Nikon Forced Canon's Hand and Adobe Buys Topaz - The Random Photography Show

[00:00:00] Speaker A: Sam. [00:00:30] Speaker B: Well, g', day, everybody, and welcome to the Random Puppy Show. Sorry, I meant photography show. That's right. We are here with the latest news, information, product launches and gossip, as well as we're going to look at your images. But of course, being a Monday night, I'm not alone. I am joined by Bosley. G', day, boss. How are things? How's that new Canon R1 going? Hey, Rich. [00:00:51] Speaker A: Good, Greg. Jesus. [00:00:54] Speaker B: Of course Bosley can't talk. He couldn't, but good to see the puppy. He's getting big. [00:01:01] Speaker A: He's. He's getting big. Yeah, he's getting real big. I think he put on five kilos in four weeks. Oh, mama. [00:01:09] Speaker B: Yeah, that's pretty good. [00:01:11] Speaker A: All right. I gotta boot him out now, though. He's gonna eat every cable in this new office. [00:01:16] Speaker B: I'll finish my intro. You do that. [00:01:17] Speaker A: Okay. [00:01:18] Speaker B: Of course it is the Random Photography show, folks. It is Monday, 28th September, 2020. Kind of spooked myself today. I was talking to someone about being a guest on one of our Thursday morning spots coming up, and I had to say, look, we don't have anything until 2027, which is great for us, but scary to hear 2027 said out loud by these lips. [00:01:39] Speaker A: Why did you say 2027? [00:01:41] Speaker B: Well, someone asked if. If they could come on the show as a guest, and I said, yeah, we're all booked out today. I booked the last spot for 2026. That elusive November date is now filled with. And then I said to someone, well, we'll be in touch in a couple of months. We'll have to be next year, so it's crazy how fast the year has gone. And of course, we're only. We're only a couple of weeks. Less than a couple of weeks till we. We're only like eight days until you and I leave for Bright, give or take. [00:02:10] Speaker A: Don't I know it. [00:02:12] Speaker B: Yeah. [00:02:13] Speaker A: So much to do. [00:02:14] Speaker B: So much to do. Now, you've been busy. You've just moved house. You've, you know, you've got a puppy, you've got a pregnant partner, you're living the dream all at once. [00:02:24] Speaker A: Busy. Yep. It's good. [00:02:25] Speaker B: Yeah. [00:02:26] Speaker A: Yeah, the. The move was good, though. It wasn't too stressful, but it's all still a bit all over the place. We're not fully out of the other house yet. We're not fully into this house yet, but we're here. This is my makeshift office for now, which will actually become Yelena's office. And still fitting out the I Don't know what it's going to be called. Yours is called the bluedio. I'm too scared to paint a studio blue, so I don't know what my studio office thing will be called. I don't know. Anyway, it's exciting. [00:02:58] Speaker B: It is, it is. Because what about the name of your. Of your dog photography business? [00:03:04] Speaker A: Dog Face. [00:03:05] Speaker B: Dog Face. Why don't you call it the Dog Face Studio? [00:03:09] Speaker A: There's more. It's. It doesn't really have that. [00:03:11] Speaker B: I guess it's more than that, isn't it? [00:03:12] Speaker A: There's more. There's much more than that. It's. It's quite a. It's going to be an interesting space. Lots will happen in there. Yeah. It's like Lucky Headquarters podcast everything all in one room. [00:03:25] Speaker B: Maybe we should hold a competition to name the studio Name Justin Studio or at least just a cheeky one on here. And we'll send someone a cheeky prize. But yeah. Anyone got any ideas? Anyone out there? Anyone's got any ideas for the name of Justin's new studio? [00:03:44] Speaker A: Something cool though. We moved 10 minutes out of Bendigo to Strathfield, say, which is the little suburb. It's actually where I grew up in this suburb and well from 10 years onward. And this morning I sent Greg a video of it. On the front steps of our new house there was an echidna just like rummaging in the garden, just eating ants and stuff. [00:04:06] Speaker B: Yeah. [00:04:07] Speaker A: And there was a magpie trying to get it out of there. Trying to move it on. [00:04:11] Speaker B: The magpie wasn't happy. [00:04:12] Speaker A: Not at all. It did it eventually moved it out into the next door neighbor's yard. [00:04:16] Speaker B: This hassle it. That's pretty cool. [00:04:19] Speaker A: It's pretty cool. And I just went outside before. You can see the stars. Can't hear anything. All you can hear is like frogs and crickets and stuff around the little. [00:04:29] Speaker B: Damn. No Next door neighbors dog barking relentlessly 24 7. [00:04:34] Speaker A: Nope. It's so nice. [00:04:36] Speaker B: I just don't miss that. Yeah. [00:04:38] Speaker A: No, I do not. So yeah, pretty cool. [00:04:42] Speaker B: Yep. And how's Boz taken to the new place? [00:04:45] Speaker A: He's loving it. He's loving life. There's so much more space, big backyard to run around in. Not our backyard was pretty. Pretty good in town anyway. [00:04:52] Speaker B: But yeah, it wasn't bad. Hey, this. [00:04:53] Speaker A: This is much bigger. Much more. Anyway, loving it don't bore everybody with. With. [00:05:00] Speaker B: That's not boring. It's exciting. [00:05:01] Speaker A: Well, it's a big deal. It is. It is exciting. Especially when it's the feel. It just Feels different. It's very different. You wake up and it's. There's a lot more space. It's. [00:05:13] Speaker B: Yeah, I don't know. [00:05:15] Speaker A: It's good. [00:05:16] Speaker B: Oh, I'll have to start saving up to buy Lego for the little one regularly. [00:05:22] Speaker A: Duplay. [00:05:22] Speaker B: So you might have to g play to start with. Yeah, of course. [00:05:25] Speaker A: Yeah. So they can't eat it. [00:05:27] Speaker B: Yeah, yeah. But yeah, I'm starting a GoFundMe for that. [00:05:33] Speaker A: Yeah, it's expensive. [00:05:34] Speaker B: I will, Uncle. Even if I'm not by blood. [00:05:39] Speaker A: So while I was kicking the dog out, you told everyone that this is the Camera Life podcast, I assume, and that we go live. Okay. Did you tell them about the live chat where they can just say whatever they want and I didn't. [00:05:49] Speaker B: I didn't want to talk. I didn't want to do everything at once. [00:05:51] Speaker A: Okay, well, we do have that. The first person tonight was Philip Johnson. Evening, all. Bright festival of photography 11 days and counting. Richard is in the chat. John Latimer. Evening all. Listening in the background. Troubleshooting a printer. That's really testing my patience, that. I hope everyone had a great weekend, though. Yeah. I haven't even brought my printer from the old house yet. That's how much it's been. It wasn't me. [00:06:16] Speaker B: Was it a priority? [00:06:17] Speaker A: It was not a priority. And I was like, but I do need to print, print some prints. So I've got to get it out here. But yeah. Tintype man. Evening, all. Bouncing around at 39,000ft somewhere near Singapore, watching the sun go down. Now that sounds nice. Yeah, that sounds very nice. Hopefully you won tats lotto and you're in like a lay flat seat or one of those rooms where you get your own everything. That'd be cool. [00:06:42] Speaker B: Big screen television. You're watching this now. Into your suite. [00:06:48] Speaker A: Have a party in the suite. [00:06:49] Speaker B: Get some subscribers. [00:06:51] Speaker A: Is in the Lake District in the uk. Still in the uk. You live in the dream, Lisa. John Pickett, Tweak Productions. What's up, Camera Life Groupies. Felicity Johnson. Paul's here. Howdy. Tweak Production says puppy. Oh, yeah. You like this? Bosley? Rick Nelson's here. Bosley is the boss. Nev Clark wants to know. Hey, Greg, did you get my image email? [00:07:15] Speaker B: I did, thank you. Yes. [00:07:16] Speaker A: Cool. [00:07:17] Speaker B: We're all good. [00:07:18] Speaker A: That's right. Let's take a pause there to say that this show, we will get to the show eventually. This is a bit of a long intro, but this show, we will bring up your images if you've sent them in via Email, which you can do now for next week's show. Just email us an image to the camera [email protected] but yeah, throughout today's show, we'll be going through a heap of images that have been sent in over the past week and talking about them. Not talking about them, looking at them, whatever, just whatever goes. We love it. Tweet Productions. No pretty lights because I've moved offices. So it's just bare bones right now. Phil Thompson says. What about Justin's castle? Not bad, not bad. [00:07:56] Speaker B: Oh, great character. [00:07:59] Speaker A: Just in time. Studio Richard, mail Justin face. Strap on. Studio Snoops R Us. Okay, tweak. [00:08:10] Speaker B: Production says. [00:08:10] Speaker A: Damn. Made a mistake looking at the BFOP schedule. See what I was missing. That was a mistake. Have a bad case of fomo. Yeah. It's going to be an epic weekend next year. [00:08:21] Speaker B: Next year. [00:08:21] Speaker A: Lucinda, sorry you missed the doggo. Sam Olson. What's up? Bruce Moyle. Good to see you. Tint up man. No, lay down seat. Slumming it in economy. Oh, well, damn. Hopefully it's not Jetstar. And. Yeah, cool. That's it. We're here. We're doing it. [00:08:39] Speaker B: Yeah, we are, we are. This is your first podcast from the new house. So that's, that's a milestone. [00:08:45] Speaker A: I guess it is. How's the Internet holding up? Does anyone. Is it. [00:08:49] Speaker B: Is it. I saw you freeze once. Yeah, yeah. Yep. [00:08:55] Speaker A: It's okay. [00:08:58] Speaker B: So tonight we've got some, some news to discuss. A couple of. Couple of biggest news items popped up during the week. Where should we start? Let's talk about Nikon. First of all, they've dropped a new camera. That's worth celebrating. As we rumored last week Nikon did release or announce a brand new full frame Z mount camera being the Nikon Z5 Mark II C. And basically what it is is It's a Nikon Z5 Mark II. And they've chopped the EVF off. So all you've got to compose is the rear screen. And yeah, I guess they're, they're kind of continuing to lean into this. You know, this would be another good video camera. It's a great entry level option in terms of its pricing, but the lack of an EVF would be a no go zone for a lot of photographers in this market. I reckon. Perhaps. Yeah. [00:09:59] Speaker A: Thinking about it. But it's. I saw some people complaining that it doesn't have a viewfinder and then I was like, but There is the Z52 that does have the viewfinder. You've got like what do you. I don't understand. It's like we made both. Yeah, one's cheaper. So I guess the people that are complaining want a cheaper camera with a viewfinder, but then they would probably complain that it doesn't have the specs they want or whatever. I don't know. I just. I don't see it as an issue that I think every camera should have an EVF if possible, unless it is not required for a particular type of, you know, videography, cinematography type tool. And that's just like, hey, we don't need that. Or we'll add our own screen or whatever, that's fine. Or if it's so small that it's not possible, like the Ricoh GR series, they're like, hey, it's just not. If we added that in, it's gonna get bigger. And that's not what we're doing. So the Ricoh GR doesn't have an evf, but. [00:11:01] Speaker B: Yeah, I just think. [00:11:03] Speaker A: I don't know. When you see people complaining about it, when there's both options available on the market, I don't understand what you're complaining about. And if you want a cheaper camera than the Z5 II with an EVF, then you might have to go to crop sensor or something. [00:11:18] Speaker B: Yeah. [00:11:18] Speaker A: You know, like there, there are options that have EVFs. It's just. [00:11:22] Speaker B: Yeah. [00:11:22] Speaker A: I don't know. [00:11:23] Speaker B: I think that, you know, I. I think of people like, you know, like Sam Olsen, she. I'm not sure if she got one or borrowed. I think she got the Zed, the. The red, you know, the last. Thank you. You know, and for serious cinematographers, that makes a good B roll camera. For enthusiasts, you know, videographers, that makes a great video camera. And I think that's what this is too. The Z5C is obviously, you know, kind of stripping it back a bit. Focus on, on videography and. And you're right, you've got a choice. You know, the Z5, the original Z5 II currently is 2,650 Australian dollars. That's at our friends at Camera house. That's for the one with the viewfinder, the one without. The new one, the Nikon Z5 Mark IIC is $2,400. So it's a couple of hundred bucks cheaper. [00:12:19] Speaker A: Oh, so it's. I thought it was actually a bigger difference than that. So. So there's no. Okay, it doesn't even matter. [00:12:24] Speaker B: Yeah, it's 250 bucks. [00:12:27] Speaker A: There is the point that as well. And I still disagree. I think every. Everyone should try and use an evf. For photography if possible. They'll see the benefits. But there's an entire generation of people that have learned photography on phones with no EVFs. And maybe they just don't like it because they've built up an entire way of shooting. Muscle memory and everything where they don't hold the camera near their face. [00:12:54] Speaker B: Yeah. [00:12:55] Speaker A: And they just. That's just how they do it. I don't know. Anyway. [00:12:58] Speaker B: Yeah, I don't know. I mean I shoot with the X70 which doesn't have an EVF. I just use the screen. But fortunately it's a tip. It's a tilt up screen. You know we've talked about this before when I played around with the Fujifilm XM5 that doesn't have an EVF and it's got a similar screen to this which flips out and then rotates. And I hate that. That inability to feel like I'm centered holding the camera because the screen's over here and the lens is here. You know, it just really messes with my. [00:13:26] Speaker A: I think that's my biggest hate with canons. I think that that's my biggest. If the. If I could change one thing they. They resolved the lens cap issue. But they should send me 15 new lens caps because all of mine aren't resolved and I have to go and buy them all the. The rear lens cap that was. That was the biggest issue with the easiest fix. But yeah, the second biggest issue across Canon's entire range I think is that flippy out tilty screen. That being said, it's a very videography kind of style though. I was thinking about that all the old video cameras even handicaps at everything that screen always came out to the side. So I also get it but I just don't like it. [00:14:13] Speaker B: Yeah, not for still photography. [00:14:15] Speaker A: No, exactly. I so much prefer the Leica. The Q3 has just got the tilt straight back and I use that all the time. Love it. All right, before we should probably. Hang on. Lucinda has ordered the new lens caps, the rear lens caps and they're on back order for weeks. I know, I haven't even tried. I was actually just going to modify mine. [00:14:37] Speaker B: What is wrong with them exactly? [00:14:38] Speaker A: Apart from them being they only go on in one position. So the old lens caps there was like three lugs that. So basically any. You just get it to go on and then twist about a third of a turn or less or whatever and they locked in place. These only go in in one specific and then you turn it. So unless the little dot that you can't really See lines up with the red thing that you cannot see when your lens is directly down. We showed one that I could easily show you guys. You can't put your fricking lens caps on. And this is coming from someone that shot both Canon EF Mount and Nikon F Mount. 