Is It Worth Downsizing to Lighter Camera Gear?

[00:00:04] Speaker A: Oh, this is smooth. Kind of like it. [00:00:14] Speaker B: I like it. It's like morning vibes on an. On an island somewhere. Tropical island. [00:00:23] Speaker A: Well, good morning everybody and welcome to the Camera Life podcast. It is Thursday 27th March. I think we're on episode 64. I'm. I'm losing count. So I. Maybe we'll just stop calling out the episodes because, yeah, they're just flying everywhere. We do twice, twice a week. So for those of you that don't know, we do a Monday night show as well at 7:30pm Australian Eastern Time. We have our regular Thursday morning at 9:00am Australian Eastern Time. So make sure you like and subscribe to the channel. And don't forget we've got a back catalog of videos. We've also got a back catalog of audio podcast. But enough preamble today, obviously, we are joined by. And Justin is back. I'm back from his absence on Monday night. Welcome, boss. Good to have you back in the studio. [00:01:07] Speaker B: It's great to be back. It's great to be back. I missed you guys. I was glad I could call in for a quick little chat on Monday, but I missed being he was still there. [00:01:15] Speaker A: Yeah, that's a bit fun. It was good. And of course we've got Jim. [00:01:20] Speaker B: Hi, Jim. [00:01:21] Speaker A: Jim strap maker, packer extraordinaire among us. [00:01:25] Speaker B: Wedding and wedding and boudoir photographer. [00:01:28] Speaker A: Extraordinary wedding and boudoir photographer. I've been seeing some of your images on socials, your boudoir shots. I do love your style, Jim. I must say, I really like the way that you work with light and human form. [00:01:39] Speaker B: And if you guys are curious, this episode is going to be an interview hopefully still with, with the legendary Dan Paris. But I think he's been held up. So we decided just to go live and hopefully he'll be joining us shortly. And if he's. If he's not, I mean, we'll still have a fun time. [00:01:57] Speaker A: Yeah, we still got stuff to say. [00:01:59] Speaker B: That's right. [00:02:00] Speaker A: Good morning. [00:02:01] Speaker B: David was here. He was here early, holding his breath, waiting for us to go live. [00:02:05] Speaker A: Yeah, you haven't passed out. [00:02:08] Speaker B: Yeah, you can, you can breathe out now, David. That's good. Ian Thompson. Good morning. Neil Hayner thought Dan looked different in his photo. Yeah, I think he's far more handsome than us. [00:02:20] Speaker A: Yeah, he's a very handsome man. Good morning, Elena. Handsome Dan. Good morning, Yolanda. Good morning, Ian and David. Anyone else that's watching or listening along, I think that's it at the moment, but the comment section's there for you guys. So just go for it. Ask us anything. Literally. We'll tell you if a topic is too sensitive or not, PG or not. What's that work? [00:02:46] Speaker B: When we go live, it's. It's not safe. We have the live shows because we want the two way. [00:02:52] Speaker A: Yeah. [00:02:52] Speaker B: We want to talk. We want to hear what your thoughts are. [00:02:55] Speaker A: Yeah. [00:02:56] Speaker B: Otherwise. [00:02:59] Speaker C: Polished podcast. [00:03:01] Speaker B: That's right. [00:03:02] Speaker A: Well, I mean, you know, we do our best, don't we? [00:03:08] Speaker B: I. I just got back from Bright as, as you're aware, which was a photo shoot, two days. But I'm heading away straight after this podcast Again. It's a busy week for me, which is kind of fun. But this we're going to. Yelena and I are going down to Wilson's promontory. [00:03:28] Speaker A: Oh, nice. [00:03:30] Speaker B: And it's not work. It's just a weekend away for Yelena's birthday, which was a couple of weeks ago. And that's going to be fun. [00:03:39] Speaker C: This was her presentation? [00:03:41] Speaker B: Yes, it was her present. I'm taking away. Taking her away in our van to a free campsite for her birthday. [00:03:49] Speaker C: Present this year. Or is it a present four years ago? [00:03:52] Speaker B: It's both. Quiet. Quiet, Jim. So, yeah, I'm actually excited to. To go on a wander. I don't know anything about down there other than that it's. That it's quite beautiful. So I'm gonna do some photo walks and I'm even contemplating dusting off the old vlog camera and maybe making a video. But I don't want to put too much pressure on myself, but actually I got a little bit excited yesterday. I don't know about that. Maybe get some views. Tried to avoid that. Yeah. I was going back through some of the videos that I did on our. On my original 30 day challenge on my personal YouTube channel, Justin Cassels, if you're looking for it. And then also the 30 day challenge I did on this channel, Camera Life. And so some of the videos on the Camera Life channel have got 10 to 15,000 views. Some of them have got 10 to 15 views. But that's okay. You take what you can get. And then some of the ones on my personal channel two in particular have 25,000 views. So one of them is a video I made on the train to Melbourne, literally filmed it on the train to Melbourne about how to connect two sets of Bose Bluetooth headphones to one iPad because you can't do it without buying this little dongle adapter thing. Anyway, so I made that video. It's got all these comments on there, too. The most recent comment is actually someone saying, thank you so much. I've been struggling with this for years. I want to marry you. [00:05:27] Speaker A: Wow. That's all it takes. [00:05:29] Speaker B: I was like, I'm glad that's your list. I feel glad I could help someone. And the other video that got 25,000 views, we did what it's like to fly premium economy on Qantas because for us that was quite a big deal going on Premium economy over to the States and Yeah, it's got 25,000 views as well. [00:05:51] Speaker A: Wow. So that's impressive. [00:05:53] Speaker B: It is. It's weird that YouTube sort of just picks, pick some things and let some roll. So anyway, so is that, is that. [00:06:02] Speaker A: The most premium you've ever flown is premium economy and you still got 25,000 views? [00:06:07] Speaker B: I, I flew business once for a work trip, but it was on. So it was on a jumbo jet. For those of you that are Familiar with those 747 old school, it still had TVs in the, in the ceiling. In business class, the TVs were in the roof and not the little drop down TVs. It was a big TV, a tube TV, you know, like it was mounted on an angle. Yeah, it was. [00:06:38] Speaker C: Everyone watched the same thing. [00:06:39] Speaker B: Oh yeah, yeah. There was no picking what movie you watched. They were like, all right, we got to put some movies on now. So I did get to enjoy business class, but it was very much closer to premium economy. And also on an old plane, like it didn't, didn't lay flat or anything like that. It just had like an extra foot rest and stuff. It was still very nice. Way better than economy. But yeah, this, the Qantas one was by far the, the fanciest with I've ever been on a plane. [00:07:04] Speaker A: You know what I find really? Because, you know, I'm fairly shy person. I flew business class to Tokyo once. I had an upgrade offer and it was really cheap. It was like an extra 120 bucks. I can go to business class. Sorry. And, and you know, they, they see all the business people first and all the club members and all of that and then all the poor people have to walk past you while you're sipping a samosa. [00:07:28] Speaker B: That's right, that's part of the market. [00:07:30] Speaker A: And swapping business cards with the, with the, with the chaps next to you. Oh, what are you into? I'm in photography and travel and then I'm a photographer. [00:07:41] Speaker B: I'm a professional travel photographer. [00:07:43] Speaker A: Travel, yes. And, and it's, you know, it's a bit wanky but it was nice for sure. [00:07:50] Speaker B: So it is nice. [00:07:52] Speaker C: Should you get boarded last? [00:07:55] Speaker B: Well, in theory, yes, but no, because you get boarded whenever you want. That's how it works. [00:08:02] Speaker C: So when I catch a plane, I wait until everyone's gone on and then I get up and go and walk straight on. [00:08:09] Speaker B: Yeah, but then you don't have space in the overhead lockers for. [00:08:12] Speaker C: That's the risk. [00:08:13] Speaker B: Way too much camera gear that you've bought. [00:08:16] Speaker A: Jimbo likes to live on the edge, Justin. [00:08:18] Speaker C: Clearly no one's ever had to ring call my name over the pa. Yeah. [00:08:23] Speaker A: I've never had that either. Business class is nice, but it is a bit wanky. [00:08:30] Speaker B: Did you get to go in a lay down seat thing? [00:08:33] Speaker A: No, they were just. No, it was on a Jet Star. So it really wasn't business class. It was just economy. [00:08:38] Speaker B: It was just economy contest. [00:08:39] Speaker A: But it sounds good to say I went business class to Japan. [00:08:44] Speaker C: What it didn't take, was it to Cambodia or home from Cambodia. [00:08:49] Speaker B: Yeah, we did it. We did essentially that it was business class but on it was either on Jetstar or AirAsia or one of those ones. And yeah, they're essentially quite similar to premium economy. Yeah, they're just big. I mean it was big. Seat goes back a bit further and. [00:09:06] Speaker A: You get nicer food and drinks. [00:09:08] Speaker B: Exactly. You know what's interesting is I, I don't like champagne at all. But when you, when you get boarded on the plane first and then someone comes up to you and says, would you like a champagne? [00:09:20] Speaker A: You're like, yeah, in a real glass. [00:09:23] Speaker B: In a real glass. Thank you. Thank you very much. [00:09:26] Speaker A: Yeah, you don't have plastic cutlery. Anyway, this doesn't come looking like it's been run over. [00:09:33] Speaker B: This is a photography podcast. [00:09:35] Speaker A: Oh yeah, we're way off. Well, we are talking about travel photography. [00:09:37] Speaker B: Morning. Morning. Dave Digifrog. Morning. Philip Johnson. Have you guys traveled anywhere? I want to know. I'm very excited about traveling to India after our interview with Glenn. That does excite me about that for very much. For like a travel experience but for photography as well. Yeah, that's, that's going on the list for sure. [00:09:59] Speaker A: That, that kind of. I'd never wanted to go to India, but that made my list after watching what's his buddy name, Dennis's video at bflop. The slow mo. The ultra slow mo. Hi res video he shot while everyone thought he was taking stills. Like these street people on street people. People walking around the streets of India. He's doing street photography, but he was video. He didn't know. They didn't know he was videoing them in slow motion. So there's these beautiful hyper smooth videos of these kids and adults and all sorts of people on the streets of India and they've got these beautiful connections with one another and yeah, it really inspired me to go, well there's something more than just doing street in Tokyo, maybe India and, and even like seeing your Vietnam stuff. [00:10:46] Speaker B: Just Vietnam was really, was really fun and I enjoyed that. And Matt from Photo Kaizen gave me feedback on my images and, and he certainly made them sound a lot better than I thought they were, which was really nice. He pumped my tires right up and. [00:11:03] Speaker A: Yeah, same. [00:11:04] Speaker B: And take more, more photos like that. [00:11:06] Speaker A: Yeah, yeah. And be a bit more mindful about stuff, which was nice. [00:11:10] Speaker B: Yeah. [00:11:11] Speaker A: What are you going to say, Jim? [00:11:12] Speaker B: Cool. [00:11:13] Speaker C: Oh, maybe that's the point. Maybe he's also trying to inspire people to keep shooting, shoot more. [00:11:18] Speaker B: It sounds like it. And not just knocking people, you know. [00:11:21] Speaker C: Not just, I guess critiquing, but also like inspiring to. [00:11:25] Speaker A: To keep. [00:11:26] Speaker C: Keep going. [00:11:27] Speaker A: It definitely had that element to it and I don't know that that's intentional. I think that's just Matt's approach to providing feedback. You know, he's a very experienced judge. He's a AIPP judge, he's won gold awards and you know, and like Mika, who for those of you that don't know, is Matt's partner, Make It Boynton, who was on our show a few weeks back, you know that that's how she kind of got into it, into getting feedback and, and working towards building her photos. Because she was working in a remote community in the top end of Australia, she didn't have a lot of peers to get feedback from or clubs and things like that. So she would submit photos to as many competitions as she could just to get the feedback to improve her photography. And she made that a commitment to herself and you know, now she's running a photo gallery and selling gorgeous landscape prints and so is Matt obviously. So they're both, I think they're both naturally inspiring people. [00:12:21] Speaker B: Yeah. [00:12:22] Speaker A: You know, when, when you kind of get them going and you know, obviously Matt on the podcast appeared to be a person, a few words. But the feedback he provided was so thorough. [00:12:33] Speaker B: Yeah. [00:12:34] Speaker A: And we're actually going to do a blog. I'm assuming Justin's going to cooperate with this, but he doesn't really have a choice. We're going to put a blog on the Lucky Strap site for everyone, just with a couple of our images each and some of the feedback that Matt provided just so you can get a sense of how it looks and how photokaizen works. And we'll put some links into photokaizen as well. And I think down the track, we'll probably get Matt on to talk more about as the service expands, because it's fledgling, it's brand new, but it. It really offers a unique and wonderful opportunity for photographers to get feedback in a safe way. [00:13:11] Speaker B: Yeah, that's it. It's exciting. It made me want to submit some more images after, like, after reading. [00:13:18] Speaker A: Yeah. [00:13:18] Speaker B: Feedback. It made me go, okay, what else can I pull out of my. I don't know, what do I call that? My portfolio? My catalog of images. Yeah. That I saw where I sort of. Maybe there was something there, but it. But it needs to be further developed, you