Packing Camera Gear for an African Safari - The Random Photography Show (EP201)

[00:00:00] Speaker A: Sam. [00:00:29] Speaker B: Well, g', day, everybody and welcome back to the Camera Life Podcast, the random photography show. It is Monday. What is it? It's already the 20th of July, and clearly the. The Australian tax office hasn't caught up with castles yet. He's still here. G', day, Justin. How are you? [00:00:46] Speaker A: I'm pretty good. They're not coming after me. I don't know why he's starting this rumor. [00:00:49] Speaker B: I don't know. [00:00:50] Speaker A: Someone's going to watch this channel and then put me on a list, look into it. [00:00:54] Speaker B: Yeah, maybe, maybe you might already be on a list. Good to see you. Of course, we're going to talk more about your, your adventures coming up. But first and foremost, let's welcome to the show alumni, past guests all around. Good bloke Adam Edwards is here, folks, to help us talk about packing for Africa. You're an expert at this, mate, aren't you? [00:01:16] Speaker C: I wouldn't say an expert, but I have some experience. I'm an expert in company. [00:01:22] Speaker B: Yeah, all right, cool. Well, welcome. Always great to have you on board and we're going to get an update from you shortly. But just before we do, folks, this is the random photography show. We do this Every Monday at 7.30pm Australian Eastern Standard Time. And tonight, stick around, we've got a lot on. We're going to talk industry news. We're going to get an update from Adam. We're going to talk to Justin about his upcoming African adventure with Matt Crummonds. We're going to look at your images, folks. If you've sent in images this week, then we're going to bring those up and talk to them. [00:01:56] Speaker A: There's a lot of them. If you haven't sent yours in already, we've got no chance. I don't even know if we're going to get to everything. And I spent far too long today going back through my catalog finding my images for tonight because I've really committed to there will be a set of images each week from me. So I was loving it and I'm going through. And then the email just kept going off, just more images coming in. I'm like, oh, no [00:02:21] Speaker B: video at the last minute. I think I've got a video to show later. Yeah, but, yeah, so we're going to look at your images. Plus, like I said, we're gonna get a. Get an update from, from Adam, see what he's been up to, see what he's coming up, what workshops he's. He's got cooking, he's always got something on the burn There is. But first, and I've said first and foremost every time, let's jump into a quick ad. Ready? If you are looking for a premium handcrafted Aussie made leather camera strap, then head to Luckystraps.com that's right. We make straps and we run podcasts. We're very talented people. Well, some of us are. But head to Luckystraps.com use code Greg for any of the Lucky Straps branded products. We sell leather camera straps for every single make and model almost of camera out there. Fit most of them. And we do wrist straps, we do shoulder straps, we do big ones for bigger cameras. We recommended a strap today to someone who. Who we're very jealous of because they picked up a Leica SL3 reporter edition and they wanted a strap to match that. So we told them to go F themselves because we were so jealous. No, that's not true. [00:03:34] Speaker A: No, we just. We just quadrupled the price of one of our straps and said, this one matches perfectly. [00:03:39] Speaker B: Yeah, just like a strap. Yeah. [00:03:41] Speaker A: Oh, it's a dream camera that they sell that. The green. That beautiful green reporter edition. Oh, they're so pretty. [00:03:47] Speaker C: Yeah. [00:03:48] Speaker B: Nice. All right, folks, that's it from me. Where do we start? Should we. Should we see what Alan's been up to? [00:03:56] Speaker A: Well, I was gonna say hello in the chat. Let's say good evening because everyone's. Oh, look, See, Dennis, look. Big A in the house. Philip Johnson says it's 81 days to BFOP. It is. Happy Monday. 81. Well, it's got Dennis concerned. John Latimer. Good evening, Richard Mail, Rodney Nicholson. Howdy, caddies. Felicity Johnson from a foggy Gornalong. Yeah, it's been super foggy in Bendigo and I've been too busy to get my camera out. We walked to the supermarket this morning. It was just like fog and street lights everywhere. And Elaine is like, you should have brought your camera. And I was. I should have anyway. David Skinner, Craig Murphy. Shamit Shah. Good evening. Apparently we were a bit late because Adam was doing his makeup. [00:04:41] Speaker C: Yeah. [00:04:42] Speaker A: Wow. Is that beard drawn on? [00:04:46] Speaker C: No, no, no. [00:04:47] Speaker A: It's just. [00:04:48] Speaker C: No. I was telling Greg earlier, actually, I went and seen a barber that wasn't my normal barber, and he just did me dirty. He just, like, cut half of it off. I was not happy. [00:04:59] Speaker A: Oh, no, that's no good. [00:05:02] Speaker C: I have to regrow it, grow it back. [00:05:05] Speaker A: Damn. Lisa Leach, Tweak Productions. Hello, Party people will be furiously editing motorcycle race pit pics while listening slash watching. Yeah, it's good to multitask. It's a good editing companion, this podcast. Phil Thompson's Good evening from Geelong, Greg Carrick. Boys back in town. Bruce is here. David Leporati. Everyone's here. Oh, Nick Fletcher's here. Hello. Good to see you. Oh, even Adam Edwards is here. That's cool. [00:05:32] Speaker C: Yeah. Multitasking. [00:05:36] Speaker B: You look so calm, but underneath you. [00:05:38] Speaker C: I've just got my people onto it, you know, [00:05:42] Speaker A: the marketing team. Chris Nielsen. Evening, all from nz. They better not be too late. It will be my bedtime soon. [00:05:50] Speaker B: Yeah. [00:05:50] Speaker A: What time would it be in nz right now? 9:30. [00:05:56] Speaker B: Aren't they like four hours? [00:05:57] Speaker C: Yeah, 9:30, I think. Yeah, something like that. [00:06:02] Speaker A: Yep. John Pickett, Paul Fermi, digifrog. Everyone's here. Parabellum, Rick Nelson. Everybody's here. Oh, apparently. And David Skinner says I sound. I sound soft, like the tone or the. [00:06:18] Speaker B: No, I don't think he means the volume. Yeah. All right, well, we've all been. Mean to say something, but, you know, [00:06:28] Speaker A: just having a digger turn myself up a little bit. All right, you tell me if that's any better. All right, cool. I think that's about Everybody. And, yes, two hours. So it is 1930, according to you. [00:06:38] Speaker B: Oh, there you go. [00:06:38] Speaker A: I thought it was the year he was born. Can we. Yeah. [00:06:42] Speaker B: Anyway. [00:06:43] Speaker A: Sorry. I'm sorry. Sorry, Craig. Okay. [00:06:48] Speaker B: Oh, dear. So don't forget, folks, like I said, we do this every Monday night, but we also have a Thursday morning show, 9am Every Thursday morning, live on the YouTubes, we interview an amazing guest, a photographer or a cinematographer or someone that's visually creative. Even the likes of Adam Edwards has been interviewed on our show. So if you want to go find out more about Adam, you can roll back the clock a bit and watch a full episode where we uncover everything. All of the dirt. [00:07:16] Speaker C: Yeah, all. All the. All the muddy stuff. [00:07:19] Speaker B: All the very muddy stuff. But, folks, I don't know if anyone saw. You may have noticed, we interviewed Steve Parish last week. That was very surreal. [00:07:29] Speaker A: Very. [00:07:31] Speaker B: Justin and I, in total, spoke to Steve for four hours because he started talking when he joined the studio, and he didn't stop talking until about a half hour after we said goodbye to everyone in the chat. [00:07:41] Speaker A: And I. I think we still. [00:07:43] Speaker B: Amazing. [00:07:44] Speaker A: Yeah. We still only touched on 2% of the stories that he's got available from his career. Incredible. It's crazy. [00:07:50] Speaker B: And his recollection of dates and facts and people and. Yeah, that was. That was an impressive interview. [00:07:58] Speaker A: And he's still, like, cracking away, like, trying to figure out which AI system is best for him to Work on stuff. And that is using chat, GPT and Gemini. And I was talking to him about Claude after the show and stuff. He is, yeah, he's savvy. I love it. Savvy. [00:08:14] Speaker B: But speaking of savvy, we've got another savvy savvy contender coming up this coming Thursday. David Imel. Is it Imel or Immel? Not sure how you pronounce it, but David is a photographer and a cinematographer, a YouTuber, a writer. He. He's a very talented fella and he is. I'm not sure of his position, Jay, but he works with. Is it Mark Marquis? Brownlead. Oh, yeah, yeah, yeah. Marcus. Oh, mkbhd. [00:08:45] Speaker A: Yeah. Marquez. Brownlee. Marquez. Marquez sounds better. Yeah, yeah. [00:08:49] Speaker B: So he's the. He's the guy that runs the very tech focused MK Bhd YouTube channel with 21 million subscribers and nearly 2000 videos on the platform. That's crazy. Plus, he has his own YouTube channel. Yep, yep. I don't know how people find the time. So, yeah, join us on Thursday. And look, if you knew, here, give us a. Like, it helps out a lot. And hit the subscribe button. But when you do that, tickle the bell icon because that way you'll get notified in your time zone when every episode of the Camera Life podcast goes up. And speaking of that, just one more quick housekeeping point. I see that our interviews with default workshop instructors are populating the YouTubes at the moment. [00:09:31] Speaker A: Yep. [00:09:31] Speaker B: Popping up, rolling out. [00:09:32] Speaker A: They'll be rolling out. One a day, probably. [00:09:35] Speaker B: Probably. [00:09:36] Speaker A: I don't know if one come out today, but I'll try and keep it to about one a day and then we'll probably ramp it up. Once we've finished all the other ones, we'll just dump them all out. [00:09:43] Speaker B: Yeah. So if you're. If you're attending beef up or you're curious as to what beef up is, you want to check out some of the people that we've got running workshops there. Then again, subscribe. We'll have every Beef up workshop instructor interview. Adam, I think we're interviewing you tomorrow morning, aren't we? [00:09:58] Speaker C: Tomorrow morning, yeah, we'll just send a [00:10:00] Speaker B: call overnight, I think. [00:10:01] Speaker C: Yeah, we'll just leave it running. [00:10:03] Speaker A: We should just do it live right now and we'll just. [00:10:05] Speaker B: Yeah. [00:10:05] Speaker A: Clip it out, [00:10:08] Speaker C: space it over. [00:10:09] Speaker A: Yep. [00:10:11] Speaker B: But that's. That's kind of all the housekeeping stuff, folks. Where. Where should we. Where should we start off? Boss? Should we get a bit of an update from Adam as to what he's been up to? [00:10:20] Speaker A: All right, Definitely. [00:10:21] Speaker B: Adam, what have you been up to, mate? What's going on? What's that? [00:10:24] Speaker C: Well, this is the busiest time of the year. So for me, winter's typically like the cool but like really good weather out here. So most of my workshops and stuff I plan out here. Then like this year's been challenging because we've had so much rain. It's been wild. So I've been doing lots of Plan Bs and Plan Cs