The Random Photography Show with Co-Host Adam Edwards (EP177)

[00:00:00] Speaker A: Sam. Well, good evening. Good evening everyone. Normally Greg says good evening and today it's me because there is no Greg. But we've gone one better and we've got an Adam Edwards. How are you? [00:00:40] Speaker B: Another beard, Another bearded photographer. [00:00:43] Speaker A: Exactly. Exactly. [00:00:45] Speaker B: How you going? [00:00:46] Speaker A: I don't know. I'm good. How are you? [00:00:48] Speaker B: Good, man. Yeah, good. Really good. [00:00:52] Speaker A: For those of you joining us. Oh, it rested. Yeah. You got a long weekend. I didn't even get one. I got a regular weekend. Just a normal old two dayer. It was good, yeah. Just three days. Just that little bit better. [00:01:05] Speaker B: We all know when you work for yourself, you don't get weekends though. [00:01:08] Speaker A: This is true. [00:01:09] Speaker B: This is true. [00:01:10] Speaker A: Although I do since not shooting weddings anymore, I do actually get quite a few weekends. It's very nice. It's very nice. Used to be a just a never thing, but yeah, that's great. For those of you joining us, this is the random photography show on the Camera Life podcast. And I've got to do all the things that Greg normally does at the start. What does he do? He usually says you should subscribe if you haven't already done that. That's a good one. He says it's brought to you by Lucky Straps. Lucky Straps are comfortable leather camera straps with a modern quick release system that doesn't leave any dongles on your camera. It has anti theft features like a safety lock and cut resistant webbing. Our camera straps will keep your gear safe and ready to capture the shot when you don't have a second to, you know, to waste something like that. I wrote that before the show. Was it all right? [00:02:00] Speaker B: Yeah, yeah. A bit of work to do, catch [00:02:02] Speaker A: up with Greg could tweak it. I should get AI to make it better or something. That's what happens when a human does it. [00:02:11] Speaker B: Yeah. If Greg ever needs, he could go onto like the online shopping channel, I reckon. Yeah, yeah. Buy two, get one free. Yep. [00:02:22] Speaker A: Oh, that's a good point actually. If you do want to, if you actually are interested in a Lucky strap, you go to Luckystraps.com check them out and you can use code Greg, even though he's not on this show, you can still use it and it will get a discount. So it's kind of cool. Oh, I'm going to ask you how you are. But real quickly, let's, let's roll through the chat. Philip Johnson's here. Dennis Smith is here early. He says hi, you bunch of legends. And I think he sent in a photo for later that I haven't quite got to yet you're in the chat. That's cool. Paul's here. Dennis says, adam, you're meant to be on the show. Get over there. Oh, I see. Yeah, right. Rick Nelson says, hello, everyone. Ready for another great show. David Leporati's here, says good evening. Felicity Johnson is here, says hello from Gornong. Hello close by. I was hanging out there a lot this week. David Skinner's here. Tweak Productions. Jamie. Good evening, party people. No editing tonight. Back on the treadmill. Oh, that's fun. You're gonna do the. Are you gonna treadmill for the whole show? You'll be. You'll be sweating. Dennis says for the video geeks here tonight, I'm doing the final checks and color grade, I'm assuming on a 30 minute long video in Scope Cinema Wide that we are testing tomorrow. Cool. Seeing something that big, I don't even know what that quite means. Scope, is that like. [00:03:52] Speaker B: Like the white? The wide, wide aspect? [00:03:54] Speaker A: Super wide. Yeah, yeah. Where they, where they squish it out. Some YouTubers will do that. Where it starts and then it squishes in. [00:04:02] Speaker B: Yeah, yeah. The little bars come in. Yeah. [00:04:05] Speaker A: It's very professional. Lisa Leach is here. Yeah, it's out of my league. Hugh J. Photo is here. Who else is here? Bruce is here. I don't have a halo, do I? He watch Huge Hughes watching it on his TV tonight. Got a chromycast. That's funny because Greg's not even here. It's great. Nick Fletcher says, ola from Vienna. What? Where are you? You've been traveling. Yeah, it's not easy. Well, hello from my bedroom. Who else? Okay, apparently you might have to do the next intro. Look, I tried. I tried, okay? We got to have Greg for something. Lucinda says, hey. Phil Thompson says, glad to see another bearded photographer. That's y. Yeah. And. Oh, wow. In movie theaters. Big, big. Oh, that's cool, Dennis. That is very cool. You did this still on the still photo at the start. I don't know. Either way. Look, I'll take it. Okay, let's get into it. So how you been? [00:05:26] Speaker B: Good, man. Yeah, really good. Just doing the things at this time of year. It's like every other week we're out and about doing a workshop or. Yeah, all sorts of crazies. [00:05:39] Speaker A: If you've been so flat out this time of year, how have you been able to create this fancy new office backdrop that you're. You've got going on there? It's very professional. [00:05:47] Speaker B: Just. I told you, you don't get days off when you work for yourself. That was last weekend's project. [00:05:55] Speaker A: Yeah. Okay, so that was. Is it part. Is it at the house or the. [00:05:59] Speaker B: Not at the gallery. [00:06:01] Speaker A: At the gallery, yeah. [00:06:02] Speaker B: So I got two offices here in the back and when I moved in I just did the bare minimum. But the intent was always to make one like an editing studio slash office. So I've said finally set it all up properly and got, you know, it's. It's the darker of the two offices so it's easy to control the light and yeah, it's just great. I got a TV on the wall for doing like clean feed for video editing and stuff like that. It's good. Sweet. [00:06:33] Speaker A: Full pro. [00:06:35] Speaker B: I don't know about that. [00:06:37] Speaker A: Is it gonna be. Is this gonna be a new YouTube background or you still do those in the game? [00:06:42] Speaker B: Yeah, bit of both, I think. Mainly I want to do some more educational content and I just need somewhere to be able to sit down and just do it where I don't have to set up and pack up and set up and pack up, you know, you know what it's like doing the podcast, right? If you had to set the lighting and your mic up and all that stuff every time you did it, then yeah, nightmare. [00:07:08] Speaker A: It was super important for that to be able to just have it. Otherwise I wouldn't do it. If I had to put pack this down after every podcast, we definitely would have not made it this far. Cause, yeah, it's gotta be easy and especially if it's that kind of content where you've got to put a fair bit of thought into the content itself. You also don't then want to have to set up a production to do the, you know, get the light, the [00:07:32] Speaker B: right spot and yeah, all of that stuff. Too much mucking around. Yeah. So it's cool. It's nice to be able to just walk in, sit down. [00:07:40] Speaker A: Yeah. [00:07:40] Speaker B: Put a light up, but that's all. [00:07:42] Speaker A: Yeah. Okay, so you got a light, you got. Are you running a camera? Is this your. What cameras on. [00:07:46] Speaker B: Is this Z9 with a cam link? Yeah, the ZR as well, but I don't have the micro USB adapter. Micro hdmi? Yeah. [00:07:57] Speaker A: I can't believe they put micro HDMI in that. Silly geese. [00:08:00] Speaker B: It's such a small body. Like if you think about the room that a full size HDMI would take up in that camera, it would be like many percent. It's probably 6 or 8% of the volume of the body. [00:08:13] Speaker A: Like the whole body. [00:08:16] Speaker B: Yeah, because it's quite a small, [00:08:20] Speaker A: but it but it is also a fairly cinema ish camera. [00:08:25] Speaker B: Yeah. [00:08:25] Speaker A: So it's sort of. I could see them making that sacrifice, making the body slightly bigger or whatever because they're like people are going to use this with an external monitor. Micro hdmi. Yeah. [00:08:37] Speaker B: I've got one of the ones coming that is a permanent and just mounts to your rig to the full size hdmi. So you're not plugging it in and unplugging it. It's just a little tiny cable screws to your rig. So you've got a full size adapter. Yeah, yeah. [00:08:54] Speaker A: And then you can plug in and out of that regularly for your actual stuff. Yeah, that's a good idea. [00:08:59] Speaker B: Yeah, yeah, yeah, yeah. So yeah, but yeah, no it's, it's good. It's nice just to be set up and just to wander in and even if when you're doing like critical editing, you know, to have a room that's dark enough can be a real struggle sometimes, you know, to, to sit down and just be able to control the light. So this room's only got one window with a blind and one door with a small window, like half door window. So yeah, it works good. [00:09:27] Speaker A: Yeah. Nice. Very cool. Speaking of. Actually I should change this to be, to be on you. There we go. Adams. Look at that. Speaking of that, you said you were working on a new YouTube video. The last one was very cool. The one about the zr. Yes, that was good. [00:09:46] Speaker B: It was cool because I wanted it to be just really different. Like you just see so much of the same rinse and repeat stuff. Just it's almost like people going watch five other videos on a review of a camera and then just mold all those opinions into one and make another video. That's. It's almost like the AI thing. Right. It's just washed up all the time. [00:10:09] Speaker A: Yeah. [00:10:09] Speaker B: Whereas I just wanted to, you know, be really open as like video is not my main form of art photography is. And if you had one spare body that could do everything, which would it be and like it? It's a cracker for that. It's really good. Yeah, yeah. So much so that I went and bought one. You know, like Nikon lent me one. So I just. Yeah, I went and bought one to replace my Z6. [00:10:34] Speaker A: So yeah, it's. It's an interesting camera. Like you say for someone who's primarily photography. But you're doing. Yeah, you're doing a lot of video. [00:10:44] Speaker B: Yeah. [00:10:45] Speaker A: So it's sort of. [00:10:47] Speaker B: It's a very good video camera. Like the video out of it's just beautiful. So easy to just put the red REC 709 LUT on it. And it's done. Like, it's so easy. Yeah, really good. [00:11:00] Speaker A: I. I'm getting lazy with video. I. I shot a lot of video over the past week. I had multiple commercial shoots this week and I've stopped shooting log. [00:11:12] Speaker B: Just shot str. [00:11:14] Speaker A: Yeah, it's 10 bit like Canon's. Canon's output is 10 bit and it's, you know, so it's got a nice. It's got a little bit of latitude and it's got a nice look to it. I'm happy with the look that they bake into it and I know what the client wants and they're not passing it on to other people to do stuff to it or whatever. And I'm like, why am I wasting my time shooting in log and then grading it to look very similar to the output I can get from the camera as long as I'm. I run. I actually set the. The Canon control ring on the front of the lenses to white balance. [00:11:54] Speaker B: Oh, yeah. [00:11:54] Speaker A: So on Calvin. So I. I just dial my white balance like it's another dial. I just go by eye constantly when I'm setting up shots. I'm just like, that looks fine. Go for it. Yeah, yeah. [00:12:07] Speaker B: Because log doesn't even save you white balance if it's skew whiff. [00:12:11] Speaker A: If it's like it gives you a [00:12:12] Speaker B: little bit more room, but not. [00:12:15] Speaker A: No, yeah, yeah, exactly. So do you always. What, like for your YouTube stuff and that. What. What do you shoot in? [00:12:22] Speaker B: Yeah, just H265 log. Yeah, yeah. It's just. Just easy. Like it's just a lot. But it also gives you that room if you muck something up. But you also get that room to overexpose a little bit to then bring it back. And much cleaner video files, like, less noise when you shoot with the log. But I've mucked around with the RAW formats and stuff and if you had some really important work, it would be worth it. But, you know. Yeah, that's. Yeah, yeah. But it's good fun because it's a new skill. [00:13:00] Speaker A: Yes. And it does take us. It takes skill to shoot it accurately to know you sort of have to just do I. Because I don't. I don't use external monitors either. I'm the worst video guy. Don't hire me. [00:13:12] Speaker B: You should get a dead eye. You don't need an external monitor. [00:13:16] Speaker A: That is appealing. A nice big, big screen. But yeah, I like. I've worked around Other video guys and they're like, they're checking everything and using gray cards and stuff. And I just, yeah, I just eyeball it all just straight on the camera and stuff. But I don't know, I've, I've done the process enough time. Like you learn from your mistakes basically. And as long as I'm not, I made those mistakes making videos for myself, not for clients. And I'm like, okay, I know if, if the screen looks like, like I need to overexpose it a little bit because the log view assist isn't the same as when I put a lot on it. So it's like, all right, I know what it needs to look like. [00:13:57] Speaker B: Yeah. [00:13:57] Speaker A: And I know how to shoot it like that. But it's, it's still pretty run and gun. [00:14:02] Speaker B: Yeah, I mean like most of my stuff's just H265 done. Like all the real good wildlife footage I got in Africa on my Z9 I shot in Nikon's Raw but in the compressed version which is pretty good file size but super, super nice to muck around with and edit. Like you get heaps more room to move around and white balance isn't a big deal then, you know, similar to photo, but it's definitely not the same as photo neither. It's just good fun to learn. [00:14:36] Speaker A: Yeah, yeah, exactly. You said, you said you were working on a new video which was about equipment care. [00:14:48] Speaker B: Yeah. Wow. Equipment care, maybe. Yeah. Like I realized it's actually more of a follow through on a promise to many, many of my workshop clients that I would ultimately make a video about. To clean your sensor. Because we go out and the first thing I notice when we start shooting in the field is like all these dust spots on people's sensors and, and I go get crooked them and they're like, well, I don't know how to clean it and I can't get it to the shop and, and I hadn't done my Z9 since before Kenya. So it was putrid like so bad to have been to Kenya, Iceland, like three or four local trips, you name it, down in Kangaroo island with salt spray all over it. And yeah, was pretty, pretty bad. So I thought, oh, it's a good opportunity. Literally, like it's the first YouTube video where I've just put the camera in front of me and just talk through it. Like no, no plan at all. Just here it is. So I'm just finished tidying it up now, cutting out, you know, just the wasted time. And so it'll be to clean your camera in 15 minutes, pretty much including a sensor clean. So pretty much what I, what I do to keep mine under control. And I'm like, I'm too far away from anywhere to send my camera in to get a sense clean. [00:16:10] Speaker A: This is true. I've had the hard way. Yeah, well, that's the thing. Okay, so we, we had Wayne Rogers from Imaging by Design on the show on Thursday. If anyone hasn't to listened, listen to that. If you want to learn how to clean your sensor in three hours, go listen to that. No, it's, it's. There was a lot more discussed than cleaning sensors, but he talked through a ton of that stuff, including like, because they obviously at Imaging By Design, they clean sensors for NPS members, they clean sensors for just anyone off the street. You can book it in and get it done and they obviously do an amazing job. But he also on the show, yeah. Talked us through like, hey, this is the stuff that you can confidently and safely do at home. It is okay. [00:16:58] Speaker B: Yeah. [00:16:59] Speaker A: And then he just sort of said. And then here's where it gets a little trickier. And then here's where I really think you should probably bring it in to someone. Yeah, he's. His theory was, was. I'm interested see what you think. His theory was that most people, if they're careful, should be able to clean their sensor with a little microfiber. What do they call it? Like a little microfiber swab, really gently. [00:17:25] Speaker B: Oh yeah. [00:17:26] Speaker A: With no, no cleaning solution. He said that that should remove most things if you do it regularly and carefully. And then he said the cleaning solution side of things is where things can get trickier because you might get streaky marks or whatever, if you don't know. And he said that's, that's where most people will take the step and just. And bring it in. But he then did. He gave us some info on that as well. So, yeah, I'm interested to know what your. I'll be keen to see that video. Is there any, any little secrets you can give us before the video comes out? [00:17:54] Speaker B: Well, the biggest thing is just get really good at changing your lens so you don't have to clean your sensor. [00:18:00] Speaker A: How do you change your lenses? [00:18:03] Speaker B: Fast, quickly, [00:18:08] Speaker A: inside a rubbish bag? [00:18:11] Speaker B: You just get good, right. Like at making sure your body's upside down when you're changing it. Like it's second nature to me. Now I'll lean over my bag so the camera is facing downwards. Clip one's lens off, sit that in the bag. Clip one lens on like It's. It's second nature. And, like, the proof is in the pudding, right? It's the only time I clean my senses when I notice dust bunnies. And literally from August, September last year till now, it's the first time that I've got a little tiny hair, which is what triggered me to do it. And I had a commercial job the day after. And last thing you want to be doing is taking a dust spot out of every commercial shoot you take. So. But yeah, it's like, that's the tip, right? It's get really good at changing your lens. And if you are in a really crazy dusty environment or you have been, give your camera a clean around the lens mount before you even take the lens off. So either with a rag and with a blower and just get it really clean before you take the lens off. But, like, I've seen some wild stuff, man. Like, I've seen people put lenses back in their bag without the back cap on it. [00:19:27] Speaker A: And that's. That's me all the time. All the. All the time. [00:19:33] Speaker B: Yeah. I just use the sensor swabs. Is the. Is the answer, like, around the. The sensor itself? I just buy the. The Visible Dust branded sensor swab kits. Yeah. I've had really good results of them. And I agree, like, most of the time you can do it dry and it's just enough to dislodge what you can't get with a blower. But they do come with a liquid. And the trick with the liquid is, is you don't wet the swab. It's just got to be the tiniest little bit of dampness. You know, if. If you need any liquid at all, you see people, like, soak it, then that's when it gets streaky and messy and. And you know. [00:20:15] Speaker A: Yeah. [00:20:16] Speaker B: All sorts of bad stuff. But yeah, it's. It's important, like, to know how to do it. And I think everyone should have a sensor swab kit in their bag. Takes up no weight, no room. [00:20:28] Speaker A: Yeah. [00:20:29] Speaker B: Because if something goes sideways, you could at least have a go at fixing it because you're not gonna. 