obviously it's depending on storage but you know, they start from about three grand for the entry level one. Okay. But top of the line Apple iPhone Duo. You can get it in Star Wide or their funky black one. What is it? Star wide or black two terabyte? Apple iPhone Duo is 5899 Australian dollars. What? That is a lot of money. You know that's a, that's a Sony A7R5 cost. You know, like it's. [00:15:45] Speaker A: Well what's in. I mean it's a phone. Like, I mean it didn't seem like that long ago that for five grand you could have bought a phone, a tablet and a laptop. [00:15:54] Speaker B: Yeah, I mean, I mean, no, it's not. Definitely not true. But that, that you know, I had my, I got my MacBook Pro, what would have been like 12, 18 months ago and I had it, you know, turbo boosted to make sure it was future proofed. And it didn't even come close to that cost. [00:16:11] Speaker A: Yeah, mine was, mine was seven, but it was, it was mega. Mega Turbo boosted. [00:16:19] Speaker B: Yeah. [00:16:19] Speaker A: Yeah. [00:16:20] Speaker B: But you do video as well. [00:16:21] Speaker A: I didn't expect any of that. But also it's last. What is my. Let's have a look at my MacBook Pro. Although Lightroom does seem to be slowing down. I don't know what's going on with my. [00:16:31] Speaker B: Lightroom's terrible. [00:16:32] Speaker A: It's certainly not getting faster. It was getting faster for a while. Now it seems like they're going away from that. They're just putting more AI shit in and getting slower. They spent a lot of years speeding it up and now we go backwards. So this is a 2021. So we're already five years in and I still think of it like I've got a modern machine, this laptop and I think that's because obviously because it's. Apple was. Because it was early in the M1 series and stuff and because it was, you know, maxed out. So. [00:17:04] Speaker B: Yeah. Anyway, so it's performing like a current gen machine. I mean, you know, like that extra screen Real estate is amazing on this Apple, this new iPhone duo. You've got the front facing screen with a front facing camera. You've got, you've got dual, what do they call them? Dual. Dual fusion. Fusion camera system with 48 megapixel cameras. [00:17:30] Speaker A: What's it Fusing. It's fusing. It's fusing multiple images together to try and get extra dynamic range. That's not actually probably. [00:17:38] Speaker B: It's fusing AI with nothing else. And then of course, you've got the inward facing camera which is hidden. It's under the screen. You can't see it. [00:17:45] Speaker A: Yeah, that's cool. [00:17:47] Speaker B: Which I think is cool. Yeah, getting rid of that little bump, as much as it's silly because it's, I mean, on current gen, I've got the iPhone 17 Pro and you know, the camera at the top takes up very little space. But you know, the one thing that Apple is really pushing with this new duo is that screen real estate. You know, they're even comparing it to their own iPhones as a, you know, this much percent more screen space than an iPhone 17. You know, like they really you. And look, you know, if you're looking for the one device, you know, and let's say, you know, sometimes I'll do stuff and I'll have my, my iPhone and I'll have my, my tablet, my Apple. What do you call them? Jesus, Greg, words. Apple iPad. Thank you. [00:18:31] Speaker A: Wow. [00:18:34] Speaker B: You know, and I'll have those two for something I'm doing. But in this case, you know, you could use this as, as the one. You've got a tablet when you need it, when you want more screen real estate, whether you want to watch a video or do some work or whatever it may be, you've got a bigger screen, but you can also fold it down so it fits in your pocket. [00:18:50] Speaker A: You know what they say about a jack of all trades? It's generally none. It's generally, generally shit. [00:18:57] Speaker B: Yeah. I mean, and this, to be fair, this is Apple's first gen. But then the flip side of that is it's a first gen that they're cheeky enough to charge almost $6,000 for. [00:19:07] Speaker A: Yeah. But also they know, and this is kind of the same with the Vision Pro thing as well, which was pretty expensive. They know they've gotta get the tech right because they're Apple. So they can't release a folding phone that's worse than Samsung, otherwise they would be roasted. But also they know that early adopters will spend the money and then they can always, they can introduce like more. If this is a successful product line, they can probably try and introduce like a light version that's, you know, cheaper and less, whatever. Yeah, yeah, we've seen that down the [00:19:42] Speaker B: line do that with the iPhones, haven't they? [00:19:44] Speaker A: Yeah, exactly. [00:19:45] Speaker B: Or an SE version or you know. [00:19:47] Speaker A: Yeah, I might scroll. It's. [00:19:50] Speaker B: I, I like the I, I'm always a big fan of getting accessories with, you know, getting a nice case, getting a screen protector, all that sort of stuff. I wonder how screen protectors will work on that big screen. Because it folds. [00:20:05] Speaker A: I saw one video with a screen protector on it, I was thinking exactly the same thing. And Maddie, have you ever heard of Maddie Happiger? Don't know how to pronounce his surname. He's a video dude, makes good YouTube videos, knows a lot about cine stuff and reviews lots of Sony's and stuff like that. But he had a hands on with it and was showing it and it had a case on it and I was trying to figure out how the case worked. Like it was the only one I'd seen where the bezels had a case around it. [00:20:37] Speaker B: Yeah, I've seen a video where it. So it's like a folio, like a book, almost like a Kindle cover. You know, it's got a front cover and a back cover but the case allows you to open it into that full screen mode. But it also allows you to shut it and then just open the front flap of the case so you can access your front screen. [00:21:00] Speaker A: Right. [00:21:02] Speaker B: And so it's got like a magnetized sort of closure. So it's kind of like a three, it's almost like a three leaf folio case. But yeah, it's, it's trippy, it's cool. H And you know, it's always, it always fascinates me when the moment they announce these things like 15 companies drop their accessory range for it, you know. [00:21:23] Speaker A: Yeah, because they've all been brought in because no one wants to release a phone where there's no accessories for it. So it's like it's part of the ecosystem. [00:21:32] Speaker B: It fascinated me because you know, as you guys know, I, I love playing video games. I'm a big Switch nerd for Nintendo. And when they launched, when they announced the Nintendo, no third party brands had access to any of the specs. And so they all came out a bit later when the product was getting closer to launch. But when it's ever it's iPhone, that's, it's, yeah, instantly there's this range of accessories right. From different brands. But, but yeah, just, just an observation but you know it's, it's got this pair of cameras, 48 megapixel fusion camera system which is impressive. You know, there's no doubt that the iPhone. Well, for a phone it is, yeah. [00:22:14] Speaker A: But it's not that. It's not the camera that's in the new iPhone 18 Pro Max that got released at exactly the same time. That is cheaper. [00:22:23] Speaker B: Yeah, it would be, for sure. So it's not going to be that much. [00:22:27] Speaker A: So no variable aperture. It also might be. Is it a different sensor or the same sensor? [00:22:37] Speaker B: I didn't get into the woods that deeply to work it out. [00:22:41] Speaker A: It's so. So it's a. It's a. Yeah. F 1.6 fixed aperture, whereas the Pro is like a 1.4 to 4 variable aperture. That's the new. The new thing that's come in. Obviously. That's fair enough. Maybe they're trying to fit certain things into this tiny, tiny frame they've had to fit it in. But also, did you know this? The iPhone duo. No raw. [00:23:09] Speaker B: No raw. [00:23:11] Speaker A: No raw. [00:23:13] Speaker B: Why would they do that? [00:23:14] Speaker A: That's a great question. Maybe they couldn't fit the raws into the slimmer case because raws take up more space. So when you're shooting, maybe they're not [00:23:23] Speaker B: using compressed raw, they're just using raw. [00:23:26] Speaker A: Maybe. I don't know. But either way, they're obviously too big to fit in this thinner case. So I'm not. [00:23:33] Speaker B: Why? Why no raw? It seems bizarre. Like, surely that's a. That's a firmware software thing that's on the chip and it's the same chip. [00:23:41] Speaker A: Is it. Would it be a heat issue? Is it. Is it a. Or is this what they used to call the. What did they used to call Canon? The Cripple Hammer, where it's purely just designed to put separation between this and their Pro Max? Standard ones, like standard phones. So that. [00:23:59] Speaker B: So people. [00:24:02] Speaker A: Yeah, basically. Or they like. Yeah, one isn't clearly better than the other. They're two different offerings or something like that. I don't know, but I don't. I couldn't figure out why they couldn't do RAW when the camera. The chip that they're using for the sensor, for the camera is clearly. It's either the same, but without the variable aperture, or it's from like the 17 or the 16 or the 15. Any of the cameras that have had 48 megapixel, surely they're using the same. One of the same cameras they've developed in the past. [00:24:36] Speaker B: Quite possibly. Just a little side Note, the Apple iPhone 18 Pro, which is the one with the variable aperture. No, it's only the Max, isn't it? The Pro, the Apple iPhone 18 Pro 2 terabyte version. Comparing apples with Apples. Haha. See what I did? I didn't realize I did. That is four and a half thousand dollars. [00:24:55] Speaker A: Oh, my God. [00:24:56] Speaker B: Really? [00:24:57] Speaker A: Which is still. Hey, it's actually a bargain because that's fifteen hundred dollars cheaper than the Duo [00:25:04] Speaker B: and the Pro Max. Yeah, four and a. Yeah, four and a half. It makes it look cheap, doesn't it? Yeah, that's crazy. The 18 Pro Max. Don't know if they have a big one out yet, but, yeah, it's. That's a huge amount of money. [00:25:21] Speaker A: That's insane. [00:25:23] Speaker B: Yeah, it is. [00:25:26] Speaker A: Craig Murphy says maybe they don't want folks using them for cinema photography production because it could overheat and damage the folding screen. Maybe it. I mean, yeah, I guess it could only be a thermal thing, but I didn't think that would be an issue with Raw, because they could just limit the amount of raw you could shoot in a time frame. They could say, hey, you can shoot raw, but you can't shoot, like, burst or you can't. You know, it limits how much you could. Yeah, I don't know, it just seemed odd. An odd omission. I assume. They. To me, it seems like this is not a photographer's device, but am I seeing that wrong? What do you think? [00:26:08] Speaker B: I don't think it's the Duo. No. The duo, yeah. The iPhone 18, the Pro, and the Pro Max. Yeah, definitely. That can be a photographer's device. You know, I've got the 17 Pro, Sashi's got the 17 Pro Max, and we use our smartphones for, you know, not just taking family snaps like everyone does, but like I said, you know, I ran a workshop yesterday, and I use my. I only use my iPhone the whole time, you know, and I got some. I've got some great images that I'm happy with. [00:26:35] Speaker A: I'll be the judge of that. [00:26:36] Speaker B: I. I know you will. I know you will, but. But yeah, look, I mean, if people have that sort of cash and they love tech, well, then good luck to them. But I. I just think that it's. It's almost pushing it into this elite kind of stratosphere, where only the elite can afford the best technology, you know, and maybe that's always been the case, but it just feels like there's a greater separation, you know, six grand for a phone that you'll probably replace in 12 months. [00:27:09] Speaker A: Well, if you're buying this sort of stuff, maybe. But let's take. Let's put pricing aside, because people are. Some people have got more money than we do, let's say. But pricing aside, this still isn't the ideal photography device. Although the benefit I could see. What about for the. As an. As a companion to your camera? If you're a mobile editor, if you're. If you don't do computers, if you just like to edit on your phone. That's probably the only use case I could see for this where someone could say, hey, yeah, I like to shoot. I shoot with my Fujifilm or my Leica or any of the brands that have apps that actually work where you can get the photo to your phone easily. And then you edit on your phone and you post it or whatever. If you're that kind of photographer, maybe because you can just flip it open and you've got this massive editing screen compared to the size of a normal phone. [00:28:06] Speaker B: Yeah. [00:28:07] Speaker A: But also you could just buy an iPad and do that, I don't know. [00:28:10] Speaker B: For a lot, lot less. [00:28:12] Speaker A: A lot less. [00:28:13] Speaker B: Yeah. And that has a