Justin's BIG News - The Random Photography Show

[00:00:00] Speaker A: Sa. [00:00:30] Speaker B: O Nelly, We've got a show for you tonight. This is the Camera Life podcast, random photography show. It is Monday the 7th of September, and you know, it's. It's a Monday night. We're here to talk about news. We're here to talk about what's coming up on the horizon, what's going on in the hood. But we've also got. We've got a special guest in the studio today. We are joined by the, uh, the famous, the worldly, the masterful, Bruce Moyle. G', day, Bruce. How are you, buddy? [00:00:59] Speaker C: I think you've put too many adjectives into that sentence. I feel like you. [00:01:03] Speaker B: We've been talking online all day. I feel like we've. We haven't left each other's company. It's quite sweet. Good to have you, Brucey. We'll, we'll. We're going to cover off a few things today with you while we, while we've got you in the studio. And of course, you know, the, the cracker to my cheese. Justin Castles is here from Lucky Straps. G', day, boss. How are you? [00:01:22] Speaker A: I'm great. How are you guys doing? [00:01:26] Speaker C: All right. [00:01:26] Speaker A: Just living. Just living. [00:01:28] Speaker B: Just. [00:01:28] Speaker C: I gotta remember that I'm on air, so I'm not just listening. I'm a shocker for doing chores and stuff while this is on a Monday night. So you see me turn up and then disappear and it's because I'm, you know, doing something else, but I'm listening and I don't get the texting. [00:01:48] Speaker B: Well, that's why we've got you here, because we knew that was going on, that you weren't giving us your full attention. And so we decided to bring you in here and, and have a good stern conversation about your. About your dedication to the cause. [00:01:59] Speaker C: Is it going to be it like a. Like a bend over and a tap to the port? [00:02:04] Speaker B: Oh, yeah, we've got a paddle. That's part of the ceremony. [00:02:09] Speaker C: Well, we derailed fast. [00:02:10] Speaker B: We certainly derailed fast, folks. It is the random photography show. We are going to cover industry news. We're going to look at your images. We've got some crazy news from Justin. I don't know what he's up to. It scares me sometimes when I see these little prompts for the Monday night [00:02:23] Speaker A: because Greg doesn't know. No one knows. So that's why it's actually really. [00:02:28] Speaker C: Do you know, Jay? [00:02:29] Speaker A: I know I do, but no one else does. [00:02:31] Speaker B: So. [00:02:32] Speaker A: Crazy news. We'll get to that in a little bit. You and Bruce have got Some stuff to talk about. [00:02:38] Speaker B: We do, yeah. We've got a little beef up update. We won't bore you all too long with it, but we definitely need to give that update. [00:02:45] Speaker A: And then actually first let's, let's say a flying hello to who people are already in the chat. And then I want to talk about last week's interview because here. And he's an expert. Oh, we've already got. So Dennis has already been guessing what my big news is. He said, I reckon Peak Design have offered US$37,432,562 and he's off to the south of France. Good guess. Very good guess. [00:03:14] Speaker B: Or. [00:03:14] Speaker A: Or it's a gfx. Much better guess. Much more realistic guess. Good evening, Philip Johnson. 32 days to beef up and counting. Absolutely. [00:03:25] Speaker B: Yes. [00:03:26] Speaker A: Oh yeah, I got the thing I gotta pay for our accommodation that come through. They're like, if you don't pay for it now, you lose it. I was like, oh yeah. [00:03:33] Speaker B: I'm a bit short this week, boss, so. [00:03:35] Speaker A: It's all right, it's all right, I got it. I'll send him. I don't know all the change from the. Underneath the seat in my car. Yeah. Who else is here? John Latimer is here. [00:03:45] Speaker B: Well, only fans are here. Only fans is quite profitable. [00:03:47] Speaker A: Not for me. [00:03:50] Speaker C: True. [00:03:50] Speaker A: I've seen your I'll be the first bankrupt only fans person, Chris. Yeah, exactly. I've lost four grand. Okay. Richard Mahal, Felicity Johnson listening as I run around packing for a holiday to Hobart. Oh, well, have fun. Look forward to seeing the images. [00:04:09] Speaker C: Hope that's too far south. It's no. [00:04:12] Speaker B: Yeah, no, disagree. Long sessions where it's at. [00:04:16] Speaker A: Yeah, it's a good spot. Not too cold. [00:04:20] Speaker C: I'm trying, I'm trying not to derail [00:04:22] Speaker A: too much Rick Nelson, Nev Clark, been in Perth, even did street photography, which is my weakness. Well, that's cool. Just take the were you duel Q3 in the streets with the 28, then the 43, then back to the 28. [00:04:37] Speaker C: That's an interesting town to do it in because it's not very high unlike a Melbourne or a Sydney. So yeah, [00:04:45] Speaker A: Phil Thompson's. Hi everyone from Geelong. I'm watching and listening as I'm editing an opera dress rehearsal shoot. Very cool. David Skinner. Oh look, the original Ron Johnson. Hello, boys. Curious that you've still got a big N as your. As your thing, Nick. Didn't quite get that one dialed in, did you? Profile pictures are big in. What else? John Pickett and Parabellum Tony, Seer, Fermi, Paul. Everybody's here. Craig Murphy. [00:05:22] Speaker C: Yeah. [00:05:23] Speaker A: Wow. Sleeping bags in HQ for lucky straps. They would let us sleep in there if we had to. Yeah, they would let us. [00:05:29] Speaker C: That would be cold. [00:05:31] Speaker B: Do you know that last year, was it last year, Justin teased me for months that he wasn't going to get an Airbnb. He was going to sleep in the van and I had to sleep in a tent outside the van. [00:05:43] Speaker A: And he thought it was because we hadn't been, you know, like we had. [00:05:47] Speaker B: And I kept hassling you to book. Oh, yeah, I've got to get onto that. [00:05:51] Speaker A: But the accommodation. No, how's that, how's that? How's that going to work? I was like, oh, I haven't had a chance to look at it. He's like, oh, I think it's booking out. I was like, no, no, no. Should be right. Yeah, [00:06:03] Speaker B: my tent sleeping days are over. Okay, let's. Let's just get that out there. [00:06:07] Speaker A: Fair enough. [00:06:08] Speaker C: Yeah. [00:06:10] Speaker A: Craig, Lucinda, everybody. Good to see you all. And before we talk a little bit about last week's interview episode, I just want to say I just got a. We've been posting some reels and things and some shorts and we put. We put a short up of Andy Campbell. And you remember Andy had like that crazy Astro background and he had his Astro green screened with an Astro shirt, so it looked his head was kind of just floating in midair or whatever. [00:06:35] Speaker C: It's a very common Andy Campbell thing to do. [00:06:38] Speaker A: Yes, but you obviously know that he's some sort of photographer, right? He can do some things. He's somewhat. [00:06:45] Speaker C: I've known Andy for a very long [00:06:46] Speaker A: time, so yes, he's somewhat known in the world of, I don't know, headshots. Didn't he say Prime Minister level headshots? Yes. Also astrophotography that people go, wow. When we say deep space stuff. So Ronnie JZ has commented on this. If a bad photo is McDonald's, then this video. Video's quality is throwaway food rejected by the homeless. I said, well, lucky he's not on there talking about video quality. He's talking about photography. And he said he shouldn't be talking about any quality in a video of this quality, to be honest. Ouch. Oh, well, I'm sure Ronnie JZ's photography is right up there with Andy's deep space Astro fully matured. Six months of image taking for one photo. Anyway, last week, Doug Porter. [00:07:48] Speaker B: Doug Porter was with us last week on Thursday. We had a great chat. And for those of you who didn't watch. Make sure you find some time to go back and watch. It's a two hour episode or you can download the podcast version from all your favorite podcast version places and listen to it the car while you're doing chores. Like Bruce, he does sometimes. He listens to podcasts while he's doing chores. [00:08:10] Speaker C: It's true. But you know, this one, you need some visuals, I think. [00:08:15] Speaker B: Oh, there is that. [00:08:16] Speaker A: We did, we did pull up a fair few of his, of his images and so how would you, how would you describe Doug's work? Bruce, [00:08:25] Speaker C: an illustrative photographer. Illustrative, yeah. So like if you were looking at like back in the day when Australian, like the Australian photo, what do they call it? Australian Professional Photography Awards and the Appa and stuff. There was an illustrative category which was the com. Mostly a composited category. Now they have photographic artists in the Australian Photographic pies and stuff. And that's a common category where it's about construction of a photograph from other photographic elements. So it's not just one a single capture. It's creating something more than the sum of its parts. And that's, that's something Doug has excelled at for a very long time. [00:09:08] Speaker B: Well said. [00:09:10] Speaker A: Yeah, that is very well said. It's better now, I understand even better than I did after talking to Doug for two hours because it was, it was rolling around in my head sort of what is this style of photography particularly? I didn't realize in my head his images were a couple of images. It might have been, you know, a main subject and then a background and maybe another element or something like that and then a lot of editing. But a lot of them were 10. 10 images. [00:09:38] Speaker C: Yeah. And they can go. And some people do hundreds. Like if you look at Karen Allsop in Melbourne, she. Her stuff with animals and that can be literally hundreds. You had Chris Anderson is a good mate of mine on and he's done composite stuff. There's boat. There's a image of his which is of people on like an old school. Like it's not Viking, but sort of that stylish boat in the wet, massive weather, I think. I think that's got maybe 100 plus images in it. And if you look at it like the original image, it's just a boat on the dock, like a wooden boat. And he's kind of put all these things in there and people in it and stuff like that. Richard Wood's another good one. He's. He's a master at it and he's in New Zealand like Double Grandmaster or something like that. And his stuff is similar, but it's. It's. It's a style that's come out of, I feel commercial work back in the day where you had to make something, because compositing is very much a commercial entity. Like, people use it for advertising all the time. But this is taking it to, like, I. I don't know where the history is, but maybe, like, somebody decided to start, like, they started making book covers and stuff like this, and then people went, oh, I can make art like this. And then they make their own art from there. And. Yeah, it's a different way. Like, Doug's is. Especially his renaissance style stuff is very much. You can't do that without an insane budget. If it was in real life, like, this is either a movie set or somebody's paying hundreds of thousands of dollars to get the location, get the people, get the costumes and everything else. [00:11:15] Speaker A: Yeah. [00:11:16] Speaker C: So, yeah, it's. It's a different art form to do it well, because disparate elements have to be put together in a way. So you need to know how to take the images in the best light you can and how to put them together in Photoshop and then how to make sure that they fit together in Photoshop. Because, say, if you shoot something this big and it needs to be this big, then the pixels will change and vice versa, like the resolution. And that mismatches part of the problem. That's why you. A lot of the time, you'll see textures added over the top to try and fix those little issues and that there's a lot of little tricks and dips in there. [00:11:54] Speaker B: Yeah. [00:11:55] Speaker C: To actually do it. [00:11:55] Speaker A: So I did wonder about that with different focal lengths, different cameras. Like, he's shot stuff on different cameras and blends. Blends it together. [00:12:03] Speaker B: So. [00:12:04] Speaker A: So there's obviously a lot of work behind the scenes to make that stuff look. Look cohesive rather than. If I did it, it would just be this obvious thing stuck into a photo that's completely different color and, you know, resolution and. [00:12:17] Speaker C: Yeah, you gotta. You gotta think about your color. You gotta think about where the lighting's coming from across the whole image, and if. Make sure it makes sense. This is the same thing that happens in VFX for movies, by the way. So you need to do that. You need to think about your perspective, where your focal points are, where your level is, and the things. One of the things that people get wrong when they're doing it is if you've got something like your hand or something like give a really extreme example. You put somebody in there with a fluoro top on like a, you know, a worker or something. You wanted to make a scene of workers on a field or something. You got to remember that light bounces off things. So you don't just put the person in with the orange, say, as they've got an orange top. You need to make sure the environment that's close by has a tint of orange in it because that's what happens in the real world. Things like that are like the things and contact points for shadows. Shadows are another big one. And how they can be quite soft, but right underneath something like your feet, they'll be like almost pitch black and things. So like this. There's so much to it. [00:13:27] Speaker A: David Skinner says it goes way beyond cut and paste. [00:13:31] Speaker C: Oh, yeah. [00:13:31] Speaker B: Indeed. [00:13:32] Speaker A: Oh, yeah. Philip Johnson says Doug's photographs reminded me of the pictorialist movement in the early years of photography. I'm not familiar with that. [00:13:42] Speaker C: Yeah, it's, it's a, it's just another style like. Yeah. People setting up scenes and stuff. Yeah. [00:13:51] Speaker A: So my question was obviously it, it's, it's a stunning display of, of technical ability in post processing. But also I don't know whether it's like pre visualization or seeing. Even if it wasn't maybe in the moment of capture that you were visualizing what you might be able to construct, but seeing it later, being able to see some elements and think, I can make something from this. And you need your brain to kind of be able to fill that in before you even start moving the mouse around. Otherwise you kind of. You'd just be shooting in the dark, trying to make something that you don't know what it's going to look like. It's quite, quite. I don't know, the imagination required is quite mind blowing to me. [00:14:34] Speaker C: Yeah, I think there's a lot of sketching involved as