99.999 of the time unless there's something crazy in your camera, you're not going to damage the sensor because I think that's what everyone gets a bit worried about. [00:20:46] Speaker A: Yeah. And. And that, that was sort of what Wayne was. Was saying. Like, it's, it's, you know. Yeah. They're not as. It's not like if something just touches it, they'll just fall apart and. Or. Or you, you know, break some pixels. But, but you can definitely. He said he has also seen like someone's moved something like a little bit of almost like swarf, like metal swarf or something and then, and then you. And then it's scratched it across and so that can happen. It is possible. But yeah, I think I've been a bit too cautious with it and. Yeah, exactly. Super rare. And if you're not reckless and you have a good look and don't just get in there and swab around like a madman. [00:21:28] Speaker B: Yeah, yeah, yeah. The sensor swabs are like the best thing designed ever. Like when I first, my first digital slr, when I worked out that you actually got dust bunnies on the sensor because I was a complete nutter novice. The only thing we used then to clean them was like they call them peck pads, little 100 mil square lint free cloths. And you'd twist them around like even the end of a pencil and use that to work it. Like it was so ghetto compared to these like single use swabs. It was wild. Yeah, yeah. So like I've got that background where I did all sorts of crazy stuff to clean my camera and didn't break anything. So like now I'm like, oh, well, this is the most delicate thing ever. [00:22:16] Speaker A: So. Yeah. So now it's easy. [00:22:18] Speaker B: Yeah, yeah. [00:22:20] Speaker A: Do you, when you rocket blow, this is an interesting one. When you rocket blow, do you. How do you hold the camera? Which way? [00:22:29] Speaker B: Upside down. So anything you dislodge falls out. [00:22:34] Speaker A: That's what I've always done. Always. And you know what Wayne said? He goes, nah, don't worry about it. He said if you have it resting on a bench, you know, open. He said you can see way better and you can get much closer and be more controlled with it. And he said around the sensor is often a stuff that. Yeah. And it basically everything just sticks to that. And he said that it's designed to do it. It grabs it. And he said. So his advice to me was lay it on the bench and just. But he said then you can get in closer and you can be more precise with your, your rocket blowing. I was like, interesting. So yeah, I'm going to have to try that. [00:23:14] Speaker B: Yeah. Like that felt stuff gets so dirty. I remember my digital SLRs, the ghetto way to clean it was to get like a little ruler or something and put a bit of masking tape on it backwards and like use the adhesive to pull all the stuff out of the felt. Yeah. [00:23:35] Speaker A: Oh, out of the felt. Okay. Out of the felt. You really did. Yeah. You used to go hard. [00:23:41] Speaker B: Yeah, no, no, no. Out of the felt. Because that stuff just catches all of the, all of the debris that's floating around inside your camera. [00:23:49] Speaker A: Yeah. [00:23:50] Speaker B: And digital SLRs were harder to get dust on the sensor, but they're much harder to clean because they were so much deeper in the body and mirror and viewfinders and. Yeah, yeah, yeah. So probably it'll be someday this week where I'll finish that. Probably Tuesday, Wednesday. [00:24:08] Speaker A: Awesome. Well, if you're listening to this now or later, go to Adam Edwards YouTube channel and subscribe so that you don't miss that video and all the other cool videos that he's going to be pumping out this year. [00:24:21] Speaker B: So I've got a travel tripod review thing coming up too. Leophoto just brought out the greatest travel tripod. [00:24:30] Speaker A: I just bought a tripod. No, I bought a tiny, I bought a tiny little tabletop tripod so like it folds up this big and then it maybe goes like this big so that I can hopefully podcast because I'm going to be away for a month as of this Sunday and I'm hoping I'll be on a podcast. And I was like, I need something to put the camera on, but I don't want to bring a full on. How, how big is this tripod that [00:24:55] Speaker B: it's similar size to the peak design one. [00:24:59] Speaker A: Yeah, yeah, it's probably bigger than I because I don't really shoot with a tripod much, so I'm mainly bringing it [00:25:05] Speaker B: down to about 30 centimeters. [00:25:08] Speaker A: Oh, that's pretty good. [00:25:10] Speaker B: Maybe, maybe a little bit longer. But yeah, it's really good. Like I, I'm a, the, I'm the travel tripod hater because I just think that they're just mostly just rubbish and you pay so much money for them for. Because it's got travel tripod attached to it. Yeah. But Leo photo just brought out this. I mean, it's, it's similar to the peak design one, the way it packs up to be very round and not a whole lot bigger than a water bottle really when you think about it. But man, it's so much better. Built like aluminum machined, everything like super sturdy carbon fiber. So yeah, I've got one here and I'm going to compare it with the peak design because I've got one of them here as well. [00:26:01] Speaker A: Yeah. [00:26:01] Speaker B: And just. Yeah, because like, yeah, tripod is a hot topic. Yeah, yeah. And one's cheaper than the other. So it's, they're still about A thousand bucks retail. But Pete design also like 11, 1200 bucks. So. [00:26:16] Speaker A: Yeah. Yeah. Okay. So they compete head to head really in price. Like it's a little bit of price difference. But they're both in the same bracket. They're both, yeah. [00:26:24] Speaker B: And that's, that's why I think doing a side by side will be really good for it. They're definitely in the premium market. [00:26:31] Speaker A: Yep. [00:26:32] Speaker B: Yeah. [00:26:33] Speaker A: I'll, I'll check out some comments before we move on though. The other things, if people do want to go back and check out the Wayne Rogers from Imaging by Design episode, which I'd highly recommend it. We talked about full spectrum and Astro and infrared like conversions that they do there. I'm going to get my full, my, my R63 converted full spectrum. Hopefully I'm going to go down there when they do it and do like a behind the scenes of them. Hopefully not destroying my camera, which will be fun. And yeah, we talked about how to clean sensors. What was really, we talked about why Leica are so good at making cameras. They're also a Leica like repairer. And so he has pretty into. He's been to Germany to be trained and things like that. So he's obviously got a fair bit of knowledge about them as a camera brand and how they build their cameras. But one really interesting thing he talked about was issues with lenses and whether you got a good copy of a lens or a bad copy of a lens and how the camera body can affect it and whether the sensors aligned. And that was a really interesting discussion and a lot of stuff that I had no idea about. And what was really interesting is just after that, like a day or two afterwards, Pedapixel put an update out. They reviewed the Canon, the new Canon 14 mil 1.4 lens and they said that it was pretty poor performance on astrophotography because there was streaking in the corners. And obviously a 14 mil 1.4 lens is of course to be a very popular Astro lens. That's kind of one of the main things it's made for. Yeah, it's why you buy it. And so they've released a correction, an update. And it turns out after a lot of sort of investigation with Canon because Canon obviously looked at their review and were like, no, like we made this lens specifically to kind of do this. And turns out that their sensor in their R5 that they were using to test these lenses, this lens and other lenses wasn't aligned correctly. And they'd never realized it because it's probably a lot More forgiving with a longer focal length, shooting a portrait or something to see whether the eyes are sharp. But this with such a point source in the corners and things like that, it was really obvious. So they got an aligned camera and put out a kind of like a correction to the article. [00:29:03] Speaker B: Yeah, well, plenty of my cameras have been in image by design, so for repairs after Uber. Yeah, they do a great job. Yeah, yeah, they do a fabulous job. [00:29:17] Speaker A: Yeah, yeah. Very, very cool. So it was fun. Go and check out that episode and otherwise, who else? What. What are we seeing in there? A lot of people. [00:29:25] Speaker B: There's plenty going on in the chat. [00:29:28] Speaker A: Yeah. Bruce says you travel with a small clean room for changing lenses. That's a smart move. What else is people saying? Yeah, Bruce, Edwayne was amazing. Oh, gosh, the phone's gone. Phil Taylor says I work for a manufacturer and clean sensors probably weekly. It's easier than cleaning a lens. Well, in my opinion. Oh, that's cool. Nev Clark says, hey, I clean cameras here locally for people and Ulanzi Blower works a treat. I make some side coin. You make side coin Doing everything? [00:30:03] Speaker B: Nev. [00:30:04] Speaker A: Shooting weddings and printing images and. Yeah, it's impressive. [00:30:10] Speaker B: It's got his own little camera shop going on. [00:30:12] Speaker A: Yeah. With streaks. I use Ulanzi Blower. It's a USB charge blower. Always point camera down or change lenses in a microfiber bag. Wow, that's interesting. That's next level. Yeah, like a. Yeah, like a dark bag. [00:30:29] Speaker B: Yeah. [00:30:33] Speaker A: Here's a question. How do you check for dust spots? Oh, it's in your video. Do you want to save it for the video? [00:30:43] Speaker B: 100%. Yeah. No, like I'm. I'm happy to share it. So, like, it's. It's really simple. Right? You just need to have a completely featureless subject and be at your smallest aperture that your lens can do because that's what focuses the light so harshly. So I literally sit my camera up with the lens on it like this on the bench. No lens, but lens. Set it to F22 or whatever your lens will go to focus it to infinity and just get a piece of copy paper and trigger the shutter and just move the copy paper around because paper has texture in it. And what you'll find is if you double that paper over, you'll get like a six or eight second exposure and then you've got featureless light, but you have your dust. So it's really just super simple, super easy. You can do it with a clean wall or, you know, there's lots of ways to do it. But the long exposure and the movement's the trick because that means that you haven't captured a feature in whatever you're using as your subject. [00:32:00] Speaker A: Yeah. And especially if you, if you do. Yeah. If you do get a little bit of a feature in a long exposure, it's certainly not going to be a round like dust spot. It might be a bit of a, I don't know, just a slight change in exposure or something, but it's not a dust. Yeah, yeah. That's clever. [00:32:16] Speaker B: Everyone has a piece of paper. Everyone, like it's just the easiest thing to do. Yeah, yeah. [00:32:22] Speaker A: I've always done the most common because it's always been usually on a shoot and if it's a wedding or something like that, because it's usually only something I think about when I suspect a dust spot in an image not planned, didn't plan in advance. I'll be like shooting and I'll be like, oh, is that a dust spot? And then I'll usually go to the ceiling and just like, yeah, open. Yeah, open the shadow way up or just to a blue sky. If there's, if I'm outside, there's a blue sky. [00:32:49] Speaker B: Just make sure you move, move heaps so there's no chance of catching a bird or, you know, or a hole in the ceiling or something that's going to trick you to think it's enough spot. Yeah, yeah, yeah. It's super easy. Piece of paper. Yep. [00:33:05] Speaker A: Piece of paper is very clever. I've never thought of that. That's genius. Tweak production says I clean sensors at work and it's amazing the state I've seen them in. Had one where it looked like the sensor was used as a scratching pole for a cat. Another had stuffed a cat in it. Okay. Nick says, evening, gents. Hey, Adam, you scrub up okay? I made it to Cobar okay. Helped rescue an echidna off the road and also got a shot of an emu jumping a fence right at the top of its flight. Well, that's cool. Oh yeah, Nick. [00:33:40] Speaker B: Oh, there you go. Nick was in the gallery this morning. Oh, nice. [00:33:44] Speaker A: That's awesome. [00:33:46] Speaker B: Yeah, yeah. [00:33:47] Speaker A: That's so cool. He had another message here somewhere. Where to say he also said he got Justin. I got that last year at bfop. Got what? What did you get? [00:33:57] Speaker B: A B for the blower, I'm assuming. [00:34:00] Speaker A: Oh, maybe. Yeah. Or the travel tripod. [00:34:05] Speaker B: I. I use a visible dust branded blower and they have a filter on the back. [00:34:13] Speaker A: Do that. [00:34:14] Speaker B: Filter on the back Doubles as a stand so you can stand it on the table. But it's, you know. Yeah. It's got like a filter so it can't pull anything through the. Through the blower. It's great. Great thing. [00:34:27] Speaker A: Yeah. I might be investing in. Oh, I see it. That's. Yeah. Oh, $60 for a blower. Obviously that filter's worth it. Oh, yeah. I need. I should get. I should get a couple of them, probably. I was thinking about that. I've got one blower and I always. I'm like, oh, I better put that in my bag or move it to this bag or whatever. I should just have one in every bag. [00:34:49] Speaker B: Yeah, yeah. They're just. They don't weigh anything. [00:34:53] Speaker A: Yeah, yeah, I'll definitely get them. Okay. Visible dust. You'll have to. Yeah, let me know. Sure. There's an Adam discount code or something. [00:35:02] Speaker B: Yeah, yeah, we'll be able to sort something out. [00:35:04] Speaker A: Sweet. Paul's listening and packing for next week's Light in the Landscape workshop. [00:35:13] Speaker B: Yeah. Paul's coming to Mungo with me and Dennis. [00:35:17] Speaker A: Yeah. So give us a. Give us. I know we talked about that last time. You almost give us a quick recap. What's going to be happening? What are you guys going to be doing? [00:35:24] Speaker B: Well, it's our second, like, combined workshop thing that we decided, so Dennis and I, like, hit it off. He's a pretty. Pretty good sort of bloke at BF and we, we both connected over our connection to Mungo, so Dennis has had some pretty cool experiences there and. And like, it's a place that I just love. I could go back to every. Every week and. And, you know, I almost do this time of year, it feels like it. I do about six workshops back to back this time of year, so they're a lot. And, you know, Dennis only lives in Adelaide, so it's just a half a day drive really. And last year we decided to do like a combined workshop, which we did here and based ourselves in the gallery, but went to Silverton and all sorts of cool places around Broken Hill. And then we thought we'll just have another crack and do one this year, but we'll do it at Mungo. So, yeah, it was super keen. So talk about landscape photography, talk about light painting. Just. Dennis and I both have a really similar approach to our photography where we're pretty mindful and, you know, it means more