camera. [00:28:16] Speaker A: Yeah. But you don't. I do wonder with shooting with this, you're gonna look a little bit like the. The auntie with the iPad at the wedding. [00:28:23] Speaker B: Yeah, that's my mom. Like every event. They've since moved on to phones, but they would carry their iPad everywhere. And of course, it's that thing where they have a folio case they keep all their important documents on, in the inside cover and that. That flips open. And so it's twice the size that they're holding this thing up. You know, it's like they're trying to shield the sun. Like it's. [00:28:42] Speaker A: But is this gonna look like that when people are out on the streets? If you were taking photos with this thing or we be shooting with it all folded up, in which case you've got a pretty average kind of user experience if you're using. If you're taking photos with it folded up. [00:28:58] Speaker B: Well, if it's. Hang on. If it's folded up. Yeah. You have the one screen, don't you? [00:29:03] Speaker A: Yeah. One smaller screen. [00:29:06] Speaker B: Yeah. I don't know. I mean, let's. [00:29:10] Speaker A: Let's go to the comments. All right. [00:29:11] Speaker B: Let's see what the chat says. I think you'll get a mix of both. And you see it with Samsung users, people that like to use their Samsung. Completely open. [00:29:19] Speaker A: Rick Nelson says. Seems to be. Seems to be. Thermal management is kept for the pro Slab models. [00:29:26] Speaker B: Slab, yeah. [00:29:27] Speaker A: Yeah. Anyway, yeah, it. Obviously it must be a thermal management thing. It is. In Apple's defense, it is very, very thin. [00:29:36] Speaker B: Oh, yeah. [00:29:37] Speaker A: Very thin. So they've obviously had to. And the fact that they're still Put mag safe in there. No face ID though. You have to use the fingerprint id, which on my iPad is annoying. Yeah. Obviously didn't fit or something. Or they want people to update to the iPhone Duo S next year plus maybe Pro plus S. Pro plus S. Okay. Original Ron Johnson says, as a general rule, don't listen to Craig Murphy. Okay. And Craig Murphy agrees. [00:30:20] Speaker B: Okay. All right. Great feedback, guys. Thank you. [00:30:24] Speaker A: Nev Clark 5K. For something that doesn't shoot raw, why would you need it? I don't know. I guess people just love it. Well, it's like buying cool pair of shoes or a handbag or something. [00:30:36] Speaker B: Yeah, it's. [00:30:37] Speaker A: But, yeah, I don't know. I don't know. [00:30:39] Speaker B: But keeping in mind that unless you're a photography person, raw means nothing to you. [00:30:44] Speaker A: I don't shoot RAW on my iPhone unless it's something where I'm like, I might actually use this photo for something. Otherwise, I. I don't mind the. For anything iPhone. I just use the baked in, whatever. What are they called? Hikes. [00:30:59] Speaker B: Heic files. [00:31:00] Speaker A: Yeah, yeah, Hikes. Yeah, I just use those and then I edit them. I press the auto edit button on the thing and then I don't even. Because it's not for. It's not for anything. Usually. I very rarely shoot with my phone for something useful. [00:31:20] Speaker B: Yeah. It was interesting talking to these guys on the workshop yesterday because I had no real prior photography knowledge. I'd taken photos with their phones, but they didn't understand, you know, composition and exposure and all those sorts of things. But, yeah, the editing, like we. We stopped for coffee and they all. They all sort of went silent. They all disappeared in their phones while they edited their images from the day. It was kind of cool. Everyone just sat there having a coffee, editing. [00:31:48] Speaker A: Yeah, I do, I do. I want to see if this becomes a thing. I'm going to. I'm going to call it now. I reckon we'll see some YouTubers making videos about how they knew how the iPhone duo is. Their new workflow for like shooting, shooting on their camera and then editing on the duo and everything they need, you know, is in their pocket. [00:32:08] Speaker B: And yeah, that's. [00:32:10] Speaker A: I reckon that's because there's a lot of photographers that use iPads for the editing that don't use computers at all. Yeah, obviously they're people that shoot very few images. Because if you tried to get an iPad to do what. What this laptop is currently having to do, processing. Yeah, it would be. Yeah, it would be in a lot of pain. So I Don't know. I reckon we might see that use for that, but otherwise, [00:32:36] Speaker B: yeah, it's a funny market to release such an expensive product into. You know, in. In all Western countries, there's a. There's an acknowledged cost of living crisis going on, you know, not for these customers. Huh? [00:32:52] Speaker A: Not for these customers that want a duo. [00:32:55] Speaker B: Yeah, probably not for the duo customers. And that's where. That's why I said, you know, it feels like a bit of an elitist kind of product. It's like, only the best can afford this because it's $6,000. [00:33:05] Speaker A: Yeah. [00:33:07] Speaker B: That's a big number. [00:33:09] Speaker A: Yeah. Dennis uses his iPad Pro to edit stills heaps. The pen is mega good. Yeah, it's definitely cool. A cool editing experience. I just can't imagine having to edit 600 photos on an iPad even. I don't even know, like, ingesting them and stuff. I've done it before for smaller numbers, but it just. Yeah, I don't know, just the file management, moving stuff around, backing stuff up. It never really worked for me. I thought. I even thought I would use the iPad with my Q3 or Q3 exclusively. Like, when I traveled, I would create, [00:33:44] Speaker B: like, a separate workflow for that. [00:33:45] Speaker A: Yeah, exactly. It's like, this isn't work. This is traveling and just enjoying photography and stuff like that. And I still ended up just migrating back to laptop. It's just, I don't know, more robust and faster and stuff. But, yeah, this is what I was hoping it would work for me for was is, as Dennis says, just faffing when traveling. Because it is a nice experience on an iPad to do that. Yeah. [00:34:08] Speaker B: Yeah. [00:34:09] Speaker A: Greg Carrick's gonna stick with his Google Pixel. That's a terrible idea. Fermi. Now, I'm kidding. I've never used one. They're probably great. Peter Coulson. I use my 17 Pro Max all the time commercially. Both 4K video and photos. Yeah, it's four quick videos for YouTube and stuff. We did a ton of our videos on my. What have I got? 15.15pro max travel videos and things like that. It surprisingly good. [00:34:39] Speaker B: Yeah. Yeah. Well, I've got the 17 Pro, Sashi's got the Pro Max, and they're phenomenal cameras and video. [00:34:47] Speaker A: Yeah. [00:34:47] Speaker B: Granted, we mostly use them to photograph and film the cats, but, you know, each to their own. Right. [00:34:55] Speaker A: That'll be the next video we do for cat photography. Should you choose the iPhone Duo or the iPhone Pro Max? And what about Greg Sees? What about puppies? What about puppies? [00:35:05] Speaker B: And then babies. Oh, babies. Let's get a baby involved. Daddy Justin. [00:35:11] Speaker A: Okay, all right, let's move along. Should we move along to. Should we do some images or some news? What do you want to do? [00:35:21] Speaker B: Let's do some images. Let's give the people what they want. [00:35:23] Speaker A: Let's give them what they want. But before that, let's make them sit through an ad. If you have a camera, which likely if you're listening to the Camera Life podcast, you do, but you're still dealing with an uncomfortable camera strap. Maybe it's the one that come in the box that are way too short, they're too narrow, they're made from ugly webbing and they cut into your shoulder and your neck and they take forever to put on and off. Or maybe you bought one at a camera shop or while you were traveling. You didn't really know what to get. You just pick something out and it's not that comfortable. It's got lots of Buckley things everywhere and lots of clips and sliders and it's always just getting in the way. Go to Luckystraps.com, check out what we do. We make leather camera straps that aren't just. They don't just look good, they're actually super comfortable. And we've got amazing quick release clips that they're not the fastest thing to attach your camera to, but when you take it off, there's nothing left on your camera. No dongles, no little red things or anything like that. And they've got a safety lock and cut resistant dyneema webbing. So they're the best thing while traveling abroad, which I do a lot of. So if you want to check it out, go to Lucky Steps.com, see the range. If you need help picking the right one for your system, email us or messages or whatever, ring the show, whatever you want. And if you want to buy one, use Code Greg. You'll get a discount. [00:36:41] Speaker B: You will. And I'll get one step closer to Japan. [00:36:45] Speaker A: That's right. One step closer to the edge. [00:36:48] Speaker B: One step, lots of numbers. I'm actually walking to Japan. So. [00:36:55] Speaker A: Nathan says, do you make camera straps for the new iPhone? We do not. But at that price, we probably should. My God, $5,900. [00:37:04] Speaker B: Yeah. It doesn't even come with a case. [00:37:06] Speaker A: Yeah, or a strap. [00:37:08] Speaker B: Or a strap. Or a screen protector. Actually, the lads yesterday on my workshop were saying, oh, do you do straps for. For iPhones? You know, I said, no, but I'll pass it on to the boss. [00:37:18] Speaker A: Consider yourself passed on, but we'll look into it. I don't know, I just can't imagine. Anyway, we'll figure it out. Richard. Richard. It is. The double strap is on, it's in the works, but it's been a long, long, long, slow process. We're doing our best. It's in the works. We've got a great prototype, but a [00:37:38] Speaker B: few of them actually. I had Sam Olson, our friend from New South Wales. Sam was in Melbourne last few days and she came and hang out here in the Bluedio with me all day today. We worked here and in the Bluedio and she was hassling me about the double harness and I said, it's. It's out of my control. [00:37:58] Speaker A: It's out of. It's out of my control. If it was in my control, we would have had it six years ago. We're doing our best. We've got a lot of irons in the fire at the moment, exciting things in the works, but it's going to take a little bit of time. So stick with us. [00:38:12] Speaker B: Stick with us. Images. This. Who. [00:38:16] Speaker A: Who first? [00:38:18] Speaker B: Let's go with Craig Murphy. Craig Murphy was. Yeah, he sent his in late last week so he didn't get a chance to get to it. So we're sorry for that, Craig, but really, that was on you. Craig Murphy. [00:38:31] Speaker A: Sorry, not sorry. [00:38:32] Speaker B: Yeah, absolutely. Completely his fault. [00:38:37] Speaker A: Okay. [00:38:40] Speaker B: Says you said pull them from the archives. So here one is taken back in 2015 Sydney Heritage train Expo. I was in a steam train heading towards Central Station and captured this shot from the window of the passing 3237 steam train. Timing was not perfect, but was cool to get one of the crew in the shot. This was taken with an Olympus. Oh, Olympus E M1 with the 12-40 Pro lens. They've just released a new version of that too. 1 500th of a second. F 5.6 and ISO 200. I really love this shot because it's very hard to pick when it was shot. [00:39:23] Speaker A: It is a bit, isn't it? There's not a lot dating it. The graffiti up the top dates it a tiny bit. [00:39:28] Speaker B: Yeah, there's little, there's little cues but. [00:39:31] Speaker A: But other than that, it is core elements. [00:39:34] Speaker B: It could be timeless. Yeah. [00:39:36] Speaker A: The. In the bottom right hand corner it says Copyright GT Murph 2025. That dates at a touch. Oh, that's a giveaway. [00:39:45] Speaker B: That is a giveaway. [00:39:47] Speaker A: But yeah, it is. There's. There's not a lot going on there in terms of modern stuff because, yeah, what the guy's wearing, it's all pretty nondescript. Yeah. [00:39:57] Speaker B: And in terms of the image and the editing, I really love the monochrome outcome of this shot. Yeah, it's smooth. There's really nice transitions between tones. There's enough contrast, but there's also not a lot of lost detail. It's. Yeah, really well shot. Really well exposed. Oh, no. We've got a caller. Justin. [00:40:15] Speaker A: Yeah, I'll give you a dollar if you can guess who it is. [00:40:19] Speaker B: If you make it $100. [00:40:21] Speaker A: No. Can you hear us, caller? Of course you can't. All right, hang on, hang on, hang on. Hold on, hold on. I know that you know the deal. Hang on. Can you hear us yet? Are we there? No, you know the deal. Just wait. The roadcaster never plays ball. The first caller, even though I set it up every time. We're getting there. Hang on. Can you hear us now, Nick? Really? [00:40:57] Speaker B: Oh, he's hung up on us. [00:40:59] Speaker A: Well, I don't know what's going on with our Bluetooth. It was working perfectly. Oh, look, you can talk. Everyone can hear you. But I'll have to translate anything