4 years professionally in dark venues. Like, I know how to put rear lens caps on and off. [00:15:23] Speaker B: Yeah. Lenses, it's not a skill issue, Justin. I've got you back there. [00:15:26] Speaker A: And not even skill, but it's not like a. Like you should be able to fumble around in the dark and get them on and off or get them on. It's off is no problem. But you should be able to fumble around and do it. That's what these cameras are for. They're not all. You're not always in a well lit venue with time to look and go, oh, there's the red dot or there's the little indent. I'll line them up perfectly and turn it. It's. Anyway, it's crazy. Yes. [00:15:50] Speaker B: And I think, you know, it's currently the leading brand camera manufacturer. Anyway, they charge a lot of money for their products. You know, they're expensive. You think that they get something simple like user experience on a bloody rear lens cap. You know, I mean, the lenses already have a bayonet mount of sorts, so why didn't they just stick with replicating that? It just seems like such a weird decision. [00:16:15] Speaker A: Insane. And speaking of, speaking of mounts, Sam Olson says at least with Nikon we can use third party lenses. Well, funny you bring that up, Sam. Funny you bring that up. So tell me, what did you see in the news this week about Nikon and Canon and third party lenses? [00:16:36] Speaker B: Yeah. So the guys over at Petapixel, they put out a video, but there's also a companion article on their website so anyone can go check it out and you can find their video on YouTube, just not now. And I think his name's Jaron Schneider. [00:16:49] Speaker A: Yes, Jaron Schneider. It's a good article too. Very good article. I didn't watch a video, but I read the. Read the article. [00:16:56] Speaker B: Yeah, I just did the old book review cheat and just watched the video instead of reading the whole thing. [00:17:01] Speaker A: Between us, we've got both, so it's perfect. We have. [00:17:04] Speaker B: Yeah. We are nothing but thorough journalists. [00:17:08] Speaker A: That's right. [00:17:08] Speaker B: But basically back in January, Nikon tried to sue Viltrox in China because Viltrox made lenses seemingly without Nikon's blessing. [00:17:21] Speaker A: Yeah. And autofocus lenses to be autofocus. [00:17:25] Speaker B: They use the pins, that was the big problem. They use the. So they basically create a direct connection between Viltrox's lens and Nikon's system. So they recognize the lens and you could control autofocus with them. So Nikon took Viltrox to Chai, Viltrox to China. Nikon sued Viltrox in China. Only at this stage. Okay, this is. We're only talking about what's going on in China. And so it went to this, this particular court where they focus on, pardon the pun, it's called the China National Intellectual Property Administration. And I'll read this out to you because I, I couldn't summarize it if I tried. So basically, this organization, this court saw Nikon's argument and not only disagreed that Viltrox own, owed Nikon anything, let alone money, but the court also invalidated one of Nikon's core Z mount design patents, which is their bayonet mount with the connector pins inside, just on the inside of the mount. So basically what they've said is that, you know, the Nikon lens mount is a novel thing. It's, it's, you know, it's, it's not a significantly new product because they've been putting lenses out on, you know, for decades. And so in China at least, they've basically said that Viltrox can go ahead and make autofocus lenses for Nikon cameras, and there's nothing that Nikon can do about it. So that's kind of the guts of it. I've simplified it and I've probably muddled it too. Anyway. [00:18:59] Speaker A: Well, it's, it's super interesting in, in that sense of. When you think about it, I know a very teeny, tiny. Not even much about patents, but when you think about an invention, like there's design patents, that's one thing. But if you're talking about, like an, an invention, something that's new and novel, which is in Australia or wherever, usually what they kind of term as an invention that's patentable intellectual property, it needs to be a significant departure from things that are already on the market. And the camera lens mount. Now, I know there's tech in there, and it's probably the tech that they're trying to patent in some way, but in a sense, they're all some sort of bayonet mount with an electrical coupling. [00:19:51] Speaker B: Yeah. [00:19:51] Speaker A: So basically, it's like, even though all these companies have different ones, is it really that different? I don't know. [00:20:02] Speaker B: Not really. It's interesting, really. Yeah. And so basically what they've said is that, you know, Nikon can't see Viltrox in this case in China anyway. So there's a precedent that has been set. Okay? Now keep in mind that this is China. However, as the article and the video both pointed out, China is the second largest buying market for camera equipment and it's growing, you know, as their economy booms and they, you know, they, they continue to enjoy a, a wealthy economy. You know, this is going to happen more and more. Okay, More, more products will be bought in China. So, but there's a precedent now and what the article and the video tried to point out, and it's a very loose thread. Okay, this is one solution, this is one outcome that could happen is that Viltrox could then decide to make lenses or anyone could decide to make lenses for Canon RF full frame mount and get it passed in China. Now this, this administrative tribunal, this court that deals with patterns and things like that, from, from what I've read and seen, they tend to favor Chinese brands. Because I want to support. No, right, yeah, it's true. [00:21:20] Speaker A: Support local. That's such a lovely way of putting it, isn't it? I like to support local. [00:21:25] Speaker B: Yeah. And so, you know, if, if Viltrox or TT Artisans or anyone even bigger third party lens makers decided to, you know, whip up a, an RF full frame mount lens, there's a very good chance that given that there is a precedent and now everyone knows about it, that it could actually, it could actually fly by and there's probably not a lot Canon could do about it. Now again, this article reiterates that this is just the Chinese market, but it is 50 over. Well, it's the second biggest market. You know, if it were to go to court say in the US or, or you know, in Japan or Europe, which are the other sort of three big marketplaces, I guess, then who knows what would happen. But given that there's been a precedent set, it could be that that could influence the outcomes in other regions as well. [00:22:21] Speaker A: It is very interesting. And so tin type man says the trademark win was only in China though, as you said. But Canon could swamp trademark violators with court cases everywhere else in the world. It could just be the money that talks. True, but it's like they, they still might not be able to do anything about it in China, which is a big enough market to maybe get the lenses iterating and popular and stuff like that happening. And then at some point, you know, is the market like, you know, you'll see gray market lenses coming over borders getting, you know, bought from China on the down low and things like that. And at some point will there be so many of them in photographers hands that can and won't be able to hold back the floodgates anymore? That's what's possible. [00:23:10] Speaker B: But well the other, the other point that they said was that, you know, consumer sentiment might be against Canon on the, on this. [00:23:19] Speaker A: Exactly. [00:23:20] Speaker B: That if Canon chooses to swamp these smaller companies with court cases, that actual Canon consumers could actually revolt. They could oppose that because maybe they want cheaper third party RF full frame lenses. You know, if you can get a 51.2 for. What is a 51.2 cost on your RF? [00:23:40] Speaker A: Oh, the good ones for grand or something. [00:23:42] Speaker B: Yeah, yeah. But if you could get one for 800, $900, that's still autofocus granted, it's not gonna be anywhere near as good [00:23:47] Speaker A: I was gonna say, but it would suck. I mean you can canon sell their own 45F 1.2 for that sort of money? Yeah, it sucks, but it's actually really good. Like it sucks, but it's great that there's a 1.2 lens available in native market. So it's what, what. I don't even want any of those lenses. I'm sure some people do. So if they want the cheap, you know, Chinese third party lenses made without Canon or Nikon's permission, then good on them. I want Tamrons and Sigmas made with Canon permission. That's what I want. More lens. Yeah, I want, I want more lens options, but ones that are done properly with the, the tech that's available from these camera manufacturers being licensed and worked so that the autofocus is as good as it can be and everything, everything lines up. Yeah, I don't want, I don't want the cheapest thing that went around the back door to get me a lens at a few hundred dollars less or whatever. [00:24:57] Speaker B: But if people start importing, even gray market those lenses in from China that they can't release anywhere else because you know, Canon or Nikon have put a kibosh on anything but China and people start importing them, you know, then Nikon and Canon are going to be losing out. And I wonder whether a change like this, you know, if another brand goes, oh, okay, well that worked. Let's, let's go to court against Nikon and let's, let's release some af. You know, it could be anyone, tt, Artisan or any brand, but I think, I wonder whether this would actually force Canon's hand to get ahead of it and control it by working with a brand like Tamron or Sigma. [00:25:38] Speaker A: Exactly. Like, they're like, hey, we'll just start licensing it and do it properly. And they'll probably hold out as long as they can until something is, you know, pushes it over the edge. And this could be the start of that. But I'd say that I reckon we still won't see one for another year or more. [00:25:58] Speaker B: Oh, no. Yeah. I don't think it'll happen overnight, but it's an interesting outcome. And granted it is only one market, but, you know, it may put pressure on these cans to think twice, these brands. Sorry. To think twice about saying no. [00:26:15] Speaker A: Yeah. [00:26:17] Speaker B: You know, and like it completely got flipped on Nikon. Nikon. I mean, granted, Viltrox put out a lens without working with Nikon and who knows, maybe they asked if they could do it, Nikon said no. And they said, well, screw that, I'm going to do it anyway. [00:26:29] Speaker A: We already did it, you know, surprise, [00:26:35] Speaker B: you know. So, yeah, it'd be interesting to see what happens. But anyway, the article is on Petapixel and it's called thanks to Nikon, Canon's closed RF mount could be forced open. And there's also a video on the PetaPixel YouTube channel that summarizes it all quite neatly and has some really good points of view. There's a lot of. What? [00:26:54] Speaker A: Not as good as ours. Not as good as ours. [00:26:56] Speaker B: Oh, no, no, no. [00:26:57] Speaker A: Pretty good points of view. [00:26:59] Speaker B: Yeah. Yeah. So, yeah, that's what's going on in. In. In there. In that. With them. Lost all words already. What else have we got? The final little bit. Oh, yeah. [00:27:14] Speaker A: John Pickett says Canon does have third party crop lenses for raf. Yes, they do. Tamron specifically. I can't see any reason why they can't allow full frame. Except money. [00:27:26] Speaker B: That is the