than just taking photos to us. So, you know, hopefully we can bring a whole heap of people together and just create cool stuff. Just have a good time in a really wicked place. Yeah. It's gonna be super cool. Super cool. [00:36:50] Speaker A: It's. Yeah, it sounds epic you staying out there. I'm trying to remember what. [00:36:57] Speaker B: Yeah, yeah. So it's about an hour from Mildura if you're in a hurry in a four wheel drive. So like it's a bit too far to come and go. It's fairly remote kind of place. So we're just out there for two nights. So just a fairly small thing, small group. I think we've got seven. We've got one spare spot if someone wants to jump on a last minute spot. [00:37:23] Speaker A: I would. [00:37:25] Speaker B: Monday, Monday starts at Monday, 4:00pm Yeah, I know. [00:37:28] Speaker A: I think I leave on Sunday at 3pm for a month. I think that's why. Because I did originally when I saw it I was like, oh that would be. That would be super fun. Come up a bit early, you know, check out your area and stuff and then. And then. Yeah. Or something. That'd be pretty sweet. But I'll have to do it another. [00:37:48] Speaker B: Yeah. So it works out like I head off for. For a workshop on Thursday this week to take my normal sort of four day workshop and this one's around the full moon rising. So fingers crossed we get some good weather. We can get the full moon rising over the lunette landscape on Saturday night. [00:38:11] Speaker A: Nice. [00:38:12] Speaker B: And then drop the guys back in Mildura and head back out to do the couple of days with Dennis and. And the crew. So it'll be. It's going to be awesome fun. [00:38:22] Speaker A: Oh, that's unreal. So cool. [00:38:24] Speaker B: Yeah. [00:38:25] Speaker A: Can't wait to see the images and hear some stories. We'll have to get you both on. [00:38:29] Speaker B: The stories are always better. [00:38:31] Speaker A: Yeah. [00:38:33] Speaker B: Yeah. [00:38:36] Speaker A: Very cool. Anything else that's exciting that's been happening before. We kick onto some camera news. [00:38:44] Speaker B: Oh, there's so much man like. Yeah. Heaps. But I think that covers. Covers majority of it for now. [00:38:51] Speaker A: Roughly what you've been up to. [00:38:53] Speaker B: Yeah. [00:38:54] Speaker A: All right. All right, let's. [00:38:57] Speaker B: Oh, I've got one. [00:38:59] Speaker A: Yeah, tell me. [00:39:00] Speaker B: I can actually announce this time. [00:39:02] Speaker A: Oh. [00:39:02] Speaker B: So I don't often into competitions. Right. The only one I've really evented consistently is the Nature Photographer of the Year which I didn't get into the shortlist this year. It's first time for four years which was a bit of a bummer. But last time I had a secret. So I've got. I'm in the short list of 28 for the Australian Photographic Portrait Prize. [00:39:30] Speaker A: Really? [00:39:32] Speaker B: Yeah. Yeah. [00:39:33] Speaker A: That's exciting. [00:39:35] Speaker B: Yeah man. For like a busted butt landscape Photographer from the Outback. [00:39:42] Speaker A: Wow. [00:39:44] Speaker B: Yeah. So, yeah, it's like this. Yeah, Crazy, crazy thing. I only entered it. Right. So I have a good mate who's on this journey to tell the story about his daughter who took her life sadly. And we were doing some promo shots last year for. He wants to do a documentary. As a filmmaker, Dennis. Dennis knows him and well as well. And, yeah, we went out and we just had this really cool session just taking some photos of him just being himself. And because we're good mates, he sort of let his guard down and just got this really cool spot of him. Shot of him just backlit in the Outback, holding his daughter's favorite toy by its hand. And just like, it's. Yeah, it's super powerful. I don't think we're allowed to show it. It's under embargo, but. [00:40:38] Speaker A: Yeah. [00:40:39] Speaker B: Yeah. So in August, it'll be in the National Portrait Gallery in Canberra, which is cool. [00:40:45] Speaker A: That's awesome, man. Congratulations. [00:40:49] Speaker B: Pretty happy with that. So. And the only reason I entered into this was to try and get my mate a bit of coverage for his doco. Like. Like, it's not something I would ever consider putting in for, but we had this really, really good, powerful portraits, and I thought, well, might get a bit of airtime, but for him for that. And all of a sudden it's in there. Yeah, there's. So there's 28 in the short list. [00:41:16] Speaker A: That's so good. So, yeah, August, pretty happy. Right? [00:41:21] Speaker B: So that's. Yeah, so that's the other big news. [00:41:25] Speaker A: So when did you find that out that you had to keep it a secret? [00:41:31] Speaker B: Oh, I think February sometime. Maybe March. Early March. Wow, that's been a while. [00:41:39] Speaker A: Yeah. [00:41:40] Speaker B: Yeah. Since, you know, and we had to. The work's got to be physical, so I had to have my printers print and frame it. I wouldn't. Oh, I printed it here in the gallery and sent it to them to frame and everything. And. Yeah, I've, like, spent a fortune on the frame and the finish. I've got full museum acrylic and. Yeah. So hopefully. Hopefully that translates. I've seen photos of it, but I obviously haven't seen it in person. Yeah. So you had to have your work done and the work's been picked up now. [00:42:12] Speaker A: But you had. [00:42:13] Speaker B: You. [00:42:13] Speaker A: So you didn't get to see it framed first before? [00:42:18] Speaker B: No, I could have had it done here. [00:42:21] Speaker A: Yeah. [00:42:22] Speaker B: But I just don't have the. When I've got to ship something, it's really hard to make an appropriate box and all of that. And the guys that I use in Sydney Emergent, they. They just. They're so good at what they do, man. They do hundreds of artworks a week. And I just knew that if I sent them two copies of the print just in case one didn't go to plan and one didn't. By the time it got there, it had a scuff on it. So then they used the second one and yeah, it was. It was cool. [00:42:54] Speaker A: Yeah. Right. Yeah. That would be, though, just knowing that it's. It's done and it probably looks awesome and it cost a fortune. But you didn't get to see. You haven't seen it. Know that's. [00:43:03] Speaker B: That museum acrylic is like. I could have got four photos framed for the price of the acrylic itself. So exciting. [00:43:12] Speaker A: Oh, no. [00:43:13] Speaker B: Anyway, yeah, so super exciting. So we'll have to. And I've actually, for the first time since I've been running workshops, moved a workshop so I could go to the opening gallery. Yeah, I've never moved one ever in like five or six years of running workshops. [00:43:31] Speaker A: It's a big. [00:43:32] Speaker B: But the guys that were on it were great. [00:43:34] Speaker A: Yeah, yeah, you gotta go to that. Like, that's. That's huge. Yeah, Just move the workshop. Just move the workshop to there so everyone can come to Canberra. Yeah, yeah, [00:43:49] Speaker B: yeah, yeah, yeah, yeah. So, yeah. So that didn't come up to the end. So that gives you an idea of what the last couple of months has been. Been like. [00:43:57] Speaker A: So good. So much happening. New office prizes, shortlists. Yeah, yeah. Dennis Smith workshops. [00:44:06] Speaker B: Yeah, yeah. [00:44:09] Speaker A: Awesome. Very cool. Photo news. There's so many. So Greg has put together, like, the biggest ever list of camera news. Hang on, I should. I'll change this to the thing with the thing thing. Yeah. Photo news. Yeah. Greg's put together this massive list and then he was like, this will take two hours to get through, so just pick and choose what you want to look at. And I've. I've done a little bit of research on some of this stuff, but I had a really busy week of shoot, so I'm not up with the news too. So we're kind of discovering this together as a team. If anyone has any camera news they want to talk about, throw it in the chat. We'll talk about that too. There's not a lot of. There's lots of lenses that got released, like, tons. None of them that really excite me. So I don't know, maybe. Do you ever look at this stuff? Like new lenses and things like that? Or if it's not like a Nikon lens that you've been waiting for. You're just like, I don't care. [00:45:09] Speaker B: You know, even then, man, like I'm over the days of like chasing, chasing gear around. Like I. The ZR excited me and it really only excited me because I got my hands on one of the first ones in Australia at B fob. Actually Julie had one there and I had a play with it and I wandered around and shot the light up bright thing that we did this year. Yep. And it was phenomenal. I was like, wow, this is, this is exciting. Like out outside of that, like I don't really hunt gear around anymore. Like the gear that I have does more than a good job. So yeah, I don't get too tangled up in it. The one thing that I monitor and look at a lot though is, and it's Nikon related is firmware updates. Because they do so many firmware updates to their Z cameras and they're not just like fixing bugs, they're like completely new features a lot of the time. And it's really cool. Yeah. [00:46:14] Speaker A: Do you wait or are you like an early adopter of firmware or are you a wait weeks before I put it in in case it bricks the camera or does something silly straight in? [00:46:25] Speaker B: Yeah, I've never, never ever had an issue ever. [00:46:30] Speaker A: Yeah. [00:46:31] Speaker B: So yeah, maybe one day I will and then I'll be the waiter. But otherwise I'm always the early adopter for everything. So. [00:46:39] Speaker A: Awesome. [00:46:39] Speaker B: I wanna, I wanna muck around with it and do cool stuff and there was heaps of news from the big camera expo in the US about new firmware for the zr. [00:46:50] Speaker A: Was this. [00:46:52] Speaker B: Yeah. [00:46:53] Speaker A: I don't know if we saw. [00:46:54] Speaker B: So it's not, it's not real official. Like heaps of the guys on YouTube had to sign NDAs to talk to Nick on about it and. [00:47:02] Speaker A: But okay. [00:47:04] Speaker B: Yeah. From what I understand, they're gonna give everyone a few things that they wanted, like a lower bit rate RAW codec for Red raw and maybe open gate so you can use the full height of the sensor and a couple other [00:47:16] Speaker A: things, but gotta have that. [00:47:18] Speaker B: Yeah, it doesn't. Yeah, it's like the weirdest. The weirdest. Want you. [00:47:25] Speaker A: Should you shoot framed. Yeah, I know I've. I've said it so many times that. Only that I've. I can see the reason why some people want it. I wouldn't use it. Yeah. And. But I can see why some people want it. I'm not, I'm not on far enough on the other side, where I'm like, it's a pointless feature. I don't think it's pointless, but I also don't think it's something that is like, you know, make or break, switch camera systems for. Unless. And if you know that you need that feature so badly you'd switch camera systems, then you probably, you probably do need it. I don't know, you know, like. Yeah, but that's, that's a very small amount of people. [00:48:01] Speaker B: It just sounds like more data to have to worry about to me. And that's like the hardest thing ever. You should do a whole episode on how to do data. [00:48:12] Speaker A: Yeah, I should because it's a nightmare and I feel like I've got a reasonable system. And I did a heap of. Just before I did all this shooting this week, I did a heap of kind of cleaning up and it's a mess in my computer. It's just a mess. Absolutely. [00:48:27] Speaker B: It's so hard. It's like the hardest thing. The more you shoot, the more data you have. [00:48:33] Speaker A: Yeah. [00:48:34] Speaker B: And then unless you're going to go and blow a whole heap of money on a new NAS or something, which still has its limitations. It's like really. [00:48:42] Speaker A: And complexities too. They, they have problems and stuff that take. They're not simple solves. Sometimes NASA's like, I've. We've had. Yeah, they can be a bit finicky and you do need to learn them. It's another piece of equipment you've got to understand. And it's. Yeah, yeah, I think I shot, I shot 400 gig this week and that was not. That was not shooting a ton of images and that was not. Well, in my eyes. Not a ton of images. And yeah, that was shooting a lot of 4k footage, but not crazy durations or anything. It was all clips. So yeah, it just adds up, adds up fast. [00:49:22] Speaker B: So yeah, [00:49:27] Speaker A: Okay, Camera news. I forgot that's what we're going to do. So anyway, what I was saying, lenses that come out that don't super excite me, things like. And I'm sure they're for someone. So if these are lenses for you, I'm sorry, but they're just kind of not that interesting to me. Viltrox 75 mil f 1.8 and 90 mil f 2.2 Evo lenses coming for APS C cool. TT Artisan Neo 50 mm 1.8 and 85 mm 1.8 lenses. Cool. First images of the new Viltrox 26 mil f 2.8 FE pancake lens. Cool. First image of the new SG image. 18 mil APS C pancake lens. Cool. I'll. I'll actually bring, I'll bring this one up because it is the lens. Right. [00:50:19] Speaker B: I've got a hot tank for the end of this. [00:50:22] Speaker A: Okay. For the end or now? [00:50:24] Speaker B: No, let's read the list of lenses first. [00:50:27] Speaker A: All right. I'll just show this one. Just. We'll look at one image. How do I make that go in? There we go. So this is the 18 mil SG image APS C pancake lens. So these are the sorts of things that are coming out. And I'm sure there'll be cool lenses. I'm sure they'll be priced well because they are, you know, cheaper lenses. It's cool to see so many third party options, but it's just like unless you're really hanging out for that sort of stuff in your system, which I'm not. Yeah. It's just hard to keep up with this. So many coming out. Taipok will launch five more E mount autofocus ends lenses this year, including a 24 to 70 Zoom. That, that's pretty big thing. Like a full, full set of autofocus lenses for Sony from Typoc. That's, you know, that's a big step in that market to play with the other people that are doing autofocus E mount lenses. Smallrig have made a cooling system for Sony cameras. That's cool if you need cooling for your Sony cameras. My Canons don't overheat, so that's fine. First. I'm just kidding. First, images of the new Seven Artisans 135mil f 1.8 lens. That's a, that's a bit of a beefy lens. I'll bring that up. Just check it out. Where are we? Screen goes up. That's a big lens. [00:51:53] Speaker B: That is a big one. [00:51:54] Speaker A: 1.8 for Sony. Yeah. Bit of a beast, but again, not something on my shopping list. But I'm sure I think people will certainly buy that. [00:52:09] Speaker B: Yeah. [00:52:10] Speaker A: For portraits and stuff. And yeah. Depending on how it goes. Potentially like indoor sports and things. Weddings. Yeah. Interesting. All right, we're not even halfway through the list of lenses. Just announced. Brighton Star, 12 mil 2.8 full frame AF E mount lens. That's full frame. [00:52:35] Speaker B: 12 mil frames. [00:52:36] Speaker A: Cool. [00:52:37] Speaker B: I used to have a 12 mil full frame Sigma for my Nikon F mount. Was it crazy? [00:52:44] Speaker A: Was it a 2.8? [00:52:47] Speaker B: No, it was like 4.5, 5.6 or something. [00:52:51] Speaker A: Yeah, yeah, that, that's pretty. This is pretty like. Yeah, 12 mil 2.8 is. Let me share this. That's actually a. You know it's an interesting lens. Hmm. So yeah that is on an A7C. I was, yeah I was worried that it was going to be like a crop sensor. [00:53:16] Speaker B: Yeah. [00:53:17] Speaker A: Pre orders will open soon. Price not revealed. Accurate geometry with no fish eye look. Accurate geometry is probably a loose, loose term. [00:53:30] Speaker B: The perspective distortion with that focal length is like everything looks uncorrected. I know with my full frame 12 mil like I think the field of view is close to 130 degrees on a corrected full frame 12 mil lens. So like it can be as corrected as you need but as soon as you're not looking square onto something it's shaped like a keystone like crazy. [00:53:58] Speaker A: It's going to be tough to shoot with. Yeah. Yeah. Okay. Very interesting. That's. And it's only 500 grams too. It seems there's got to be. I always. I used to watch the. Too good to be true. I used to watch the. I use the. This is Jtech 99 is making it funny. 