Greg says back to you because he won't be able to talk straight to you. But anyway, go for it. Tell us. Tell us your story. [00:41:13] Speaker B: I have a few things to say. Firstly, I didn't know Craig could actually take photos, and that looks pretty freaking awesome. So how did I miss this? [00:41:25] Speaker A: Genuinely surprised. [00:41:27] Speaker B: Second is had the bizarrest beef up experience ever, where I had Matt ring me and say, oh, I've got a great idea. We could spend $10,000 on this completely frivolous activity to entertain people for literally three minutes. First time ever. [00:41:45] Speaker A: I went, no, that's a dumb idea. [00:41:48] Speaker B: My life's been turned upside down. That's all I wanted to say. Look forward to seeing everyone at Beachbox. [00:41:53] Speaker A: You can't just drop that on us and then leave. What could possibly cost $10,000 for three minutes? [00:42:02] Speaker B: Because we're not doing it because it [00:42:03] Speaker A: was a really dumb idea. Ah, right. So when will we find out what it was? Will you tell us at Beef up, or are you going to keep it up your sleeve for next year? [00:42:12] Speaker B: I suspect we're going to keep it up the sleeve. [00:42:14] Speaker A: Oh, [00:42:17] Speaker B: wow. So you really rang to tell us nothing? [00:42:20] Speaker A: Greg says thanks for nothing. [00:42:23] Speaker B: Yeah, well, see you all. [00:42:26] Speaker A: Bye, Nick. [00:42:27] Speaker B: Bye, Nick. Thanks. [00:42:30] Speaker A: I can't believe the Rodecaster didn't work. We were playing music before the show through this thing. It's crazy. [00:42:36] Speaker B: Yeah, you were dancing. That was really disturbing. Glad you put your top back on. Craig Murphy. Great shot. Well done. Thank you. [00:42:44] Speaker A: Epic shot. [00:42:45] Speaker B: Now Keep them coming. [00:42:46] Speaker A: What did we miss in the. In the comments while that was happening? Great. Black and white. A real moment in history. What else? [00:42:55] Speaker B: All viewers, steamboo.com. [00:42:58] Speaker A: oh, yeah, well, we always missed that one. Fletcher is so supportive. He is. Roy Bixby says, I'd like to see more of the train. Well, I mean, that would be. That'd be nice. Is it in a tunnel? So that makes it tricky. [00:43:12] Speaker B: Yeah, I was gonna say that ship has sailed, but it's a completely wrong analogy, so. [00:43:19] Speaker A: Oh, interesting. Dennis's guess on the three minute ten thousand dollar activity wasn't a high end escort, it was skydiving. [00:43:29] Speaker B: Didn't Nick just come back from a week of skydiving? [00:43:33] Speaker A: Interesting. [00:43:34] Speaker B: I'm fairly sure he just went away for a week. [00:43:37] Speaker A: I didn't even ask him about that. Damn it. [00:43:39] Speaker B: He's such a rude friend. [00:43:41] Speaker A: I forgot. [00:43:42] Speaker B: I forgot about you. You never asked that. [00:43:44] Speaker A: He just did that thinking. [00:43:46] Speaker B: He called the puppy this and the baby that. [00:43:51] Speaker A: Okay, should we do another quick photo before we do something? [00:43:54] Speaker B: Let's. Yeah, let's look at Crackers. Greg Carrick has sent in an image as he does every week. And just a reminder, folks, if. If you're new here and you're watching or listening along, anyone can submit an image to the your images section of our Monday evening podcast. We don't shame people unless people like. [00:44:14] Speaker A: Unless you want it. [00:44:16] Speaker B: Unless. Yeah, unless you like the shame. And then. Yeah, we can do that. Yeah, we've got a paddle somewhere too. Let's look at Cracker's image. A girl can dress as a fairy, but nobody can resist a puddle. I might get that as a tattoo. Always have a camera ready when you're with your grandkids. Oh, it's very sweet. This was shot with the Fujifilm XE1 with the 21 millimeter manual lens. 1500 of a second. F 2.8, ISO 320 black and white in camera. [00:44:47] Speaker A: Hang on, hang on, hang on. No, he's back. [00:44:52] Speaker B: Of course he is. [00:44:53] Speaker A: Nick, can you hear us? Yeah, I can. The roadcast is working. Yes. All right. Everyone can hear you. No way. No way. Yes way. [00:45:04] Speaker B: Yeah. Yeah. So I did come back from a week of skydiving, but that would have cost you $115 to watch me fall out of a plane onto my face somewhere in bright. So that $10,000 idea. [00:45:16] Speaker A: And be honest, from a photography point of view, it would be pretty shit. [00:45:19] Speaker B: So there you go. See you. Bye. [00:45:21] Speaker A: Ah, [00:45:23] Speaker B: what a taste. [00:45:25] Speaker A: So it's not skydiving. At least the road caster worked. Yeah. I love that. I love this photo. I love that she's looking down the ground at the. Just at the puddles. Just the sheer joy of just muddy water on gumboots. It's just. Yeah. [00:45:40] Speaker B: And, you know, I know that feeling, having seen it with my own kids. But also, you know, you remember, like, every. The world just disappears when it's. Stuff like that when you're a kid. [00:45:47] Speaker A: Yeah. [00:45:47] Speaker B: You lose complete track of what's around you, and it's just. Yeah, it's just that living in the moment, which we all lose, unfortunately. [00:45:53] Speaker A: Yeah. [00:45:54] Speaker B: But, yeah, gorgeous shot. Great. [00:45:56] Speaker A: Really, really good. Great framing. Love. There's a little bit more space on the left than the right because that's the way that she's sort of arched and. Yeah, but it's great. [00:46:05] Speaker B: Yeah. Beautiful moment. Print it. [00:46:07] Speaker A: Print it always. One more, one more. [00:46:12] Speaker B: And then we will talk a little bit more about Prince, just very briefly. Not the artist formerly known as Prince. Prints, like, images, photos. Anyway, let's get another one going. David Skinner. [00:46:28] Speaker A: I don't have. [00:46:30] Speaker B: What don't you. [00:46:31] Speaker A: Yeah, look at me go. No, I can't see him on here unless it's named something different. I'm just searching. [00:46:37] Speaker B: Oh, hang on. Let me check. David, what is it with these images? [00:46:48] Speaker A: Yeah, I can't see it in here. [00:46:49] Speaker B: Okay, bear with. Bear with. Every week there's someone. [00:46:57] Speaker A: There's always someone. [00:46:59] Speaker B: There's two images. [00:47:00] Speaker A: I'll check out some. While you're doing that, I'll check out some comments. Lucinda says someone just has to prank call once, I think. Yeah, just waiting for the prank call. Bruce Moore says, pro podcasting, you know, Bruce. [00:47:14] Speaker B: Shut up. [00:47:15] Speaker A: Bruce. We're as professional as it gets. This is. I mean, no one else is putting out a show quite like this. No, that's for sure. [00:47:23] Speaker B: Sorry, David. I don't know what it is. I think. I think you're jinxed because every time you send photos, they just. I don't know what happens. There they are now, boss. [00:47:35] Speaker A: Where are they now? Refresh, probably. [00:47:40] Speaker B: Help, please. [00:47:44] Speaker A: Ah, got them. [00:47:46] Speaker B: Yeah. I told you. They're always there. David Skinner. What does he have to say here? Went to Lake Tyrrell and the surrounds last weekend. A couple of minimalist shots. Iconic, like Tyrrell shot, but deliberately did not take it symmetrically. Shot with the Nikon 24 to 120 and an MD6 stopper. Eighth of a second. F9, ISO 100. And then the second image is Green Lake near Sea Lake. That's crazy. Green lake, Sea Lake Tamron 16-30F 2.8 at 30 millimeters F9. 1 50th of a second ISO 160. Thanks for sharing. Enjoy the rest of your week. Thank you David. [00:48:31] Speaker A: Very nice. [00:48:32] Speaker B: I love how minimal it is. [00:48:34] Speaker A: It is very minimalist. Very strong red on that boy. [00:48:37] Speaker B: Yeah, that's a powerful element, isn't it? Really draws you in. Such a simple thing and your eyes cannot escape it. [00:48:47] Speaker A: I'm going to go back to the Tyrrel one because I saw Tyrol a little bit like this but not really and I'm just. It's very interesting. A lot. There's a lot you could do with this with the having protected water on one side of the jetty and rough water on the other. There's lots of sort of ways you could play with that division but it must be a common shot to do it if to do dead center as he said. [00:49:15] Speaker B: Yeah. I love the way that the lines of the water on the right are so much calmer and softer. You know there's this slow progression but on the left it's all a bit bubbly and turmoil. Very cool. [00:49:32] Speaker A: Very great work. [00:49:34] Speaker B: Nice work, David. Thank you. [00:49:40] Speaker A: Richard. Noice noise. Salt. [00:49:46] Speaker B: Salt. Let's cover a little bit of news, Jay. Lots going on in the Sony camp this week. Sony have been very busy which is always great to see. A couple of announcements. Sony have announced a FE 8-14mil f 3.5 fisheye g lens and the last I saw at B H photo so I couldn't find it on an Australian site when I looked. 1600 US dollars so about $43,000 Australian dollars at this rate plus and tariffs. Yeah, really clever little lens, great creative lens for a whole range of different stuff and. And you've got that amazing Sony glass quality but it comes at a price. What else is going on in the Sony camp? Sigma have announced a 85 millimeter f 1.2 and a 20-60mm FE lenses for Sony E mount. The 85 1.2 is a DG Art Series lens and by all accounts that is expected to be an incredible third party offering once again from the lot [00:50:59] Speaker A: of people are excited about that one because that's something that Canon's had up its sleeve for a while and Sony hasn't had an offering in that 85.1.2 as far as I know. Yep. At all. So a lot of people excited but I'm more excited about the 20 to 60. [00:51:14] Speaker B: Yeah, that's a groovy. Yeah, it's a groovy little. Little range, isn't it? I don't know if the 20 to 60 has actually appeared on B and H yet, but have I got it here? [00:51:25] Speaker A: Oh yeah, hang on. [00:51:26] Speaker B: Sigma 2860. Here it is. Yeah, it's a 2.8 to 4. It's got a neat little kind of tight zoom range which is great. And it's small too. [00:51:38] Speaker A: It's tiny. It's like 370 grams or something. [00:51:44] Speaker B: And you are spot on. 375 grams and it's 72 millimeters by 88. So it's quite a compact lens with a zoom. [00:51:51] Speaker A: Obviously that 20 mil is a great wide angle focal length that I use a ton and I mean I was thinking about this a lot. Sony have a 20-70F which is interesting. Would be a very useful travel lens if it was small. This Sigma is probably more useful even. Even being not 20 to 70 but 20 to 60. I think that would be fine. And having 2.8 on the wide ends. Wide end would be pretty handy in low light situations. Just to be able to get that extra stop of light when you need it at night time, you know, like walking around Tokyo streets or something like that. And you just want to wide shot and you want to open it right up. And I was trying to think, I'm like what would I want, what would I want Canon to make? Because you know, I'm locked into this one system that only has one lens offering that I can choose from and it has to be Canon. What would I want Canon to make in that range? I do know I want them to make a 20 to something. I was thinking about it and I think 20 to 60 would be great. But I would compromise to a 20 to 50 if it was 2.8 constant aperture. [00:53:02] Speaker B: Yep. And then even very cool. [00:53:05] Speaker A: That would be very cool as a travel lens. [00:53:07] Speaker B: Yeah. [00:53:07] Speaker A: And then I would compromise even more and let it be heavy and expensive. If it was the F2, if it was an F2 like they did the 28 to 70 F2, if they did it 20 to 50 F2, I would allow that to be very, very expensive. [00:53:23] Speaker B: It'd be a great travel lens. It would be good for some. It'd be great for street photography. It'd be good for, you know, sort of entry level portraiture too. At the 50 end. [00:53:35] Speaker A: Yeah, for sure, 50 end. And as long as you were also going to use that wide because otherwise if you're doing portrait you'd be better off with something mid range 2024-70 or whatever. But just that wide of 20. You can really get away with not needing something really wide. [00:53:50] Speaker B: Yeah. [00:53:50] Speaker A: Like it, like a dedicated wide lens. And I just. I don't know. I think it's an un. I think we're going to see more of this. We already are, but I think we're going to see even more of it and I'm excited about it. [00:53:59] Speaker B: Yep. Well, at this stage, the Sigma 20 to 60 for E mount, I think it's also coming to L mount memory, [00:54:07] Speaker A: which is another reason for me to buy a Leica. But anyway. [00:54:10] Speaker B: Indeed. Actually, I was talking to Sam today. She's got a. A 50 mil. It's a Leica lens, but it's a 0.95 aperture. [00:54:20] Speaker A: Oh. [00:54:21] Speaker B: And she doesn't know what to do with it. And she was, she said, oh, maybe I should see if Justin wants to try it. I said, no, he's got a Q3. It's fixed. [00:54:27] Speaker A: Yeah. [00:54:28] Speaker B: Maybe you need to buy an M. [00:54:30] Speaker A: No, she should sell it. It's probably worth a fortune. [00:54:32] Speaker B: That's what I said. Yeah, it cost a fortune. [00:54:34] Speaker A: It's Exactly. [00:54:34] Speaker B: It's heavy. 