reason. [00:27:27] Speaker A: Yes. [00:27:28] Speaker B: Control. [00:27:28] Speaker A: Yes, that's. I would imagine that's exactly it. [00:27:33] Speaker B: If no one has any choice but to use your lenses, you can charge whatever you want. [00:27:38] Speaker A: Yep. Sam Olson says I bought a case 85 mil f 1.4 AF lens for 950 and it's an awesome lens. The Nikon version 85 1.2 was over four grand and more than double the weight. The double the weight was the reason I opted for the case lens. Yeah, but so do Nikon not have. In a 1.4 they have an 85 1.8, don't they? Which is epic. I know it's not a 1.4, but they do have a lighter weight option and that's why, that's why I do like, you know, canon's got the 85 1.2, but they've also got an 85 1.4. That's really light and it's, it's more like 2 grand instead of 4. Yeah, still, it's still not 850 or 950, which is a, you know, a very, that's a bargain for an 85, 1.4 if it's good quality. But Canon do have a good amount of options stepping down and then they've got an 85 F2 as well. That's in that, that, that sort of 8, whatever 6 or $800 price range I think it is. [00:28:36] Speaker B: Yeah. [00:28:38] Speaker A: Anyway, yeah, the lighter weight version is 1.8. Yeah, 1.8's fine. Don't worry about it. Dennis Smith. Hey, you bunch of bananas. What's up, Dan? [00:28:46] Speaker B: Hey, Dennis. [00:28:47] Speaker A: Up. [00:28:50] Speaker B: So anyway, we'll stay tuned. We'll keep you up to date. The final, the final little bit of big news before we start looking at some people's images because that's, you know, that's why we're all here really to check out the talent, is that we talked about this a couple of months ago that Adobe had made inquiries to acquire Topaz Labs, who create their own editing software. And Adobe has completed their acquisition of Topaz Lab and says that Topaz will remain its own brand. As to whether they'll change what the brand offers or the pricing or anything else around it, that's yet to be seen. But at this stage, yeah, Adobe now owns Topaz Labs. Their, their, their race for global domination hasn't stopped in, in the past 20 something years. And yeah, they're looking to monopolize. I mean, I don't know whether Topaz Labs was actually up for sale or whether they were in trouble, but obviously Adobe made a good enough offer. [00:29:49] Speaker A: Yeah. [00:29:49] Speaker B: And they've taken. And thanks to Philip Johnson for shooting me this, this article to let me know that this was happening for the news tonight. [00:29:58] Speaker A: He's a Topaz user that's, I wonder if he's concerned. You know, is he, is he concerned or is he excited? Because if he uses, I think he uses Photoshop as well and Lightroom and at the moment using Topaz with those tools is, it's integrated, but I don't think it's, it would be more seamless, obviously, if it was just in Photoshop or Lightroom already just built in. So I wonder whether Philip's hoping it gets built in. Or if he's desperately hoping that they don't change anything and they keep the Topaz product lineup as it. As they're saying it will. They always say things like that. [00:30:35] Speaker B: Yeah, but I'm sure that there's a. There's a caveat about for now. [00:30:40] Speaker A: Just like when that defense company bought, or whatever it was, brought GoPro and they were like, hey, we're still going to make action cameras. It's fine. [00:30:48] Speaker B: It's totally fine. [00:30:48] Speaker A: Yeah, don't worry about it. [00:30:49] Speaker B: Nothing to feed. [00:30:50] Speaker A: I actually don't. I'm sure they still are. I just like to pretend big companies are all evil. [00:30:56] Speaker B: Yeah. Look, you know, and maybe Topaz was in trouble. I haven't gone through all the details, and I'm not going to do that here tonight. But it does always make me question when a company like this, who charges us a monthly subscription and a premium for that monthly subscription, they always have. Have the money or the cash to buy other companies that offer products for, you know, cheaper products for users. You know, it always, always irks me a little bit that, oh, well, you could have. You could have just left it as is and dropped our subscription by five bucks a month, you know, rather than spending millions of dollars on buying a whole new company that, you know, didn't need to be bought. [00:31:38] Speaker A: Yeah, but that's not how. It's not how these things work. Yeah, it could be worse. [00:31:42] Speaker B: I didn't say that it wasn't, but I didn't. I also don't think it's right. [00:31:46] Speaker A: It could be worse. Remember what Microsoft used to do to everybody? [00:31:52] Speaker B: Oh, yeah, that's true. [00:31:54] Speaker A: And remember that Simpsons episode where Bill Gates comes into Homer's tech company and he thinks he's going to get acquired and then Bill Gates just like knocks all this stuff off his desk? It's like, I didn't get rich by handing out money or something. That was a great episode. [00:32:09] Speaker B: Oh, God, I haven't watched the Simpsons forever. What's it up to now? Like 40 seasons? 30. [00:32:14] Speaker A: Yeah, 30. Something crazy. [00:32:17] Speaker B: Anyway, so we'll. Again, you know, this has only just happened, but we'll wait to see what comes of this acquisition, how that will affect existing Topaz Labs users and how it will affect future Topaz users and how it will affect the future of the brand as well. But we'll certainly keep you up to date here. [00:32:35] Speaker A: Just remind me quickly, Greg, who. Who bought Topaz? [00:32:39] Speaker B: Adobe. [00:32:40] Speaker A: Yeah. Okay. [00:32:41] Speaker B: What did I say? [00:32:43] Speaker A: No, Bruce just says, I always find it funny how Greg pronounces Adobe I don't think I've heard anyone else, including their staff, say it that way. It cracks me up for no reason. [00:32:53] Speaker B: Oh, look, I live in South Yar. Okay. [00:32:55] Speaker A: No, but it's actually funny though, because it's spelled. If you. If you said it the way that it's spelled, it would be Adobe. [00:33:02] Speaker B: Yep. [00:33:02] Speaker A: Wouldn't it? Robe. Wardrobe. Not wardrobey. [00:33:08] Speaker B: Yeah, yeah, yeah. I guess I say it how it's spelt. [00:33:11] Speaker A: Yeah. [00:33:12] Speaker B: Unlike Americans who can't say Nikon, which is the Japanese way, without saying Nikon. [00:33:17] Speaker A: Yeah, that was funny that come out on the. On our podcast, didn't it? The truth. The truth about Nikon. Nikon. [00:33:23] Speaker B: The truth. [00:33:25] Speaker A: Let's quickly check in with the chat because they had a lot to say about this stuff. Starting off with Rick Nelson, I've been working with DXO Photo Lab lately to work my way off Adobe. I really want to try dxo. I just have not had time at all. But I wanted, when I tried, I want to give it a proper, like, put some projects through it and play around. [00:33:46] Speaker B: Well, Julie Powell uses Adobe. Sorry, not a dope dxo. I think she's an ambassador. She does a lot of reviews for them. She has a lot of tutorials on her YouTube channel and on her blog. And after beef up sometime, hopefully before the end of the year, we want to get Julie on for a bit of an editing special because she's a true queen of editing software. So stay tuned for that. Oops, sorry, that's my phone. [00:34:11] Speaker A: David Skinner wants to know, will Topaz go to a subscription? Interesting. Who knows? I think it would be more likely that Adobe will start bringing in features that they'd wanted, tech that they wanted. They might have even wanted the team. That happens sometimes where they're like, hey, we just want these, these clever people that made this clever stuff. Come over here to the Lightroom team. The rest of you can keep running Topaz, just keep lights on, you know, do a little update or whatever every now and then. But we need this core dev team over here right now. That happens too. So who knows? Felicity Johnson says, I hope they don't get rid of Topaz Studio 2. I use that one for creative editing. Tintype man says Topaz have lost the plot in the past 12 months. The AI models are getting worse and there's been user backlash. Adobe might help them. Yeah, I wonder whether that's been part of what's been happening, because I'm sure this stuff takes time, you know. [00:35:11] Speaker B: Yeah. [00:35:12] Speaker A: Was. Was there turmoil? Is there turmoil? Because of the, you know, like, if, if they got wind of this happening, did. Did good employees jump to another place? Because they're like, I'm not. I don't want to become Adobe Adobe. Can't believe you can do, you know, like, so they, they started leaving and that's made it worse. Who knows? Or they, or, okay, if I was going to sell that business for the final 12 months, I certainly wouldn't be spending all of my money on future projects. I would be spending all of my time cutting costs to make me look more profitable so that my valuation is higher for when I get bought out by Adobe. [00:35:57] Speaker B: Yeah, maybe. [00:35:58] Speaker A: Which then lower, you know, lowers everything lowers. You know, you might cut customer service staff. You might, you might do all sorts of weird stuff because every dollar you cut out of your bottom line is another dollar of profit. And then every dollar of profit goes to your company. Multiple valuation, which might become an additional $10 in your sale. So who knows what else? [00:36:28] Speaker B: That's it for the big news. Why don't we look at some images? [00:36:33] Speaker A: Yeah, let's do that. Let's do that for a little bit. Who are we starting off with? [00:36:38] Speaker B: Oh, don't get me started. Where did I put my list? I don't know where it's gone. There it is. Let's bring up Tweak Productions. Jamie's sent through a cheeky screenshot of something. You got that one. [00:36:51] Speaker A: Oh, I see it. Yeah, I see it. [00:36:58] Speaker B: So Jamie said, hi, Camera Life team. I was doing the training at work as it was a chill afternoon and came across this. Canon guys are really phoning in the answers for the training for the R8 Mark II. Someone must have been bored and wanted to giggle. What do we. So the first one there is. Can you read that out? I can't see it. [00:37:18] Speaker A: What is the benefit of in body image stabilization? Ibis to remove camera shake from sending the camera to the moon was one of the answers. To be able to shoot one handed out of the window of a supercar doing 300 km an hour on the track is another answer. Okay, so someone was having a funny day. The next question, what makes the camera perform so well in low light? One of the answers is the Caroline. The camera politely asked nearby photons to stop hiding and come into the sensor. [00:37:54] Speaker B: Yep. [00:37:55] Speaker A: What is Canon's intelligent auto mode? It automatically analyzes nearby conversations and adjusts settings based on unsolicited photography advice. I like that. Automatically analyzes the photographer, optimizing settings based on confidence levels and caffeine intake. So that Is. And that submit lesson. Yeah. Right. Nice. That is funny. [00:38:22] Speaker B: It is. Thank you very much. Jamie. Let's jump into some images. Let's start with Phil Thompson. [00:38:29] Speaker A: We. [00:38:29] Speaker B: We have owed Phil a very big apology because two weeks in a row he sent you images that didn't come through to our inbox. For whatever reason. I blame Yelena because she's not here. But we finally got Phil's images and we're going to bring them up today. Hi, Greg and Justin Attached to two shots for this week's photos as they are both the same theme and from the same shoot I did this morning at the Charmont farm. Wasn't this this morning? I think it was previously. They are shearing at the moment and so it was great opportunity for a shoot as I hadn't done shearing photos there for about five years as usual. Shot on my Pentax K1 Mark II at 1-500th of a second. Apertures F11 to F9, ISO 6400. I love that one. The shearer was with my Pentax 70 to 200 lens and throwing the fleece was with the Pentax 28 to 105. Keep up the good work and this wonderful platform for us photographers. Cheers, Phil Thompson. Thank you, Phil. [00:39:26] Speaker A: Thank you, Phil. Thanks for persisting and sending that email through that email address. For anyone listening later on that wants to join the party next week is the camera [email protected] just email us an image, a little bit about it and you can be part of this show. Do something with your images. Don't just leave them on your hard drive to waste away. Look at that. Look at that clipper. Crazy big teeth. I really like the throwing one though. [00:39:58] Speaker B: My pop was a bit of a bushman. He worked for the Australian wool something back in his day and he would travel and he was a wall classer and then my dad became a wall classer in his early days of work and yeah, it just, it's reminded me of that, you know, that, that kind of heritage. [00:40:18] Speaker A: My pot woods are so cool. [00:40:20] Speaker B: Yeah. And my pop would. Would travel with drovers moving huge flocks of sheep from one side of the country to the other. And then he would be involved in the. In the wool classing and sale once they. Yeah, once they got to market. So pretty amazing. [00:40:35] Speaker A: Greg Carrick says throwing the fleece is a good composition. I agree. It's great composition and I really commend you, Phil, for not converting these to black and white because I would not be able to help myself this. There's something about, you know, shearers and shearing sheds and stuff. I would just shoot it all in black and white because I just. I don't know. But I think the color really