well. Like, you know, it's a lot easier these days with subject selection. In Photoshop, you don't have to do it well, you could just dump things on the canvas and go, I'll put things here and here. I think that looks okay. And then you go, oh, there's a. Interesting idea. And build from there. I don't know everybody, every artist has a different way of doing things. I know some people preconceive it from the beginning before they even shoot. And others like Doug, who's going out and finding elements and then combining it together is another skill unto itself. [00:15:06] Speaker B: And he's a library that he calls upon too he's got folders of different elements. You know, go into the people folder and look for the right people and yeah, all that stuff. [00:15:16] Speaker C: Yeah. I remember Karen, Karen Alsop saying she had a. Something like 100 gigs in Adobe Lightroom cloud of elements where she would just. And one of the. And if you look at the rules in the Australian photograph course because she was one of the people who created it with Robin Campbell and his wife who was the person who trained me to be a judge and is also another amazing photographer but has moved on since she's doing some other cool stuff. They, she. She put the photographic artist in as a category which had no date limit. Because the biggest thing when making going to awards is a lot of time. It's like a two year limit on elements in a. In a photograph that can be used, has to be shot in the last two years. But people like Doug and Karen and that might have an element they need and it's 10 years old and it's only for this little bit and it might be something they can't ever get again. So that's one of the reasons why in that competition that has no time limit on the elements but the. In the actual composite creation itself needs to be within the whatever two years or whatever market is. So yeah, it's lots of stuff in there. So I don't do it much myself anymore. I used to. [00:16:38] Speaker A: Last thing, I want to know if you can just do this with AI now rather than Photoshop. [00:16:46] Speaker B: Do it with a prompt like Chicken Man. [00:16:47] Speaker A: Put some in your head like the Chicken man we created. Put some, you know, put some prompts in there and maybe you start with your images or whatever or some of your images and get it to blend it together. Is that the same thing? [00:17:05] Speaker C: I don't think it is in some respects. And in some respects it depends on how the tool works. If you're just giving it and go make something for me and it just puts it together with no thought or reason, then probably no, definitely not. But if you, you can say like as I said before, like you can use the subject selection in Photoshop now and you can use the AI to do that and that's not generating anything but it is definitely giving you a faster starting point. So that's cool. But if you're using prompts to make stuff. I am. I'm not sure I personally think just like anything like the skill is in the labor that is made who makes it. Like you could do a lots of knockoffs and stuff like that, but people, people still handwrite letters and do cursive and you know, paint and stuff because they like the act of it. Like, yeah, the bespokeness is part of it. Like and hey. And, and the intent of the artist and how they put it together. Writing a prompt has some intent. I aspires. But. But are you controlling all the elements? I've got a few friends who are definitely dabbling in that field. I tend to not engage with it, to be honest, because I'm very not anti AI, but I'm very not. I don't see the value in it in that respect yet. When you're doing most of the work using a. Just a prompt. I prefer the idea of somebody creating something by hand. [00:18:42] Speaker A: Well, you're certainly relinquishing some control if you, if you get, if you put a prompt in and it says, okay, I'm gonna, I'm gonna take what you've said. You, you want the lighting to be coming from, from the right hand side of the frame. A sunset style lighting from the right hand side of the frame. I, I'll fill in the gaps there with what I think that is. So it's doing some of the thinking for you. Yeah. As opposed to you doing granular thinking, I guess on each, each part of what needs to be manipulated in the shop. There's nothing where you're like spinning the wheel and saying, oh, let's see what it comes out with. If I do, if I just press this button and it goes randomize this. [00:19:21] Speaker C: Well, it is a rule. [00:19:22] Speaker A: It feels like. Yeah, yeah. Sometimes it's amazing and sometimes it's garbage. [00:19:27] Speaker C: Yeah, yeah. And it is a roulette in some respects. When you do that prompt, you've got no idea what it's going to do. And that's. And people get to the, you know, these prompt Experts now, like 12 months ago people didn't know that existed where they know how to tailor the prompt to get the thing you, you think you need in the least amount of effort and that. Okay, that's a skill set that it's probably going to become bigger and bigger and as things like SEO and that die off. [00:19:53] Speaker A: Yeah, [00:19:56] Speaker C: but. And I don't think we're going to get away from that in the world. But you know, I think just like anything art people appreciate the artist for how they do it and the story they tell while doing it. There's going to be a lot of people who are just going to make stuff with AI prompts and stuff like that and well, that's just going to be the world just like all, you know, until once we got phones on our cameras and that it was more of a luxury thing to be to do photography at any scale. And now everybody does it. And yeah, we heard a lot of people bitch and moan about, oh, you know, phone photographers and stuff like that, but now we just accept it. Like we hasn't. It hasn't diminished the skill on the craft of using like a, you know, a mirrorless or a DSLR or a film camera or a medium format or anything like that. Yeah, it might be few of us, less of us around, but people in. I think the people who care about this know that it matters. Um, yeah. So. Yeah, I don't know. Is that a good answer? I have no idea. [00:21:05] Speaker B: That's a good answer. [00:21:06] Speaker A: I think it's a good answer. It's a good answer. The only thing that popped in my head when you said, you said that something about the putting the work in and being in control was important. And the only thing that popped into my head I thought, does that matter if you're taking a photo on auto vs shooting in manual? [00:21:28] Speaker B: Is it slippery slope? [00:21:30] Speaker C: Yeah. [00:21:30] Speaker A: Yes, I know, but. I know, but it's sort of like, hey, if the camera just made all the decisions for you, is the photograph somehow less something than if you chose each element of how the photograph was going to be captured? [00:21:44] Speaker C: Yes and no. No. I'm going to say no on that actually because you still got to point it in the right place and you making a decision what you're pointing at and when you're pushing that but button. [00:21:55] Speaker A: Yeah. So you're, so you're saying that the overall moment, composition, everything, those choices are so much more important in photography than what shutter speed you picked in that moment or what. [00:22:06] Speaker B: Yeah, yeah. [00:22:07] Speaker C: The intent of what you're shooting. [00:22:09] Speaker A: Yeah. You still captured a moment. It doesn't matter that it was that a computer said, hey, what about roughly these settings that are probably pretty close to what you would have picked if you were shooting in manual anyway? [00:22:19] Speaker C: Yeah. And like, and like the, you know, the triangle, if you want to call it the exposure triangle is just a mathematic equation based off a meter anyway. So it's, it just has priorities of which way it's going to move things. It's not thinking about anything. It's literally there is no thought in it. It's just like I've read this, you've told me this is the instruction set to manipulate the controls on this camera to make a decent image. So. Yeah, yeah. [00:22:50] Speaker B: And most of that Most of that relinquished control is about exposure more than anything. [00:22:55] Speaker C: It's all about exposure and those things. Yeah. So. Yeah. And white balance. So how. How do you shoot with auto white balance always? [00:23:06] Speaker A: Yeah, I do. And it doesn't get it right very often, but, yes, it does. And then I change it later because I'm lazy. [00:23:14] Speaker C: Exactly. [00:23:15] Speaker A: There is actually a lot of times when I'll. I went to a Jerry Jonas workshop years ago, and he was. He said, I basically shoot everything on Cloudy. He's like, most of the time, if it's not cloudy, because he just wants warm images. Yeah. He said it just warms the skin up a little bit nicely. And he's like. And I just like everything to be this. I don't want the camera jumping around. I don't know if he still does. This was a long time ago. He's like, I don't want the camera jumping around. You know, all day, different white balances, guessing what it wants. I'll just set it on that and then figure it out later. [00:23:43] Speaker C: I was like, that's probably back in the end, back in the day, where lightroom was slow as shit to actually select every image and go make it. This white balance. Oh, actually, no, that was yesterday. It's still doing that. [00:23:56] Speaker A: It's gotten slower recently. Anyway. That's a whole nother. That's a whole nother topic. There's a couple of good comments here. Glyn Lavender, Creative Photo Workshop says people take photographs of someone else's graffiti and call it this, their art. [00:24:09] Speaker C: Yeah, I have an issue with that too. [00:24:11] Speaker A: Well, I do, too, but I also. My response would be people take photos of someone else's face and call it their art. You know, like, you can say that about lots of things, I guess, you know, like, if I take a photo of Bruce's face, is that really my art or is that Bruce's face? [00:24:27] Speaker B: Well, you'd have to speak to Bruce's parents because they own the original copyright. [00:24:30] Speaker A: That's right. So. So there's that. What else Greg Carrick wants to know, will AI ever be shown at a gallery? I'm sure it already has been. [00:24:43] Speaker C: Already has been, I think. Did the Biennale and Ballarat have an AI part as well? [00:24:55] Speaker A: I think so, yeah. Nev Clark says eye detection is that AI is stacking images. AI? Yeah, detection. Pre capture. I don't think pre capture is AI. [00:25:10] Speaker C: No, that's just running the motor before [00:25:12] Speaker A: you hit the button and look a lot. A lot of like. I don't know how this actually works too, because I Don't know how AI works, but I don't think if you've got AI bird detection, it's not actually running AI in the. No, it's trained on AI and then it's installed into the camera's firmware. But it's what. The camera doesn't have AI in it, does it? [00:25:38] Speaker C: Okay, some doctor here is one of the biggest marketing annoyances ever. And you can see why, because AI is a simple term to use for everything. Machine learning is what it is. Machine learning has been around for well over. Like I was doing university two decades ago. It's been around for a long time. It's just gotten better and better and better. Things like the eye detect and stuff like that, machine learning, it's been. They've trained a neural network to learn it and then they go, here it is. They put it on your machine, on your thing and it goes, okay, I'm looking for these things to say it's a bird or eye or a face. And then just has rules against that. It's not generating anything. It's all been put in before. I use. I've been using machine learning now called AI for well over a decade in audio production because you can do good stuff like audio remote noise removal and stuff like that out of audio. And a very simply and fast and efficiently. We need to separate machine learning tools from what is generative AI, which is the stuff that you prompt and it makes something for you. So things like your autofocus and stuff like that. But they say AI, it's just had it got an algorithm programmed in it which is now super efficient, probably made with an AI to actually do the job. So that's to me, is a tool that is not something that is creating anything that is just helping you. So. Yeah, yeah, sorry, I get a little bit high horsey about that one. [00:27:24] Speaker A: Yes. No, that's what we want. This is a high horse. It is, yeah. You rode in on a horse. Now, where was I? Some comments. Margaret Metcalfe did a big AI exhibit at Ballarat Photo Biennale. [00:27:42] Speaker C: Yeah. [00:27:44] Speaker A: Nathan says I can second that. Shoot most stuff in Cloudy unless using flash. Yeah, nice. It's consistent. I do it sometimes for mountain bike photography if it's. If it's the same conditions. I just want to see way closer to what it reads. Big green grassy hills. Sometimes Canon reads it quite cool. And it doesn't look anything like my finished photos are going to look. And I just want to get it closer. So throw it cloudy. [00:28:06] Speaker C: I'm a shocker for just setting The Kelvin. [00:28:10] Speaker A: So I was doing it for a while when I was shooting JPEGs. Because I shoot video. I've got the canon control ring set to Kelvin. So I can, I just. Whenever I'm shooting video, I'm constantly just setting the. And I'm like, I should just do this for stills too. I just don't. But I should because I just didn't [00:28:28] Speaker C: have it from video land for me. [00:28:30] Speaker A: Yeah, because in video there's no. I mean you can change it, but it's not fun. Doesn't look great when you mess around with white balance on, not on, not raw video. So yeah. [00:28:41] Speaker C: Or you use it in a way, like creatively, like have a different color temperature to, you know, like if you're in a 56 Kelvin space and you want to do different things, you might set it at 4200 or something like that. So as Greg seen me do it in. When we did the streetwalk Youngs ago in Melbourne, I deliberately like put my camera at 2600 to make it really blue. [00:29:11] Speaker A: Oh, nice. All right, all right. Tony says announce your news. You clickbaiting. [00:29:25] Speaker C: I forgot about that. [00:29:29] Speaker A: Dennis says, I know the news. Justin realized he shot the entire Africa trip in Jade, Peg and 720. Oh, I did get to shoot it all, which I loved. I did get. I didn't have to shoot in log, which was so good. I hate shooting in log. [00:29:43] Speaker B: Oh, what? [00:29:44] Speaker A: I just, I do it all the time. No, I don't hate shooting it. I hate color grading. I just, I don't do it. And I said to Matt, I was like, obviously you want log. And he's like, no, I'm not color grading this. Just shoot it. Right? And I was like, sweet. That's how I do it for my commercial