0.95 I caramba. So US$850 at the moment on. On the B and H website. Moving right along in other Sony lens news. It has been confirmed. We rumored it last week, but it has been confirmed that on the 15th of September, Sony will announce a 400 mil and a 600 mil GM telephoto lenses. There's going to be an event in London at 3pm on the 15th. So, yeah, lots happening for Sony. There's some other stuff going on for Sony, but we'll come back to that in a little bit. There's been some rumors that Canon other land new lens news. Canon is finally replacing the legendary EF180 millimeter macro for the RF mount. Have you ever shot with any Canon [00:55:23] Speaker A: macro lenses, Jay, the 100 mil 2.8 EF lens for a little while for like wedding rings and stuff like that. Didn't end up using it enough to justify owning it, so I got rid of it. [00:55:36] Speaker B: Yep. Yep. But a 180 macro, that. That's pretty compelling because you know, you can, you can really. You obviously step back from your. From your subject. [00:55:47] Speaker A: You get that small working distance. [00:55:49] Speaker B: Yeah, yeah. You know, I mean, I'm shooting with a 30 mil macro crop, so it's a 45, but still I'm almost having to touch my subject with the front element of my lens. [00:56:00] Speaker A: Yeah. [00:56:01] Speaker B: And it's. Yeah, it's. It makes it tricky, especially with bugs. Absolutely. [00:56:06] Speaker A: Especially scare off more than I sting. [00:56:07] Speaker B: You got to be careful. You just don't know. You just don't know. So, yeah, Canon are working on some stuff. What else have we got, Nick? On a release. [00:56:19] Speaker A: You just glossed over that, that they. So we're talking about the 20 to 60. [00:56:23] Speaker B: Oh, yeah, the 20 to 60 F2. I did. [00:56:25] Speaker A: Yeah. But this is. Obviously this won't happen, I'm sure, but it. It's here on you put the Canon rumor side. It's a 20 to 60, like lens design. Patent has come up for an F2VCM lens which looks like it would be very heavy. Very, very heavy. It would have to be at an F2. [00:56:49] Speaker B: You'd think it would be. But it's interesting that they've announced that the same week that Sigma have announced that they're dropping a 20 to 60. [00:56:57] Speaker A: Well, Canon didn't announce it, but they. Did they register it or like lens patents have been coming out a lot last month. We've seen lenses like. Yeah, yeah, interesting. [00:57:09] Speaker B: Yeah, I think it was just. Yeah, they've just released the patent for it or, you know, uploaded a pattern, [00:57:15] Speaker A: pick up on it or whatever. [00:57:16] Speaker B: Yeah. [00:57:17] Speaker A: That gets. [00:57:17] Speaker B: They pay something. They're watching it all day. [00:57:21] Speaker A: So I don't know. That's. That wouldn't excite me as much because a 20 to 60 F2 would be. I mean, I know I said a 20 to 50 would be amazing, but at 20 to 60, like as you stretch it, maybe. But if it was like a kilo 1.3 kilo lens or something is probably going to be too heavy for me to bother carrying anyway. [00:57:39] Speaker B: Yeah, yeah, that's true. Sorry, Canon and Canon people. Sorry, Justin, I. I failed. I failed you in Nikon News. I saw an article talking about Nikon when I was doing some research for tonight's show and they're talking about how I had all these memes of like there's a stick figure with a stick poking the cannon logo. Like, come on, do something. It's kind of like a meme that's going around because kind of Nick on logo. [00:58:06] Speaker A: You mean the Nikon? [00:58:07] Speaker B: Nikon, sorry, on the Nikon. Yeah, the Nikon logo. Because Canon's been a bit quiet with their releases. You know, we got the. What have we got? We got the ZR and that. They've let that sort of float out there for a little bit. But they've actually just announced up to. Well, according to this that there's going to be nine new Nikon lenses. But they're cine lenses that they're making and they're made for the. The ZR system, which is interesting. [00:58:39] Speaker A: So they're, they're, they're deploying their resources in that direction currently. [00:58:44] Speaker B: Yeah. [00:58:45] Speaker A: And I wonder if there's been maybe. Because there's got to be. At some point, there's got to be a Z9.2 and then Z8.2 coming because they've been out for how long? When is it? When did the Z9 get released? When did the Nikon Z9 get released? December 24, 2021. Oh, my gosh, no. So it's coming up on five years. [00:59:18] Speaker B: Yeah. But it's a pretty phenomenal camera. What more do people want? What are people asking for in a new Z9 or a new flagship? [00:59:26] Speaker A: You know, just a new model. So they don't feel like they're buying an old model. That's what they want. Maybe. [00:59:31] Speaker B: Yeah. [00:59:31] Speaker A: Just put a two on it. Camera and change nothing. [00:59:34] Speaker B: Yeah. [00:59:35] Speaker A: Basically just be like, yeah, it's the new model. Yeah, yeah. I don't know. People do get like that, though. They're like, is it, you know, would I invest this much money in a Z9 now? They're probably going to bring out another one. So what do they do? [00:59:47] Speaker B: Yep, that's true. But. [00:59:50] Speaker A: But I'll hang on a little comment here from Bruce Moyle. So I think is in relation to deploying their resources towards the cine side. Bruce says they needed to do that so they can make good on red bodies with their mount, which haven't had anything useful released that I know of. [01:00:06] Speaker B: Right, yeah. [01:00:06] Speaker A: So. So they've got a lot of pressure to build out a system for the bodies that they. They essentially, they own red now. [01:00:15] Speaker B: So they've applied this company and they've done one thing with it. [01:00:19] Speaker A: Yeah. [01:00:19] Speaker B: Publicly and. [01:00:20] Speaker A: Yeah. [01:00:21] Speaker B: So. [01:00:21] Speaker A: So essentially, until they can build out an ecosystem big enough for cine people to be like, heck, yeah, this is great. That's. That's got to be their main focus, I guess. And the still side. And they're probably looking at it like you are, where you're like, what? It's still good. These products are still good. The Z9 is still competitive. The Z8 still competitive. We can push back that stuff until we catch up on the. The cinema side. [01:00:47] Speaker B: Yep. Yeah, yeah. Interesting. Very interesting. So, yeah, nine new lenses, according to the rumor. The one of the one that was spotted at a recent trade show was the Nikon Nikkor Z Cinema 50 mil T 1.9 VV. So, yeah, we'll wait and see. What, what comes from that? And in final lens news, before we look at some more images, the folks over at Venus Optics. So the team at Lauer have released the Nikon F mount version of the Lauer 180mil f 4.5, 1.5x ultra macro lens, which I still have sitting up there somewhere for the X mount. But yeah, they're going to put one out for F mount. [01:01:34] Speaker A: So many words in that, that headlight. Sorry, it's unrelated to photography, but it's just. Venus Optics released the Nikon F mount version of the Lauer 180 mil 4.5 to 1.5x ultra macro lens. [01:01:48] Speaker B: Yep. [01:01:49] Speaker A: Just rolls off the tongue. [01:01:50] Speaker B: Oh, it is, yeah, yeah. Outstanding journalism, really. But that brings us to the end of the, the lens news and we should probably look at some more images. [01:02:00] Speaker A: Yeah, we'll take a little image break before we go to, to the other news. All right, but before we do that, Glenn Lavender, creative photo workshops in the house says Nikon less than 11% market share. Now, is it do or die time? Well, I think it is if they want to, if they want to not go full on into cinema, you know, unless their plan is to just kind of let, let stills peter off and just go full on into cinema, it is probably do or die time. But what does do or die time? What does do or die mean? Like what, what would they need? I mean, they're, they're also still on par with Fujifilm and you wouldn't say Fujifilm is in do or die right now. [01:02:45] Speaker B: Yeah, well, actually, sorry, just a small correction there, Jay. Fujifilm has exceeded Nikon's market share this [01:02:54] Speaker A: year, but I'm sure we'll probably see that flip back next year when Nikon released some more stuff. But yes, you are correct. You are correct. I believe someone couldn't just give me [01:03:03] Speaker B: that win, could you? You had no sting to it. [01:03:06] Speaker A: Someone said that there's some Instax cameras getting counted in that as well. [01:03:10] Speaker B: I don't, I had not read that anywhere. [01:03:13] Speaker A: The Instax EVOs with the digital sensors counted towards that market share. And I don't know if that's true. [01:03:20] Speaker B: Nikon don't have one. So, you know, that's, that's on them. [01:03:23] Speaker A: I know, but they're essentially kids toys that they're counting against like Z8s and stuff. And I was like, well, I don't know about that. So anyway, I don't know if that's true. I'd have to find out who some, you know, like how do these numbers get counted? But someone said an Evo would count because it wasn't just interchangeable. If you go to. If you look at interchangeable lens camera sales, Nikon was still ahead, I believe. [01:03:52] Speaker B: Yeah, they would be because one of Fuji's bestsellers is the 100 series, the [01:03:57] Speaker A: X1 hundreds and that. So. So it's. But if. If the evos count as well and if you're just going on units, not revenue, because Instax EVOs are cheaper. I don't know. Very interesting. [01:04:10] Speaker B: It is. Speaking of instant cameras, on Saturday, Ava, after I finished my walkshop, my workshop, I went down into the arcade that runs from the Graves to Flinders Street Station. They've just completely renovated as part of the station upgrade, and Walkins have just opened. Actually, on the Saturday I walked in. I think I was customer walking street. Walkins walked in. They even had a photo of Christopher Walken's above the door. It was so cool. Anyway, and it's this tiny little arcade shop. It's like a meter and a half deep by about 3 meters wide. That's the entire footprint of the shop. It's one of those tiny little, like. It's a beautiful little little store and they sell a whole bunch of Polaroid stuff as well as some Instax and lots of film. They've got a wall of film. That's really cool. And they sell a whole bunch of accessories and. And they have a lot of Kodak cameras and accessories. But I saw in there the new Polaroid goes the tiny little versions of the Polaroid cameras that make these tiny. Sorry, folks. Let you see my crotch. These tiny little, tiny little. They're smaller than Instax, these little square images. [01:05:22] Speaker A: Okay. [01:05:22] Speaker B: Sasha bought one in the end and because she loves a bit of instant film. [01:05:28] Speaker A: Very cool. [01:05:29] Speaker B: Yeah, they're really cool. They're really cool. They had some really cool cameras. [01:05:33] Speaker A: I'll have to check it out one day when I come down. [01:05:36] Speaker B: Lucinda should probably check it out next time she's in town too, because she loves. She loves the Polaroid. [01:05:40] Speaker A: She does. [01:05:41] Speaker B: She does indeed. Anyway, yes, Richard Mayall is up. [01:05:48] Speaker A: Richard Mayall. [01:05:50] Speaker B: There should be three images. There is three numbered 1, 2, and 3. Howdy, gents. This past Saturday was a day of roller derby for my household. And after skimming through the photos quickly, I pulled three out to share. These were all photographed with the aforementioned Nikon Z9 and the Nikon 70-202.8 VRs Z mount lens. Nice kit. That is a nice kit. [01:06:14] Speaker A: It's rock solid. Indoor sports kit. [01:06:18] Speaker B: That 70 to 200 chef's kiss. From my experience, this is for image number one. Most people shooting sports get frustrated when a referee or another player blocks a potential photographer. Personally, I love it when shooting from inside the track. I love shooting over a ref shoulder and getting the one visible eye of the player in focus. This first image was shot at 200 miles at f 3.513 20th of a second and ISO 2800. Yeah, I love that. It certainly adds a lot of character and interest and depth to what would otherwise be, you know, kind of like an environmental portrait. But this changes it. It adds more narrative to it, which is really cool. [01:07:02] Speaker A: Yeah. And I'm sure we'll see this. It would make especially a good part of an image set. [01:07:08] Speaker B: Yes. [01:07:08] Speaker A: You know, as opposed to a standalone image. But if you add this into an image set with a. With a wide establishing shot and then some other, you know, like. Yeah, very cool. [01:07:17] Speaker B: Well, on that note, let's look at another