know, as a style or whatever, whether I've tried something new or visited somewhere. And then how can I push that towards a. I guess maybe a new area that I want to explore deeper for my photography and landscape would be one of those things, because I just don't. I don't really do landscape photography much. Not at the level that landscape photographers do. I take nice photos of the landscape, but they don't look the same as what a landscape photographer does, you know? [00:14:08] Speaker A: Yeah. It's a definite art practice, isn't it? Yeah, it's an art practice that I think is often overlooked and I don't know, not. Not minimize. Because, you know, I don't like it when people say, oh, anyone could have taken that shot, or everyone takes landscapes. You know, when you say, true masters of landscape photography, like, you said it, you know, that you. You're not there yet. Yeah. [00:14:31] Speaker B: But also. No, I mean. [00:14:33] Speaker A: I mean, you're not there. [00:14:37] Speaker B: But yeah. It's one thing to say, anyone can take the shot when you're in the perfect spot with the perfect light and as long as you're at a certain level of technical proficiency. But you don't get to that spot with the perfect light without doing all of the work and all of the failed trips where the light didn't do what you hoped and it. And you know, all that sort of stuff. It's how many times you set yourself up. [00:15:03] Speaker A: Yeah. [00:15:04] Speaker B: For the perfect shot. [00:15:05] Speaker A: Yeah, exactly. I mean, you look at Greg Carrick, who, if you guys haven't checked out his YouTube channel yet, you really need to. It's just such a humble approach to the stuff that all of us do or would like to do. But Greg's got this determination and he would just go out every night until he gets the shot he wants, or at least something that he's happy with. And often he'll post on his socials. Yeah, I went out to shoot the comet tonight. Here's the sky. It'll just be a black, cloudy image. But he still was there, you know, he set up and he took the time and the effort. I think a big part about photography is being present. You can't just go out once a. Once every six months and hope to get some great landscape shots. It doesn't work that way unless you're incredibly lucky. [00:15:47] Speaker B: And that seems like that's the same process as street photographers. They're out all the time, you know, walking all the time. And then, you know, we see the photos pop up on their feeds and we're like, wow, how does this person always get these great moments? And it's stuff and. But it's like, I don't know, however many hours of walking and shooting to get to get that one shot. [00:16:10] Speaker A: Yeah, and sometimes you don't get the shot. Sometimes you come back with 20 bangers and you think, wow, this is awesome. I had such a good day. And the light will be right and the people will be in the right energy and all that sort of stuff, and you'll be in the right mood to see the light and the opportunities that are opening up in front of you, but. And other times, you'll take 300 shots and hate every one of them, you know. Yeah, it's just the nature of the beast. But speaking of street photographers, obviously we've talked a lot about the gfx, and I don't want to go into another episode about the gfx, but our friend John street, who was on the podcast late last year sometime, wasn't it? Gosh, times. [00:16:48] Speaker B: Yeah. [00:16:49] Speaker A: Anyway, now you can check out his episode. He's also got his own podcast with Mark Davidson, friend of his, but he was involved in the very, very early stages of the GFX100RF. And I'm seeing on socials everywhere, John's work, his images, some little videos that Fujifilm have recorded of actually doing street photography. And I shot him a message last night. So, man, I'm just so proud of you. Like, you've elevated street photography a notch, everyone, to actually understand and appreciate what it is and. And the artistic value it can offer. [00:17:21] Speaker B: Yeah. [00:17:22] Speaker A: And the documentation or the. The journalistic approach of documenting a moment in time in history. So that's been really inspiring to see circling back to go on. [00:17:33] Speaker B: Sorry, mate, I was going to say I hope they've given him a gfx 100rf so either he can continue his work. Yeah, I'd love to see a body of work event, you know, sort of come through over the next few years. [00:17:46] Speaker A: Oh, absolutely. [00:17:47] Speaker B: Hopefully. [00:17:48] Speaker A: I know he had a pre production model. He had probably the first one in the country. [00:17:53] Speaker C: Yeah. [00:17:54] Speaker A: Because he was running around shooting with it in December, whereas I didn't get mine until, you know, like a month ago. February, mid Feb, late Feb. But circling back to Photo Kaizen, I submitted five street images and I was interested to see how a professional judge would assess street shots because, you know, it's, it's a really, I think it's a really kind of weird and very, very subjective genre to provide feedback on, you know, what I see when I take street shots and what I'm trying to achieve a lot of people don't get. And that's fine, you know, I'm not doing it for other people to get it. I'm doing it because I love the process. But the feedback I got was really inspirational and really detailed and elevated my mindfulness about how I'm composing shots and what elements are in there and what little distracting bits are in the corners in the background and how to better manage that. So I think there's a lot to gain from. Well, there definitely is a lot to gain from an application like Photo Kaizen. There's no doubt, you know, in just both Justin and I have just expressed how much it inspired us to go out and do some more shooting. It maybe taught us a little bit about ourselves and our approach to photography and that in itself can be priceless, you know that. And I mean, granted we didn't have to pay for Photo Kaizen up front, but it was trial version. [00:19:18] Speaker B: It was priceless for us. [00:19:20] Speaker A: It was literally priceless. But for the small cost to, to, you know, and especially if you're worried about interviewing competition. Oh, it's just perfect for sure. [00:19:33] Speaker B: If you, if you've got, if you've got a series of images and you're trying to sort of narrow it down or. Yeah, yeah, or, or you're trying to figure out whether that's the one or whether your post production on it is up to scratch for a competition or something like that, that would be. [00:19:49] Speaker A: Yeah, yeah. [00:19:50] Speaker B: Super valuable. [00:19:51] Speaker A: Oh yeah, for sure. And you know it. I was just saying to Justin before we went live that I ran a streetwalk for a photo club in Melbourne here a couple of weeks ago and provided a prize for their. For whoever got the best shot. Of the night. And on the night I set some restrictions around, you know, let's shoot one by one aspect ratio, let's shoot black and white and let's go with the widest lens. You guys have brought kind of thing, you know, so really kind of really push them into a corner because all of these people would landscape birders, wildlife photographers or shooting with om systems. Pretty much all 25 of them, almost all of them had om. Yeah. And yeah. And so I this morning I started providing feedback on those on the images that were submitted for the competition. Now I'm not a professional judge and I'm not claiming to be and I'm not saying that I've become judge like just from my one session with Photo Kaizen. But what I am saying is that the experience and the learnings that I gained and just the language that Matt used in describing compositional value and elements, just some of the language that he used helped me to provide some very generic feedback. I wasn't ranking, I wasn't scoring, I wasn't giving honorable mentions and prizes. It was just some commentary and me choosing the best shot of the night from the batch. But it really helped like a huge amount. It really elevated that what I could contribute just as a, you know, a non judge photo guy. That didn't make sense anyway. So yeah, it's look, check it out. It's photokaizen. Co there is a small fee attached. But the good thing about Photokaizen is that I submitted five individual images. Justin submitted a project of 12 from his Vietnam trip. They will, Matt will provide assessment for photo books. Like if you're prepping a photo book, you just want some final eyes on it. He'll do larger scale projects. He'll provide feedback even on your website. Because Matt used to be a web designer as well and he's obviously, you know, over his tenure looked at a few and created a few photography website of his own. But he'll then provide you feedback on that. If you're wanting to set up a gallery site so you can sell your prints but you need some feedback on whether you've got the got it right. Well he will do that and I think that sort of stuff is really worth the asking price because often when we're doing this sort of thing and photography can be a very solo adventure, especially the business side of it. I mean Justin and Jim were lucky you had each other to support. But you know, solo photographers, especially those starting out like you know, just knowing that you've got a good website can make all the difference, because that's what's going to attract your clients partially or at least once you have attracted a client. So they've got a nice landing page to see that actually you are legit. You are professional, you are what they're looking for. So I think it's. It's a really good service. [00:22:49] Speaker B: Definitely. [00:22:50] Speaker A: Do you want to jump into some comments, boss? [00:22:54] Speaker B: Well, there's not a lot of comments going on. We're just lucky Philip's here. [00:22:58] Speaker C: Yelena asked a question earlier. [00:23:00] Speaker B: Did she? [00:23:01] Speaker A: Yeah. [00:23:01] Speaker B: Oh. Oh, I kind of. I kind of answered that question. What are you. Another one about? [00:23:05] Speaker A: Oh, did you? Yeah. You didn't answer that one. [00:23:07] Speaker B: Oh, sorry. Anyway, Phillips has a good season to experiment with landscapes, autumn colors and add some mist. There'll be some mist. Hopefully there's some mist down at Wilson's promontory. [00:23:21] Speaker A: Yeah. Get up early enough. [00:23:23] Speaker B: That'll be the plan. I think I want to go for a little stroll. We'll probably. I think there's some day hikes that we're going to do, but obviously I'll take a camera, but they'll be less sort of photography based. But I want to do some strolls in the morning and the evenings just with a camera. And like I said. Well, because I don't know what's going to happen. We might still be down there on Monday or somewhere away on Monday. And I want to try and do the podcast. So I'll probably take most of my stuff so that I can set up for the podcast if required. Yeah, yeah. I don't. I haven't actually quite figured out how that's gonna work yet in the van. I do now have Starlink, but I don't. Oh, wow. Yeah. Yeah. My dad had it and he got offered like a half price mini Starlink plan. So I got that. [00:24:23] Speaker A: Nice. [00:24:24] Speaker B: So I'm hoping that I might be able to podcast from wherever. [00:24:28] Speaker A: So is that fixed to the roof of the van or is it just a little thing that you put out? [00:24:32] Speaker B: It's a little thing you put out. We can fix it to the roof, but I'm gonna. I want to do some experimenting because that obviously then limits where I might need to point it certain directions or whatever. It might be easier just to have it on like a light stand and just move it around. Yeah, campsite. So I'm gonna. I wanna have a bit of a play with it. But yeah, I'm hoping I might be able to do Monday's random show, which is basically what today is. Unless Dan. Dan might still be Coming. I'm hoping maybe Dan was an hour difference in the time. [00:25:05] Speaker A: Maybe. Yeah. [00:25:06] Speaker B: You know the time conversion and he might, he might rock up at 7. We'll see. We're 7. His time. Yeah. 10 hour time. [00:25:12] Speaker A: Yeah. [00:25:14] Speaker B: So yeah, I'll probably have to take all my gear but I'll probably shoot a bit this weekend with the 24 to 105. Just cruise around with that lens. But I'm, I'm kind of in a. I'm in a state of wanting to change up all of my lenses at the moment. [00:25:34] Speaker A: Wow. [00:25:35] Speaker B: Should we talk about way. Yeah, let's talk about it. Let's talk about. All right, to start with, let's, let's. Let's list out what I've got and why in terms of lenses. Well, bodies. [00:25:45] Speaker A: It's going to take a while people. Okay. So get a coffee. [00:25:48] Speaker B: Strap in. I've got the. For bodies. I've got the R5 Mark II and the Canon R3. On this recent trip to Bright, I shot with the R3 exclusively. It just seems to handle like it. And it, it overheated multiple times. It even shut down once. Like it was. I was, I was abusing that Poor camera shooting 4K 120 log footage in the bright, bright. In the bright sun on the side of a hill because, because they're vlog. There's no shade and it was just. [00:26:22] Speaker A: Yeah, but you were also shooting images and video at the same time. [00:26:25] Speaker B: That's right. Back to back. Yeah. Yeah. Tons of slow mo. So two riders, which, which was not. Not many but you know, one rider would go shoot them and then the other riders ready to go. So the camera doesn't even have like a moment. Like a, you know, hey, we'll reset that shot and do it again. The other rider's ready to go straight away. So the camera was just kind of getting, getting hot and it was fine. It did its job. But anything less than that and we might have had to take a break purely just to let the camera cool down. Which is not something you want to do when you know, one of the riders has driven nine hours to be there for. [00:27:03] Speaker A: Yeah. [00:27:03] Speaker B: For the shoot. [00:27:04] Speaker A: It's like, you know, and it's a pro gig. It's not like you're just shooting mates on a hill. Like it's a pro gig that you're working for. [00:27:09] Speaker B: Exactly. [00:27:10] Speaker A: Can I ask you a question that. What was your thought process over taking the