iPhone's Variable Aperture Camera, Reviewing Your Images and More - The Random Photography Show

[00:00:00] Speaker A: Sam. [00:00:30] Speaker B: Well, g', day everybody and welcome to the Camera Life podcast. This is the random photography show. It is Monday 31st August 2026. And of course I'm joined today by my co pilot, the captain. More importantly to. To my first mate, it's. It's Justin, everybody. G', day, mate. How are you? [00:00:49] Speaker A: I'm good. How are you, Greg? [00:00:51] Speaker B: I kind of mixed up, you know, some metaphors there, but I guess people will kind of get the gist. [00:00:57] Speaker A: I think it worked. I think it worked fine. [00:00:58] Speaker B: All right, that's good, folks. Welcome to the show. Being the random photography show, you should stick around if you want to hear about the latest industry news. If you want to see some images that Justin and I might have taken lately. I took a few. I don't know if the boss has yet, but more importantly, I've got some. [00:01:15] Speaker A: I've got some. I almost forgot. I forgot to put it in there. But I've got them. I've got them. [00:01:18] Speaker B: Oh, good. Too good, man. Good. And of course we'll get to check out all of your images. Guys, we've. We had a bit of a break last week because we had our bright festival of photography special, but we are back with a normal random photography show. But look, you know what? Right off the cuff, I've got a burning question, Justin. Are iPhones coming for our compact cameras once again? [00:01:41] Speaker A: Wow. I mean, variable aperture. [00:01:46] Speaker B: That's. [00:01:47] Speaker A: There's been a lot of advancements in iPhone cameras since, you know, the early days, but it's got to the point now where every year it's like the advancements, unless you're like trying to make a Hollywood film with them, they're pretty good. I've got a 16, I think, and I feel like it's only been fairly incremental upgrades like the 17. It wasn't. Wasn't a big change every year. It's sort of been somewhat incremental with, with a few little big jumps here and there. But this will be the first year that they're. That. It's rumored that events on the 9th. So coming up soon, the rumor is that the higher specced iPhones will get a variable aperture main camera. What do you reckon? Is it crazy? Is it good? [00:02:31] Speaker B: I don't. I don't think it's crazy. I don't think it's crazy. I think it's interesting, isn't it? Because, you know, it. It's become fairly apparent that smartphone cameras, the camera that we all carry in our pocket all day, every day, you know, was was the final nail in the coffin of compact point and shoots. You know, we used to have some amazing compact point and shoots and then smartphone cameras became so good that people stopped buying point and shoots. And then in more recent times, probably in the last year, we've seen a resurgence in people wanting point and shoots. In fact, some of the best selling cameras in Japan and in other parts of the world are compacts point and shoot cameras or very small interchangeable lens cameras. And so people have gone back to wanting a dedicated device for photography. And of course, you know, Apple's not going to stand for that because I think that's their patch now, the pocketable camera. And they've, they've. There's some leaks, some rumors, some Weibo posting. That's Chinese social media for you folks at home. And yeah, rumor has it the 18 Pro Max only will have a derivated variable aperture control. [00:03:40] Speaker A: They did that a few years ago, I think with the. Was it the introduction of the telephoto camera? Was the. That only come out on the like the Pro Max or whatever it was called at the time. The biggest phone and the most expensive phone got this new thing and then it trickled down the next year, you know, to both the Pro Maxes, the smaller one as well. And then the year after that I think it got introduced maybe into all the. To all the cameras have. Nah, not. I don't know. Anyway, so. So you'll find they test it out in the flagship and then trickle it down as it becomes more cost effective to produce. But what's interesting is so variable aperture, I think they're talking about like around 1 point F, 1.4, 1.5, maybe up to 2.8, something like that. I don't know if it would go to F4. Obviously on these tiny little sensors you're talking about letting a lot of light in, but you're not going to get the sort of depth of field that we see on, on full frame or even crop or even micro 4/3 cameras like this very different thing. But it's about how much light's coming in. Maybe a tiny bit about depth of field. I think maybe you know, down to 2.8, that would be. [00:04:47] Speaker B: I would be more interested in the depth of field because I think iPhones, especially current gen, I've got a 17 Pro, [00:04:54] Speaker A: you're right up. [00:04:55] Speaker B: Only I upgrade every three years. [00:04:57] Speaker A: Okay. [00:04:58] Speaker B: So I put mine on a plan, payment plan. I pay it off over three years and then I got a new one and then I get to enjoy proper jumps in technology rather than every year getting a new one. And anyway, and you know how it's got the. The portrait modes that, you know, you can have your center subject or, you know, your foreground subject, sharp focus, and then it creates this faux blur, this faux bokeh in the background. And it tries the foka and. And it tries to create. It tries to replicate depth of field by doing so. [00:05:29] Speaker A: It does a really good job because it's like you're perfectly sharp and then everything 1 millimeter behind you is obliterated. It's awesome. [00:05:37] Speaker B: Including. [00:05:37] Speaker A: Including parts. Some of your ear and a little of your beard. [00:05:42] Speaker B: Your little pinky is gone, you know, and look, I. I think that's great. I think it's. I think that, you know, it's a. It's a. In the right conditions, it works well, but it's not the same. It's foca. [00:05:57] Speaker A: No, no. So that. Yeah. And that's a different thing. And I wonder whether this will help that in any way. Probably not, really. I feel like. I don't know, I feel like the biggest advantage this is going to bring is potentially for people that. That take videos on their phone because you imagine how fast the shutter speeds have to be. Full daylight with an F. I think we're currently got an F 1.8. So that's. That's the other thing. So currently I think it's 1.7, 1.8. So potentially maybe up to 2/3 additional light gathering of this new lens. So slightly better low light capability and then, yes, stopping down to 2.8. So obviously more depth of field and less light coming in could help with sort of smoothing out, getting those shutter speeds down a little bit in the bright day. I don't know. Otherwise, I don't know. It's interesting, but David Skinner makes a good point. We will get to the chat in a second and say hi to all of you. But David Skinner makes a good point, which is been on my mind a lot. A phone has very poor ergonomics to take a good photo. I don't. It's even one thing's a good photo too. Just so that I don't drop the thing while I'm trying to hold it. Because, like, so I want to pick it up and then I want to turn it this way and hold it to take a photo. And it's just. I don't know, I want. Yeah, I want a shutter button here. [00:07:13] Speaker B: Well, 17 pro, which I have. Justin, you don't. Yeah, the little orange number on the top here. I've got a case on it but on the top here I've got this touch sensitive button that I can use to open the camera, take a photo, but I can also scroll and change my exposure or my zoom depending. Yeah, I can actually like change the settings just on that one button. And I can change, I can change focus and the, the, you know, the focal distance or I can change how much light's coming in because I've been [00:07:44] Speaker A: looking at those cases. Obviously Leica make like this crazy grip for the phone. [00:07:50] Speaker B: Yeah, that's right. [00:07:51] Speaker A: It's like 500 bucks. But the problem is I want something that's still. I want something that makes it more like the shape of a Ricoh gr, like enough of the grip to hang on to and I want a shutter button and I want a dial or like a levery thing for exposure compensation and that would probably make me happy. I don't need a million buttons. It's a phone. I'm not trying to control everything with buttons but it would be nice to be able to. So yours basically does that. But I still would like a bit of a grip, I think. [00:08:16] Speaker B: Yeah, I agree. The grip is a big thing. Yeah, it's interesting. I'm actually doing a workshop this weekend, one of my street photography workshops and the person wanted me to set up a workshop purely for smartphone photography because they don't feel very confident about photography and they didn't want to do the workshop with people that, you know, carry DSLRs or mirrorless cameras that know what they're doing more than he did. He felt quite intimidated by that. So I created a standalone mobile photography workshop and he wants to go through everything from, you know, the usual stuff that I cover in my street sessions, but also about editing on the go, you know, how to use your phone to edit. [00:08:52] Speaker A: Yeah. [00:08:53] Speaker B: And so, you know, for those sorts of situations, there are people out there that don't want to invest in fancy camera gear. You know, they like to travel light. Maybe they're wanting to travel overseas or interstate and they want to make the most of their travel photography. A smartphone is a great way to do that. [00:09:08] Speaker A: Well, I've. This is a pretty particular use case but I've been training for this long run we've got in December for me, long anyway, not long like the guests we've had on that do the, you know, 100k runs. But this is, this is a 36 kilometer run. It's probably going to take me six to seven hours and I've been training for it and I'm Wandering all over the place, doing these sort of very close to walk runs, as close to walking as you could probably imagine. But I've got, I have my phone with me for navigation and safety and whatever. And even on the race you have to take your phone with you. It's mandatory safety equipment to take your phone. So it's sort of. I'd love to take a camera, a really light camera, but then I think, well, I've already got a, a really great camera in the phone, but I'd just love to be able to take it out while I'm wandering around and not feel like I'm precariously holding a slippery phone and feel just a little bit more like a camera. And I was looking for cases and I found one. I can't remember what brand it is and it looks kind of retro, but they only make it for the newer. The 17, I think. And so they don't make it for my model. So I wouldn't be able to get it until I got a new phone. [00:10:21] Speaker B: Yeah. [00:10:21] Speaker A: Retro iPhone, camera case. Bruce. Bruce Moyle knows a little bit about film, says, meh, I don't see how it's going to improve anything substantially. Okay, so you don't think it's of any use in terms of like video or anything like that? It's just not useful. Pointless. Yeah, it's a minor because it is quite a small. Like you're talking about F1.4 to F 2.8. You're not talking huge amount of range in terms of stopping down. Yeah, yeah. [00:10:53] Speaker B: The other thing that I think smartphone cameras need or smartphones need is a serious camera mode. So you can create maybe that it's just a setting, a toggle that you can turn off everything that your phone does except for the camera features. You know, you can remove the distractions, you can remove the notifications, remove the [00:11:13] Speaker A: Tim, that brick app thing, that brick, you know how they like tap it on this little brick and it just disables all your social media and stuff like that. But if it was just for the phone. [00:11:24] Speaker B: Just for the phone, just. Yeah, just a setting for the camera, like camera mode and you go into camera mode, it's a choice to opt in, opt out and. Yeah, and you can just basically use it as a camera and remove all the other distractions and stuff that comes out of it. Or you can be selective perhaps, you know. [00:11:45] Speaker A: Yeah, but yeah, I don't know. I don't know. It's interesting. Bruce says it's too small of a sensor to aperture ratio. There's a reason that they use computational bokeh. Yeah, but what about for like just stopping down just to cut some light going into the. Do you think it's of any use there that I can't see it being of any use other than to stop light down because. Yeah, it's not gonna. I haven't done the calcs, but I can't imagine it's doing much change to depth of field really. [00:12:12] Speaker B: Yeah. But the other thing that we're thinking about, we're thinking we're looking at this as photographers. You know, if you look at different parts of the demographic of iPhone users, especially in a younger market, they can, they can make these features sound appealing sound camera, like to people who know better. [00:12:31] Speaker A: You reckon it's, it's kind of. It's literally just marketing gimmick. It doesn't do. [00:12:35] Speaker B: Not necessarily a gimmick. No, no, no, not, not, not that. [00:12:39] Speaker A: But I was hoping we're gonna get a clip. [00:12:43] Speaker B: Photographers know the difference between a smartphone camera and a camera camera. Right? But yeah, kids coming out of high school maybe getting their, you know, or in high school getting their first camera. Their first phone, sorry, with a camera in it. They think these features are amazing because they don't have anything to compare them to, you know, and different demographics have different use cases. My mum and dad are constantly taking photos with their smartphones. They're always horrible photos, but they're constantly getting their photo out to document. Going around the grandkids, catching up with family, you know, stuff like that. [00:13:15] Speaker A: They don't use an iPad like a proper. [00:13:18] Speaker B: Sometimes, yes. They hold it, you know, like with [00:13:21] Speaker A: a, With a folio case. [00:13:23] Speaker B: Yeah, with a folio hanging down. Yeah, yeah, yeah, yeah. [00:13:26] Speaker A: Professional. [00:13:27] Speaker B: All the credit cards falling out of the folio, all of that stuff. But yeah, look, I think it's interesting. I don't think it's a gimmick, but, but I do think that it, it's, it's planned timing given that we know that there's an industry demand for compact point and shoot pocketable cameras. [00:13:46] Speaker A: Yeah. [00:13:47] Speaker B: You know, in fact, in the news articles that we'll cover off a little bit later, there's a, a couple of brands in there that have, there's patents that they've. That people at the rumor sites have found for compacts, you know, so these, these brands are scurrying to try and fill that gap and now they're only on Apple. [00:14:04] Speaker A: If only it would go the other way and Fujifilm would just make a phone already. [00:14:10] Speaker B: Yeah, just do it. [00:14:11] Speaker A: Let's go the opposite direction. The X100 phone and it's just an X100 but with like a dirty big screen on the back of it. You just take, take the course with your X100 somewhere. I would probably buy one. I'd think about it. Might have to be slightly thinner but not too thin. [00:14:30] Speaker B: Yep, yep. And that's the thing. You've still got to keep phone like, you know, there's still that demand for pocketable, all that sort of stuff. [00:14:38] Speaker A: This is a question for the chat. What phone, what camera would you want your phone to be based on? If you could get a camera phone, what camera