12 mil full frame. Great for portraits and bokeh. Yeah excellent, excellent for that. Apparently these are some sample images along with ads for. What are we getting some ads for? Semrush. That's cool. I mean these look good but yeah, hard to know. [00:54:42] Speaker B: Yeah, it's an interesting lens. [00:54:44] Speaker A: Very interesting. [00:54:47] Speaker B: I don't know, I mean it's cool to see all these third party lenses but my, my hot take right is after owning a lot of lenses over the years, if you're deeply entrenched into any of the major camera OEMs, [00:55:06] Speaker A: a [00:55:07] Speaker B: third party lens will never work as good on a modern camera as the OEM lens for that camera because while they, they share some of the workings, the things that happen behind closed doors with say the Canon lens department and the Canon camera department. Yeah, they just work right like and, and with the exception of very few, I think you know, Tamron and Sigma are pretty up there but there will still be moments, you know, you never know whether you'll get a firmware update on your camera and all of a sudden that lens won't quite work the same or they could like I just feel deep in my bones that most of the camera manufacturers make some pretty good budget lenses these days. Yeah and for me it's really hard take to go and get a third party lens of the same, you know and some of those lenses on that news that like say nikon. Nikon already make 28 pancake and it's [00:56:16] Speaker A: super Cheap and Canon do too and it's, it's not. [00:56:22] Speaker B: Yeah, yeah. So that's, that's my, my, my life experience after owning many like lenses. Yeah. I just never quite feel like they work as good. [00:56:34] Speaker A: Yeah. I think, let me put it, let me. What do I think Tamron and Sigma certainly lead the charge and are going to be the best chance to work as close to native lenses as possible. They are pushing the boundaries with cool tech in terms of their app. The app that got released for one of them, I can't remember which one, sorry Tamron or Sigma. One of you have is a cool app that does cool focus stacking things and stuff like that. They do have great optics. They're often limited a little bit when it comes to speed for some whether it's autofocus or even the Sony. Working with Sony down there go up to 15 frames a second instead of working at the full burst speeds and stuff like that. You get those limitations. So I agree. Like I, you know even if there was a ton Canon, I can't buy any third party stuff that does suck kind of because there aren't many lens that would actually be on my list. You know it's like it kind of sucks but not really because I don't know what I would have picked over the native lenses at the moment but it would be nice to have the [00:57:47] Speaker B: option second hand native lens before I'd buy a brand new third party lens. Oh, and then you're probably paying the same price. [00:57:55] Speaker A: Yeah, similar. [00:57:57] Speaker B: Yeah, yeah, yeah, yeah. That's just from my experience. [00:58:01] Speaker A: That's an interesting one. [00:58:02] Speaker B: Yeah. There goes any sponsorship deal I ever was gonna get. [00:58:07] Speaker A: They were just about to write you an email offering you six figures to you know, wear a Tamron shirt on the podcast. [00:58:15] Speaker B: Yeah. Like and they do like you dead on. They make great optics. Yeah. And I think there's very few glass manufacturers that make glass for lenses. I think Nikon is the only OEM that make their own glass for their lenses. Yeah, yeah. Well they're like they own a company that makes their glass in house. I've used some of the like Nissi make those cinema lenses. Like if you're in cinema it's probably a bit different. You're using Follow Focus and a whole heap of other stuff and you know it is purely about optics then because you're manually controlling everything. That's probably the point where I could justify to go to a third party. [00:59:05] Speaker A: Definitely. There's so many options in that cine world and all that anamorphic stuff and That's a whole different thing. And like you say manual focus, you like very different, very different world. This is mainly talking. Yeah. You've regular old throw it on your camera, autofocused, take some photos, maybe shoot some video lenses. Yeah, I agree. [00:59:30] Speaker B: Yeah. [00:59:30] Speaker A: Okay. Phil Taylor says it depends what works best means if you're doing landscapes and only ever want manual, plenty of glass can be optically better. If you're talking autofocus and VR image stabilization. Yeah, it can be a different story. I agree. But also, I mean there's not a ton of glass that is optically better than the best that's coming out of the native mounts either. It's not like you know, remember, remember when like a Zeiss Otis lens was like if you, you know, if you want the best sharpest lens, go buy one of those. Their manual focus. [01:00:10] Speaker B: Yeah. [01:00:11] Speaker A: It's, it's not like Tamron and Sigma and everyone are pumping out Otis level glass at cheaper prices or anything like that. So it's sort of. Yeah, yeah. I don't think the optics are a huge leap ahead or anything then. [01:00:27] Speaker B: Yeah. And I mentioned when I said at the start to modern bodies. So if you're using something pretty old like it even most of the digital SLRs. Right. But if you start to work in this mirrorless world, all these mirrorless lenses are like they're tuned to the camera. The camera knows what amount of vignette to remove from that photo and it knows what distortion to do. And the lens profile that's built in, you know, you can turn profile corrections on and off in the camera and it makes good glass even better. Whereas yeah, that's left to you in post with some of those other lenses. Like you have to manually do some of those things and yeah, just. Yeah, I think. But yeah, if you're, if you're an absolute purist and you know, we're not all pixel people. Like I'm, I'm the, the least big advocate of pixel peeping. I hate it. [01:01:27] Speaker A: Yeah. [01:01:27] Speaker B: Does my head in you know my, my portrait prize shots blurry. Like literally it's, it's out of focus slightly on the subject. But yeah, yeah, I just wanted it to be a bit softer so I focused just in front of him. But yeah, like third party lenses, man. Like and it's probably because I've, I've owned a lot of older Sigma glass and then like I had a Sigma27200 for my F mount and great lens and then I tried the Nikon 7200 and I was like yeah it's not even in the same class in terms of you know but focus speed and image stabilization, all that stuff. [01:02:13] Speaker A: Yeah and it all depends on the on the value proposition for that individual lens you're making a choice on. Because I would imagine the Sigma lens comparison there is probably half the price. Maybe. [01:02:26] Speaker B: Maybe yeah I think yeah. Two thirds or something. But then like say my experience I could have bought a second hand Nikon lens for the same price. [01:02:35] Speaker A: That's where it gets tricky. Yeah yeah yeah I know like some of the experience I've had was G we directly compared not the same focal length but Sigma had a 135 1.8 the come out big beast of a lens. It's broken up on this shelf over here because yeah the art one massive, awesome, sharp and great. And we had the Nikon 105 1.4. The Nikon was way better in terms of just the way that it handled shooting into the sun like backlit, how much contrast it retained and stuff like that. And then Jim's had a similar experience with the Tamron 35 to 150 in in that sort of low contrast shooting into the sun washed out kind of look. And I think that can just be. It can obviously be the lens design but also potentially coatings and stuff too. People have said so I don't know there's it but yeah there's plenty of good options so don't get me wrong. [01:03:37] Speaker B: Yeah. But yeah comment about the GF glass is pretty good because that I would [01:03:45] Speaker A: agree with that after using some second to none. I'd agree that in my job scientific imaging I have to work at pixel level for most footage. Yeah okay. [01:03:56] Speaker B: Yeah yeah yep. And the Fuji glass is very good. It's good couple of GFX lenses for a little period of time last year. Although they did flare really badly compared to my nick on glass. Yeah yeah. [01:04:15] Speaker A: Okay. [01:04:15] Speaker B: Very sharp. [01:04:17] Speaker A: Yeah. All right let's let's get through the the rest of this lens news. This is Rick Nelson says Justin, don't you want the new Canon 40-1200 lens? I'll bring it up. I don't want it. I'm sure it probably costs a fortune. It's a Canon officially announces the cine servo 40 to 1200 T5T to 10.8. I have a rule. I don't buy any lenses that are measured in T stops because I don't understand what they are and I won't be able to use them. So if it's measured, if it's Unless it's measured in F stops, I can't figure out what it's supposed to do, but it's pretty cool. That's a big professional looking lens that you would think, I don't know, someone would use for sports or something. I don't know. It's crazy. [01:05:07] Speaker B: Yeah, it's video. Video focus lens for like. Yeah, live. [01:05:11] Speaker A: Live casting, live sports or live stuff like that. Events and things like that. [01:05:16] Speaker B: Probably like worth more than your and my house combined. [01:05:18] Speaker A: Yeah, yeah, yeah. That's the other thing. It's like, would you want it? Well, I couldn't even if I wanted it, I couldn't get it. [01:05:25] Speaker B: Yeah, exactly. [01:05:26] Speaker A: Yeah. [01:05:27] Speaker B: What a weapon. [01:05:28] Speaker A: Oh, and it's got a built in 1.5 extender pushing it to 1800 millimeters. With just under 15 pounds of weight and 16 inches in length. It's quite. It's got a portable design look. It's all. It's all relative, isn't it? Okay, Bruce says that's funny. T stops are easier than F stops. I'll have to try and learn one day. I'll figure it out. I did read about it once and I think at the point in my photography career that I read about it, I wasn't ready to know. I was like, I don't know what this means. Okay, what else? Viltrox announced the AF35 Mil 1.2 Lab N flagship lens without a TFT LD LCD screen for Nikon Z mount. I don't know what that means, but let's have a quick look. I don't know what the relevance of it not having a screen. Maybe it has a screen for Sony or something and Nikon's not getting the screen. [01:06:31] Speaker B: Yeah, it must. [01:06:33] Speaker A: But it's a big, Big Fancy Viltrox 1.2 35mil prime without a screen. What does it say about the screen? Something here. No. Ideal for both filmmaking and photography. [01:06:54] Speaker B: Some of these third party guys are doing some pretty crazy stuff with light physics though. Like there must be something going on because it's quite. Looks quite small for me in that focal length and that aperture. [01:07:07] Speaker A: Yeah. Although that's on a Z and the flange, it might be hard to tell. The flange does tuck in a fair bit like the. Yeah, it does bulge out. It might be bigger than these images. Letting. [01:07:19] Speaker B: Yeah. [01:07:20] Speaker A: Oh yeah, here we go. [01:07:21] Speaker B: Need a banana for scale. [01:07:23] Speaker A: Yeah, exactly. There's no oops, there's no scale. Yeah, it does bulge out a fair bit. [01:07:30] Speaker B: Yeah. Yeah, true. [01:07:33] Speaker A: Anyway. Okay, so that's cool. What else we got Sam Yang to announce a new ultra wide zoom lens for l mount on April 30th. Okay. We'll keep an eye out for that new 7 Artisans 35mil 2.8 lens for Leica ML mount announced and available for order. Okay. Brighton starter announced three more lenses for Leica M mount. APO 35 mil 1.7, 50 mil f 2 tri site and 28 mil f 2.8 silver pancake. And Panasonic announced the new Lumix S 40 mil f 2.8 lens for L mount. That's all the lenses. That is all the lenses. Dennis says I have a tiny 35 mil f 95 fully manual lens. It's insane for my night video work. Yeah, that would be pretty cool. That'd be pretty cool. And Rick Nelson says that's why lenses are black. It has a slimming effect. Probably that's true. And Greg Stubbings reminding us that Nikon D5 and the 80 oh 80 to 400 lens package was good enough for the Artemis 2 crew to capture the images they got. Go to the NASA site, check out the metadata attached to the images. Love my D5. I loved my D5. I loved it. It's a camera that I still fondly remember. [01:09:04] Speaker B: Yeah. Either D3. Oh, did you? Yeah, it was so good. [01:09:09] Speaker A: Yeah. [01:09:10] Speaker B: Some of my favorite images I ever took from that camera. Just. [01:09:15] Speaker A: Yeah. [01:09:15] Speaker B: Big pixels, like 16 megapixel. Just magic. It's such a beautiful camera to use. [01:09:23] Speaker A: Yeah, it was so good. And so I was shooting Canon a bit while Jim was shooting with the D4 and then D4s. And those files always look beautiful as well. I know some people said, oh, the D3 had better something. And then, you know how new cameras, for a while, new cameras were coming out and people liked the old camera better. They were like, oh, no, it's gone backwards or whatever. But I always liked the files. And then I switched to Nikon and got the D5. And even though the D5, all the. All the tech reviewers said that the dynamic range wasn't very good and stuff like that. The files just looked amazing. I don't know what it was about it. They looked great. [01:10:04] Speaker B: Yeah. Yeah. Difference between quality and resolution. [01:10:09] Speaker A: Well, they weren't even talking about resolution. They were mainly banging on about the dynamic range at base ISO, that it wasn't very good. And it was at like ISO 400 and up. It was beating other cameras. But at 100 to 400, it wasn't great. [01:10:24] Speaker B: Yeah. [01:10:24] Speaker A: And I never noticed it in the far, like, I Don't know. [01:10:28] Speaker B: If you push something to the extreme, you'll always find its flaws. [01:10:32] Speaker A: Right. [01:10:33] Speaker B: Like, that's why real world reviews and stuff are so much better. Because if you put something in a lab, you're going to point out all the flaws and you, you know, you can, you can influence a conversation, good or bad, either way, with the data, but when you get it in your hand and you get out in the field and you use it, then that's a completely different story. [01:10:55] Speaker A: Yeah, exactly. I agree. Oh, this would take us on a whole different track. We won't talk about it, but a big, big, big camera reviewer on YouTube quit this week. Gerald Undone. I don't know if you ever used to watch his. Yeah. Do you ever seen his videos? [01:11:11] Speaker B: I've seen some of them, yeah. [01:11:13] Speaker A: Quit is probably clickbait me saying that he is not going to do camera reviews anymore. He will keep doing YouTube. But he's, he's like, I just don't care anymore. He said, you know, I, I was passionate about this stuff when the cameras were all so quirky and had massive limitations and, and every, because he was obviously primarily video as well. He was really into like testing the video side of things and you know, cameras, video was, was. Everything had to be hacked together with video for a long time and, and everyone just wanted, oh, I wish it could just do this or if it could just do that now, you know, your ZR can do everything you want. And, and he, I think he reviewed that like he reviewed the A7. He reviewed the A7, whatever it is, the mid range one, the Sony that just come out. A seven, five, six. [01:12:15] Speaker B: Yeah. A seven, R six. Yeah. [01:12:18] Speaker A: Not, not the R, just the regular A seven, like that one and that, that competes directly with the canon R6 Mark III. And he was like, yeah, both of these are sweet too, you know, like, he was just like, they're both great. They can both do basically anything anyone would possibly want. And then, yeah, he's like. And I think he just had, he's just like, I just can't do it anymore. [01:12:42] Speaker B: Yeah, I couldn't. Like, because, you know, if you know anything about cameras and you're in any sort of public light, you're bound to have someone ask you what's a great camera to buy. [01:12:56] Speaker A: Yeah. [01:12:56] Speaker B: And like my answers are always the same. It's like anything from the last like six or seven years will be fine if you're just learning, like, you don't have to have the latest and greatest newest camera. Because back when I've got my Nikon D200. It was like, I got my D200, and six months later, the D300 come out, and it was so much better that you might as well have thrown the D200 out. And then, you know, then they just kept getting, like, there was that period of this, like, every six months, something would come out and be completely different. And, you know, the autofocus was like a whole nother camera better. And the resolution. And then we switch from CCD sensors to CMOS sensors, and then we got better noise. And, like, there was these, like, massive bounds and leaps. And now a new camera is incremental, right? Like. Yeah, yeah. Of any. Any sort. So I could understand that. That would be so boring. [01:13:58] Speaker A: Yeah. Dennis says no clickbait. Yeah, I know. I know he wasn't clickbaiting. I just mean me saying that he quit is probably. It's not accurate. He said, I'm not quitting. I'm not doing. I'm not doing camera videos anymore. But, yes, he did do a great video about backing out. He's the. He's. Dennis says he is the only guy at that level who would engage in email conversations with me. Lovely guy. Oh, that's cool. Rick Nelson. [01:14:27] Speaker B: I need to know, Dennis, did you have the conversation about the hot pixels with him? [01:14:33] Speaker A: Yeah, the Q3 pixel gate. [01:14:35] Speaker B: Yeah. [01:14:37] Speaker A: Rick Nelson says, gerald Undone is finally done. Roy Bixby says, yes, Gerald Dunn. Roy Bixby says, Gerald Undone is one of the very few honest reviewers worth listening to. Yeah, he. He was always. Yeah, very factual and would go through all the stuff and. Yeah, great character. He says, yo, dudes, listing on and off from Paul Punkah. Going to be out all night doing Astro. Oh, that's cool. We'll bring your photos up later. And Phil Taylor says, tell him to buy a K1000. Okay. Oh, Dennis bought a set of his luts and had a question, and he was onto it and super engaged. I actually think