R3 over the R5 2. [00:27:15] Speaker B: So battery life. I'd be changing batteries way more frequently on the R5 and the R3. So they've got. I've found them to have very similar autofocus capabilities. The R5's got the edge on a few things. The R3 seems to have the edge on a few things, but they're very, very similar. It's more. Yeah, you've got these two beefy batteries and. And then I just carry one battery and one spare and I know that'll do a big day of shooting. [00:27:45] Speaker C: Yeah, well, you wouldn't just take both bodies. [00:27:49] Speaker B: Everything's weight meant my bag was heavy as it was. We're going down black like. So this is the thing. I'm on a bike, I'm with two riders that I've ridden their whole lives and I started in my 30s and they're still figuring it out. And the backpack, like it wasn't super heavy, but it's heavy. Like by the time I put the drone in microphones, because Will was doing like talking to the camera, all that stuff we had to do as well. So it wasn't just riding shots. He'd be, you know, talking about the bike's features and a full review of a, of a very professional standard that they aim for. I didn't take a tripod in the bag but. Because that would have just added even more. But like I always carry a GoPro with various mounts. Yeah, we need a couple liters of water. There was, there's already a lot in the bag. And so the second body, this, I had the second body in the van. So worst case, I go down the hill, I swap bodies or whatever. But that, that could be a, that could be a 40 minute round trip by the time you go down the hill and then pedal back up the hill. So we wanted, I wanted to avoid that. But yeah, if I was really stressed about heat and the time pressure was more, I would probably put the second body in the, in the bag as well. [00:29:06] Speaker C: But yeah, yeah, I've been thinking about that like, because then you could set one up as photo, one up as video, just to sort of streamline. [00:29:14] Speaker A: If you're on a bike, it's hard, isn't it? [00:29:17] Speaker B: It's just extra weight. [00:29:19] Speaker C: Extra. [00:29:20] Speaker A: Well, even just juggling. [00:29:22] Speaker C: Yeah, it depends I guess if you're running two lenses anyway. [00:29:26] Speaker B: Well, and that's the thing. So if you had one as photo and one as video. But then I'm generally working with a wider lens and a more telephoto lens. So then you're swapping lenses between the photo and it's. It just sort of I think it negates like Canon's got this nice. Doesn't. Doesn't your Z8 just have a nice little photo video switch? [00:29:41] Speaker C: Yeah, it does. It's pretty easy and it just like it remembers the same settings. [00:29:46] Speaker B: So what? Why would you change it? Why would you do that then? Okay. Yeah. So anyway, where are we going with this lenses, right? [00:29:55] Speaker A: Yeah. What are you gonna do next? [00:29:57] Speaker B: Well, let me tell you what I've got first. So I've got the 15 to 35 L 2.8. Beautiful wide angle lens, bulletproof, fast focusing. It's exactly what you want for this kind of work. But it is about a kilo. That lens, it's. It's a heavy lens. [00:30:15] Speaker A: Is that an RF lens or is that on an adapter from. [00:30:17] Speaker B: It's an. It's an RF lens. Everything I'm running now is RF. Except for, except for the 50 mil that I bought for the film camera. [00:30:26] Speaker A: Yeah, but you could adapt that if you need. [00:30:29] Speaker B: But I could adapt that. Yeah. But I even. I sold my adapter. I. I just kind of. I don't know. I didn't like using adapted lenses. It was just another point of complexity to be like, oh, swap this on, swap that off, move that. [00:30:40] Speaker C: It's a bit annoying. [00:30:41] Speaker B: Yeah, it's annoying. [00:30:43] Speaker A: And it can be. You can lose a little bit of light too, can't you? With adapters? [00:30:47] Speaker B: I don't know. I didn't think so. [00:30:48] Speaker A: I thought with adapters and tally converters like you know, 2 times and 1.4. [00:30:52] Speaker B: Times tele converters you can. The adapters, there's no glass in them. They're literally just an empty hole spacer really. Yeah. [00:31:03] Speaker A: Empty hole. [00:31:06] Speaker B: As far as I know there's. Yeah. There's no, no penalty to using adapted lenses. Okay. [00:31:12] Speaker A: I thought there might have been. [00:31:14] Speaker B: No. But it's just. Yeah. Something that I, I thought I was going to do more and then I ended up just not moving to all RF lenses. They're very, they're much. I find them really high quality and simpler than having an adapter but you pay the penalty in price anyway. So I've got the 15-35L lens which I am just never excited about shooting with outside of doing like professional shoots. It's heavy. It's not something I would want to walk around with. It's quite front heavy on the camera on the R5 Mark II. So while the R3 would be my sort of preferred camera generally for a shoot like the one that I just didn't bright for wandering around on the weekend. The R5 Mark II is my preferred camera. Higher resolution, lower weight. Yeah. Comfortable. [00:32:10] Speaker A: Yeah. [00:32:11] Speaker B: Just. Yeah. Great camera. So then I, I don't like lenses that are so front heavy and. And long. So I've got that. I've got the 24 to 105F4 which I shot with a fair bit in Vietnam. But I found me. I found the F4 being a bit of a limiter as light started to drop for me. Let's not get. Get into the GFX100RS F4 lens. But. But for that I kind of wished that I. Whoops. That I didn't have that and. And had a 2.8. But I'm not really excited about the 24 to 72.8 L lens for the same reason I don't like the 15 to 35 so much for personal stuff. It's big and heavy. It's. It's a kilo. [00:32:59] Speaker C: And you had the. You had the 28 to 72. [00:33:01] Speaker B: The F2. I did. I did. When I first switched to the system I had the 28-70 f2 lens from Canon which is even heavier. Again it is amazing and I had some fun shooting with it. But ultimately I got rid of it because I wasn't really shooting weddings. And I ended up buying the 51.2 RF our lens and it sat right in that middle of that range and just the images were way better again. [00:33:33] Speaker A: Yeah. [00:33:33] Speaker B: And I found myself. I was like if I'm gonna have a lens like this on I'd rather have a prime. That's outstanding. [00:33:41] Speaker A: Yeah. [00:33:41] Speaker B: Than the 28-70 F2. That's. That's quite amazing for what it is. But wasn't. Yeah. Didn't sort of blow you away. [00:33:51] Speaker A: And having. I mean I know it's a trope but having a 50 mil with a fast aperture is the ultimate walk around lens. [00:33:59] Speaker B: I think so. [00:34:00] Speaker A: And for a lot of people even if. You know. Even if you just. I'm going out. I don't know if I need the camera but I'm going to grab the R5.2 and the 51 too. Because with the 1.2 you can shoot in any conditions. As we know. You know I'm pretty here. But it's. Yeah. And know that they're just going to obliterate anything you don't want in the frame. [00:34:17] Speaker B: Yeah. [00:34:18] Speaker A: You know even if you've got bins and bin chickens in the background they're just going to become a nice soft fuzzy blur. You know. So it's. Yeah. It's a really adaptive lens. I like it. [00:34:28] Speaker B: This leads me to where I'm heading with all of this. So I've also. So let's continue. The heavy lenses. I've got the 70 to 202.8, which is epic for what it is. Really compact, really light for a 70, 202.8. I'll probably hang on to that, I think. I. I can't. There's nothing else. I've toyed with getting the F4, which is even lighter and smaller, but at this shooting, bright, like we were shooting in full sun, tons of light. Then we dropped into the trees at 11 or 12, like 11am midday. Into the trees. And to shoot action, I was shooting it 1600 and 3200 ISO at 2.8. [00:35:15] Speaker C: On a fourth photo. [00:35:17] Speaker B: Yep. Yeah. To free to freeze. Like fast action in the trees. [00:35:22] Speaker A: Yeah. [00:35:22] Speaker B: It's like, wow, if that was F4, I'd be double the ISO. [00:35:25] Speaker A: Struggling. Yeah. [00:35:26] Speaker B: So I'm like, all right, that's not. [00:35:28] Speaker C: That's not really. Yeah, you shouldn't be doing that at. [00:35:31] Speaker B: 11:00Am no, that was middle of the day. Like, if. Yeah, if that was dropping towards dust, it just. The trees there just soak up all the light. It's so dark. Yeah. Anyway, so I've got those. They're my heavy lenses. And then I've got the 16 mil RF 2.8, the 28 mil RF 2.8, and the 50 mil, the RF 1.8. They're all like little lenses. They're all Canon's little stuff. Super lightweight, fun to walk around with. Oh, and I've got the 35 1.8 as well, which is a little bit bigger, but still pretty small. They're like my smaller primes. [00:36:10] Speaker A: So you're struggling for choice is what I'm hearing. [00:36:12] Speaker B: Yeah. I don't have enough lenses, so I'm going to get some more. No. So since I've acquired that whole kind of suite of lenses, and basically, as you can see with that, other than the longer range of stuff, I've got lightweight alternatives to all of the heavy lenses, basically is why I got those. I can take the 16 out as. [00:36:34] Speaker A: A lightweight wide lens instead of the 16 to 35. [00:36:38] Speaker B: Exactly. [00:36:39] Speaker A: And. [00:36:40] Speaker B: And I've also got the 20, I think. I don't know if I mentioned 24 to 105 F4, which I rarely use, but I enjoyed using when I was traveling. So now, since that's happened, Canon have released a midweight set of l series primes, 1.4s. They started with the 35, the 50 and the 24. Well they added one of them anyway. But roughly there was the 35, 50 and 24. They were all out 1.4s. They weigh about 4 or 500 grams, whereas the my 51.2 weighs 900 grams. I think so close to half the weight. They're proving to be quite excellent image quality wise. But some of the wider ones do rely more on software corrections than traditionally our lenses have. [00:37:45] Speaker A: So out of. Not even in camera, you have to even do further corrections in software. [00:37:51] Speaker B: Well, in camera, on your JPEGs that'll just happen automatically. But if you're always shooting raw, Lightroom will apply the preset and apply the corrections and just do its job. And it's, it's sort of the same as what we've seen in, in many lenses. Which of Canon's newer sort of stuff, which is like the vignetting can be heavier than maybe traditionally on an L lens. And, and distortion, I think on the 35 was more than what people were hoping for. [00:38:20] Speaker A: It's an interesting. Sorry, Jay. It's an interesting discussion point that, you know, Canon and I know other brands do it too because they rely on kind of post production for the final image to be beautiful. But you know, is there, is there a point there where lens brands are relying too heavily on, on post processing correction? Especially wider lenses that are distorted slightly or that have vignetting or that, you know, they need a little bit of fixing up? Like is that, is that, is that borderline laziness from a lens manufacturer? Like this is as far as we can push this lens. We're going to sell it for four grand. It's not quite perfect, but if you've got lightroom, you don't need to worry about it. Like is that really. [00:39:04] Speaker B: I don't think so. Because in canons, I mean there are, there's, there's holes in their range that they're still filling. But you know, Canon, they would just say, okay, take the, say take the 15 to 35L. Like it's, it's optically very, very good. Yeah, without corrections. So they're making those lenses. [00:39:27] Speaker A: Right. [00:39:27] Speaker B: And then they're making alternative lenses that are lighter or cheaper or whatever and compromised. That's right. So they're compromising by using. And I think if, if lens manufacturers aren't using those software corrections, they might get left behind. Unless, unless that's what they're going to lean into. So say for example, like Zeiss Otis or something like that, they might continue to be like that's not the world we play in. We play in the world of optically perfect. And you just have to deal with the fact that it's a manual focus heavy lens that an expensive and expensive. And ultimately I think that that market will dry up a lot because for me, I'm now very interested in maybe testing out the 51.4 and seeing whether that satisfies 99% of what I get out of the 51.2 in a much smaller package. And I want to walk around with it. And then it also means that 51.8 that I've got kicking around that I'm pretty reluctant to put on the camera, but I will if I want a lightweight 50. But it's got pretty average chromatic aberration, no weather sealing or anything like that. And it's like maybe probably just, I probably just get rid of it and just have one 50 performs well. So that's on my list. And that would obviously then become a video because I've tried to find sort of, I found a few videos but I now own. Yeah, I've got multiple 50s including the old 51.2 now. So I could, I could probably do quite a cool little shootout of Canon's 50 mils. [00:41:16] Speaker A: I think you should, I mean, you're going to need to test it for yourself anyway. [00:41:20] Speaker B: Exactly. [00:41:21] Speaker A: And you're a technical photographer, so you, you know, you thrive in the detail of what each lens specifically does for you. [00:41:28] Speaker B: Kind of just not as much as like some of the YouTube people that will shoot test charts and all that sort of stuff. [00:41:32] Speaker A: Oh, no, I don't mean that. No. But your, your, your content is more humble and real and it appeals to the everyday person that's using that potentially wants to use that gear. It doesn't, you know, I don't, when I do reviews of camera lenses, I don't go into that level of detail about, you know, here's, here's a grill I shot and here's the chromatic aberration. You know, I talk about its overall qualities. Each lens delivers a characteristic that appeals to some and doesn't to others. It's, you know, and you've got to do your research. But I think there's, I think that brands are moving more and more to lighter systems. A lot more people are calling out for lighter products because