would you want to be based on? Because I'm thinking an X100 phone would be maybe an X. A GFX100RF would be ideal. [00:14:56] Speaker B: But that would be the Pro Max version, wouldn't it? [00:14:59] Speaker A: Yeah, it'd be an expensive phone. [00:15:01] Speaker B: Yeah, yeah, yeah. [00:15:03] Speaker A: Anyone let us know. Speaking of the chat, should we see who's in there? Oh no. You got anything else on this, on, on this topic that you want? [00:15:10] Speaker B: No, I think, I think we'll just, we'll wait and see. We'll see what, what comes from the, the. It's only nine days away. We'll wait and see what comes from the announcement and we'll touch back here and see what folks think. [00:15:20] Speaker A: Hey, just quickly. And we'll cover it when it gets announced, all the other stuff. But there's a heat like they've already announced new crazy fast Mac Studio and some chips and stuff like that. Like super duper mega, I think M M6 M6 sorry. Yeah, yeah. M6 Megatron or something like that. That's just, it's insanely fast. Like they're talking about even video editing, like high end video editing wouldn't need that sort of speed. Like yeah, 8k. What AK raw. It's still too fast for it basically. I don't know if that's true, but that's what people are saying. And then there'll be other stuff as well. I think there's rumors of a new MacBook potentially with touch screen. So we'll wait and see what comes out. But I just thought it was interesting that these rumors were swirling about variable aperture when there's also so much buzz about compacts getting revived in camera brands to try and hit that market of like 1,000 to $3,000 compact cameras. And here comes Apple with variable aperture. [00:16:27] Speaker B: Yeah. Yep. In a camera you can pay off over three years. [00:16:32] Speaker A: Well, hey, what did I make the, the thumbnail gimmick or something. What was it? [00:16:38] Speaker B: Genius or gimmick? [00:16:39] Speaker A: Genius or gimmick? If you had to vote one or the other, what would you vote right now? Genius or gimmick? [00:16:46] Speaker B: Let us know. [00:16:47] Speaker A: No, what would you vote, Greg? [00:16:48] Speaker B: Oh, me? Oh, sorry. [00:16:50] Speaker A: Genius or gimmick? Tell me if you had to fall one side or the other. [00:16:54] Speaker B: You know, it's a dog eat dog world. I think it's genius. [00:16:57] Speaker A: Oh, I was gonna go and let's [00:17:01] Speaker B: face it, Apple is slick. Slick marketers, they know how to sell a product. You know, they haven't lasted this long and made this many technological advances by being sloppy. I mean, yeah, they make mistakes but you know, I think it's, I think it's well planned. I think it's, it's a clever move given that demand for pocketable cameras has come back. And I think this, you know, and even if they, they, you know, exaggerate the camera capabilities of a, you know, variable aperture lens, people are going to buy it irrespective, you know, I'm going [00:17:37] Speaker A: to lean on the gimmick side for now. Okay, lean on the gimmick side. I'm just going to. I just think, I think, yeah, I'm kind of with Bruce where I can't see it making a big enough functional difference in anything. Then you would be able to see the difference between say this and your model phone in any real. But I'd like, I'll happily be proven wrong when it comes out and people test it. But at this point I'm like, I can't see it making a huge difference. Okay, should we say hi to the chat? [00:18:08] Speaker B: Let's do that. [00:18:10] Speaker A: Yeah. Good evening everybody. Richard Mail. I always get that wrong. Philip Johnson. Dennis Smith. Yeehaw Fermi. Lucinda Felicity Johnson. 38 days to befop. That it is. [00:18:24] Speaker B: Yeah. [00:18:25] Speaker A: John Latimer. I hope you had a great weekend. We did. Tweak Productions. Hello party people. John Pickett. JC Orange. Good to be back. Bruce Moyle, of course. Who else? Who else? Nev Clark, obviously. David Skinner. Craig Carrick. The boys are back. Boys are back. Who else? Chimicha. Oh, this is a good one. [00:18:52] Speaker B: Wes. [00:18:52] Speaker A: Yap X Sup Grow today. Okay. I don't know if you're a real person. Was Yappex. I don't think they're a real person. Nev Clark says the only reason I don't use a phone because cameras lead me to phone escapism. No DMs, no emails, no calls. Pure mindfulness. Yes, very good point. Very good point. Greg Carrick. Says then we'll get proper shutter speeds, an ergonomic body. Then oops, we'll have a real camera. We'll slowly morph. The next iPhone will just be a. A Canon 60D with the touchscreen. [00:19:28] Speaker B: Although it is interesting. Is it? I mean Sigma kind of it just a quick interruption when Sigma released that bf, what was it, 18 months ago? Now that solid aluminum block that was so Apple esque the way that was designed. You know, if Apple was going to get behind a product it would have been that. That's because it just, it felt like it was just up their alley. [00:19:49] Speaker A: The Apple phone, I mean the Apple camera. [00:19:52] Speaker B: The Apple camera. Yep. [00:19:54] Speaker A: Yeah, it did look cool. [00:19:56] Speaker B: It did. [00:19:59] Speaker A: Who else? Richard Mail says I have the Leica app on my phone. The only way I'll ever afford a Leica. I love the app and I use it more than the standard camera app. I've had it and played with it and I did like it but I, I wasn't able to get my like muscle memory to, to open that app instead of the camera app. I've got shortcuts and stuff and it just never, that never took over and I think I can't remember but it didn't have good video options and so I found myself. I often will switch from photo to video when I'm doing stuff with my phone and the Leica kind of made that annoying for some reason. I have to revisit it and check it because I did like it had sort of similar to Fujifilm sims, you know like it had like a. And it also had Leica lens simulations which I don't know whether they were any better than the first faux foker that Apple do. But it was fun, fun to play with. You could, you could adjust the aperture and stuff of the lenses and yeah, that's cool. Glenn Lavender talking about running. He does very close to walk sitting. Yeah. That's some good, some good exercise. [00:21:06] Speaker B: Yeah. [00:21:09] Speaker A: Rick Nelson struggles with the phone was reach out reached out to for a purchase of one of my picks for a business they want a huge acrylic print and I had to use enhancement software to make the pic work. Yeah, yeah. That's where you start to see. Always looks good on Instagram and then you, you know, see it big and you're like okay, I can see the difference between a phone and a camera now. [00:21:30] Speaker B: Yeah. [00:21:32] Speaker A: Shimit Shah uses the like wrap too. Okay, let's see. Anyone say what sort of camera they want? Interesting. Om 1 Greg Kirk wants a Fujifilm film Sims real buttons. Yeah. I think. I mean, it would set if obviously Leica tried to make one like I have made. They're on the lights. Phone three or whatever they do make them. If Fujifilm made one, you could safely say the phone would suck compared to an iPhone. Yeah, it couldn't. It would. You know, like, there's no way they could go toe to toe even if they paired up with a phone brand. It's like they're kind of behind on that side of it. [00:22:14] Speaker B: The operating system's just. [00:22:16] Speaker A: Yeah. [00:22:17] Speaker B: Too entrenched. It's too easy. [00:22:19] Speaker A: Lucinda Goodwin would like her phone based on the Mamiya RB67. [00:22:25] Speaker B: It'd be like the iPad. The iPad. [00:22:27] Speaker A: It would have this dial, you know, the old dial. [00:22:30] Speaker B: Oh, yeah, yeah. [00:22:33] Speaker A: The rotary phone dial. Dennis Smith GFX phone. Yeah. Red already did a phone. Yeah, it wasn't good. It was interesting. Red doing a phone. I feel like for some reason that a stills brand is more likely to pull off a phone than a video brand, but I don't know why. I think that probably completely backwards. Philip Johnson Hasselblad, John Latimer, Sony. Yuck. David. [00:23:04] Speaker B: I had so many phones. [00:23:07] Speaker A: Did you really? [00:23:08] Speaker B: Yeah, I used to work. Because I used to work for Optus years ago, and I. I would get a new phone every four months and I think I've had like two or three Sony phones. One of the first ones I had was a really fascinating design. It's really clever. And then they sort of became smaller and they all started looking alike for a while there. [00:23:25] Speaker A: But yeah, right. [00:23:26] Speaker B: I had Sony phones. And what don't they still have them? The Xperia range, I think that's what it's called. [00:23:32] Speaker A: I don't know if they still haven't. They had them for a long time, but I don't know if they still do them. [00:23:37] Speaker B: Yep. Well, everybody, welcome to the Camera Life podcast. [00:23:43] Speaker A: Yeah. One more quick one from Glenn Lavender. It might not be genius yet, but when they slant variable aperture with AI computational photography, who knows where it ends? Yeah, I wonder if they will do anything like that. Where the aperture, you know, it takes bursts of photos at various apertures and stuff. You know how it does exposure blending. It could also do. Who knows what they've got planned because [00:24:08] Speaker B: there was that phone they brought out a few years ago that didn't have like eight camera eight lenses on it, and it took a whole bunch of images. And then later in post, you could choose where you wanted, whether you wanted depth of field, whether you wanted background elements in focus or out of focus. You could Sort of. Yeah, that's right. You could really play with that, that kind of side of it. [00:24:32] Speaker A: Okay, [00:24:35] Speaker B: all right, all right. [00:24:37] Speaker A: Into the show. [00:24:39] Speaker B: Let's crack on. But just before we do, Justin, would you care to do an ad read for today's sponsor? [00:24:45] Speaker A: Today's sponsor of the Camera Life podcast random photography show is Lucky camera Straps. If you need a camera strap for your beautiful camera, whether it's a Hasselblad phone or whatever it might be, our handmade leather camera straps with a wonderful quick release system will fit any camera that you might have. Unless it's really small and doesn't have proper 10 mil slots or lugs. Any camera with a 10 mil slot or lug or can accept a ring, our straps will fit it. Check them out. They're really strong. They're really comfortable. They're the perfect companion for your camera. Luckystraps.com use code Greg. [00:25:20] Speaker B: There you go. All right, let's. Let's dive in. Should we cover off a little bit of industry news? There's a fair bit to catch up on over the last couple of weeks. We've got a lot of images to get to, but I think, I think we'll just, we'll just read out some highlights. Got a couple of things to show folks. Let's talk about lens news. Just announced a new 7 Artisans autofocus 10 mil f 2.5 full frame fisheye lens has been announced. [00:25:50] Speaker A: 10.5 full frame, 10 mil 2.2.5. 2.5. That's wide. [00:25:57] Speaker B: That's really wide. That's super wide. That's. That's like that, that Lauer lens I was playing with. Wide. And it's an autofocus lens, which is bananas. And I think that's coming to Z, Nikon Z, Sony E and maybe Leica or Lumix. Anyway, one of those. What else we got? Sigma has been caught with a wild patent for a massive 400 to 1,500 millimeter f14 to f18 full frame lens. [00:26:33] Speaker A: Really? [00:26:34] Speaker B: Really, really. There's a paper. [00:26:36] Speaker A: Did he say 400 to 1500? Yep. [00:26:40] Speaker B: Oh, yep. [00:26:42] Speaker A: That's big. [00:26:43] Speaker B: That's stalker quality. [00:26:45] Speaker A: You know, really interesting. [00:26:49] Speaker B: But that's not all. Contacts, Miratar. I don't know if this. Oh, They've tested a 1000mil f 5.6 on a Sony A7 R5. Again thousand mil. That's just bananas. [00:27:06] Speaker A: Yeah, right. [00:27:08] Speaker B: What's the longest lens that canon do? 600 or 800? [00:27:11] Speaker A: They got an 1100. No. [00:27:13] Speaker B: Oh, really? [00:27:18] Speaker A: No. Am I imagining that? 800. [00:27:20] Speaker B: I thought it was an eight. [00:27:22] Speaker A: Yeah, it might be an 800. Whoops. I just made that up. I don't know why I thought we had an 1100. Yeah, we definitely have. Oh, cause it's F11. Yeah, we're getting 800. That's about, it's about the best we've got. [00:27:37] Speaker B: That's not bad. Put on a, you know, what do you call them? The two times converter. [00:27:42] Speaker A: Yeah, make it big. Well, Brucie says we've got a 2400 mil can of video lens, but I'm guessing that costs that $250,000 or something. Yeah. Okay, maybe they do do a 1200. See, 1200 mil? Did I just google the wrong thing? Canon lens. Oh, they do the big. Yeah, the big, big, big white one. So 12. [00:28:11] Speaker B: Is it an RF? [00:28:12] Speaker A: Yeah, F8. It's 30 gram. Yes, yes, yes, yes. [00:28:17] Speaker B: How many of those? [00:28:19] Speaker A: And with a two times extender it's 2400 mil. [00:28:26] Speaker B: That's crazy. [00:28:27] Speaker A: Boom. [00:28:28] Speaker B: So take that 35 grand though. Yeah, that's bananas. In cheaper news, TT Artisan has once again launched yet another lens. It is the most affordable full frame autofocus 85 millimeter lens has just been launched. It's super cheap. I think I saw it for what I said at B&H, US$100 for an 85 1.8 Neo lens. [00:28:59] Speaker A: That I can't even keep up anymore with these cheap lenses. It's getting crazy. [00:29:04] Speaker B: Yep. But isn't that crazy? 