to make sure that the clients get. Get good stuff. So that's been keeping me crazy busy. What else is news? Got some new wheels, new car last month which is really a Ram 1500. [00:11:06] Speaker A: Oh [00:11:11] Speaker C: yeah, like. And honestly, it's really just about supporting workshops best. Like I was just telling Greg before, we're all about empty nesters now. I don't need space for kids. So it's more about just, you know, the things that I do with small groups. So keeping four people super comfortable rather than squishing three across the back of a Ranger, which even though they're a big car, they're not a big car for, you know, three adults in their puffer jackets and all the other stuff you have on in winter and whatnot. So. Yeah, yeah, yeah, that'll be a project like that'll be. That'll probably take me three or four months to get back to the same level of setup as the Ranger that I had was to support workshops like fridge and batteries and 240 volt power and Starlink and you name it. [00:12:04] Speaker B: Amazing. [00:12:06] Speaker C: What else? I've just, I've pre launched my Iceland trip for next year for July to go see puffins in the highlands. [00:12:16] Speaker A: Puffins? [00:12:18] Speaker C: Yeah, it'll be heaps good. But there's only one spot left already so I don't even know it'll actually hit the market. So it's just been two pre sale. [00:12:27] Speaker B: They're already gone. [00:12:29] Speaker C: Yeah, just people that have done trips before or you know, showed interest through my newsletter that I send out every so often. Yeah. So that's really cool. Was a bit reluctant to do too much planning on overseas stuff with all the overseas stuff going on. Yeah. At the moment. Yeah. It's July next year now, so, you know, even if things don't change in the Middle east, it'll be somewhat normal. So. Yeah, it'll be just new normal. Just like Ukraine and Russia. I remember the first time I flew over to Sweden for my last job as I flew there a bit was just as the Ukraine, Russia war kicked off and. Yeah, well, they hadn't even updated the flight maps. They showed you on the plane that you were going to go straight over Ukraine to go from Dubai to Sweden but you didn't, you had to go around the airspace like. Yeah, it was but now it's just normal. Right. So sadly, sadly, yeah. What else is going on? Yeah, just heaps, heaps of stuff. Yeah, yeah. Like yeah, just busy, busy, busy. [00:13:39] Speaker B: Good to be busy. [00:13:40] Speaker C: Yeah, yeah, I'm. I'm pretty thankful to be busy. I'm better to be busy than not. I like even some commercial work too. I was a couple of hours away this morning for a few hours doing a job and I've got a couple of mine mine site jobs coming up over the next few months. So yeah, it's good. [00:13:58] Speaker B: That's very cool when you do that. So yeah, when you do a job like a mind job, do you have to undergo any sort of, you know, precautionary training or you know, is there anything you have to go through before you can actually work on a mine site as a photographer or videographer? [00:14:15] Speaker C: Typically you'll do like a site induction. There's no real specific type stuff. Just depends where you go in and you know, your skill set. Like I spent a lot of time on mine sites during my career in mining so you know, you talk the talk and they realize that you just need an induction and all of your safety stuff. So. Yeah, but I think if you were completely green might be a little bit harder. Yeah, probably. [00:14:42] Speaker A: I've been on mine sites completely green. Actually I wouldn't, I wouldn't say completely green because I've been a fair bit around the rest like this, the training environment. But then when I, I've never worked on site, you know, for duration to where you get used to how everything works. So I'm always very aware and very like not nervous, what's the right word? But just like I'm not just cruising around, I'm checking everything I'm doing and watching what other people are doing and making sure I'm in the right spot and all that sort of stuff all the time. [00:15:13] Speaker C: Yeah, for sure. [00:15:14] Speaker A: Comfortable place for me. So it's. Yeah, it is, it is. The thing that I've found is not, not trying to act like you know what you're doing. If you don't. I ask people, I'm like, I'm like hey, I'm not sure where this is or I don't know, you know, like can you show me? Or whatever. You don't just sort of go off and try and Figure it out on your own because you don't want to ask somebody and you don't look silly. Everyone's happy enough to show you around. [00:15:37] Speaker C: Yeah, yeah. And they're like their jobs to look after you. Right. So you know, you always got someone to hold your hand. It's good fun. Because I spent so long in the industry, it's nice to still be doing something in the. In the industry. So, yeah, probably half a dozen jobs a year or so where I'll go to that kind of stuff. So yeah, it's like there's heaps going on. It's crazy. And prep for BFOP is a big one because I put a lot of time. [00:16:05] Speaker B: 81 days. [00:16:07] Speaker C: Yeah. Yeah. I try to try to be super organized for that. [00:16:12] Speaker B: Yep. [00:16:15] Speaker C: Yeah. Just time in the field too. Got some percent Justin, some photos just from the last couple of months. So too since we last spoke. New Zealand. Oh yeah, yeah. That was sick. It was really good. [00:16:32] Speaker B: Yep. [00:16:33] Speaker C: Yeah. [00:16:34] Speaker B: Very cool. Speaking New Zealand, Brett Wood, who we've. We interviewed a few months back now he and his partner Lisa Milne, they're both going to be beef up workshop instructors this year for the first time, which is amazing. [00:16:50] Speaker C: Yep. [00:16:50] Speaker B: But they, they run tours in New Zealand like you that they kind of tend to spend at least three months a year living there and, and running tours and then they come back here. They went, they were over there for a bit, they came back to Australia. It feels like they're only here for a week and now they're off back in New Zealand already running more tours because I guess this is the prime time to do it. Right, you know? [00:17:12] Speaker C: Yeah, yeah, it's great. [00:17:18] Speaker B: He's a mad fisherman too. [00:17:20] Speaker C: Yeah, he loves it. He doesn't eat it though. It's the only person I know. He loves to catch fish that won't eat it. Yeah. Wow. [00:17:27] Speaker A: Crazy. [00:17:29] Speaker B: That's cool. [00:17:29] Speaker A: Toss them back. [00:17:30] Speaker B: Thrill of the hunt. [00:17:31] Speaker C: Yeah, yeah, yeah, yeah. No, yeah. They'll be such a good asset to be fault for sure. [00:17:38] Speaker B: Yeah, agreed. Yeah, absolutely agreed. Amazing, Adam. Well, you certainly got a lot and yeah. BFOps, you know, 81 days away [00:17:50] Speaker C: and [00:17:50] Speaker B: you know, no doubt there's lots on between now and then too. [00:17:54] Speaker C: Yeah, I think four workshops, something like that. I have my calendar up earlier. Four workshops to be fault. [00:18:01] Speaker A: That's how you count it down. [00:18:06] Speaker B: That's cool. All right. Hey, Jay, should we have a look at a couple of quick images to get going? Why don't we look at Adam's images? [00:18:14] Speaker A: Yeah, maybe we should. Maybe Adam's is A great way to start because he's awesome. Let me pull some up. Yeah, we're gonna. We got so many, so many images tonight. [00:18:27] Speaker C: I've seen the list in the, in the sheet. It's a lot of, lot of photos. [00:18:32] Speaker A: There's a lot of photos. I don't quite know how we're going to go about it. All right. Yeah, look at that. [00:18:44] Speaker B: Talk us through this shot, Adam. [00:18:47] Speaker C: It's Tasman Glacier Lake. So Tasman Glacier's up in the, in the mountain up there. Yeah, I just love it. Love the spot. It's like pretty, pretty easy walk from the car park. Yeah, they're both, both of these shots are from. From the same. Within the same spot. Yeah, it's a pretty reasonable walk from the car park. Nothing crazy, but you got to scramble some rocks to get down to this part of the lake. Yeah, just late afternoon. The, the irony of this shot was we were staying at Twazel for people who know New Zealand. It's about 40 minutes away and it was foggy like all day there. And I thought there's no way the mountains are going to be clear. But we just thought, I will go for a drive anyway up to Mount Cook and have a look around. And we just drove around the bend and it was like the fog arted just for that spot, you know, it was, it was magic. But it's such an incredible place. Like. Yeah, just mountain scale. Even after, you know, been to Iceland, like. Yeah, in my, like, in my opinion, this area is as good as a lot of the places that I shot in Iceland. [00:20:05] Speaker B: Yeah. [00:20:06] Speaker C: Yeah. You can get the, get the icebergs right down at the mouth where the river runs out the end of the lake and. Yeah, it's phenomenal place. [00:20:14] Speaker B: That's great. Are they little icebergs in the middle? [00:20:17] Speaker C: Yeah. So that's. That's iceberg's broken off of the glacier up in the mountain. [00:20:22] Speaker B: Yep. [00:20:25] Speaker C: Just floats down the lake. Yeah. And then you see photos of this place with many more, you know, depending on the conditions. There's lots more and lots bigger ones. [00:20:34] Speaker B: Yeah. [00:20:35] Speaker C: You know, I think probably the biggest one of those guys is about the size of a normal size sedan, I suppose that one in the middle. So, like, for scale, it's. It's pretty. They're pretty large. Yeah, yeah, yeah, yeah. But you see lots bigger and the tourist attractions there, you can get on a boat that takes you up past all the icebergs up to the glacier and. Yeah, it's a cool spot. Yeah. Yeah, really good spot. And it Wasn't cold, it was winter. Like we planned to be there just while it was cool. But like on this walk I had to take my just fleece jacket off. It was really beautiful afternoon. Yeah, it was quite nice. [00:21:14] Speaker B: Light looks gorgeous too. [00:21:16] Speaker C: Yeah. [00:21:17] Speaker A: Oh, God. So this very lucky and we got a phone calling coming, but I haven't hooked anything up yet. Nick, can you hear us? [00:21:26] Speaker B: I can hear you. [00:21:28] Speaker A: Yeah, the guys can hear you, but I don't think you'll be able to hear them. So we'll just see how this, how we figure this out. [00:21:36] Speaker B: Well, I just, I. I just had [00:21:38] Speaker A: important information that needed to get across urgently. It was time critical. [00:21:43] Speaker B: Right. [00:21:43] Speaker A: Okay, go on. Today is Matt Crummins's 40th birthday. [00:21:48] Speaker B: 40 it is. [00:21:50] Speaker A: Yeah. He's almost dead. [00:21:53] Speaker B: Really? [00:21:54] Speaker A: Yeah, he's moaning that no one's noticed and sort of. [00:21:59] Speaker B: Oh, I sent him a. I sent him a message before. [00:22:03] Speaker A: Should I read out his phone number? I don't know. Should we, should we sing Happy Birthday to him live on the air? [00:22:12] Speaker B: Oh, you could do. [00:22:13] Speaker A: Yeah, we could. I don't really want to, but we could, I think just get everyone online to text him. Yeah, everybody just, just send him DMS and, and Facebook messages and text him if you've