a lot of big brands like Canon and Nikon are losing customers as they age to Fujifilm and OM System. [00:42:25] Speaker B: Yeah. [00:42:25] Speaker A: Because of the size and the weight of the gear. Like when I do the photo walks so many people are carrying Fuji and OM systems and they're older people, people that are close to retirement or retired, they've got a bit of money and instead of going for something lighter like a, you know, an APSC cannon, they've completely jumped ship. [00:42:43] Speaker B: Yeah, because, because they're not, they're not too. They don't care that because if they're moving to APS C cannons it's, it's almost a system change anyway. Although, you know, yeah, some of the lenses might work still or whatever, but they're essentially looking at it as, it's a, you know, I need a whole new set of stuff so why wouldn't I explore other brands that have lent heavily into that. [00:43:04] Speaker A: Yeah. [00:43:05] Speaker B: Area lightweight, small. [00:43:07] Speaker A: And I did the same thing 15 years ago when I jumped from Canon to Fuji and that was because of my neck issues. It was a different story. But again I was, I was happy to look at a whole new system as opposed to sticking with Canon and yet potentially keeping some of my L glass even though it was heavy, getting a lighter body and a couple of lighter lenses for everyday stuff. But it was, yeah, I just completely shifted and I think that that's an opportunity for the big brands like Canada Nikon to stop that leakage of long term users once they hit a certain age and capability. [00:43:43] Speaker B: And that gets me to my next point which before my next lens, which before I talk about, I'll just give a quick shout out. I missed this comment. Drunk wedding photographer was in the chat. How's the weather over there? So then they've got that whole series 50, 35, 24 and now they've just introduced a 21 point. [00:44:11] Speaker A: Yeah, yeah. They're just overnight. [00:44:13] Speaker B: Overnight. So that is a full series. All the lenses are essentially exactly the same dimensions and very similar weights. They've designed that to be their hybrid lenses. So they're corrected very well for video. They have less focus, breathing and all that kind of stuff and they've made them, I believe, the same weight for people that are switching them off rigs and gimbals and balanced equipment so that it, you know, it's simple for videographers to, to switch them out, which isn't a big deal for me. I don't do much video with primes. But. [00:44:45] Speaker A: Yeah, but it is clever thinking. [00:44:47] Speaker B: It's clever thinking and I would potentially shoot a bit more with primes if they were more manageable than the ones that I have. So that's, that's an option. So I'm, I'm contemplating even maybe a 50 of that and then a wider lens of some sort. Unfortunately, they haven't. They haven't introduced my favorite focal length of 28 yet. We can dream. Hopefully that will come. [00:45:11] Speaker A: Of course it will happen. [00:45:13] Speaker C: Nikon's the same. They've only got the 2.81. [00:45:16] Speaker B: Yeah. But I'm even contemplating, I'm like, maybe I can push myself a bit and play with 24. You know, I shot when I was using the 24 to 105. I shot the 24 end of it a fair bit anyway. So they've done that. But then they've also released these two really interesting zoom lenses. Again, super lightweight. I think they're right around that same sort of size and weight of these primes at about 400 to 4 to 500 grams. They've released the 28 to 72.8 and the 16 to. No, yeah, 16 to 28. 2.8. They're small and compact and reasonably well priced in. In today's new landscape of lens pricing, which is hideous. But it, you know, compared to our lenses, they're reasonably well priced. They've actually got some weather sealing as well, even though they're not our lenses. [00:46:16] Speaker A: So not. Not pool worthy. [00:46:18] Speaker B: Not pool worthy. But they do have, you know, the rubber gasket on the mount and stuff like that. So that gives me a bit more confidence shooting with them. Whether they could do the stuff that I do with mountain biking, I'm not sure. I'd probably have to do some testing. [00:46:31] Speaker C: But like, I would say 16 to 28 to 8. [00:46:34] Speaker B: 16 to 28. 2.8. So. And with the weight of the L. [00:46:38] Speaker C: Lens, like with what you shoot on the 16 to 35. Yeah, sorry, 15th, you would very rarely shoot at the over 28. End of the third night. [00:46:52] Speaker B: I do quite a bit, actually, for video because if I'm. So if I'm out. Yep. [00:46:57] Speaker C: So as in like talking to camera stuff or talk. [00:47:00] Speaker B: Talking to camera, some following shots and stuff like that. But I don't think it would be a big issue with 28. 28 to 35. Like, I do find myself racked in a little bit to 35 because I have that gap. Usually when I'm out shooting mountain bike stuff, I have that gap. So I've got the 15 to 35 and the 70 to 200. 2.8. Yeah. And then. Then I might take a 50 mil if I wanted to fill that gap. But often I won't change lenses. I'll just. I'll just use it at 35 and take a few steps closer, you know. Yeah. If I'm trying to do something in that sort of work in that range. So maybe that would be a little bit of an issue. The other issue might be whether the focus performance is up there with the L lenses. Because even though I've got some of the best focusing cameras and lenses on the market, I still manage to not get every shot in focus. Maybe I'm just. [00:47:56] Speaker A: That's more about the photographer than the gear. [00:47:58] Speaker B: So I was gonna say maybe I'm. Maybe I'm doing something wrong. Or maybe it's just really hard to focus on mountain bike bikers as they pop out through Back from the Trees with, yeah, just a moment's notice. [00:48:11] Speaker A: That's a good excuse. [00:48:12] Speaker B: It's a great excuse. But what's interesting about these two lenses is my favorite focal length of 28. They both center on that. So depending on what I was doing, if it's. If we're talking like travel and this sort of new type of photography that I'm slowly worming my way into, I don't know what it is. Travelly streety photography, I could pick one of those lenses to go for a walk in Vietnam. I used a lot between 24 and 50 on the 24 to 105. And I was rarely ever over 50. So the 28 to 70 would be perfect for that. And with the 2.8, I could leave that lens on at nighttime because at nighttime in Vietnam, I would often put the. Just the 28 mil prime 2.8 on to wander around with. So I think the 28 to 70 would be great for that kind of thing. Or if I found myself in Tokyo, Greg, for example, when we go for. [00:49:09] Speaker A: The Lucky strips Christmas dinner. [00:49:11] Speaker B: When we go for our Christmas party, Lucky Straps Christmas party. [00:49:14] Speaker A: What did I say? Lucky trips. [00:49:16] Speaker B: Lucky trips. Lucky trips with Lucky Straps party. If we went to Tokyo, I would probably want to have the 16 to 28, with 28 being my kind of street focal length, but being able to widen out to get some buildings and some environment, you know. So both of those lenses give me kind of my favorite focal length, but with an option to either come in tighter or go out wider. And that. That seems like a really nice pairing. That's lighter weight. They're less in your face because they're not big L series lenses. They look a little bit more consumer or prosumer out on the street. So they're not going to attract as much attention. So, yeah, long story short, I'm kind of toying with the idea of Getting those two zooms and one or two of these lighter weight primes and then I would most certainly probably have to sell quite a bit of stuff to justify those purchases. [00:50:13] Speaker A: Yeah, but I mean you've already identified a couple of lenses that aren't quite there for you and we all have that. [00:50:20] Speaker B: They're there but they don't. Yeah, they're like, yeah, it's hard. It's like they were for the pro work but for yeah, everyday stuff, I don't want to take it. I don't want to pick them up, you know. [00:50:31] Speaker A: Well, I mean, and I think that's important because that changes your approach to how, you know, once you do get out the door, it changes your mindset. I think that I don't really want to shoot with this lens but it's light so I'll just take it anyway. You're already in a weird headspace when it comes to what you're going to produce. And I think, and sometimes, and I, I talk about this when I do talks at camera clubs that sometimes too much choice isn't a good thing in lenses because exactly what you've just spent the last 15 minutes going on about. Sorry, you couldn't help it. [00:51:01] Speaker B: The last 15 minutes. Greg, that's a summary of the last two months of my book, you know. [00:51:08] Speaker A: But no, we all go through it. It's that whole oh look and especially when a new lens drops on the market because we also try to justify the need because you know, we're trained to be consumers and that's what we do. And that's fine provided you don't let it get away with you and, and send you into financial ruin. But a couple of questions want to ask you Justin, you know, with your travel stuff because when I do travel I, I've been there where I've taken every lens I own and it nearly ruined my, my first trip to Japan. I ended up leaving most of my stuff in the hotel room and just walking around with primes. Would you ever go to kind of or have like an ideal prime only kit for your Travel with your R52? If just two or three primes that you. [00:51:54] Speaker B: Yeah. Lightweight, like 100%. If it was. So this is tricky. I would probably. They'd have to be newer primes because the ones I've got are either too heavy or the image quality is. Doesn't inspire me as much. They're kind of in between and I have done that before. I've taken just the 16, the 28 and the 50 primes. They're all the lighter weight. The 51.8, the 16 2.8 and the 28 2.8. And I can shoot tons of stuff with that if ideally I'd probably rather have. Yeah, this. That new 20 mil 1.8, 1.4 and a 50 1.4. And then I'd maybe keep the 28 2.8 in that rotation potentially as well, depending. It depends. Depends on where I was going and what I was doing, but. Yeah. [00:52:52] Speaker A: Is that new 21.4 a stabilized lens? [00:52:56] Speaker B: No, I don't think any of them are stabilized. [00:53:00] Speaker A: No, I just. I haven't. I haven't read the full press release from last night, but they also dropped a 14 to 30 f4 to 6.3 power zoom lens. Which is for videography. Well, no, more than anything. [00:53:14] Speaker B: No, it's for the new little 50 RV camera. [00:53:20] Speaker A: Yeah. [00:53:20] Speaker B: So it's. It's a new lens for that specifically for that camera. So it's more of a. That's more of a kind of cheaper entry level. [00:53:29] Speaker A: Yeah. [00:53:30] Speaker B: Video photo vlogging. [00:53:32] Speaker A: Yeah, because it's a video vloggy kind of camera, isn't it? The. The. We'll cover that in a little bit more detail later. Guys. There's a new. Two new Canon cameras dropped overnight. [00:53:41] Speaker B: Look who's in the chat. All depends on how many shots you're happy to miss. So Glenn is in the chat, and I assume he's referring to if you were to take primes only. And this is what I found in Vietnam. Yes. I love shooting with primes. It does usually seem to push me to find more creative angles and things like that. But when. When I'm just being overwhelmed with cool shit that I want to try and take photos of and ideally not. Not disturb the moments too much by trying to sort of wrangle a photo. I just want to. I want to kind of get the photo before it. I disturb the scene, which is what I found, like, in Vietnam. That's why I ended up with the 24 to 105 on it on the camera most of the time. But I found F4 a little bit limiting and I. It's a little bit heavier than I'd like, and I didn't use 50 to 105 really at all. Yeah, so that's why that 28, 28 to 70 appeals to me. I love Glenn. Yeah, it depends on how much you have it. And you know, it's interesting. John street was a. A big proponent of the. The sort of the mega zoom or the. The super zoom, but he's been. He tested out the. The fixed lens gfx. And I mean, I'm really interested to hear like his. [00:54:57] Speaker A: Although that has a tally zoom on it. [00:54:59] Speaker B: It does. So that's why I'm interested. Is that like, is that the way he worked with it or did he find himself creatively sort of working differently? I really want to hear his thoughts on that camera. Hopefully we can get. [00:55:11] Speaker A: And I think, look, you know, Glenn's comment is very real and very true. And it's, you know, we've all had that FOMO of. Oh, I don't. I, you know, I'm only in Japan once every few years. Like it's a Blue Moon event. And my first trip, I was like, yeah, I can't afford to miss any shots here. Like, this is a once in a lifetime trip. It's my first time in Tokyo. [00:55:30] Speaker B: Yeah. [00:55:31] Speaker A: Big event for me because it'd been building up for years. So I took every lens I had and two bodies and it nearly ruined it because for me it was too much. I spent more time hunting for the right lens than just enjoying the moment. And it's a different, you know, and then, you know, that's very different to going off and doing a mountain bike shoot. You need the right tools for the job. But it also. [00:55:52] Speaker B: Less is more on the mountain bike shoot as well. It's the same thing, like for weight, but also say, for sure. Like you, I want to be thinking about what we're trying to capture and the best way to capture it. Not. Not what lens should I put on the camera. That's why having I've got two lenses in the body, I've got the 15 to 35, 70, 200. My only choice when we get to a spot is am I going wide or am I going long? So. So it's the same. It's very. [00:56:21] Speaker A: Is that what you do for weddings, Jim? Just the two? [00:56:24] Speaker C: No, no. So I shoot three lenses for weddings generally most of the day, which is 20. [00:56:30] Speaker B: Because they're primes. [00:56:31] Speaker C: 105. [00:56:32] Speaker B: Yeah, yeah, yeah, yeah. Two primes would be a little bit. But you kind of have. So you have two bodies with two primes mounted and then you'll