100 bucks for an 85 1.8? [00:29:09] Speaker A: Yeah, it's nuts. [00:29:10] Speaker B: Autofocus too. Like it's not. [00:29:12] Speaker A: I wonder if it's any good at all or if it's just absolute potato junk. [00:29:18] Speaker B: Oh look, I'm sure it's not wonderful. It's not like the next lens I'm going to tell you about, which is the rumor that Canon is is releasing a version 2 of the RF85F 1.2L lens according to the patent. [00:29:34] Speaker A: Oh, is it. Is it strong? It's been kicking around for a while. I think people just. It's come back about it. It's coming back. [00:29:40] Speaker B: I think it's come back. Can a patent details dual motor focus design so yeah, we'll see. Keep our eyes on Canon for that because when we cover the camera news a little bit later, there's. There's more camera goodness coming from Canon as well. What else have we got? Lumix has released the new updated version of. They will be releasing. Sorry, new updated versions of three of their most popular lenses. But I don't know if that has since been announced. Supposed to happen this weekend. Yeah. Anyway. And finally in Leica news, a new Leica lens is coming. A Summicron M66 F2 lens which is based on a very old classic 66 millimeter Leica lens. [00:30:34] Speaker A: Similar price to the Canon 1200 MIL F8. [00:30:38] Speaker B: Quite possibly. Yeah. I know it's tiny. Yeah. It's based on one of the rarest and most historically significant lenses in the Leica M system, the Alcan 66 MIL F2, which apparently was never released for public sale. It was a spy lens. Developed by Dr. Walter Mandla and Ernest Lights Canada in the 60s for the US Navy. Only a 200 of the original Elk Hand 66 millimeter lenses were ever produced. And this launch of this 60s, this new 66 millimeter F2 is going to be limited to 660 copies. So it just doubled in price. [00:31:23] Speaker A: The old limit. Limit to maximize profits. [00:31:28] Speaker B: Look. Yeah, I get that. But if they're going to go to the trouble to create the tooling and the machinery to make this lens, why would you limit it to 660? [00:31:42] Speaker A: Because it's cool. [00:31:44] Speaker B: I get that. But it just. [00:31:47] Speaker A: Because then they can charge more. [00:31:49] Speaker B: Yeah, I guess I get that. [00:31:50] Speaker A: Collectors will want it. [00:31:51] Speaker B: Just. Yeah, it just seems silly. [00:31:55] Speaker A: Maybe the lens is super expensive to make and it's not worth putting it into production. [00:32:02] Speaker B: Yeah, I mean there's no, there's no word on price. So you know, maybe it's so expensive that people won't buy it anyway. [00:32:07] Speaker A: Yeah. Once it goes past that initial 660, they probably know that sales were slow. [00:32:13] Speaker B: Yeah, yeah. All those dentists out there frothing even as we speak. And that's, that's the news for lenses for the last two weeks. There's a lot of other bits and pieces going on, but you people can do your own research on that. But again, third party lens manufacturers are putting pressure on first party lens makers to create high quality, more affordable optics. Are they though? Well, they're putting pressure on them. I mean they lose market share when these companies come out. You know, even, even brands like Sigma and Tamron, there's still, you know, Sony and Canon and. Well, not Canon, but Sony, Nikon, Fuji, they all lose market share to these [00:32:57] Speaker A: third party lenses much though because like if you buy your $100 85mil 1.8 and you like shooting with an 85mil is the next thing on your list not a proper 85mm lens. So it's almost just like a way to test out you know, it's almost like buying more. You bought. How many Kodak charmers did you buy? [00:33:23] Speaker B: I think we've got seven. [00:33:25] Speaker A: Has that stopped you from purchasing any of the Fujifilm cameras you would like to own? [00:33:30] Speaker B: Yes, because these are so expensive. These are so expensive. I can't afford Fuji lenses anymore because. [00:33:39] Speaker A: And obviously like, yeah, if, if we're talking about a Sigma art lens or something like that. Yes, it's, it's going to take from an L series. Potential customer actually not an L series, they don't, you can't use them on cannons but you know, like it's going to take from Sony selling it a G Master or something potentially because they're really good. But if you're talking about this, these really cheap third party lenses, I see them almost as like samplers to see what you like. They're bag fillers for people that just want more lens options but they don't actually value that particular focal length enough to buy a $3,000 lens. I don't know, maybe, but not everyone, [00:34:24] Speaker B: everyone has different budgets which is why [00:34:27] Speaker A: I don't know if it's taking market share because they weren't going to buy. If they had the money they would have spent it on a first party lens probably. And if they didn't, they just wouldn't have had an 85 mil. [00:34:39] Speaker B: Maybe that's, I don't know, maybe. [00:34:43] Speaker A: Am I wrong? Chat, back me up here. I feel like I need some help. What do you think? Are they stealing market share or are they like giving people a taste of what's to come in their photography future? [00:34:59] Speaker B: I think and going back to my Optus days, when we started Optus in Australia, we were the, we were the, the only competitor up against Telstra who had had 80 years of dominance. [00:35:10] Speaker A: Isn't that crazy? They just, they just, they were just, it was like, hey, the only one to communicate. [00:35:15] Speaker B: Yeah. Was there a copper line or nothing? You know. [00:35:18] Speaker A: Yeah. [00:35:19] Speaker B: And we always took pride at being the disruptor of the market because we, we gave people choice and, and, and we, we saw through bundles and things that Telstra weren't doing, you know. [00:35:32] Speaker A: Yeah. [00:35:34] Speaker B: And I think, look, that choice makes people stop and think. Actually hang on, I, I don't just have to get the Canon lens. I should see what's out there. I should see what other brands are available. To me it may not be the hundred dollar 85 1.8 that, you know, falls apart after three shots. You know, it might be something in the middle. It might be, it might be a $700, you know, Sigma or Tamron lens or, you know, whatever it may be. But it just gives people, it raises people's awareness as well that there are cheap options out there, you know, and yeah, maybe it is. Maybe getting an 85 1.8 at 100 bucks is a good taster for someone who's not quite ready to pull the trigger on a two and a half thousand dollar, you know, G Master or, or L series lens. [00:36:15] Speaker A: Exactly. [00:36:16] Speaker B: So I think it serves multiple purposes. So I think you're right. [00:36:22] Speaker A: That middle, it's, it is that middle price point that really does probably steal market share of that, you know, like a $1200 lens or something like that that goes toe to toe with a two thousand or two and a half thousand dollar lens from Canon or from, well, you know, from a first party brand. Yeah, it is. And that's why, that's probably why Sony's trying to buy Tamron. Really? There's a question for another week. If Sony buys Tamron, are they going to keep allowing Tamron to sell lenses to other, that make lenses for other mounts or is that going to go away? [00:37:00] Speaker B: Yeah, that's interesting because they're a disruptor, they're putting out some gorgeous glass. Just ask Lynn Lavender. [00:37:07] Speaker A: That's right. That's exactly right. Lucinda Goodwin, you're joining the RF lens universe. It's good to see you. Enjoy. What lenses did you buy? [00:37:18] Speaker B: Tell us. [00:37:23] Speaker A: Dennis Smith. That's a great theory, Greg. Learning to tell stories at a focal length is way more important than the quality of the image. [00:37:33] Speaker B: Yeah. [00:37:36] Speaker A: What do you want to do? You want to do a little bit of some photos? [00:37:39] Speaker B: Let's look at some photos. We haven't done it for two weeks, so. That's right. [00:37:43] Speaker A: There's a backlog. [00:37:44] Speaker B: And thank you to everyone obviously who sent in photos before our Monday night special last week. And if you haven't seen that and you're interested in what the bright festival photography is about, jump into YouTube. Not now, later. And make yourself a cuppa or get a bevy and you can sit down and watch the shenanigans that unfolds during our two hour conversation with Matt, Nick and CJ from be. [00:38:06] Speaker A: That was wild. [00:38:07] Speaker B: That was very crazy. That was a lot of fun though. It was a lot of fun. [00:38:10] Speaker A: Yeah, that was fun. [00:38:12] Speaker B: We haven't been able to see people's images and we've put together quite the catalog for tonight's viewing pleasure. So there you go. [00:38:20] Speaker A: Oh, hey, before we start, if you'd like to send your photo in For a future show, just email them to the [email protected]. that's the [email protected]. send us an image and we'll bring it up on the show like we're about to right now. Put a little bit of wording with it. Tell us about the image. Not too long. Let's try and keep it under. We're saying 100 words. That's quite small. Maybe 200 words roughly. Short paragraph, short paragraph about why you want to send this image in. If there's a question you've got about what you've done or whatever, let us share your experience. Yeah. [00:38:56] Speaker B: Yeah. [00:38:57] Speaker A: Okay. [00:38:58] Speaker B: All right, let's dive in. Shamit Shah is going to be first with the single image. [00:39:03] Speaker A: I'm using the, using the old school method of bringing the images up tonight. We'll see how it goes. Because that Phoenix Slides was not playing ball. [00:39:12] Speaker B: Yeah. Mucking around didn't. [00:39:14] Speaker A: It was mucking me around. [00:39:16] Speaker B: Definitely wasn't user error. [00:39:17] Speaker A: It definitely wasn't user error. [00:39:19] Speaker B: Oh, okay. Shamit Shah. Hi, Justin and Greg. Please see attached a photo I took at Kings park with my Nikon D60. Had the settings on black and white, 18mil F5.1, 125th of a second and ISO 125. The image probably lacks dynamic range which you would get out of a modern camera. However, I like the soft pencil feel and look of the photo. Thanks for hosting a great show. Regards, Shamit. Shamit. I love the pencil drawing look of black and white images. You know, I've been seeing more of this sort of work coming up and it's made me sort of question whether I'm too heavy on contrast when I edit my images. And I've started to pull back on over contrasting images. And I really like this look because it does. It looks like an illustration and I love that. [00:40:11] Speaker A: But that's just, it's interesting. I'm drawn to the shadow of this, of the tree that, to me, this subject of this photo for me is the shadow of the tree, which is really. I don't know if that was your intended subject, but for me that's, that's what I find myself looking at on the ground. [00:40:30] Speaker B: Yeah. Well, it's also an interesting shape, isn't it, because you've got this round kind of roundish form of the tree, but the shadow is almost like an arrow kind of dragging across the ground to the back left corner of the. Of the frame. [00:40:45] Speaker A: Yeah. And then you sort of get drawn into that, that sort of darker Tree in the background, a few dead branches and things. [00:40:52] Speaker B: Yeah. [00:40:53] Speaker A: But. Yeah, that's what I sort of found myself wondering. I'd like to sit on the ground, on the shade under that tree. [00:41:02] Speaker B: Yeah, that's a nice. And it's well balanced. [00:41:05] Speaker A: Yes, it's really. [00:41:06] Speaker B: Especially where that right. Dark chunk is placed in the frame. [00:41:09] Speaker A: Yeah. [00:41:10] Speaker B: You know, it just adds this nice level of balance, which is great. Well done. I love it. [00:41:16] Speaker A: Yeah, I think it is because the shadow is. Is framed like it hasn't been cropped. If you were, you know, if you'd framed up higher, I wouldn't. Probably wouldn't be drawn to the shadow. It's the. The shadow is fully sort of captured with bright grass around it. And that's what's. I don't know. I like it. [00:41:36] Speaker B: Yeah. Yeah, me too. Well done. Thank you for sending it in. Yeah, thank you very much. Well done. Up next, Jamie Vanden Brink, Tweak Productions. [00:41:49] Speaker A: One image coming right up to. Ho. Oh. [00:41:55] Speaker B: Oh, look at that. Wow. This. [00:42:05] Speaker A: Oh, no. Okay, we're back. Yeah, we're zooming all over the place there. [00:42:10] Speaker B: You know, it's interesting how much I despise machines of war, but, gosh, you can't deny the engineering in machines like this, can you? [00:42:16] Speaker A: That's right. Well, at this moment, it's just flying around, having fun, so, you know, you could just. At the moment, it's a machine of joy. [00:42:24] Speaker B: Yeah. Okay, we'll go. Hi, Justin and the camera Life groupies. No mention for me. What's that about? Jamie went to the Pacific Air show on Saturday at the Gold Coast. Was lucky to hang out with the Bentley's camera house crew and play with some amazing equipment. Got this shot on my R5 Mark II with the RF200 to 800. That's an F35. First time shooting planes and had a blast. Always love trying something new to test my skills. Had some great mentors there giving me tips, too. Shout out to Craig from Endorphin Media for great guidance and company. And the settings were focal length 800, shutter speed 1/1000 aperture f9, ISO 640, edited in Lightroom. Have a great show. Well, thank you, Jamie. That's amazing image. I love it. Really well framed. [00:43:18] Speaker A: That's what I was about to say. It's like, because you don't really get to choose how you're going to frame this up. You're just trying to follow it and I'm assuming capture a sharp image. The fact that the. The vapor trail is in a part of the sky, that is not cloud. So you can actually see it. [00:43:35] Speaker B: Yeah. [00:43:36] Speaker A: Sorry about my zooming in and out. I'm testing out how this works and the fact I love that the plane is framed in a cloud, but like having the fortune of getting this moment where it's framed in a cloud, you've got this other little cloud in the bottom left and then you can actually see the vapor trail in some blue. A little bit of blue sky is so cool. And then other than that, the detail's gorgeous. Yeah. Epic shot. That 200 to 800 is a cool lens. Yeah. [00:44:07] Speaker B: Intimidating. Intimidating to hold. And I found that with the, the Tamron 500 just, you know, to, to be able to sort of see something with your eye and then put your camera up and then find it with the, with the long lens sometimes I found that really challenging. And given that this was, you know, one of your first times using long lenses. Well done. It's a, a gorgeous shot. [00:44:28] Speaker A: Yeah. Just to get something sharp, that's all I'd be like, can I, can I get something sharp while doing, following this plane around? [00:44:34] Speaker B: Yeah, yeah. Wonderful. Let's look at, let's look at a couple from Crackers. Greg Carrick has sent in two. [00:44:44] Speaker A: Oh yeah. Are we starting with which one are we starting with? [00:44:49] Speaker B: Surprise me. Hi, cats and dogs and greg and Justin, etc. I have two astro images to bring to you. The first is. That's not the first. The second is my take on a horror genre B list movie title pick. It started as a nice clean color image, but I threw it into my grain grit gothic blender and turned it up to 11 auto. Astro purists hate this sort of thing, so I plan on doing it again. And then the second image, I love that. That's such a. Oh, look at. [00:45:22] Speaker A: Yeah, nice. [00:45:23] Speaker B: Yeah. This Image is a 90 minute exposure to get star trails. I've waited for weeks for a nice clear night sky to get this taken at Lilydale Lake with my Seastar Smart telescope. And the other shot was taken with the GFX50R with a 20 to 35 lens. 25 seconds shutter speed, f4, ISO a thousand. Have fun, kiddos. Thank you, Greg. [00:45:49] Speaker A: Just going to go back to this other one for a second as well. [00:45:52] Speaker B: I love this one. This is so whimsical and cool and mysterious. Mysterious and yeah, I do love that [00:46:00] Speaker A: because obviously seeing great astrophotography is always great, but it's nice when you see it in a way that's not just going after that stock standard, sort of technically perfect Image, you know. [00:46:16] Speaker B: Yeah, it's got character. [00:46:17] Speaker A: It's got Greg character. [00:46:20] Speaker B: It's great character. Carrick. Yeah, it's got emotion. It's. It's dark, it's brooding. There's, you know, it's really cleverly shot. [00:46:30] Speaker A: Yeah. [00:46:31] Speaker B: And another thing that I've loved, especially just as a side note, Crackers has been republishing some of his best street photography shots recently. Loving going back once again. So. Yeah, well done, Greg. Keep it up, mate. Yeah, love it. [00:46:48] Speaker A: Dig them. [00:46:50] Speaker B: Indeed. And Rick Nelson says print it. I agree. [00:46:55] Speaker A: Large. [00:46:57] Speaker B: Should we do one more and then we'll talk about a bit more news. [00:47:00] Speaker A: Let's do one more. [00:47:01] Speaker B: All right, let's look at David. I. I put pepper arti instead of Leporatio. Promise I don't day drink anymore. David Lipperatti. [00:47:12] Speaker A: Where is he? Just trying to find. Nothing's in order today. [00:47:18] Speaker B: What have I done with it? [00:47:19] Speaker A: Sorry, folks, it might be my ordering of this. [00:47:25] Speaker