one. Number two. This photo happened when a skater tripped and fell literally between the legs of an opposing player. Really pleased that I managed to grab the photo in time from across the track. This again was shot at 130mil, 1/400 of a second. F 3.5 and at 3600 ISO this time. And yet those files are still crispy. Crispy. Clean. [01:07:44] Speaker A: Very crispy. Clean. [01:07:45] Speaker B: Very crispy. I love it. There's so much going on in this frame. [01:07:51] Speaker A: Yeah. [01:07:52] Speaker B: You know, even the people in the background, the passive. The passive participants in the image are all. There's. There's story here, you know. [01:07:58] Speaker A: Yeah. [01:07:59] Speaker B: Very cool. Very. [01:08:00] Speaker A: Well, if I was to. If I was to give any criticism. And I. And I. It's tough because you probably grab this with not much notice. Like, I can imagine when this unfolded, but obviously it would be great to see. I think. I would think it would be great to see the ref's expression, depending on what the ref expression was, because they're probably the. Rather than the two main subjects, they're the next person in this shot that's going to add the most context. So it would be cool to see their expression. But I'm imagining that wasn't possible in the moment. [01:08:34] Speaker B: Yep. But I kind of like that in some ways, too. I like that there's. There's this unknown element of people's reactions, you know, I completely get what you're saying. [01:08:46] Speaker A: Well, it might also be me. I have a penchant for the crop. Crop at the neck is always a tough crop on a Human is always a tough crop as well. But again, it's sports. This isn't. This is like you make the best in the situation. It's very quick and you get what you can get. So it's certainly not saying you could do anything different. But yeah, yeah, this. Yeah. So Rich is even saying I saw the shot, brought the camera up and fired. Yeah, I agree. Would have preferred to have all heads in the photo. Yeah, it's. It's something where you've got. No, that's right. You've got no time. [01:09:15] Speaker B: You've caught the decisive moment. You've just had to make sacrifices because of the nature of what you're looking at. And I think, I think you've done [01:09:21] Speaker A: really well on the. On the plus side the fingertips of the girl and the purple are in, you know, like they're not cropped off. So you managed to get the two main subjects. Yeah. Well done. [01:09:34] Speaker B: Nice. One more to go. Image number three. I love the hair movement in this last photo. You can't see the skates on their feet but you know they are moving fast by the angle of the hair. Plus the refs arm securing the helmet again brings me Joy. Shot at 200 mil. 1/400th F 2.8 ISO 2500. [01:09:57] Speaker A: Yeah, this is a great one. Good colors. Forearm. The foreground which is a forearm element balances it out perfectly. And then the. Yeah. The facial expressions. The ladies in the red on the left hand side. So it's got great. [01:10:12] Speaker B: Yep. [01:10:13] Speaker A: Yeah. [01:10:13] Speaker B: Lovely. Great collection. [01:10:16] Speaker A: Yeah. [01:10:17] Speaker B: And yeah there's definitely, you know, there's even just in the three that you've sent through. I know you've said you quickly look through them but there's a. There's a series there, there's a story. You know, there's a. A connection to them which makes each one even stronger when you put them together. I think that's my view. You know. [01:10:35] Speaker A: I agree. Very nice. I love the colors of this venue too. That rich. Like orangey yellow. [01:10:41] Speaker B: Yeah, yeah. It's very cool. There's a little note here on the end of. Of the comments. I hope I haven't stretched the friendship with three photos but it's a fascinating sport allowing me to shoot fast moving sportraits. I've never heard that before. Is my wife. I also thought I'd show some action photos as opposed to my usual black and white studio work. Thanks Richard. Mail. Thank you so much Richard. Well done you. I'm being brave. Keep doing it. [01:11:06] Speaker A: Bruce says. Bruce comment with skin colors are good. They're hard to deal with because the wood floor can contamina the frame a lot. Yeah, like. Like bright green grass, sort of. Same kind of issue. Yeah. Reflected light. [01:11:18] Speaker B: Yellow walls. [01:11:20] Speaker A: Yeah, yellow walls. Bruce also says, justin, I think you would love to try shooting derby. Yeah, I would. That would be great. Although I would want to be on. I would want to be, like, out there. Yeah, I'd probably be on one of you on skates and then. But I'd need a lot of pads as well. [01:11:36] Speaker B: Yep. Yep. [01:11:39] Speaker A: It looks like a very fun sport. [01:11:41] Speaker B: Yeah, I think. I think Sash Sasha's two kids did it, and I think Juno broke her arm doing it, but that would pretty. Yeah, it was pretty brutal. Pretty brutal. Yeah. Northern suburbs stuff, you know, like, serious north of the river. John Latimer is up next. Let's have a look what John has supplied yet again this week. Thank you so much, John, for sending in an image. Hey, guys. Hope all is well. Sorry for not naming the file. I took care of it, John. We're good. This weekend I was away in Sydney for work on Comic Con, where it's held is near some salt marshes and mangroves. I explored the mangroves and sat and waited for these tiny marsh crabs to come out of the ground and walk into various pockets of light. I had so much fun and an amazing way to unwind from the busy weekend. Or. The image was shot with the Sony A7R III 200 to 600. 600. [01:12:35] Speaker A: Cool. [01:12:36] Speaker B: Yeah. With a polarizing filter. [01:12:38] Speaker A: Gosh. [01:12:40] Speaker B: Yeah. [01:12:40] Speaker A: I wouldn't have guessed in Lightroom. [01:12:42] Speaker B: And don't take my computer. Didn't edit in Lightroom Mobile as I didn't take my computer with me. Hope you guys have a great week. Thank you so much, John. I love this story. I love this image. It's just so. There's whimsy in it. This story. [01:12:55] Speaker A: There is. The light's great. I love the comment, too, because I hadn't thought about that. I just thought, oh, wow, this. This is like a great. The light is great in this shot, but I love that you got to sit there and wait for them to crawl into the right spot. [01:13:10] Speaker B: Yeah. Just wait and watch. And it's lovely. Really cool. [01:13:16] Speaker A: It's awesome. It's like you're controlling it, but you have no control. I could just imagine watching it slowly move towards the light, and then at the last second, it slowly stops and you're like. And then it goes the other way and you're like, oh, come on. You know, like, there's nothing you can do. You Just got to wait. Wait for it to hopefully move into the right spot. That's awesome. [01:13:33] Speaker B: But the lighting in the scene is just gorgeous. Like it's, you know, there's dapple, there's good contrast, no loss of detail anywhere. Some nice blur in the background. And just this little crab. On an adventure facing the sun. It's really cool. [01:13:50] Speaker A: Yeah. On an adventure heading towards the light. And then there's this. This strange little. Whatever this is. [01:13:56] Speaker B: Yeah. [01:13:57] Speaker A: Like cone that just. I don't know. Yeah, just add something to it. [01:14:03] Speaker B: Yep. Yeah. Yeah. [01:14:10] Speaker A: This is crazy. Looked at this for ages on ig. The light on the claw is wild. It is wild. It is. Phil Thompson loves the warm side lighting and Craig Murphy says this is cool. Love this pick. Yeah. It's a crowd pleaser, John. Print it. [01:14:26] Speaker B: Yeah, print. Go large. [01:14:30] Speaker A: Yeah, but it's very nice. [01:14:32] Speaker B: Speak of the devil. Let's look at Dennis's image before we move on to a little bit more industry news. Hey, legends. And this is in. This is in quotations. I am creating a series of long form videos of LP adventures. The memories are fading. And at the top of the list is anor. How do you say that? Anor. What? [01:14:53] Speaker A: What? [01:14:54] Speaker B: Yeah, what a special one. [01:14:55] Speaker A: What? [01:14:56] Speaker B: What? Who's on first full moon, A donation to the temple guards. A night in there alone. A remarkable night in 2018. [01:15:06] Speaker A: You got to be there for a night by yourself. That is crazy. [01:15:12] Speaker B: What a phenomenal experience. Hey. And then to be able to go up there and weave your magic, you know, that's so cool. I love that. Got goosebumps again, Dennis, you do it to me every time. This image is a single 2 minute exposure on my trusty old 5D Mark III and a 24.1.4. My first exposure to what great glass can be. Yes, it had been raining and yes, it was slimy and slippery. And yes, this place is haunted to all buggery and mind bending. To be alone in for an entire night. So many wild stories from this place. What an incredible experience, though. [01:15:50] Speaker A: That's nuts. [01:15:52] Speaker B: Like, just to visit a place like this is phenomenal. But to have that sort of access and that privilege. [01:15:58] Speaker A: I can't believe that they create art. [01:16:00] Speaker B: Yeah. Oh, he said a donation to the guards. So, you know. [01:16:04] Speaker A: Ah, I see. [01:16:05] Speaker B: Nudge, nudge. Yeah, we know what a donation means. [01:16:08] Speaker A: Hey, that's so good. [01:16:10] Speaker B: Yeah. [01:16:11] Speaker A: What a shot. It needs to be massive, this, this image. I'm sad that it's only this big on our screens. I wish I could make it bigger for you guys. But I can't really. I mean, we can zoom in a bit, but it's not really the same thing. [01:16:24] Speaker B: Yeah. [01:16:24] Speaker A: But, yeah, it's awesome. [01:16:28] Speaker B: Yeah. Yeah. I'd be more worried about the ghost feeling scared of Dennis than Dennis feeling scared of the ghost. Richard Nelson. [01:16:34] Speaker A: I'm sorry. [01:16:35] Speaker B: Rick Nelson has said as much. What's that fool doing spinning that thing? It's hurting my eyes. Nice work, Jen, as always. Beautiful. [01:16:46] Speaker A: That's great. [01:16:46] Speaker B: And such a wonderful story to go along with it about your experience. That's. That warms the cockles of my soul. Really does. [01:16:56] Speaker A: Just choosing how to shoot this would have been. I wouldn't have been able to pick an angle like. Yeah. I love that you figured out how to frame it the way that you have for a vertical. [01:17:07] Speaker B: Yeah, yeah. [01:17:09] Speaker A: It's awesome. [01:17:10] Speaker B: And it builds scale the way that it's framed. [01:17:13] Speaker A: Yeah. You know, also, because I know how big those balls usually are. [01:17:18] Speaker B: Yeah, yeah, yeah. We're still talking about the photo. Yeah, yeah, yeah. Cool. Let's move on to camera news very quickly. What have we got going on? I actually had a chat to Sam Olson about this today because she did pick up a Nikon ZR as her B roll camera. But Nikon have officially announced the development of firmware version 2.0 for the Nikon ZR, which will bring open gate coming in 2027. It's not even coming now. [01:17:52] Speaker A: Yeah, well, they're obviously playing catch up on that one, I guess, and clearly, which is as much as Bruce and Dennis and pretty much everyone that does some sort of professional video said that Open Gate isn't anything to worry about. You probably don't need it. Obviously, they've had enough pressure from the market that it's. It's. They think it's holding back camera sales, otherwise they wouldn't be worrying about putting it in there. [01:18:18] Speaker B: Yeah. [01:18:19] Speaker A: So very interesting. [01:18:22] Speaker B: It is interesting that, you know, they're kind of. I mean, I'm sure it's doing lots of other things, but to pitch that Open Gate is kind of the. The headline, and maybe that's just the rumor site doing that. [01:18:33] Speaker A: But, no, it wouldn't surprise me if Nikon, if they're working on it, they want to get that word out there because then people will be like, okay, maybe I will buy that camera because I'm going to get Open Gate eventually. That's the thing that was holding me back. I'll just order it or whatever. So it would be smart that if they knew they could do it and it was going to happen, to get the word out as quickly as possible to make sure people maybe think, okay, we'll buy it and then I'll get open gate next year. [01:18:58] Speaker B: Yeah, maybe. Maybe just interesting. They didn't launch with that and maybe it was a pressure to get to market kind of thing. Anyway, Malcolm, I don't know who Malcolm is, but Malcolm has launched a fundraiser on Kickstarter for a new modular Micro Four Thirds camera that Malcolm is developing. And this is a project that he's. I think he's kind of relaunched the Kickstarter because he had an original concept and it was going to use a Raspberry PI processor and it's going to be fairly basic. But now he's looking at Micro Four Thirds mount and sensor sizes for this modular camera that he's making. I thought it was just a fun little interesting kind