clients. They, I, I switch. I went to log, then I switched back and they never noticed. And I don't have to cover anything. I just. [00:30:08] Speaker C: Unless you're working with high end people, I generally have no freaking clue. [00:30:12] Speaker A: No, These are for YouTube videos and stuff. Like, these are just for, you know, business stuff. Business youtubes. Okay. I will get to my news. We do the beef up stuff before that. I think we should. And that'll give. If anyone wants to have a guess about what my news is, throw it in the chat and I'll do. What's it called? Unveil, release, Unfurl the news. After we talk about what Greg and Bruce have been up to. [00:30:38] Speaker B: Yeah. [00:30:38] Speaker C: Okay. [00:30:40] Speaker B: So Brucey Bruce and I have been working on a Little project for BFOP which is in 32 days. As Philip Johnson said, we've organized a print swap project that will allow people to not only see their own works in print, but to share those works with other people and swap prints at designated times throughout the weekend. The Beef up weekend. You'll show up with your prints at the print swap, might be for an hour on each day and you'll swap prints with people and you'll have a chat and you'll talk about their prints and then you'll go away and you'll have a, you know, at the end of the weekend, if you do it right, you should have a great collection of other people's artwork and images and they will have a collection of, you know, yours will be included in other people's collections. So Bruce and I have put together a little bit of a project we're sticking to. We're both quite childish and nerdy, so we're sticking to a Pokemon esque theme. And for those of you who don't know Pokemon, little Japanese creatures, that there's hundreds of them, apparently. And you can collect trading cards that represent each of these little Pokemon monster things. And so we're going along that sort of route about got to collect them all. And we've got a few surprises thrown along the way. So difficult it will be. But that'll be the fun of it, Bruce. Yeah, can't make it easy for people. Got to make them work for it. So we're doing this print swap project. It is called the beef up 2026 print swap. Gotta collect them all. Proudly brought to you by BFOP camera house, Croydon. It is also brought to you by Lucky Straps and the Camera Life podcast. We needed someone to pay for stuff, so that's why I've thrown Justin's names in there. Anyway, Bruce, do you want to take it from here and give a little detail? [00:32:31] Speaker C: All right, so there are instructions in the BFOP portal. Basically we're only printing one image, but 20 times, you're basically having 20 versions. I've got mine here. You want one of these? [00:32:48] Speaker A: Nice. [00:32:49] Speaker C: All right. You also upload your image to us and the reason why we're going to do that is we're going to make a big poster and we're going to give you a number on the back. I haven't done this yet. You'll write what the image is called. If you've got a name for it, write your name. It'll be like, I've got to actually write this all out still. I'm going to. All perfectly written out, perfectly or whatever. It'll be like BFOP 20, 26 and your car, your image is number two or 32 or whatever it is. So everybody will have a numbered photo. And so I could go to Greg and go, hey, do you want to trade? And he can go, yep. And so he might have photo three and I've got photo five and then we just trade. So you can use the image, the poster, which will make up like as a. Oh, who's got what? And what would I like to try and trade to or get to. Because, you know, you know, not everybody's going to like everybody's work and that's fine. But you can also, like, try to get the variety or collect them all. Now it's going to be interesting if we get more than 20 people. That's actually not going to be possible to trade for everything. So you're gonna have to be a little bit like, you might go, okay, I'm trading with Justin and I like Justin's, but Greg's is better. So I'm gonna trade my Justin's for Greg's. [00:34:12] Speaker A: So. So, okay. Because that's what Glenn brought this up. He said only 20 people out of 500 attendees. So. No, it's not. It's not capped at 20 people. As many people as they want can participate. But where are we capping? They can only bring 20 images. We're going to go max, 20 per person. [00:34:27] Speaker B: So in the flavor of the project, 20 images, 20 copies of one image. [00:34:33] Speaker A: And so then the max I could collect. And unless someone just gives me images, the max I could collect is a set of 20. And then I can, I can keep mixing and matching and trading until I get the 20 that I'm happy with. [00:34:48] Speaker C: Yeah, yeah. Or, you know, I. Some entrepreneurial person will go, I'll give you these three for this one. Or I trade my whole. [00:34:57] Speaker A: There's a whole one. Bruce Moyle. [00:34:59] Speaker B: Yeah, whatever. [00:35:00] Speaker C: You know, there's a whole thing there, so. Which. It's just a bit of fun. It's not meant to be. Meant to be com. Like, you know, I don't want to. [00:35:07] Speaker B: Serious or competitive. [00:35:10] Speaker A: No snatching. You can't. It's got to be a trade. You can't just steal. [00:35:14] Speaker C: Yeah, yeah. So. So the idea is just that, one, to get to know other fellow beef hoppers whom you may not know. Two, to get some work off your camera, off your computer, into a space. Yes. Prints from Office Works or Croydon or ever may not be up to your standard. I know I've got my big printers Here. But it's not about being perfect image wise, it's about just enjoying the trading and meeting fellow beef operas. And like, if it works, then maybe we'll continue it following years and you can build a bigger collection and maybe people will start bringing early years in it. I don't know. That's. That's a future thing. On top of that, we do. We're going to do this as well. This, I think. I don't know if it's been added to the website or not. So basically I just grabbed every photo album I could out of officeworks, which you'll be able to buy from the website, and it's just for $10. And basically the website. Bfot website. So it comes to me, the money comes to me. Joffrey Street Productions. But what's going to happen is after we've paid for all these, which are actually really cheap, so don't expect amazing quality, all the excess funds will then go to. What was it? Can you tell me? [00:36:33] Speaker B: So we've. No, we've set up a charity and. Yeah, the Bruce and Greg Coffee Charity. [00:36:39] Speaker C: Yeah, it is, it is, yeah. [00:36:40] Speaker A: The burger fund. [00:36:42] Speaker C: Yeah, we need. [00:36:42] Speaker B: We both need a trim before beef up. No, it's for. All proceeds that are remaining will go to the Royal Children's Hospital foundation in Victoria. So we're donating the leftovers to a good cause. And yeah, look, like Bruce said, we're just doing this to have a bit of fun, to get images off your Instagram and actually physically hold your print to start with and just revel in that marvel. And then you can swap them with other people, you can share your work, you can celebrate other people's work, you can get feedback on your images if that's something you're looking for, and it'll just get a conversation about printed images going in the community. [00:37:20] Speaker C: So. [00:37:20] Speaker B: And just for Glenn. Lavender. Glenn, you can just fuck off, all right? Just stop commenting. [00:37:25] Speaker C: You're banned. All right. [00:37:27] Speaker A: Glenn said the theme, collect them all, is a false dawn. I guess so. Well, I mean, you could. Like Bruce said, if you're. If you're crafty, you might be able to trade one image for five other images and slowly ladder up. I don't know. Didn't a guy trade a paperclip for a house over a couple of years or something? [00:37:46] Speaker B: That's right. I remember that. [00:37:47] Speaker A: That rumor or whatever was getting out. So you never know what happen. [00:37:50] Speaker B: Story. Yeah, yeah. [00:37:52] Speaker C: So, Glenn, if you want to pay me a thousand bucks and I'll get one of each image for you, that's fine. Like if you're on the whole, [00:38:01] Speaker A: I [00:38:01] Speaker B: think he's just salty that his images are. And no one's going to want to swap with him. [00:38:05] Speaker A: He's. He's going to struggle to choose which one he wants to, to put in there. [00:38:09] Speaker B: But yes, it will be a. It will be available to befop workshop instructors and anyone from the Beef up admin team as well. We want anyone to be involved in this, you know, at any level. But there'll be a couple of little sneaky twists and surprises along the way. [00:38:27] Speaker C: For the BFOP instructors and admin, there is an email separately going out as well. Just. Yeah, because not everybody watches the podcast and that. So. [00:38:36] Speaker A: Yeah, yeah, I'm sure they'll be able to figure this out. Glenn says instructors don't have access to the portal, so they can't access the swap. [00:38:43] Speaker B: Yeah, we've got a workaround for that. [00:38:44] Speaker A: There'll be a workaround for that, Glenn. [00:38:46] Speaker C: That's part of the reason why I'm sending an email. [00:38:50] Speaker B: Can I just talk a little bit about Camera house Bruce? [00:38:53] Speaker C: Yeah, 100%. [00:38:54] Speaker B: Yeah. Cool. So the good people at Camera House, which is, that's their logo, Camera House Croydon, who are massive supporters of, of the Beef up festivals. Beef up doesn't happen without them. All those folks that you see at trade tables and from industry, they're all backed by Camera House Croydon. And Camera House Croydon have an amazing offer for us. I've just done it. Mine literally just arrived today, so I'm going to open those in a second. But we've set some conditions around what prints we want you guys to. When we, when we, when you get your images printed, we want very specific sizing and things like that. We're going purely with six by fours. Nothing bigger, nothing smaller. All prints will be six by fours. Now, Camera House Croydon, they've set up a process which will be on. No, it is already on the, the Beef up website. For $4.40, they will print your 20 images, your 20 copies of the single image for $4.40 and they'll even post it to you in Australia, anywhere in Australia for $8.40 total. That's the cost of the prints and the cost of postage. So we've really tried to keep. And this is another reason why we didn't say bring as many prints as you want because we're trying to make it affordable and accessible for everyone. So we've kept the cost of that under well under 10 bucks. And then of course it's up to you whether you choose to invest in one of the gorgeous Bruce hold it up for us befop 2026 print swap photo albums it might be in your interest to invest in one of those that's as much as I'm going to say it might just be in your interest if you're keen got a collectible print swapper but the process for the Camera house printing of course you can go get it done at Officeworks or Big W or Kmart or do it yourself if you've got a printer at home but if you are going to reach out get them printed then we, we obviously strongly recommend Camera House so they've just sent me mine I said Australia Post is quite slow at the moment for sending regular mail parcels next day but regular mail you're going to have to wait so make sure you factor in time for your prints to arrive But I put through this request and Nigel had Nigel from Camera House had sent me a reply within like half an hour to say it's done, we'll get it out to you Crazy. And they come really well packaged There's a slide of cardboard in the thing they're in a Camera House envelope and yeah there's my prints well that's the [00:41:22] Speaker C: Greg print so you could have, you could have, you could have this one or Greg hold yours up or that one [00:41:31] Speaker A: I haven't decided on mine yet I'll still be trying to pick an image the night before we drive to Bright I. I'm so. I don't know I've got a printer. [00:41:43] Speaker C: No, no, I'm going to take that [00:41:44] Speaker A: to Bright no, no, you're gonna do [00:41:46] Speaker C: it in six by fours eh? One of the reasons why we did [00:41:54] Speaker A: this not only am I going to print six by fours I've bought like six different types of six by four paper to try and decide exactly how I want mine to look Gosh, I [00:42:04] Speaker B: love how your brain works so much [00:42:08] Speaker A: amazing $4.40 I've seen I've invested slightly more than that so far just in [00:42:16] Speaker B: natural to pick stuff up There was a question [00:42:21] Speaker C: Justin has done by the way the whole point is to do [00:42:24] Speaker B: this cheaply it's optional it's just making it accessible for everyone Great question, excellent question from no that was. Who was that? Yeah, yeah from David could you pick up your prints from Camera House at B fob we're going to say no to that because Camera House have enough to do they got a lot they've got, you know they bring a truck load of stock for the vendors to sell and for them to sell. They bring a lot of other stuff. They bring a whole team of people. They're all incredibly busy all weekend to get the prints done. That's your responsibility. If you want to be involved in the print swap at BFOP this year, then you need to be responsible. But remember, there's two stages to it. The first is to submit your image and there is a link on the Beef Up Australia website. Once you've logged into the print, just choose one image printed 20 times, but you submit that one image to us so that we can then register you for the print swap with your details and we could assign you a print swap number for that particular photo, whether it be number one or number 13 or number 45, depending on how many people we get. [00:43:28] Speaker C: Yeah. And then, yeah, we're gonna, I'll email you at some point to say what number it is. So when you get them you can, you can write on the back all the details. And so you gonna have to have a decent pen or something to write on the back of your paper. [00:43:42] Speaker B: So like a Sharpie, don't use a ballpoint because it dents, it embosses the, the paper. [00:43:47] Speaker A: Oh, yep, I'll do something. [00:43:49] Speaker B: I'll use a Sharpie. You combine a whole bunch of different pens. [00:43:53] Speaker C: Might need to write that pro forma email. [00:43:58] Speaker A: All right, the. I just want to quickly say, so this idea kind of, kind of come about a little bit from our episode with David Immel. He was talking about David print swaps. [00:44:10] Speaker B: Yep. And Chris Anderson, Bruce's mate. Chris had been doing print swaps with friends in the, in his community. He mentioned on that interview as well. And yeah, he and I are still trying to organize our