kind of change that. Which of those three primes are mounted on the bodies at any time to suit the scene you're in? So if it's a closer scene, you might just be working with the 28 and the 50. If it's a wider scene, 28, 105, probably very rarely 50, 105, you're up. [00:56:57] Speaker A: In the balcony at the cathedral, shooting down, you might go something wider and then longer again because you want to get a close up while you're up there. [00:57:04] Speaker C: So, yeah, and I think I did, I think I did shoot that. Like I shot. When I did go up there, I think I shot 105 or even 50 and 28 or something. [00:57:12] Speaker A: Yeah. [00:57:13] Speaker C: Just, just to get something different. [00:57:16] Speaker B: Glenn says two bodies, two zooms, less misses. All travel photos are a once in a lifetime opportunity. That's kind of how I felt wandering around Vietnam. I was like, if I don't get that shot, I get that chance again. [00:57:29] Speaker A: Yeah. But it also, like I would classify Glenn as a professional travel photographer. Like his work is phenomenal. Environmental portraiture and landscape and, and close up portraiture. There's no denying his, his master status of the craft. And for those of you watching and listening along, if you've missed that, that was last week. I wasn't on for the show last week. That was Glenn last week. [00:57:54] Speaker B: Wasn't it week before. I don't know, man. It's a. [00:57:57] Speaker A: We should. [00:58:00] Speaker C: Anyway, it was last week. [00:58:03] Speaker A: Yeah. Check out Glenn's, our podcast from last week. Either audio or video on the channel. Make sure you give it a like and a thumbs up and all of that sort of stuff. They're the same thing, Greg. But subscribe anyway. My counterpoint to what Glenn. Keep talking, I keep talking. [00:58:21] Speaker B: I don't get this validation at home. [00:58:24] Speaker A: I love ein, but, you know, it also depends on what you're there to shoot and why. It's that whole thing of who do we take photos for. So when I was going to my once in a lifetime, my four once in a lifetime trips to Japan, it was all for me, you know, it was purely for me. And so by the spice, definitely by the third trip, the second trip, I went to Osaka and Hiroshima and Kyoto, but the other three trips were all Tokyo. And by the last trip, I was walking around with, with I think an XC4 and just this little 28 APS C28. So 35 pancake or 27 it is. Sorry. And my Fujifilm X70, which is a fixed 18 and a half mil APSC. So a 24 and a 35, because that's just how I do street. And yes, there were shots in the distance that I thought, oh, that'd be a gorgeous compression shot with the, with the train passing through the buildings and you know, but I didn't have the gear for it and so I didn't get the shot. And it's something for me to strive towards next time. That's just my personal approach. And, and I can't carry much heavy gear. I certainly couldn't tote two big bodies like Jim does for a wedding and enjoy the process because I'm no longer physically capable to do that. So there's a whole. [00:59:42] Speaker B: When you're traveling, that's, that is a hard thing to, to commit to doing, you know, because if you're traveling, not like if you're not working, if you're traveling for pure enjoyment as well, like lugging gear around does. [00:59:56] Speaker A: And like Jim said all day, like I would go out at 6 in the morning and not come back until 3 the next morning. [01:00:01] Speaker B: Yeah. [01:00:02] Speaker A: You know, you, you need more space for batteries and a power bank than anything else, you know. Yeah. [01:00:09] Speaker B: Bottle of water or something. [01:00:10] Speaker A: Yeah, yeah. You know, but yeah, it's an interesting, it's an interesting situation you find yourself in, Justin being so cashed up as, you know, cashed up Bogan. And what lenses are you going to buy next? [01:00:26] Speaker B: The issue that's the tricky issue is you can kind of, if you've got some money in your bank account and you do this stuff for work, you can kind of talk yourself into spending money that you probably shouldn't spend. So I kind of try to treat it like I've got a fixed budget when. I'm not saying I have unlimited funds to spend on camera gear. But when, like when you. [01:00:54] Speaker A: No, but it's your profession. [01:00:56] Speaker B: Yeah. When you do it for work and you end up with money from it, sometimes it can be easy to talk yourself into spending that money on gear. [01:01:04] Speaker A: Yeah. [01:01:04] Speaker B: When you probably really need it for food. [01:01:06] Speaker A: You know, once. [01:01:09] Speaker B: Lucinda Goodwin Photography says. Hey, Lucinda, I spoke to a Canon rep last week. It looks like Canon will no longer repair some of the older EFL series glass past 2020. So they're, they're finishing off their sort of RS. Yeah, yeah. Conversion. Which makes it. I mean, some of that older L series glass would be 20 years old. [01:01:31] Speaker A: Yeah. [01:01:32] Speaker B: 30 years old, I guess, at some point. I guess. [01:01:36] Speaker C: But just maybe that specifically can. [01:01:38] Speaker A: Well, yeah, officially. Yeah, yeah, yeah. And I'm pretty sure that Lucinda's joining us on the podcast. Where are you, kiddo? In a couple of weeks, Maybe in a month or so. [01:01:51] Speaker B: Yeah, yeah. [01:01:52] Speaker A: Lucinda's joining us on the show in about a month. [01:01:56] Speaker B: Few good comments, rolling in. Glenn says he needs his compensated 2000 big lens to make him feel manly. Roger Highland. Hey, Roger says if I see something beautiful and I haven't got the right lens for the shot. I call it a memory. [01:02:12] Speaker A: Yes, I love that. [01:02:14] Speaker B: And Matt. Hey Matt, what's up? He says Yobadashi camera in Japan may be one of the most dangerous places for one's wallet in the known universe. [01:02:25] Speaker A: Yeah. Have you been there, Jay? [01:02:26] Speaker B: Oh, yeah. We came to that too. Jim. [01:02:29] Speaker C: I'm pretty sure. [01:02:30] Speaker B: Yeah, we got. I mean we got lost. As to which, you know, there was Yobadashi. We ended up in Bic for a while. [01:02:36] Speaker A: Like. [01:02:36] Speaker B: Yeah, we were just. Basically, Jim was just trying to navigate camera stores without knocking things over and hitting his head on pipes and stuff. Do you remember that nightclub we went to? Yeah, I barely remember. With the pipes and we were jumping. We. We had a few fizzy drinks and we were in a nightclub on Australia Day in Japan, which meant there were. [01:03:02] Speaker C: Aussies run 8 Australians in Tokyo and. [01:03:06] Speaker B: We'Re all in the same place. That's crazy. Being menaces. And anyway, we ended up in this nightclub that we would. We were jumping on the dance floor. We had to jump and. And turn our head so as to not hit the roof. And we had to do so in between the pipes because the pipes were lower than where our heads were. Like Jim's like walking around ducking through pipes and stuff. It's. [01:03:33] Speaker A: That's crazy. [01:03:35] Speaker B: It's a world built for slightly less tall people. [01:03:38] Speaker A: Yeah. I will say. Yeah. Matt Agree. 100 Yodabashi camera. I've got a couple of stories from Yoda Bashi camera. A couple of. One of them, which is quite embarrassing. But it in West Shinjuku, which was only like half a K from my hotel is the big Yoda Bashi. It's. I think it's like seven buildings and the camera store is six floors and the ground floor. You think the ground floor is it Right. Because you walk in and there's just display stuff everywhere. There's a. There's Fuji displays, there's Canon, there's Sony Nikon, there's tripods and stuff. But it's just kind of like a teaser floor because then you go up to the second floor and it's all cameras. And then you go up to the third floor and it's all lenses and the fourth floor is all tripods and. And it just keeps going. [01:04:22] Speaker B: Lighting equipment, bags. [01:04:24] Speaker A: Oh, they just sell it. Everything you could imagine. [01:04:27] Speaker B: And this in the bags and stuff. There's stuff. There's things. There's like brands you've never seen before. [01:04:33] Speaker A: Yeah. [01:04:33] Speaker B: And you're like, well, what's this brand? I've never. [01:04:35] Speaker A: Yeah, really cool little boutique Ones as well. But I walked into the Yodobashi camera in Kyoto one night after a few fizzy drinks of my own. Nice. And I walked out with a $3,000 Fuji lens. [01:04:48] Speaker B: Yeah. [01:04:49] Speaker A: That the transaction went through. It was. It was like two and a half. I think it was the 50 to 140, which is one of Fuji's sharpest, fastest zooms. 2.8, no F2, I think. Anyway, consistent. And. And then I got back to my hotel room and I went to buy dinner and they blocked my card. [01:05:13] Speaker B: Hang on. Blocked it or, or that was the last money that you had? [01:05:16] Speaker A: No, no, I had other money. [01:05:18] Speaker B: Okay. [01:05:19] Speaker A: I had a little, a little left to get through the rest of the five days. But yeah, they blocked my card. And then so I had to sit on a pay phone because I couldn't get the hotel phone to connect probably to the bank. And I had to sit on a payphone feeding in yen. [01:05:34] Speaker B: Wow. [01:05:35] Speaker A: Watching it all just disappear while I'm on hold. And I finally got my card reinstated and I came home with a very beautiful lens. And about three months later I sold to a mate because it clearly wasn't for me. But I was just. I was pretty pissed. And as Matt says, it's kind of a little like a photography wonderland. You walk in and time and relatively relativity have no meaning. Like it's, it's very, very beautiful, very scary. Very unique, but magical. What about you, Jim? Have you considered a change? [01:06:08] Speaker B: Sorry, Justin, I was actually just. I'll do a shout out before Jim talks, just to Roger in the chat because I think he commented on the, the GFX podcast that he's contemplating selling a Q3. Was that Roger maybe? Or was it somebody roach? [01:06:25] Speaker A: I don't know if it is Fuji and he has. He had one of the first Fujifilm. I think it was the 50R which was the rangefinder style body, but they didn't repeat it. Have you still got the. The GFX50R, roger? I can't remember if you're still shooting with it. [01:06:44] Speaker B: We've got a. Yes. So my question to you, Roger, while Jim's talking is, are you selling that in the Q3 in the hopes to buy the GFX100 RF? Is that the plan? Sorry, go on. Were you talking about Jim's lens choices? [01:07:04] Speaker A: Oh, I was just saying. Well, no, I was just saying that you've gone through this evaluation process of yourself. It's not all about you even. That's your podcast, Justin. But Jim, what about you? Are you happy with the lenses that you're using for your gigs. [01:07:20] Speaker C: I do want to change over to Z mount lenses. I'm actually just looking at it at the moment while you guys are chatting. [01:07:28] Speaker B: What have we done? I love you. [01:07:30] Speaker A: I love you so much. I've got Fujifilm up on here looking at some. Looking at some new kit too. [01:07:37] Speaker C: On my second screen, I was just. [01:07:40] Speaker B: I won't try to see what's on my screen. [01:07:42] Speaker A: Or will I look on your screen? [01:07:44] Speaker B: That's. That's that 20 mil 1.4. I was just scoping it out. [01:07:48] Speaker A: Yeah. So that dropped last night. We'll cover that in a minute. [01:07:51] Speaker B: Yeah, I don't know. [01:07:52] Speaker C: I'm just like the Nikon 21.8. It's good. I have used it. I use it for like one shoot, I think. [01:08:01] Speaker B: Hang on. So. So you've got. You've got the. Still got the F mount, 1.8 that you use with an adapter. But they do. They do have A Z Mount 1.8, which is essentially an updated version of the same lens. [01:08:16] Speaker C: Yeah, it should be a little bit better in kind of. [01:08:20] Speaker B: So. But you said you've rarely use it now. [01:08:24] Speaker C: I use it a bit for dance floors and I also use it for mountain biking. [01:08:28] Speaker B: Okay, right. What other. What other wide lenses have you got now? [01:08:37] Speaker C: The 28. And I've still got the 16 to. [01:08:40] Speaker B: 35, like the F. Oh, you do, you do still have the 1635? [01:08:44] Speaker C: Yeah, and I probably need to update that. [01:08:47] Speaker B: Is there. Is, is there a lens that would work like that you could cover both with? Or do you still want that prime? [01:08:55] Speaker C: Well, there is. They do. They've got like a 16 to 24, 2.8 maybe or something. [01:09:03] Speaker B: Yeah, I thought they introduced a lot, like a lighter weight, wide angle. [01:09:08] Speaker C: Or is it 14 to 24 maybe? [01:09:11] Speaker B: Oh, I think that's their fancy one. [01:09:13] Speaker C: Yeah, it is. It's three and a half. Four and a half grand bargain. [01:09:17] Speaker B: Grab it. Get two. Yeah, can have one. Have one set to 14, have one set to 24. And then it'll be like their primes. [01:09:25] Speaker C: You know, they do have a 17 to 28, 2.8. [01:09:30] Speaker B: Yeah, that's the one I was thinking. Yeah, but that's a lighter weight one, I think. And I think that's kind of like this. You should check that out. It's kind of like this canon 16 to 28 maybe. Like it's a shorter focal length range, but should be lighter. [01:09:45] Speaker C: Yeah, maybe I can get that to replace the 20 or keep the 20 but replace the 16 to 35. [01:09:52] Speaker B: Yeah. And then see if you use the 20 still and if you don't just ditch it. I did always enjoy shooting with that 20 mil prime. Yeah, so do I. Yeah. It gives you a wide angle view and it gives you a ton of light at 1.8. Yes. [01:10:09] Speaker C: And it's obviously good for Astro and stuff like that. It's, it's kind of a, it does. [01:10:14] Speaker B: Do a little bit of stuff but yeah, and there's. Yeah, maybe version of that is Richard Taddy's one of his mainstay lenses, the Z mount 21.8. [01:10:23] Speaker C: Yeah, yeah. And the same as the F mount one used to be. [01:10:29] Speaker A: It makes such a neat kit though, doesn't it? Even on a big body like a. Well you. What are you running? Z8s? Yeah, yeah. Even on a big body like a Z8 it's such a neat kit to have a, you know, a relatively compact prime. And