got his number. Whatever you can do. [00:22:29] Speaker B: Yeah, that's all I rang for. [00:22:32] Speaker C: Carry on. [00:22:32] Speaker A: Well done. [00:22:41] Speaker C: I didn't text him first thing this morning. [00:22:44] Speaker B: Did you text him before? [00:22:45] Speaker C: Yeah, yeah. [00:22:48] Speaker B: I saw it in the Beef up groupies page that there's. It was his birthday. [00:22:51] Speaker C: Oh, yeah. [00:22:53] Speaker B: This image, Adam, this sort of image, is this a single frame or is this a stitch pano? [00:22:58] Speaker C: This is a multi shot pano. This one. [00:23:00] Speaker B: Yep. [00:23:02] Speaker C: And there's only really one reason that I'd really like to do multi shot panos. And it's kind of like stepping up to a medium format camera for me, where you get to use a longer focal length but get the same field of view. [00:23:18] Speaker A: Yeah. [00:23:19] Speaker C: So what that helps you do is bring those icebergs and things in closer. Makes the mountains bigger. You know, you could get that field of view easily with a 24 to 70. Like really easily, but the mountains wouldn't look the same. That's probably around 50 mil from memory. It's probably like a four or five shot vertical pano. [00:23:40] Speaker B: Yeah. [00:23:41] Speaker C: So it's like same field of view but more telephoto compression. [00:23:47] Speaker B: Yeah. [00:23:49] Speaker C: Just like having a negative crop factor. [00:23:53] Speaker B: Very cool. [00:23:53] Speaker C: But yeah, I do that quite a bit. Yeah, yeah, yeah. [00:23:58] Speaker A: And it's a great way in a pinch, if you haven't got a wider lens to fit more in the frame as well. [00:24:04] Speaker C: Oh yeah, yeah. And it never hurts to have a little bit extra like particularly in a big green landscape like that because you know, you might just miss something at the edge of the frame or it's always nice to have a little bit to crop into. Whereas if you, especially if you're in a bit of a rush, like I wasn't there to do photography. It was me and my wife having a holiday. So like I didn't have the tripod and any of that stuff. I literally just had my camera in my hand and, and shot. Actually that was shot on the ZR too. [00:24:44] Speaker B: Was it? [00:24:44] Speaker C: Which was nice. Yeah, yeah. Which I thought was cool. Yeah. I just took a small camera and just took some photos while we were there. So when you're in a bit of a hurry or your time bound, I think it always helps to shoot more than you need. Yeah, definitely. [00:25:02] Speaker B: That's good advice. [00:25:03] Speaker C: Yeah. I think this one's a multi shot pano too, but this one is a multi shot pano to get the field of view out at 24 mil. Like Justin said, sometimes it's just not quite wide enough. [00:25:16] Speaker B: Yeah. [00:25:18] Speaker C: And this is like my most favorite place on earth. [00:25:21] Speaker B: Where is this? [00:25:23] Speaker C: Mungo National Park. I've even got my. [00:25:26] Speaker B: Yes. [00:25:28] Speaker A: Yeah, yeah, that's cool. [00:25:31] Speaker C: Yeah, it's my workshop Monday. Workshop jumper. It's. Honestly, it's the, it's one of the most incredible places you will ever spend any time. So this is the, it's a long story, but this is the eroded lake edge of an ancient lake, Lake Mungo. It's been thousands of years since there's been water in it and we had no impact on it drying up. It was actually through the, through the river, you know, the erosion and the change in the, in the way the river ran. But yeah, if you, if you came to have a bit of, a, bit of a deep dive, like would be really interesting for you guys to have a bit of a dig into Mungo and what it is. And you know, some of the oldest human remains ever found were found at Mungo Mungo man and Mungo Lady. And it's really, really incredibly sacred place. And my, my man Dennis and I have a bit of an affinity for the place. Yeah, it's, it's just incredible, like. But the cool thing about it is it's cool and not cool. Right. So if you see this photo of mine and you think, oh great, I'm going to go to Mungo National Park. And take this photo. You're not going to get this photo because this area is really heavily protected. Like you can't just go here. You have to be with a guide. And like I'm a guide, which was what I did with some of my Covid time I put in and you know, downtime. I thought, well, I'm going to make some good use of the time. And there's a really long drawn out process. Probably closer to two years than it was 18 months to get it all. Like lots of meeting people, meeting elders and all sorts of things and like, I don't regret it at all. But I could take this photo like a. A thousand times and never get sick of it. Like, you'll see I've got probably 50 good versions of this image in some way or other. And I just love it. Like it's just. Yeah, it's just the most incredible place. And yeah, I'm not a big spiritual person by nature, but this place has something about it that pulls people back over and over again. You know, when you go there and spend some time there and yeah, it's, it's amazing. So it's really incredible place. But that erosion and you know, it goes without saying, it's a pretty unique landscape to photograph. [00:28:02] Speaker B: Yeah, absolutely. [00:28:05] Speaker C: Looks like you're on the surface of [00:28:06] Speaker A: the moon, I was gonna say. Yeah, it's otherworldly. [00:28:10] Speaker C: Yeah. And. And it, it's forever changing. So while most of these lunettes they call them like don't change heaps, the. The erosion is really constant. So as someone who visits really regularly, I think I've been about six or seven times this year now. Every time I'm there and it's rained, I can see a new gully or a new crevice or a new piece of this monument or this lunette fallen down and yeah, you know, that's one of the most, the coolest things about it is it's just forever changing, like constantly changing. So yeah, this was one of my plan B this year is we actually got reined in at Mungo because there's no sealed roads there. That's like 40, 40 minutes of unsealed road no matter which way you go. Yeah. And it like we got I don't know, 15 or 20 mils of rain one night and just had to stay for an extra day. It was. Yeah, there's worse, worse problems to have. Yeah, that's true. Yeah, yeah, yeah. Heaps of good arid land, wildlife too, which is one thing that probably goes a bit unsaid. About mungos. Lots of good kangaroos, emus, but like pink cockatoos and a lot of inland birds and things like that, you could just spend. Yeah, you spend a lot, a lot of time there. [00:29:39] Speaker A: Wow. [00:29:40] Speaker B: Amazing. [00:29:41] Speaker C: Pretty great spot. [00:29:43] Speaker A: Yeah. [00:29:46] Speaker C: This one is the Menindee Lakes. So it's about an hour from Broken Hill, give or take. I loved, I put this shot in because I loved that it's not that traditional. What an awesome sunset. But by just thinking outside the box with what you might feel were underwhelming conditions and chucking some filters on your camera, you can create something completely different. [00:30:21] Speaker B: Yeah. [00:30:22] Speaker C: Like if I would have took this shot without filters and it was just a 30th of a second, blah blah, blah, would just be the most underwhelming shot. But by chucking a polarizer and you know, some ND filters on to get a few minutes exposure or whatever it was probably a minute, I think from memory. Just completely changes it. Makes it feel really thoughtful, makes it feel really purposeful, calculated. Feels more like art than it does just a snapshot, which I really love. And when there's moody clouds around a long exposure, man, it's just like a no brainer. Yeah, yeah. [00:31:03] Speaker A: I love the color palette too. Like the. [00:31:05] Speaker B: Yeah. [00:31:06] Speaker A: How much movement there is in the clouds overhead. But obviously less movement noticeable in the. Like the clouds above the horizon line where the trees are. So it sort of really drags you in and. [00:31:20] Speaker C: Yeah, yeah, yeah. Well those were like low. No, those clouds directly at the top were much lower and moving really fast. I've got a tip for doing a color palette like this actually is. My goal when I edit is always to make the world looked like I saw it, you know, and people have heard me talk about that time and time again. But sometimes like your camera doesn't capture what you saw. And one of the tricks that I've found with these moody scenes is to over cool the image. Like go way much cooler than you think and then it looks blue and crazy but then just smash the saturation out of it. Like go like minus 30 saturation. [00:32:08] Speaker B: Yeah. [00:32:09] Speaker C: So it just cools everything off without making anything actually blue. It's almost like in between monochrome and color but with a really blue, heavy blue tint. And it really like this seascapes. This is really. That's a really good technique for seascapes. When you've got a moody seascape is just cool it way further than you would and desaturate it works really well. Cool. Cool. [00:32:37] Speaker A: Very cool. So they say Tweak production says, loved visiting Menindee Lake as a kid. The sunsets were always magic. [00:32:44] Speaker C: Yeah, great spot. [00:32:47] Speaker A: Oh, and John Latimer had a question about Mungo. Will they eventually just erode away to nothing or they be there for hundreds of years? [00:32:57] Speaker C: They'll be there. [00:32:58] Speaker B: So [00:33:01] Speaker C: it's sedimentary. So, like the la. The oldest layer that's uncovered at the moment is called. They call it the goal. Goal layer. And it was last topsoil on Earth between eighty and a hundred thousand years ago. So, yeah, it's crazy. It's mind blowing, right, because you can go stand on that bit of red dirt that is, you know, was 80 to 100,000 years ago. But I guess the answer is probably not in our lifetime because as the erosion comes down, it goes back further into the ancient lake edge. So there's still hundreds of meters of erosion to happen before that won't be anymore. You know, the more that it erodes, the more the new lunettes are created as it digs further into the lake's edge. Yeah, yeah, yeah, yeah, yeah. So not in our lifetime. This one's different for me. Yeah, I. I really like this photo. And then. Yeah, I do too. It's one of those ones that like. I like old stuff. That's the first reason I love it. I love the color palette in this. It's like warm green, blue. Like, it's just got this really beautiful set of colors in it. And this is actually a place between Broken Hill and Adelaide. So it's about an hour. Oh, there's. There's a rainbow in that that you can just. [00:34:37] Speaker A: That's what I was going to say. The rainbow is what takes it to just next level. [00:34:42] Speaker C: Yeah, yeah, there is a rainbow in there. It's an old rail town called o'. Leary. And you drive past it and not even realize how cool it is photographically. These. These houses are like 50 meters off the street and there's probably half a dozen houses and, excuse me, sheds there that are completely abandoned, like, walked out of, where there's still bookcases full of books and literally just like someone just left and never come back. And I almost always. I saved this one for the work, the big workshop I do during