own print swap. Just sending one image to each other. We're terrible at it. But yeah, it came from, it came from a few different inspirational sources and we thought, you know what, and we've often talked here on the podcast about print it, print some of your images, go out and get a shitload of six by fours from officeworks and print, print your last shoot and just look through them, you know, just experience your images in a different format. [00:44:49] Speaker A: Dennis is going to print a one of one. So he won't bring 20, he's going to bring one and then he's going to destroy the file once it's printed. So it is truly only ever to be a1of1, somewhat like this one of one of Dennis's that I have. Yeah, there's only one of those. [00:45:06] Speaker C: I don't Know where mine is? [00:45:08] Speaker A: Yeah, mine slipped down the back of my desk, and I found it a couple of days ago. [00:45:17] Speaker B: Yeah, Dan will be in touch. We have some plans. [00:45:21] Speaker C: That's all. [00:45:21] Speaker B: I'll say. [00:45:22] Speaker A: Okay, well, we're a long way into the show now. [00:45:25] Speaker B: We are. [00:45:26] Speaker A: All right, we've got a lot of news to get through. I'll tell you my news. If anyone can guess my news before I actually get to the end of the story, which is only going to take about 6, 60 seconds. If you can guess it before then, not including Tony. If you can guess it before then, you will get one of our new pieces of Camera Life merchandise that will be launching very, very soon, right around the same time as bfop. Some very. [00:45:55] Speaker B: Why not Tony? Have you already. Have you told Tony what's going on, but not me? [00:45:59] Speaker A: Look, all right, let me tell you the story. So last time I had massive news, I had recently just found out I'd be going on an African safari in, like, 13 days. And that was very exciting. This is more exciting. I went on a photo shoot, one of the most crazy niche photo shoots you could ever imagine. Photography gear that I've never seen it, like, it's hard to even explain. [00:46:34] Speaker C: Let me. [00:46:34] Speaker A: Hang on. [00:46:38] Speaker C: I'm intrigued. Where is it? So you saw a camera which has manual controls. [00:46:46] Speaker A: They are lots of manual controls. Yeah. You'll never believe. No way. [00:46:54] Speaker B: That's right. [00:46:57] Speaker A: Better than Japan. There's gonna be a photographer, guys. Oh, thanks. [00:47:02] Speaker C: God, that's so good. [00:47:03] Speaker B: Oh, congratulations to you. And you're like, I'm assuming that's in Yelena, that one? [00:47:07] Speaker A: Yeah. That is her name up the top there. Yes, yes. [00:47:10] Speaker B: All right, good. I just wanted to check. I don't know. [00:47:11] Speaker C: I don't. Look, the way you put that. [00:47:14] Speaker B: No judgment on your lifestyle, truly. No, but seriously, congratulations. That's amazing. That's. That's incredible. [00:47:22] Speaker A: I believe. I believe Greg Carrick threw it in there just before, so he gets himself a hoodie. So, yeah, that's. That is my big news. I was like, I should tell Greg before the podcast. And then I was like, you know what? I should tell Greg on the podcast. That'll be more fun. [00:47:37] Speaker C: Oh, no way. [00:47:39] Speaker A: So, yeah. [00:47:39] Speaker B: Hang on. Hey, Sash. Justin, baby. [00:47:43] Speaker C: That's funny. Oh, that's so cool. [00:47:47] Speaker B: Wow. And how far along are you guys? [00:47:51] Speaker A: It's funny when people like, oh, so how far along is. I'm like, I haven't done anything. [00:47:57] Speaker C: How far? [00:47:58] Speaker B: I mean, effectively, I'm asking how long since you had intercourse, but we'll go [00:48:02] Speaker A: with the first version, about 18 weeks, due in February. [00:48:07] Speaker B: Puppy and a baby. [00:48:09] Speaker A: I know. [00:48:09] Speaker B: Oh, my God. You're living the dream. [00:48:11] Speaker A: Bad idea. [00:48:15] Speaker C: Yeah. [00:48:15] Speaker B: But a dog. A child growing up with a dog is priceless. [00:48:19] Speaker A: Oh, yeah, I like that thought. [00:48:21] Speaker B: Yeah, absolutely. So, yeah, Brendan grew up together and they were best friends. [00:48:27] Speaker A: If anyone has parenting advice, I'm all ears because I have no idea what I'll be doing. [00:48:31] Speaker C: Yeah. [00:48:32] Speaker B: Yeah. Now that I think about it, I'm kind of quite scared. [00:48:36] Speaker C: That's incredible. Well done's very cool. Oh, that's so cool. Thanks. [00:48:41] Speaker B: Can we get little baby hoodies made? [00:48:43] Speaker A: Of course. Get anything, baby. I'm going to get a baby camera made. Maybe the X half baby's first Leica. [00:48:53] Speaker B: You can get the wooden ones. [00:48:55] Speaker A: That's right. [00:48:57] Speaker B: Yeah. That's so cool. [00:49:01] Speaker C: Can't wait to grows up and, you know, chooses Nick on [00:49:05] Speaker A: Nick. [00:49:06] Speaker B: I might be around there. [00:49:08] Speaker A: Imagine it just rebels. Goes micro four thirds. Like what? I'm kidding. Everyone that shoots. Oh, it's just, you know, we all heard it. Anyway, that's my news. Thanks, everyone. Incredible news for dealing with my clickbait. Including Tony. I think he's gone. It's like, oh, no, here he is. Tony, parenting advice. Tie a knot in it. Oh, And Tony already actually has baby lucky merchandise from the first time we did it years ago. [00:49:45] Speaker B: Oh, wow. [00:49:47] Speaker A: Glenn Lavender says, parenting advice. Ignore other parents advice. I like that. That's fun. [00:49:51] Speaker B: That's a good one. Nice. Oh, wow. [00:49:55] Speaker A: That's huge. Richard Hale says, as a parent myself, you have about five months to buy all the 50 mil lenses you can. Yeah, no more money after that. [00:50:04] Speaker C: Yeah, get your XC5. [00:50:07] Speaker A: Get it now. [00:50:08] Speaker B: Yeah, do it now. [00:50:10] Speaker A: Oh, yeah, Right. [00:50:11] Speaker B: Festival of parenting, everyone. [00:50:12] Speaker A: Start with the strollers. Yeah, that's good. [00:50:14] Speaker C: Yeah, that's nice. [00:50:15] Speaker A: That's a good one. [00:50:16] Speaker B: It's nice. Oh, that's so cool. [00:50:20] Speaker A: Lucinda says Uncle Greg's gonna babysit. [00:50:23] Speaker B: Yeah, if they let me in. Yeah, yeah. They won't even let me see the puppy at this stage. [00:50:31] Speaker A: Void Muppet says. I knew it. There's something growing in Justin's brain. I don't know, but it's funny. Especially because of the evil clippy in the profile picture. [00:50:46] Speaker C: Do like the title. Void Muppet. That's. That's kind of cool. [00:50:49] Speaker A: Yeah, that's good. [00:50:52] Speaker B: Nice. [00:50:53] Speaker C: All right, so, Greg, you better give us some underwhelming news now that that's been done. [00:50:59] Speaker A: Yeah. Another Viltrox. Let's talk about another Viltrox lens that's been released. [00:51:03] Speaker B: For some mountains, you should just end the show on that note. All right. [00:51:10] Speaker C: Should we. [00:51:11] Speaker B: Should we talk about some news with some lackluster news? [00:51:15] Speaker A: Also, Bruce, if you have to go, just yell out. If you want to stay, feel free. [00:51:19] Speaker C: What am I gonna do, chores? [00:51:21] Speaker B: Yeah, don't do chores, Bruce. Just hang. Just hang on. All right, let's talk about some news. I'll just. I'll just skim over most of these because we've still got some images to get to. And thank you to everyone for sending in their images for your. Your images section. We'll get to that very shortly. Let's start off with some lens news, a few bits and pieces. Oh, at the top of the list here, it says, Fujifilm release an XF 400 millimeter F 4.5. It has. [00:51:48] Speaker A: Why is it the top of the list? It's not even alphabetical or anything. [00:51:52] Speaker B: It's alphabetical. The downside of that is that. Well, for one, you can't get it. It's not in stock yet. But this 400 millimeter f 4.5 is currently retailing on our friend's camera house for just shy of $5,000. That's quite a chunk of change. [00:52:11] Speaker A: So was there one before this? Is this. Is this a new, like, 400? [00:52:17] Speaker B: Not. Not a prime. No. They've got a 500, 500 F 5.656. And then they've got a 200 F 2, which is one of Andrew Hall's favorite pieces of glass. He shoots motorsports with that every time he goes out. But this sort of sits. I saw someone call it the Goldilocks of the Fuji, you know, prime telephoto lenses. So, yeah, five grand. [00:52:42] Speaker C: That. [00:52:42] Speaker B: That's got to hurt. But, you know, it's a. It's a. It's a red badge lens. It's. It's kind of their top of the line. You would like to hope that it has the best technology on board. Petapixel have already done a review on the video, so you can go to the YouTube channel and check it out if you're interested. [00:52:58] Speaker A: Have you watched that? [00:52:59] Speaker B: Yeah. Yes. [00:53:00] Speaker A: What did they say? [00:53:03] Speaker B: They still question whether Fujifilm are fast enough for sports and fast wildlife. They still challenge that question. And they're not sure, you know, shooting. [00:53:15] Speaker A: So I wonder if they shoot any sports and fast wildlife. [00:53:18] Speaker B: I don't know. But they. They went out to a bird sanctuary to test it in Canada, and they ran into a photographer whom they knew, and he. They asked him about Fujifilms, you know, are they effective for Wildlife, birding and sports. The guy said, no, they're not there yet. I think they still have some work to do on the autofocus performance, you know, which has been a common thread and Fuji have put in effort to try and remedy that. Unfortunately, we're now looking at a lot of old lenses on new cameras that just don't match, you know, and I think they need to revamp some of their lens lineup, which should plug some technically and in theory it should plug that gap because if you're using latest technology for autofocus motors and response time in lens and you've got these brand new camera bodies that, you know, have the latest algorithms for focusing, you would hope that it would bridge the gap faster, more accurately. [00:54:17] Speaker A: Greg Carrick says Petapix are reviewers, not photographers. It's interesting because they're definitely photo like, I mean, I mean Jordan's a video guy more than a photographer, but yeah, that's the right order, isn't it? And then Chris is the photographer. Chris, even though I would say his primary job is obviously a reviewer, but he takes a lot of photos and aren't we all photographers if we take photos like he, he makes a lot of images. He's not, it's not like he doesn't press the button. [00:54:47] Speaker C: Yeah. [00:54:47] Speaker B: And they both, I mean, he's good at what he does, you know, he knows how to talk about a lens. [00:54:52] Speaker A: Yeah. [00:54:53] Speaker B: But, you know, he, he, he picked up a Fuji XE5 as his personal camera this year or at the end of last year because he thought it was, you know, a great body and an effective system for what he does. [00:55:07] Speaker A: Yeah, it is an interesting, it's an interesting thing though, the reviewers, when they're not going deep. Yeah, it is interesting because I know, and I'm definitely not a reviewer, but there's stuff that I have learned about the bodies that I own through putting them in situations that you can't put it, put a camera into in two weeks. Especially if you're not a working photographer. You just jumping into a pool, like jumping into a pool, shooting a wedding with it, shooting sports with it, shooting it at like underground really high ISO. Yeah. How does it focus? How does it like all that stuff comes about through time. And that's why I do I reviews sort of a handy thing for a quick overview. But then if you can find someone who is on YouTube or whatever but happens to have the time that this is, maybe this is their camera system, but they happen to have the time to put out like a. Hey, I've Been using this camera for a year and here are my thoughts. [00:56:05] Speaker B: Yeah, that's what I often go looking for those long. Unless it's a brand new release, I'll go looking for those long form reviews. You know, I've used this lens for 12 months. Here's, here's what I think, here's why I'm keeping it, you know, that sort of stuff. I find those quite helpful because. Yeah, I mean, you know, and they, they don't say that they're, you know, the best reviewers on the planet. They don't say that their reviews supersede all others. They, they are very good at getting and they're obviously trusted by brands because they get, they obviously get pre production gear well before anyone else. They are always the first to put out a video and we trust it and I think that counts for a lot, you know. So yeah, moving right along, Mika is making a autofocus 58 millimeter f 1.2 lens for Fujifilm X mount that's coming soon. It has been confirmed that the folks at Sony have a 400 mil and a 600 mil prime and a fisheye zoom that will be announced tomorrow. [00:57:10] Speaker C: Interesting. Fisheye zoom. [00:57:13] Speaker B: A fisheye zoom, yeah. [00:57:15] Speaker A: Which is like, it's kind of common. [00:57:17] Speaker B: Well, I've got that one from, from Lauer that I've been playing with. Yeah, I need to take that out more. [00:57:25] Speaker A: I think Canon's new fish eyes assume as well. Yeah, 7 to 14. [00:57:30] Speaker B: Yeah, yeah. [00:57:31] Speaker C: Okay. [00:57:31] Speaker A: Yeah, but it's, it goes basically from circle to, to a full frame, full frame fisheye look sort of. [00:57:40] Speaker B: Yeah, well, it seemed to be the flavor of the month at the moment. [00:57:43] Speaker A: Lots of people, everything comes back again. Maybe skateboarding's making a comeback. [00:57:46] Speaker B: Yeah, maybe. Yeah, maybe. In other news, Nissi recently presented a new 26 millimeter f 0.7 full frame lens. [00:57:59] Speaker A: Really? [00:57:59] Speaker C: Because you don't want anything in focus. [00:58:02] Speaker A: Yeah. Is that even a thing? [00:58:06] Speaker B: Well, is it like this big? It's massive. Apparently this lens is huge. [00:58:15] Speaker A: 2.9 kilos. [00:58:16] Speaker B: It's a three kilo lens and it's going to cost approximately 30 grand. [00:58:22] Speaker C: Have you, did you ever see the Nikkor 0.95, 85 or whatever it was the specialty one like the optic is, was bigger than my head. [00:58:34] Speaker A: Well, this huge. Do you know how big a red V Raptor is? [00:58:39] Speaker C: They're about this big because. [00:58:41] Speaker A: Yeah, because that. So this is on a V Raptor. You can see in the corner there. Yeah, it's big. [00:58:49] Speaker C: Pretty big. Yeah. [00:58:50] Speaker B: So I mean it's obviously going to have a lot of benefits in cinema, you know, in cine. [00:58:55] Speaker C: Does it say what the front diameter is