B: Let me just quickly look for. [00:47:26] Speaker A: I got it, Got it. [00:47:27] Speaker B: Ah, false alarm. Everyone, David Liparati. Hi, Justin, Greg and everyone. This week's image of zinnia flowers is another ultraviolet fluorescent photograph UV IVF shot using a 365 nanometer UV lead torch. How do you even find one of those? Where do you start? [00:47:50] Speaker A: Everything. He's got everything. [00:47:53] Speaker B: Actually, I just ordered a torch today. I ordered a torch for Dennis Smith's workshop, which I'm doing in October. [00:48:00] Speaker A: You bought your own special torch? [00:48:02] Speaker B: Yeah, it's a little torch, just a little pocketable one. That was the advice in his what to bring video. [00:48:09] Speaker A: Any particular type of torch? Is it like a fancy. [00:48:12] Speaker B: I got a Nightcore led. It has three color temperatures and different modes, like different strengths and lumens and all that sort of garbage. David's image. Sorry, I didn't mean to derail your image, David. The camera was the Fujifilm X T5 with the XF16 to 80 f4 lens set at 80 mil. Very nice. And the exposure was f11.4 seconds, ISO 200. Can we just go in a little bit on that detail, boss? [00:48:41] Speaker A: Enhance. The detail on these flowers is beautiful. [00:48:45] Speaker B: Holy. Look at that. [00:48:47] Speaker A: I can't. Oh, yeah, I can move. Okay, good, good. I'm learning. Yeah, this is beautiful. What a fun thing to play with. [00:49:00] Speaker B: Yep. Yeah, that's very cool. [00:49:04] Speaker A: Take me to Avatar. What was the place in Avatar called? Can't remember. [00:49:12] Speaker B: Oh, yeah, I don't know. I can't remember. [00:49:17] Speaker A: Yeah, I don't remember. [00:49:18] Speaker B: I still haven't seen the second or third Avatar. Have you? There's three, isn't there? [00:49:23] Speaker A: Don't remember. I only liked the first one and then I just stuck with that. [00:49:27] Speaker B: It was four and a half hours. That was enough. Like really. [00:49:32] Speaker A: I just couldn't get past when someone pointed out that was. It was the exact Pocahontas story just redone. And I was like. Once I heard that, I was like, oh, it is just that. [00:49:43] Speaker B: Yeah. Jump back into some news. [00:49:48] Speaker A: Okay. [00:49:50] Speaker B: Are there any comments? [00:49:52] Speaker A: Let's see what everyone was saying. Roy Bixby says. What is he saying? You can buy UV torches or lights on Amazon apparently. I'm sure you can. You can get all sorts of things on Amazon. John Latimer says, amazing details in those flowers. Felicity Johnson, very sparkly. Rick Nelson says, these flowers appear like. I can feel them. [00:50:17] Speaker B: They do. [00:50:18] Speaker A: Straight through the Internet. Yeah. Very cool. [00:50:24] Speaker B: Very, very cool. Well done. Thank you, David, as always. Appreciate you. Oh, let's talk. Oh, does he. [00:50:33] Speaker A: Yeah, he says. [00:50:34] Speaker B: Oh, thanks Grant. Yeah, I just got a. Yeah, it was a night call. Fairly reasonable and they like. They sell torches up to the thousands. It's crazy. [00:50:43] Speaker A: I got. I went on an olight rabbit hole and then just ended up buying one of their cheap ones. But. Or getting it for my birthday. [00:50:51] Speaker B: Yeah. [00:50:51] Speaker A: But it's very nice, very good. [00:50:53] Speaker B: Little light works and I like that it's USB C rechargeable and you know, I like all that. Let's turn to some very, very important industry news which is the first article in the camera news list. [00:51:07] Speaker A: Jay, I've seen this article written with a few different headlines. So let's see what your headline is. [00:51:15] Speaker B: So in this case, and I'm going to read this straight from Fuji Rumors, which is a very reliable source. Fujifilm Dethrones Nikon claims number three World Wild Worldwide despite a brutal shortage year. Yeah. Fujifilm have jumped to 11.8% of market share and they've overtaken Nikon who is now sitting at 8.9% of market share in the camera. In the camera industry share sales ranking stuff which is pretty cool. I'm pretty happy about that. [00:51:51] Speaker A: That's an interesting headline take given the numbers because headline. The headline that should be there is Canon dominates selling four times the amount of cameras as Fujifilm. Did you know that Canon's market share [00:52:10] Speaker B: couldn't just give me this win, could you? [00:52:12] Speaker A: Canon's market share grew year on year by 2.5%. Fujifilms grew by 2.8% which is Sony's. [00:52:22] Speaker B: Dropped by 3.9%. [00:52:24] Speaker A: It did. And Nikon's Dropped as well. So it is very interesting. Obviously Fuji rumors choosing to focus on Fuji, but Canon had a similar amount of growth in percentage, which means a massive amount of growth in actual numbers because they obviously dominate so much of the market. So pretty crazy. Look at, look at poor little Rico and OM Digital down there. You might not be able to see them through the Internet. There's a couple of slivers down there. It really puts things into perspective. Doesn't. [00:52:58] Speaker B: Does. Yeah. It's interesting seeing what's happening with Nikon. There's been lots of rumors, a lot of sites and forums and things are saying that it feels like Nick Nikon's lost their way. [00:53:11] Speaker A: They haven't released much this year, but they have really good product. [00:53:15] Speaker B: They're very solid products. [00:53:17] Speaker A: The cameras are great, their lenses are great. I, I don't know what's happening, but I wouldn't sleep on them. I think next year you could very easily see Nikon flip if they release a new series. If they release Z9 2 and Z82 and a few other bits and pieces, you could very easy see that Nikon, Fujifilm flip. But you could also see that not flip if Fujifilm released some cool stuff too. So you just never know what's. What's coming down that line. But I certainly wouldn't look at this as any kind of indication of the quality of your camera related to this pie chart. It's just data on sales volume. It's nothing to do with what camera is amazing. So yeah, I wouldn't be too concerned. [00:54:08] Speaker B: I was still chuffed as the number one ticket holder at the fujifanboy fan club. [00:54:14] Speaker A: Well, when you look at it, it was always Canon Nikon, then it was Canon Sony Nikon and now it's what? Canon, Sony, Fujifilm. I don't know. It looks like soon to be just Canon Sony. I don't know what is happening. [00:54:29] Speaker B: Yep, it's interesting. [00:54:32] Speaker A: It is interesting. But yeah, things change and flow with the times and with technology and who knows where we'll be in five more years. But right now, yeah, Canon, other winners and Fujifilm are doing great. [00:54:43] Speaker B: They are doing great. I'm really happy for them. Let's talk about some other camera news. According to this rumor, Canon EOS R8 Mark 2 will launch on September, will at least be announced officially September 15, along with a new Speed Light and other bits and pieces. Have you seen this, this article, Jay? [00:55:07] Speaker A: I have. I've seen a little bit of the Canon rumor stuff. There's. There's been these rumors about the R8 Mark II being a retro camera that seems to be getting wound back pretty heavily. I always thought that quite right. The why would they take a very popular camera, the R8, it's like the entry level into full frame and it's a really great camera for the money. Why would they just take that and say, okay, now you can only buy it in a retro look? That would be silly. I think if they were going to do a proper retro camera, they would do it the way that Nikon did it with the ZF and basically introduce a parallel product line. Probably use the same sensor as the R8, probably have similar specs, but it would be, it would have its own difference. So we're just going to see an R8 Mark 2, I'm sure. [00:55:55] Speaker B: Yeah, absolutely. They also say there's a new speed light coming, which is the EL5 Mark II. Apparently there will also be a new grip and plate option for the bottom of the R8 at this point in time. No. According to this article, no confirmation of new lenses coming. However, in other Canon news, Canon have registered have five patents for new cameras that are as yet unreleased. So they believe that one of them, which will come out at the start of next year, will be a new power shot. Compact, an inexpensive power shot. And there might be another EOS R cinema, EOS R camera coming out sometime in or being announced in January as well. So at least those two, they've got a. They've got a little bit of insight into. But the reason why these things happen is because they have to register patents early, but they also have to register with the different. I don't know what the organization is, but they have to register their Bluetooth and wireless technologies. [00:57:04] Speaker A: That's right. [00:57:04] Speaker B: To be able to then send them out into the world, which is a really interesting way that often. Yeah, often people find these rumors because of that release. And it also happens in the gaming world too with new gaming tech. Yeah. That has wi fi connectivity. [00:57:20] Speaker A: Right. So you're. Okay. So you're on top of that side of it as well. [00:57:24] Speaker B: Yeah, sometimes we see that stuff. I think it's interesting. [00:57:28] Speaker A: Yeah. [00:57:29] Speaker B: So yeah, so little bit of. A little bit of movement for Canon, which is nice. Some new cameras in the works. One of them is definitely going to be a compact. [00:57:38] Speaker A: That would be nice if they make a good compact so they can compete with the Variable Aperture iPhone 18 Pro Max Mega. Just quickly. Bruce Moyle said Nikon also had the world's most expensive advertising going to the moon and back. [00:57:51] Speaker B: They did. [00:57:52] Speaker A: Yeah. It's kind of crazy that with one of the coolest possible publicity things for a camera brand that, that yet it's also a massive down year for them. It's kind of unfortunate because, yeah, you can't, you can't buy. I assume Nikon didn't buy it. Maybe they did. You can't really buy that kind of publicity. You know, like you're getting chosen to photograph. Maybe they're a sponsor or as Greg said to Carrick said to take it to a moon that isn't real and isn't up there. [00:58:27] Speaker B: Hollywood soundstage. [00:58:28] Speaker A: Yeah, [00:58:32] Speaker B: Actually I saw another one only recently. I think it was somewhere in. I think it was. Maybe it was a Chinese or it was in an Asian country. They launched a rocket that re entered and landed itself on a landing pad and they had a camera attached to it the whole time. So you see it's nine minutes takeoff orbit, like you know, kind of early orbit and then back down to Earth backwards and landing with the camera the whole way. It's very cool to watch. Yeah, it's very cool. Oh, and the other thing about Nikon, they're the ZR1. An award recently. I don't know if it was an ISA award, but some sort of design award for camera systems is that one. Which is nice. [00:59:17] Speaker A: It's. Hey, camera brands. All you have to do is put a massive screen on the back of your camera and you'll win awards because that's what everyone wants. They just want a bigger screen. It's not that hard. Should we do a. Should we do a 2.8 or a 3.1 inch and someone's like, just put a 4 inch on it. It's probably the same price. [00:59:33] Speaker B: Oh, okay. [00:59:35] Speaker A: Design award. Boom. [00:59:37] Speaker B: Yeah, it's not that hard. It's done. It's done. Especially for folks that, you know, shoot video. You don't need to buy an expensive monitor. [00:59:46] Speaker A: Yeah, it's crazy. [00:59:50] Speaker B: Can we bring up the next one? It's. Let's bring up the B and H link for the om. [00:59:56] Speaker A: Oh, the B&H one. [00:59:57] Speaker B: Yep, yep, that one. [00:59:59] Speaker A: So does that mean we're sponsored by B and H? [01:00:02] Speaker B: Well, sure. So this has been confirmed. OM Systems are releasing a new pen camera. It has been teased on the. On the B and H camera site on 9 September, apparently. What did I read? They're basically saying it's, it's, it's borrowing a lot of elements from other cameras. Obviously they want to go with a pen format. They want to keep it relatively compact. Micro four thirds, obviously. And yeah. And they're harvesting stuff from other OEM system cameras, which is great. It's fine. It's what we're just talking about with the R8. [01:00:46] Speaker A: Sounds like body parts. They're just taking things from other. The production line of other grab sciences from those other ones. Quick, go get them. We're going to release them. [01:00:57] Speaker B: So that's kind of exciting. I remember when I first started out in photography, I looked at pen cameras. I didn't understand micro 4/3 at all. It made no sense to me and I went for Canon instead. It still doesn't make any sense to me, but yeah, this is cool. It's a. It's OMA bringing out a new camera. It's great. A compact interchangeable lens camera. [01:01:19] Speaker A: Can you hear that? Yeah, I can't do it. Oh, yes I can. I just want to see what this does. Okay. [01:01:27] Speaker B: Just shot of Japan. [01:01:30] Speaker A: Wow. That's it. That's it. Thrilling. Okay. [01:01:36] Speaker B: Yeah. If anyone in the chat, I know that Dennis probably has because he used to be, you know, an aficionado for OM for Olympus back in the day. Have any of you guys shot with pen cameras? What are your thoughts? Let us know. [01:01:54] Speaker A: Quick question from Rick Nelson. When would camera features be enough or will we always want more something? I always want something as there is no perfect camera to me. [01:02:09] Speaker B: That's interesting, isn't it? [01:02:11] Speaker A: Yeah. [01:02:14] Speaker B: It's that whole thing of how capitalism makes us think that we want over what we need. You know, Apple are going back to Apple. They're geniuses at making us feel like we need a new MacBook. We need the latest iPhone, we need the new AirPods. You know, they're so good at making us feel like these products will elevate our lives and that's what marketing does, you know. But I don't think that will ever change for photography. I think they'll constantly try to force new things on us because at the end of the day, they're a business with shareholders. They need to keep money coming in and they're going to do whatever trickery they can to make you purchase. It's not to say they're bad products or they're dodgy experiences, but it's just the way that the industry works. That's my view. [01:03:02] Speaker A: But. So then why do you get new stuff? [01:03:09] Speaker B: Because I need it. [01:03:12] Speaker A: It's different when it's me. Yeah, it is. It's tricky. I don't know. Well, I think you could definitely say currently where we're certainly at a point of diminishing returns. I Think with camera technology, as in the z9 mark 2. I'll probably might have to eat my hat after saying this, but I don't think the Z9 Mark 2 is going to be leaps and bounds better than the Z9. [01:03:41] Speaker B: Yeah. [01:03:42] Speaker A: It's the Canon R5 Mark 2 for me, was a noticeable upgrade from the R5. Has it allowed me to do anything I couldn't have done with the other. With the R5? Really, really over a long time horizon. No. You could look at it and be like, oh, it didn't have this codec or, you know, this feature that's changed or slightly faster this. But if you look at it like, say you're a time traveler looking back from the year 2060, either of those cameras would have done the same job just the same, you know, like when we look back at photos from the 