the year, which I call Best of Outback, but only if the people on the trip are into old buildings and things. Yeah. So, yeah, sort of once a year or so I. We drive out here and do an afternoon and sunset and it's phenomenal place, particularly if you love old things. Like. Yeah, I could have included A dozen shots from this place from this year that just a really interesting. Like an old engine block sitting on the back of a veranda in really harsh light cast in the shadow. And it's just really interesting photographically. Yeah. Dennis just said in the chat it's like a movie set, which is so accurate. Yeah, it's super cool spot. Yeah. So I. I just loved this. This shot. And I've got a really good shot of this from the year before with a, like, much closer zoom of that white bit of rag on the. On the hill's hoist. And it's just sort of blowing in the breeze and everything else is just a wash. Yeah, that's really cool. But I really liked this sort of wide version. [00:36:39] Speaker B: Yeah. Bless you. [00:36:43] Speaker A: Thanks. Gosh. Yeah, I love it. I think it's an amazing photo. [00:36:48] Speaker C: Yeah, it's hard to go wrong with old things. Right. Like you can just wander and explore and just, you know, take cool shots of old things. Yeah, yeah, yeah. So I really love that spot. Ah, this is. I love. I don't know why. Well, I do know why I love this shot, but it's pretty. Pretty simple photo, actually. It's shot well after dark. Like, I think I was at like, ISO 6400 on my 70 to 200 at like 30th of a second. Yeah. And it's just like that tree that far after dark with the light sort of just coming from the last glow in the sky. Just like off, like a beacon. [00:37:38] Speaker B: Yeah. [00:37:38] Speaker C: And super, super easy. Thoughtless shot, to be honest. It's like, that looks cool. I'll shoot that, you know, And I had my 70 to 200 on. I don't. Can't even remember why. Which I do a bit when I do workshop stuff. Like, I don't regularly shoot for myself. Like, I'm normally wandering around taking pictures of clients or. [00:38:03] Speaker B: Yeah. [00:38:04] Speaker C: Or whatever. And. Yeah, I just. I grabbed this shot and just thought once I put a really quick black and white conversion onto it. That's really cool. It works really well because the shallow depth of field, because it was super dark, it was wide open. [00:38:22] Speaker B: Yeah. [00:38:23] Speaker C: And it's really clean around that tree because that tree's like a spot where people drive around and park to the edge of. So it doesn't have lots of sticks and stuff around it. So it feels a bit isolated almost. Yeah. Yeah. It just works really nice. And I just softened. Softened everything off at the back of it and just. Yeah. Super, super simple shot. And it's another one that's not really what I would normally be doing, but I've really been forcing myself to push into other sort of things. You know, I'm often the big. The big wide landscape guy. But, yep, I've just been curious, you know, shooting different stuff. And one of the things that I think most people make mistakes with trees, in particular gum trees, is they try and fit the whole tree in and you just. It just never works. I feel like you always get this beautiful feeling that you're there. If you can get the nicest part of the trunk of the tree. Like, it doesn't matter whether you can see the top of the tree or the leaves or any of those things. I actually think too many people shoot trees way too wide, and you lose that sense of place by doing it. So actually, I think that is why I had my 70 to 200 on, because I was sort of showing the clients, you know, that particularly with these real characteristic gum trees, it's nice just to vignette, you know, just a part of the tree, not the whole thing. [00:40:01] Speaker B: Yeah. And I really love this. The square crop, too. Like, you're intentionally chopping off the top of the tree. You're just focusing on this. This piece. And I think, you know, it's amazing, you know, you've broken all of the rules, really, when you think about landscape photography, you know, the perceived rules. You know, you've gone. You've gone for a tighter compression, you've chopped the tree off, you've gone for a square frame. You know, you've turned the bush black and white. But it just. It's just a really powerful image, especially the contrast between that single white tree and the background where everything else is caught up. A similar grade of gray, you know, a similar tone, and it just helps that tree pop out. I think it's wonderful. [00:40:41] Speaker C: Yeah, I like it. Perfect thing. There's no rules. [00:40:46] Speaker B: Yeah. [00:40:47] Speaker A: Yeah. [00:40:47] Speaker B: It's something I've always struggled with, like. Like you said, you know, feeling the need to capture the whole tree in the frame, and sometimes it's just impossible, you know? [00:40:55] Speaker C: Yeah. [00:40:56] Speaker B: And I've always struggled with that. Well, where do I cut it? You know, where do I. Where do I frame it? But this is. Yeah, this is a brilliant example. [00:41:04] Speaker A: Yeah. [00:41:05] Speaker C: Thanks, mate. No, I really love this shot. And I've been shooting a lot more trees and talking about fog. Like, it's never foggy here ever. But there must have been. We must have had 10 foggy days in a row where I've been, like, this morning, I drove in the fog for two hours. I couldn't get out and go down a creek or you know, it was time. Bound to be somewhere for a job. So yeah, I need to get my butt out to some of these red gum lined creeks around here in some foggy mornings because they're stunning anytime but just having that separation with the fog is extra special. Yeah, yeah, yeah. [00:41:48] Speaker B: Amazing. [00:41:49] Speaker A: Nice. Beautiful set of images. [00:41:51] Speaker C: Thank you. They're very different as I say, you know, that's a very small taste of probably the last four weeks to be honest, of what's been going on. [00:42:02] Speaker A: Yeah, lots of great comments in the chat too. I won't read them all out but I'll go back to this one here from. I don't know if you guys have. I don't think I've heard of this, the Down South Photo Show. I don't know what that is. [00:42:12] Speaker B: Sounds like a scam. [00:42:13] Speaker A: Yeah, I'm not sure but they say, I reckon you should get Adam to just relax a bit more in his chair. Chillest guy ever. You do look very chill, very comfortable. [00:42:24] Speaker B: Hello. [00:42:24] Speaker A: Yeah, but yeah, awesome, awesome images. [00:42:32] Speaker B: Where two from? [00:42:33] Speaker A: Gosh, what did we. Quarter past eight. Should we do, should we do a little bit of news? [00:42:37] Speaker B: Yeah, I'll just. [00:42:37] Speaker A: Some more images. [00:42:38] Speaker B: I'll just read a couple of headlines. How about that? And we'll just focus on images because there's so many to go through in lens news. What's happening? So Nissi have just announced a 16 mil f 2.8 and a spherical lens for Fujifilm GFX which is always great to see. Also the folks at Tamron have just dropped the 12 to 20F 2.8 FE and Glenn, our friend Glenn Lavender has been very busy testing that lens, both as pre production and now that it's been announced he's put a lot of work up on his socials and the images from it. It's funny with Glenn, I made a comment on his post the other day, I said Jesus Christ, Glenn, is there any photo you can't take? You know, because it just. He just has this eye for framing, you know, he just has this magical framing ability to sort of just include what needs to be included and it tells just this beautiful story with a single image. So clever. But there's also a video on YouTube on the Tamron Australia YouTube channel and there's a video that he put together about the 12 to 20 with a look. Incredibly creative lens. [00:43:49] Speaker A: Yeah, 12. Have you got anything that wide? Adam did it over. Go that wide. [00:43:54] Speaker C: 14. Yeah, 14. It's close. Every mil matters. Yeah. I used to have a Sigma 12 mil full frame. It was wild. Like I remember I used to use it a bit doing weddings and stuff when I did that and like sometimes like if you'd have. I like used to have like a soft shell jacket that I would wear doing weddings and like every now and then I get the sleeve of the jacket in the corner. Yeah, yeah. It's crazy wide, like crazy wides but actually tend to. I've pulled away from shooting super wide. Like it's got to be really particular thing for me to. To push it out that wide. A lot of my stuff's around 20 mil give or take my landscape work these days. Yep. Cool. Now I noticed Too Greg, that 16 mil for the GFX, they're publishing that to be suitable for a native mount for the Hasselblad mount as well. [00:44:59] Speaker B: Yeah, I heard something about that too. [00:45:01] Speaker C: Yeah. Which is interesting because Hasselblad cameras don't have a shutter in them the shadows in the lens. So I wonder how they're getting around that is. [00:45:11] Speaker A: Is it. Would they be electronic shutter? They must in there must be just used that. [00:45:15] Speaker C: Yeah, yeah it must be. But all the Hasselblad like X X lenses have a shutter built into the lens, not into the camera. [00:45:24] Speaker B: Yeah, interesting. I think it's also interesting seeing Nissi put out lenses they've done. It's not the first time. They've obviously done it before. One of their first ones they brought out, was it the star had like [00:45:35] Speaker C: a sun star one. [00:45:37] Speaker B: Yep, sun star one. I remember when that came out. That was a while ago now. But every now and then they just drop something special, you know they drop something that's a little different. [00:45:44] Speaker C: They might makes you really good. Cinema lenses. [00:45:47] Speaker A: Yeah. I was going to say the Athena. Is it Athena or something like that. They've got that line of cine lenses, lenses that are. [00:45:53] Speaker C: Yeah, yeah. And there's people like. I was talking to Andrew about it. There's people like in the States particularly in the film industry just buying full set to those lenses because they're like a third of the price of any of the big brands and optically they're, they're there particularly for cinema where you like manually controlling your T stops on those lenses but you're mainly controlling that, you're mainly focusing like it's not like with. With our cameras where it's nice to have the, the integration with your camera. It doesn't really matter for those guys. Everything's manual. Yeah. [00:46:35] Speaker B: So I remember talking to Adam from Lalor here in Australia. And he was, I'd never really thought about this but he said, you know, photographers look for sharpness at a lens. Cinematographers look for what it looks like out of focus. So they look for the softness side of a lens for that character that can be, you know, because out of focus adds cinematic quality to stuff and yeah, it's interesting. [00:47:00] Speaker A: Bruce, Cinema lenses. Yeah, very clean and clinical. [00:47:05] Speaker B: Yeah, there you go. Not as much character. Thank you, Bruce. [00:47:10] Speaker C: Yeah. [00:47:12] Speaker B: In camera news, Fujifilm have just registered a, another patent for a new camera. I don't know if it's a patent or if it's one of those things where they have to do to