adds to this story. [00:41:01] Speaker B: It does. [00:41:02] Speaker A: It modernizes it, you know, like it. Whereas I would be tempted to try and make it look older than it is, if that makes sense, by using black and white, by leaning into the. The rustic shed and stuff like that. But then you lose the fact this context that this is. This is a modern workplace or, you know. You know what I mean? [00:41:22] Speaker B: Yeah, absolutely. And I agree, like, if. When I'm doing street photography, you know, when I edit my images later, because I always shoot raw. If I hate high vis. I hate how it colors and how it appears because obviously it's there to catch your eye. You know, it's there for a reason. But I just. Yeah, sometimes it just. Just black and white because I can't be bothered with the color. Yeah. [00:41:48] Speaker A: Do we have. Let me take a. Take a pause for a quick question from chat. New face, I think. J. Jury. J.J. jury. Anyway, any tips for folks trying to be a photographer living in one of the most uninspiring places on the planet? Planet. Well, where do you live? First of all, let us be the judge of whether it's truly uninspiring or if it's just uninspiring to you. But I struggle with as well, this. This exact thing, and I talk about all the time on this podcast. I'm not saying Bendigo is the most uninspiring place on the planet, but it doesn't. It doesn't tickle my creativity, Bell. It just. It just doesn't. And my only thing that I've tried and it did somewhat work, but it didn't solve the problem. Was just forcing yourself some sort of challenge that's repetitive. Like, yeah, take and post one photo every day from this uninspiring location and make you make yourself do it whether you're happy with them or not. That might be the only way to. And do that for 30 days in a row, which is kind of what I did. And that might be the only way to sort of break that mold a bit just by forcing yourself to go and find something that's interesting enough to post. [00:43:13] Speaker B: Yeah. [00:43:14] Speaker A: Connecticut suburbs. [00:43:15] Speaker B: Connecticut. [00:43:16] Speaker A: Okay, Connecticut. Look, that sounds fun. [00:43:19] Speaker B: I'm gonna. I'm gonna tell you what I tell all the people that come to my street photography workshop. Sorry for the plug. You know, we often. All too often, we see the whole. And because we're so used like the whole, as in all of it, not as in there's a whole, but all too often the glorious detail that exists no matter where you are. If it's a place where we live, sometimes we get. We lose it. We don't see it anymore because it's just always there. It's always common, you know, and it makes it harder to spot that detail or the points of interest. And so things that I do, you know, is around teaching you how to see the world differently. The first is looking for contrast. So, you know, put your camera into black and white so you actually, your view is black and white when you're taking photos and just go out and look for tonal values, look for where light and shadow intersect to create contrast, you know, and it could be. It could be, you know, maybe just looking down at ground level, seeing where, you know, street signs or park benches or bins create shadows on the ground. You know, start there and start looking for where those intersections are or particular. Or look for a color. You know, just go out and make it a green day or make it a red day, and all you're going to do is look for red items. And within half an hour, all you can do is see red. You know, it's. You'll find it very hard to switch off. And then we can do the same with other things. Geometry in the street, the way that structures create natural elements of geometry that we otherwise overlook. Look for those really specific details. Look for leading lines that are caused by gutters, by downpipes, by roof lines, by footpaths, by pavement, by gutter, like by drainage systems. Look for those sorts of things. Just really start off with just looking for one little element every day, you know, and train your eye to look for those elements over and over and over. And then you'll develop a photographer's eye for what other people miss. You'll no longer miss it, but other people will. That's my advice. [00:45:23] Speaker A: Give me chills. Greg, I had a few thoughts while you were. While you were riffing there as well. I would. I would hazard a guess. The guys in the chat have asked, which I think is brilliant. I would hazard a guess that J.J. urie in Connecticut probably likes either street photography or landscape photography. They're my guesses because I'm guessing Connecticut, it's not street enough. You know, like, say you go to. Go to New York street photography, you just explode with creativity. Back to Connecticut. Not enough people feel a bit weird taking photos of people when there's not a lot of People on the streets, that kind of stuff. Buildings aren't as interesting to you because you've grown up around them and they're not big skyscrapers or they're not grungy like little things, or you like landscapes and you want to see beautiful, you know, rolling hills and nature and big trees and, and the coastline. So I think Greg's advice is amazing. If you want to work on your street photography in your hometown or you want to work on landscape photography in your hometown, you can use those techniques or. But what I was thinking and then tintype man said it as well, just break the mold completely. Go macro. Doesn't matter where you are in the world. You get to go into a little world that looks nothing like the world you used to and that might light your brain up in a completely different way. Just buy a macro lens, find the world that you don't normally see and just go get the drains that Greg was talking about. Go get in the drains. You know, like go and find some weird little creatures that you didn't realize were down there. Play with flash. Play with constant light. Yeah, I don't know. There's so many different ways. Also, Lucinda had a good suggestion here. The book, the Photographer's Playbook has some great exercises too. My copy. Oh, you got one? [00:47:12] Speaker B: Yeah, I got one after Lucinda recommended it the first time. [00:47:15] Speaker A: And Nev Clark says, find an old fence post in good light. Find an old tree in a paddock or an old warehouse and use off camera flash. A couple of, couple of go tos. Yeah, look, look for, look for really old shit. Old shit makes great photos. It's true. Yeah, it is true. [00:47:34] Speaker B: Look for the texture, look for the detail, you know? [00:47:37] Speaker A: Yeah. So here we go. You're right. I used to live in New York City. There was always something going on, things to shoot. Yeah. That I could imagine. That would be a super tough change if you, if you were used to the streets of New York and now there's, there's a lot fewer people and they're a lot more aware if you point a camera towards them would certainly change how you photograph. But yeah, there's something special there. You might be able to use your skills and, and find, uncover something in your own home area and then send a photo into us. [00:48:09] Speaker B: Yeah. So we can talk about it and give you some more advice. But don't forget the strip. God. [00:48:15] Speaker A: Sorry, Johnson. Philip Johnson's all over it. Connecticut is entering full colors now. How can you not be inspired? [00:48:22] Speaker B: Well, on that, on that, if you've ever checked Out Philip's work, where he photographs, you know, tree bark or what do you call it? What is it called? The tree. What's the big bit of the tree? Gosh, my words. [00:48:35] Speaker A: The trunk. [00:48:37] Speaker B: The trunk. [00:48:37] Speaker A: Come on, Greg. [00:48:40] Speaker B: Come on. We did four, five, four live podcasts last week. I, I, My brain is still mush. Yeah. But yeah, you know, go around your neighborhood and photograph tree trunks. Apparently, they're called. Still feels foreign to me to say that. Look for the textures, look for the patterns. Get in close. Don't. Don't photograph a tree standing in the middle of the park. Get right up to it so that the tree trunk fills your entire frame. And look for the detail, look for the interest. So, yeah, [00:49:09] Speaker A: Manila. Martin says I live in Manila, Connecticut. Seems exotic to me. Stanford is so beautiful. And you have colleges like Yukon and fu. That's funny. That are photogenic. Yeah, exactly. But also, you know, what is exotic? Manila. Manila is amazing. I haven't been. It looks so cool. It's on my list. [00:49:30] Speaker B: It does, yeah. The most important thing is to find a way to see the things that people walk past without looking at. And that might just take some people watching time, you know, Observe what, how people move through the city and what are the, what are the interesting things that they just ignore? Maybe that's your subject. But yeah, good luck. Let us know. Send in some images, please. Love to see him. [00:49:52] Speaker A: Yeah, please do. Great to see some. Yeah, some new faces in the chat, too. Thanks for joining. Send us some photos, become part of the show. This is the Camera Life podcast, the greatest live photography podcast on the interwebs. You can even call us. I don't know if the phone's hooked up tonight, but if it is, you can just call the number in the top corner of the screen and actually just say, hi, what's up? And ask questions live. And as Lucinda says, like and subscribe, because that's great. And this show is brought to you by Lucky straps. Go to Luckystraps.com if you want an amazing camera strap. All right, back to the photos. [00:50:25] Speaker B: Indeed. Who we got next? Jason Rogers. Sent in five images from a series. Just wanted to share some of my sports shots with you guys. Thank you. Because we don't often get sports photography sent in. I have just recently upgraded to the Nikon Z5 Mark II paired with a FTZ adapter and my Tamron 70-200 G2 lens. Nice. I hadn't seen a lot of sports done with this lens, so I took the plunge and thought, why not? Good on you. I'M extremely impressed on how it performed, but definitely have to get used to the 30 frames a second. Haha. These. These photos were taken from 70mm right through to 200 range F4, 1, 4000 auto ISO. Cheers, Jason. [00:51:17] Speaker A: Very cool. I love the. You can actually see the football getting like indented by the fist. This kid making perfect contact with it. Great. Whoops, wrong direction. [00:51:29] Speaker B: Oh, how's that sheep? [00:51:30] Speaker A: Oh, there we go. Yeah. Topical. The AFL Grand Final was on last week. Anyone watching from overseas? This is Australian Rules football. So it's like. It's not soccer, it's not NFL gridiron or rugby. It's. It's its own thing and it's cool. It's probably better than all of them. Should check it out. Could go the next worldwide global thing. Great detail shot. [00:51:59] Speaker B: Yeah. I love the moments, the moments that Jason's captured, you know, especially when you've got lots of arms going up for the ball and you get this verticality. Look at that. What do they call that again? A speca. [00:52:15] Speaker A: No, well, no, because he's not on the ground. They're just really both just going for it. Very interesting with the. The guy in the background drawing the eye and then punch through there. [00:52:31] Speaker B: Yeah, that's great. [00:52:34] Speaker A: So the only thing I would say, Jason, is if I was gonna see. And you might be just doing this as more of. It was a test for your camera, your new camera and your new setup. But if I was gonna see five images. I loved the fact that you had this detail one in there. I think that's amazing. And I'd probably just want to see one or two more shots that are a little bit more variety in composition in terms of. Rather than just sort of a full length contest for the ball vertical. I'd love to see something that shows a bit more of the ground or something that has the goal post in it or something like that for context. But you know, you probably weren't going for like a. A complete teller story series with these. It was probably more of just like experimenting. Experimenting and testing out the autofocus speed and the burst speed and all that sort of stuff. And yeah, they're all sharp and they're all well composed. You haven't chopped off anyone's. Other than intentionally on this one. Haven't chopped off anyone's fingers or feet or anything like that. So you've done a great job there. [00:53:38] Speaker B: And that one too. Well done, Jason. The sheep is just gorgeous. [00:53:41] Speaker A: I keep clicking the wrong direction. [00:53:46] Speaker B: Yep. Nice. Thank you for sending them in. Well done. [00:53:48] Speaker A: Great. [00:53:49] Speaker B: Keep experimenting. [00:53:51] Speaker A: Yeah, keep experimenting. Keep using that new camera. [00:53:55] Speaker B: Yeah. And that Tamron lens. That's nice. Up next, Philip Johnson. Philip and I have been sharing our. Our pre beef up journeys. We have regular conversations about what we're doing, what we're packing, what we've ordered off Amazon last minute. [00:54:14] Speaker A: I need to order some stuff. Damn. [00:54:16] Speaker B: Yeah. Hey, Justin and Greg, I'm not sure if you will have time for this series. Of course we will, but here goes. This week a lookout area called Pulpit Rock reopened after six years and as a result of bushfires. The images I captured are the result of an avalanche. One night, the 1st to 2nd of August 2025, the climbing area in the Blue Mountains gave way. The result, 2200,000 cubic meters of rock fell to the valley below. This is the result. And the first time I could shoot it from