I bought. I think I bought his luts for the R63 because I just couldn't be bothered tweaking, and I knew they'd be fine, and they were. It was just like, one click. That looks great. Sure, whatever. And then. [01:15:35] Speaker B: Yeah. [01:15:35] Speaker A: And then I stopped shooting. C Log. Don't need them anymore. I'll still have to shoot log. I'm just not. Not shooting it if I don't need to. Okay, so that was most of the news. There's some camera news, too. Gosh, it's a lot of stuff. Nikon's registered a couple of Cameras, we don't know what they are. There's rumors about what they're going to be. The same thing happened with Sony. Registered some cameras in China. They're saying probably potentially an RX100, which would be cool. Like an RX100 point and shoot thing that you know, we're up to seven I think. There hasn't been one. [01:16:14] Speaker B: Yeah. I was gonna say they must be nearly up to X. [01:16:18] Speaker A: Oh, imagine if they just jump straight to X and put out something that was awesome. Like just a game changer with a [01:16:25] Speaker B: 40 to 1200 mil lens on it. [01:16:28] Speaker A: Yeah, exactly. And there's Potentially a new FX3 Mark II on the horizon. So says Sony rumors. Canon R6V and RF24 to 50F4 are coming on May 13th. Canon rumors says the R6V will be like a, like a C50 crossed with a 100V or whatever it is. I don't know. It's like a vlogging ish cine camera. Maybe a ZR competitor, I think. Yeah. Because the C50 is a bit more pro. This one probably have IBIS in it, I guess. [01:17:06] Speaker B: Yep. Yeah. Yeah. Surely they, those guys would have to be looking to make a competitive camera to that. [01:17:15] Speaker A: Yeah, yeah. So that's, that's likely coming very soon. Leica announced a new Hammertone limited edition camera for the Ginza store's 20th anniversary. Greg would like just. Greg says, Justin, I think we should go to Japan to review this in person. Greg, we'll do our best. They probably wouldn't let us touch it, but we could look at it through the glass cabinet and then actually we'll bring this one up before we move on to, you know, the rest of the show, which is probably almost over. Kodak Snapic where are we? Share this tab. Bring it on up. Kodak snapic A1 review. Charming, simple, fun. This is on Petapixel. This is where I saw it. I didn't see it anywhere before Petapixel. So good on them for getting the scoop. It is a film camera essentially. You know that. That one step above a disposable 25 mil fixed F95 lens. I think. I think it's auto advancing and has. It's not auto focus. It has two zones like close and far and you've got a switch between the zone. It's got a flash that's on an led, so that's cool. And otherwise it's just a, you know, regular little point and shoot. [01:18:42] Speaker B: Isn't it funny? Kodak famously went broke when everything went Digital and they're, they're huge comeback in the last few years is making cameras that they made back then. [01:18:54] Speaker A: Yep. Crazy. [01:18:55] Speaker B: Yeah. [01:18:58] Speaker A: Great. Yeah. Works on a little, couple of little AAA batteries. Looks like it's got a nice, nice smooth. Sorry. Grippy grip with a little curve there on the edge like. Yeah. I think it'll be a fun little point and shoot. But it's not disposable top LCD. Okay. PetaPixel says the on off switch is annoying. Okay. Yeah, looks cool. [01:19:27] Speaker B: I would. [01:19:28] Speaker A: Yeah, it looks cool. I would like to see more the next step up. Like we're not actually way, way higher up. I want to see like thousand dollar film cameras that have really, a really nice fixed lens. Yeah. Like a high quality optic in a thousand dollar body that's brand new, that works properly and you know, you don't have to buy it off someone on ebay and hope the thing is going to work or whatever. Like a nice new body. But a thousand dollars with a fantastic lens. [01:20:00] Speaker B: Yeah, yeah. With like modern quality autofocus and metering. [01:20:07] Speaker A: Yeah. And not, not like sports autofocus but just like. Yes. Something that works well and. Yeah. Yeah, I think so. I think that'd be cool. But good to see more coming from Kodak. This is I guess the follow up to the Charmer which I purchased and have not used. Greg and I were supposed, we were supposed to do a challenge and we just never did. [01:20:29] Speaker B: Just never got there. [01:20:30] Speaker A: Never got there. What else? What other random news did Greg have in here? Here we go. Apparently this. I purposely didn't read this beforehand. I saw it there and I was like, now I want to find out on the show Project Hail Mary LEGO set photographed on the edge of space. I want to know, is this real? A new Guinness World Record has been set by a company called Sent in Space after the lego model featuring Dr. Grace and his alien pal Rocky floated up to space attached to a balloon. The eight hour space flight saw the LEGO set reach 34,988 meters above Gwynedd County, United Kingdom on Friday, March 20th. The Guinness World Records notes that it was 22 mile 35 kilometer long journey. Okay. Wow. For over eight hours. [01:21:38] Speaker B: That's pretty cool. [01:21:39] Speaker A: It's Lego. Yeah. That is awesome. Who thinks of this stuff? [01:21:46] Speaker B: Yeah. [01:21:49] Speaker A: Once the solid. Yeah, I know. So basically, yeah. For eight hours the minifigure spun around amongst the blackness of space, witnessing the blue curvature of the planet, allegedly. And it's cotton like clouds before falling back down to the green grass back on Earth. Once on Solid ground. The tiny toy was safely recovered, making this incredible trip. The highest altitude, launch and retrieval of a LEGO set. Insane. [01:22:21] Speaker B: That is wild. [01:22:23] Speaker A: Yeah. [01:22:25] Speaker B: Imagine how much money someone spent to do that. [01:22:29] Speaker A: Yes. [01:22:30] Speaker B: Yeah. [01:22:31] Speaker A: And Dennis says the. The film was stunning in the cinema, which I haven't seen it. Project Hail Mary from Amazon MGM Studios has been a massive success. The crew built an actual spaceship to film in. Yeah, that's. That's crazy. I'll have to check it out. Anyway, that is basically the end of the news, I think. [01:22:57] Speaker B: There's so much other stuff Greg just said. Z9 2. ZF 2. That's a Nikon Rumors thing at the moment. [01:23:04] Speaker A: Is it? I had a look on Nikon Rumors before and I didn't see anything that stood out, but it must have. There's so many ads I can't find the actual post. [01:23:15] Speaker B: I don't even visit those sites because they just do my head in. [01:23:19] Speaker A: On April 25th they posted the Z9 will most likely not come in 2026. [01:23:25] Speaker B: Yeah. [01:23:26] Speaker A: So I don't know. It's so hard to keep up. Who was doing. Someone else was doing the same thing the other day. They were. Oh, Canon Rumors has been talking about the. What's it called, the R7 mark 2 for ages and saying like, oh, it's coming, it's coming, it's coming. And then. Yeah, they made a post the other day that said the R7 Mark 2 isn't coming in 2026. [01:23:50] Speaker B: Yeah. And Nikon just brought new firmware. Firmware out for the Z9 again. So. Yeah, like const. Multi year old camera now. But they just keep putting new firmware in it and it just gets better and better. So. [01:24:05] Speaker A: Well, the sensor, they'd have to make [01:24:09] Speaker B: something pretty special to be a good step up. Yeah. [01:24:15] Speaker A: Okay. What time is it? It's nine o'. Clock. Gosh. All right, let's. Let's put a cap on the news and let's. We'll move on to this little section. We won't be able to dig too deep into it because we'll run out of time to do the photo stuff. But we're chatting before the show, Adam and I, about commercial work because I had some interesting questions this week about model releases. And obviously before we even get into this discussion, of course, if there's someone that's going to be in your photos for commercial purposes, get a model release. That's what you do. That's how you make sure that you've got the authority to use these for commercial purposes legally. But sometimes you're not just wasting your time. You're not just wasting your time. But sometimes there's a bit of a curveball or something where someone ends up in images without a model release, or someone doesn't want to be in the images later on. And how do you handle that and that kind of thing? We're just chatting about it. I thought it was an interesting topic because what I was searching was, at what point does someone in the photo need to. At what point do you actually have to have a model release to use a photo commercially? Say a crowd of a million people, or the person's toe is poking out from behind a wall, at what point are they in the photo? And so I did some Googling. And by Googling I mean I put it into an AI system. And Claude told me that it's, you know, it's obviously different and up to interpretation. It referenced my new favorite website, Arts Law, which I thought was a salad, but it's actually Arts Law. [01:26:10] Speaker B: Thanks, Dennis. [01:26:11] Speaker A: Thanks, Dennis. And it basically said, yeah, if the person is recognizable, then they are in the photo. And you must have a model release. And recognizable doesn't need to be. Just, can you see their face? It could also be, are they wearing. Do they have a tattoo? They're wearing a particular uniform or something, or is there something. Yeah, something that makes that person recognizable. Where it got gray for me was, who needs to be able to recognize them? What? [01:26:45] Speaker B: Yeah, where? [01:26:46] Speaker A: And this is like, like Dennis says here, if it is being used commercially yet. I'm talking specifically about commercial work, not about street photography, not about anything like that. I'm talking about if this, this image was going to get put on a billboard or even on a social media channel for a business or something like that. When do you need a model release? That's what I'm interested in. [01:27:11] Speaker B: Yeah, I think the safe answer is always yes, like you say, you know, like the safe answer is always. And I think your example, though, is pretty fit because we were talking about you've been doing a job for someone commercially to clear the purposes commercial for the work. And I can share my relevant example that hasn't and won't turn into a problem. So I've been on a site for a customer, gone and photographed a whole heap of stuff they're doing, but then at the same time their employment contract has model release built in, you know, which is like, if you own a business and you have employment contracts, put it in there like that, you know, you might, you may be used. Any images we take of you, while you're employed by us, will be. Will be granted perpetual rights to use. Yeah. But then the gray area is there's a whole heap of contractors on site. So the answer is you need a model release for them as the photographer. Unless that's explicitly stipulated by the customer. That's their problem, in my experience. So, you know, unless a part of your agreement with them says you must obtain an. Do all model releases and like I add that as an extra service that's not included in my standard thing. Because that's actually a lot of work. [01:28:47] Speaker A: It's a ton of work. [01:28:49] Speaker B: Yes. You could actually need an assistant where you might not normally need an assistant if that's the case. [01:28:55] Speaker A: Yeah. [01:28:57] Speaker B: So, yeah, the answer is always yes. It's not like photography, where, oh, it's a public place, I can take your photo if I want to. Which is the answer to that. [01:29:07] Speaker A: And look, I understand. I totally get it. And Parabellum Collectibles has also said always get a release, never leave home without it, even if you do not intend to use the image commercially. I get all of that, but what about the person is. So I'm shooting at 1.4 on a 50 mil lens and the main subject is directly in front of me, two meters away and this person's 200 meters away with their back to me. Do I need a model release for them? Obviously no, because they would just be some blobs of color. But at one point, yeah, creamy, beautiful bokeh. Because I'm using a Canon lens, not a third party lens. So. Yeah. So here we go. Dennis says they have to be recognizable. Exactly. And that's what I come up with with the references from arts law and stuff. But what's interesting is who has to be able to recognize them. And some of the things that I saw said if they can recognize themselves, you'll need a model release. And that sounds crazy to me. [01:30:09] Speaker B: That's because they have context. [01:30:11] Speaker A: They knew they were. They could be blurry. [01:30:14] Speaker B: Yeah, exactly. [01:30:15] Speaker A: Yeah. [01:30:16] Speaker B: Because I knew there was a photographer there. [01:30:18] Speaker A: Exactly. [01:30:20] Speaker B: I was there that day. I, I think it should be that they're recognizable by someone that doesn't have the context of the shoot. [01:30:28] Speaker A: Correct. I think so too. And that would be that. Yeah, I think that's the, that's where I would. Luckily the, the shoot that I've got sort of a question around, the client is going to. It's the client's issue and they are going to take care of figuring out with the person and stuff like that. They'll sort it out, but I just wanted to learn about it from my own sort of knowledge to know. Okay, yeah, where. Where does someone. At what point are they in the photo and a subject and recognizable and at what point is it safe to use? Even though they knew they were there because they could be like, oh, yeah, I was. I was standing over there behind that tree, but no one else could recognize. [01:31:16] Speaker B: There in that dark spot in that bokeh, is me. [01:31:19] Speaker A: Yeah, yeah, exactly. [01:31:22] Speaker B: Yeah. I think it. It's got to be within. It's got to be recognizable by someone without context. You know, like someone's like, where's Wally? In the background? And you see them and it's very clear that it's them, then that's. That's easy. Right? But yeah, you know, if it's just their feet walking under a bench, then they know that that was their feet, but nobody else does. [01:31:48] Speaker A: Yeah, I. I think that makes much more sense in my mind than. Than this. One of the search answers I got, which was even if they recognize themselves because. Yeah, that just seems that they would know exactly where they were. It seems quite crazy, but. Because obviously the thing is too, the shoot in question for me, my example, which I'd love to show you guys about, maybe I'll be able to on a future show. It was hybrid photo on video. The photos are not really an issue at all because I was saying to Adam before the show, I put one of a photo into Lightroom just to have a play with it. And the it to remove a human from some photos. Now even in like a messy, complicated situation behind a fence in front of some train tracks with birds flying in front of them, somehow it figures it out. [01:32:40] Speaker B: It's. [01:32:40] Speaker A: It's insane how good it is. Like sometimes it gets it wrong and puts a. I don't know, puts like some other picture in there or something from. Pulled from the Internet. I don't know how it works, but it. Yeah, it will definitely be fine. But where I will have an issue is with video footage. Because you can't just easily remove someone from moving video footage. [01:33:05] Speaker B: No, no, no. Yeah. Like you say, you do a full shoot, you're likely to be able to just cut the bits out, you know, where they're in it. But if they're just in the background. Yeah, it is a. It's a pretty deep, complex topic. But I guess the, like, the takeaway is always yes. Like, if you're in doubt, just sort it. Sort it. [01:33:29] Speaker A: Yep. And if you're in a. If you're in a group Situation. And, and even if. Even if people, you know, like, you want it to have the release, but you also want it to be kind of clear, too. Because the other thing is as well, like you say, people can have it in their employment contracts, but if you're going to make them a feature of a shot, like a proper. You're like, oh, this will actually work really well for the front cover of our new brochure or something. Like, have a chat to them and let them know, like, hey, I reckon you'd be great for this shot, because what if, even though they've signed an employment release, what if they've got a reason that they don't want to be kind of really publicized or whatever? So it's good for, you know, just for the person and the photographer to at least have a bit of awareness, I guess, about what the purpose of the photo they're taking. If you're going to have someone as like a hero subject in a key photo, because otherwise you could easily switch them out for someone else and have no problems, but you can't do that later. [01:34:27] Speaker B: Yeah. I had a guy on a site one time where it was me and the HR person walking around doing some. Some photography for them, and he said, oh, no, I don't. Don't want to be in the photo. And the HR lady said, why? He goes, I'm on witness protection. [01:34:43] Speaker A: Yeah, Amazing reason. It was a joke. [01:34:49] Speaker B: Could be real, right? [01:34:50] Speaker A: Yeah, it could be real. [01:34:51] Speaker B: Yeah. [01:34:51] Speaker A: Wonderful reason to not to