register for Bluetooth and WI fi connectivity. Often that gives away a camera that's coming out soon. This is really funny. It's either going to be, according to the rumor site, a Fujifilm GFX180. That's a 180 megapixel camera. Apparently that's first I've heard of it. Or the X Pro 4, which I know Justin, you're keen to see at least maybe play with, maybe. [00:47:48] Speaker A: Bye. [00:47:49] Speaker B: Maybe buy maybe an export. So yeah, so that's, that's interesting. In other Fuji News, Instax Mini 99 Silver Edition launched. The Instax range continues to power ahead and, and fund most of Fujifilm's corporate lunches. It's just a license to print money, those things. At the moment they're, you know, they're building new factories, they're, you know, products are going out of stock because they're so popular, which is amazing. What else? Light Lens Labs apparently working on a future long term film camera project. So Light Lens Labs makes premium optics often to replicate some of the older Leica glass and sort of, you know, lenses associated with older Leica, older Leica camera models. But yeah, apparently they're working on a film camera which is exciting to hear because, you know, we need more film cameras. We've been talking about it a lot lately where, you know, we just want to see one of the, one of the big, one of the big companies just, just push out a film camera and just see how it goes. But no one's been quite willing to take that risk. So interesting to see how that goes. Justin, can you bring up this one? It's the Kodak EC35. Yes and I'll get you to bring up the next one too in a minute. But just very quickly folks. Kodak have announced these are already on, I think they're on ebay and Amazon. A new 35 mil film camera with the iconic sliding front cover that covers over the lens and the viewfinder. [00:49:33] Speaker C: If the thing that broke Kodak was the thing that made them amazing again. [00:49:40] Speaker B: Yeah, probably like. [00:49:42] Speaker C: Like pumping. Yeah, pumping cameras and film out was the thing. You know, they were a bit slow to move, but ironically, if they just went, oh, well, let's just start making these things again. And happy eyes. [00:49:56] Speaker B: And I think I saw one of those. I can't remember where I saw it now. They're not quite out available in stores just yet, the EC35s, but I think someone on ebay has already got some and they're fairly cheap. I think they're like under 100 bucks. [00:50:14] Speaker A: I think that. I don't know. No, I won't bother saying that. I'm feeling very negative tonight. Let's not. I don't want to stay on stuff like this. I'm just like. There's just too many trinkets coming out. I want some good cameras. It's just like, like there's. Like I said, you know, there's an Instax Mini 99. I was like, oh, here we go. Another plastic thing. It's like a lot of plastic stuff just coming out. Charmers and these and stuff. And I'm like, I don't know. Seem to be pumping out a lot of. Lot of knickknackies and not a lot of X Pro 4s. I'm kidding. I don't know. It is cool that they making. To me, it's better than a disposable camera. Like, why. Why buy disposable when for 40 bucks more you can buy something that you can keep putting rolls of film in? That makes a lot of sense to me. That's the way I would look at this. It's like just like a better non disposable disposable that also has the slidy thing, which is cool. [00:51:10] Speaker B: Well, I was a big W a couple of days ago and they had Kodak disposables. I think they were like 48 bucks. And it came with a roll of film obviously in it. But yeah, like it's. And then you add processing on top of that. What does it cost you to do a 35mil roll of 24 or 36? [00:51:30] Speaker A: Can't remember at the moment with Lumina, like somewhere between 20. Yeah, 20. 20 to $30. I. Yeah, because I. I always get them done. Like mine always end up costing a bit more. I want better scans and. And stuff. [00:51:43] Speaker B: So. Yeah, [00:51:45] Speaker A: yeah. Anyway. [00:51:48] Speaker B: And another film is [00:51:51] Speaker C: memory. At the rate that Memory prices increase and be more economical to shoot film in 12 months time. [00:51:57] Speaker B: How crazy is that? [00:51:58] Speaker A: My, my, my poor, my poor bank account. After last week, buying and buying a NASA was the, was the worst time in the history of the world to buy a nas. I don't know why I let it go for so long. And then I was like, all right, gotta bite the bullet. [00:52:17] Speaker C: I nearly did it before end of financial year and I just couldn't do it. I'm like, I can probably get another six months and just hope that the prices flatten a bit. [00:52:25] Speaker A: Yeah. [00:52:26] Speaker C: Because it's wild. [00:52:28] Speaker A: Well, since I just spent $7,000, yeah. Solid chance the prices will come down soon. So yeah, you should be okay. That's usually how it works. [00:52:40] Speaker C: Yeah. [00:52:41] Speaker A: Dennis. It's only 60, it's only 64 terabytes at the moment, but I've got, I've got three empty bays and then I can add some extensions later if I need to. Synology. We'll do a whole, we'll do it, we'll do an episode on it. 1. [00:52:56] Speaker C: Yeah, I'd be keen to dig into that. [00:52:59] Speaker A: Yeah, it's, it's, it's working well so far. Everything's going well. But yeah, we'll do a, we'll do a bit of an episode. Africa, take care of that. Yeah, that's right. I'll come back. I'll have to buy more drugs. [00:53:14] Speaker B: All right, let's get this news finished and then we can talk about Africa soon. And finally, in the final bit of camera news, is that Lomography's new half frame camera. Can you bring that one up quickly, Jay? So they put out a, you know, very accessible, odd looking but fun, cool film camera. And it's a half frame. So for those of you that aren't in the know, half frames literally use half of a 35 mil frame. And so when you're shooting portrait, you hold the camera in landscape orientation and when you want to shoot landscape, you hold the camera in portrait orientation. However, the Lomography camera is relatively square, so that kind of confuses the formula a little bit. But again, great to see people being brave and inventive with new product. And Lomography's got a great record, great track record of putting out these sorts of things fairly consistently. Yeah, [00:54:10] Speaker A: okay, look, I'll give them a pass. Although this is another trinket, but I'll give them a pass because Lomography have been making great trinkets for a long time. They have, that's their thing is, is great fun, creative Little cameras that are often not very expensive. [00:54:28] Speaker B: Yep. [00:54:29] Speaker A: So I'll let them go. [00:54:30] Speaker C: Yeah. [00:54:32] Speaker B: And just a couple of final bits, folks, of random news. Leica. The Leica wooden toy camera, you'll all be glad to know which is the only Leica that most of us can afford is back on at B h. It's, it's 70 and it comes with a removable lens, so, you know, it feels like the real thing. This is made of wood. I almost ordered one today. I thought that it'd just be. [00:54:55] Speaker A: Did you really? [00:54:56] Speaker B: I did, yeah. It's, you know, it's a hundred bucks. [00:55:02] Speaker A: Okay. [00:55:03] Speaker B: Yep. [00:55:04] Speaker A: I mean the lenses. Yep. That's cool. [00:55:06] Speaker B: But what's with those lugs? How am I going to put a lucky strap on that? [00:55:09] Speaker A: That's right. That doesn't even make sense. [00:55:12] Speaker B: No, they should have spoken to us first. Just skip that one. Let's go to the final piece of news. Canon's new children's book that's out in Japan. If you can bring this one up just quickly, Justin, it's bananas. It has aliens explaining why cameras are awesome. And it's an indoctrination process to get children into photography through whimsy. [00:55:35] Speaker C: Slight beef up for kids. [00:55:37] Speaker B: Pretty much. [00:55:38] Speaker C: Aliens explaining photography concepts. [00:55:41] Speaker B: Pretty much. Pretty much. But it's a really interesting looking piece. Like there's no Canon logos. It's just, it's just all weird Japanese characters and, you know, design. It's very, very fun. Anyway, I thought that was worth just having a little giggle at. [00:55:59] Speaker A: Oh, okay. They put one in. I was going to say, is it ironic that there's not a single photo in this book about photography? But they. Apparently there is a couple here. Oh, look, the Canon has plane tracking and bird tracking. They say it's the fastest in all of the universe. [00:56:23] Speaker C: Just brainwashing them from three. [00:56:26] Speaker B: Yeah, pretty much. Yeah. [00:56:27] Speaker A: They'll be throwing shade at Nick on, in there on one of the pages, I'm sure. Yeah. [00:56:31] Speaker B: You won't know it though, but they're doing a similar thing. [00:56:35] Speaker C: Yeah. [00:56:36] Speaker B: Imagine that. Jim and Justin going head to head. Canon and Nicole. [00:56:42] Speaker A: That's right. [00:56:43] Speaker B: It's interesting because Nintendo Japan are doing a very similar thing and they, they brought out a whole range of toddler toys, books, apps all around the Nintendo, you know, Super Mario Universe. And it's like this early indoctrination thing, you know, like it's all fun and themed and. But it kind of, it gets them into that headspace, you know. [00:57:03] Speaker C: Yeah. [00:57:03] Speaker B: Not that there's anything wrong with becoming a Nintendo fan. For life. I've just got to say, served me fairly well. Yeah, pretty much. But that's the news, folks. That's. That's the end of today's news. What do you want to cover next, boss? Do you want to talk Africa or you want to have a couple more. Couple more images? [00:57:20] Speaker A: We got to crank through some images first. Otherwise I'll feel nervous about the. The amount of photos we've got to get through tonight. We've got to get. We got to get going. [00:57:31] Speaker B: Yep, let's get going. First up is Peter Kitchington, our friend from the Leica SL3P launch. Jay, let's just choose one of these for tonight. [00:57:43] Speaker A: Well, we owe him from last week because these were. He sent these in last week and then they didn't get shared. And then I was like, well, we'll have to. We need to read a few out. Maybe we don't need to do the full. [00:57:55] Speaker B: Yeah, the full. [00:57:57] Speaker A: There's a bit of story readout for every backstory for all of them. But these are all infrared images that he sent in. [00:58:02] Speaker B: Yeah. Film [00:58:06] Speaker A: five images. First three of film, last two are digital. [00:58:09] Speaker B: That's right. Quick intro. Thanks for your podcast with Justin, Greg. I thought I'd submit some IR images using both film and digital cameras for your next podcast. This subject was introduced by David in your last podcast with these digital IR images, the Coastal Scene. I've included five images. The first three used film. The last two are digital. This one here is this image one. [00:58:33] Speaker A: It should be. No, it's not. Why are these not. Here we go. Try that one. [00:58:38] Speaker B: All right. Image one is called Grass Tree in Bloom. The film that was used was Kodak hie, so high speed infrared and it was shot with a Minolta X500 and a Takina 17mm X