70s. [01:04:22] Speaker B: Yeah. [01:04:23] Speaker A: Same, same, same. You know, like it's not really relevant. [01:04:27] Speaker B: Yeah. [01:04:27] Speaker A: What. What was taken with what? No one cares one. It's. It's not relevant. And it's like, same with video. It's not going to matter if one had slightly more rolling shutter or whatever when you're looking back on things from years to come. So I think it's. We're certainly. Unless we see a change in how we consume our media or some sort of massive change in technology, in sensor technology, we're edging up against diminishing returns. I don't know if anyone wants cameras, all cameras, to shoot at 100 frames a second, do we? [01:05:06] Speaker B: Well, it depends on how. How much they can simplify that tech and reduce the cost of making it, you know, because eventually it just becomes something that every camera has. [01:05:16] Speaker A: Yeah. [01:05:17] Speaker B: You know, it's kind of like looking at autofocus being introduced into cameras, you know? [01:05:26] Speaker A: Yeah, maybe someone said that years ago. Do we really want all of our cameras to have autofocus? [01:05:32] Speaker B: Yeah. [01:05:32] Speaker A: And everyone said, yeah. And like I said, no, we. No, you fools, we shall not. The M will never be autofocus. I don't know why that accent's not even German. I'm not sure. [01:05:46] Speaker B: Yeah, it was. [01:05:47] Speaker A: Anyway, terrible. What other news you got? [01:05:51] Speaker B: All right, let's move along, folks. What else we got? So Om Pen. That's huge. And just the last bit of camera camera news is that Ricoh is surprise, surprise, developing the GR4X [01:06:07] Speaker A: being a 40 mil. [01:06:08] Speaker B: 40 mil. [01:06:10] Speaker A: 40 mil instead of 28 mil. [01:06:12] Speaker B: Yep. [01:06:13] Speaker A: Makes sense. [01:06:14] Speaker B: Yeah. Well, they did it with the three. But, you know, I was talking to Jason Lau the other day and he does a lot of Work with Rico gr. He was up at the Rico GR space launch event in Brisbane and he's loving shooting with his GRs. And he was saying he's surprised that they brought out. They announced the monochrome before they did the 40 megapixel versions. [01:06:40] Speaker A: Yeah, the 40 millimeter versions. [01:06:43] Speaker B: Millimeter version, sorry, not megapixel. [01:06:46] Speaker A: Yeah, that's actually a good point. Yeah, that's a really good point because like, like a went 2843 then monochrome, I think. [01:06:57] Speaker B: Yeah, yep. Let me just look at. [01:07:02] Speaker A: I, I found myself very quickly just speaking of gear acquisition syndrome that Schmidt Shah's mentioned. I, when so talking about going on runs and having a camera with me and the phone is the most logical piece of equipment for that because I have to carry it anyway. But it's annoying to hold. I found myself thinking geezer gr4 monochrome would probably be the perfect camera for this because they're extremely lightweight and quite easy to stow away on my running vest. But then I was like, what were they, like three and a half grand or something? Well, I'm not gonna buy that. [01:07:38] Speaker B: The, the Ricoh GR4, that's the HDF version, which is another variant, another different SKU. So the standard GR4 is 2, 200 at Ted's in Australia. That's Australian dollars. Okay. The monochrome is $3,000. It's an extra 800 bucks. [01:07:56] Speaker A: Yeah, yeah, I remember we went deep on. [01:07:59] Speaker B: And I, I, I, I don't understand that, that rationale. [01:08:03] Speaker A: Apparently it's very complex to make that sensor [01:08:08] Speaker B: because I was seriously looking at chaos the other day, I thought, oh well, yeah, now that I'm making more money running workshops and stuff, maybe I need a camera. [01:08:17] Speaker A: Not want, need, need, need. [01:08:21] Speaker B: But yeah, it's interesting. And so now the GR4s, they've already got the HDF version, they've already got the sound of GR4 and now the monochrome. Now they're announcing the X versions with the 40 mil lenses and I wonder whether they will stop just a standard 40, 40 millimeter X version or whether they'll do the HDF X and a monochrome X. Yeah, Excuse. [01:08:48] Speaker A: It's a lot of SKUs for one camera. [01:08:51] Speaker B: Well, and they've done this before. They did this with the GR3. And my concern is that they're stretching themselves too thin once again because the GR3, you couldn't get stock of any of the SKUs. They had like six SKUs at one point because they also had a reporter edition and a diary edition of the GR3. On top of those other four. And you know, and I love that, I love that there's options for people but they couldn't stock any of them, you know. And the next shipment for the GRS on all of the websites that I looked at anyway are all, you know, next shipment is coming in this many weeks. But they don't even have the stock in the country. And I, I obviously I'm, you know, one spitting. You kind of see that stuff happening. Anyway, that's it for camera news. Do you want to. Should we wrap up the other news and just spend the rest of the evening talking about images? [01:09:48] Speaker A: Sure, why not? [01:09:49] Speaker B: Let's go. Let's look at a couple of little random news then I've got a couple of cute social media posts to finish up on. I'll make it quick folks. Godox is has launched or announced a P100 which is a portable color photo printer. It doesn't use Instax or anything like that. It uses kind of that, you know, the roll of paper that like, what do they call them? E ink, something like that. There it is. [01:10:14] Speaker A: It's not the E ink. [01:10:16] Speaker B: Oh no, maybe it is. [01:10:19] Speaker A: Would be, would it be. What are they called? Like the Canon selfie printers? [01:10:25] Speaker B: Yeah, maybe. [01:10:26] Speaker A: Yeah. CMYK print or whatever it is. [01:10:29] Speaker B: Yep. But again we're seeing, you know, a couple of weeks ago we're talking about this new trippy camera that they put out which is more of a light meter better than the camera. Now they're doing this sort of product, they're branching out, they're trying new things, they're appealing to different markets. [01:10:44] Speaker A: Yeah, every, every print anywhere, every moment deserves to be printed. I disagree. Godox, There are some moments that should remain unprinted. [01:10:57] Speaker B: What are your top three, Justin? Unprintable moments? [01:11:01] Speaker A: Pooping. Pooping later on in the day and then the following mornings also pooping. Many moments should not be printed. [01:11:15] Speaker B: There should be a sticker on it. Not for pooping. What else we got? Oh, let's bring up the next one. This one's fun. The folks at OM System didn't just stop at developing a new OM camera. A new pen. Now they make. Now they make. Anytime you're ready, boss. [01:11:35] Speaker A: I was about to make a bad joke. Apparently now they make cookies. I have to accept all cookies just to view this website. Anyway, now they make Ragu pre made meals. [01:11:47] Speaker B: Apparently om, like a lot of other Japanese camera brands have interests and investments in a whole range of different products. And OM for them it's ready made meals photography Ragu. [01:12:01] Speaker A: So that's why they haven't improved their sensor technology recently. [01:12:04] Speaker B: They've been too busy working on the perfect Ragu. [01:12:07] Speaker A: Ragu? [01:12:08] Speaker B: Yeah. [01:12:09] Speaker A: Oh, dear, there's even. So this is on the. This is on the. What the hell? [01:12:14] Speaker B: This is on their website. [01:12:15] Speaker A: See, this is a website where cameras are. And then here. Homepage products Outdoor original OM system. Ragu. [01:12:26] Speaker B: Yep. I kind of want to order some. I think I will. I'll try. I'll find it somehow. I want to get some. [01:12:35] Speaker A: I can earn a. If I order the Ragu. [01:12:39] Speaker B: I. [01:12:40] Speaker A: If I'm a member, I earn 106om miles. They've got their own miles. What is going on? [01:12:49] Speaker B: Yep. Anyway, I thought that was funny. [01:12:53] Speaker A: Okay. Wow. [01:12:55] Speaker B: And for you, Leica Q3 shooters. I know a couple. Let's bring up the next one. Sub 13 have announced new skeleton underwater housing for the Leica Q3 camera. That's right. You can take your Q3 on a deep dive. [01:13:15] Speaker A: I don't know if I want to do that. I mean, I just bet I don't want to spend however much they're charging for these housings. [01:13:24] Speaker B: Yeah, I don't get it. [01:13:25] Speaker A: I bet they're not cheap, but it would be cool. It would be very cool. [01:13:32] Speaker B: Sub 13, let's have a look at their website very quickly. Yeah, they make these trippy grip. Hey, jump on that first link on that. On the like a rumors page underneath the photos on the top left it says sub 13. Click on that and have a look at that. Let's show the folks at home what these people are working on. Look at that housing. [01:13:58] Speaker A: Oh, yeah. Bling, bling. That's not in my budget. I can just tell. [01:14:04] Speaker B: That's crazy. [01:14:05] Speaker A: Look at that. [01:14:06] Speaker B: The machine. What would that be, Brass? [01:14:09] Speaker A: I don't know. [01:14:15] Speaker B: It doesn't even look like an underwater [01:14:17] Speaker A: housing built exclusively for Leica Store and Gallery New York. Each one is built is tied to a city and an animal. Okay. [01:14:28] Speaker B: Yep. [01:14:29] Speaker A: That's so cool. [01:14:30] Speaker B: Yep. But nothing more like it than that. [01:14:35] Speaker A: Results achieved. [01:14:37] Speaker B: All right. And finally, a couple of little social media posts that I found during the week. If from the top list, Jay, the first known dog photo from 1870. I thought you'd like this one, given that, you know. [01:14:52] Speaker A: Pet photography. [01:14:54] Speaker B: Yeah. The earliest known solo dog photo shoot in history. Meet the beloved pet of a jeweler named A. Randall. Photograph circa 1870. 1875, in New South Wales, Australia. Back then, photography was expensive, complex, and required subjects to remain perfectly still during long exposures. While pets occasionally appeared in family portraits, giving a dog Its very own dedicated studio session with patented tablecloth and formal backdrop was practically unheard of. Yet this good boy mastered the art of posing, resulting in a series of charming historic portraits. And these are glass negatives and they're on display or they're preserved at the state library of New South Wales. So there you go. [01:15:35] Speaker A: My sister's dog. [01:15:36] Speaker B: Just like this dog. Yeah. [01:15:38] Speaker A: Oh, well, it's beautiful. [01:15:40] Speaker B: No, no. That is an odd looking dog. You're right. And finally, let's have a look at the walnut camera, Jay, and then we'll jump back into your images. So someone made a pinhole camera from a walnut. [01:16:07] Speaker A: Okay, [01:16:17] Speaker B: There it is. [01:16:18] Speaker A: Oh, that's cool. So how fun is that? That is actually pretty cool. Wow. [01:16:25] Speaker B: I'd like to see crackers. Make one of those. And put a Fujifilm lens on the front. I think. I think you can do that. [01:16:35] Speaker A: I'd like to see David Leporati shoot a fighter jet over the Sydney harbor with a walnut. [01:16:44] Speaker B: Indeed. And that brings us to the end of tonight's news segment. Thanks for sticking with us through that, guys. We just wanted to catch up on. On what's been going on over the past two weeks because we haven't. Obviously we haven't covered news in a little bit, but there you go. You're all caught up, which is wonderful. Let's dive back into your images. I believe we were up to Philip Johnson. [01:17:09] Speaker A: Yeah, give me one second, I'll track him down. Just got a brain. Bring my screen back up. I've got some images too, to share tonight, but they're not on the running sheet. I'll try not to forget. [01:17:24] Speaker B: Yeah, I've got a couple. G'. Day. Justin and Greg decided to wander in the mist and rain. It's always the best time for tree bark to show its real colors with some rain. It's funny, you file in your head a favorite tree to return to. And this is one. This was shot on the A74 with a Tamron 150 to 500. Nice work, mate. Process in Photoshop and Topaz photo ISO 640F 101 80th of a second at 500 millimeters. So he was in the next suburb. Basically. [01:18:00] Speaker A: The water really does make the colors pop. [01:18:03] Speaker B: Yeah, it doesn't. It. [01:18:04] Speaker A: It's beautiful. [01:18:05] Speaker B: Yeah. [01:18:06] Speaker A: Awesome balance with the. This little dark blotch, which I think looks kind of like a weird gargoyle type creature with its tongue out. And it's like. Can you see that or am I making it? You can't see. [01:18:18] Speaker B: You go with that. No, I can't see it. Where's the gargoyle? I. Oh, it does. Oh my God. [01:18:26] Speaker A: And it's like stuck to the. [01:18:29] Speaker B: What was that kids book? Is it the Gruffalo? [01:18:32] Speaker A: Oh, I don't know. [01:18:32] Speaker B: It's a kid's book. Anyway. [01:18:34] Speaker A: Just trying to get framed back out. This is very. Whoop. Sorry everyone. Okay. [01:18:39] Speaker B: Yeah. It's a beautiful shot. [01:18:42] Speaker A: Yeah. And I love that it's balanced out by the stronger. Large amount of orange and yellow on the other side. Sorry, this thing is just zooming everywhere. I'm gonna have to go back to my other program. Stop. And the darker spots on the left hand side. Like it's very well balanced and square Crop is perfect. [01:19:00] Speaker B: Yeah, [01:19:02] Speaker A: yeah, yeah. Really, really cool. [01:19:08] Speaker B: Thank you, Philip. Up next we have Phil Thompson. I'll start reading. Hey, Justin and Greg, I'm not sure if you were taking submissions. If so, this is a shot that I took whilst on the return trip to Geelong last Wednesday after being in Melbourne for an appointment. It was raining and the abstract feel of focusing on the rain was with the bridge structure in the background. Seemed to create a good shot as we were traveling along at about 50 kilometers per hour. Love that. It will be part of a group of images titled Looking out the Carriage Window that I started to shoot on a whim while on the journey home on a fairly empty train. The idea came to me fairly spontaneously as I had an itchy trigger finger and hadn't shot anything else that day except for the sunrise at Warren Pond station prior to leaving as per the second attached shot. Was there two? Yeah, there was two. Just for reference. You got the other shot there, boss. [01:20:09] Speaker A: Oh, it's under Phil T. Oh, beautiful sun, sunrise, socials. [01:20:14] Speaker B: Yeah, this was shot with a Pentax K1 Mark II with the 28 to 15. 