not be in any photos. [01:34:54] Speaker B: You know, it was so quick, I thought, oh, that's. That's a. That's a perfect reason not to be in the photo. [01:35:01] Speaker A: Yep. Cool. Anything else on that? I mean, it would be better if I could show some examples, but. [01:35:09] Speaker B: Yeah, yeah, yeah, I think we covered it. Yeah, yeah, yeah. For sure. [01:35:14] Speaker A: Yeah. It's definitely. It was interesting because I. I kind of had a rough idea, but, yeah, I'd always just worked under the assumption, like, oh, you got to get a model release. But then today I was like, no, I want to know exactly when do you need. At what point is it legally required? Yeah, I kind of know, but it's still a little bit gray. And I think that's it. [01:35:35] Speaker B: Because this stuff, the law is always gray, right? [01:35:37] Speaker A: Yeah, that's what I had. Yeah. Because it ends up going to a court and it's going to. A judge is going to figure out how to determine it and it might be. The judge literally might just look at the photo, look at the person and be like, yep, I. I Can see it's them, blah, blah. Or like, they might just decide and they don't. They're not even a photographer or whatever. They just make a call. [01:35:59] Speaker B: If the law was black and white, it wouldn't matter how expensive your lawyer was. [01:36:04] Speaker A: Oh, I like that quote. That's. [01:36:06] Speaker B: Yeah, yeah, it's. It's true, man. Like, because, you know, that's why people that are doing nefarious things have really expensive lawyers, because they get away with stuff that they wouldn't if the law was black and white. [01:36:20] Speaker A: Yeah, that. That's exactly it. That hits pretty hard. It's like. Yep, there's. There's no way around it. [01:36:28] Speaker B: Yep. [01:36:28] Speaker A: You just. You gotta argue your case. [01:36:32] Speaker B: Yeah. Yeah. [01:36:34] Speaker A: All right, hang on. It's. It's photo time. I've got some light. I've got some late comers in. Oh, I'm gonna. Oh, I've got it. All right, I should do it. I'll do a quick. All right, we're getting the section of the show called your images. I'm going to press this button and do the thing. This is a fun part of the show where we bring up your photos and we talk about them. Adam will rip them to shreds and say, you should have cropped here and done this. And your settings are all terrible. If you're listening back later or you're a long time listener and you just never sent a photo in, get amongst it. Email a photo. Just one, ideally, or if there's two that you want us to kind of pick through. I do have a couple of people tonight that have sent in a series. And a series is okay if it's a series. But don't send in 10 random shots. Send in a photo and give us, you know, your settings and any, you know, a sentence or two about why you shot it or anything that you want us to know. And we'll bring it up on next week's episode. So just email it to me justinuckystraps.com and make the file name, your name and whatever you want. And ideally, this would be amazing. You'll only come up this today if you could make the email subject line your images. That would be a game changer. But one step at a time. Okay, so have I. I'm just bringing. Dennis was a late. A late entrance. These two. [01:38:07] Speaker B: First in chat, last in photos. [01:38:09] Speaker A: That's right. This one. I've got to make sure I rename these as Nick. Yes. And then you guys just have to bear with me while I do some file renaming. Entertain the crowd. Adam, you got any jokes or anything? [01:38:30] Speaker B: Oh, none that are appropriate for YouTube. [01:38:33] Speaker A: Oh, damn. That's okay. [01:38:37] Speaker B: I'm almost done. You're almost done? [01:38:39] Speaker A: I'm almost done. I'm getting there. [01:38:41] Speaker B: That's all right. That's the nature of a live event. [01:38:45] Speaker A: That's right. That's why we do this show live, so it can be funny. Where are we get into there? [01:38:54] Speaker B: As always, Dennis, what's the leading cause of dry skin? [01:38:59] Speaker A: I don't know. Oh, Bruce with the assist. I didn't even see that coming. [01:39:09] Speaker B: Yeah, [01:39:13] Speaker A: nicely done. [01:39:14] Speaker B: Yeah, well done. Tag team. The joke. [01:39:18] Speaker A: Okay, I'm going to get to our start of. Who's our first person off the. Oh, Greg Carrick was first. [01:39:25] Speaker B: Yeah. [01:39:25] Speaker A: Kaboom. Future Greg Stubbings, future show subject interview a copyright lawyer. Now, that could be fun. Or it could be dry if they're, you know, boring. [01:39:36] Speaker B: But yeah. Yeah, like talking to an engineer about designing something. [01:39:42] Speaker A: It depends. We'll see if we can find a good one. All right. Greg Carrick, he sent in. Oh, yeah, this thing. Try this. Get out of that. It's a lot of work to run the back end of this show. Greg always makes fun of me, but he doesn't. I work hard. [01:40:04] Speaker B: Yeah. I don't know how you do it. [01:40:05] Speaker A: Oh, you just. Lots of clicking. All right. Greg Carrick says, hi, team. I've been covering the Mount Everlyn RSL events for a couple of decades now, photographing them for free. Back in 2016, I mounted my Nikon DSLR onto a monopod and took a 360 degrees panorama during the ANZAC service. I stitched it together manually and it turned out okay. The lighting was terrible as it was before the sun come up, so I'm surprised it came out usable. I had it printed for them and they now have it framed and mounted on a wall in their clubhouse. The printed photo photo is 1 meter long by 15 centimeters tall. That was shot on the Nikon D5200 at f 5.6, third of a second shutter speed, focal length 20 mil, ISO 3200. I'll see if I can. I don't know if I can zoom into this and show because it's obviously it's pano, but like, oh, no, I've gone too far. There we go. And you can see, like, just how much super cool. Yeah. Context there is to see the entire crowd. It is very cool. [01:41:15] Speaker B: Yeah. [01:41:17] Speaker A: Good work, Craig. [01:41:18] Speaker B: Yeah, good work. That's not something I would think about. [01:41:22] Speaker A: No. No. I'd be running around just Doing regular photos. [01:41:26] Speaker B: Yeah, that's right. It's awesome. [01:41:29] Speaker A: Great. He thinks outside the box. He actually did say. Then I got a follow up email the next day. Hi, Justin, if I can be allowed a second photo, here's a meteor photo I got on Thursday morning from the Lyrid meteor shower. Fujifilm XT2 Samyang, 12 mil lens, 20 seconds f 2.8, ISO 2500 from out at Yarra Glen at 5am Nice. Yeah, very well done. Are you, are you a meteor chaser kind of person? You keep up with any of that sort of stuff like celestial events and things and head out specifically or not really. [01:42:14] Speaker B: So I like to, I like to explain that I'm a landscape photographer that likes the night sky in my photos. So it doesn't really matter for me the position of the Milky Way or whether the moon's up or the moon's down. For me it's just about capturing the beauty of the whole thing, not just the sky, but like that being said, like when we've had some of those big comets and things in the sky, I've gone out and done them and I love me a good aurora. So, yeah, yeah, [01:42:54] Speaker A: I'm still chasing the aurora. [01:42:56] Speaker B: Yeah, I like moon like the moon at sunrise and sunset. So that's what this mango workshop this week's about is, is the full moon. So that's sort of the day before the full moon when the moon rises in that reverse part of the sunset. It's beautiful. The sky's a bit pink and. Yeah, yeah, I love it, but, but this stuff's super cool. I just don't have the patience, if I'm honest, to be out at night, you know? [01:43:24] Speaker A: Yeah, yeah. Bruce says that's just a sensor scratch. Be honest. Yeah. Were you just, were you cleaning your sensor before this, Greg? Now everyone's, everyone's pretty excited, but I think most people are very excited about the. We'll just go back to this panorama. Well, yeah, I'll zoom back out at the full context. [01:43:44] Speaker B: Such a cool shot. [01:43:46] Speaker A: Yeah. Dennis says it's wild. David Leporati says, nice one, Greg Parabellum. A lot of effort for a great result. And then Phil Thompson says, incredible shot, Greg, and a great concept and even tweak said, love the panoramic encompassing the main figures with the crowd. So amazing. Yeah, nice work. Anzac Day. Yeah, good timing, Great timing. All right, up next we have Jamie from Tweak Productions. Let me see where it went. Oh, yeah, here we go. Tried something different when I went to the racetrack with the Hubby. A couple of weekends ago, inspired by another photographer known as Motor Photos, I tried doing super slow shutter pans where you get this painted look, but a ghost of the motorcycle under it. Took a couple of hundred thousand shots to get a few in the bag. Found that around a quarter of a second shutter was the Butter Zone. Used a Haider variable nd CPL filter on the EF100 to 400 L2 lens with the 2 by extender on the Canon R5 Mark II was fun. To mix it up from the usual shots, I get something a bit more artistic. Here's a few I got. Choose your favorites if you want. Now, I thought I'd just put them all in because they're all pretty interesting and they're all a bit of a set. So I wanted to check them all out. [01:45:14] Speaker B: It's cool. It's like ICM and panning combined. [01:45:18] Speaker A: Exactly. [01:45:19] Speaker B: Yeah. Yeah, it's cool. I shot a lot of motorsport back in the day. [01:45:24] Speaker A: Did you like. [01:45:25] Speaker B: I shot the clips or 500 a couple of times. And for media, really, it's good fun. Yeah. [01:45:32] Speaker A: That's awesome. [01:45:33] Speaker B: Yeah. Probably in 2007. Eight. Yeah. And paintings. Like some people are incredibly good at it and. And even with these super long shutters and things, it's like it's such a skill that's built over time. But to see it like this is super different. That's cool. [01:45:56] Speaker A: Yeah. I hadn't. I hadn't really seen this done before. Like I've seen obviously plenty of even taking panning to kind of the next level or having some streaks and stuff. It's usually like night streaks and things like that. Not. Not this. Yeah. This level of. [01:46:13] Speaker B: Yeah. [01:46:14] Speaker A: Like you say, it's almost ICM combined with. Yeah, I think. I think these ones. Yeah. [01:46:22] Speaker B: Yeah. I really like them. It would be a fine line between ones that look like a mistake and ones that looked on purpose. [01:46:28] Speaker A: Exactly. [01:46:29] Speaker B: That's probably like a huge number of shots, but you just have to have that amount of movement just right to make it look thoughtful, like I said. [01:46:39] Speaker A: Yeah. Still got something about it. Something that makes it look like the subject as opposed to just becoming a blurry message. Great work. Motorcycle painting. Yeah. Good job. Yeah. David likes it. Bruce says zoom. Parabellum says second shot. Really looks like it conveys the speed of the vehicle. Yeah. I think. Which I think is this one. I love this one. [01:47:03] Speaker B: Yeah, I like that. [01:47:06] Speaker A: All right. Awesome. Who we got up next? We have. Oh, David Leporardi. Always fun. Where's the Ds? Here we go, hi, Justin and Greg. But by Greg, he means Adam. He says, thanks to you, Greg and Wayne for such an incredibly informative chat on episode 176. That's right. We're on an awesome podcast. Look at that. What a wealth of information Wayne has that he shared with us. Yeah, that was an awesome. I need. We need to get him on more and we need to find more like tech people and stuff like that to bring on the show because it was very interesting. This week's image is another of my experimenting with lighting technique shots. Red wine bottle and glass. F11, 1/200 of a second. ISO 400. This is a three image composite using back rim lighting and the blending of the wine color into the glass. Let me see. We got a behind the scenes. This is. Images speak louder than words. Wow. Okay, let's zoom in. Whoops. No, go back. Wrong thing. Enhance up the top here. There we go. So cut out to match the cut out. Too much flare. Black card reduces flare. Okay. Cut out flare and reflections. Reduced flare and reflections. Okay, so let's zoom back out. Black card cutout sitting on Perspex with a bottle and glass touching the cutout. So here's the. Here's the top down. So an entire diffusion panel and then using black card and being lit from behind. Using black card to mask out the product. Yeah. On a black Perspex sheet. Too much flare into lens without. From the light. Without the black card. Wow. [01:49:13] Speaker B: Pretty cool. [01:49:15] Speaker A: That's. Yeah, that's a very professional wine shot. [01:49:18] Speaker B: It is, yeah. Dennis's comment. Bottle photography's witchcraft. It's so true. [01:49:23] Speaker A: It is witchcraft. It's a pain in the ass. [01:49:26] Speaker B: Yeah, absolutely. Yeah. It's very good. Yeah. [01:49:30] Speaker A: Great work and thanks for the. Thanks for the crazy diagram. It's always good to see and see how much manual arts and crafts and stuff goes into your. [01:49:43] Speaker B: Yeah. [01:49:44] Speaker A: Into your work. As opposed to just like, I'll just buy more lights. Surely that'll fix it. If I have just rim lights in strip boxes and different, you know, stuff. Yeah, yeah, this is. That's a great technique. Well done. Who is next? Nev. Nev is next. And that's this one. Nev. Clark says timing is everything. Albany, Western Australia. DJI Mavic, 4 Pro. And that is it. And that is a cool shot. [01:50:13] Speaker B: Great drone. [01:50:15] Speaker A: Yeah, yeah, he's got the 4. The 4 Pro. Are you droning? Are you a droner? [01:50:22] Speaker B: Yeah, I've got a 4 Pro, 4 Pro. [01:50:25] Speaker A: Did you have a 3 before it? [01:50:28] Speaker B: Yeah, yeah. Long story. Sold it to a Guy that was here to film the Monday Monday bash because he crashed his. Oh yeah. [01:50:36] Speaker A: Then you got anything. You got the four. [01:50:38] Speaker B: Yeah, he needed the three because he had the controller that did the HDMI pass through. [01:50:44] Speaker A: Ah right. [01:50:45] Speaker B: Yeah, yeah. And yeah, it just worked out for me. And so I bought my 4 Pro just before I went to Iceland. I just held off till I needed one. [01:50:54] Speaker A: Did you notice much of a difference for what you do in going from the 3 to the 4? [01:51:00] Speaker B: Not heaps in the video but the photo quality is like another step. Yeah, it's really good. Yeah. Really, really good. [01:51:10] Speaker A: I, I don't. I can get nice shots out of the, out of. I've got the three classic. So it's just got the one lens on it. The one good camera doesn't have the tally or anything like that. Yeah. So. And it's nice. The video is great obviously but the photos are. They're nice but you still know it's a drone shot kind of thing. And obviously that's always going to be the case. But it's. Yeah. I don't think about using it for photos. [01:51:38] Speaker B: The files in the four are much closer to what you would expect out of a camera. More dynamic range. It's got that quad Bayer high resolution Mode. So it's 25 or 26 megapixels is the native resolution. But you can do 100 megapixel still with some sensor magic that it does. [01:52:04] Speaker A: Magic. You couldn't do it. Could you do it on a photo like this with movement or would it. [01:52:10] Speaker B: Yeah, no, it takes one photo. It doesn't do sensor shift or anything interesting. Yeah, yeah. It's like I, I had it in that mode when I was in Iceland. I did this like seven shot pano and the, the pano turned out to be like 270 megapixels or something. Whoa. My MacBook was just like not happy with me at all. But it is actually really, really, really good quality. So yeah, I think if for photography plus the two tele lenses get the biggest sensor as well. [01:52:48] Speaker A: Yeah. I think that was another. That was another big upgrade, wasn't it? Was the tele lenses were more usable. [01:52:55] Speaker B: Yeah. They shoot a better, better version of video. So they, they match the log of the other. Yeah. Lots of techy things but. And it does vertical video as well. Like the gimbal goes vertical. [01:53:07] Speaker A: Yeah. [01:53:07] Speaker B: So. But yuck. Yeah. And 54 minute flight time. [01:53:12] Speaker A: That's nuts, isn't it? [01:53:13] Speaker B: That's crazy. [01:53:14] Speaker A: Crazy. [01:53:16] Speaker B: Yeah. [01:53:16] Speaker A: I might. I think I've. I've Sort of gone so long now and I'm not using it a ton ton that I think I'll. I'll just hold out and see what happens when a 5 comes out or something or whatever. Because that's where I was. [01:53:29] Speaker B: I wouldn't have. If I didn't have the opportunity to flip the three for good price, I would have just kept it. [01:53:36] Speaker A: Yeah. [01:53:36] Speaker B: Because I. I mainly use it for video anyway. [01:53:39] Speaker A: Yeah, same. It's. Mine's like video. And then like this week we're doing some shots over. Over some grain silos and stuff like that. I'll take some photos while I'm up there too. And yeah, it's all. Yeah, I'll still mainly work the regular cameras for photography as much as possible before I bust the drone out. Like we were shooting over mini gorge quarry type thing and there was a couple of shots that