this direction. P.S. The big loose corner and Carnivore was the climbing area shot with a Sony A7IV and yet another Tamron 150 to 500. How are you going with that lens, Philip? Because I had to play with that. It's an absolute beast. But gosh, it's heavy. [00:55:07] Speaker A: Yeah, that is. Isn't that what a. Yeah, that's crazy. Can't believe that stuff. I know this stuff happens, but to see that so recently after it and just see all the debris down there, all the rubble covering the trees. [00:55:24] Speaker B: No, but that was six years ago it happened. [00:55:27] Speaker A: Was it? [00:55:28] Speaker B: So he was saying this is the first time he's been out? No, the first. Oh, it reopened after six years. Oh, no, no, sorry. There was an avalanche in 2025. Sorry, my bad. But still. Yeah, amazing. [00:55:42] Speaker A: Yeah. Crazy. [00:55:43] Speaker B: You know, easy. It's like when you see those rare occurrences of landslides on video. You know, that doesn't happen very often or after an earthquake or something. But I love these shots because they still have movement in them. There's still this sort of downward plunge of texture. [00:56:01] Speaker A: Yeah. The only thing I've noticed here, Philip, was this a pano? I assume it was a pano. I think something's happened with your stitch up the top. Maybe. See there? [00:56:16] Speaker B: Yeah. But yeah, it's a multi shot. Several shots. I just need a bit of cropping there, Philip. [00:56:21] Speaker A: Either cropping or you might even be able to do like a generative fill these days or something. Or like even. Probably. Probably don't even need generative. So you could probably just clone that in. [00:56:33] Speaker B: Yeah. [00:56:35] Speaker A: To fill up the top there. [00:56:36] Speaker B: But amazing. [00:56:37] Speaker A: So cool piece of history. [00:56:39] Speaker B: Yeah. And being, you know, getting renewed Access to an area that you haven't been in for a while, but still so close to your home. That's pretty cool. Gives you more opportunity, which I love. Thank you. Philip Johnson, as always. [00:56:54] Speaker A: He says this is the reason why you don't stand on the edge for the shot. [00:56:58] Speaker B: Yeah, yeah, they're cool. Yeah, very cool. It's like. It reminds me of when didn't someone. Was it a couple of years ago managed to capture or just missed that. Got the first shot of one of the twelve apostles falling. There's something about that a couple years ago. Yeah, because there's only like three and a half left now. Coming up next, we have Andrew Connor. G', day, Andrew. I hope you're well. One of my street photography workshop buddies. There's three images there. [00:57:35] Speaker A: Getting there. [00:57:36] Speaker B: Andrew Connor. All right. Good evening, gents. As always, thanks for the show. There is always something of interest in every episode and the Thursday interviews are always brilliant. Thank you, mate. And this Thursday we've got Benjamin Erickson joining us who is. Is currently at the receiving end of a stalking thing from Felicity Johnson. She seems to like him very, very much. So I'm sorry, Benjamin. We'll try to keep her out of the studio as a Gregling have been out and about in the city practicing heaps lately. We're talking about street photography. Exploring the streets and many alleyways too. Finding many wonderful murals as well. Sending three images for review, if I may. Image 1. I like the people all walking to the light and in a way away from the other light, the church beside them. Taken on the Sony RX 10 mark 41 2, 500 of a second. ISO 400. Yeah, that's. I love that gold glow. [00:58:32] Speaker A: The Golden Globe. But I think what makes it is the lit up red bushes, shrubbery, whatever that stuff is out the front of the church. Yeah, that, that. Without that it might be really dark on the left hand side, but that sort of brings it up and then, yeah, funnels everybody down towards that. That's great. [00:58:54] Speaker B: Yeah, Nice framing, good leading lines. Number two is a fantastic mural on Lonsdale street and taken in the wee hours. This one taken just on the. A little bit of movement in the pedestrian but put in for scale. [00:59:09] Speaker A: Yeah. [00:59:09] Speaker B: Oh, wow. It's huge. [00:59:11] Speaker A: Yeah, it must be massive. [00:59:13] Speaker B: Yeah. Yeah, that's very cool. [00:59:15] Speaker A: Great to have something in there, something to give it a little bit of context. [00:59:20] Speaker B: Yeah. Yep, nice work. And then number three from Andrew is the Mecca Laneway. Oh, it's one of my favorite spots. Oh, I love that spot. After some Rain on a gloomy day. Thus the black and white edit. I like the pedestrian motion and movement and the sign reflection. And this was shot on a Panasonic FZ2501. 8 of a second. ISO 200. Thanks. All regards, Andy. Nice work. Yeah, I love the vignetting. It gives it almost like a peephole effect. [00:59:54] Speaker A: It does. [00:59:55] Speaker B: I like a cinematic kind of. [00:59:59] Speaker A: I would. I would back it off a tiny bit. [01:00:01] Speaker B: Yeah. [01:00:02] Speaker A: Personally, I think it might be a tiny bit heavy, but it's. So before we talk about that, the Pete, the movement, the people, is epic. [01:00:09] Speaker B: Yeah. [01:00:10] Speaker A: That really, if they were sharp, this would still be a cool photo. But the motion blur with them. Is it motion blur or has he done that in Photoshop? Does it say what the settings were? [01:00:22] Speaker B: It did. Hang on, let me just go back to it. 18 of a second. So, yeah, it was slowed. [01:00:28] Speaker A: Yeah, it's per. It's great. Really, really cool. And I just think. I think you could possibly do it. I would potentially do it with a radial or something. Like. I want them to be a touch lighter. [01:00:42] Speaker B: Yeah. [01:00:43] Speaker A: So the vignette is affecting the man, I assume the guy, whatever the puffer jacket person. The vignette's affecting them a little bit. And it got lost a little bit at the start. I think you could. Or you could probably brush the corners in or something. But to have. I like the vignette effect, but I think it could be. Have a more gradual fall off from the center to the corners. I would probably bring it in more like a smaller. Further into the midpoint and then a more gradual fall off towards the corner. So it's kind of less noticeable, but still very much this style. I think it's. Yeah, yeah, it's a cool photo, but [01:01:22] Speaker B: it's got a really cinematic noir. [01:01:24] Speaker A: Yes. [01:01:25] Speaker B: Film noir look to it, doesn't it? [01:01:27] Speaker A: Yeah. And I think you want to keep that. Definitely. [01:01:29] Speaker B: Yeah, yeah. Just maybe just pull it back a bit. But lovely composition. Great use of the reflection. Good use of texture, as we discussed. You know, you've got the great. Down the very bottom bringing in some detail. You've got the brickwork brings in texture. And then at the far end, you've got, like, this light almost at the end of the tunnel with more people blurred, which is great. It's just this passing sort of wave of humanity. I love it. Well done. [01:01:56] Speaker A: Yeah, Keep it up. [01:01:57] Speaker B: Good stuff. [01:01:58] Speaker A: Yeah. And so the fans are. The fans are digging it, too. Love this shot. Great job. Awesome set. Maybe feather it so it's not as Harsh. Yeah. Phil Thompson loves it. Love a good reflection. Reflections. Yeah. Very, very cool. [01:02:15] Speaker B: Yeah. Well done. Keep at it. You're onto something there. [01:02:19] Speaker A: Oh, yeah. [01:02:21] Speaker B: Let's do one more, then we'll talk about some small news. We're looking at an image from Sam Olson. Single image. Here's one for a recent great ocean road trip. This is from one of the many rock platforms around Apollo Bay. During the winter, the swells that come from the Southern Ocean are epic, and therefore the rock platforms that you can choose from are different from the rest of the year. Polo Bay is a great place to base yourself during the winter months. This is shot with the Nikon Z8, the 24 to 70 at 44 mil, f14, shutter speed 1 second, ISO 64 with a 3 stop ND filter. Just some minor lightroom adjustments. Kind regards, Sam. [01:03:05] Speaker A: Beautiful, Sam. [01:03:06] Speaker B: Yeah. [01:03:07] Speaker A: It's almost like you wrote the book on this stuff. [01:03:10] Speaker B: I know. [01:03:12] Speaker A: Yeah. Perfect. Like, tonality in the sky. The water's super soft and. Yeah, the color of the sky on the water towards the back of the. Like, towards the horizon. You probably can't see it that well through the interwebs, but yeah, it's really, really nice. The color of the water getting that sky reflection. [01:03:34] Speaker B: It's. And it's just. And that the waves in the foreground just had that gossamer effect. It's a very calming image. [01:03:43] Speaker A: Gossamer effect. What's that? [01:03:44] Speaker B: Yeah, gossamer's like that kind of spider webby kind of texture, you know, it's like it's thin and it's wispy. [01:03:51] Speaker A: So you can remember the bit that holds the tree branches between the branches of the tree and the ground. But here you are pulling out the gossamer. [01:04:01] Speaker B: Yeah, but to be fair, I'm in my 50s now. Jay, come on. And I did a lot of drugs [01:04:04] Speaker A: in my teenage years, so you're either gonna forget the word drunk or you're gonna pull out just like bizarre words that I've never heard of before. I love it. That's what happens in your 50s. [01:04:17] Speaker B: It does, yeah. Yeah. I'm a bit cooked anyway. Well done, Sam. Let's jump into some news. What do we got? What do we got? What do we got? What do we got? Small news. Oh, there's a photo I want to show. Could you bring up this. The Sony lens lineup class photo. [01:04:36] Speaker A: Yes. [01:04:37] Speaker B: So last week we talked about how the good folks at Sony, who dominate the sensor market, also have a pretty comprehensive lens lineup. They just dropped two new telephoto primes last week, the week before 400 and a 600 smaller than the. The best of the best of those versions but lighter obviously not as, not as wide open in the aperture. But definitely amazing quality lenses. Look at this lens lineup. That's huge. They've been at this game for a long time. [01:05:13] Speaker A: Yeah, yeah, that's, you know, that's a ton of options. [01:05:17] Speaker B: Yep. This is all the E mount lenses currently available. [01:05:22] Speaker A: You can certainly see the appeal of that system, let alone the fact that there are third party options as well. So many they are limited by the burst speeds but yeah, because they cap it, don't they? [01:05:36] Speaker B: To 15. [01:05:37] Speaker A: 15. Yeah. Which is. It's enough. But it's also like if you're spending some money on some decent third party glass, really want to be capped for. Yeah, I don't want to have to be thinking about that stuff. If I'm like swapping lenses around mid shoot and I'm like, oh, better not use that one because I might want to burst for this one thing. I don't know. [01:05:57] Speaker B: Yeah. [01:05:57] Speaker A: Anyway. Yeah, getting off topic. So you just, you like this family photo? [01:06:03] Speaker B: I think it's impressive. It's a class photo. You know, the captain of the football team is at the back in the middle obviously he's the tall guy. Just an impressive set of lens options. You know, I look at the Fujifilm system and they've got amazing lenses and I love them but there's huge gaps in what they offer and there's some. The ones that aren't. Some of the ones that are in the range are so old now that they came out when the first Fujifilm X mount camera came out and they just desperately need updating. [01:06:30] Speaker A: I really hope that. That they suck. [01:06:33] Speaker B: Well, they're slow. Yeah. They're autofocus isn't great. Beautiful character in the glass, like beautiful image resolution but they're just slow. Yeah, nothing like this is. Yeah, this is impressive. Anyway, wanted to share. I thought it was good. You know, we are spoiled for choice. We live in a good time. [01:06:56] Speaker A: Yes. [01:06:58] Speaker B: What other lens news? Tamron have patented a new 50-130 f 2.8 lens. This was. I found this on Sony Rumors. So at this. Oh, it is an FE lens. I don't know if it's coming to any other mounts. I couldn't find that out but what do you think? 