28 to 15, is that right? [01:20:25] Speaker A: 28 to 105. [01:20:27] Speaker B: Maybe 105. Anyway, shutter speed 1 1/60 of a second. F11,800 ISO. Keep up the great work and also the fantastic guests coming each week. Cheers, Phil Thompson. Thank you, Phil. [01:20:42] Speaker A: Yeah, beautiful shots and great idea for the project. I can't wait to see how that unfolds. Shooting stuff out the windows. That's very. [01:20:49] Speaker B: I think that's clever. That's a cool project. [01:20:52] Speaker A: Yep. Keep us in the loop. [01:20:56] Speaker B: Indeed. [01:20:57] Speaker A: Quick one in the chat from Nathan says, hey guys. Justin, a mate of mine had to stop taking his GR on trail runs because he ended up paying not enough attention to the running and more about the cool stuff he saw along the way. Well, yeah, that's the point. I'm trying to get my. Trying to get my mind off the running and just run from photo spot to photo spot so I don't have to think about it. I actually was. If anyone can suggest me. I'm contemplating would it be better just have a film camera and if so a really a good quality point and shoot film camera that's quite small. Tell me that something with a wide length like I'd love something with like a 24 mil. [01:21:38] Speaker B: You should look at the lomography cameras. Yeah, maybe, maybe because they've got, they've got a few different. They've got wide options too. [01:21:47] Speaker A: Yeah, I want something that, I want something that's like easy, like fast to use, not slow, not, not wind, like an auto point and shoot. [01:21:57] Speaker B: Oh, okay. Yeah, like ideally maybe. [01:22:00] Speaker A: Yeah. [01:22:01] Speaker B: The, the folks at Film Never Die in Melbourne. They make. [01:22:04] Speaker A: They, yeah. [01:22:05] Speaker B: Rebrand their own camera that's a compact film point and shoot. [01:22:08] Speaker A: But yeah, I think that the Nana or something like that. But yeah, I'll have a look. But yeah, if someone's got an idea of an older one that's thin, thin [01:22:17] Speaker B: camera, accessible, like they sell them a lot on ebay and stuff. [01:22:20] Speaker A: Yeah, exactly. You can actually find. Let me know. [01:22:24] Speaker B: Yep. [01:22:25] Speaker A: Who we got next? [01:22:28] Speaker B: Paul C. Actually just very quickly, Nathan has just been in Japan and he has caused me great distress over the last few days, sending me photos of his trip in Japan. Our friendship is formally over because that's just mean. But he was going camera shopping in Shinjuku and he was. I was telling him some good places to go. So I hope he picks up. Hope you picked up something cool, mate. Hope you had a great time. [01:22:58] Speaker A: What you get? [01:22:59] Speaker B: Yeah. All right. What did we say? Paul C. Paul C. Into the mist hey guys, I'm thinking of leaving the heavy kit behind and just taking an iPhone 15 and an old 2014 Canon S120 compact camera with me on a lightweight hike next month. This iPhone image was shot at 2.8. Sorry, F 2.812,56 of a second. ISO 50 at 110 millimeters of a misty morning gives me some confidence that I might get away with it. What do you think? Cheers, Paul. Well, yeah, I think you can, I [01:23:38] Speaker A: mean you can, you can absolutely get away with it. It's a beautiful shot and you can get away with anything. It all depends on what are you trying to get out of it. Do you enjoy the experience? Does it make it easier for you to shoot when you've Got that limited kit. Yeah, absolutely. You can get away with it. [01:23:55] Speaker B: Yeah. [01:23:55] Speaker A: It's a great photo. [01:23:57] Speaker B: Yep. And you know, there's challenge in making that work for you. There's challenge and mindfulness in, in, you know, mastering a camera you don't usually use for this sort of stuff. That itself could just elevate your experience irrespective of the image outcomes. So I say lean into it for sure. [01:24:15] Speaker A: Yeah. [01:24:16] Speaker B: Yep. [01:24:18] Speaker A: Comment from Dennis. He says, paul, that feels very painterly. Might be a bit of a horizon issue there. You know what? Interesting. There definitely is a tilt going on and it sort of. It didn't bother me. It didn't bother me at all. It's sort of. I don't know, it sort of looks a bit like Wonderland, A bit like, like it's intentional, but I don't know whether it was or not. So it's a. I didn't even pop into my head. [01:24:49] Speaker B: I think the framing is really well done. I think you've got that left leaning tree in the foreground. You've got the leaves and the bush sort of coming in on the top right corner framing it. But yeah, the foreground horizon line, so to speak, tilts up to the right, whereas in the background the big tree in the middle tilts to the right and the foreground seems to slope in the other direction a bit. [01:25:15] Speaker A: Yeah. There's definitely mismatched angles and alignments going on, but it sort of. It didn't make me think and I'm often one to be like, just straighten that. But it didn't. That didn't pop into my head straight away. But it would be interesting to see what it would be look like if you rotated it. Yeah. And just, just see. But you would end up cropping off some of that tree on the left hand side if you did that. So. [01:25:41] Speaker B: Yeah. And he said the ground was sloping down to the left. [01:25:44] Speaker A: Yeah. Okay. [01:25:45] Speaker B: Which is what we're seeing in the foreground. Definitely. [01:25:47] Speaker A: Yep. He. [01:25:49] Speaker B: He took what he saw. [01:25:50] Speaker A: Yeah. Very cool. [01:25:51] Speaker B: Yeah, very cool. [01:25:53] Speaker A: I want to see what. Yeah, yeah. I want to see what you get with just the, the minimal kit. [01:26:01] Speaker B: Up next. Nick, I'm running out of words. That's a sign I'll start yawning soon. Then I'll fall off my chair. Felicity Johnson. Not again. [01:26:12] Speaker A: One or two. Here we go. [01:26:13] Speaker B: I don't understand what's just happened here. Sorry, Felicity, we just have to. Important community announcement. The balls. Oh, yeah. [01:26:22] Speaker A: Are they okay? [01:26:23] Speaker B: Does that happen often? I don't think I've ever punched myself there have you, Justin? [01:26:29] Speaker A: No, not myself. [01:26:33] Speaker B: I think we're losing the crowd now. Greg wants to know, where is the puppy? [01:26:36] Speaker A: Where's the puppy? Sorry, the puppy's in bed. I did. I was going to give you guys a. This is what puppy life is at the moment. I got a text message from Yelena before, while I was on the show, and to read it out. Poop recorded 8:25pm so we have to keep each other in the loop about the poop schedule so that we don't. So that I know whether I have to take him out straight after the podcast or. [01:26:58] Speaker B: Oh, I thought you were saying Yulayna pooped at 8:25. [01:27:02] Speaker A: Yeah, she keeps me in the loop. Yeah, just make sure. [01:27:05] Speaker B: I love that for you guys. You know, whatever works. Whatever keeps the romance alive. [01:27:09] Speaker A: Oh, dear. [01:27:12] Speaker B: All right, Felicity Johnson, let's talk about Felicity's images. Hi, Justin, Greg, Matt, Nick get a mention. And the most incredibly splendid cj once again. That was from last Monday's Beef Up Special. Just a couple of photos from a foggy morning at Sanatorium Lake in Mount Macedon, spanning from the small fungi and moss to the big gums and the big fog. Z8, 105 macro and a 24 to 70. And I remember heading up there with Matt on one of his macro workshops and learned a lot about different types of lighting. And he also cooked a bloody good sausage. Cheers. Flick. I love it. [01:27:50] Speaker A: Oh, look at those little fungus. [01:27:53] Speaker B: That's beautiful. [01:27:56] Speaker A: Just nature doing its thing. [01:27:59] Speaker B: Yeah. But she just has this knack of obliterating. I know the lens obviously leans into that, but she just can find these scenes where she just turns the background into nothingness. [01:28:12] Speaker A: Yeah. Brings the subject really lovely, makes everything melt away, which is. It seems easy because obviously when you go close, it's easy to obliterate the background, but you've still got to keep everything in focus. [01:28:23] Speaker B: And it's. [01:28:24] Speaker A: It's a tricky balance sometimes. [01:28:26] Speaker B: Yeah. [01:28:27] Speaker A: She masters it well. Yeah. [01:28:30] Speaker B: Yeah. [01:28:30] Speaker A: Beautiful. [01:28:31] Speaker B: That's beautiful. Can we go back to the other. Yeah, [01:28:36] Speaker A: that's just. [01:28:37] Speaker B: That's magic. [01:28:37] Speaker A: If you squint a little bit. And through the magic of the Internet, rather than that being a photographer, you could imagine it was a Scottish person with bagpipes, I think. [01:28:48] Speaker B: Okay. [01:28:48] Speaker A: From here. [01:28:49] Speaker B: All right. [01:28:52] Speaker A: Yeah. You got to use your imagination a little bit. [01:28:54] Speaker B: Yeah, Yeah. I wasn't using mine, and now I see them, so. Thanks. [01:29:00] Speaker A: Yeah. Beautiful. [01:29:01] Speaker B: Yeah. Lovely mood. I'd be keen to see that in monochrome, too. [01:29:07] Speaker A: Yeah. [01:29:09] Speaker B: Yep. Yep. I'd be really keen to see how that. That pulled out in monochrome. Lovely. Really, really lovely. Up next, we have the rock goddess, Lucinda Goodwin. [01:29:25] Speaker A: Lucinda, where are you? Rock goddess. There she is. [01:29:30] Speaker B: All right. Hey, team. Another one from the same venue you saw last week. I love that. This image looks as if it was shot in studio, but behind the artist is a five piece band. And so many stands and pieces of gear. That's all I got, but yeah, that's beautiful. [01:29:47] Speaker A: Yeah. Looks like you've lit it with gels and like. [01:29:50] Speaker B: Yeah, it's like a fine art piece. [01:29:54] Speaker A: Yeah, great work. And it's just, it's. And all of this stuff, you've got so little control over the lighting and everything. You've just got to find the angles and wait for the moment. Because that's the other thing. Often the lighting's changing, the artist is moving around and you can, you might see a glimpse of it and you're like, oh, I could make that work. And then you gotta wait, wait for the moment to get there. And it's live music. Photography is so cool. [01:30:18] Speaker B: Yeah. [01:30:20] Speaker A: Such a different thing. But that's why it's so cool that Lucinda also does so much controlled studio photography and portraiture and stuff too, because it's such a different skill set. Now you've got full control, but you've got to come up with everything. Whereas, yeah, I'm very much more towards, put me in a space where they've already figured all that stuff out and then I'll find some great photos. [01:30:43] Speaker B: Yeah. [01:30:44] Speaker A: Rather than put me in a studio and give me a blank canvas and I'm like, oh, no, what do I do? [01:30:49] Speaker B: Yeah. [01:30:49] Speaker A: Unless it's a dog, in which case it's easy, but it's a great photo. Ah, see, look, she said, I saw it in soundcheck. Yeah. How cool is that? When you're like, I think if this lines up, I. I can do something really cool and then you. But you've got to wait and be ready for the moment and you got to see it. Yeah. [01:31:09] Speaker B: You know, you got to be. Gotta be looking for it, you gotta [01:31:12] Speaker A: be ready and then you gotta get your settings right. [01:31:16] Speaker B: Ah, indeed. Up next, we have Neville Clark. Now, Nev did send me a rather large pano shot on a gfx, but the file was 180 megabytes. And I couldn't, I just couldn't. And I said to him, can you send me it? Can you send me a smaller version? And he sent me this one instead, which is a different photo. So maybe we'll get him to send the other one for next week, but shot in Denmark, Western Australia. Three different sources of water meeting in one spot. This is the Denmark River. That's crazy that he's documented that. [01:31:52] Speaker A: I can't even. I can't see what's happening. I'm trying to figure it out. This is just a top down drone shot. [01:32:00] Speaker B: So this is shot with a DJI Mavic 28 mil lens, ISO 100F4 and 130th of a second at 120 meter altitude. [01:32:12] Speaker A: Water's so different. [01:32:15] Speaker B: Yeah, yeah. And crackers is right. Like just great abstract outcome. [01:32:23] Speaker A: Yeah. [01:32:23] Speaker B: From the drone. [01:32:27] Speaker A: Yeah, that's beautiful and amazing for that. That's just. [01:32:31] Speaker B: Yeah, yeah, yeah. But you just can't, you can't work out what it is, can you? [01:32:35] Speaker A: Yeah, I'm struggling still. [01:32:38] Speaker B: Yeah, yeah. It's beautiful. Well done, Nev. Thank you. [01:32:44] Speaker A: Yeah. What a great image. David Skinner. Print it. I got a printing. I gotta do some printing every night actually. Should we look through mine now? I got a little bit of a set. Should we take a. Take a. Yeah, let's do it. [01:32:57] Speaker B: All right, let's have a look at your set of images, please. Not your other set. [01:33:03] Speaker A: Give me one second to pull them up with my cruddy system. Go back to the other system for mine. All right. So I wanted to show these for a little while now and haven't really had the right chance. This is a set of images from when I went to South Africa with Matt Crummons from. For his wildlife workshop. But this was a tour we did. I've actually got two sets of images from this day. This is set number one. This is around Johannesburg, or Joburg as it's affectionately known. And we, we were sort of looking around and my mind was really blown. I've traveled a bit, not, not a ton, but I've traveled a bit. Southeast Asia and, and around and I've seen some places and I've never seen anything quite like Johannesburg. It's not at all what I expected. And it was. I found it really, really beautiful. And I couldn't stop taking photos. I would love to, to shoot there more. I'm only just scratching the surface of even beginning to understand that city. We. Yeah, okay, a fair bit about it. In, in that day we went to the apartheid museum. We went sort of all over the place and had an amazing guide that told us all these stories and a lot of information. But I still don't understand the city at all, but find it absolutely fascinating. [01:34:51] Speaker B: Well, you found your muse. [01:34:56] Speaker A: It's Another world. It's another world. And I couldn't. Couldn't stop taking photos of just the street scenes. Everyone was. I wouldn't say everyone. Most of the people I saw was so happy. It was a Sunday. The streets were super active, and everyone was out sort of just doing things. But then there was these quiet. Because it was Sunday. There were so many closed shops, and there was these stretches of just quiet streets. Nothing there. One person walking. It was. [01:35:32] Speaker B: Yeah, there's a great. Oh, Jay, that's a beautiful shot. [01:35:37] Speaker A: And. [01:35:37] Speaker B: Oh, you need to print that. [01:35:39] Speaker A: Print that. [01:35:40] Speaker B: Yeah, for sure. [01:35:41] Speaker A: Yeah. [01:35:42] Speaker B: Look at the texture. Imagine how good that texture will look in print. [01:35:46] Speaker A: The. The color palette of this city was something that I just couldn't stop. Like, I just love. Yeah, the colors are amazing. I don't know what it is about. About the way the light looks and the color that everything is, but. [01:36:02] Speaker B: Yeah. What were they shot on your R5? [01:36:05] Speaker A: I'd. I'd like everyone to guess. There's two things that. So was. What was it shot on? Have a guess if you'd like to. Out of. If you know my gear, like, what camera, what lens? And then there's something else about the way that these were shot that. That ties these all together. I love if someone could guess it. [01:36:28] Speaker B: Did you use a mist filter? [01:36:30] Speaker A: No. Yeah, they're just cooking. Cooking on the streets and just laughing. It was. Yeah. There was more smiles. I probably haven't captured the smiles as well. [01:36:45] Speaker B: That's beautiful. [01:36:50] Speaker A: Oh, wow. [01:36:52] Speaker B: Look at you doing street photography in Joburg. [01:36:55] Speaker A: That's right. [01:36:56] Speaker B: Hey, proud of you. These are beautiful. [01:36:59] Speaker A: The city's beautiful. I just press a button. Again, through here. These are ones I'd like to print. Big. Yeah, that's the full set. [01:37:15] Speaker B: Beautiful, man. [01:37:16] Speaker A: That's the full set. So if anyone would like to have a guess what they were shot with and what ties them all together, I would say it's not really technique. I don't know how to. There's just something about how these were shot. Any guesses, Greg? [01:37:48] Speaker B: Is it the red? [01:37:50] Speaker A: No, [01:37:53] Speaker B: I wouldn't be able to film. Is it film? [01:37:58] Speaker A: No, I wish I've processed it a little bit. Film. Film style. [01:38:03] Speaker B: Yeah. No, really, the color? [01:38:05] Speaker A: Yeah. [01:38:05] Speaker B: Yeah. No, I can't work it out. [01:38:10] Speaker A: All right, we've got a few. A few guesses. Looks a lot like old film. Bang Bang Club. How we're going to rewatch that movie. That's a great movie. Reds, iPhone 24 mil. Bruce? Yeah. You should go to Joburg. You would love it. [01:38:39] Speaker B: Food. [01:38:40] Speaker A: No Q3. No TG. 7. No Felicity Johnson. I'll be there next year. Woohoo. Inspiration. You will love it. Flick. [01:38:48] Speaker B: Yeah. [01:38:51] Speaker A: Rick Nelson. Closest so far. All shot at eye level. All shot from the car. [01:39:01] Speaker B: Oh, wow. [01:39:02] Speaker A: We couldn't. We couldn't stop and get out because we were on the way somewhere. So we're doing a driving tour and I. All I want. I was like, oh, I could just, just, just stop, you know, like. Yeah, there's so many things. And look, we could have. But I was there with a group and we had a plan and we needed to just see. We ended up coming back through the city later and stopping at an art place. So I had my lens like mashed up against the window to try and stop any reflections or glare or anything. But these were all shot through the window of a car. And so you know how people say don't put, don't put filters on your lens. You know, because if you put a filter on your lens, it's just decreasing the quality. Well, look, the quality of these isn't perfect, but this was shot through a car window of a van. [01:39:58] Speaker B: So. Yeah, you know, well done. They're beautiful. They're really beautiful. [01:40:04] Speaker A: So, yeah. All shot out of a moving vehicle en route around Johannesburg. And they were all shot with a Canon R5 Mark II with the 28 to 70 Canon RF 2.8. The. They're cheaper. 