F4. [00:58:55] Speaker A: And then this one is the next mob. [00:58:59] Speaker B: Yeah. This is crazy. [00:59:00] Speaker C: I love this shot. [00:59:01] Speaker B: That's cool, isn't it? Yeah, it's like. It's the moon. It's. Yeah, it's so incredibly. And the contrast is just beautiful. This is a great kangaroo mob. This. The film was Conica infrared and this is shot again on the Minolta X500, but with the Minolta 7.5 F4 with a 2 times converter giving 15 F8 combinations. [00:59:30] Speaker A: Yeah. Whoops. He said it won him a silver award in the AIPP Print Awards. [00:59:35] Speaker B: It did. [00:59:38] Speaker A: Now, Morty, Alec, where is that one? [00:59:40] Speaker B: Next one is Mortylick. This is the last film shot. He's always liked the date palms lining the Nepean highway in Wadi Alex since he was a kid. So he finally photographed them with an infrared filter and like a monopan film. So this was shot with Leica monopan rated at ISO 6. And the camera was a Fed 2 rangefinder with a 50 mil F 3.5 Industar which is a Ukrainian Soviet era camera and lens. How cool is that? [01:00:17] Speaker A: Gosh, Crazy. Crazy collection of images. [01:00:25] Speaker B: Yeah. [01:00:26] Speaker A: Now. And then there's mountain ash. [01:00:28] Speaker B: So Mountain ash is the next one. The majestic mountain ash trunks lend themselves to IR capture. So this is a digital frame shot with a Sigma SD1 and a Tamron adapt. All 28F 2.8 with a red filter added to the camera. Incredible. [01:00:53] Speaker A: And then this was the. The coastal banks. [01:00:56] Speaker B: Here it is indeed. Image was taken during a camping holiday in the Lakes national park in Gippsland. This is a digital capturing color. So this is shot with a Sigma SD14 and that Takina 17F4. And again with the red filter. And look at those colors. [01:01:16] Speaker C: My God. Yeah, I really like that. [01:01:19] Speaker A: Hey. [01:01:19] Speaker C: Yeah, it's got such a cool feel to it. [01:01:23] Speaker A: Can't wait to get my camera converted when I finish. When I finished paying off my new NAS system. [01:01:32] Speaker B: Yeah. There's only so many organs you can sell, boss. [01:01:35] Speaker A: I know. Yeah. And then so he sent through a heap of. I just want to find. There was a. This one. This was a shot that he used. The same camera that Wayne Rogers said was his zombie camera, which I can't remember what that was. [01:01:59] Speaker B: Ah, I don't have that listed here. [01:02:02] Speaker A: It's underneath. There's a blurb underneath it. [01:02:08] Speaker B: Yeah. [01:02:08] Speaker A: And so this was. And he also had a couple of lensless images which were. Which are these. And I was trying to figure out what he meant by that. Lensless images. Lumen print of a bird of paradise flower. They're laid on black and white enlarging paper and covered with clear glass then exposed to the full sun for six hours. [01:02:35] Speaker B: Oh, so he's got the paper under it. [01:02:37] Speaker A: Yeah, yeah. [01:02:38] Speaker B: So it's just that the sun's just pushing through. [01:02:43] Speaker C: Yeah. [01:02:44] Speaker A: Wow. [01:02:45] Speaker B: Yeah. [01:02:45] Speaker A: Pretty. [01:02:45] Speaker C: Pretty awesome, isn't it? That's pretty great. Yeah. [01:02:49] Speaker B: It's like doing a. Is it Cinetype where you take the paper and you know you can put objects on it and you lay it out in the sun for a bit and then you process it. It's kind of like that process a bit. I haven't done that since art school. [01:03:04] Speaker A: This final one that he had sent through I wanted to bring up because it says I'm trying to read this to make sure I'm not getting this wrong. So it was a from an 11 by 14 inch pinhole camera and it's an image of cryobange along taken on a windy day where the water is very choppy, but it was at F225 in the full sun for five minutes. [01:03:32] Speaker B: That's crazy. [01:03:37] Speaker A: Some of my landscape photos with pinhole cameras go for a few hours. So. Yeah, there's just so much. [01:03:46] Speaker B: Yeah, indeed. [01:03:48] Speaker A: So much experimentation. And so that's two weeks worth of images. But I need to bring them all up because we actually missed them. We missed them last week, so that was my bad. [01:03:59] Speaker B: That's all right, we'll let you off. [01:04:02] Speaker A: Yeah. How crazy. [01:04:03] Speaker B: Yeah. [01:04:04] Speaker A: What a fun amount of stuff to play with. [01:04:07] Speaker C: Yeah. [01:04:09] Speaker B: All right, let's jump along. Greg Carrick Crackers has the lady of the Lake to show us. This was taken at a light painting session with the Yarra Rangers. I'm just pausing for a comment from Dennis, but it'll come. Photographic Society at Lilydale lake back in 2021. The light painter was standing in the water, so we had a reflection. It was by chance not designed. The image worked out to resemble a figure dancing. Yeah, it does. Interestingly, this was shot on the Fujifilm X70 with a 10 second shutter speed at f9, ISO 400. [01:04:49] Speaker C: Yeah, that's beautiful, isn't it? Like you couldn't plan that. You couldn't execute that in any other way than by chance. [01:04:59] Speaker B: It also almost feels like a bird, like some sort of exotic bird. Like there's a neck coming up and like a head sort of pointing down. [01:05:07] Speaker A: Yeah, yeah, that's beautiful. [01:05:11] Speaker B: Crackers. Gotta love the X70 [01:05:15] Speaker C: bloody L. Yeah, yeah. [01:05:19] Speaker A: Dennis sees the bird too. [01:05:20] Speaker B: So. [01:05:20] Speaker A: Yeah, I'm seeing the bird as well. Dennis. Greg called it. [01:05:25] Speaker C: I, I see the dancer, I see the legs, like, you know, the pirouetti sort of. Yeah, super cool. [01:05:33] Speaker B: Yeah, great stuff, Greg. [01:05:36] Speaker A: Great stuff. Peter is in the chat. Peter said he wouldn't make it tonight, but he's here. Good to see you. [01:05:43] Speaker B: Nice. [01:05:44] Speaker A: Love it. Okay, John Hall. [01:05:49] Speaker B: Let's go to John Hall. Hi, Justin. Greg and everyone won't be able to see the podcast live this week, but thought I'd send in something anyway. This was taken on our trip to Hobart a couple of weeks ago. We didn't have particularly good conditions for photography. Very overcast and flat light. So we went with the conditions though and concentrated on moody long exposures. Nice work. We headed straight from the airport to a spot called Boomer Bay at the top of the Tasman Peninsula, where I got this shot. I've sent you two versions of the same image. The first is a fairly simple edit in lightroom. For the second, I thought I'd have a go at a fine art style image by blending the sky into the water and removing the horizon in Photoshop. Oh, interesting. That messes with your sense of depth, doesn't it? [01:06:35] Speaker C: Doesn't it? [01:06:37] Speaker B: Yeah, yeah, Cool, John. Not sure what to make of it, but I think I prefer the original. But was an interesting exercise and good on you for trying it. Before Justin asks, it does look good in black and white. However, in black and white, you lose the subtle green hues on the shed, which I think add to the cold, moody feel. This was shot with the Nikon Z63A 24-120 F4S at 57 mil F16, 30 seconds, ISO 100 and a 9 stop ND filter. Cheers, John. Thank you, John. [01:07:11] Speaker A: Yeah, I love it. I kind of like this. [01:07:14] Speaker B: Yeah. [01:07:14] Speaker A: So this is the experimental edit, fine art style edit, and then this is the original. Now that I've seen the other one, I really like the other one. [01:07:27] Speaker C: It's. [01:07:30] Speaker B: It changes it completely, doesn't it? Like, it just. [01:07:33] Speaker A: It's an album cover, it's a. It's a movie poster. [01:07:35] Speaker B: Yeah, yeah, very much. [01:07:39] Speaker C: And Dennis just needs some sort of horizon for me. [01:07:43] Speaker A: Yeah. [01:07:43] Speaker C: Like, it's so cool. But even if it was just the slightest hint to give you a bit of. Bit of perspective, like. Yeah. So it doesn't feel like you're lost, but it's. It's so good. Like I've done a bit of stuff with Johnny's great photographer. [01:07:59] Speaker B: Yeah. [01:08:01] Speaker C: And. Yeah, I think it's really cool. [01:08:04] Speaker B: Yeah. [01:08:05] Speaker A: Yeah, it's fun to play. [01:08:06] Speaker B: Yep. [01:08:07] Speaker C: Yep. Richard, the 24 to 120 is a much underappreciated lens. I was about to say that. Yeah, that lens is phenomenal. That Nikon F4, 24 to 120 is like the. Do it all. [01:08:28] Speaker B: Yeah. [01:08:28] Speaker C: Such a great lens. [01:08:29] Speaker A: I had the old F version when I used to shoot Nikon. The F mount version wasn't amazing. No, it was still pretty usable, but it wasn't. It wasn't sharp like the new one is. [01:08:42] Speaker C: The new ones just. Yeah. Phenomenal. [01:08:45] Speaker A: Yeah. [01:08:45] Speaker C: Such a great lens. [01:08:48] Speaker A: I think I. I was asking people at BFOP last year, asking the camera. I'm gonna do it again this year, but film it this time. The camera brands people like, what's the most underrated lens in your Lineup and Nick on Ross said the 24 to 120. F4. [01:09:07] Speaker C: Yeah, sure. [01:09:08] Speaker A: It's 100. Yeah. [01:09:11] Speaker C: Julie would have told you was the 28 to 400. [01:09:15] Speaker A: I didn't ask her. [01:09:16] Speaker C: She loves that one. [01:09:18] Speaker A: The 28 to 400. The do it all. [01:09:22] Speaker C: Yeah. [01:09:23] Speaker B: Lots of love for that lens too. In the chat, everyone's saying agree 24 to 120. It's a favorite. [01:09:28] Speaker A: Yeah. [01:09:28] Speaker C: Arts are phenomenal. Lens, like just value for money, sharpness, range in landscapes that, you know, a lot of people go the 24 to 70. But that extra 50 mil is just like gold sometimes. Like you just need it. Yep. [01:09:48] Speaker B: Amazing. All right. Thank you, John. David Mascara. Yeah. All right, I'll start reading. [01:09:58] Speaker A: Yeah. [01:09:59] Speaker B: Last week I told you guys that I was Native American from the Salinan tribe in central California. I hope I pronounced that right. David. This is a miniseries of San Antonio de Padua mission, where my family history began. From my mother's side, this mission was built around 1771. And my fourth great grandfather was a big part of building this place. Fires and earthquakes had pretty much destroyed this place. And about 12 years ago, the state mandated that all remaining missions get retrofitted for earthquakes. It took $18 million to do this. I was vice president for three years on the board for fundraising to get this work done. Anyways, the video portion is about 6am when the army base across the way play Reveley and the coyotes go wild. I spend the night out there sometimes just to hear this. If you don't have time for the video, no worries. You don't have to play it. The wildlife is insane out there. I call this God's country or the Homeland. Mission photos were taken with the D850 and the 16-35 F4. Sorry for the long winded email. Have a great show, guys. Not gays, guys. Sorry. I had a gaze. [01:11:11] Speaker C: I'm talking to you, Justin. [01:11:14] Speaker B: Amazing. Thank you so much for sharing that. [01:11:17] Speaker A: Thank you, David. I don't know if I can play this video that because it's vertical that easily in this sharing screen. So we might not be able to play it tonight. But the images are beautiful. [01:11:29] Speaker B: Yeah. [01:11:32] Speaker C: What a cool story, though. Like, how many people have a link to their family history that strong? [01:11:38] Speaker B: Not too many. [01:11:39] Speaker C: Yeah, yeah, yeah, yeah, yeah. There's a face in the top of that image. Can you see it? [01:11:46] Speaker A: Oh, I can now. [01:11:47] Speaker C: Coyote. Yeah. [01:11:49] Speaker A: Like directly about, like up here. [01:11:50] Speaker C: Yeah, yeah. It's creepy. [01:11:53] Speaker A: It is creepy out. [01:11:55] Speaker C: Yeah. [01:11:59] Speaker B: Amazing. Thank you, David. [01:12:01] Speaker C: Super cool. [01:12:04] Speaker A: It's funny because the Davids So often these end up in order, in the order that they get sent in. [01:12:10] Speaker B: In. [01:12:11] Speaker C: They're not. [01:12:12] Speaker A: It's not always perfect because who knows what happens, but usually it's. It's in the order of people that email me. And the Davids are always next to each other. It's quite funny. So. [01:12:25] Speaker B: So should we look at David Leporati's shots? There's the music. [01:12:30] Speaker A: We should. [01:12:32] Speaker B: Oh, wow. What the. How does that happen? Hi, Justin, Greg and everyone. I thought that you might like some more RAAF aircraft images shot on film. Of course we do. Keep them coming. These were taken in 87. 