50 to 130 full frame. How does that want to be? [01:07:19] Speaker A: It would want to be small, want to be very compact. It's the sort of thing 50 to 1. Yeah. It would Want to be small because Tamron have got. They've already got the 35 to 150 F2 to F 2.8. So this has got to be nowhere near that in any way. But also sometimes they just pattern weird stuff that's never coming out. But I don't know, it's interesting. You would use that obviously alongside a wide angle for someone that doesn't like to use normal lens, but they don't want that big gap. So you could just have a 15 to 35 and then a 50 to 130 and kind of get away with it if you don't need the long end. Yeah, yeah, interesting. [01:08:02] Speaker B: Good portrait lens. 50 to 130 gives you some options. [01:08:08] Speaker A: 2.8. There's lots of other better options than that around. I don't know. Doesn't excite me. I need to get into that. If it was an F2, that would be something else. But otherwise I need to get. I like to get up around that 150 or more for a 2.8 lens to be super useful for me for a long. A long lens. Otherwise I want it to go wider than 50. I want to be like a 28 to 120. And then now we're talking at 28 to 28 to 122.8. That isn't insanely heavy like Canon's 24 to 105. That would be a fun lens. [01:08:51] Speaker B: Yeah, yeah. A little bit more reach. [01:08:54] Speaker A: Yeah. [01:08:55] Speaker B: Nice wide aperture. Although didn't Glenn, our friend Glenn Lavender, didn't he, who is a Tamron ambassador, didn't he drop a hint that there was going to be some more lenses coming soon from Tamron? [01:09:06] Speaker A: He did, but this is only a patent, so. Nah, this would be. This wouldn't come out for a while, surely. [01:09:14] Speaker B: Yeah, that's what you said about the R8 Mark II. But you know, here we are. That's what you said about befop. Here we are. [01:09:21] Speaker A: Speaking of rumors. Speaking of rumors. I'm wrong about. There's a very, very soft rumor that, that R4, the Canon R4, that even the rumor site was like, this isn't really real. Which means there's a very low chance. [01:09:39] Speaker B: Yeah, it was slow. Newsweek. [01:09:42] Speaker A: Well, wasn't there there was it come out in Adobe's list or someone's list of like supported Cameras, the Canon R4, something like that. [01:09:50] Speaker B: Yeah. [01:09:50] Speaker A: And they're like 99. It's a typo. But there is a chance that Canon are going to release an R4. [01:09:58] Speaker B: What would that even be what would that even look like? [01:10:01] Speaker A: I don't know because like the only thing that they really, the stuff that they're missing would be maybe a higher resolution. So a pro body with a higher resolution. And I don't think they'd call it [01:10:15] Speaker B: an R4 so not a 24 megapixel sensor but go up to like a 40 or something. [01:10:21] Speaker A: Yeah, like so the basically like use the Canon R5 Mark II sensor but put it in a full size big, big boy body and maybe speed it up a little bit or something or there was always been these rumors of like an 80 megapixel high resolution Canon camera of some sort that would be slower but I, that would bring the [01:10:44] Speaker B: challenge to Fujifilm, wouldn't it? [01:10:47] Speaker A: Yeah. And I mean someone's got to do it at some stage. Sony's pushing it further and further with what are they at 67 megapixels or something? [01:10:54] Speaker B: Yeah. [01:10:55] Speaker A: You know, it wouldn't surprise me one day to see Canon just jump that massively to, to that 80 mark and just be like we are now the, the high resolution king of full frame for a little while. Which they kind of did with the 5D. What was it called? 5DS. [01:11:16] Speaker B: Not sure. [01:11:17] Speaker A: Yeah, which was 50 megapixels at a time when that was very uncommon. So but yeah, chance of it happening. Extremely, extremely low anyway. [01:11:29] Speaker B: And Lucinda hopes that the body is not square. Cut off all those curves. [01:11:35] Speaker A: Lets keep the curves. [01:11:38] Speaker B: Oh, just a little update from Jujuri. Sorry for saying that wrong. Sigma 28 to 105 2.8 is probably my favorite lens. It can do pretty much everything. Yeah, it's a, that's a great, that's a great option. [01:11:50] Speaker A: I didn't even know that existed. Sigma 28 to 104, you can't get it on RF. [01:11:56] Speaker B: Not yet. [01:11:57] Speaker A: I know, I know, I know. [01:11:59] Speaker B: Jim wants the new camera to be Square, the R4. [01:12:03] Speaker A: Yeah. So that he just wants it to be square so that I can suffer in the same misery he has to suffer in with his big Z8s. But he can't fit in any decent camera bags. What is the weight? Oh okay, so it's, it's still, it's 990 grams. So it's much lighter than the Canon 24 to 105. But yeah, interesting 24. I hadn't looked into that very much. [01:12:27] Speaker B: Well, it's because you can't use them. [01:12:29] Speaker A: Yeah, that's also a good point. [01:12:32] Speaker B: Yep. Yeah. But you know, you do you if you're happy with it. [01:12:36] Speaker A: Yeah. [01:12:37] Speaker B: That's fine. I'll get you to bring up this next little small news article about the song Dan MFT camera. The first images of this new micro 4/3 camera that this random company is making has surfaced online. [01:12:57] Speaker A: Getting there. There we go. Okay, [01:13:02] Speaker B: right, so on the left is the, the Olympus pen. Old school pen because it's Olympus, not om. And on the right is the, the. It's got MBD on it but they've said that that is branded as MBD because it's actually the. [01:13:21] Speaker A: No big deal. [01:13:24] Speaker B: They're both brands are owned by the same company, Sonita Technology. So this was on show at the ifa which is like an event in Berlin. Chinese camera manufacturer has come out with this Micro Four Thirds. It looks a lot like a Sony to me. [01:13:43] Speaker A: Yeah, like an old Sony. [01:13:45] Speaker B: Yeah. [01:13:46] Speaker A: It certainly doesn't. It looks like a very, very cheap camera. [01:13:50] Speaker B: Yeah. And that. [01:13:51] Speaker A: Not like anything. [01:13:52] Speaker B: That grip is massive. [01:13:54] Speaker A: Yeah. Or the camera's tiny. Yeah, yeah. It looks, it looks just. I don't know, it looks like it would have to be. Yeah. Extremely cheap. [01:14:05] Speaker B: Yep. [01:14:07] Speaker A: Would be my guy. [01:14:11] Speaker B: But you know, yet another brand having a crack good on them. [01:14:16] Speaker A: I say strap lug mount is, is the whole. It's the wrong way. [01:14:24] Speaker B: What do you mean? [01:14:25] Speaker A: It's been assembled incorrectly. If you put the ring through this lug, then your camera strap is not pulling with the strength of the lug. It's not pulling up. It's pulling the wrong way. [01:14:40] Speaker B: It is. Or maybe it [01:14:45] Speaker A: could be the first swiveling lug ever installed on a camera. Or someone's put this together incorrectly because it's being built by not photographers. [01:14:59] Speaker B: Yeah. It's an interesting look. I know that there's a box there, although that's for a different camera, but still it looks like a whole bunch of 3D parts have just been sort of tacked together to get it through the show. You know, nothing seems to gel in the design. Nothing seems to work with one another. [01:15:17] Speaker A: I think Rick's hit the nail on the head here. Is it real or cake? I think this could be cake. I think this is cake. Yeah, I would put a knife into that. [01:15:29] Speaker B: And our new super Feng says. Yeah, it looks 3D printed. I agree. [01:15:34] Speaker A: Yeah. And what's the pricing? What's the pricing look like? Yeah, I would say it would be. Yeah. In the hundreds of dollars at most shipped to you. [01:15:44] Speaker B: I said here, possibly around 500 bucks. So. [01:15:46] Speaker A: Yeah. Well, in which case, hey, don't buy it, just get a second hand camera. But if this is what you Want. It's no big deal. Yep. [01:15:58] Speaker B: A couple of other little quick news items. Viltrox, our good friends who are taking down The Giants announced four new air lenses for L mount. They've announced a 14 mil f4, a 20 mm f2.8, 40 mm 2.5 and a 50 f2. These aren't new lenses, but they've just made them available for the L mount now and I think on YouTube. Gosh, I can't remember his name. A British camera review guy. Anyway, it doesn't matter. He. Yeah, he did a review of them. So go check that out. [01:16:35] Speaker A: Yeah. Lucinda, I swear they release lenses weekly. Yeah. I don't know. You would think that we're some. The fact that we read these news articles head everywhere. You think we're getting paid by Viltrox or something. But I, I can assure you we [01:16:46] Speaker B: are just what they do. Yeah. [01:16:48] Speaker A: Yeah. [01:16:50] Speaker B: Last little bit of small news. Xiaomi, which is the mobile phone maker in China. I think they're in China. Yeah. Xiaomi's gorgeous new 18 series phone with a triple Leica cameras will go global. It will be available everywhere, I think. But you know, we'll see. [01:17:07] Speaker A: Gorgeous. I don't know about gorgeous. I think they look. Wow. It's the Xiaomi 18 Pro and the Xiaomi 18 Pro Max. [01:17:19] Speaker B: Yep. That's just begging to be serious. Sued by the biggest company on the planet. [01:17:23] Speaker A: What, what did, what, what phone did Apple just release? [01:17:27] Speaker B: Yeah, 18 Pro and Pro Max. [01:17:30] Speaker A: Like if. Fuck sake. It's embarrassing that Leica are partnering with a company and putting their name on a company that just literally copies the name of the market leading thing and releases it at the same time. [01:17:46] Speaker B: Yeah. [01:17:46] Speaker A: And like 18 pro and 18 pro max. [01:17:50] Speaker B: Yeah, I do like that. The, the rear face of the camera where the, that little island where the lenses sit is also a screen. [01:17:59] Speaker A: Yes. Okay, I'm going to bring this one up for everyone because I didn't realize that was the screen until just then. Like just as you said that I scrolled down far enough to see that it's the screen. I'm going to show you what I was looking at this add to stage. I was looking at this when it said. What did it say? Gorgeous new phones. And I was like they're hideous. Like, why have they put this weird orange thing on this one and this blue thing on that one? [01:18:25] Speaker B: It's just a screensaver. [01:18:26] Speaker A: It's a screensaver and you can actually scroll down. [01:18:29] Speaker B: There's three, five examples of. So the one thing I do like about this It's a bit like some of the. Like the. The action cams had that little screen so you could take selfies or you could vlog with the good quality camera. You know, [01:18:46] Speaker A: I don't want to see anything from my phone when it's face down ever. There's a reason I sit at face down and it's so that I don't see anything come up on the screen. And if you open the world up to be able to give you notifications on both sides of your phone, I think you're just asking for constant interruptions and ultimately sadness in your life. [01:19:09] Speaker B: Yeah. [01:19:11] Speaker A: Also, I hate the names. We're talking about names the other week. Why can't people come up with their own freaking names? Stop calling everything pros and Maxes and ultras and. Anyway, yep, maybe, maybe I'll release the Lucky Straps promo. Pro Max, lucky strikes, the 18 Pro. [01:19:34] Speaker B: What's the folder? What are they called? The folding one. [01:19:36] Speaker A: The Duo. [01:19:38] Speaker B: The Duo. You need a. Oh, the harness for Lucinda. The one that she's been waiting for all these years. [01:19:43] Speaker A: See, here's the problem, Richard. The Lucky Straps. Richard saying there's no rear screen on the 18 Pro Max. Yeah, there isn't. Except on the Xiaomi 18 Pro and Pro Max. This is where. This is why the names are freaking dumb. Oh, my God. Same, same, but different. Yeah, I wish I could pull that. That meme up. Do you know that meme? Which Same, same, but different meme. [01:20:12] Speaker B: I don't know what you're thinking. [01:20:15] Speaker A: Oh, would it even. It's off the movie. The interview. [01:20:21] Speaker B: No, the Interview with. No. [01:20:27] Speaker A: Oh, I probably. Will this get us copyright stricken? Let's see. I haven't rolled the dice on a copyright strike. Let's see if this. Let's see if this. It's got. What's his name? It'll come to me. Do you know this guy? This movie? [01:20:46] Speaker B: No. [01:20:47] Speaker A: Tell me if you can hear this. [01:20:51] Speaker B: Hang on. We are different people. We speak different languages. [01:20:57] Speaker A: Huh? [01:20:58] Speaker B: We have different faces. [01:21:02] Speaker A: Got to pause it for the. The copyright people. [01:21:06] Speaker B: It's one of the Franco, isn't it? [01:21:08] Speaker A: Yes, that's right. James Franco. Always coming to me. He's so funny. [01:21:12] Speaker B: But inside we are same. Same, same, same, but different. But still same. Thank you. I have to watch that. [01:21:27] Speaker A: It's so funny. It's so awkward. It's a. It's an awkward comedy there. Anyway, that's exactly what the 8. The Xiaomi 18 Pro and Pro Max is. Same. Same. [01:21:39] Speaker B: Yeah, yeah. Available on temu. Let's get back to Some images. Yeah, let's. Let's bring this puppy home. [01:21:47] Speaker A: Yeah, let's. Let's do it. [01:21:49] Speaker B: David Moscoro, who. I haven't seen the chat for a little bit. Hope he's well. Hope you're well, David. Let us know how you're going. Single image, anytime you're ready, Jay. [01:22:02] Speaker A: I'm getting there in there and I'm there. [01:22:11] Speaker B: All right. David writes, I lost the notebook that all this. His information was on. But I remember when I asked him what his name was, he said, screwed up. Took me a minute to realize what he was referring to. The hat. Do you want to zoom in on the hat? [01:22:30] Speaker A: I was like, I didn't even get that for a second. Yeah, I'm going in. Hang on. That's brilliant. Yeah. [01:22:41] Speaker B: And lethal and dangerous. Yeah. [01:22:44] Speaker A: Even just putting your hat on in the morning. [01:22:47] Speaker B: He had a great sense of humor. I do remember that I met him near my building where I worked on my way home. Photographed with the D3PS. The last two photos I sent in were not shown, so I hope the email is correct. There's a couple of people have said emails haven't come through. I don't know why that is with this new email thing. We have to work on that. But what I might say is that for all future ones, maybe if you send it to the camera [email protected]. that's it. [01:23:19] Speaker A: You're so close every time. [01:23:22] Speaker B: But also send it to [email protected]. well, yeah, yeah, if you want. [01:23:33] Speaker A: This is a brilliant. This is a brilliant image. Yeah. What a. What a character. What a capture. [01:23:38] Speaker