2.8 lens. Yeah, that's. [01:40:28] Speaker B: That's beautiful. Yeah. Wow. Amazing. I look forward to seeing more. [01:40:33] Speaker A: The next set is even cooler. Not saying that this is amazingly cool, but I really like these images and I really like shooting around there. But the next set, I actually got to get out of the car and it's from an. It's from a place outside of Johannesburg. But you'll have to stay tuned for next week's episode for those amazing. [01:40:52] Speaker B: This. [01:40:52] Speaker A: That's. This is what I'm really proud of, Rick. That. That stunning. And if you didn't say it was from a car, we wouldn't know. That's pretty. I put that I was working really hard to try and avoid. You know how you can get. Yeah. Little light reflections and fade spots and stuff. There is one that I like. This one. Can you see it? I've taken it down. Hang on. Bring it back up there. Ready? But I liked the image so much that I left it in there. Here. See the light spot? [01:41:24] Speaker B: Oh, yeah. [01:41:28] Speaker A: That's actually in the window. [01:41:31] Speaker B: Yeah. I wouldn't change a thing. [01:41:33] Speaker A: Yeah, I liked it. And I was like, it's sort of A hint that that's how this unfolded to me. [01:41:42] Speaker B: Yeah, very cool. [01:41:46] Speaker A: Thanks. [01:41:47] Speaker B: Well, not to be competitive, can we have a quick look at my collection? [01:41:51] Speaker A: I don't think we have time for yours tonight. [01:41:52] Speaker B: All right, let's move on. [01:41:54] Speaker A: No, hang on. [01:41:55] Speaker B: Let me just grab them and then we'll. We've got four lots of images left to go, folks. We're almost there. Yeah, hang on. You should be proud, Davis Skinner. I think we all echo that, Felicity. Really nice, Justin. [01:42:17] Speaker A: Thanks Flick that. And also thanks to the. The thanks should go to Matt Crumman. So he teed that up for us, that tour as a, as a, like a pre tour day. So everyone arrived with a day to spare before we head out to the. The wildlife safari, which is a flight and a drive away from Johannesburg. But to fill that kind of rest day in, we did this tour which actually ended up being an all day tour. It was supposed to be four hours. I think it was eight hours. And so, yeah, without Matt teeing that up, I wouldn't have two sets of images that I'm really, really proud of. [01:42:52] Speaker B: Yeah, that's really cool. Thanks. Now, like a little bonus to the trip. You know, you thought you were going to create videos and see, you know, big game. [01:43:03] Speaker A: Exactly. Which I did. [01:43:06] Speaker B: But you also got to see a little bit of life on the streets. [01:43:09] Speaker A: Yeah. And learn. Learn a ton about. Yeah. About that country and what's going on and stuff. And I'm still like, I've got a big list of documentaries and things that I need to watch. [01:43:20] Speaker B: Very cool. Nice from me. Hang on the odds here. Got to fall off my chair again. Sorry, folks. Chapel street mostly. A couple from the city. Last Thursday we had the day off. We, Justin and I took a mini break from the podcast. We didn't have a guest, but the week before we had Thomas Forbes, who is a Melbourne based street photographer who also has a fascination of Melbourne's trams and takes gorgeous street shots. Anyway, so I caught up with him on Wednesday last week and we went for, we went for a couple of hours street walk together, had some great coffee, had some great conversation and he, he just throws himself into the craft. You know, the image of. There's an image in here of him, which we'll get to in a sec, but he, he was getting into some really crazy vantage points to get really interesting angles on shots. He was, he was Scottish, squatting down on tram tracks, like on his hands and knees with his camera on the ground, you know, and I was watching his back for trams that were Coming up, Burke Street Mall. And because he just was getting these beautiful, beautiful depth from shooting low. Anyway, we'll get to. We'll get to Thomas in a sec. This is Chapel street. Just strolling home one night from an event. The next one. I really, really love this next one. I love the color. Yeah, I just. [01:44:51] Speaker A: The sock and then the pole in the background being blue. [01:44:55] Speaker B: And the pose. His pose as well. His pose. [01:44:57] Speaker A: Ready to go. That is really cool. What are the chances of the blue pole and then he's. Him having the matching socks to the jacket is obviously planned, but it's so good. Yeah, that's good. [01:45:11] Speaker B: Really strong color elements. I'm really. Yeah, I was really happy with it. And, you know, to the spot. And this is what I sometimes do. I'll work a spot for a while. I'll stand there for 15, 20 minutes and just look at what comes through the light. And he. He caught me photographing someone before, and he kept giving me these little side glances. And then I sort of, you know, I was having my camera at hip level, getting ready, waiting for the light to go green. So he was kind of trapped in my light trap, you know, and he was in shadow. And then as the light went green, he started to scoot forward, and that's when I grabbed the shot. Shot. Yeah, that's great. [01:45:50] Speaker A: That's so good. Yeah, that the color palette is great. [01:45:54] Speaker B: This was the same Aro after I did the walk with Thomas. So couple of hours with him in the morning and then hour and a half at night. It was a really good day. [01:46:03] Speaker A: Yeah. Yeah, I bet. [01:46:07] Speaker B: Next one, please. [01:46:12] Speaker A: So nice to see someone not looking at their phone. [01:46:15] Speaker B: Yeah. [01:46:16] Speaker A: Just having a good old time in the sun. [01:46:18] Speaker B: She was just loving that sun. And the light was beautiful. It was golden. It was warmish. And he came around that corner into the sun, and I just stood there and waited for the right person to show up. [01:46:32] Speaker A: Yeah, that's really cool. I love that shot. I'm like, I wonder, maybe it would be too much. Don't know. I'm like, I wonder if it was a vertical crop where it's just her. I've got. [01:46:48] Speaker B: Yeah, I took about four or five shots of her. [01:46:50] Speaker A: Oh, did you? [01:46:51] Speaker B: Her on her own and her. Yeah. [01:46:53] Speaker A: Vertical. Yeah. You preferred it with a bit more context? [01:46:57] Speaker B: Yeah, Yeah, I often do. Just to add some different story. You know, she's kind of facing the sun. He's looking away from it. He's got a mask on. His drab in comparison to her. Yeah. [01:47:11] Speaker A: Is it sort of like she's she's open and he's closed. [01:47:15] Speaker B: Yeah, a little bit like that. Yeah. Yeah. [01:47:19] Speaker A: Oh, that's nice. Lucinda said, that's how I felt today. Oh, that's a. Yeah, that's a good feeling to have. It's just like. Yeah. Happy sunshine, nice and warm. [01:47:31] Speaker B: Definitely. [01:47:32] Speaker A: Very cool. [01:47:35] Speaker B: Flinders street train station. [01:47:38] Speaker A: This is a good set. Greg, you were on fire. [01:47:42] Speaker B: Yeah, I had a really good day. I had a really good day when I was editing, so I didn't touch my morning shots until that night. I stayed up quite late editing images because we didn't have the podcast the next day on the Thursday, I thought, I'll stay up. And, you know, I sat up till about 1, editing, and I just was in such a vibe with what I'd seen and what I'd photographed, but then also how I could work them in in post. Had a really good day. [01:48:08] Speaker A: This composition's great. And a great character coming through. I assume this was another one where you. You saw this and you were waiting for the right person to walk through. [01:48:16] Speaker B: Yeah, yeah. I actually saw her in the shadows back inside the station, and as she came close, I thought, oh, this is going to be good, because there was no one else coming out or going in. [01:48:26] Speaker A: Yeah. [01:48:30] Speaker B: So. Yeah. [01:48:32] Speaker A: Oh, and then I saw this one pop up and I really like this one as well. I don't know why. I just. I dug it. The. The watch for trams is so brightly lit and strong. He's side lit. The shadow of the legs is long and then it's a busy background, but because it's in shadow, it all kind of melts away. So that the. Yeah, this, the foreground, the subject, him. And the watch for trams is so clear. [01:49:03] Speaker B: Yeah. [01:49:04] Speaker A: Despite. [01:49:05] Speaker B: And I really like the verticality, the verticality of it. Because of the poles. [01:49:09] Speaker A: Poles everywhere. Yeah, yeah. [01:49:11] Speaker B: Just really stretches the image up and makes him actually feel bigger than he is to me. That's how I said he feels a bit elongated along with the rest of the frame. [01:49:22] Speaker A: Yeah, yeah. I hadn't even thought about that. But that's definitely because. Yeah, he's. He's very vertical. Yeah, it's a great one. [01:49:34] Speaker B: That's Thomas there. [01:49:36] Speaker A: That's. [01:49:37] Speaker B: That's what he would do. He would just stop in the middle of the footpath. [01:49:40] Speaker A: Did you, Wednesday morning at 9, intensely get that shot with the sign in the background? [01:49:46] Speaker B: Yeah. Whenever I take people out on street car park, whenever I take street walk. Go take people on street walks, I always take photos of them and then I send them those photos to Say, here, you do street photography. Look, I've got proof. And so I took a bunch of. Thomas. We had a lovely morning. It was such a great morning. He works hard at his craft. He works very hard and he's very focused and he's very dedicated. It was quite inspiring, actually. I felt like stepping up my game a bit. Felt a bit challenged. Not threatened, just. Hey, all right, let's. The light was good. [01:50:19] Speaker A: Maybe that's why that image set was stronger. [01:50:22] Speaker B: A little bit of a. [01:50:23] Speaker A: Bit of a push, a little bit of a competitive fire. [01:50:26] Speaker B: Yep, yep, that's cool. Not so much competitive, just the light was good. You know, we were buzzing with coffee. We're having great conversation about the craft and everything around it. So, yeah, it just. We both felt quite motivated. [01:50:44] Speaker A: Bruce Moyle says, a man after my own heart. I still remember laying down in the garbage in front of Greg. Yeah, it must be. [01:50:50] Speaker B: And that wasn't even for a photo shoot. That was just. He was just out of control that day. [01:50:56] Speaker A: Is that. Oh, no, that's not all of them. It must be. [01:50:59] Speaker B: Yeah, just a little man on. [01:51:02] Speaker A: Man on chair. [01:51:03] Speaker B: There's a color version of this, too, which. Which pops quite strongly, but I really like the. The softer monochrome because to me, it spoke. You know, he's kind of huddled in this corner and there's a lot going on around him. And the color just made it too. Almost too kind of vibrant. I want it to be softer and quieter. Is there any more? Oh, yeah. And that's. [01:51:32] Speaker A: Don't take my photo. [01:51:33] Speaker B: No. She was walking back in front waiting for friends and. And she was so expressive and using her hands a lot. And. Yeah, I. I just watched her walk back and forth. That spot there is in front of the New Mecca store. They've cleaned up that laneway that runs down from the Burke Street Mall through to. What would that be? Little Collins. And it's. Yeah, such a great spot for street photography. It's just a perfect light trap coming out of really deep, dark, tall shadows. [01:52:05] Speaker A: Now, I love this set of images. I'm going to preface about what I'm about to say. Can I give you one piece of my thoughts on this one image? [01:52:14] Speaker B: Yeah. [01:52:16] Speaker A: I don't know what was on the ground there, but. But I would love this much more if I could see a feet and shadow, I think. [01:52:21] Speaker B: Yeah, fair call. [01:52:23] Speaker A: Because it would also straighten the vertical line slightly. Because you're slightly. You got a bit of an upward tilt. [01:52:30] Speaker B: Yeah. [01:52:30] Speaker A: So that. So it would sort of. I think it would make it more like A frame. But also that's probably just because I, that's how I tend to shoot. So it might just be me gravitating to me. You know what I mean? [01:52:40] Speaker B: Yeah, yeah. No, but it's good feedback. It's important. It might ground it a little bit more. [01:52:45] Speaker A: Well, I just think the shadow would add expressiveness like it did in the other vertical photo before because she's got that wide stride, she's doing stuff with her hands. I just think the shadow would be interesting. It would be able to see the foot placement. I think that would be cool if possible. But obviously street photography, things are moving fast. But the rest of them have been absolutely bangers. [01:53:11] Speaker B: Oh, this is just. Yeah, so we're standing on the corner and this, this Thomas and I would call out to each other. The guy in the white suit or, you know, someone who was an interesting looking character. And this guy kind of wandered past us and then came back and said, are you guys taking photos? I went, yeah, yeah, we're street photographers. We're just documenting what's going on. I said, we did get a photo of you crossing the street, but I'd love to tell. And I rarely ask for it to stop someone and say, can I take your photo? And this guy was just so amazingly fantastic in the way he dressed and the way he