1987. Justin wasn't even born. [01:12:51] Speaker A: I was. I was two. Thank you. I'm old Matt Crummons, you are the. [01:12:56] Speaker B: The images of. Sorry, let me start again. The images are of a RAAF wing eel trainer and F A18 formation flying at same speed approximately 130, 135 knots, which is about 240, 250 kilometers an hour. The FA18 pilot was riding the engine throttles to keep in formation. The first image is the RAAF wing eel that he mentioned and the FA18. And that's Newcastle in the background. [01:13:25] Speaker A: Wow. So. [01:13:27] Speaker B: And just. [01:13:28] Speaker A: Just the look of that. So Australia, like, old. [01:13:32] Speaker B: You can just tell. [01:13:33] Speaker A: I don't know, is it the color palette of the roofs or something? What is it that makes that. And the urban sprawl, but. But it's not now urban sprawl. You can tell it's old and I don't know why. [01:13:44] Speaker B: Yeah, I think it's. There's no high rises. Everything's single story. Maybe a couple of doubles, but it's like. It's all flat. [01:13:51] Speaker C: Yeah, yeah. [01:13:55] Speaker B: And then there's a second image which is the. The RW, I can't say it. The wing eel and the FA18 over the ocean, I believe. How close they feel. [01:14:07] Speaker C: Yeah. [01:14:07] Speaker B: Like to one another, I mean. [01:14:10] Speaker A: Yeah. [01:14:12] Speaker B: And then the final image is behind the scenes of the RAAF photographer in the Wing Eel shooting with a Hasselblad elm and an 80 mil lens. That's insane. [01:14:28] Speaker C: That's crazy. [01:14:31] Speaker B: The detail in the pilots. They both got their heads turned. [01:14:36] Speaker A: Maybe one day our new digital cameras will reach this level of resolution. [01:14:42] Speaker B: Yeah, maybe. [01:14:44] Speaker C: Because the GFX180, [01:14:49] Speaker A: they have been rumoring that 180 sensor for a while. [01:14:52] Speaker B: Ages. [01:14:53] Speaker C: Yeah, yeah, yeah. [01:14:54] Speaker B: I'm sure they played with it. Why wouldn't you? If you can make senses, why wouldn't you try and push it? [01:14:58] Speaker A: Yeah. [01:14:59] Speaker B: Anyway, all these images, David, these were all shot with the Mamiya M645 with an 80 mil standard lens and Kodak VPS film. [01:15:09] Speaker A: Gosh. [01:15:10] Speaker C: So cool. [01:15:11] Speaker A: Yeah, so cool. It just shows. Yeah. [01:15:16] Speaker B: The comments are replicating that. Sorry, Dennis. Okay. That is the most insane plane photo ever. Rick. Stunning. John Pickett, incredible photos. And David's added a little comment here. The Hasselblad 500 Elm has a built in motor drive and is fitted with a 45 degree angle finder which enables shooting while holding the camera on a sideways vertical orientation. [01:15:42] Speaker A: And he is too, you can see like the camera's pointing. So he's like looking this way and the camera's pointing out. [01:15:50] Speaker B: That's crazy. [01:15:51] Speaker A: Out the side window. That's not. [01:15:54] Speaker C: That would be so hard. Yeah. Coordination. Wow. [01:16:01] Speaker B: Yeah. Greg Carrick has asked, I'm curious now too. What plane were you in, David? [01:16:05] Speaker A: David can fly. [01:16:07] Speaker B: Yeah. [01:16:07] Speaker C: David has dreams. [01:16:09] Speaker B: Yeah. That's what keeps us all going. Let's take a little pause on images. Let's have a quick discussion about Africa and packing for Africa. First and foremost, I think, I think I want to hear from you, Justin, what your initial plans are about what gear you're going to take specifically. Obviously cameras, lenses, and then accessories, tripods, what bag, that sort of stuff. And then I want to get Adam's take on what he recommends to people attending workshops that are going on a similar expedition. So over to you. [01:16:45] Speaker A: All right, before I start, David Leporati was in another wing eel. So he was doing. He was the same, same kind of setup, I guess. That's the photographer's plane. They don't get to take the jet. All right, so should I just run you through what, what I'm planning on taking and give you a quick. A quick. Why Is that the best way to do it? Okay. [01:17:05] Speaker B: Yeah. All right, [01:17:12] Speaker A: First of all, hang on. Let's make me. Can I be big? [01:17:16] Speaker B: I can be whatever you want, big boy. [01:17:18] Speaker A: Here we go. I'm bigger. So first. First decision I decided was I'm going to take the smallest bag I can that still fits what I want to because this is for my carry on camera bag because there's not a lot of space, I'm being told in the vehicles. So having a big pack or something is not going to be great. And I also want. I want quick access because the slightly different thing is here I'm going on a wildlife safari, but I have to shoot video, but I also want to be able to shoot photos. So I've got to approach this a little bit differently than if I was just going to shoot stills. So I need quick access and I need a bag that doesn't take up much space. This Timber. Whatever this is. Timber something. Axis 24 liter has a surprising amount of capacity and it fits my MacBook in the front, which is always key for going on the big trips. But it's got side back and top access. So the way that I've laid this out, I can pull out a camera out of here with. [01:18:26] Speaker B: Bring your lights up a bit. Sorry, it's just quite dark with the black background behind it. [01:18:30] Speaker A: Can I. It's a good question. No. [01:18:34] Speaker B: Okay. [01:18:35] Speaker A: I'll just. I'll just crank my eye cells. There you go. Just wash myself out. [01:18:41] Speaker B: Yeah. [01:18:41] Speaker A: Okay. [01:18:41] Speaker C: Yeah. [01:18:42] Speaker A: So. So this bad boy, obviously it opens up on the back, but if I open the side up here, I can get straight into one camera that I could have a 24 to 105 on and I can reach my mic from that same spot. So I could shoot video straight away without taking the camera bag off. Then on the back, This is pretty much everything I'm going to take, except I've got a Canon 1N film camera substituting for my. [01:19:17] Speaker B: All right. [01:19:18] Speaker A: Yeah. R6 Mark III that's currently doing the podcast. Yeah. [01:19:21] Speaker B: Don't forget to swap those over before. [01:19:23] Speaker C: Before. [01:19:24] Speaker A: Oh, man. Imagine. Imagine. All right, so the main camera and lens that I think I'm going to use a lot is the 100500 lens on my R5 Mark II. Or I might switch around the bodies. I'm not sure which one I'll use mostly for what duty yet. So I'll take the R5 Mark II. [01:19:44] Speaker B: That lens is new. Sorry. [01:19:46] Speaker A: Oh, yeah. Yep, yep. It is a new lens. So yeah, R5 Mark II and R6 Mark III bodies, they're both very similar. R5 Mark 2 is a little better, but they'll both. They can both do double duty. Photo and video as much as I want for. Yeah. So I can mix and match depending on how I want to run them. I'll keep one set up as a run and gun. So I'd either have a 20 mil prime in the early mornings. On the wider body, 24 to 105 is just to do everything. Lens kind of like your fancy Nikon 24 to 120. I would like that extra 15 mil canon, please. I really wish it had that. Then I go into my. So that's kind of like. If I could only take two things, it would be this camera with a 100 to 500 and probably the other camera with the 24 to 105 F4. Even though I'd be really wanting a prime as well for low light. But if I had to pick just two, it would probably be those two. And then straight away I want to add a prime. So I'd go the 20mil 1.4 wide angle, and then another prime being a 50mil 1.4. You all guessed that? Yeah. And then so they all fit in these nice little spots. And then I go into backups if I have space. And my backups are a 16 to 35. No, 16 to 28, 2.8, which is a compact little wide angle lens, and a 28 to 72.8, which is a very compact standard lens. And then the 70 to 202.8, which I really don't know if I'll need, but Matt Crumman said I should probably take it. So that way I've basically got. If I smashed any lens, I've got another lens that can do that job. Definitely that's not necessary. That's what I'll take. If it all fits, and I'm surprised that I managed. It all fits in this bag. I can access the main camera from the top or the back, the long lens and. Yeah, that's the core setup without any accessories and bits and pieces. [01:22:04] Speaker B: Okay, and so what are you thinking for memory cards? What sort of storage are you taking and how much have you got for backup? [01:22:14] Speaker A: The only way to do memory cards, in my opinion, is big enough that I don't need to change them for the entire trip and fast enough that I never have to worry about. Come on, come on. Slowing down. So it's a 512 gig CF Express in both cameras. And then I've got. Yeah, and then I've got SDS if I need them as backups. But yeah, 512. So I. In theory, I'll dump. I'll dump cards at the end of each day, but I may not format the card until. I don't think I'm going to be able to sort of. Yeah, I'll see how I go. But I've got two SSDs and the SSD in my MacBook. So I can have three copies pretty quick anyway. [01:23:00] Speaker B: Yeah, okay. [01:23:02] Speaker A: That's how I usually operate when I'm traveling for work, is one copy under the MacBook and then two copies under SSDs. Then I can format cards that day if I need to. [01:23:14] Speaker B: Yep. Good question here from Kev Morse. What does your bag weigh? Full. [01:23:21] Speaker A: Hold the line. Just talk amongst yourselves. I'll let you know. [01:23:23] Speaker C: All right, I reckon about 13 kilos. About 15 with your MacBook. [01:23:32] Speaker B: A couple of quick questions here. Felicity's jumped in to say I'm off to South Africa too. Pungwe Mani Aletti Bush camp. I hope I did that justice. Flick. This is very useful. Yeah, it is very useful. That's why we wanted to do it. Bruce says if