I just. I couldn't get the angle I wanted unless I was going to get out on a rope or something and go across this thing. So I just flew the drone out there and got the shots. [01:54:17] Speaker B: Yeah, exactly. [01:54:19] Speaker A: So, yeah, great shot, Nev. Great to see the drone. I always love seeing your drone stuff pop up on. I see it on Facebook because I think that means I'm old or something. I don't know. I go on there to check Marketplace and I see Nev's photography. It's basically it. Felicity says that's fantastic. Love the patterns in the water. Nev says his Mavic 4 was a huge upgrade from the Air 3s. Bruce says he's a pleb and is still using his Air 2s. Crazy. [01:54:49] Speaker B: That was a great drone. [01:54:50] Speaker A: I had that too. [01:54:52] Speaker B: Yeah, fabulous drone. Yeah, it had the high resolution mode too. It would do 48 megapixels. Yeah, that same technology. Yeah, yeah, yeah. [01:55:04] Speaker A: It sort of. It was not a backward step, but yeah, it was different. Yeah, it's sort of going to the. The Mavic 3 Pro for me. To the. From the Air 2s. It was like. It was. It was a massive upgrade for sure. But yeah, it was lower resolution files, even though they had more sort of stuff. [01:55:23] Speaker B: Better dynamic range. [01:55:25] Speaker A: Exactly. Cool. All right, who we got next? John Latimer. Where's your photo, John? Where is it, Jay? There it is. Oh, this? Yeah. Okay. Hey, guys. For my photo this week is a pair of young galahs poking their heads out to see the outside world for the first times. I sat and watched them for quite some time, curious about everything new they saw. Photo taken from Lake Waroona, Justin's neck of the Woods. It's. It's like the Lake Waroon is the lake in Bendigo that you know that people get up and walk around in the morning. You know, it's just like this little like whatever. And I was. Yeah, this is crazy that it was there. I was running around there the other day, shot with the A7R III, the 200 to 600 aperture priority and played with different settings in the early morning light. Thanks for your great work on the pod and everything. Thank you. That's an awesome, awesome. Gotta zoom in. Yeah, enhance. [01:56:26] Speaker B: I can hear. I can hear them. They've got such a funny sound when they're little. Yeah. Glasses. A super underrated bird to photograph because they're pretty common, but they're. Yeah, yeah, yeah. [01:56:42] Speaker A: This. [01:56:43] Speaker B: They should be photographed more. [01:56:46] Speaker A: Yeah. It's like people. Because they're common, it doesn't have that elusive sort of. We've got to get up early and, you know, try and find them and blah, blah, blah. Like it's. But that doesn't mean they're not a fun subject. [01:56:58] Speaker B: And we get so spoiled in Australia by bird life. And it never really dawned on me until I was showing a mate from the US around and we went past a flock of galahs and he's like flipped around so fast, he's like, what the F was that, man? Like, those birds are huge and pink and like. And I'm like, fair, like. [01:57:26] Speaker A: Yeah, yeah. [01:57:27] Speaker B: We've just seen them forever so we take them for granted. But yeah, they are. They're incredible. Like. Yeah, super cool birds. [01:57:37] Speaker A: Yeah, that's the same. Like we're up at the Murray river and these like the cockies will come in in the evening, just in like hundreds and hundreds and just take over trees and then they'll. Something will happen. They'll all get up, do cut a couple of laps and just make all this noise and then land in a different tree and stuff. And it's just, just. [01:57:57] Speaker B: Yeah, yeah, it's. [01:57:58] Speaker A: It's crazy. If you, if you were in Africa, you'd be like, oh, wow, this is nuts. Look at all those birds that you sort of get used to it up on the river and you're like, shut up bloody. [01:58:09] Speaker B: Yeah, exactly. Stop making a mess of the trees. [01:58:12] Speaker A: Yeah, exactly. Dropping all the stuff down everywhere. [01:58:15] Speaker B: Yeah. No, it's so true. It's a cool shot. It's cool to see because they grow so fast to. To mature looking birds. So it's a small window to get them out, head out of the nest. But before they look like full Birds. [01:58:30] Speaker A: Yeah, yeah. Awesome work. Who do we have next? David Skinner. Hi, Justin and Greg. But he means Adam. Sorry for the short notice. Away down in East Gippsland. And today I include an ICM image taken earlier this week using wharf reflections from lake's entrance on a sunny day. To get the shutter speed down to about a third of a second. I set the ISO at 31 and F22. There is no need to worry about lens distortion with ICM. I assume that means like diffraction for F22. Yeah, maybe diffraction. [01:59:15] Speaker B: Yeah. [01:59:16] Speaker A: The image is called drowning and to me it has that vibe. Also attached, two images combined using Photoshop, copied one over the other where filters show various effects that can be achieved. This can be done in camera. [01:59:35] Speaker B: Oops. [01:59:36] Speaker A: Oh yeah, there's another one there. Although not all brands or models will do that. I prefer Photoshop. You have the post processing control with more filter choices. The image is taken. The image is then saved back to Lightroom for further adjustment. But less is more. A less subtle version can come from two basic shops. Keep shots keeping the pastel tones more or less. Where the end result produced an image titled Smoke on the Water. Which is this one? [02:00:06] Speaker B: Yep. That's cool. Yeah, great. Multiple exposure is good fun. [02:00:13] Speaker A: Yeah, exactly. [02:00:14] Speaker B: Yeah. It's good to. I find it's good just to break free of, you know, whatever you. You're doing. If you're feeling a bit stale, like quite often I'll put my camera in multiple exposure and just wander. Take photos of trees from different angles and all sorts of cool stuff. [02:00:37] Speaker A: I'm trying to remember too. I know Canon and Nikon handle multiple exposure differently and I can't remember what it is about it. I know. I think there's a photographer I think Sam heard maybe used to do a heap of it is a wedding photographer and I used to read a lot of his reviews and I can't remember there was this like. Do you get a RAW file out of your. [02:00:58] Speaker B: Yeah, see, I get. I can get a combined JPEG and it saves the raws as well. [02:01:06] Speaker A: Two separate settles and a combining camera. Jpeg. Yeah, yeah, I think that's the preferred option and he hates that. Canon don't do that. I can't remember what Canon do, but it's not that I think because that seems like the best option. It's like, hey, here's a finished image and also here's the stuff so you can go to Photoshop and do what you want. [02:01:25] Speaker B: Yeah, yeah, yeah. It works really cool. And like to be fair, it's not really my thing, but I use it as that trigger just to cleanse the palette, I guess. Like, if you're feeling a bit stale and you're feeling a bit uninspired, like, it's really cool just to do that and just wander around and all of a sudden you're just looking for interesting things and you forgot whatever creative block you had, you know? [02:01:51] Speaker A: Yeah. [02:01:52] Speaker B: And it's a really cool just thing to clean everything and start again. And often find the beauty of having mirrorless cameras, too, is put them in monochrome. Everything, because you can just see everything in monochrome. And it's just this really cool, you know, way to see the world. And it takes the color out and lets you focus on the shapes and the light and. Yeah, yeah, it's very cool perspective. Yeah, yeah, massively. Yeah, it's really, really cool. [02:02:26] Speaker A: In signing off, David Skinner says. Cheers, chaps. And as Ch. Ted Forbes says, until next time. And then he says, look him up. I don't. Do you know who Ted Forbes is? No, no, it's like. Oh, it says look him up. So I'll have to. I'll do that after the show. Glenn Lavender's here. He says, just arrived. Did I miss anything? I don't know. Can you. Can you do a recap, Adam, of what we've covered so far in the show to get Glenn up to speed? [02:02:54] Speaker B: Just a bit. [02:02:55] Speaker A: Just a bit. [02:02:57] Speaker B: Yeah, you'll have to watch the. [02:03:00] Speaker A: Yeah, you'll have to watch the show tomorrow. All right, up next, Felicity Johnson. Where are you, Felicity? Oh, yeah, another. This is another little series which is very cool. I thought I would try a portfolio theme entry this time. I have six, but feel free to cut it down. Nah, nah, nah, nah. All good. These were taken at the Bendigo Easter Parade. I photographed this event for years and years, only missing out when I was driving the fire truck in the parade. Oh, that's pretty cool. So I felt this year that I needed to do something different. I popped on the NISI 3 stop ND filter and photographed these from half to a quarter of a second. Famous Chinese dragons moved so fast with multiple human legs running beneath them. How cool? How cool is it? Yeah, that is an awesome shot. It looks like a painting. [02:03:50] Speaker B: Yeah, it looks. Yeah, I love that. [02:03:52] Speaker A: But how cool is it? So we've had tweak productions, like motorcycle racing shots in this style and then this in the same show with no coordination whatsoever. It's like the universe is sending the vibes out to everybody to do some experimenting in the last Couple of weeks. Yeah. [02:04:13] Speaker B: Whoever would have thought in the world where we were chasing pixels around, everyone would be taking blurry photos. [02:04:18] Speaker A: That's. That's right. We're like, we will. We will not buy the GFX100RF if it does not have IBIS. We must have pixels. Every pixel must be sharp. And then I wanted to do some experimenting. Yeah, these. These are great. I really like this idea. And especially I know what it feels like to have shot an event many times. Almost like you're like. I think. I feel like I know the photos I'm already going to get before I've done the job. And that can be a bit. Can deflate you a bit. Whereas this. This one's great too. [02:04:53] Speaker B: Yeah, yeah. Super, super cool. The ones with the dragons, particularly, because they're like, long, so you get that really. That shape through the frame. And the first one with the dresses in the foreground was really interesting too. I really like that one. The next one back. Yeah. This one. Yeah. [02:05:16] Speaker A: Really cool. [02:05:17] Speaker B: Just washed of cool color and shapes and I love it. [02:05:22] Speaker A: Epic work. I'd love to know. Yeah. What the. Where the idea come from. Did she say that? No. Photographed it. Just this. That you wanted to try something different. Yeah. So awesome. [02:05:35] Speaker B: Yeah. [02:05:36] Speaker A: Oops, too far. Okay. And everyone's. Yeah, everyone's. Stuart Lyle says, great. Bruce Moyle, very cool tweak. Says, beautiful and fun. Love the dragon. Otherworldly stuff, dragon painting. Yeah. The theme tonight is slow shutter speeds. It definitely is. [02:05:57] Speaker B: Yeah. [02:05:59] Speaker A: All right. Phil Thompson, where are you? Phil? Oh, yeah, Here we go. Taken this morning on Turkey's Torquay's surf beach. At sunrise. I went out hoping for the forecast foggy conditions, but was greeted only by overcast skies. So continued onto Torquay and tried longer exposure time. Surprise, surprise. And a sense of minimalism. Shot of my Pentax K1 Mark 2. Pentax 15 to 30. Wide angle lens, shutter speed, 4 seconds, but no movement. So it's. You know. But still. I think we're still on theme. Aperture f22, both with a 0.9 photo. Darks gradual ND and also an ND32 filter. Yeah, a lot of filters tonight, too. A lot of filters at ISO 100, if you have time to show it. We do. I have also included a shot of a guy I met on the beach while photographing this morning. Paul and his dog. I just like the rapport between them and the dog's concentration on the ball. Again, Pentax K1 Mark II with the same lens and filters, shutter speed. Of a 30th of a second. F7.1 and ISO 1600. Yeah, it can be tricky if you're set up for a particular condition and then you're like, I want to quickly grab this shit shot. And you're like, oh God, I've got ND's on and stuff. And you got to quickly change everything. But you did well to yeah. Pull together a great shot with all of that set up for a completely different shot. [02:07:33] Speaker B: Yep, super cool. It's hard with those conditions. Right. So it's good that you just pushed on and persevered. Like I think that's where filters and, and creative exposures come into play is you can make a pretty mundane scene look pretty amazing with the right combination of time being exposure and you know, some, some creative processing and stuff. Yeah. Well, I want to teach my online filters workshop. I've got this image that I built of a jetty in Kangaroo island. And it's like when I walked up and put the camera down, it's the most, it's the crappest looking scene. Like you can tell it's a great subject. It's just the old jetty sticks and by the time you polarize the water so you can see the rocks and then build the exposure with ND's up to the light, I think the result was four or five minutes. It like it completely changes the image from this daytime happy snap to this really cool arty sort of image where the only things that's really sharp is the posts and the rocks in the foreground. So. And it's just like this shot here where it's like, it's a bit underwhelming. Chucking a filter on and being a bit creative with your exposure is a really cool way to break it up. [02:08:59] Speaker A: Yeah, exactly. Instead of just take, you know, packing up and heading home or not taking any shots because you're like, oh, the conditions aren't doing it today. Try and make something of it. And you've done a great job. Yeah, epic work. I forgot, I forgot. Glenn's a tamron man. It's probably best you don't listen to the earlier segment there, Glenn. [02:09:20] Speaker B: I did, I did think that when he asked on the short summary. [02:09:24] Speaker A: Yeah. What's, what's happened? Okay, up next, Brucey. Bruce Moyle. Hi guys. Quick image from a trip to northwest Tasmania the other week. This is a magnetite mining facility with an attached port visible only from certain angles as you drive by. This time it looked so apocalyptic that I quickly turned around and jumped out and get a few shots. This processing of the image is rough. I might go back and have another crack at the black and white conversion at some point. Shot with the. The Sony A7 RV and 7202.8 G Master Mark II. Yeah, that's. I mean, I love it. That is. That is apocalyptic. I freaking love it. [02:10:14] Speaker B: Yeah, Yeah, I love it. I love that dark, moody tone. And I reckon that must be Savage River Mine. I've. Back in my mining days, I dealt with them a bit. [02:10:29] Speaker A: Oh, did you realize? [02:10:30] Speaker B: Yeah. [02:10:30] Speaker A: Oh, wow. That's crazy. [02:10:34] Speaker B: But that's really. I love dark, moody black and white stuff, though. [02:10:38] Speaker A: And it just. It just looks like a. I don't even. Obvious. I say it all the time, but it looks like a scene out of a movie of some sort of. [02:10:47] Speaker B: Yeah, zombie movie. [02:10:48] Speaker A: Yeah, exactly. Something like that. Crazy. Bruce says it's not savage. [02:10:55] Speaker B: Not savage. [02:10:57] Speaker A: Interesting, but it is bloody brilliant. Felicity Johnson says. [02:11:01] Speaker B: Yeah, that's fantastic. [02:11:05] Speaker A: First thing Dennis thought was apocalyptic. Wild New Smithton. [02:11:13] Speaker B: Oh, yeah. [02:11:15] Speaker A: Jim's in the chat. Good to see you. What's up? Definitely zombie movie tweak. Likes it. Everyone likes it. It's great. Yeah, Yeah. I wish I found more scenes like this. I don't know how I go looking for them in Australia. Just. Just drive. Drive everywhere. [02:11:34] Speaker B: Just drive. [02:11:35] Speaker A: Yeah, yeah, [02:11:38] Speaker B: yeah. If you're a condition snob, you wouldn't have got this because you would have been at the cafe, complained about being overcast. Yeah, yeah. You got to be there. You got to be out in it to win it. [02:11:52] Speaker A: Exactly. And try everything. Jim says. Sorry, been busy, but hi. Well, hi. Everyone wants to get you back on the podcast, Jim, to find out how your boudoir stuff's going. And yes, of course, it's a cool shot. It's Bruce's shop. All right, let's keep this thing rolling. We're almost done. I've kept Adam here way too long. John hall up next. We got one or two from John. I think there's just one. Hi, Justin. Since Adam is on tonight, I thought an outback image would be appropriate. I was going to send one taken near Broken Hill, but decided to head a little further west. This one was taken in 2017 on the Cordillo Downs Road between Inaminka and Birdsville. I love the country out there. The vast emptiness and feeling of isolation. The flat horizon extending in every direction and the roads that seemingly go on forever. Then there's the colors, depending on the time of day. Brilliant oranges and reds against deep blue skies or totally washed out in the heat of the day, the wreck is a Hilux. Which just goes to show they are not indestructible. Take it on a Nikon D70 with the 18-55 F, 3.5 to 5.6. At 18 mil F13, 1/500th of a second ISO 400. The D70 was a great