on it? [00:58:59] Speaker B: No, I didn't see that. No, no, that's all this. It was presented as a show. [00:59:05] Speaker A: Doesn't look as wide as I thought it would be. [00:59:09] Speaker B: Yeah, I thought it'd be much bigger. Like, like, like that big nick on 50 mil. The 1.2. [00:59:14] Speaker C: That's huge. [00:59:17] Speaker A: This is an interesting little tidbit here. Curiously, in 1966, NASA used the Carl Zeiss Planar 50mil F7 for the Apollo missions. Full stop. Stanley Kubrick, acclaimed movie director that made fake things, famously had several of these lenses modified also at the same time, allowing him to shoot things that are dark and moon looking. Anyway, we'll just leave that one there. [00:59:50] Speaker B: Yeah, very interesting. A couple of last little bits of. I've already covered that one. Might have put it in twice. Oh, and we talked, confirming a rumor last week. We talked about Leica producing the Summicron M66 F2 Limited Edition. This was based on a lens that was built for the. For spy work. It's got a bit of a. It's got a bit of a kind of a mythical following around it that has been confirmed. It is officially announced and it will be released in limited numbers, I think from memory. It was 660 copies only. So that will cost you. If you're a dentist. You still won't earn enough. Maybe orthodontist might be okay to buy this one. [01:00:36] Speaker A: Yeah, a successful orthodontist, not one that has a gambling addiction or something. Something. [01:00:40] Speaker C: Oh, no, no, no, no, no, no. [01:00:41] Speaker B: You need to have like a facility of several floors, several staff, you know. Yeah, I'll get one. [01:00:52] Speaker C: I love it. [01:00:53] Speaker B: I love it. But that is it for the lens news for this week. How about we look at some images? [01:00:58] Speaker A: Not yet it isn't. [01:00:59] Speaker B: What? [01:01:00] Speaker A: Coming in from left field, Glenn Lavender. Creative photo workshops. Breaking news. Two new Tamron lenses to hit the shores before for Christmas. Can't give info though. Very interesting that. Can't give any more info. [01:01:15] Speaker C: I don't know. [01:01:16] Speaker B: So. [01:01:16] Speaker C: So wasn't Glenn saying get to your news like calling your cocktees before and now he's doing the same back? Or is that somebody else? [01:01:24] Speaker A: No, that was someone else. That was Tony. He's my friend. [01:01:27] Speaker C: Who knew. [01:01:28] Speaker A: He. He knew. So he would have seen the thumbnail and been like, I know, sorry. [01:01:32] Speaker C: Sorry, Glenn, I didn't mean to put you on the. On that one. [01:01:35] Speaker B: But yeah, I mean, Glenn still is a cocktails. Let's not oh yeah, just look at him. [01:01:41] Speaker A: Woof. Dennis smith has allow a 35 mil 0.95 and that thing is insane. With a Sony 12 800, it's the perfect LP video lens. LP, what's LP mean? LP. Low Photon Video lens. Not. Not many photons. So. [01:01:58] Speaker C: No, I assume so. [01:02:01] Speaker A: I don't know. Do you want to, do you want to do some images? Let's do some images and then we'll do any other news? [01:02:09] Speaker B: Yeah. Bruce, you've got the, the running sheet there, haven't you? [01:02:13] Speaker C: Let me look. [01:02:15] Speaker B: I emailed it to you this morning. [01:02:17] Speaker C: Yeah, I've got it. I just needed to put on the right window. [01:02:21] Speaker B: Why don't we. We'll take it. In terms of bringing up reading out the, the thingy. Do you want to. Do you want to kick off with John Latimer, Bruce? [01:02:28] Speaker C: Sure. Hi guys. Hope all is well. This week's photo was taken around six months ago of a rainbow lorikeet coming out of a heart shaped hollow in the tree. Over the past couple of weeks I've been running print tests, trying different paper stock, using different printers, adjusting color profiles, etc. And after pulling out what little hair I had left, this was the end result. Photo is special to me, seeing my journey from studying photography, learning to edit, to finally seeing my photo come to life. I now have printed and framed at home 100cm by 80cm. Thanks again to you and the community. Take care. [01:03:11] Speaker B: Yeah, that's awesome. [01:03:13] Speaker C: Yeah, I think it is a journey thing. Yeah, it's a journey thing when you can go from just hitting the button to actually having it on the wall. Yeah. And especially, [01:03:26] Speaker A: yeah, this, the detail in the blue feathers is just awesome. This image pulls me straight in and [01:03:37] Speaker B: I love the contrast between the, the mottled beiges and browns of the tree and the bright mottled colors of the bird. You know, you've got this kind of, this patchwork on the bird, but you've also got this patchwork on the tree and it's just a really nice striking color contrast. [01:03:53] Speaker A: Yeah. What a great show. [01:03:56] Speaker C: Did you offer a print to the Lori Key? Might want it in its home. [01:04:02] Speaker B: Yeah, you never know. Just hang, just nail it. [01:04:04] Speaker A: Hang it on the wall. [01:04:05] Speaker B: Yeah. [01:04:06] Speaker A: Maybe not quite as big. Not 100 by 100 by 80. That's a decent size print. [01:04:09] Speaker C: That's a decent size. [01:04:11] Speaker B: That's a good size. [01:04:13] Speaker A: Nice. That is a great way to start off the images for today's show. Hey, if you're listening and you're new to this and you want to send your images in, just email them. The camera [email protected] that's the [email protected] Send one image and a little bit of wording about it. Maybe up to 200 words about the image, your settings maybe. And anything, I don't know, anything you want us to comment on? [01:04:39] Speaker C: Yep. Well said. [01:04:41] Speaker B: Well said, boss. Up next we have Paul Carpenter. Here's another image that's, that's enjoyed a bit of a journey. So, hi guys. Went searching through the archive for something I could reprocess now that lightroom has so much more functionality. The image from Death valley in the US was shot with an older Canon 450D and an even older EF 1635. The result looked much better from when I last processed it in 2014. Goes to show it can be worth revisiting old favorites as processing technology improves. This was shot at ISO 100F 11.4seconds at 28mil. I certainly agree with your statement, Paul, but I think also we mature as artists. We see differently over time. The more we do this craft, the more we learn about it, the more we observe other people's work, the more we see in our own work. And I think that that's just as important about, you know, the advanced technology makes a huge difference. Images that you probably couldn't have pulled out of a, you know, a low light, heavy noise shot. You have a better chance of doing that these days with, with tech. But it's also how you see stuff that always evolves. That's my, that's my view anyway. [01:05:58] Speaker A: I agree with that for sure. I've reprocessed some of mine and yeah, it is like the tech has gotten a little bit better, but it's mostly just my eye has, has matured, hopefully got better, but it certainly changed. [01:06:13] Speaker C: You've matured. [01:06:14] Speaker B: You're having a baby now. You've matured. Oh, oh, you're gonna be so tied down. [01:06:19] Speaker A: It's gonna be crazy. Yeah. No more last minute trips to Africa. [01:06:24] Speaker B: You'll be great. [01:06:25] Speaker C: You're gonna have to. [01:06:26] Speaker B: We'll be great. [01:06:26] Speaker C: You're gonna have to put a new segment in. A bad dad jokes for Justin. [01:06:31] Speaker A: Oh, yeah. [01:06:33] Speaker C: Glenn Lavender has hundreds. [01:06:34] Speaker A: He'll have all of them. [01:06:36] Speaker C: Yeah, but only one a week. [01:06:38] Speaker A: Maybe next week. Drip them out. One a week. Okay. [01:06:41] Speaker B: Yeah, yeah, yeah. Let's, let's move along. Let's have a look at Shamit Shah. Bruce, you want to take this one? [01:06:52] Speaker C: Sure. Hi, Justin and Greg. Please see attached a photo I took of Bell's Rapids in the Swan Valley. I was out there for a walk in the morning and there was rain forecast sometime in the afternoon. However, the rain started to come in a bit earlier than the forecast. I took this shot with my OEM 10 mark 4 and was hoping for some kind of layering due to the rain. The rain was visible from the mid ground to the background. After taking the shot, I put the camera back in my bag as it's not weather sealed, and made my way back to the car. The shot was taken at 40 millimeter F5.1 2, 50th a second at ISO 200. Thanks for hosting a great show. [01:07:39] Speaker A: Thank you. Thank you for sending an image in. It's quite, quite a beautiful location. [01:07:46] Speaker B: Yeah. And you definitely got that layering. [01:07:49] Speaker A: Yeah. It can be really tough too with. I wonder whether you're on a prime or a zoom. If you had. It's tough if you had time to get further away and then shoot it on. A longer focal length can sometimes work really well for layers. But. Yeah, I don't know. What are your thoughts, Bruce? [01:08:11] Speaker C: You've probably seen me doing this. [01:08:12] Speaker A: I did. That's why. That's all. [01:08:14] Speaker C: This is a habit going on. Photography judges do. It's like, is there a better crop in here to isolate or bring something to attention more? Because you've got that little bit of foreground of the river. But I don't think it's enough of it. [01:08:25] Speaker B: That's what I was thinking. [01:08:27] Speaker A: Yeah. [01:08:27] Speaker C: And then you've got the bit on the right on the edge, on the right hand side, which is the road or something like there's something interesting there. But. But I think you need to pick one or the other. The layering helps. Or you don't go with either of them and just go for the layering at the top and crop it like as a panel or something like that. But these foreground elements, especially sort of middle, right, sort of a little bit dominant. So it's hard when you're on the spot and trying to work out where to go. But it's like just look around, look back and forth a bit, move left and right. Or alternatively, don't shoot at landscape, shoot at portrait and give yourself some height. [01:09:08] Speaker A: That's a great idea. And then maybe either move to the right so you can get some clear space or use the tree that's in the foreground that becomes. Becomes part of, you know, the subject. I guess if you can get down to the base of the tree and see what, what the water's doing. Around there. [01:09:23] Speaker C: Yeah. Get up high or get down low. Get a lot more foreground of that river or creek or whatever it is. Yeah, it's. Yeah, it just comes from, like, practice of training your eye to look for those things. And this is a good start. And, yeah, it's lovely that you've got some layering going on there as well. Yeah, Yeah, I agree. [01:09:46] Speaker A: Beautiful work. [01:09:46] Speaker B: Lovely. And thank you so much for submitting it as well. [01:09:50] Speaker A: Yeah. [01:09:51] Speaker B: Maybe we'll just do one more. [01:09:53] Speaker A: Yep. [01:09:54] Speaker B: And then we'll jump back into some camera news. There's plenty more to talk about there. Do you want to do this one, Jay? Chris Nelson. There's three images. [01:10:04] Speaker C: Can you drive and talk? [01:10:06] Speaker A: Not quite. [01:10:07] Speaker B: Okay, I'll do the talk then, if you want. [01:10:09] Speaker A: Okay. [01:10:10] Speaker B: Chris. I just made the executive decision. There's a lake in the Bay of Plenty region of New Zealand that I have been to a few times. I like that. It seems to have a different mood every time I visit. I've included images from my visit in 2021, 2024, and just last weekend. It's a journey through my progression as a photographer as much as anything. All was shot on the D500. So image one. Can we just start with image one, boss? [01:10:40] Speaker A: Yep. Okay. [01:10:41] Speaker B: Image one. Shot with the. Obviously the D500, but a Takina 11 to 16 at 16 mil for 130 seconds. [01:10:52] Speaker A: Right. [01:10:53] Speaker B: That must have been a very still day, because that cloud hasn't. [01:10:56] Speaker A: Yeah, that's what I was just thinking that. And I guess it's a long way away to that cloud. It's not coming over here, but. Yeah, there's not a lot of movement. [01:11:02] Speaker B: Is there a boat in the background of that? [01:11:04] Speaker C: Like, right at the back, there's three [01:11:07] Speaker A: very bright white things. They're probably boats. Let me enhance that. Looks like a boy to me, not a girl. [01:11:15] Speaker C: And then you got one right on the left hand edge. I would take that one out on the left. [01:11:20] Speaker A: Boy. [01:11:21] Speaker B: Oh, blasphemy, Bruce. [01:11:23] Speaker A: Yeah. [01:11:25] Speaker B: Whoa. [01:11:26] Speaker A: Sorry, guys. I'm just. It's too close to the edge to be. [01:11:30] Speaker C: It looks like. It looks like a sensor error. Yeah. [01:11:35] Speaker A: If. If this is art and spot removals are cool, I would get rid of all three of them because they're very bright. [01:11:41] Speaker C: Yeah. [01:11:43] Speaker A: And everything else is so. I don't know. Maybe it looks better with them. I'd have to see. I'd have to play, like, does it give some sort of context of the. Of the vastness of the lake or if he got rid of them? I think. I feel like everything would be focused more on either the jetty or then to the horizon and the clouds. These kind of interrupt me on the way to the horizon. But it's only because the image is so beautifully sparse, you know, that these dots are kind of so strong. Yeah, yeah. [01:12:14] Speaker B: But they tell a story on their own. There's, you know, there's a boundary, but the mountains go beyond boundaries. And I don't know, I would leave it, but that's just me. I'm lazy. Image two, Justin was shot with an 18 to 55 autofocus at 24 mil for 130 seconds. Again, I love the way that light is cooking the tops of those mountains in the distance. [01:12:42] Speaker C: Yeah, that's what likes the image to me. [01:12:45] Speaker B: Yeah, yeah. [01:12:47] Speaker A: I'm trying to decide if the horizon is ever so slightly not straight. It might actually just. It might just be the other elements messing with me, you know, like, so you've got the jetty and also there's. There's this bright streak of clouds which adds a really nice element to the sky. [01:13:04] Speaker C: It's adding light to one edge. [01:13:06] Speaker B: Yes, yeah, yeah. [01:13:09] Speaker A: So it might just be like a trick of the, of the mind, you know, whether I'm looking at it, trying to figure out is it, is it level, is it not? Yeah, but yeah, that, that light opening up under the mountains is beautiful. [01:13:24] Speaker B: Yeah, yeah, it's very. [01:13:25] Speaker A: So cool that the jetties just leading you straight to the past the gap in the mountains. Yeah, like