what would that be your. If you were just to have a run around, you know, you're going to go and hang out, you know, maybe do a street walk with us or hang out with Jay to do something and, and you want to just have one camera, one lens, what would it be? [01:10:55] Speaker B: That's a good question. [01:10:56] Speaker C: Well, It'd either be the 20 at the moment, it'd be the 28 1.4 or the 50 1.4. [01:11:01] Speaker B: What would be the idea if you could just have a new lens for that situation? What would you, what would you get? Well, yeah, one that actually exists. [01:11:09] Speaker C: Seven. Yeah. Maybe look at this seven to into 28. [01:11:12] Speaker B: Yeah. You wouldn't find, you know what I've been thinking about a lot and Sony actually make one but it's not, not exactly what I want but a 20 to 50, a 20 to 52.8 would be a really nice versatile lens. Sony make a 20 to 50 F4 which. And it's quite lightweight and I think that would be a great kind of video lens. But, but 2.8 would be nice for photography as well. And that's a lens 20 mils wide enough to do some pretty cool landscape and city shots. And then 50 mil for, for me is, is a nice focal length to sort of get in tight on some things and that, that would be quite useful I think. [01:11:52] Speaker A: Do you think we'll ever reach a point where those sort of, you know, they're often cheaper lenses and more tailored towards entry level and some enthusiasts, you know like an 18 to 135 or 24 to 300 or you know these sort of multi purpose Genre lenses. Do you think we'll ever reach a point where they become as stellar as some of the higher end primes and, or, and, or zooms? [01:12:20] Speaker C: You know, they put in the work to, to get them to like the kind of 150. That's pretty good. [01:12:29] Speaker A: Yeah. But even, even more like pushing out, going out to 200 or 300 and, and going wide to like 16. Like do you think that. [01:12:38] Speaker B: No. [01:12:38] Speaker A: I mean there's only so much that physics can do. Right. Because photography is all about physics. [01:12:42] Speaker B: Yeah. [01:12:42] Speaker A: You know, and the way that light bounces around all those little bits of glass. So it's, you know, will we ever reach a point where they, you know, I wonder if they'll do that, where they deliver that. And maybe the camera has to have some sort of computational element that cleans up the image knowing that the lens isn't going to. [01:12:59] Speaker B: Yeah, you know, I think, I think that'll be the thing that helps that accelerate is, is yeah, lens corrections in camera or in software will allow them to push those boundaries more. But to get those kind of distances we're probably going to have to do it on smaller sensors, I think. And maybe if they can make sort of leaps and bounds in smaller sensors. But again I worry that that's going to be in the way that iPhone delivers stunning image quality from a tiny sensor. But you kind of sacrifice a little bit of reality because of the computational stuff that's happening in the background to make that happen. So yeah, it will be interesting to see. And yeah, Tamron's 35 to 150 certainly, certainly pushed in that direction. Canons 28 to 72.8 pushed the limits of the kind of the prime zoom thing and now Sony have done it as well in an even smaller. Yeah, F2. Yeah, Sony have done that same 28 to 70, F2 in an even smaller package. So who knows if Sony can do that in a smaller package. Does the next camera brand go? Well, instead of 28 to 70, we can do, we can do 28 to 105 at F2, you know and it's, it'd still be a big honking lens, but yeah, we've never seen that kind of stuff before. [01:14:21] Speaker A: Yeah, I mean I don't, I don't think it's in the favor of the lens companies of the big brands anyway. Places like, you know, companies like Tamron and Sigma and maybe even Lauer who do pretty unique lens configurations. You know, they do like they've just done the first zoom tilt shift and like they're always Pushing the boundary, you know, and optically correct, you know, 8 millimeter lenses and 15 millimeters and you know, companies like that often push the boundaries. I don't think we'll see it from big lens or big brands because in a way they'll be doing themselves at a business. [01:14:59] Speaker B: Yeah. [01:15:00] Speaker A: You know, if you can get a one and done lens, well, you're never going to visit their shop again, you know. [01:15:04] Speaker B: That's right. But also like canon made a 20. What was it, 28-300 L lens. [01:15:10] Speaker A: Yeah. [01:15:10] Speaker B: And I don't think it was super popular because it was, it was heavy and, and it was not as good, you know, like it wasn't as good as the separate L lens. You know, the. What was the big thing back in the day? The Holy Trinity. [01:15:23] Speaker A: Yeah, the Trinity. That's right. [01:15:25] Speaker B: And then there's the new Trinity and then the. [01:15:27] Speaker A: Yeah, this is, this is my Holy Trinity apart from my pancake prime. That's my lens collection. [01:15:35] Speaker B: Yeah. Nice. If you can hold it, if you can hold it in one hand. [01:15:38] Speaker A: Yeah. [01:15:38] Speaker B: Like it should be the thing. You can only take the lenses you can hold in one hand. [01:15:42] Speaker A: Yeah. And sometimes. And I've done this, I, I shot my friend's engagement party with the. What did I shoot with? I think I shot it with the 16.2.8, which is absolutely tiny. And I had the. I didn't do any big. Like I was mostly getting. Because it was all about their friends. Like they wanted all their friends in all the shots and they didn't. We did portraits separate of the couple, but. And bated breath and the 23F2. And I had this one in my back pocket or the other one, depending on which one I had on the camera. Like that's how small they are. I just had them in my pants pocket. [01:16:23] Speaker B: They. They are tiny and I. [01:16:25] Speaker A: Look, I'm not a pro. I'm not saying that this is the way to go for everybody, but you know, when we hear. I often hear Justin and Jim talk about, you know, their full frame cameras and they're big. You know, the R3 is an absolute beast compared to something like, you know, the XC4. That's really. And that's got a, that's got a base plate on it and an additional grip. Like there's such little products and. Yeah, I'm not saying that I'm trying to compensate for anything. [01:16:51] Speaker B: Well, I was going to ask at that party, did anyone say, hey, Greg, is that a lens in your pocket or. [01:16:59] Speaker A: No? Well, you know, I was, you know, I was still enjoying fizzy drinks back then and, and I would say, well, that's for me to know and you to find out. But. [01:17:10] Speaker B: Back in those days, Glenn says the Tamron 20 to 42.8 is lovely. I didn't know there was a 20 to 40. I wonder what mounts they've got that for. Probably Sony and. Or is that an older. Is that Canon EF maybe mount? [01:17:24] Speaker A: Yeah, not. [01:17:25] Speaker B: Not a new. Now we've got the. The verdicts in from Roger. He is. Where are we exactly? I believe he is looking at the GFX100RF instead of his Q3. I love the GFX sensor. There's much to like about the Leica Q3 43 compared to the GFX. But I don't like having two sensors, another 43 and I really prefer the GFX for its sensor size, resolution and rendering. I thought it was interesting that he's got the 43 but happy to go to the GFX which is equivalent to of a 28mil, which is closer to Leica Q3. 28mil. But obviously the cropping ability of the GFX may negate that. I don't know what, like, what would, what, Roger, did you find the 43 focal length of the Q3 fun to shoot with or did you find yourself wanting a wider view and is that part of the reason you want to go to the GFX100RF with its slightly wider field of view? [01:18:26] Speaker A: Yeah, which you can, you know, you can crop in more if you want to technically zoom well, and this is. [01:18:31] Speaker B: The point that is brought out here. I wonder if AI and sensor technology will make lots of lenses obsolete. GFX100RF as in you, you and same as the Q3 did with its first kind of cropping, you know, like, hey, now you can, you've got the 28 mil, but then you just press a button and then you're at 35 and then you press another button and you're at 50. Yeah, that's what the, the, the Q3 did. And I found that. [01:18:57] Speaker A: Yeah, yeah. [01:18:58] Speaker B: But like prior to that I found it useful on the Q3 while I was traveling. But honestly, I still, I don't love cropping. I don't know why I don't like the look of the cropped image compared to the full image. It just makes me, I don't know, feel like I'm sacrificing something like small crop, no problem. But like the cropping the Q3 to the 50 mil equivalent, I don't think I got really any images at that focal length that I loved that I got images, but I didn't love any of them. [01:19:34] Speaker A: Yeah, and you are, you are dropping us. Once you go that far, you are dropping a significant amount of resolution. [01:19:39] Speaker B: Well, you were, but on the Q3 it was, I think it was still over 20 megapixel. [01:19:44] Speaker A: Yeah. [01:19:44] Speaker B: You know, so it's still plenty. Should be. [01:19:47] Speaker A: Oh yeah, it's still heaps. But it's not the same as actually zooming, is it? [01:19:50] Speaker B: No, it just felt, I don't know. I looked at them on the, on the big screen, I was like, I just don't really like those and I don't know what it is. Can't put my finger on it. [01:20:00] Speaker A: In my view. I don't think that the big brands will let that happen too much. Where like the GFX, you've got these, you've got one lens, it's an F4 or whatever the lens may be. Let's not get into the F4 debate again. But you know, whether it's an F2 or 1.8 or 1.4, the tele cropping is a good feature. But the brands won't ever let it replace interchangeable lenses because that's such a big part of their, of their value and their business model that, you know, some cameras, some people will replace their cameras. You know, they'll make that investment maybe every two to three years or every three to four months if you're Justin and other people will. And then plus people will buy multiple lenses. They'll continue to upgrade their lenses because the brands know that if we put out something a little faster, a little sharper, maybe we add OIS this time or we make it weather sealed, people are going to upgrade from their older version. And this is what Fujifilm are doing at the moment. They're, they're introducing some new glass in the X Series range. But more than anything, they're updating older lenses that have been around for a decade, almost eight, you know, seven, eight years. Some of their early introduction lenses, X series lenses, they're, they're finally updating them and they're adding weather ceiling and they're adding, you know, maybe a slightly faster aperture and better optical output and that sort of thing. So I think we'll see some of it like in fixed lens cameras like the GFX where you can, and the Leica Q series where you can crop. But I don't think it'll ever replace. I don't believe that in our lifetime it will ever replace interchangeable lenses, there's. [01:21:36] Speaker B: Always going to be a push from the cutting edge where. Yeah, if cropping can do it, a well designed lens will do it even better on that same sensor. You know what I mean? So it's like no matter how far they progress that stuff. [01:21:51] Speaker A: Yeah. [01:21:52] Speaker B: You could still get better results with a lens. So maybe it might shift some of the market towards that computational side of things. Yeah, but, but it won't, it'll never replace. You know, you're probably not going to see a, a sports photographer at the olympics holding a gfx100rf and just. [01:22:12] Speaker A: That's not what it's made for. [01:22:13] Speaker B: Cropping into 400 mil. [01:22:14] Speaker A: Yeah, yeah, but, but cropping is different to compression. [01:22:19] Speaker B: No, it's not. [01:22:20] Speaker A: You don't reckon. I reckon that the, the look of lens compression is very different to cropping it at a wide open aperture. [01:22:28] Speaker B: The look of it probably is because of the quality difference that it makes. But I. Technically it's, it's so funny and the depth of field will be different. So to get this, a similar depth of field. But technically if you were to. At close distances, it's harder to explain. But like at a longer distance, if you've got a big, big, big, wide open distance to play with. Technically, if I set my cameras there with the 15 to 35 on it and then right next to that same camera, another camera with the 70 to 200, one set to 15, one set to 200. And let's say we've got it set up so that it's. The 200 mil is a waist up headshot of you. And what we call compression is the layers of background. You can see that start to look. [01:23:22] Speaker A: Yeah. And the way the foreground elements play into it. Exactly. Yeah. [01:23:29] Speaker B: Technically I can crop the 15 mil shot in to the same framing as the 200 mil shot and it will have the same data in the background and the foreground. It will have that there. It will just. And it'll be the same size. [01:23:49] Speaker A: But it'll be the same size. But will it have that same depth? Will it look layered? [01:23:55] Speaker B: It will, yes. But the quality, obviously it won't look. [01:23:59] Speaker C: This because we do the comparison. You'd need to do. You need to work out the maths on each camera and go, this camera needs to have say 100 megapixels and this one needs to have 10. [01:24:11] Speaker A: Yeah. [01:24:12] Speaker C: To do the right comparison so that when you zoomed in, well, they were then the same. [01:24:18] Speaker B: The issue and the aperture. The issue would be the aperture because the aperture, the visible, like the, the appearance of the depth of field on the 15 mil cropped in to the equivalent of 200 mil. This is an extreme example and I can do a much better example with sort of less of a dis difference. [01:24:37] Speaker A: We need to get you a whiteboard. [01:24:38] Speaker B: But if it was, if it was cropped in, the 15 mil cropped into it would be like the equivalent of like f a million or something because everything would be in sharp focus. Whereas, as you know, even with 200 mil, even if