B: Yeah. [01:23:39] Speaker A: That hat is amazing. [01:23:40] Speaker B: Yeah. And his smile. And his beard. [01:23:43] Speaker A: Smile. [01:23:43] Speaker B: Crinkly eyes. Yeah. Yet another amazing portrait. [01:23:49] Speaker A: I need the book. [01:23:50] Speaker B: Wonderful. Yeah. There needs to be a book. Up next, Greg Carrick. Crackers. [01:24:02] Speaker A: Greg Carrick. [01:24:03] Speaker B: Greg Carrick said. Hi, team. I've used a few of my images that are related to make three panel commentary. This one is about how what's expected of you as a member of society can change, leaving you having to change direction just to keep going in life. I took my inspiration from two artists who run a website called A Softer World. And it is ASOfTERworld.com. [01:24:29] Speaker A: I'm going to read it out. [01:24:30] Speaker B: This is really interesting. [01:24:32] Speaker A: Yeah. Three images for those that aren't watching. Three images that are arranged together, like horizontally. And it says just when you decide where to go, they change the rules. And. Yeah, yeah, it's great use of like, we've got a road sign, street sign, and then Just some. I mean, I don't even know what that originally was. That. It's. I assume it's intentional camera movement on all three of these, but the. The middle one is a lot like. Like full abstract. [01:25:11] Speaker B: Yeah. [01:25:11] Speaker A: And then you've got the D2 assign in the last one. [01:25:14] Speaker B: Yep. Yeah. Really interesting approach. I love it. Very cool. Well done, Greg. Daring, brave and brilliant. Yeah, [01:25:30] Speaker A: Very nice. [01:25:30] Speaker B: It's interesting. It's almost like a. A really minimal comic strip. You know, you kind of. You follow this little story along through each of the cell. Very cool. [01:25:42] Speaker A: Yeah. I want to see more. Very cool. [01:25:45] Speaker B: Yeah. Up next, we've got David Skinner with a single image. G', day, everyone. Taking a beef up last year. Bright is a great little town for street. In between workshops, I find the time to do street photography. And I look forward to more this year. Justin, an invite to Greg to join me if you can spare him from the stand. See? Did you notice he didn't ask for you? Yes, for me. Just saying. I know that was petty. I. I will have the link. No, no, he's inviting me. He's just. He. He thinks that you need to give permission, which is, you know, his bad. [01:26:21] Speaker A: That's funny. Yeah. Like, you're not allowed to do anything unless, like, you may. You may eat. Greg. Yeah. [01:26:30] Speaker B: My monitor. My. My monitor alarm on my ankle is hurting. Can we loosen it? [01:26:34] Speaker A: That's right. Yeah. [01:26:36] Speaker B: He says, I will have the little Fuji with me. Need a few camera tips. The guy at number three, yawning, hands in pocket, gives this image a point of difference. [01:26:48] Speaker A: It's the whole image. It really is. [01:26:51] Speaker B: Yeah. [01:26:51] Speaker A: Probably the only thing that could make it more, like, cooler is if all of the. So all the three other guys have all got their phones in their hands, which is brilliant. The only thing that would make it cool is all three of them were staring at their phone. I think it's kind of interesting because it's like. Yeah, the one guy that's not on it, like, doesn't have his phone in his hand, is just like, bored. He's bored. And it's funny. Yeah, it's sort of like the opposite. You would like it to be like the phone people are all bored, and then the one person not on their phone's like, loving life and just, you know, having a great day, but it's kind of the other way around. It's. I don't know, it's. I think it's a really fun image. Really. It is just his whole body, his. His body language. [01:27:39] Speaker B: Yeah. [01:27:39] Speaker A: Yeah. You could Also do some fun now. I'm not gonna say it. Who we got next? [01:27:48] Speaker B: Oh, sorry. This was shot with the Nikon Z7 Mark 2F9, 24 to 120. 121. 200th of a second ISO 100. Cheers, David. Well done, David. Thank you. And yes, I'd love to go for a walk. Actually, on that note, I was thinking maybe one morning very early, we might do a sunrise walk or just post something and people want to join. We can go for a walk, just get out, get some fresh air before BEFOB really kicks off. Anyway, stay tuned. John Latimer is up next. [01:28:21] Speaker A: One image. [01:28:26] Speaker B: All right, here we go. Hi, guys. Hopefully. Oh, that's you on. It's that time. That time. Hi, guys. Hope all is well this week. Since the weather has warmed up, all the creepy crawlies have started to emerge again. I've been playing around, struggling with focus, especially when a subject is tucked between leaves like this. I don't want to move the spider or disturb anything to try to get the shot. But with a light breeze and a quick fall off of focus in a macro lens, this was the result. [01:28:54] Speaker A: This is great. [01:28:55] Speaker B: Yeah, this is. [01:28:57] Speaker A: Yeah, really, really cool. [01:29:00] Speaker B: Are they babies? The little. I can't tell what those little dots are. [01:29:04] Speaker A: Oh, I don't think so. If they are, that's crazy. [01:29:08] Speaker B: Yeah, that's even scarier. [01:29:11] Speaker A: Look at the detail, these little droplets. Is that like a water droplet? [01:29:19] Speaker B: I can't tell. Oh, maybe. Yeah, it looks like it. Oh, this is detailed. Yeah. I've got to. I've got to get my macro lens out. More happy with how the shot came out, considering the conditions. But we'll have to learn how to focus, stack and work from there. A future mucking around for the moment, just enjoying the process. Thanks, guys. Have a great week. I'll see both Greg on Saturday morning for a street photography workshop and then Dennis Saturday evening for light painting workshop. [01:29:47] Speaker A: Oh, yeah. [01:29:49] Speaker B: Amazing weekend you've got planned. Some type of orb weavy spider. Plenty gorge in the wetlands. Sony A7R III with the Sony 100 Macro at F16. Well done. Even just the color palette, I love it. [01:30:03] Speaker A: Yes. [01:30:04] Speaker B: There's something a bit earthy and. [01:30:07] Speaker A: And having that leaf coming towards the front left of the frame is really, really nice composition. Obviously you didn't. You couldn't move the leaf or anything even if you want to, but I think it works great. You don't see a ton of that or. I haven't seen a ton of that in macro like this. I can't remember seeing a shot like this. I think it's great. [01:30:26] Speaker B: Yeah? [01:30:28] Speaker A: Yeah. Nailed it. [01:30:29] Speaker B: Amazing. Well done, John. And yes, I'll catch up with you on Saturday. [01:30:36] Speaker A: Oh, and Felicity is going to see you at Dennis's light painting. [01:30:39] Speaker B: Yeah, [01:30:42] Speaker A: I'm going to get a macro lens one day. I'm just holding off. You know what? I'm holding off for the next pandemic. I'll grab a. Grab a. Be sure to grab a macro lens if there's a bright future. Well, I mean, it's a perfect time. [01:30:56] Speaker B: New place too. You can have a lot of stuff. [01:30:58] Speaker A: Yeah. Oh, yeah. There's so many bugs and things. I probably won't even need a macro lens. I'll need whatever you need for snakes anyway. [01:31:05] Speaker B: Zoom. A lot of distance. [01:31:09] Speaker A: Yep. [01:31:10] Speaker B: Yep. Interesting. In the chat that Lucinda and Jim are currently fighting over the non existent dual harness. [01:31:19] Speaker A: Oh, that's funny. [01:31:24] Speaker B: Very cool. [01:31:25] Speaker A: Very funny. Well, [01:31:28] Speaker B: what else? John Hall. Should we get to John Hall? Let's do John Halls. [01:31:33] Speaker A: Yeah. [01:31:33] Speaker B: So what a few to go through. John Hall. One image. Evening all. I love this shot. It was a cold, wet, a miserable day in Sydney yesterday and even the thought of trying a new lens couldn't encourage us out of the house. Instead, here is an image taken a couple of weeks ago when we went to see Max Dupain exhibition at the State Library. Sorry. There it is. Jaunt. It's Greggy's bedtime. A very inspiring collection, particularly his architectural work. Afterwards, we walked around to Mrs. Macquarie's chair to take some outstandingly dull photos of the sunset. Fortunately, on the way back into the city, we walked past the Opera House and I got a few shots I was happy with. This was taken from the forecourt, which is quite well lit. However, I found a spot where the steps were in shadow, enabling me to isolate the eastern side of the Opera theater. I promise the next one I send in won't have as much negative space. I know. I think you should lean. No, I think that. [01:32:27] Speaker A: I think you found. You found your style. Don't lean into it. [01:32:32] Speaker B: Yeah. Shot with the Nikon Z6 Mark III, 24 to 120 F4s. Shot at 41mil F4, 150th of a second ISO 2500. [01:32:44] Speaker A: Love it. Love the square crop. [01:32:45] Speaker B: Really, really cool. [01:32:46] Speaker A: Yeah. [01:32:47] Speaker B: Perfect. [01:32:47] Speaker A: Yeah. Yeah, the crop is perfect. Perfect amount of space around it to sort of let it breathe with a dark frame. But yeah, awesome. [01:33:00] Speaker B: Indeed. Nice. Well done, Mr. Hall. Up next, Paul. Paul C. With a single image. G', Day, Justin. And Greg, another one from my workshop with Greg the other week, taken in Bourke Street Mall, where I found the location first and then waited for the subject to arrive. I think I found a nice bit of alignment with both the color and the graphics from the Telstra billboard. Behind the pedestrians. [01:33:27] Speaker A: Yes. [01:33:27] Speaker B: Yeah, I agree. [01:33:28] Speaker A: Yeah, yeah. [01:33:30] Speaker B: With his R5. [01:33:33] Speaker A: Oh, yeah. [01:33:34] Speaker B: And there's a really nice subject separation just by tonal values, even in the background, you know, and that hand reaching [01:33:43] Speaker A: down, the way the hand mimics the shape of the face and the body, the way that it sort of frames enough and it's not intersecting. And the way that the two subjects are fully separated as well. It's bizarre. And cool that they're both wearing stripes. [01:34:04] Speaker B: Yeah. [01:34:05] Speaker A: Horizontal stripes, which is just odd. And it's red, particularly the back one's red and matches that. Yeah. It's a very interesting shot. I don't love that she's holding an OSMO pocket or what appears to be an OSMO pocket, but other than that. And obviously you can't control that. I don't know why I don't like it. Maybe because I know what it is and I'm like, yeah, OSMO pocket. Does she feel me? Whereas if someone saw this shot and they didn't know what that was, they probably wouldn't think twice about it. [01:34:36] Speaker B: Yeah, yeah. You're just being pedantic. See, I knew that. [01:34:39] Speaker A: Yeah. I'm just. I'm just like. She got that. [01:34:43] Speaker B: This was shot with the R5, with the 28 millimeter prime at f8.1 1000th of a second and ISO 1250. Cheers, Paul. Great work, buddy. Great work. [01:34:51] Speaker A: Using a Prime at F8, a lot of people just. They just go to like, well, I've got a prime on, so I should shoot it wide open. [01:35:00] Speaker B: Yeah. Nah, you don't need to do that all the time. Yeah. Nah. Up next is Neville Nev Clark with an image. [01:35:11] Speaker A: Oh. [01:35:12] Speaker B: All right, let's get into it. Hi, team. This photo was taken about a month ago as I was trying to create a mood shot. There's just a tiny bit of light left, but a lot of. Lot of cloud cover. So I went with a long exposure to create some art. This was shot at Middleton beach jetty in Albany, West Australia, Western Australia. Sorry. Camera. The Fujifilm GFX1 hundreds mark two and shot with the lens, which is a GF20 to 35 at 20 mil settings. ISO 40, F4, F16. Sorry. 