that's just this massive extension of some, I don't know, highway that goes all the way around the world. Anyway. [01:13:44] Speaker B: And the third image that was shot with same camera and back to the Takina 11 to 16 at 11 mils this time for 289 seconds. [01:13:56] Speaker C: Yeah, that works. [01:13:57] Speaker B: Yes, that works. Smashes it. [01:14:00] Speaker A: I'm no photography judge, but if I was scoring those images, this, this one would be a good 10 to 15 points above the. The other two out of 100. [01:14:10] Speaker B: Yeah, that's amazing. [01:14:12] Speaker A: But I'm not a judge. I've just been trying to learn about it. [01:14:16] Speaker C: I know what you do. You want me to give you what you'd probably hear in a judging? [01:14:21] Speaker A: Sure, yeah, sure. [01:14:22] Speaker C: As. As a, as a bit of feedback. And it would be the left hand side is darker than the right hand side and the right hand side could be ever slightly brought down with say a linear gradient or something like that. Just to make it feel a bit more balanced left to right. Yet keep the jetty perfect as it is. And you. Because at the moment your. The, the mountain on the right hand side is a little bit lacking in contrast to. To the left. So your bounce is slightly out. I think it's still a cracking shot by the way. I'm just saying this is sort of what you'd hear. This is the sort of stuff you would hear in a flat. A good photo comp. So yeah. [01:15:02] Speaker A: Yeah. Awesome. I love that you've revisited the same spot over such a long time span but also different images, different weather each time and clearly like skills elevating because sometimes you can. I've revisited places and gotten worse photos than earlier on. You know just because of that day or, or what you know the weather wasn't. You don't necessarily just get better photos each time you go somewhere even if you are getting better as a photographer. But this, this one's a banger. [01:15:34] Speaker C: Yeah, that boy's not there. [01:15:38] Speaker A: Yeah. [01:15:40] Speaker C: Just saying. [01:15:43] Speaker A: Just saying. It looks really good. [01:15:47] Speaker B: Nice work Chris. Thank you. [01:15:49] Speaker A: Yeah, epic. [01:15:50] Speaker B: Wonderful. Print it. Do a print. [01:15:53] Speaker A: Print it. [01:15:56] Speaker B: Let's park images there for a second. Yes, your images. And let's. Let's get back to a little bit more news. We won't labor too long on these ones. Couple of highlights from this week's camera related news. The Sony FX5 it was already been rumored that there would be delays due to quality controls issues. Apparently that has that it is still being delayed. They've noticed that on particular like especially big websites like B and H has been pushed back a couple of times, things like that. But one thing that they are doing is in the next. When are they going to do that? [01:16:34] Speaker C: They will. [01:16:34] Speaker B: They are due to announce. Apparently there's a leak. They're about to announce two new video monitors that will come out sometime this month or be announced this month. Two different size screens obviously work to pair with Sony bodies whether it be the FX series or whether it be the you know the A's. But yeah they're bringing out. Let me just have a quick squeeze. There's one that is going to be a 7.7inch model and there's one that's a 5 inch model. [01:17:07] Speaker C: Yeah, it's about right. It's pretty common. [01:17:11] Speaker B: Yeah. So be interesting to see what happens there with those. [01:17:18] Speaker C: Yeah. Like there's only a. Really. There's about half a dozen decent monitor brands out there. Small HD are the like industry standard but they cost a shite load. I've got one of my back box back there but so 5 inches are usually the ones you want for camera operating because they're not crazy big. They're usually lighter and 7 inch, you want for focus pulling and stuff like that. I've got one of each and it from different companies and stuff. And the big one is over the last three or four years is camera control on the bodies. Because, like a lot of time they were just monitors and sometimes they'll monitor recorders. But as people have been different companies like Atomos and small, small HD and that have been being able to integrate camera touch control on the monitor directly. So they don't. [01:18:18] Speaker B: Oh, wow. [01:18:19] Speaker C: So you can remove some of the other paraphernalia off your rig if you want to, or if you want to hold it, have your first AC or whatever, operating those parts of the camera separately or whatever. So one of the things I find quite tricky when I'm operating is that the little crappy monitor comes with the FX6, which is for touch focus as well. That's the only way I can really do it, unless I'm using monitor control on my phone or something, which is a little bit laggy. It's great. Like, I freaking love that application, but it's a little slow. But having something that's bigger and it can be offset. So if I've got it rigged up, I can use a better monitor for that. For those controls actually be super good. The other ones have a lot of other gimmicks and I don't. I've not played with them that much. And a lot of them actually like small HD and that. You got to pay like an extra license to actually unlock that as well. And you need a separate cable. So you've got your HDMI or your sdi, but you've also got a USB C or something USBC as well. So you end. And then you might also have your power cable on that as well. So you've got three cables running into this monitor and it's a pain in the ass. They can integrate it into one cable. That'd be freaking awesome. [01:19:41] Speaker A: A moment when you step into the video world, there's a moment that it becomes complex. And I've managed to stay shy of that line. And I don't plan on crossing it. [01:19:53] Speaker C: That's the. In my hand. I do not bring it back. [01:20:01] Speaker B: No, don't tell Dennis. I think he's still waiting. [01:20:04] Speaker C: No, I posted. I sent him images straight away. Nice. Yeah, yeah. Video Land gets expensive very quickly. [01:20:15] Speaker A: It's that moment when you start having to bolt everything to a camera to take it to the next level, as opposed to just being like, camera works out of the box, you know, like, it's got everything I need in it to this point. And that's how I've just stayed there a couple of times. I crossed the line and then bought a monitor and then I very quickly was like, I don't like monitors. It's another. It slows me down. Goodbye. But that's because I'm not doing work that requires that next level of production. Yeah. So I'm just, I'm sort of. Yeah. Staying in that world of easy peasy. [01:20:48] Speaker B: Up next, Canon news. The EOS R8. We continue to get rumors and leaks about this. The Mark 2. Apparently the specs have leaked. It will be a 24 megapixel. It will a sensor. It will accommodate 7.5 stops of IBIS, [01:21:03] Speaker A: which is the new fish because that's the big one. So it was at. The R8 has no IBIs. So basically going to be a very similar camera, maybe an updated sensor but still the same 24 megapixel. Great camera, great body for us. But, but, but Ibis is the new like I think that'll be a big difference because now it'll be become useful for video handheld for just like vlogging and stuff like that. And there's longer exposures and all that sort of stuff. So that to me when I saw you put this article in I was like okay, that's the, that's the thing that now makes it a very compelling cheap camera. Because the R8 was pretty cheap for what it was for full frame. That's going to be a really great camera. The only downside of that camera, well there's some. But it is for the price. But it uses the smaller Canon batteries. [01:21:54] Speaker B: Oh wow. Okay. [01:21:55] Speaker A: All of my Canons take the same kind of battery except the R3 that takes the big big suckers but they all take the the same en6lp's or whatever they are. These are that next size down that are much lower capacity. Take a different. [01:22:09] Speaker B: Interesting choice, isn't it? [01:22:11] Speaker A: It's to get the body smaller. It's a battery more. It's closer to the size of like a Fuji battery. I'm pretty sure. You know like they're just, they're more square and like they're just a bit more compact than the bigger Canon and the same size ones Nikon use. But yeah, but yeah, I saw that. I was like that's going to be a very good camera. There's going to be a great entry level camera that you could do whatever with. Yeah, yeah. [01:22:33] Speaker B: And we still haven't had confirmation whether they are doing an A in a retro styling. That rumor was going around for months and now it's disappeared. No one's talking about it in Nikon. Nikon has registered yet another new camera in China this time. And so as a result, there are now three upcoming new cameras from Nikon in the works on their way. And we've heard lots of rumors from this. We've heard rumors about them desperately trying to get some compacts onto the market quickly by re, you know, refashioning older compacts and trying to go for that same form factor of some of their older, smaller point and shoots company called Dream. Do you want to bring up this picture? Because this is the dumbest camera I've ever seen in my life. Dream have announced a gimbal camera with 100 megapixel micro 4/3 sensor or 4/3 sensor. [01:23:28] Speaker A: Hang on, I'm getting there. I'm getting there. Oh no. Stupid. Ads. [01:23:34] Speaker B: Oh, what is that, Justin? [01:23:36] Speaker A: Ads, ads, ads. Here we go. [01:23:38] Speaker C: What happens when you go to Rumor sites? [01:23:40] Speaker A: Yeah, they're terrible. Yeah. Oh, that's. This is ridiculous. Why right when you can move the [01:23:50] Speaker B: camera and, and literally follow your subject with subject tracking. I mean. Yeah, okay, if you're gonna mount it to a tripod and leave it and walk away from it, that's different. But it's weird. [01:24:04] Speaker A: Let me think about this. Let me think about this. Is this genius or terrible? Well, we had a micro four thirds gimbal camera. The original osmo. Osmo was a micro four. It's. That was a four thirds gimbal camera, wasn't it? [01:24:24] Speaker C: Oh, I'm going to show you a bit of history then. [01:24:27] Speaker A: Then the. Because I had that and I, I never. Yes. Yeah. It looks like a bike seat. The case and I haven't looked at [01:24:35] Speaker C: this in a long time. It's funny. It's right there. [01:24:39] Speaker A: Whip it out. Why? What was it doing right there? [01:24:41] Speaker C: You were thinking, it's just been sitting there under the shelf for ages. [01:24:45] Speaker A: So refresh my memory. Smartphone is the monitor. So it was a pain in the ass. You had to connect that on and then it worked. I mean, at the time I wasn't doing enough video. So I tried to use it when I bought it and I didn't know anything because this was. How long ago do you reckon that was, Bruce? Like ten years ago? [01:25:05] Speaker B: Ten. [01:25:06] Speaker C: Ten years ago? [01:25:07] Speaker A: Yeah. When I bought it, I think I was envisioning the future when The Osmo Pocket 3 was out and that's how easy it was going to be to use. You just open it up and just start filming. But it was a bit too much fluffing around for like a quick run and gun. [01:25:22] Speaker C: It was all right, but it was, it was very like, you know, it's baked in profiles and everything else and it, you know, overly sharpened, which DJI still do on a lot of their products and things. But it's, but it's. Yeah, that's the pre. It was the same camera as the original drones were using as well. And you could switch the head on these. So you can switch these Zen Muse heads out for different, different focal lengths. I use this and this is actually really funny. I use this a lot back when I used to be the technical director for big show in Australia called Supernova. And I would do. Because, you know, it's just the things I used to do is we used to do live streams on the floor of the show and so I'd use my phone and this and I'd have like a presenter, usually John Jared, if you know, John who like from Wolf Creek. Wolf Creek. Walking around, walking around, talking to the crowd. So I'd have somebody standing behind me, holding me and walking forward. So they guide me through the crowd while I'm walking backwards with this with headphones in, labs on, everybody trying to do it. Because at the time there was no other way of doing Steadicam without a gimbal like the game. Other gimbals weren't like which could look into live stream sort of stuff and that. And that would go on to Facebook and Twitch and everything else. YouTube. I haven't looked at this in such a long time. I don't even know how to get it back in the box. [01:27:02] Speaker B: Very nice. [01:27:03] Speaker A: Well, yeah, I don't know if the leap dick is going to be. Leap dick. Leap tick dick. [01:27:12] Speaker C: My thought on that one straight out of my out of the gate is that if it can be remote programmed, it'd be good for sports capture. If it can be set to go from there to there and it can be left to capture people doing jumps or whatever, like ski jumps or BMX or whatever. [01:27:30] Speaker A: Maybe that's what they're going for. Maybe it's going to be more weather sealed than, than some of the other gimbal cameras or something. Who knows. But yeah, it's, it's, it's odd. [01:27:42] Speaker C: If anybody wants to buy this from me at people hit me up, I'll bring it. It's got batteries and everything. [01:27:49] Speaker A: Can handle experience the joy of an os. Osmo. The original osmo. None of these vloggers these days know the History of the OSMO series or the real pain? [01:28:01] Speaker C: Moving along. [01:28:04] Speaker B: We talked last week about the OM Pen. That's been confirmed. They've dropped a teaser. B and H already have a page up to sell it. We just haven't seen any other images of it yet. But apparently it is coming with a brand new version of the OM system 14 to 42 millimeter lens which is a Mark 3 version of that lens. It's fairly standard kit lens. What does that give you? A 28 to 84. That's how you do that with micro four thirds. [01:28:29] Speaker A: Yeah. [01:28:29] Speaker B: You double it. [01:28:31] Speaker A: Yes, double. [01:28:32] Speaker B: Roughly. [01:28:33] Speaker C: Yeah, yeah, yeah, yeah, roughly. [01:28:34] Speaker B: So yeah. 28 to 84 which is a nice kit lens. And so they're releasing a new one in SAD camera news. [01:28:42] Speaker A: Hold on, hold on, hold on. I just don't want. Before we go off the the OM pen, I just want to hammer rumor sites again. This is 43rumors.com this headline new om pen camera is absolutely great. And it comes with a new 14 to 42.3 lens. But new OM camera is absolutely great. Okay, let's read this article and see what it says to say I can confirm OM will announce