of topic that, you know, this small company is just, we're [01:19:47] Speaker A: just going to make a camera interesting. So they've raised $57,000, which doesn't feel [01:19:56] Speaker B: like a lot of money, does it, for this sort of venture. [01:19:59] Speaker A: No, but. Okay, so he's been at it for a while by the look of it. [01:20:08] Speaker B: Yeah, he keeps updating the Kickstarter, apparently. I read somewhere. [01:20:17] Speaker A: Interesting. So available rewards bring your own sensor. You get the digital files to print everything, I guess, full spectrum color version of the sensor. Yep, yep, yep. This is far too complicated. Okay. [01:20:39] Speaker B: There's a lot of detail. [01:20:42] Speaker A: Complete camera. Thousand dollars Australian. Roughly monochrome. Complete camera, 8.3 megapixels. Interesting. Anyway, I won't be backing it. I'll keep an eye on it. It's freaking cool. [01:21:01] Speaker B: I thought it was brave. I thought, yeah, it's worth sort of recognizing that people are doing this. [01:21:07] Speaker A: Kickstarters. [01:21:08] Speaker B: Yeah. But even, you know, in the 3D printing space, as that becomes more and more accessible for people, people are starting to make their own camera bodies, you know, and lens mounts. You know, Crackers has talked about that with some of his adapted projector lenses that he's used on his GFX, he's had lens mounts, 3D printed to make that work, you know, and I think that's cool. It just opens up options for people. And then, you know, more often than not in those sort of communities, they share all of those files online so that others can just do it. [01:21:38] Speaker A: Yeah. [01:21:40] Speaker B: Which is great. [01:21:40] Speaker A: It's. It is nice. [01:21:42] Speaker B: Yeah. Yeah. [01:21:46] Speaker A: Let me just quickly show you this. I don't think it's in your thing. Did you see this rumor about the Canon R8 2? [01:21:57] Speaker B: I did and I I didn't put it in here for a couple of reasons. I came across a number of articles about it and it said one of them said, oh, confirmed, this is the look. And then in the first sentence it says, this is our mock up of what we think that the new look is going to look like based on what people have been telling us it's going to look like. Like. So. Because I didn't include it because there was no legitimacy to any of it. [01:22:21] Speaker A: Well, I want to include it only because I want to see if it's right or not. But I. Looking at this, I'm like, [01:22:30] Speaker B: possible. [01:22:31] Speaker A: But it does, it looks too much like a Sony or you know, like. And it just doesn't seem to have Canon's DNA in it. It said something said about having like a mixture of the eos and, and the old a, A series cameras or whatever. I'm like, it just doesn't. To me it looks like it's just a Nikon or you know, like a different design philosophy. And I'll be very surprised if it is this, but I wanted to put it on the show so that we can see if we were wrong or not. [01:22:59] Speaker B: But I also think that it's disproportionate. I think that mirror box is far too small. I know that's not a mirror box, but you know what I mean, that. Yeah, it just feels disproportionate. [01:23:09] Speaker A: Super fake, this whole thing for it to be a. And then they've obviously said there's this one and they put this one. This one's been like doctored up a little bit. That's what they use for the banners. Yeah, but yeah, I don't know, I could be wrong. I definitely could be wrong. And if it is this, we could see a whole new Canon design philosophy filter through in the coming years if they made that change to a square. But I just can't see it happening. [01:23:38] Speaker B: Yeah, it's, you know, because they've always gone for these organic kind of bubbly looking things, haven't they? [01:23:44] Speaker A: Rounded, smooth rounded. [01:23:46] Speaker B: Yeah, yep. And Nikon too, and other brands. [01:23:50] Speaker A: To be fair, Nikons is a little bit more square. [01:23:54] Speaker B: Yeah, yeah, they are now. They weren't always. [01:23:57] Speaker A: No, no, but they are now. [01:23:59] Speaker B: Yeah, they kind of, they kind of evolve slower whereas, yeah, I'd be surprised if Canon made this move. [01:24:06] Speaker A: Yeah. So the interesting thing, Tintype man says it looks like the M series Canon bodies from a couple of years ago. Yeah, it was a little bit that way. So that's probably the only design Language that it does match up with that Canon have. Peter Coulson says Leica SL Ish. Yes, it is. [01:24:29] Speaker B: Yeah. [01:24:29] Speaker A: Maybe that's where they think they need to head, but. [01:24:32] Speaker B: And I, I don't know how they rumored that there was going to be a. Two versions of the first, the R8 was just going to be a retro styling and then they said, no, there's going to be two versions. There'll be a typical Canon looking one and then a retro styling one. And they seem to have stopped talking about that as well. Maybe this is what someone saw. [01:24:50] Speaker A: That's right. [01:24:51] Speaker B: And they went, oh, they're doing a retro one, you know. [01:24:54] Speaker A: Yeah. And this is, I mean you could call it more retro Y than what Canon normally is, but it just looks [01:25:01] Speaker B: like Sony to me. [01:25:03] Speaker A: Yeah. [01:25:04] Speaker B: Yep. [01:25:05] Speaker A: Anyway, but it is a mockup, so. And we'll now see because it's not far off. When is it? A couple of days. The release? Can't remember. [01:25:17] Speaker B: Yeah, it's not far away. [01:25:18] Speaker A: 15th. Yeah, tomorrow, but yeah, tomorrow sometime tomorrow. [01:25:23] Speaker B: In London, speaking of camera cameras that we do know how they look. OM Systems has released the new pen or announced a new pen. It's coming soon and I, I'm kind of excited for it. I think if I was going to try a different brand for a street photography camera, it might be an OM pen. [01:25:43] Speaker A: No, really, tell me. [01:25:46] Speaker B: I'm not saying. No, no, no, no. Let's just set some clear guidance here. I'm not talking about replacing my Fujifilm system because nothing could. Everyone agrees, right, Raise your hand. Thank you. But it's a small, compact, very capable camera and I could imagine getting this with, you know, their 17 mil small, compact prime, which is a 35 mil equivalent full frame, which is my preferred shooting, a focal distance for street and stuff that I like to shoot. And it's relatively compact and it's relatively affordable and I kind of like the styling of it. It has a very Fuji look to it. It looks a lot like my XE5 front. [01:26:28] Speaker A: Or does your XC5 look a lot like a pen? [01:26:32] Speaker B: No, no, it's the other way around because Max E5 came first. You know this. [01:26:36] Speaker A: They had the pen F though, didn't they? [01:26:37] Speaker B: Yeah, but that looked nothing like any of this. But looking at it from here, it looks like a Fuji camera. It's got that two tone look. It's got those sort of squared edges. This is my view. [01:26:50] Speaker A: So you, you dig this? You think it's. [01:26:53] Speaker B: I dig it. It's small, it's compact, it's Lightweight. You know, OM have good color science. They've got good color science. You know, granted there's a lot more computational output in OEM cameras compared to say my usual Fujifilm stuff, but I think they handled that stuff really well. And yeah, I like the idea of it. So I think we should try and get one. Is what I'm saying is you should buy me one and I'll review it for lucky straps and then I'll just look after it. [01:27:28] Speaker A: I'm sure we'll be able to get one for a review. I do like the range finder layout. It is very clean and I think the price is. Is pretty reasonable compared to what other people have been launching their compacts at. [01:27:42] Speaker B: Yeah, absolutely. So the OM system pen with the M Zuko digital 14 to 42, which is an F 3.5 to 5.6, that's the version 3, it's $1,800 with the lens included in the kit, which is great. It's accessible for everybody, all that sort of stuff. The body only pen is $1500. So for comparison, a Fujifilm XE5 body only is $2600. So it's over a thousand bucks. Yeah, cheaper. [01:28:24] Speaker A: What about the XM, is it the XM5? Oh no. It doesn't have a viewfinder, does it? [01:28:28] Speaker B: No, it does. [01:28:30] Speaker A: That's what's interesting. Yeah. So anything in this price point, really. Most of them don't have a viewfinder. [01:28:38] Speaker B: Yeah. [01:28:38] Speaker A: At this pen price point. Yep. [01:28:41] Speaker B: Yep. But at 1500 bucks and if you've already got existing OM glass, there's lots of OM glass out there because it's been out there for a very long time. [01:28:52] Speaker A: Well, that's what Dennis. [01:28:55] Speaker B: Yes, he says. [01:28:55] Speaker A: And it's stunning glass. [01:28:57] Speaker B: Yeah. [01:28:59] Speaker A: Craig Murphy says. I'm with Dennis. Great glass, but the pen is not for me. Why not, Craig? What's Is it just not. Not a sort of a powerful enough camera. You more of a high end sports style or something about it? I don't know. It makes sense that they would use an old. David Skinner says ask Cam Blake what he thinks. I don't think Cam is a fan. I. So what's interesting, I don't know much about OM System. The whole series cam shot with it. I haven't. But he, I think he seemed to be upset with the fact that it was the same sensor that's been in every camera that they've released for quite a while. [01:29:42] Speaker B: Yeah. [01:29:44] Speaker A: But my, my counter to that would be if there was ever a time to reuse an old Sensor, it's probably in this camera, this lower price point, simplified, smaller, travel oriented camera. That's when you reuse your old sensors. So I feel like maybe his issue with this camera should really be more pointed at OM's flagship and like higher end bodies. [01:30:15] Speaker B: Yeah. [01:30:16] Speaker A: That they haven't progressed. Whereas this one should be perfectly fine with their old Sensatec. Probably. [01:30:22] Speaker B: Yeah. This is not a pro body. This is not top of the range body. You know, this is a, this is a travel camera, this is a street camera. This is a family photography camera. It's affordable, more affordable than the Fujifilm offering of similar kind of size and you know, intent and there's such a huge range of OM glass, you know, and if you were looking for a second OM body, this, you know, let's say if you are an OM shooter and you wanted to pick up a second body, this would be the sort of thing you could grab because it's relatively affordable in today's economy. Yep. I saw it and went, oh, that could be a good street camera. [01:31:04] Speaker A: This is an interesting one. It does say, it says IP rated confidence. Don't let a little rain stop you from telling your story. The pen has a IPX1 certified weather ceiling. IPX1 is the lowest weather ceiling that you can get. So I love that they say don't let a little rain. They should really emphasize a little rain stop here. Yeah. This is not downpour rated. [01:31:30] Speaker B: Don't even sweat near it. [01:31:32] Speaker A: It's not the same level that you will see on like a flagship body. But it's still cool that it's got something. It's. Yeah, a selling point. [01:31:42] Speaker B: They put a couple of gaskets on something just to have it on the brochure kind of thing, you know. [01:31:48] Speaker A: Yeah, but it's better than nothing. [01:31:50] Speaker B: Yeah. Oh yeah, of course, of course, Justin, you're right. And finally in camera news, the Insta 360s Lunar Pro goes global and has most of the Ultra's features. I don't know a lot about this one. [01:32:08] Speaker A: It's just the scaled back version of the. So yeah, it's the competitor to the OSMO Pocket. OSMO has the OSMO Pocket and the OSMO Pocket Pro. Can't Remember Osmo Pocket 4 and Osmo Pocket 4P or 4Pro or whatever. Insta360 launched their Lunar Ultra or Pro Ultra or whatever. What did they even call it? Either way, their names are dumb. But they, they launched their high end one first with the two lenses, the two sensors and lenses and then they launched the more Basic one second and it's now available. [01:32:44] Speaker B: Have they always done it that way when they release it? You know, like the top line before the. [01:32:48] Speaker A: I think there was this race to get one out. GoPro were going to release their one with the two lenses and so insta360 to release their one with the two Lenses. So that there was this. That. I think that's. But I just think it's really dumb. Why would you call. If you've got the Luna Ultra, you don't call your basic model the Luna Pro, just call it the Luna. You could have the Luna and the Luna Ultra, but you don't need the Lunar Pro and the Lunar Ultra. Which one's better? I don't know, the Pro, the Ultra. Like you have a proper naming hierarchy, people. Gosh. Anyway, I'm going to write them a [01:33:22] Speaker B: letter, a very sternly word letter. We should write it together. So. Yeah, so that's out. Let me just have a look. How much is it? The Lunar