you set that at F16, the background will still be blurry because you've got such a narrow depth of field on that telephoto lens, depending on the subject distance from the camera and from the background. So it is going to absolutely look different. But it's often that compression effect that gets talked about with lenses that somehow the focal length makes things look bigger or more layered or whatever. But it's, it's really the same effect can be had with cropping. It's quite, it's quite crazy. It can be had, but like I said, the quality won't be the same. [01:25:29] Speaker A: Yeah. [01:25:29] Speaker B: The depth of field won't be the same. So they will look different. But yeah, it's something that I didn't understand. [01:25:36] Speaker A: Oh, wow. [01:25:36] Speaker B: And I go for a long time and I had to watch some videos on it and look at some just example photos. But you can absolutely achieve the same. You know how they will sort of say, oh, let's put the backgrounds in the, the, the, say the mountains in the background and then they make them look, they look big and stuff like that. [01:25:54] Speaker A: Yeah. [01:25:54] Speaker B: The same thing can be done with cropping. [01:25:57] Speaker A: Yeah, yeah. Which is why. [01:26:00] Speaker B: Why a crop sensor camera with the right lens can give you that same effect. [01:26:05] Speaker A: Yeah. [01:26:05] Speaker B: You know what I mean? [01:26:06] Speaker A: Yeah. [01:26:07] Speaker B: Because a crop sensor camera is just a crop on, on that focal length. [01:26:11] Speaker A: Yeah. [01:26:12] Speaker B: So that's why they, they can work and give similar results, provided the lens that's on there has the ability to do that. [01:26:21] Speaker A: Yeah, yeah. I never did it that way. [01:26:24] Speaker B: Yeah. Derail whatever it was. You were talking about compression, though, but. [01:26:28] Speaker A: Yeah, no, no, no, it didn't derail it. It's fine. It's a learning opportunity for me just conscious of the time. It's, it's 10:30. I just want to remind everyone that you're listening to the Camera Life podc brought to you by Lucky Straps out of Bendigo Victoria, makers of premium leather camera straps and accessories. If you're looking for a belt or some gloves, winter's on its way. Winter is coming. [01:26:52] Speaker B: To quote Game of Thrones, it is coming. Yeah. [01:26:55] Speaker A: If you head to Luckystraps.com There is a wide range of merch. You can get some. You can. You can represent. Get some warm hoodies. Get yourself a beanie. It's a stash beanie so you can apparently hide your drugs in it. And some nice gloves. Oh, lens caps, is it? When I said stash, it took me back to my. My 16th birthday. Anyway, you know, do we have. [01:27:21] Speaker B: We're doing an ad. [01:27:22] Speaker C: I'm gonna do it. [01:27:23] Speaker B: What's that? [01:27:24] Speaker C: Hey, ads on the website. [01:27:27] Speaker B: Mouse pads. No, not currently. We'll do it. But yeah. [01:27:30] Speaker A: So I was promised a mouse pad last year. [01:27:32] Speaker B: Look. Warm, warm apparel and a belt. This is a full on. This is the first full on ad. [01:27:39] Speaker A: All he gave me was a shitty podcast. [01:27:44] Speaker B: Valarat photography gloves straight from Norway. [01:27:47] Speaker A: Is that how you pronounce it? [01:27:50] Speaker B: How do you pronounce it? [01:27:52] Speaker A: I don't know. I think I put an N in there somewhere. Valorant. [01:28:00] Speaker B: These ones are Greg's favorite. Where are they? The Duke. Why are they all the way down the bottom? These are Greg's favorite Sneaky street leather gloves. Nice soft liner and flip back. [01:28:12] Speaker A: Yeah, flip back. [01:28:13] Speaker B: Finger technology. [01:28:14] Speaker A: Yeah. [01:28:15] Speaker B: To be able to hold on to your camera. [01:28:17] Speaker A: And they. They work like. And because I use a wrist strap, they don't feel like it's getting in the way. Like it all works really nicely. They're really good. I wore them in bright, which is when Justin gave them to me because it was very cold in the mornings there. Yeah. I'd get up and go for a little stroll before I met Justin and would. [01:28:36] Speaker B: But I like these two. The Power Stretch glove liner. I use them all the time, even without any other glove usually. That's often enough for me to keep my hands warm. I don't really. And you can just use all your camera controls and touch screens and stuff with those glove liners on too. So. Yeah, that's good. But yeah, they're not ours. We don't make them. We just. We just help these guys sell them in Australia and New Zealand and otherwise. If you want a camera strap, you know, get on there. Check out all of our camera straps. We've got very. [01:29:03] Speaker A: Use Code Greg for a discount. [01:29:06] Speaker B: Greg for a discount. Vote with your dollars. Which host of this show do you like? Jim? [01:29:12] Speaker A: We'll just. [01:29:13] Speaker C: The best code. [01:29:14] Speaker A: We'll just. We'll just mute both of them. Everyone. Oh, hang on. I need to come back. Everyone just use code Greg. G R E. G. For a very suitable discount. I'll put it in the chat as well, just in case you're unaware. Anyway, thanks for joining us, lads. [01:29:29] Speaker B: Are we calling it? [01:29:30] Speaker C: Yeah, no, we're not calling. A question before we go, I got a question. You can help me do some shopping. [01:29:38] Speaker A: Yeah, okay. [01:29:40] Speaker B: What are we buying? Oh, you're actually looking at lenses. Right? We're doing this. Yeah, I can't see it. Zoom in. Actually, Jim, can you. Can you shorten your screen so it's not so long and it'll make it wider and bigger? [01:29:56] Speaker A: Yeah, no pressure, Jim. [01:29:57] Speaker B: Yeah, we're not a live podcast. It's not like this is. Yeah, it's better. Keep going, keep going, keep going, keep going, keep going, keep going. Stop. Geez, you got a lot of tabs open. [01:30:07] Speaker C: Yeah. [01:30:07] Speaker B: Is that porn? Is that porn? [01:30:10] Speaker A: Only fans, is it? Only fans. Not that I know what that is. [01:30:12] Speaker B: But it's only feet. All right, what are we looking at? [01:30:17] Speaker A: Yep. Sorry, Jim. [01:30:19] Speaker C: So I probably. Maybe I don't need to. I was. I was gonna replace the 28 and then also a. Like a wider lens. [01:30:29] Speaker B: They don't have a 28 replacement, though. [01:30:31] Speaker C: Well, they've got a 26 2.8 or a 28? 2.8. [01:30:37] Speaker B: They've got a 26 and a 28. [01:30:41] Speaker A: Look at this, how little it is. [01:30:42] Speaker C: This little tiny one. [01:30:44] Speaker A: That would be the ideal just everyday lens. [01:30:47] Speaker B: 8.99. 8.99. [01:30:50] Speaker C: Or they've got the. The 28F2. [01:30:53] Speaker B: It's only got four stars. [01:30:54] Speaker C: That's 479. [01:30:57] Speaker B: Oh, remind me before we go off the show. We got a four star review today. I still. It's. I take that burning you. Yeah, I take that like a. It's like a negative review for me. We get them so rarely. I was like, four stars. What's wrong with it? I'll read it out to you before we finish the show. [01:31:14] Speaker A: So which are you leaning towards, Jim? [01:31:16] Speaker C: Well, I've only. I've only just started shopping while we're on here. [01:31:19] Speaker B: All right, let me have a look. [01:31:20] Speaker C: Because I always. I thought the 28, but I don't know. Now seeing this 26, it looks like it's. [01:31:28] Speaker B: I would. I would. I would check some reviews out because you'll probably find one of them is optically better than the other. And looking at the size of that 28, like, yeah, the 26 is tiny, but yours at eights are pretty big. So I think it's going to be negligible. Which of those lenses. Yeah, assuming. Assuming they're similar. Like one will be a little bit heavier, but not much. [01:31:49] Speaker A: How much is the 28? I can't say. 479.79. [01:31:53] Speaker C: Well, they've also got another one that's 540. [01:31:56] Speaker B: Yeah. What's se? I'm guessing that's like. [01:32:01] Speaker A: That's for the Z. The Z fc. Oh. It's a special edition. So it's got different style. It's the same lens. [01:32:09] Speaker B: Okay. [01:32:09] Speaker A: Yeah, it's optically the same, but they've got that zfc. [01:32:13] Speaker B: Look at the product shot. The product shot makes it look smaller. [01:32:16] Speaker A: Oh, it looks, yeah. [01:32:18] Speaker B: Next to the same lens. [01:32:21] Speaker A: Yeah. [01:32:21] Speaker B: But why would they make their product shop inconsistent with the rest of it? Is this Nikon's website? [01:32:27] Speaker C: Yeah. [01:32:27] Speaker B: Oh, come on. [01:32:29] Speaker C: It's actually really hard to use. [01:32:31] Speaker A: Yeah. [01:32:32] Speaker C: But anyway. Or. [01:32:33] Speaker B: Sorry. We love you, Julie. [01:32:34] Speaker C: We go on the other side and then we've also got the wide zoom. 17. [01:32:40] Speaker A: A lot more money. [01:32:41] Speaker C: 28, 2.8. Or get the 14 to 30 F4 and they're the same price. [01:32:48] Speaker A: 14 to 30 or 4. I can't see the 14 to 30 F4. [01:32:51] Speaker B: Scroll down a little. [01:32:52] Speaker A: Just scroll down a little. Yeah, yeah. I mean, you know, you know what you're doing. Always due diligence. Look at all the reviews. Watch a couple of videos. But I, I really like that. I don't know. There's a lot to love about a lens that's a little inferior sometimes. You know, if it's just an everyday carry camera and it's got some quirks sometimes having a. Having a. Like at that 26. [01:33:17] Speaker C: Yeah, that's what I'm thinking. [01:33:20] Speaker A: It is expensive though, for its size. [01:33:23] Speaker B: I would, I would definitely look into it a bit closer because, yeah, the other one's cheaper and you might find people say it's better. [01:33:29] Speaker A: What does the review say, mate? On the. If you can click on the. [01:33:32] Speaker B: I think there's only four reviews before the four star. [01:33:35] Speaker C: John said, whilst I'm still learning to use this lens, so far I've been very impressed with the image quality. [01:33:45] Speaker B: Yeah, okay. It doesn't say why it's a four star. [01:33:48] Speaker A: He doesn't sound like a professional. Nick on Z, what is it again? The 20. [01:33:52] Speaker B: Hang on. We've got an expert in the chat. David from San Francisco. I use that 26 millimeter on my ZF. It's great. David, have you ever tried the 28 millimeter? And if so, how do they compare? Love to hear your thoughts. And actually while we're doing that, because I think Roger had to go, but I just want to read his comments out. [01:34:12] Speaker A: Is this the 26? 2.8? Yeah. We're talking about. [01:34:17] Speaker B: Yeah. [01:34:18] Speaker A: It's mostly getting four stars. The autofocus is slow, mostly. A little bit of focus, breathing. Yeah. I'd probably go with the other one, which was the 28. 28. Yeah. [01:34:30] Speaker B: Yeah. What. What does the other one sort of say? [01:34:32] Speaker C: There's no reviews on their website. [01:34:35] Speaker A: No. [01:34:36] Speaker B: Yeah. You would want to go to some independent reviews. [01:34:40] Speaker A: Similar outcome. I just look at general. Petapixel is always a good starting place. It looks like it's a plastic fantastic lens. Okay. It's, you know, for its price, it's a fun lens. That's all it is. It's a nice wide. It's an F4. I would say autofocus speed isn't going to be a priority given the cost of it. [01:35:06] Speaker B: You know, David says people are too picky. It's fine. [01:35:11] Speaker C: Is the. [01:35:12] Speaker B: How's it. [01:35:13] Speaker C: How does it go? Focusing? Like, is it fast? [01:35:15] Speaker B: David, you'll probably find none of these will be fast. Like none of my. They're not fast, but they're fine. But you won't like. What do you want to use it for? [01:35:26] Speaker C: I want to replace the 28. [01:35:29] Speaker B: You're not going to replace your 28 with that. That's one of the best lenses Nikon ever made. It's a 28 1.4. [01:35:37] Speaker C: So do I just leave it and do I just buy the wide? [01:35:41] Speaker B: I would probably until. And replace Nikon. [01:35:44] Speaker C: The 16 to 35 and the 20 mil 1.8. [01:35:48] Speaker B: Yeah. The question is, do you need wider than 17 mil? [01:35:53] Speaker C: No, because at the moment I. The widest I shoot is 16. [01:35:56] Speaker B: Yeah. [01:35:57] Speaker C: And I've also got the 20. I've got the 12 mil. [01:36:00] Speaker B: Oh, you still got that? Yeah. So worst case, you've got that in the bag if you need to do some sort of weird, weirdo shot or if you really want to do some more fisheye stuff for mountain biking and stuff. David says the focus is fast enough on that lens. [01:36:15] Speaker A: The 2828 has vidding, some signs of obvious vignetting, distortion, chromatic aberrations and flares. Like I said, it's a 500 little lens, so it's not going to be optically pure, but it would be. They're saying it's a fun lens for every day, just having it on your camera at all times. So you pick up your camera and you've got a relatively fast lens on it. [01:36:35] Speaker C: Well, I'm gonna ring up about the 17 to 28, then 2.8. [01:36:44] Speaker B: Yeah, I think that'd be worth investigating. And then. Yeah, whether you can kind of have that as your do everything wide and depends on what weight it is, if it's light enough. You know, you might find that something that you carry around a bit more as well. Just for regular shoots. [01:37:01] Speaker C: It weighs 450 grams. [01:37:06] Speaker B: Oh, the, the 17 to 28. [01:37:09] Speaker C: Yeah. 2.8. [01:37:09] Speaker B: Oh, perfect. That's exactly. That's very similar to that Canon one that I'm looking at. And I just think that makes it a super usable lens to cruise around with. Yeah, it'll be lightweight for you. On weddings you might find you, you have that. So for a ceremony you might have that and then, and then the other camera's got either your 50 or your 105 on it and you've kind of got your quick, you know, wide that you can go from 17 to 28 on. And then. Yeah, yeah, you might find maybe you start using the 28 a little less for a while if you know, if. [01:37:39] Speaker A: You'Ve, if you don't jump in a pool with it. [01:37:42] Speaker B: Nah, do it. Doesn't matter. David says it's plastic, but who cares? At $350 you can buy two if you break it. I like that, that theory. I use that same theory with my R5 mark too. Like clearly, who cares? They're only five grand. You can jump in a pool, you can always buy another one. [01:37:58] Speaker C: I still make them. That's what Tony would say. [01:38:03] Speaker B: Yeah, that's what I used to say as well. [01:38:06] Speaker C: Until you jumped in the pool and then you were like, oh no. [01:38:09] Speaker A: Yeah, well, hey. [01:38:12] Speaker B: We use that. We'll get, we'll get you to get that. Maybe I'll get my, my lightweight wide angle lens. Maybe we'll do a little shootout, see if Canon or Nikon are leading the race of, of more affordable, lightweight wide angle lenses. What a specific shootout to do. [01:38:30] Speaker C: Davidson, he's got the 40 mil also. [01:38:33] Speaker B: I've heard about that 40. So there's quite a few options. Nikon and Canon have taken different strategies at their lens roadmap for their mirrorless series. But like they fill holes in a different kind of order and slightly different strategies, but they're both doing, they're both doing a good job of giving us options that aren't just the, the main, you know. Yeah, yeah, standard. [01:38:59] Speaker A: And there's also some sort of unique focal distance, like 26 mil. Rarely anyone does a 26 mil, but it's there like and it's relatively cheap. On it. [01:39:08] Speaker C: Can I just do the 28 by 1.2? 