a lens with this camera on the September 9th. Specs known so far, nothing about why it's great. You haven't even touched it. You've got this nine pixel. This, this. Anyway, this image is not very clear. I just love that. [01:29:29] Speaker B: Hey, to be fair, you kind of like a little clickbait in your own titles. Like Justin has a big surprise. Even Greg doesn't know about it. [01:29:39] Speaker A: And was that clickbait or was that just the truth? [01:29:42] Speaker B: Well, it was the truth, but that's [01:29:44] Speaker A: not clickbait, it's clickbait. If there's a payoff of the real thing that you teased. [01:29:49] Speaker B: Well, it got me to join tonight, didn't it? [01:29:51] Speaker C: I wasn't going to. [01:29:52] Speaker B: Come on otherwise. Let's move along. Pentax. In SAD news, Pentax. Does everyone remember Pentax? The their most recent camera which is the Pentax K1 Mark 2 DSLR which was first announced in 2018. It's been out for a while now. It has officially apparently been discontinued across all major retailers in Japan. And it is the last. They're concerned that it is the last great Pentax DSLR to ever hit the shelves that that might be it. No room of a successor, no rumors, no news. It's interesting to see that the company is still still working with DSLR technology and they are very popular in Japan. They're a popular Camera. They're not as popular as they used to be, but they have, you know, they certainly have their fan base, that's for sure. [01:30:48] Speaker A: But yeah, yeah. [01:30:50] Speaker B: End of an era maybe. [01:30:51] Speaker A: Could be, could be. [01:30:54] Speaker B: In final news, speaking of DJI, the DJI Osmo 360 Mark 2 action camera has a new square sensor and replaceable lenses. We're talking earlier about that. That gimbal you had, Bruce, with replaceable heads. Yeah. Apparently the new one is going to have lenses that you can swap out. [01:31:15] Speaker A: Lens, not lenses, lens covers, covers. [01:31:18] Speaker C: The problem with 360s is they get damaged really easily because they've got to have the dome lenses. [01:31:24] Speaker B: Yeah, yeah. [01:31:26] Speaker A: So Insta360 went that direction in a recent model, maybe the 5 or whatever it was. And then. Yeah, now everyone else is trying to go that direction as well because obviously having to send it in to get lenses replaced or basically just having to throw it in the bin was not very exciting. So these kits that they, they sell with them are, I don't know, reasonably priced, 20 to $60 somewhere in that range I think to be able to just pop on new lenses out in the field if you happen to. Because they're trying. They're selling them as action cams. So you can't really. [01:32:00] Speaker B: Yeah. [01:32:01] Speaker A: Expect people not to smash them on rocks and stuff like that. [01:32:03] Speaker C: Yeah. [01:32:04] Speaker A: And it doesn't take much of a scratch to ruin the. [01:32:06] Speaker B: Yeah. [01:32:07] Speaker A: That image. [01:32:07] Speaker B: I remember when they started coming out and they had all these different covers and cases but you'd have to get a drill cover, one that would go on each side and they would connect or zip up or you know, [01:32:18] Speaker C: I can get another one. It's sitting right there. [01:32:21] Speaker A: Exactly. [01:32:22] Speaker C: I'm just pull out every camera as I go. [01:32:24] Speaker A: They're kind of fiddly and stuff. Yeah, it's. Yeah. Anyway, so it's good that they're all hitting the replaceable lens direction. [01:32:32] Speaker C: Yeah. [01:32:33] Speaker A: And yeah, square sensor. I know supposedly bigger sensor, but yeah. [01:32:37] Speaker B: Just makes sense [01:32:40] Speaker C: for doing the stitching and that square sensor makes a shitload since. [01:32:43] Speaker B: Yeah, yeah. [01:32:45] Speaker C: But it's only been, it's only been 12 months. A little longer than 12 months since they did the first one. [01:32:51] Speaker A: Yeah, they iterate fast, don't they? These companies now, DJI and Insta360 particularly, they're. They're just running at full speed trying to. [01:33:00] Speaker C: Yeah. [01:33:00] Speaker A: It's a big race each other and, and your article down here, Greg, is, is the, the company that kind of got left behind by those two companies, which is GoPro. [01:33:10] Speaker C: Yeah. [01:33:10] Speaker B: So GoPro the headline reads, optical company Starman buys GoPro for 285 million. Plans are moving to AI, defense and national security. Because that's what we need, more killer bots. [01:33:27] Speaker C: There's a lot more to this story than just that. [01:33:30] Speaker A: Yeah, I like to hear what you know, Bruce, because so what I know is that it's a merger essentially. Takeover purchase. The optical company Starman is already into AI defension national security. So it's not necessarily saying that GoPro will now do that stuff. It's. I'm assuming they're going to use GoPro's tech infrastructure and that sort of thing to enhance what they do while also still continuing to run GoPro on its consumer side. With consumer. They're going to use their resources to further their. Their business they already had, which was in defense. That's how I understood it. [01:34:12] Speaker C: Yeah. And I'm pretty sure you're right like that, like they're just, they're wanting optics, good optics to do stuff like that with their AI and things. So yeah, it could end up in any sort of. That's why like people bought like lots of Kodak patents and stuff when Kodak weren't bust and stuff. They. They wanted it for other things. Yeah, and that's, that's a common thing in business. Sales and mergers, acquisitions and all that stuff. The interesting thing, like if you're not on the Internet much or you don't know about the YouTube community, is that this has got another thing in it which is Markiplier. Markiplier is a guy who's been on YouTube for a long time and he literally just had a feature film that blew up around the world. I even went and watched it in the cinema, which was amazing. So he bought a lot of stock. He was the largest stockholder, private stockholder or whatever. Public stockholder. I think just under just over 8% of this. He owned it. Yeah. And he, he bought it. He didn't know this was happening. And he bought it because he believed in the company and that it was a brand that has validity and stuff like from what I've read and heard. So this is like taking it like he's not into this. Yes. Contract stuff and that, the defense stuff. So it's put him on the back foot a bit, I believe. But also the share price went. [01:35:39] Speaker A: Yeah, I don't know if this is right, but I think he bought them when they were at 6 cents. [01:35:46] Speaker C: Does that sound like it was very, really cheap? [01:35:49] Speaker A: And he said this is super undervalued, this company. Still is legitimate. It's got. But you know, it's worth way more than what it's trading at at the moment. Everyone's just down on it. And I'm pretty sure based on the merger that was going to pay out shareholders somewhere in this range of 50 to 60 cents, I could be wrong. But like, yeah, he. He definitely made money. [01:36:11] Speaker C: Yeah, but he also. [01:36:13] Speaker A: If he sells. Correct. [01:36:14] Speaker B: Yeah. [01:36:15] Speaker A: But, yeah, I heard somewhere else the rumor was that this was also. They call it. They call it a reverse takeover. Reverse merger. Reverse takeover, something like that. Where essentially Starman want to be listed, but this way they don't have to do an IPO to become a listed company, because now they've merged with a listed company, GoPro, to become the same entity to be a traded company. And I don't know if that's true or not, but that was just another Internet rumor kicking around the place that essentially now they've. They've had to. They've circumvented the IPO process. [01:36:52] Speaker C: That's interesting. I'm gonna look that up after. But anyway, the movie's iron lung. If you haven't seen it, and if you like horror films, indie films, it should be out. I think it's out on YouTube, actually. As a. As a YouTube movie, you pay for it, but it's worth it. It's interesting and nice. Sci fi, horror, scary. [01:37:09] Speaker B: And the final bit of news for the evening, lads, is that Godox, who seems to put out a brand new product every week, has released a new MA2 flexible macro twin light. Do you want to bring that one up on the screen, please? [01:37:24] Speaker C: Jay, I saw this. [01:37:27] Speaker B: So you macro folks out there, this is. This is the B and H page, and it's not terribly expensive. This is US$80. [01:37:34] Speaker C: That's so cheap. Oh, that's right, because this has only got LEDs on the front of it. And then you can attach extra flashes. [01:37:42] Speaker B: They're not flashes, but they're. Yeah, the led. And the top and the bottom of each of those arms has a hot shoe. So technically, you could put four of their little flash units or light units on one of these [01:37:57] Speaker C: and you can control it off the top of the thing. Yeah, that looks really cool. [01:38:00] Speaker A: And then this. And then this is like a diffuser. [01:38:03] Speaker B: Yep, yep, yep. [01:38:06] Speaker A: Okay. That wouldn't do much. Just. Maybe it would. I don't know. I'm not very good with macro. But that doesn't look like it would do much in that amount of light. [01:38:17] Speaker B: Yeah, I guess it depends on the power you put on it. Yeah, [01:38:22] Speaker A: sorry, sorry. They've got flashes on that one. They're tiny little flashes, aren't they? Okay, that would do something. I was just looking at the like LEDs. But yeah, so they've put little tiny Godox flashes on the hot shoes. [01:38:35] Speaker C: Yep. Yeah. And then you can use your LEDs as like focus, focus lights. [01:38:42] Speaker A: It doesn't come with the flashes though, you're saying. [01:38:45] Speaker C: No, it doesn't. [01:38:46] Speaker A: You buy them separately. [01:38:48] Speaker B: Yeah, I mean it has the built in dual LEDs, but you can add either any of their mini flashes, which they've been putting out a lot lately. Im 20, Im 22. It 22 and the it 20 models. [01:39:01] Speaker C: I wasn't given one. I don't know where it is. [01:39:05] Speaker B: And they're in themselves are fairly cheap and inexpensive too. [01:39:08] Speaker C: I have no idea how much it cost. I am 30. Yeah, somebody gave it to me. [01:39:13] Speaker A: Nice. Did you just get publishing flashes? [01:39:16] Speaker C: I should know that. [01:39:21] Speaker A: Teeny look. You can eat it. [01:39:24] Speaker B: Nice. Like an IM20, which is what they're talking about that you can adapt to. This one is US$27. So you're looking just over 40 Australian, maybe 50 tops. [01:39:37] Speaker C: Oh, I've never opened this. [01:39:39] Speaker A: Not much. There you go. [01:39:42] Speaker B: Live unboxing. [01:39:45] Speaker C: Oh, it's got a little diffuser and a little bag. [01:39:49] Speaker A: Little bag. [01:39:49] Speaker B: Oh, that'd be good for the Q3J. [01:39:52] Speaker A: Oh, a little on camera flash. Just a little, little chat. [01:39:55] Speaker C: Oh, bring it. It's a dumb trigger. Like it's a. It's only got the single point on it. So. [01:40:00] Speaker A: So just manual. [01:40:01] Speaker C: Yeah, just manual. That's right. [01:40:04] Speaker B: There you go. [01:40:04] Speaker C: I don't do on camera flash, so. [01:40:08] Speaker B: Such a snob, Bruce. Yeah. That, folks, is the end of tonight's news. Time to get back into some images, your images. Now before we do, just very quickly, Bruce, much as I, you know, hate to put the pressure on, could you please do an ad read for Lucky Straps? [01:40:27] Speaker C: Lucky Straps are straps made in Bendigo and they're good and they're made with leather and you should buy them and, and use Craig Code Greg for a discount because that way they know where people have come from. And yeah, there's lots of stuff there. And there are also gloves and the gloves are good. The gloves are not made by Lucky Straps but they get imported by Lucky Straps and sold by Lucky Straps in there. Good. And I use them up in the mountain. So yeah, I don't have any here to show you. They're in the house. Lucky straps dot com. [01:40:59] Speaker A: Both will go there. Just dot com. But Both will get you to the right place. [01:41:03] Speaker B: Yeah, [01:41:05] Speaker C: reads all the time. [01:41:07] Speaker B: All the time. [01:41:08] Speaker A: Beautiful. Greg, I had. I had a big set of images for tonight. There's possibly my greatest images ever. Should we save them for next week or should we do them? [01:41:20] Speaker C: Your call, boss. Your call. [01:41:23] Speaker A: I don't want to decide. Hmm. [01:41:28] Speaker B: Well, you're not sounding very confident for someone who claims that they're the greatest images ever. [01:41:33] Speaker A: Yeah, because that's also. No, my greatest images. Not the greatest image. [01:41:37] Speaker C: Well, I thought you already showed the greatest image ever. But it wasn't taken by you. [01:41:43] Speaker A: That was my greatest work. [01:41:44] Speaker B: Is that art? I mean, you made it, but someone else photographed it. [01:41:48] Speaker A: That's right. That's exactly. I don't mean it. [01:41:50] Speaker B: Sorry. You made the baby, but someone else photographed it. So it's that whole graffiti, photographing graffiti scenario. [01:41:57] Speaker C: We get into the. The viewers images. [01:42:00] Speaker A: Okay. All right, we'll see. We can do mine at the end if we have time. We'll see how we go. Sure. [01:42:07] Speaker B: We're up for Levi McCarter. And this is Levi's first entry. Levi is a friend of mine. He is from the Geelong area and he comes to Melbourne every now and then with a group of other Geelong folk. And we often go out for street walks. Oh, young lad, very keen. Yep. Got a good eye and passion, really about the craft. [01:42:31] Speaker C: Do you want me to read it? [01:42:33] Speaker B: Yeah, go for it, Bruce. [01:42:35] Speaker C: This photo shattered Mind was captured with the following Canon R7 with a Sigma 18 to 50 at f2 f 2.8 with a rotatable CPL filter was shot in manual focus f 2.811, 25th of a second, ISO 200 focal length 18. Simple Lightroom edit for black and white exposure, Contrast of Shadows, etc. Shaded Mine was not a planned photo, but more of a moment that revealed itself when I. Which I then found meaning in. Sounds like me. When I approached the cracked glass. I originally intended to make a web like pattern, own the only element and have the sky in the background. But once I saw the effect it had on the city, I decided to want to merge the landscape with the glass. And I achieve this with the person walking by with their head in line with the camera with the center crack, but also their front foot on the crack at the bottom. This visualization of how experiences can change or shatter our perspective and have