moved and you know, he's really blinged out. He knew what he was doing that morning and I just couldn't help but stop him and say, can I take photos of you? And I took a ranger portrait. So did Thomas. So interestingly, I was shooting with a 23 millimeter, which is a 35 in full frame. Thomas does his street photography with a 70 to 200. [01:54:12] Speaker A: Wow. [01:54:13] Speaker B: Very different approaches. And really interesting to see the different outcomes between two photographers walking down the same street taking photos with different lenses and different mindsets, obviously. So, yeah, it was really, it was a powerful day. I, you know, I learned a lot from him and I felt quite motivated and inspired and I was brave enough to stop someone, say, hey, you look amazing. Kind of take your photo. So, yeah, it was a, it was a good day. Hunting light, one of the best I've [01:54:41] Speaker A: had in the world. Had a little, little breakthrough. [01:54:44] Speaker B: Little. Yeah. [01:54:46] Speaker A: Propelled you forward. I love it. [01:54:49] Speaker B: Yeah. Thanks, boss. I was feeling pretty good about it. [01:54:53] Speaker A: As you should. [01:54:55] Speaker B: Anyway, enough about me. Let's. Let's have a look at some more viewer images. We've got four more people to go. We're going to kick off with John Lat. Thanks for your patience. John. [01:55:07] Speaker A: And everyone else swinging right up. Where is it? There it is. [01:55:15] Speaker B: No, where is it? [01:55:16] Speaker A: There it is. [01:55:17] Speaker B: Anytime you're ready. All right. Evening, all. I got some filters. Hang on. Something's happened to my headphones. I can't hear. There it is. I got some filters with my 200 to 600 lens, so went to experiment with different settings. It was a super fog. Foggy morning. It was on Sunday, so perfect to lean. Oh, Greg. Perfect to learn what they all do. The photo was taken around 7am heavy fog with a subject that rarely moves. A tawny frogmouth. Great start to the day. This was shot With a Sony A7R3 with a 200 to 600 shutter, ISO 3200 shutter, 1500 f 6.3, edited a bit darker. Is going to be a color test between my printers and paper stock to see lights and darks. Thanks again to you and the community. Take care. That's really interesting about taking the shot while being mindful of how you want to print it later. We don't do that so much anymore. [01:56:23] Speaker A: I. I really like that. It's. It's got this almost like a children's book feel or something. [01:56:30] Speaker B: Yeah. [01:56:31] Speaker A: You know, like it's on the page where they walk into the Enchanted Forest or something. Like it's just the color palette in the background. [01:56:40] Speaker B: Yeah. There's this beautiful swirl of tones, isn't there? [01:56:45] Speaker A: Yeah, but then there's a little. There's a little bit creepy. And that top, you know, the top corners a little bit dark and creepy. But so it's just got this enchanted woods vibe about it. [01:56:56] Speaker B: Perfectly said. It does. [01:56:58] Speaker A: Or as Dennis says, chillin bird. [01:57:01] Speaker B: Chillin bird. I like the way that the tree on the right and the. The. The silhouette of the tree up on the top left frame the image. And there's something that's slightly out of focus in the bottom right hand corner. [01:57:14] Speaker A: Yeah. [01:57:15] Speaker B: Kind of almost a vertical element. But I love that it kind of. It just adds to that sort of peering through the woods into this. This little space. [01:57:24] Speaker A: Great photo. [01:57:25] Speaker B: Wonderful. [01:57:25] Speaker A: Sending it in. [01:57:26] Speaker B: Very cool. Thank you. Oh, speaking of filters, that set of images that I. That you just showed of mine, they were all shot with a Nissi 18 black mist filter, which I know Lucinda will love me for because she loves a bit of black mist. Not a euphemism. Let's move on. David Skinner. Batter up. Hello, team. On Saturday, we had a combined outing. Wodonga, Albury, Cease Camera Club and Banalla Camera Club. For our annual photo challenge. We had a list of Things to capture as a treasure hunt around Briamine Homestead and Yarawonga. Oh, wow. Included on the list were pelicans and people walking a dog. So why not find a pelican and people walking a dog in the one frame? [01:58:21] Speaker A: Well done. [01:58:22] Speaker B: Well done. [01:58:23] Speaker A: That's awesome. [01:58:24] Speaker B: Called the family and friend. Nikon Z7 Mark II with the 70 to 300 at 109 millimeters. This was also taken from the car parked through the passenger window. Wound down. Cheers all David S. I think we found a new genre. [01:58:40] Speaker A: Car window photos. [01:58:41] Speaker B: Car window. Yeah, I cracked that window. I've got to take a shot. [01:58:45] Speaker A: How big are pelicans? Given that that dog is in the foreground in front and that that pelican is still big, you know, and that's [01:58:53] Speaker B: a. Yeah, that's a blue healer, isn't it? Yeah, that's a big chunky dog. [01:58:57] Speaker A: Chunky dog. That's a beefy bird in the background. [01:59:00] Speaker B: Yeah. [01:59:00] Speaker A: Well done. [01:59:01] Speaker B: Yeah. [01:59:02] Speaker A: That's so cool, getting them both in the one shot. You should get bonus points for that. [01:59:06] Speaker B: Absolutely. [01:59:08] Speaker A: That's fun. Photography Scavenger hunt. I'd like to do that. Maybe we can do a camera life one more one day. [01:59:13] Speaker B: Yeah, Yeah, I think that'd be. That would be fun. It's like that one I told you about a few weeks ago with Craig Witchen. Street photography Walk for well being. And he said that the theme was the Five Senses. [01:59:26] Speaker A: Yeah. [01:59:27] Speaker B: Yeah. That's a really cool one too. I like that. Yeah. Maybe we should do something like that one day. [01:59:31] Speaker A: Yeah. [01:59:32] Speaker B: Who we got left? We've got. We've got Dennis Smith with two images and a behind the scenes video. [01:59:39] Speaker A: Which image first? I've got a regular and a wide. [01:59:43] Speaker B: Oh, Jesus. Hang on. No, let's just go with the regular. [01:59:51] Speaker A: All right. [01:59:52] Speaker B: Hey, guys, please. I know. We don't worry about that. He's making apologies for taking up too much time. Although an incredibly technical image, I always want less. Maybe a story of ghosts One grave to another Ambient light A mix of moonlight and a scanner this thing is wild Illuminates the scenes from behind but you can't see the light that's crazy. [02:00:20] Speaker A: This is. [02:00:22] Speaker B: I will get to the video in a sec because it shows the process. Can we have a look at the wide? I think I like the wide better. [02:00:29] Speaker A: Bring it up. [02:00:31] Speaker B: Yeah. That just adds more context. [02:00:33] Speaker A: So this is that thing that he can walk for. I can't remember if he said he walks forwards or backwards or whatever, but it shines light out to light up all the Gravestones. But. But you can't. [02:00:44] Speaker B: But he hides it from the camera. [02:00:45] Speaker A: Hides it from the camera. Yeah, he did it. There was another image that he showed us. [02:00:50] Speaker B: Yeah, that's right. [02:00:51] Speaker A: A real cool, landscapey, kind of creepy looking place. [02:00:54] Speaker B: Yeah. Yeah. [02:00:56] Speaker A: Wow. I don't know, I think I like. I don't. I think I'm going to get. [02:01:00] Speaker B: I like seeing the detail of the light. Yeah, yeah. [02:01:03] Speaker A: I don't know. [02:01:04] Speaker B: It's hot. I like them both. [02:01:05] Speaker A: But I like them both. [02:01:07] Speaker B: Lots of context, which is cool. Good. [02:01:09] Speaker A: Let's have a look at. [02:01:10] Speaker B: That's just stunning then. Yeah, let's have a look. There he goes. [02:01:21] Speaker A: Ah, yeah. [02:01:31] Speaker B: Still gives me goosebumps. [02:01:33] Speaker A: Yeah, that's cool. [02:01:36] Speaker B: The way that man moves that wand. Light wand. [02:01:39] Speaker A: He's a wand master. [02:01:40] Speaker B: He is a wandmaster. Magic. [02:01:43] Speaker A: So yeah, when he goes back this way and he's got it, I didn't even know what's happening because the light's in front of him, but he's behind it. It's like magic. [02:01:59] Speaker B: It is magic. [02:02:05] Speaker A: Yeah. Towards the camera. [02:02:07] Speaker B: Yeah, yeah. [02:02:08] Speaker A: So yeah, when he's walking away, but it's when he's walking towards that he's doing the scan, you can see the light coming up the sides of the gravestone but you can't see the light at all. [02:02:17] Speaker B: Yeah. So yeah, that's so cool. And the way that the wand work starts near one of the, the gravestones and you see it light up. Just go back a squid when he just starts doing the orange and the yellow wand there and then it just blooms as he moves. Yeah, that. That's so cool. The light bouncing off everything around him. [02:02:47] Speaker A: Amazing photography. Hey, it's cool. [02:02:50] Speaker B: That is cool. It's very cool. And speaking of cool, we have one more and tonight it is our last images from Richard Mail. Single image. Hello, friends. Another week, another portrait. Sorry. It's what I do. Never apologize for what you do. This is from a shoot last Thursday and the first of my new series, Photographing Photographers. This is Nelson, a landscape photographer from Melbourne. Same editing style as always as it brings me joy and similar to my Musician series, but with photographers. I'm enjoying putting those so comfortable behind the camera well and truly in front of one. This was shot with a Z9 from Nikon. A 35 mil 18Z at f8. 1/200th of a second. ISO 640. Thanks for taking a look. Hope you enjoy. I think this is a wonderful project and it's a wonderful theme to document those who are usually behind the camera. I Think that's very, very cool. It's kind of, you know, it's. It's in line with what we do, Jay, when we interview, you know, we bring them out into the open and, and show everyone else what they've got to offer. And I really love this. And it's such a beautiful. It's such a beautiful portrait. [02:04:02] Speaker A: Yeah. Yeah. You can see right into that happy face. Just. [02:04:08] Speaker B: Yeah. Yep. [02:04:13] Speaker A: Yeah. Well done. [02:04:15] Speaker B: Yep. Nice work. Very nice work, Richard. And what a lovely place to wrap up our images section. Or do we have more? [02:04:24] Speaker A: I got a last minute, A last minute email. Nathan's thrown a Hail Mary and normally we wouldn't do this, but you know what? I'm gonna. Yeah, I'm gonna do it. I'm gonna try and bring Nathan's image up because it'll probably just make you sad. Hey, guys. [02:04:40] Speaker B: He sent me this. [02:04:42] Speaker A: I sent this back from. From 10 days in Japan with my mum. This photo was taken on her first full day in Japan at the Tokyo Dome amongst the Tokyo Giants fan base during their baseball game between. Between Hiroshima K. I love sport and photographing the energy from. With the fan bases, but this was something else. I spent a lot of time between the two support groups. I shot two rolls of film, I think when I went to a baseball game in Japan. It's so cool. Please tell me that you got a beer from one of the beer ladies that runs up and down and. No, I'm not being sexist. They were all ladies that sprint up and down these steps with kegs on their back pouring. [02:05:26] Speaker B: And, and the guns. [02:05:27] Speaker A: Yeah, yeah, out of the guns and you just pay them and they just fill your cup up and it's amazing. And they are the hardest working people in the world. Yeah. How good? [02:05:39] Speaker B: Yeah, yeah, yeah. He sent me this one and a bunch of others and. And he even one night he. They even had an earthquake while he was there and I was jealous of even that because I've never felt an earthquake while I've been in Japan. Things to be envious of. [02:05:54] Speaker A: I don't know. [02:05:57] Speaker B: I just wanted that natural experience, you know? Anyway, great. Thank you so much, Nathan. Thanks for reminding me why Japan is so amazing. Yes, Very cool. [02:06:11] Speaker A: Let's. Let's call it. Let's do it. Let's go to bed. [02:06:13] Speaker B: All right, let's go to bed. Oh, quick question. Is the puppy sleeping on the bed yet? [02:06:19] Speaker A: I think the folks are trying to. It can now launch onto the couch like a running launch. So it's getting big enough that I can't keep it off stuff, but I just throw it back off. Yeah, I'm trying to keep some boundaries for a while. He still keeps. He's sleeping in his cage for now because I don't trust him. Yeah, I think he'll get up to mischief. [02:06:39] Speaker B: Yeah. [02:06:40] Speaker A: In the middle of the night. So. [02:06:41] Speaker B: Yeah, that Labrador in him. Cheeky boy. Cheeky boy. All right, folks. Well, look, this has been a bumper edition of the Camera Life podcast random photography show. Thank you so much to everyone for sending in your images. It's, you know, it makes what we do so much fun. We love it. So, Justin, where can people send their images again? [02:07:02] Speaker A: The [email protected]. that's the cameralifeuckystraps.com. email them there. Say it's for the your images section. Attach an image, tell us a little bit about it. 100 to 200 words, the settings, if you like, if you've got any questions or anything you want to critique on, or if you just want us to say, wow, that's amazing, we're happy to do that too because that's fun. And otherwise, you know what would have really helped? If you have a friend who's a photographer, get them to send a photo in, tell them about the show, tell them to tune in next week, send a photo in. Let's get a bit of fresh blood in here. A few more new images from new people. Yeah, let's grow it. Come on. [02:07:42] Speaker B: Because we're only a few hundred away from two and a half thousand subscribers. [02:07:46] Speaker A: That's right. We're onwards and upwards, but we get a lot of listeners after the shows. But I want some more participants. I want some more. I want some more people sending photos in. So if you know, anyone, hassle them, tell them to send a photo and dig one out. Doesn't have to be from this week. Can be from three years ago. Get one from the archives. [02:08:04] Speaker B: Yeah, indeed. But look, on that note, we're gonna say good night. It is bedtime. And, you know, I'm tired, I'm old. I don't know what your excuse is, Justin, although you run a lot now in training. [02:08:18] Speaker A: I'm running tomorrow. It's gonna be a long one. Thanks, everyone. Thanks, Greg. Thank you, Greg. I don't thank you enough. Thanks, Greg. Thanks. John Pickett. Thanks, Greg Murphy. Phil Thompson's Paul Shimicha, John Latimer, Tweak Productions. Dennis, as always, David Skinner. Richard. Mail Nathan for sending in a last minute photo. Philip Johnson. Thanks, gents. And until Thursday, good night all. And thanks to everyone else if I haven't seen you. Parabellum. Who else was he? Oh, Jim. Jim come in and dropped six comments. And then he might have left again. Felicity, who else was here? I don't know. [02:08:58] Speaker B: Cinder. [02:08:59] Speaker A: Greg Carrick, Lucinda, everybody. David Skinner, if I haven't already said you. Gareth Davies. Was Greg in the garbage? Probably. [02:09:06] Speaker B: Greg Stubbings. No, I wasn't. [02:09:08] Speaker A: Greg Stubbings. It was great to have everybody on the show again tonight. We're back. We are back. And with that, we'll see you. Yeah, see you on Thursday. [02:09:18] Speaker B: Yeah, Good night, Bruce. We'll see you then. [02:09:22] Speaker A: Oh, yes. Send one in next week, Craig. All right, Good night. [02:09:27] Speaker B: See you guys. Be safe.