Pro? Oh, that's a kit. That's not it. I see that. Oh, it's not even up there yet. It's not on B and H. That's how fresh it is. [01:33:45] Speaker A: Yeah. And who knows, maybe they're having trouble getting him into the States because of something. Yeah, yeah, whatever. What was I gonna say? The. Oh, Bruce wants to try it because the detachable screen, I think that's really cool tech and I think that's probably one of the coolest parts about that camera. Everything else is sort of catch up to the OSMO Pocket series and that sort of thing. But I think that detachable screen every others. I've said it before, every other camera brand should be looking at going, how can we do something like that with something on our camera? Think outside the box. Make something that works in a different way to make our lives better, please. [01:34:23] Speaker B: Yep, absolutely. And that brings us to the end of our camera news segment. We do have a little bit of other random news, but you want to look at some more images? [01:34:32] Speaker A: Yeah, I think we should. I don't know how much of that extra news I've got time for tonight, [01:34:37] Speaker B: but let me just have a quick, quick glance. Let me do this very fast, Jay. Sony have officially confirmed that they are releasing two monitors for video for their FX series of cameras. There is a 7 inch and there is a 5 inch. Just for curiosity's sake. The 7 inch is $3,000 for the monitor. So it's quite an expensive piece of kit, but it's got lots of great features. La la in Fujifilm for Cine. For their Fujifilm GFX Eterna55. That's their big, you know, GFX medium format cine camera. They have announced a new V. God, I'd say that just an electronic viewfinder that is quite. It's got great resolution and all that sort of stuff. So that's coming up for that. And they're also creating a new Fujifilm app for the Eterna 55 camera dedicated app, which is pretty cool. Nisi Jet Mags. This is for you, Jay and for Dan. Anyone else that has a Leica Q, Nisi have released a Jet Mag, which is the Pro 49 magnetic filter system for Leica MQ and Deluxe lenses, which all have a fairly similar filter thread. Yeah. And they're like little burgers. It's like, it's like a slider, like a slider of filters. [01:35:56] Speaker A: I want a Jet Mag kit, but I won't be getting it for the Q3, I don't think. I can't afford to get that many different ones of them. [01:36:04] Speaker B: Yeah, the, the filter kit itself is like 570 Australian dollars for that 49mil. But it comes with stepping rings and a case and so it's not bad. And let's face it, all filters are expensive. That's it for the random news. We're done. See? Yay. All right, well done. Let's get back to your images. I was hoping for a sound effect then, but you left me hanging. Oh, it's too late. I'll take it. [01:36:39] Speaker A: You're happy. [01:36:39] Speaker B: I'll take it. Yeah, no, that's great. Let's get back to your images. We are going to look at some of Julie Powell's work. Julie's been away on a little bit of a working holiday. She's back back in business and she's sent in some images to share with us on some recent work, which I always love to see. Hey, Greg and Justin, here is just a little of what I've been up to last week. The first one is Emily. You've got that up first or Black Swan. [01:37:08] Speaker A: I can go to Emily. Go for it. [01:37:10] Speaker B: Let's go to Emily. Emily, cutting things back to basics of late. My subject, Emily in a shirt, tie and pants in the bath. Just natural light, a little high key and some contrast. Used my Sony A7R V and a Tamron 28 to 75 lens. Nice. I love the contrast. [01:37:31] Speaker A: Yeah, strong contrasty, black and white. Eyes are very punchy. Yeah, very, very punchy. [01:37:37] Speaker B: Yeah. Lovely work, Julie. Next Image is Black Swan. My take on the classic Swan Lake with ballerina Heruka. Instead of pointed shoe, a point shoe. Sorry. I kept the shoes and socks, added a light fixture from Bunnings and placed a small LED light for the glow shot on. Oh, hang on. Maybe I've missed something there. No, that is Black Swan shot on simple white seamless paper with two LED lights. And again with the Sony A7R V and the Tamron 28 to 75. [01:38:13] Speaker A: I'm gonna be brutally honest, Julie. I didn't notice that light until Greg read it out. And I don't know if my. If I'm just tired or something. [01:38:21] Speaker B: Oh, it's on her back. [01:38:22] Speaker A: I'm gonna zoom in. It's on her back and it might just be okay. [01:38:26] Speaker B: Yeah. [01:38:28] Speaker A: Because it's. It's almost blending to the background. [01:38:33] Speaker B: Yeah. [01:38:33] Speaker A: And I don't know what your goals were or anything with this. I'd love to chat to you about it more in depth, but yeah. Whether. Whether or not. Not a seamless or adjusting the lighting so that the seamless was more gray and the light was then. Yeah. I don't know. I didn't actually see it at the start. It's like a trigger now. Now I can see it perfectly now that I know it's there. But. But when I first flicked through the images, I completely missed it. Yeah. Now I can't see how I would have missed it. But yeah, yeah. [01:39:08] Speaker B: Other than that, I think that's good feedback. Yeah. I love the pose. I love the look. I love the fact that she's still got her shoes on. Yeah, yeah, yeah. [01:39:16] Speaker A: Very cool. Did you notice the light straight away? [01:39:18] Speaker B: No, did not. [01:39:20] Speaker A: Okay. Yeah. [01:39:21] Speaker B: That's why I stopped when I was reading. It went, oh, hang on. If I got Black Swan. Yeah, this is Black Swan. And I was thinking, where's the lamp? And then I twigged. So when she said it, the last image, I think, yes, from. From Julie is Risky Business. A little tongue in cheek take on Risky Business. My subject's lounging around on this great leather sofa. Natural light through the big windows on the left and a little constant fill from the right. Off camera. Use my Sony A7R5. And again, the 2875 Tamron lens is proving to be a winner for you, Julie. [01:39:58] Speaker A: Gotta love a 28 to 70 or 75. It's my fave. That's why I want to get a Leica SL and the Leica SL, the 28 to 70 maybe. It's a shame they won't be at Befop this year, they could have convinced me. [01:40:14] Speaker B: Yep. [01:40:15] Speaker A: Yeah. [01:40:15] Speaker B: They could have got you maybe a little pissy. Who knows? [01:40:21] Speaker A: Just get the card out. Decline, decline. Yep. I guess I won't be the one. [01:40:29] Speaker B: Lovely. Yeah, Lovely shot. Good composition. Nice lighting. Too clean, you know. Very clean. Yep. Well done, Julian. Thank you. [01:40:40] Speaker A: Thanks for sending some in. Phil Thompson said he couldn't see the ball at the start either. The light. Can the round light be a different color temperature? That would be another option as well. I don't know what she was going for with. With the. The concept in the photo, but. Yeah, whether it could be a warm light. The light could potentially be less bright if it was controllable, which would make it appear like. [01:41:05] Speaker B: Yeah, yeah. [01:41:07] Speaker A: Rather than sort of being equally as bright as the background, it would actually be less bright. I know there's lots of options, but. Yeah, I'd be interested to see what her thoughts were in approaching and what. What the goal. Why the light is there in the first place. Yeah, [01:41:24] Speaker B: yeah. I think it's a cool question. Nice. Moving right along, we have an image from John Hall. Evening, all. We got out yesterday for a photo walk around Chippendale and Redfern. Redfern managed to get absolutely nothing. As a consolation, we enjoyed the sunshine and the beer and dumplings at the White Rabbit Gallery. And they were very good. So instead, here's an image taken of a couple of months ago on another walk through the CBD. What a pivot Nikon Z6 Mark III. A 40 mil at F2. Sorry, 40 mil F2 at F8. 1 6. 40 of a second. ISO 100. Cheers, John. I. Looking at the shot earlier, I had Sam here when I was going through these images and this one really jumped out. I really love this composition. Amazing control of light and. Yeah, really fascinating. Compelling images. Just draws you in to work out what's going on here. [01:42:21] Speaker A: Yeah, I dig this too. It's really cool instantly as soon as it popped up on the screen. [01:42:27] Speaker B: Yeah. [01:42:28] Speaker A: Beautiful color. Like I say, great control of the light. The shadows framing the shadow on the foreground, the background just being so mysterious and you've got this sort of stairway to nowhere. [01:42:39] Speaker B: Yep. [01:42:40] Speaker A: Yeah. It's just really well done. Really well done. [01:42:44] Speaker B: Yep. [01:42:46] Speaker A: Yeah, Very character lights it. Dennis is. That's a great photo. Yeah, I think. I don't know, you know how sometimes you just see something instantly like. That's good. [01:42:55] Speaker B: Yeah, yeah. When it just punches you in the eye and you just go, oh, wow, what's that? You know, what's going on there? The only thing I would. I would consider, John, and this is obviously just a personal taste and a view thing, maybe crop down some of the negative space in the top left hand of the frame a bit, just to bring the balance in. Maybe just a smidge. [01:43:17] Speaker A: Yeah, I wondered that just from the. Well, from the top. But then I looked. I don't know. Yeah, I kind of like it the way it is. [01:43:24] Speaker B: Yeah, I do too. [01:43:26] Speaker A: I'm looking at the screen with the, like the light shining my eyes for this podcast light and stuff. I'd love to see it on its own, you know, like, you know, in a frame or something like that and see what that negative space does. Yeah, but. Yeah. Oh, Dennis reckons a three to one crop. Interesting. [01:43:46] Speaker B: Yeah, but great capture. Well spotted and well. Yeah, well composed too. And controlled. [01:43:53] Speaker A: Yeah, really cool. [01:43:54] Speaker B: Lovely. Thank you very much. John Hall. Batter up. We've got Phil Thompson next. Hey, Greg and Justin. As were World Pentax Day stretched over a week until the 13th of September for their Pentax Forums 2030 anniversary. I had no idea that was a thing. No, that allowed. That allowed us to go out and shoot for a few extra days. And on that note, I shot this sunrise at a private property in Konawara that I have access to on Saturday morning before going to Melbourne. Oh, there's the yawn people. So there it is. [01:44:30] Speaker A: That means we've got 10 more minutes at max and then I'll fall off. He falls off his chair. [01:44:37] Speaker B: Sorry, sorry, Phil, I didn't mean to do that in the middle of your image review. On that note, I shot this sunrise at a property, a private property in Konawara that I have access to on Saturday morning before going to Melbourne to photograph an opera. And John sent me through some of the. I think it was the dress rehearsal shots you sent me. And they're beautiful. It was shot at 6:12am about 15 minutes prior to the actual sunrise. And as often is the case, there was some fog settled on the creek and lake on the property. Shot with the Pentax K1 Mark II with the 15 to 30 lens, with the GND filter, 1/40 of a second, f8 and ISO 1 6, 1600. And as always, thanks for the great show. Keep up the good work. That was for me, not you, Jay. [01:45:22] Speaker A: Oh, okay. Yeah, Just so I'll keep up the great work too, though. This sunset is. [01:45:28] Speaker B: You tell yourself that, boss. [01:45:31] Speaker A: This sunset is magical, isn't it? Yeah, I just love it. [01:45:35] Speaker B: Yep. [01:45:36] Speaker A: Just the chain, the gradients, soft change in colored tones and no hot spots. It's just beautiful. [01:45:43] Speaker B: Yeah, really well done. [01:45:45] Speaker A: Yeah. The reflections on the water are just. Yeah, no notes. Absolutely magical. Beautiful control of your greens and everything. It just looks great, vibrant, really nice. [01:45:56] Speaker B: Yeah. You know, it really amazes me with, with, with his work, with Phil's work is that every month or so one of his images pops up on the. The background of the. I think it's Channel seven. When they do the weather, they bring up a viewer image. His images have been on there so many times. [01:46:15] Speaker A: Yeah. [01:46:17] Speaker B: And they put them on that big, you know, screen that's behind the presenter. And they're huge. They look really cool. They're really punchy. [01:46:25] Speaker A: Pretty awesome. Pretty awesome to see. But also they're always like this. They're always just these stunning, like sunsets or auroras or whatever. [01:46:31] Speaker B: Yeah, yeah, yeah. The wonder of nature. [01:46:35] Speaker A: Yeah. [01:46:36] Speaker B: Very cool. Thank you so much. Once again, Phil, print it. [01:46:39] Speaker A: Good stuff. Like a bit of environment around the subject. Oh, hang on. Where are we? Oh, great color, Phil. From Philip Johnson. Yeah, the color's just magic. Beautiful. [01:46:52] Speaker B: Speaking of Philip Johnson and that was a good segue. We've got Philip Johnson up next. Greetings, Justin