carry on effects in our actions, small and large. For me it was a reminder to look at what alters altered views I may have and what changes they have in my life. Thanks for taking your time with My submission and love your work. Gr let's shoot again soon. Levi Mata. [01:44:03] Speaker B: Nice. Well done, Levi. Thanks for shooting. This is cool. I'd be super y. [01:44:10] Speaker A: It's. [01:44:11] Speaker B: So this was taken down at Docklands. We went down for a shoot. [01:44:15] Speaker C: Gosh. [01:44:16] Speaker B: It was a few months ago now. [01:44:17] Speaker C: Is that down in the library area? No, it's. It's right. [01:44:23] Speaker B: You know where the cow statue is. [01:44:24] Speaker C: Oh, yeah, yeah, I know. [01:44:25] Speaker A: Yeah. [01:44:26] Speaker B: The cow in the tree. Yeah, it's right next to that. And I think this was part of a tram stop. The glass. [01:44:31] Speaker C: Ah, that makes sense. [01:44:32] Speaker B: We were exploring that whole area, and then we went for some. I think it was tight. Was it Thai or Vietnamese? And I had the hottest dish I've ever had in my life just around the corner. Anyway, I don't know why that's relevant. [01:44:45] Speaker C: You can talk about your waitresses like that. [01:44:48] Speaker A: Hey. Hey. Quite a dish. [01:44:52] Speaker B: Quite the dish. Amazing. Well done. Up next, we have Philip Johnson. All right, G', day, Justin and Greg. Just experimenting, processing some older images in black. An example, removing color from autumn leaves fallen in a gutter. I call it Faded Days. [01:45:18] Speaker C: That's cool. [01:45:18] Speaker B: I like that. This was captured with the Sony A7 IV and 70 to 200 versatile lens and process with topaz impressions photoshopped and converted to black and white using Nick Silver effects. [01:45:32] Speaker C: Yeah, cool. Very cool. [01:45:34] Speaker B: I love the texture and the contrast. [01:45:40] Speaker A: I love that you always trying to find different ways to present, you know, similar subjects, but from both different treatments. But also, you know, whether you're looking up, you're looking down, you're looking at bark, or you're looking across that. What's it called in the Blue Mountains that he regularly photographs? The me The Meg Megalong Valley. That's it. Megalong Valley. And, yeah, always finding different ways to present it. [01:46:11] Speaker C: Yep. [01:46:12] Speaker A: Beautiful work. [01:46:13] Speaker B: Yeah, it is. And I think that comes from living in an area for a long time and really exploring it. Yeah, and just looking everywhere, you know, up, like you said, up, down across the valley, looking at your feet. [01:46:28] Speaker C: Look behind you. It's always the thing you do in workshops. Look behind you. [01:46:36] Speaker B: Very cool, Philip. Thank you. We've only got a few more to go, folks. We're on the home stretch. Up next, we have David Moscoro. Bruce, you want to take this one? [01:46:46] Speaker C: All right. This is James. He is a Vietnam veteran. He told me he thought he was a tough guy until the bullets started flying. He doesn't know how he made it out of there, but it was really effed up in his mind. He's Been on the streets for years. It's been years since I've seen him, so I can only wish he found peace. Sorry to be a downer, but like you guys said, who else is going to tell their stories? Take care and have a great show shot with a Nikon F2 as an HP5 film. [01:47:25] Speaker A: HP5 the Alford. I'm gonna zoom in a little bit. Just on. [01:47:31] Speaker C: Yeah. [01:47:34] Speaker A: No, there we go. [01:47:38] Speaker B: Yeah. [01:47:39] Speaker A: Beautiful smile. [01:47:40] Speaker C: Yeah. [01:47:44] Speaker B: But the framing is lovely. [01:47:46] Speaker A: You. Yeah, yeah. [01:47:51] Speaker B: You don't. [01:47:52] Speaker C: You don't get a smile like that if you're just taking somebody's photo when they're engaging the camera. Yeah, that directly. [01:47:59] Speaker A: Yeah. It's very warm smile. You can tell, eyes and everything. Like they've. They've had a genuine sort of meeting. [01:48:07] Speaker C: Yeah. Interaction. [01:48:09] Speaker B: Yeah. Which is what he's often said that, you know, before he even lifts the camera, he'll have a conversation. He'll talk about their experience, their life, life, where they're at. [01:48:17] Speaker A: Now I have to find out off him whether he journals this stuff or whether his memory is just amazing. Like his recall when he sees the photo he can recall or does he journal and take notes each day. When he does, I've got to remember to ask him next time he's listening. [01:48:32] Speaker C: But if he does just remember it, he needs to teach how to remember stuff. Like what's his mind palace technique. [01:48:38] Speaker A: Exactly. Hey, Lisa. Leech. Quick. Hello from the uk. [01:48:42] Speaker B: Hey. [01:48:43] Speaker A: Having fun? [01:48:44] Speaker B: Yeah. Hope you're well. Haven't heard from Lisa for a while now I know why. Gallivanting, Gallivanting, Gallivanting across the globe. Amazing work as always, David. Thank you so much for sharing these stories with us. It means a huge amount. Up next, we have Crackers. Greg Carrick. He's got two images in a behind the scenes video. [01:49:08] Speaker C: Oh, cool. All right. [01:49:11] Speaker B: Hi, Justin, Greg, Puppy and kittens. I held a modeling and light painting workshop at the Yarray. Where's our Dennis has left for the night. You'll see this later. I held a modeling and light painting workshop at the Yarra Rangers Photographic Society last week and the heavy lifting was done by Christabel the fairy, who is also a client of my dressmaking wife. Christabel is a nap is a natural in front of the camera and about a dozen photographers all had to go. All had a go at taking images of her with some light painting. Photo one is my take on the hear, see and speak no evil trope. Yeah, that's cool. Photo two is Christabel with 10 seconds of light painting behind Her. And then the video is a bit of the behind the scenes. The photos were taken with the GFX50R and a GF35 70 lens processing in Affinity Photo 2. Cheers, Greg Carrick. [01:50:08] Speaker A: I'll just have a look and see. I don't know if we have the video in here, do I? [01:50:12] Speaker B: No, it should be. [01:50:13] Speaker A: Oh, there it is. Hang on. Yeah, I got it. Bring it back up. Let's see what he was up to. Oh, yeah. Don't need a ton of space to get this stuff done, do you? [01:50:39] Speaker C: There it is. Nice. [01:50:45] Speaker B: That's fun. [01:50:47] Speaker C: Very cool. [01:50:48] Speaker B: Crackers. [01:50:48] Speaker A: Yeah, thanks for sending the video in. Get a bit behind the scenes. [01:50:52] Speaker B: Just a little kind of unrelated story about Christabel the fairy. I'm fairly sure Christabel was doing kids parties when my kids were little and they're almost 30, so she must be like. She must be Christabel. [01:51:06] Speaker C: No, don't do the maths. That's just. That's not nice. [01:51:10] Speaker B: Just. My visions are shattered. Thank you, Crackers. Once again, we have one more image tonight and then we'll see if we feel like doing Justin Nev Clark, this time with a single image. [01:51:23] Speaker C: He's got the same opening. [01:51:25] Speaker B: He does. Oh, no, I've copied and pasted the wrong bloody content. Hang on. Oh, I'm sorry, folks. Let me just get Nev's. I've got it here. Where'd I put it? [01:51:36] Speaker A: It's a great image, though. I can make up the story about it if you want. [01:51:40] Speaker B: All right, you have a crack and then I'll have a go. [01:51:42] Speaker A: All right. This is from the Panman's Head beach just south north of Albert Perth in Western Australia. It was. Was. It was taken on actually a submersible camera, the new DJI underwater camera with a gimmick. And it's actually looking up, down towards the bottom of the top of the north of the ocean and. Yeah, yeah. To fast shutter speed 2000ths of a second, which is where the. Why the water's blurred. [01:52:17] Speaker B: Yeah, yeah. All right, let me read out Nev's proper intro. Hi. Hi, Team Lights Beach Lights beach in Denmark. Drone long exposure. This photo was taken about a week ago when I was completing a project for Denmark. Taken with my DJI Mavic 4 Pro. The challenge of doing long exposure with a drone is the drone is always moving. I put the camera in burst mode and shoot five frames and usually one of them comes out sharp. This is shot at an altitude of 100 meters with an ISO of 200 at f8. The Mavic has adjustable aperture and a one second shutter. Edited later in Lightroom. [01:52:58] Speaker A: Nice. A one second shutter. That's impressive. [01:53:01] Speaker B: Yeah. [01:53:02] Speaker C: Pretty good for a drone. [01:53:03] Speaker A: That's insane. [01:53:04] Speaker B: Look at the detail in the rocks. Like, it is sharp. [01:53:07] Speaker A: Yeah. [01:53:07] Speaker B: Then you've got these beautiful swirly white water patterns. [01:53:12] Speaker A: Yeah, that's awesome. [01:53:14] Speaker B: Yeah. [01:53:14] Speaker A: I've often wondered what, like, what can be done because I've shot mine at slower speeds, but slow speed for me, except for a couple of night photos I was playing with, or dusk photos because you don't fly it at night, were like, you know, I was like, oh, it's a 50th or whatever. And I was still worried as to whether that was going to be sharp or not because it's moving around and. Yeah, this. That's amazing. A second. [01:53:37] Speaker B: Yeah. Nice work, Bruce. I mean, sorry, Nev. Jesus, I'm losing. [01:53:41] Speaker A: Oh, you too, Bruce. [01:53:42] Speaker C: You too, Bruce. [01:53:43] Speaker B: You've done good work. Yeah, you did great work. Always, Nev. Sorry, I just completely screwed up your. Your image presentation. But it is a gorgeous image, as always. [01:53:53] Speaker A: Yeah, beautiful. [01:53:55] Speaker B: And I love that there's this beautiful contrast between the rocks and the softness in the water and the sand. [01:54:02] Speaker A: The sand looks so smooth. [01:54:03] Speaker B: Yeah. Yeah. [01:54:06] Speaker C: Lovely. [01:54:09] Speaker B: Very lovely. And that, ladies and gentlemen, is the end of your images. Your images for tonight's episode of the random photography show. Jay, should we have a look at some of your images? [01:54:22] Speaker A: I'm trying to decide. There's. Because there's images, there's behind the scenes images. It's. It's a bit of a thing. Maybe we'll. Maybe we'll say. Maybe we'll kick off next week's show with them. [01:54:34] Speaker B: Yeah, we can do that. [01:54:34] Speaker A: Bit of a thing. Maybe I'll title next week show the greatest images I've ever taken. [01:54:41] Speaker B: You reckon? [01:54:42] Speaker A: Maybe. [01:54:43] Speaker C: Is that clear? [01:54:45] Speaker A: It could be. You won't know until. You won't know until it happens. [01:54:50] Speaker B: The greatest images ever. That will be the title of next week's random photography show podcast, folks. [01:54:55] Speaker C: It's just a tribute. [01:54:57] Speaker A: Exactly. Exactly. Great Tenacious D reference. Let's. Yeah, let's do that. Let's hold off because there is. There's quite a few. It's a. It's a big set. And then there's a good amount of behind the scenes stuff that would be worth looking at. [01:55:10] Speaker B: Yeah, fair enough. [01:55:11] Speaker A: Bit of fun for next week. Cool. [01:55:15] Speaker B: All right, let's park that for now. I feel like we've covered a lot tonight. We've covered so many topics from babies and impregnation. To, you know, classic, classic gimbals. Stupid looking cameras. I don't know what else we covered, but of course we're always joined. [01:55:35] Speaker A: Printing your photos, you know, always print your photos. Hey, yeah, look, you get real handouts. You get real handouts. [01:55:42] Speaker C: It's about the same price straight to the fridge magnet. [01:55:46] Speaker B: You need to scan it and then print it as large as you can on your printer. I don't know why. [01:55:53] Speaker A: I mean, I guess I could. [01:55:56] Speaker B: So, Greg, how do people send images for your images? Yeah, not your images, Bruce, but for the Camera Life images. So, folks, if you want to send in your images, you can send them to the Camera life [email protected] not the camera life podcast. [01:56:15] Speaker A: The camera [email protected]. just say the [email protected]. no spaces, just the camera [email protected] and [01:56:28] Speaker B: as much as we would, yeah, love to host a whole reel of images, we don't have the time for that sort of thing because we've got other things to go through. But you can send in one image or maybe a pair of images if you want to do a comparison. As we saw earlier, with three images taken over three different years at the same location in New Zealand was a great way to see the progression in someone's craft and skill. I think that's a lovely way to submit your images. Please make sure you include your camera settings and the gear you used and just a brief paragraph, a couple hundred words about your experience and why you were there, taking that shot on that particular day or anything that you think is of interest. So please send those through and we'll bring them up in the your images section. That's how you do it, Bruce. That's how you do an Android. [01:57:12] Speaker C: I'll remember it one day. [01:57:17] Speaker A: Cool. Should we call it? [01:57:19] Speaker B: I think we should call it. I think. I think we're done. I think we're well and truly baked. Unlike the baby in Yelena's belly. [01:57:28] Speaker A: Yeah, it's not. It's not ready yet. It's still, still cooking. Still on the way and. Sorry, Greg Carrick. The puppy is asleep and if I wake it up, it'll go crazy and. And just. Yeah, so no, Nev. Clark says all good peeps. Yeah, sorry. Sorry, Nev. Did you like my explanation of your image? I thought it was pretty good. David Skinner. Cheerio, Lucinda Goodwin. Good night, team Greg characters. Click the like button. Yeah. Please do. Some of our episodes get lots of likes and some get not many. It'd be great if they all got lots. So just. Just click it. It doesn't cost you anything. Yeah, that'd be. That'd be really good. John Pickett, good to see you. John Latimer. Lisa Leach. Have fun on your travel. Shamit Shah. [01:58:08] Speaker B: Yeah. [01:58:09] Speaker A: Phil Thompson's. [01:58:10] Speaker B: Paul. [01:58:11] Speaker A: Who else? [01:58:11] Speaker C: Who else? [01:58:12] Speaker A: Philip Johnson. Thank you. I don't know who else. Richard Mayall. Yeah. Tony was here. Dennis was here. He said he had to fly. Thanks for his late night. Great news. Massive love to Elena. I'll let her know. I will let her know. Craig Murphy, good to see you. And with that, we'll see you guys next week. Yep. [01:58:37] Speaker C: Thanks, everyone. [01:58:38] Speaker B: Be safe. [01:58:38] Speaker A: We'll see you on Thursday. Bye.