30 seconds with a Nissi ND6 stop filter. [01:35:51] Speaker A: Spooky. [01:35:52] Speaker B: It is Spooky. It's got a night in the woods kind of vibe to it, doesn't it? Yeah, Cabin in the Woods. And I like the way that the composition, it's kind of broken into thirds, give or take. You know, you've got the decking in the foreground, which I think really makes the shot. And then you've got this beautiful glossy, reflective section of the lake. And then you've got the sky. [01:36:17] Speaker A: The interesting element for me, obviously the sky and the water and all that is, is essential to this and it makes it really sort of. It really makes it into what it is. But yeah, the interesting things for me are the lights, the orange lights. And then the only other real color, I mean, there's a couple little bits in the background is, Is the orange sort of hazard. Step on this, what is quite a modern and industrial ladder. And normally in a shop like this we would see like a rusty old. [01:36:48] Speaker B: Yeah. [01:36:49] Speaker A: Hooped ladder that's been there for a long time. [01:36:53] Speaker B: Yeah. [01:36:54] Speaker A: And it's. I think it's the modern ladder that turns it into a sort of a weird sci fi. [01:37:01] Speaker B: Yeah. [01:37:01] Speaker A: Spooky type thing. It just changes it completely. It's so square and cold. But then. And the tones of it match in perfectly with the cool tones of the rest of the water. I don't know, it's really. It's really interesting. Lots of Nev's usual work. [01:37:17] Speaker B: Yeah. But lots of great comments. Smooth, nice. Love the color. Cracker says three yellow touches are good. Phil says wonderful mood shot. All the more eerie with the almost black and white tones. Yeah, there's that to it as well. Nice gold elements from Paul, so. Yeah. [01:37:39] Speaker A: Oh, yeah. Great character. Like from a Nordic film. Yeah, exactly. Like a weird Nordic kind of. [01:37:47] Speaker B: Yeah. [01:37:47] Speaker A: I don't know, horror movie or something. Twin Peaks. [01:37:50] Speaker B: Yep. Yep. And then Nev says, yeah, it was meant to be spooky and I think you nailed it. [01:37:55] Speaker A: You did. Well done. [01:37:59] Speaker B: I believe this is going to be our last image or last set of images. We have three images from Richard Mail and I believe that is it. I double checked everyone. So if you. If your image hasn't appeared today, if you've sent it after 7pm or 6:30pm then it probably won't have made it in here. So try to send them earlier if you can. [01:38:21] Speaker A: If we already had Tweak Productions. There's Tweak Productions in there. [01:38:24] Speaker B: Yeah, that tweak was right at the top. That was the Canon survey. No image, just for Canon survey. [01:38:29] Speaker A: Yeah, that's right. Okay. [01:38:31] Speaker B: Anyway, so let's go with Richard Mail. Hello, hosts. That's us, Jay. We're the host. It's new camera time and after discussions with the Minister for War and Finance, AKA my wonderful wife, it was decided that any money I generate from photography shoots this month can be put towards a new camera. Oh, negotiation. With that in mind, I managed to book five shoots for the public holiday just passed, which somehow turned into seven people. Well played. Talk about getting. Getting a, you know, a leaf hall pass and just running with it like, you know, I love it. Here are photos from the three I've delivered. Two musos and a photographer. Sorry for the usual monotonous editing, but my clients like it and I've already made enough for a new Z6 Mark III with three shoots to deliver. I'm pushing for a Z8 or a 51.2. I love this. [01:39:24] Speaker A: Nice. [01:39:25] Speaker B: Genius. Yep. Book more work. Okay. First one, image one is Sarah and her baritone saxophone. Yeah, this is nice. Nikon Z9 20mm 1.8 at f8.1 200th ISO 3200. I really like that composition. My daughter Riley and her Nikon D750. Riley has three weddings booked in her calendar as a third shooter as well as a four day conference next year. Yes, I'm serious. She has an amazing eye for someone her age. I'll be sending through examples of her work soon. Amazing. This was shot with the Z9, the 21.88, F8.1 200th of a second and ISO 2000. And I love the angle too. [01:40:14] Speaker A: Yeah, I like the upward angle. It's just. Yeah, that's very nice. [01:40:18] Speaker B: Yeah, I think that's wonderful. Very cool. And number three is Aiden and his drum stuff. Normally a happy go. Lucky guy with a smile always plastered on his face. I knew I wanted to get a shot like this. Very pleased with this one. This was shot with a Z9.51.4 at f8.1 1/60th 1000 ISO. Thanks as always. Well done. Thank you for sending in these images, Richard. [01:40:47] Speaker A: Yeah, I really like the pose. The drumsticks are perfect. Having them. [01:40:50] Speaker B: Yeah. [01:40:50] Speaker A: Like you've got separate from the corner as well. Pointed. Yeah. I'm going to be critical. There's only one thing I would like to see and that's more space above the head. [01:41:02] Speaker B: Yeah, just a little close. [01:41:03] Speaker A: It's a. [01:41:04] Speaker B: It's a little bit closer. Crop it halfway through the forehead or have more. [01:41:08] Speaker A: Yeah, but even then I wouldn't. I don't think I'd like that with this shot because there's so much space around his legs, like so. You've got so much space, I mean, in the crutch region, that you need more space above the head, I think. [01:41:23] Speaker B: But so equal crutch to head space. [01:41:27] Speaker A: Yeah. Yes. There's a formula. I'll try and write it down as a scientific formula a few people have mentioned. Felicity said she sent something. I've just found yours, Felicity. I'm going to bring him up now. But tweak said. The tweak said. Nope. My photos didn't. No. [01:41:44] Speaker B: I only got the. [01:41:45] Speaker A: No. All right. I'm going to bring felicities up. [01:41:48] Speaker B: All right. Sorry, guys. I don't know what's going on. Like I said, I blame Yelena. [01:41:54] Speaker A: Blame Yelena. I'm just going to quickly read out because I can't read it and do both at once. Hang on. Where are we? Felicity says hello. I've attached three photos I took in Melbourne city a little while ago. Nikon Z8 with 24 to 72.8 and a variety of nissi nd filters. It was during a rainy, raining, windy and dull day. Perfect for long exposure. Can I do both? Maybe I can. How can I do this? No, I can. Here we go. Share this tab. Bring this up. It's a professional show. Okay, so. No, not that one. Very professional show. This one. [01:42:59] Speaker B: Oh, yeah. [01:43:02] Speaker A: Black and white. Love looking at Greg's street photography and spend a fair bit of time taking shots of people with a camera hanging at my tummy snapping away. I dislike pointing my camera in people's faces, so the candid, low strung camera works well for me. And then this one is. [01:43:24] Speaker B: Yeah, wow. [01:43:24] Speaker A: Long exponent, long exposure. A lady with her white rain poncho flapping in the wind. A mannequin looking like a man enticing into warm space on a cold night. That's this one. Hang on. Gotta go back. Definitely can't do this. Oh, yeah. Wow. [01:43:43] Speaker B: Yeah, that's got. [01:43:44] Speaker A: I really like that one. Yeah, yeah, yeah. I really, really dig that one. [01:43:50] Speaker B: Yeah. [01:43:56] Speaker A: Very, very cool. Look forward to seeing my good mate Ben on Thursday. I've been on so many of his tours and workshops. Well, hope to see you in the chat. Flick. [01:44:06] Speaker B: Yeah. [01:44:06] Speaker A: And then I don't know if. Let me see if I can find. Tweak. Can't see it. [01:44:19] Speaker B: Yeah. So we might need to do something different because I don't know that. That I don't know whether, like if you open it, that I can't see it or if I open it before you. You don't get It. [01:44:30] Speaker A: I don't think that matters. [01:44:32] Speaker B: I don't think it should either. But there's the third person now who said that they haven't. Their images haven't come through. So. Yeah, like I said, I think for now, probably the best approach for that is to everyone just to CC me as well until we. [01:44:49] Speaker A: Yeah, it's there. It's here. [01:44:56] Speaker B: Tweaks is. [01:44:58] Speaker A: Yeah, we'll have to see. [01:44:59] Speaker B: Yeah, but it hasn't come through to me. [01:45:00] Speaker A: I have to see if it's in your inbox. It came through two days ago, 10pm Ta da. So. [01:45:10] Speaker B: Oh, [01:45:14] Speaker A: here. A couple of images I took at the Brisbane Botanical Gardens in the Tropical Dome. I know, I know it's two photos, but they look so good side by side. I thought these were throwaway images as they were just your standard peace lilies. I was actually there to take photos of jumping spiders and to practice using my flash. The light through the windows was lovely and created a wonderful backlight. These came out even more beautiful in black and white. And yes, I'm going to print it. [01:45:42] Speaker B: Nice. [01:45:42] Speaker A: R5 Mark II with the 100 mil EF 100 mm L macro lens. Image number one is 400th of a second at f5, ISO 100. And then image number two. [01:45:57] Speaker B: Oh, I love that. [01:45:58] Speaker A: 800th of a second f13 at ISO 2000. [01:46:05] Speaker B: That's gorgeous. I really like seeing macro in black and white, but I've also done some in sepia because I've got a sepia profile on my Fuji cameras and it just changes them completely when you remove the color. [01:46:20] Speaker A: Yeah. [01:46:21] Speaker B: They become more sculptural almost. [01:46:26] Speaker A: Yeah, I like this one. This is so good. [01:46:32] Speaker B: Yeah, well done. Good job, Jamie. Love it. [01:46:35] Speaker A: Very nice. Very, very nice. [01:46:39] Speaker B: Yeah. Look great as prints. [01:46:41] Speaker A: Oops. [01:46:42] Speaker B: There it is. [01:46:44] Speaker A: Yeah, sorry. [01:46:45] Speaker B: Good approval noises, Greg. I'm grunting for you. I promise. [01:46:49] Speaker A: I'll have to figure out what's going on this. It definitely came through. [01:46:54] Speaker B: It didn't come through. [01:46:56] Speaker A: Yeah, we'll have to dig into yours. It didn't come up for me straight away, but it was in there. I was typing. Tweaking correctly. Double E. [01:47:08] Speaker B: I'm giving you approving grunting noises now, too. [01:47:14] Speaker A: Yeah, interesting. Okay. Anyway, that's enough of people. [01:47:18] Speaker B: We'll look into that, folks. [01:47:19] Speaker A: Sorry about that email system. [01:47:21] Speaker B: Yeah, yeah, we're photographers, not tech nerds. That brings us to the end of tonight's show, boss. [01:47:30] Speaker A: Yeah. [01:47:31] Speaker B: What are you smirking at? [01:47:33] Speaker A: We are tech nerds. [01:47:34] Speaker B: Yeah, we are. [01:47:35] Speaker A: I'm particularly. I'm particularly a tech Nerd. [01:47:37] Speaker B: You are very nerdy. [01:47:38] Speaker A: But yeah, as Greg Carrick says, hey, smash that, like, button, please. [01:47:43] Speaker B: Yeah, you know, that's a very. [01:47:44] Speaker A: Podcast. [01:47:46] Speaker B: We're up. [01:47:46] Speaker A: We're up running towards 3,000 subscribers. [01:47:50] Speaker B: Yeah. [01:47:50] Speaker A: Which is pretty nice. [01:47:52] Speaker B: It is nice. [01:47:53] Speaker A: We need more people to join the party. We need more people to send images in. I want to see some variety. So if you've got a friend or if you're just one of the, you know, I know there's a lot of you because we get a lot of listens, especially on audio, and we get a lot of listens after the fact on our lives on YouTube. So if you're just sort of a lingerer in the background, next week is your week. Send a photo in. Just grab something off the hard drive and bring it to Life. Send it to this podcast, please send it to. Send it to the camera [email protected] that IU and there's a 95% chance it'll make it through to Greg's inbox. [01:48:31] Speaker B: Yeah, yeah, we'll see how we go. [01:48:33] Speaker A: They're good odds. They promise they're good odds. [01:48:35] Speaker B: They are good odds, but yeah. Thank you, everyone for watching tonight. This is the Camera Life podcast and we do this twice a week. Every Monday evening, 7.30pm, Australian Eastern Standard Time, soon to become daylight time, we do the random photography show, which is what you've just witnessed, what you've just been a part of. That's right. We cover the latest news, industry events, product launches, gossip, rumors, the whole gamut. But more importantly, we look at your images. And then every Thursday morning at 9am Australian Eastern Standard Time, we go live with an amazing Aussie or global photographer to talk about their story, their work and where it all began. This week, as I've said, we have Felicity Johnson's crush, Benjamin Erickson joining us. So we are certainly looking forward to having a chat with him, finding out a lot about his. His story. He's a landscape, wildlife, nature, portrait. He does a little bit of everything and he does everything well. So looking forward to that chat. And, and then, of course, yeah, next week we've got bfop, so we won't be doing a Thursday interviewed. Next week we might see how we go. We might do a cheeky little podcast from. From Bright, but stay tuned for that. [01:49:48] Speaker A: It's highly likely. Yeah, yeah, we'll be podcasting up there when, when we podcast, who knows? But maybe we'll. We'll aim to get one in on Thursday at 9am and just. I don't know. We'll find whoever's around and drag them on and talk about whatever we feel like. [01:50:03] Speaker B: Yep. Yeah. Yeah, we'll rope in some people. And the best bit, you know, no unhinged gunmen running around. Bright this time. So, no, should be good. [01:50:14] Speaker A: Not yet, Craig. Why'd you have to jinx it? [01:50:18] Speaker B: Sorry. Sorry, guys. [01:50:21] Speaker A: Lucinda asked. You two don't have images? No, not this. I was so busy moving, I just. I didn't have time, so. Unfortunately, yeah, maybe next week. [01:50:30] Speaker B: And my crocheting just dominated my weekend, so. Sorry, no photography. [01:50:36] Speaker A: Okay. All right. Should we roll the music? [01:50:43] Speaker B: Because I'm feeling silly. Yeah. [01:50:45] Speaker A: Okay. Jim says use code Jim for a big discount on your lucky straps. That's right. Go to www.luckystraps.com, check out our camera straps, and if you like one, you can use Code Jim or code Justin or code Greg and you'll get a big discount on anything lucky straps related. John Pickett, thanks for the show. Thanks. Philip Johnson. Richard Mail. Tim Pates. What's up? Now you've jinxed it. Don't do it. [01:51:13] Speaker B: Sorry. [01:51:15] Speaker A: Felicity Johnson. See on. On Thursday, apparently. Lucinda says we're all submitting light painting next week. I. I probably won't be on, unfortunately. Oh, and Jim said use his code for extra stickers too. Greg Carrick's gonna scroll back to the Puppy Tweak Productions. Thank you, Fermi. Yes, next week, please. And like button has been smashed. Smashed again, actually. No, that unlikes it. Don't do that. Just smash it once. David Skinner. Good night. Who else was here earlier in the night that had to go? There was lots of people. [01:51:47] Speaker B: Dennis dropped in to jury [01:51:51] Speaker A: new listener, J.C. orange. Maya hall was here. Mayor, I don't know. We'll catch you all in the next one. [01:51:59] Speaker B: Yeah. Be safe, everyone.