28. [01:39:12] Speaker B: That would be so big and heavy. But you okay. [01:39:14] Speaker C: Or a 1.41 of this one. [01:39:18] Speaker B: They will. 28 is an often forgotten about focal like it's like one of the last ones and unfortunately because Nikon have those multiple options of 26 and 28 mil already they'd probably be more likely to have a 30. You know do premium 35s until they've got them. [01:39:37] Speaker C: They probably. [01:39:38] Speaker B: Oh yeah, they did 35. [01:39:40] Speaker C: 1 2. [01:39:41] Speaker B: They did 1 2. Yeah I forgot. So yes they would have focused on that for their premium photography lens because it's way more common. Most people prefer 35 to 28. We're just the weirdo outliers. Jim. [01:39:51] Speaker A: The other option there Jim is to look at other like third party brands because unlike Canon rf the Nikon Z does. You know there are Tamron, Sigma, there are Zeiss have just dropped some new lens. Like they're starting to bring out lenses again. You do have other options. You're not just. I know. Look, don't get me wrong because I'm a, I'm a first party fanboy. I don't use third party products on my Fujis. But there is a lot to say for some of those alternatives especially in Full Frame Premium. Yeah. [01:40:24] Speaker C: Haven't had great. No this was the Tamron's been good. I had used to have a Sigma 135 and it was just. Justin always had the, the Nikon 105. The 1. The 1.4 and it was always better. It was always better contrast. [01:40:41] Speaker B: Yeah yeah. Focusing and backlighting a lot better. [01:40:45] Speaker A: Yeah I yeah and I agree they. They used to be like that but now some reviews are actually pushing third party lenses above. Above the more expensive first party choices. [01:40:55] Speaker B: Even when this was happening people were. Reviewers were saying the Sigmas are better. You know it was like remember the early days when Sigma brought out the art series like 35 and 50. Everyone said those were better and then yeah. Everyone said the Sigma 135 was. Was optically sharper and superior to the Nikon 105 and stuff and we like. We were using both of them more like. No. [01:41:17] Speaker C: And it just missed. It just wasn't and it was always like two steps too close. [01:41:21] Speaker B: Yeah, it was yeah. 135. You didn't like that focal length? [01:41:26] Speaker C: No, no but. And I should have because I shot 58 was the other focal length I shot a lot of and yeah, you know 58 to 105 is not that big of a difference. [01:41:34] Speaker A: So yeah. [01:41:38] Speaker B: We might have to wrap this up soon. I do want to read out my four star review that we got today. So this is four star. [01:41:45] Speaker A: We can cover the news a lot another time. [01:41:48] Speaker B: Well, we've got Monday too. [01:41:49] Speaker C: I'm interested. [01:41:50] Speaker A: Yeah, yeah, true. [01:41:51] Speaker C: What didn't they like? [01:41:52] Speaker B: Well, let me read it out because like I said, we've. We've got many, many reviews and almost all of them are five star. And I love that that we get those. It means a lot to me actually. I have to read them anytime I'm sad. I just read reviews. Makes me feel happy again. So this is four star review. I opened this email up because I get an email note every. I got my. Our review thing set up so that every single review that we get, I get an email with the review in it because I like to read them all and just see what's happening. So this coming this morning for start and I was like, oh, all right. Let's see what's happened. And the headline is, this is for our standard 53 leather camera strap, which is the first camera strap we ever designed and made. It's what launched the company and it's still one of our most popular products, usually for heavier cameras. And it says, headline a thing of beauty. The standard 53 lucky strap is very comfortable. I'm not tall, but the longer strap makes it easy to bring the camera to your eye while still slung across your body. To me, it's a thing of beauty. On the ZF with the Carl Zeiss, Jenna Triatar Red T135 Mil F4 Polished Lens. [01:43:08] Speaker A: Jesus. C photo, Very specific. [01:43:13] Speaker C: Did it give you a photo as well? [01:43:16] Speaker A: It did, yes. [01:43:19] Speaker B: How good? [01:43:21] Speaker A: That looks like a Greg Carrick lens, doesn't it? [01:43:22] Speaker B: Yeah, this is like, I'm like this photographer photos. Yeah, this person. This person is a photo. [01:43:29] Speaker C: He customized his ZF with a red dot for Honey. [01:43:33] Speaker B: Yeah, that looks like it's got a soft release shutter button added to it. Got the custom JP embossing, I'm sure probably done by Jim himself. Did you do that, Jim? You remember? [01:43:43] Speaker C: Yeah, I'm pretty sure I did. Yeah. [01:43:45] Speaker B: Yeah. And then that crazy lens. So yeah, I was like four stars. This is like the best four star review ever. You should post it. That's it. [01:43:54] Speaker A: Oh, that's it. [01:43:56] Speaker B: That's it. That's the end. That's like the end. I'm like, this is one of those ones where it's like. I think some people if it's forced like five star would be if it is some sort of, you know, like it has to be a product way better, way different to you could ever imagine. Amazing. To ever achieve like a perfect score. And that's understandable. Yes. Matt says, what do you need to do for five stars? I don't know. I might actually ask. Ask that person that and be like, what would. What would have changed this to a five star for you? [01:44:27] Speaker A: Yeah. [01:44:28] Speaker B: Anyway, yeah, I will. If our 4 star reviews are this bad. [01:44:36] Speaker A: Imagine what the 5 stars are saying. [01:44:38] Speaker B: Imagine what our thousand plus 5 star review say. So, yeah, I was pretty happy to get that. So nice. Maybe he made a mistake. [01:44:46] Speaker C: Maybe that's true. Yeah. [01:44:48] Speaker B: Maybe it could have been. [01:44:49] Speaker A: Yeah. Or maybe he's not a fan of the podcast and it's a silent protest. [01:44:54] Speaker B: Oh, imagine that. If it just said at the bottom, minus one star for your podcast. [01:44:58] Speaker A: Yeah, yeah. [01:44:59] Speaker B: I'd be like, well played. [01:45:01] Speaker A: Yeah. All right. Should we jump to some quick news? [01:45:05] Speaker B: Oh, I like this. I only leave five or one star review. Wow, that's awesome. And also brutal and I love it. That's great. It's like, because, because everyone knows now, like, if you're say, if you're a food place or whatever, if you're sitting at like 3.8, like, you're not good, you know, so you really, if you enjoyed it, you really do have to give them a five star. Because if you give them a four, it only takes like one other review to pull that way down. So you sort of got to balance it out. So, yeah, that's. I like that. I only leave five or one start. That might be me from now on. What? [01:45:39] Speaker A: Oh, no, we can leave the news for Monday. We'll leave the news for Monday night. [01:45:42] Speaker B: Yeah. [01:45:43] Speaker A: It's nothing groundbreaking. It's just two new cameras and two new lenses. But it can wait. [01:45:48] Speaker B: I've got a bit to say about that new Canon PowerShot v1. [01:45:52] Speaker A: Let's leave that for Monday night. Yeah. Are you joining us on Monday, Jim? [01:45:57] Speaker C: We'll see. See how we go. Getting highly into bed. [01:46:00] Speaker B: Yeah. [01:46:00] Speaker A: Yeah. All right, well, you can join a bit later if you need to. That's no dramas at all. What do you reckon? Should we. Should we wrap? Sure. Is there anything else you guys wanted to cover? [01:46:10] Speaker B: Let's do it. Nah. [01:46:11] Speaker A: All right. [01:46:12] Speaker B: I hope hopefully Dan Paris is okay. I'm sure he is. [01:46:15] Speaker A: Yeah. [01:46:16] Speaker B: I'll reach out. Yeah. We might have mixed him up on the times of the Days or something. So he's in catch up with him. [01:46:22] Speaker A: Or he's in wa. So it's quite a time difference. So I'll reach out to him later today and make sure everything's okay and we'll reschedule him for another appearance because he's got a really fascinating and interesting history and story to tell about his craft. Yeah, other than that, if you are watching or listening to us for the first time, this is the Camera Life podcast brought to you by Lucky Straps out of Bendigo, Victoria. We just love talking about photography. We love meeting other photographers, talking to other photographers. This podcast is more about giving back to the community and being involved in the community in what we hope is a meaningful way because we try to cover a diverse range of topics with a diverse range of guests. On that note, we have a completely random show on a Monday night, 7.30pm Australian Eastern Time and of course this show Every Thursday at 9am Australian Eastern Time in Australia. I said that twice. But yeah, make sure you, you stick around and please ask us anything in the comments. This is what we're here to do. [01:47:24] Speaker B: All the episodes while we do record them live. They're all on our YouTube channel going all the way back to episode one and same as on Spotify, Apple Podcasts, anywhere you get your podcast, the audio versions are there going all the way back. So dig through the archive, find a photographer you want to listen to and enjoy the interviews. [01:47:45] Speaker A: Yeah, but make sure you subscribe and hit the bell button because every now and then we'll do a random, a random random show like we did on Friday night last week to talk about the GFX100RF because it had just dropped the night before and I'd been biting my tongue for two weeks because I had it in like on the desk here while we were doing podcasts, but I couldn't show it because of an embargo. So that sort of stuff happens and. [01:48:09] Speaker B: We'Ll be doing more of that is the goal. More product release date pop up shows as quick as we can get onto things as we can if it's a special unique release or if Greg's had special hands on testing that we don't know about. [01:48:28] Speaker A: Secret. [01:48:29] Speaker B: We'll be trying to bring those out pretty fast. [01:48:31] Speaker A: Yeah, and also make sure you check out the Lucky Strap site not only for the beautiful custom leather straps, but also check out the blog if you like a nice read with a coffee in the morning or in the afternoon and the news is getting you down like it is me at the moment. The world has gone mad in some places I enjoy just sitting down and Reading a blog about something I'm interested in. And so we have plenty of that on the site, too. [01:48:54] Speaker C: And if you want to discount, just use code. Jim. [01:48:57] Speaker B: User. Justin. [01:48:58] Speaker A: Great. [01:48:58] Speaker B: Justin. Justin. [01:48:59] Speaker A: It's not a competition. It really is no competition. [01:49:02] Speaker B: It is a competition. [01:49:03] Speaker A: It's great. [01:49:04] Speaker B: It's 100 a competition. And we. We will be measuring and keeping track of who's winning. [01:49:09] Speaker A: Yeah. And this will determine who gets to fly premium economy to Tokyo for our Christmas trip. [01:49:15] Speaker B: So whoever. [01:49:16] Speaker A: Whoever gets the biggest discount or whoever has the most sales based on the code, will get to fly premium themselves. [01:49:23] Speaker B: Yeah, the other people have to pay. [01:49:25] Speaker A: The extra for the premium. [01:49:26] Speaker B: No, no, I was going to say they get to fly premium economy. They have to pay for it themselves, but they get to. [01:49:31] Speaker C: Yeah, they're allowed. [01:49:32] Speaker A: Either way. Either way, we're going to Tokyo at the end of the year. All right, I'm gonna make that happen. [01:49:38] Speaker B: Okay. We're gonna take. [01:49:39] Speaker C: Yeah, we'll probably do it in January. [01:49:41] Speaker B: I was gonna say, if we're going to do it at the end of the year, we might as well do at the start of the year when we can go snowboarding to see. Now you've lost after Tokyo and before and after. [01:49:49] Speaker A: All right. Okay. You go to. You go to snowboarding in Hokkaido, and I'll. I'll head down to Hiroshima and hang out there. [01:49:57] Speaker B: We'll snowboard everywhere. And with that. Yeah, let's call it. [01:50:02] Speaker A: We're done. Thanks, everybody. [01:50:05] Speaker B: Thank you, David. Thank you, David. Number two. We probably had a. David, number three. We had Frog here earlier. Thanks, Matt. Good to see. See you. Philip Johnson, as always. Roger, good to see you. Glenn, thanks for the comments. Amazing. Matt, you're a wonderful man. Catch you all on the next one. [01:50:21] Speaker A: Yeah. [01:50:21] Speaker B: Yelena. [01:50:22] Speaker A: Yelena. [01:50:23] Speaker B: Toodles. [01:50:25] Speaker A: Bye.