camera in its day, but 6 megapixel doesn't give you a lot to work with. Well, I don't know. I think it looks pretty good. [02:13:29] Speaker B: I reckon it looks great. Yeah. Yeah, I've been out there. It's like crazy. Just. Just stony desert. Yeah, it's. It's like giver planes. Like a lot of those planes are just rocks. Like golf ball size rocks. Yeah. And that's how cars end up like that. Yeah, it's amazing. Yeah. Makes me feel at home. [02:13:52] Speaker A: You're just like, yeah, this is. [02:13:54] Speaker B: Although at the moment it's crazy green out here. So we had like heaps of rain over the end of February, start of March. [02:14:03] Speaker A: Really? [02:14:04] Speaker B: Yeah, yeah, it's crazy green. [02:14:07] Speaker A: That sounds cool. I'd love to come. And I've got to get up and check it out. [02:14:11] Speaker B: Plenty of cars burnt to the ground on the side of the road in some of those places though. Yeah, yeah, that's proper isolated though. That's a long way from anything. [02:14:25] Speaker A: Where's Jim? Jim says nice framing those nick on colors. Yeah, yeah, he's a nick on board. [02:14:31] Speaker B: That's it. Yeah, that's what we like. [02:14:35] Speaker A: Still waiting for nrma. Oh, what a feeling. What else have we got in here? Oh look, Greg's in the chat. Says hey team. Hope everyone had a great weekend. Hey Greg, we're doing all right. We're getting through it. We miss you people made fun of my ad reads. What else? Roland K2Z says CCDs were interesting sensors. [02:15:01] Speaker B: They sure were [02:15:05] Speaker A: porn okay. Yep, yep. Love the variety bash sticker slapped on it. I didn't notice that. Okay, we must be almost done. Who have we got left? Maya. Maya Hall M. Oh, there it is. Hi Justin. In order of Adam's co hosting tonight's episode, here is an image I captured on the road trip home from bfop. Last year I attempted some street photography in Broken Hill. After visiting Adam's fabulous gallery and watching his magic editing and printing images. I want to do Adam's printing course. I just need to get up to speed with my editing skills. There is so much to love about Broken Hill. Shot on the so true. Oh, I don't know. I haven't been there. I really want to get there. Shot on the Nikon D7500, 155mil on an 18 to 300mil lens. 13 20th of a second f9, ISO 200. Do you know this particular place? [02:16:06] Speaker B: Yeah, yeah, yeah. It's pretty hard like. Like it's not as small a place as many people think. There's 17 odd thousand people here, so it's a reasonable sized town. But like I grew up. So you get down all the back streets and the lanes and there's a whole section of town where there's really cool old industrial sort of looking buildings and yeah, it's. It's a really, really cool. But I like it. I love symmetry. So I like the use of the chimneys in the foreground and the way that it's lined up with a text at the top. Works really well. [02:16:44] Speaker A: Yeah, I agree. I like the particular crop. The choice of essentially, you know, cropping with your lens to frame it in tight like. [02:16:52] Speaker B: Yeah, yeah. [02:16:53] Speaker A: Only include what. What you wanted to include. [02:16:56] Speaker B: Yeah. Super cool. And thank you for the con words about my gallery. I like that. I love when people come in and enjoy the gallery. [02:17:04] Speaker A: I bet. Must be so funny. [02:17:08] Speaker B: Yeah, yeah, yeah. We have deep conversations when Dennis visits. Yeah, I've missed. [02:17:19] Speaker A: Who have I missed? There's a couple I need to. Nyx isn't in here yet. All right, we'll keep on trucking. I'll get to Nick's. Dennis says the coffee's great. Tweak production says, love Broken Hill too. Just interesting stuff everywhere. My mother is from there. Grandfather was a zinc miner. Would love to go back. [02:17:40] Speaker B: There you go. So much to see. It's funny how Broken Hill is such a small place, but so many people have connections to the place. It's wild when you. You can bump into people anywhere and there's connections back to here. Yeah, yeah. It was. Was pretty pivotal in the founding, particularly of New South Wales, not funding and industrialization from mining. So. [02:18:07] Speaker A: So a lot of people kind of passed through, worked there. [02:18:10] Speaker B: Yeah. [02:18:11] Speaker A: Just. Just was a part of the town at some point. [02:18:14] Speaker B: Yeah. And just even the. The flow of mine mining royalties back through to the government in Sydney and it's just like. Yeah. Really, really interesting history for a place that, you know. So Australia's only heritage listed city, is it? Yeah. [02:18:32] Speaker A: I didn't know that. [02:18:33] Speaker B: The whole city's heritage listed. [02:18:35] Speaker A: Wow. So did someone have to come and did someone have to check your office before you put the pictures up and stuff? Were they like. [02:18:44] Speaker B: Yeah, I'm not sure how it works, but where. The town slogan for the last few years has been Australia's first heritage listed town city. So. [02:18:55] Speaker A: Yeah. Wow. [02:18:56] Speaker B: Yeah. [02:18:58] Speaker A: All right, Dennis Smith, where is he? D d d Here we go. Dennis Smith says, this time next week, Adam and I will be here with clients. This was made on a very special trip to Lake Mungo last year. It's hard to describe how surreal this place is. I always imagine a group of people sitting around a fire watching me work. 40,000 years ago. I was once told by a local aboriginal guide here that they would have just thought, oh, yeah, the lights. Stunning. This is shot on the Q3 F4, 120 seconds. ISO 100. Super bright moon. Yeah, that is a lovely shot. [02:19:49] Speaker B: More conditions to what we'll have next week. [02:19:52] Speaker A: Yeah, you guys are gonna have the best time. [02:19:56] Speaker B: Should I. [02:19:57] Speaker A: Magic Dennis. Should I zoom in on this and look for the hot pixel or not? Yeah. I love that image. It's like. Like a monster. It reminds me of. There's a movie called Starship Troopers. It reminds me of the aliens. Oh, I remember that. [02:20:21] Speaker B: Yeah, yeah, yeah. I'm doing my part. [02:20:26] Speaker A: Yes. I'm gonna rewatch that. That is a great movie. [02:20:29] Speaker B: Yeah, it is a great movie. [02:20:33] Speaker A: Yeah. Beautiful shot. Oh, I'm jealous of you guys. Next week, you'll have the best time. Yeah. Final. Oh, where are we final images from? Oh, yeah. Parabellum knows. Click to know more. I think it was. Would you like to know more? But you know, you would have to watch the movie a few times. Would you like to know more? And then they click on the thing. Yeah, yeah, yeah. Phil Thompson says, incredible shot and superb composition. It is a superb composition. It's so. That dark element, though. It's so big, like, it overpowers the image. And then the ball is just creeping out from behind because it's. Yeah, it's such an. [02:21:17] Speaker B: The sand waves its way up. [02:21:20] Speaker A: Yeah, [02:21:22] Speaker B: very cool. [02:21:23] Speaker A: Very cool. Okay, Nick Smith. Where are we? Here we are. Hi, Justin. Here are a couple of photos from tonight. For tonight's show, the details for the one with the road in it, which is the barrier highway heading towards Cobo. DJI Mini 4 Pro, ISO 150.24mil, standard lens, 1.7 at 3000ths of a second. And then the creek photo is amber. That's it. Creek, yeah. In Silverton. [02:22:04] Speaker B: Yeah. [02:22:05] Speaker A: Same drone DJI Mini 4 Pro, ISO 130. Yeah. Very similar. Almost the same sort of settings, but a very different image. Very different lighting conditions. [02:22:16] Speaker B: It's my backyard. I love those creeks. With the big gum trees in them. Yeah. River red gums, but just a dry. [02:22:26] Speaker A: A dry creek for most of the year. I don't understand how. [02:22:29] Speaker B: Except when it rains. Yeah. So, like, if. If we have big rain, they'll. They'll run a meter deep and. And that creep runs out to a big reservoir in the hills. But yeah, the trees are just massive and old and yeah, it's super cool. Very deep and full of sand, but it's in, like, rock. Lots of water sits under the sand. So, like, if you dig in a low spot in the creek, you can find water. But that's why all the gum trees are there, because they grow in the sand and get the water from right down low in the creek bed. [02:23:05] Speaker A: Yeah. It's so amazing. [02:23:07] Speaker B: Crazy place. Yeah. [02:23:10] Speaker A: It just looks bizarre, these huge trees just growing out of sand, essentially. But yeah, there's obviously a whole root system under there. [02:23:17] Speaker B: Oh, yeah, yeah, yeah. And then the Cobar road one is cool. I remember when they built that tank. It's the strangest thing, but yeah. Yeah, they were doing road work. I used to spend a lot of time on that road when I was in mining. I used to a lot of travel. But between Cobar and Broken Hill. [02:23:38] Speaker A: Yeah. Okay. Driven it many times. Many hours. [02:23:41] Speaker B: Yeah. [02:23:42] Speaker A: So boring. Phil Thompson says, love the leading lines and the color contrast, the green and brown sand. Yeah, it's just. It's. Yeah, the both of them, they're so Australian. Like, they're just. Yeah, that's our country. [02:23:58] Speaker B: Yeah, exactly. They're good too. I'll tell you one thing I notice and good feedback from for anyone who shoots this stuff, is your camera by nature with the color of our red dirt in Australia will often make the white balance a bit green. So like both of Nick's shots, the. The scene's about the right color and it's. You've. Either you've. Your camera's fluked it on auto white balance or you've added a bit of magenta tint in because, yeah, the sand is never quite the right color when it comes out the camera out here, it's because it's so. So red and unnatural. [02:24:42] Speaker A: Yeah, Yeah. I know when I shot, you know, not exactly your area, but the fink desert race, I would spend quite a bit of time second guessing my white balance choices while I was editing, just thinking what did it like, that's not what I think it looked like when I was there. And, you know, you sort of trying to just get that. That exact tone right. But then if you look at it for too long. You second guess it. You're like, hang on, was that right? Or is that too. Or whatever. And. Yeah. And different parts of the track are different, slightly different, like, tonalities and stuff. And. Yeah. [02:25:19] Speaker B: Yeah. [02:25:20] Speaker A: I distinctly remember sitting there for way too long on some images. [02:25:24] Speaker B: It's. It's a whole nother conversation. But the. The tint is all in the color of the blue when you edit. [02:25:33] Speaker A: Interesting. [02:25:34] Speaker B: Yeah. So my favorite way to find that tint is. Is the blue green or is it purple? [02:25:41] Speaker A: Right. As opposed to. I was sitting there just playing with white balance with. With, you know, cool, warm, magenta green tints. But I should have been playing with color sliders. [02:25:54] Speaker B: No, no, no, no, no. So, like, if you look at that image. Right. [02:25:58] Speaker A: The. [02:25:59] Speaker B: If I was doing the color balance on any of these kinds of images, the first thing I do. This is secret, that you normally have to do a workshop with me to do it, to learn, but the first thing I do is turn the saturation to 100%. [02:26:15] Speaker A: Yeah. [02:26:16] Speaker B: Because that gives you, like, turns the volume up on all the colors. Yep. And then find a balance between warm and cool. So the temp. And make sure blue's still blue, and you've still got warmth in your warm colors. But then when you're trying to get the tint in both of these images that have plenty of blue sky, you'll notice really quickly that the blue will either look aqua or green if the tint is too far to the green end, or it'll look purple if it's too far to the magenta end. And because you've got your saturation up really high, it's got the volume of the colors up really high. So you can see that really easy. And all you have to do is rock that slider back and forth till blue looks like blue. [02:27:09] Speaker A: Done. I see what you're saying. Yeah. So, yeah, just crank it and then just get the sky to be the blue that it's supposed to be. And that's. Yeah. [02:27:19] Speaker B: Because we all know what sky blue looks like, you know, within. Within a reason. Yeah. And if. If you can learn that process, man, it's like you'll. You. It'll change the way your landscape photos look. Because often you see a lot of people warm up their landscape photos looking for the warm colors, but the warmth doesn't really. The. The saturation in those warm colors comes from saturation, not from temperature. So what you'll find is a lot of blue skies will start to go muddy when you push the warm too Much. You know, where you're better off to get the balance right. Then use saturation to add color or vibrance or, you know, one of the other billion. Contrast. However else you want to add color. But. Yeah, no, it's really cool. Yeah, it's nice, that. [02:28:11] Speaker A: Good tip. Very good tip. I. And I think it's probably because I was. I. I did so many reps to cut my teeth. White balance. When you're shooting people in weddings, it's about the clothes and the skin colors. What. You know, they care less about the accuracy of, say, the surrounds than they do whether their. Their face looks the way that the makeup was supposed to be and the dress is white, if it's white or whatever. So it's like. [02:28:41] Speaker B: Yeah. Just. [02:28:42] Speaker A: Yeah. Trained over and over to use those tools. And then when those things aren't in the photo anymore, you've got a. And if that's not the subject. And now the subject is red dirt or blue sky. Yeah. It changes your thought process, I guess. [02:28:59] Speaker B: Yeah. [02:28:59] Speaker A: 100% tweak's gonna go back through and give it a go. It's a good idea. Great idea. [02:29:05] Speaker B: Yeah. Don't forget to turn your saturation back down, though. [02:29:09] Speaker A: No, just post 100 temporarily. Just post it as is and say. And see what happens on Instagram. All right. I. Yeah. I need to go to bed. Thank you very, very much for an epic show and for joining me and. And keeping the thing rolling while Greg's away. I really appreciate it. [02:29:30] Speaker B: Yep. There's only one Lucky Straps ad for this whole podcast that would not slide if Greg was here. [02:29:38] Speaker A: We're really bad at it. Well, I'm really bad at it. Great. Greg would. Would have put one in the middle there somewhere. Yeah. Luckystraps.com if you want to check out our awesome camera shirt. They're so good. They don't need ads. People just like them. [02:29:52] Speaker B: Yeah. [02:29:54] Speaker A: So they're very, very comfortable and. And they're great. All right. Anything else from you before we. Before we go? Anything? [02:30:01] Speaker B: Oh, thanks. [02:30:03] Speaker A: Subscribe to Adam's YouTube channel. There's new videos coming. [02:30:07] Speaker B: Yeah. Always new videos coming. Yep. If you have any questions, always reach out, though, because I love to have conversations with people. [02:30:17] Speaker A: Yeah. And, you know, maybe he'll make a video on it based on your question. If you ask. If enough people ask. So there's that. [02:30:25] Speaker B: Yeah. Well, I'm just feeling it out at the moment. So that's like a. Just did the camera review. Next is an education piece about the camera stuff. So it's like what's going to stick? What's going to work? You know? Yeah. [02:30:37] Speaker A: What's. What. What do people need that they can't get from elsewhere? [02:30:42] Speaker B: Yeah, that's it. Yeah. So, yeah. [02:30:45] Speaker A: Awesome. [02:30:47] Speaker B: Great. [02:30:47] Speaker A: Thank you. To finish that off, that, that discussion about white balance, where was the comment here? Nick said, where is he? He goes that the highway shot is unprocessed. After all that, you're like, you've really nailed the. [02:31:04] Speaker B: I didn't say you got lucky with your camera. [02:31:07] Speaker A: Yeah, yeah. There's always that option. The cameras can be pretty clever sometimes. All right, let's roll some music and take it out. Who else? So David Leporati says, thanks, everyone. He also says saturation works more on warm tones and Vibrance works on cooler tones. Tones. Oh, I always thought. Anyway, let's just. We'll talk about that on another show. Bruce Moyles says, thanks, everyone. Great chat. Always great to hear. Adam, Felicity like the hint there about white balancing as well. Stuart Lyle says, thanks. Great show. Who else was in there? Hang on, what's going on here? Phil Thompson's. Thanks, Adam. Regarding the saturation tip, also something about the dehaze AC DC has a dehaze slider. Helps cut out a lot of haze and increases. I'm running out of time. Jim says, thanks, guys. Phil Taylor. Who else was here? Dennis, thank you. David Skinner, Paul Henderson. Looking forward to our outback adventure. Four months up the middle and around the west coast in June. Hopefully get one photo to send in. Yeah, I think you could get one. That'll give you some time. Thanks everyone else that sent photos in and commented. Nev Clark, Parablarum Collectibles, everybody. You're all great and we'll catch you guys in the next one. [02:32:28] Speaker B: Cool. [02:32:30] Speaker A: If I could end the stream. Okay.