and Greg. This shot captured some years ago. So one from the archives, a study of King Porteous proteus. In this case in black and white. Is that the name of the plant King Proteus? [01:47:12] Speaker A: Protea. Yeah. [01:47:14] Speaker B: Protea. Yeah, Proteas. Protea. Preparing to bloom as spring hits the blue mountains. This was shot on a Sony 6400 at 210mil, 1/80 of a second. F13, ISO 125 process using Photoshop and Nick Silver FX Pro. [01:47:40] Speaker A: Silver effects. Gotta love it. [01:47:42] Speaker B: Yeah. It's so powerful, this image. I love it. [01:47:46] Speaker A: The light fall off on the. The leaves under the flower is so great. But I think the thing that really makes it is the. On the right hand side, there's like a little extra, you know, a little branch coming through with leaves on the right hand side, nothing on the left. And I think that's what makes it for me. Yeah, just adds a bit of interest and changes the balance offsets because it's slightly to the left, the flower, the Proteus. So this just adds a little bit of something on the right instead of on the left. You've just kind of got black and background. Yeah, this is really well done. [01:48:26] Speaker B: Yeah. And just how luminous those petals are. It's almost ethereal, you know, it's almost dreamscape sort of stuff. It's just. Oh, it's really full On. I love it. [01:48:38] Speaker A: Yep. [01:48:40] Speaker B: Yeah, print that one, Phil. Print it. [01:48:42] Speaker A: Banger. [01:48:42] Speaker B: Yeah. [01:48:43] Speaker A: Great tonal range. Those highlights are just holding in there. Gorgeous. Damn, that's lovely, says Dennis. [01:48:49] Speaker B: Yep, yep. And look, speaking of printing, if you'll forgive me for a small segue, for those of you that are attending the bright Festival of Photography this year, beef up 2026, don't forget that Bruce Moyle and I, on behalf of Bruce Moyle and I and Lucky Straps and the Camera Life podcast and Camera House Croydon and Beef up, we're bringing you the BEFOP 2026 print swap. That's right. You select one image, you upload it to our. Our Dropbox link, all available on the Beef up portal, and then you get yourself a minimum of 20 prints of that same one image to swap with your fellow fellow Beef Hoppers at this year's festival. Already I think we've got well over 50 people images have been submitted for the, including workshop instructors. So you never know, you might, you might manage to land yourself a Dennis Smith or Adam Edwards or Glenn Lavender. Sorry that we can't control everything that happens, but. But, yeah. So if you're looking for information on the print swap, there's a few. There's a couple of videos that Bruce has put out on the Beef Up Groupies page on Facebook. But if you head to the BFOP Australia website and you log into the portal using your login and password, it will be there on that screen and you can see all the details about this year's print swap. But so far it's going great. [01:50:08] Speaker A: So good. It's going to be so fun. I have no idea what print I'm going to bring and swap, but I'm excited. [01:50:14] Speaker B: Yeah, but just know, folks, that if you do pick up a Justin Castle's print, just know that it has been printed about 40 times on different papers before it got to the version that you have in your hand, at least. So it may, at least it may prove to be the most expensive print you pick up befop this year. Back to your. Back to your images. [01:50:34] Speaker A: Peter Coulson says that his prints are done. [01:50:37] Speaker B: Oh, nice work. Can't wait. Oh, I think actually, actually I think I saw, I saw the. On Bruce's video that he's put on the BFOP Groupies page, he's put together a bit of a video with a little slideshow of some of the images that have been. Yeah, there's an update out today with some of the images that have been submitted and I, I saw Peters and I was very excited. It's one of my favorite images of his with, of course, with Beck featured smack in the middle of it. [01:51:02] Speaker A: Yeah, well, yeah, gotta get yourself a Coulson. [01:51:06] Speaker B: Yeah, Imagine getting a Coulson. [01:51:08] Speaker A: Imagine. [01:51:09] Speaker B: Hey, Coulson. A car, a castles, a chromie. Who knows what you'll get? [01:51:14] Speaker A: That's right. Hopefully not a castle. CB so sad. You're like, damn it. [01:51:19] Speaker B: Yeah. Can't win them all. We're actually up to our last set of images, but there are six images that have been submitted. And this is by Nathan, former guest on the Camera Life podcast is a full interview with Nathan from way back. Way back. And yeah, he's been a busy boy. He's just got back from Japan, had an amazing time in Japan, and he rubbed my nose in it every day with images being sent directly to my inbox. And, yeah, I hate him forever for it. But here's his photos. Regardless, here's what he had to say. Hello. I've noticed that the last few Mondays, Greg has shown photos he's taken around his neighborhood, which for 30 years of my life has been my neighborhood as well. So we're talking about Prahran, folks. We're talking about Pran in Melbourne. I thought I'd add a couple of photos into the mix that I've taken between 2022 and the current day. And there's one image which will come to which he says, PS, the boarded up house is at the end of my street. And I photographed it regularly for the past 11 years as it has changed. [01:52:25] Speaker A: Oh, the feet in the island. That's crazy. What is going on here? The feet coming out of the bin. Yeah, the two matchy dogs. That's a good one. Wow. Just. [01:52:49] Speaker B: I really like this. [01:52:50] Speaker A: It's got a diverse. A diverse set. And then this is the boarded up house. Yeah, it's always a boarded up house. [01:52:59] Speaker B: I'm always fascinated by Nathan's images because he has this really unique style of framing. And. Well, first he. He sees things that most people just walk past and ignore, you know? [01:53:11] Speaker A: Yeah. [01:53:12] Speaker B: And I think that's part of the charm of his work, is that he's. He's documenting the stuff that we all forget or we all choose not to see, which is a really powerful element in street photography and this sort of documentary style photography. But the other thing I'll say is that it's really interesting to see folks photograph the places that you photograph regularly, [01:53:31] Speaker A: you know, with a different eye. [01:53:33] Speaker B: With a very different eye. But there's familiar familiarity in the Scenes and you go, oh, actually, I know where that is. You know, I know that downpipe. I know that pigeon. [01:53:45] Speaker A: Hang on, which one? The one on the left. [01:53:48] Speaker B: A spruce. [01:53:48] Speaker A: Oh, the one on the left. Okay. [01:53:50] Speaker B: Jason on the right, he's a bit of a prick, so we don't talk to Jason, but. And then the last image there is the. The skate. Or the next image was the skate park where I've. I've been heading there regularly for a very. Actually, I took my. Used to take my kids there when they were little and they had their first scooters and skateboards. I used to take Sebi and Indy there. The skate park's been rebuilt since then, but such a great community space. And I've been working on a bit of a project that I'm forming over time with the skate park. But this is, again, yet another way of looking at it in his own unique way, which is amazing. [01:54:25] Speaker A: Hang on, that is amazing. But also, I just saw this comment. Nathan says, so the feed in the bin. Mum told me that dad had thrown out a mannequin at the RSL and sent me the photo. I was there. So quick, right, so that's a mannequin and you got a tip off that there's a mannequin in a bin and you're like, all right, photo opportunity. That's awesome. [01:54:50] Speaker B: Yep, very cool. But hey, Nathan, you should send in some of your. Some of your favorite photos of. Of Japan. Some great shots in there, especially from the. The baseball game. He went to Japanese. Lovely baseball. [01:55:05] Speaker A: He did send the baseball in. [01:55:07] Speaker B: Oh, that was last week, wasn't it? Yeah, it was too. Yeah, it was for the last minute. Sorry, my bad. [01:55:11] Speaker A: What's going. What's wrong with you, bro? [01:55:13] Speaker B: I've seen your moment, boss. It's after. It's after 9 o'. Clock. What do you expect? I've already owned. [01:55:17] Speaker A: I have yawned. [01:55:20] Speaker B: But that brings us to the end of your images. And once again, on behalf of all of us here at Lucky Straps and the Camera Life podcast, thank you so much for sending in your images. If you're new here, send in an image, please. Give it a crack. Yeah, we'd love to see your work, we'd love to share your work, we'd love to talk about your work and we promise we'll be gentle. [01:55:42] Speaker A: Yep, send them through, please. The camera [email protected]. just email them there and we'll figure it out. I will. I'll resume. I'll get back to showing images next week. I've got this Banging set that I want to show. But I'm feeling nervous about the edits and I also didn't have the energy to talk you guys through them today because we're almost two hours in. And so I decided I'm going to save them once again for next week. [01:56:10] Speaker B: Yeah, all right, fair enough. And I think next week I might show you guys some of the iPhone street photography shots I took during yesterday's workshop that I ran. [01:56:18] Speaker A: That'd be cool. [01:56:19] Speaker B: In Melbourne cbd. [01:56:20] Speaker A: Yeah, very cool. [01:56:24] Speaker B: Anything else to cover off? [01:56:26] Speaker A: No, I'm tired. I need to go to bed. [01:56:30] Speaker B: Yeah. [01:56:30] Speaker A: Oh, we gotta. We got an interview on Thursday. We should. [01:56:33] Speaker B: We do, we do. We've got philosophers joining us. [01:56:36] Speaker A: Street photographer. Yes, I am. [01:56:38] Speaker B: I don't know why all these street photographers keep showing up on the show. I don't know what's going on there. Actually. In my defense. No, in my defense, I, you know, when, when we book a guest, I find someone that we want to get on the show. I send them a range of dates. I don't control the dates. [01:56:51] Speaker A: Yeah, it just kind of, it just kind of. They come. It's funny because they do seem to happen. We'll have like three landscape photographers on in a row and then stuff. But it's just how it, how it unfolds, it's just. Yes, thank you. [01:57:01] Speaker B: Thank you for understanding, boss. I appreciate that. The week after that we also have a street photographer. No, I'm joking, actually. [01:57:07] Speaker A: I don't know, I can't remember. [01:57:09] Speaker B: Who knows? Yeah, Phil's joining us. So Phil is a UK born Australian street photographer and yeah, he's got some fascinating work to share with us and, and talk a bit story. But he's also a medical researcher into cancer pain research. He's a osteopath as well. Yeah, yeah. Man of many trades. So we'll get. And yeah, find out what he's been up to. So That's Thursday morning, 9am Every Thursday morning at 9am Australian Eastern Standard Time. We interviewed amazing photographer, an Australian photographer or maybe an international guest. And we're not picky, you know, we get anyone in really. You don't have to have any particular skill set. Peter Colson for example. I'm joking, Peter. [01:57:57] Speaker A: Not trust at all. We get the best and the brightest and we're always looking for more. So if you've got any guest recommendations, send them through. [01:58:03] Speaker B: Yeah, indeed. [01:58:06] Speaker A: All right. Shall we roll the thing? [01:58:11] Speaker B: Yeah, let's roll the thing. Say goodbye to some people. [01:58:14] Speaker A: Fermi says don't forget to hit the like, chat. Yes, please, please hit the like button. That actually does really help more than I thought it does. So please, like, just, like, it's takes one second. Just do it right now. Hit the like. [01:58:25] Speaker B: Yeah. [01:58:27] Speaker A: Peter Coulson says tonight with you guys is so much more fun editing than normal. That's awesome. Every Monday night we're here. Just do your editing on Monday night. That's perfect. Phil Thompson's. Thanks once again, gents. Back to editing the Don G. Opera now. I don't know what that means. Yeah, I'm not. I'm not opera. Bruce Moyle. Thank you. [01:58:50] Speaker B: You don't know that word yet, so. [01:58:51] Speaker A: Yeah, I don't know. John Latimer. Thank you. Craig Murphy. Rick Nelson. Who else was here? David Skinner. Toodaloo. Dennis Smith. Greg Carrick also says, smash that like button before you leave. Yes, please. He also says puppy. Unfortunately, the puppy's asleep. The puppy is asleep. Nathan's got some sumo wrestling photos for us. That'll be awesome. What else? Hey, Craig Murphy. Good to see you. It was a fun one, Richard. I'm just happy to be in the same room as eterkulsonphotographer Jason Rogers. Thanks for a great show. Oh, and don't forget, this is brought to you by Lucky straps. Go to Luckystraps.com and buy camera strap. Okay, thank you. Bye. [01:59:27] Speaker B: Besides,