you just keep it all on the cards, that would be scary as. Glad you're offloading. I agree [01:23:58] Speaker A: it weighs, it only weighs 9.4, but that's got no MacBook in it and no like there's probably a few other little accessories I need to wedge in there too. But yeah, it's, it's pretty amazing what this Canon RF gear weighs for the like the amount of lenses I have in there. [01:24:14] Speaker B: Yeah. [01:24:14] Speaker A: And the fact that it gets in there, everything is so much smaller than the traditional like the EF series cannon stuff would have been, would have taken up. That's a 24 liter bag. It would have need to be a 45 liter bag and it would have weighed six more kilos probably. [01:24:31] Speaker B: Now just before we get Adam to weigh in on his thoughts on your kit, Dennis has asked a couple of times about ND filters. What is your plan with your filters? [01:24:40] Speaker A: I've got two variable NDs and a three stop. That's, that's enough for me to. So the Canon system is pretty sweet. All my primes and compact zooms, those compact 2.8 zooms are all 67 mil. And then the longer lenses and the 24 to 105 are all 77 mil. So I can swap NDS between lenses really easily without carrying a giant set of various sizes. I would have liked to buy the new NISSI Super Maggot Jet Rocket filters powered filters. But after buying that NAS and this long lens, it's just. I'm like 700 for a variable ND. I, I can't do it, Missy. [01:25:32] Speaker B: That's. [01:25:33] Speaker A: I need to, I need more time to come to terms because I need two of them. I need the 77 which is the 82 and then I'll have to get a 67 as well. Yeah. And I'm just like if you get [01:25:45] Speaker C: jet mag, use the same filter, just different adapter rings. [01:25:49] Speaker A: So no, they, they do a smaller jet Mag for the 67s and because otherwise I'd have an 82 on the front of a 67 lens and it's just I don't want to have those giant step up rings on all my, all my small lenses that they wouldn't fit in this Bag, you know what I mean? So. [01:26:07] Speaker C: Yeah, fair. Yeah. [01:26:09] Speaker B: All right. [01:26:10] Speaker C: Yeah. [01:26:10] Speaker B: Well, I think that's good. Adam, you're the expert. You've been there before. You know your way around a camera bag. What do you think of Justin's kit? [01:26:20] Speaker C: Yeah, no, it's good. Like. [01:26:22] Speaker A: Oh, oh. There's hesitation, there's apprehension. [01:26:25] Speaker C: Well, two, two bodies is a no brainer. Right. [01:26:28] Speaker A: Like. [01:26:28] Speaker C: And I do the same thing with, with memory. So like bang on. So when I do those kinds of Trips, I have 2 TB of CF Express cards, so five 12s as well. So four of them. [01:26:43] Speaker B: That's like the cost of a small house in Adelaide. [01:26:45] Speaker C: Not when I bought them. [01:26:47] Speaker A: No, these were, these were so good when I bought them. [01:26:51] Speaker C: I think they were like 300 bucks each when I got them or something. 250. Yeah. So I think like, bang on there. Like, you probably like you. I, I reckon you probably might be making it a bit more complicated than it needs to be. [01:27:07] Speaker A: Most of those, most of those lenses won't come out each day, if that's what you mean. I don't think I'll take them all each day. It's the thing, the reason that I want them is. And you know what it's like, like run and gun video. Once you get into the situation. Sometimes certain lenses are just far more useful. Like if I find that F4 is a bit too slow for the mornings. But my 28 to 72.8 is a, is a really good mid range. Like for the sake of taking that, I think I'm going to have plenty of weight capacity in my main luggage and it's a hard case, so I'm not scared about putting lenses in it. And then the fact that, yeah, what if I do drop the 24 to 105 and then I don't have a standard zoom to shoot video. [01:28:02] Speaker C: Yeah, yeah. [01:28:03] Speaker A: So having a backup for that and then having primes for low light. Yeah, I don't know. I know what you're saying. And if I, as I said, yeah, pair it down, there's two lenses that I'd take and I just deal with it. [01:28:16] Speaker C: But yeah, yeah, I think that's my like my overall experience. So like you'll probably not if, if it's similar to how I've run my trips, you'll probably be not in and out your bag in the vehicle. Like you'll likely grab your two cameras out with the two lenses you're going to use for that part of the trip and the bag will be in the back or under the seat or whatever. So I wouldn't stress heaps about that. But I don't know how many will be in your vehicles neither. [01:28:47] Speaker A: I don't know. [01:28:47] Speaker C: But it's good. [01:28:49] Speaker A: I think that. Yeah. Matt said it'll be tight. He's like, there's not space to. [01:28:52] Speaker C: Yeah. [01:28:53] Speaker A: Bring heaps of stuff and move around and stuff. [01:28:56] Speaker C: Yeah. [01:28:56] Speaker A: In the vehicle. So like it's. I've got. That's why I want that small bag and I've got a lens. So the bag that I take, everything's got double duty. So the what I pack my lenses in in my hard case is a like a top loading lens pouch that I could take as its own bag if I needed to. That's quite compact and vertical. So if that sat between my feet better in the vehicle, I could just take that instead of a backpack and it could have lenses and some accessories and kind of not have to have a backpack in the vehicle. So. Yeah. [01:29:33] Speaker C: Yeah, yeah, yeah. It's got all the stuff that I would have. Like. Like I did that YouTube video last year which was a wrap up of what I took. And the summary essentially was like a 24 to something is a great lens to have just no matter what. And particularly if you're going to come across like elephants and stuff in close quarters. Like one of my favorite shots from my Kenya trip was on my 24 to 70 at 24 with an elephant like right there. You know, that really wide perspective. And I had a 100 to 400. So similar to what you've. You've got. But I, like, I was lucky. Nikon sent me that fancy 400 prime as well. Yeah. Which was phenomenal. Like, but that's. I had those three lenses, two cameras. Just all the spare things that you might think you need. Like, I'm sure you're across it, but don't pack anything that you don't need in your carry on. Like just. [01:30:38] Speaker A: Oh yeah. [01:30:38] Speaker C: You know, even stuff like doubled up cables and even my chargers. Like, I don't pack my actual physical charges in my camera bag because if worse comes to worse, I can USBC and charge them in the camera. [01:30:53] Speaker A: I bought this. This was a. This was a Matt Crummonds recommendation. So this. And I, I won't use this for always. This is more for travel or for when I want to go to bed and charge all my. Because I've got five batteries I was going to just run. So otherwise if I just charge USB C of my cameras, that's two batteries at a time. [01:31:14] Speaker C: Yeah. [01:31:14] Speaker A: And I'm like, I should have a third probably so I don't have to rotate so much while I'm trying to sleep. So this charges four batteries off USB C. It's tilted sequentially probably. I think it take, it'll probably take five hours or something. But that's okay because it's more of like end of the day, pop them all in. So this, and it's got a little lid too to store them all in. It was 50 bucks. [01:31:39] Speaker C: Wow. [01:31:40] Speaker A: And it got, and it got here in a day or two. Yeah. But I probably, I don't think for the life of the batteries I'll use it every time I charge them because I'm just, I'm like a $50 charger. Don't know. But for, for this sort of stuff, very handy. [01:32:00] Speaker B: So. [01:32:00] Speaker C: Yeah. [01:32:01] Speaker B: Yeah. [01:32:01] Speaker A: We'll see if it works. [01:32:02] Speaker C: Who are you flying with? [01:32:04] Speaker A: Qantas. [01:32:05] Speaker C: Okay. So the other piece of advice I always give people is it might feel backwards, but take a second bag and put your laptop in it. Because if you read your luggage tickets, carry on, you're allowed one carry on bag and one personal item which could be a laptop bag. [01:32:26] Speaker A: My personal item is going to be because I've been advised bring a big warm jacket because the 5am you know. [01:32:36] Speaker C: Yeah. [01:32:36] Speaker A: Drive. So a jacket that I almost never bring on international travel because it's pretty big and heavy. It's this big Mac pack thing. [01:32:46] Speaker C: Yeah. [01:32:47] Speaker A: But it's got tons of pockets and that's, that's my sneaky personal item. So all my batteries and power banks and stuff go in that and I just sort of, you know, hang it over my arm or whatever. And you just don't, you just don't get caught stuffing them in. This is, yeah, they, then they look at you. Sus. But if you already have your stuff in there before you go up to the check in counter where they might weigh your bag or before you line up to go on the plane where they might. [01:33:12] Speaker C: Pretty rare. Pretty rare for quantum climbers. [01:33:15] Speaker B: Carry on. [01:33:15] Speaker C: Yeah. And then the other thing, like the, the thing that I think people underestimate is the weight of your laptop and charger. [01:33:24] Speaker A: These 16 inch Mac, so heavy. It's so heavy. [01:33:29] Speaker C: Yeah. [01:33:30] Speaker A: If I put, if I put pretty much like one camera and lens in there and then my MacBook and like just the power bank that I have. I'm at the thing pretty much straight away. I'm like, it sucks for us. [01:33:45] Speaker C: Yeah. Yeah. I, I've got a MacBook Air for when I travel. [01:33:51] Speaker A: Yeah. [01:33:51] Speaker C: Because all I do with it is move files around and maybe have a play on Lightroom. And I had an old iPad that I used to do it with and like last year I worked out, Apple gave me like $900, $800 trade in for my iPad. So I switched to a MacBook Air for a few hundred bucks. Yeah, it was just a no brainer. Yeah, it was, it was really good. But yeah, I'll almost always have my camera bag and then I've got like a peak design, one of those 30, 20 liter duffels that's just if it's empty, if it doesn't have much in it, it looks so small and, and you know, you scrunch it up. But if like I actually carried the 402.8 to Kenya in. In it. No. Yeah, no worries. Like it was really, it's really good to have that second sort of. Sort of bag. But get as much in your check baggage as you can because even like you'll never like. I wouldn't say never, but it's pretty rare to max out your check baggage in clothes. [01:34:58] Speaker A: I won't need it. [01:34:59] Speaker C: You're taking too many clothes if I won't need it. [01:35:03] Speaker A: And that's why. So haven't decided on. Just to recap where I won't spend too much time on it. But I haven't. Haven't decided on tripod yet. I very rarely use tripods anyway. [01:35:15] Speaker C: So I decided, well, you're not going to be out of the car taking tripod photos in the national park. [01:35:20] Speaker A: No, it's only because I've got to shoot video too. But even then I almost always shoot everything handheld unless even an interview. I can make it work. Work like short, you know, like talking to someone. So it's. Yeah, probably won't. I saw back here somewhere Dennis said do not take a gimbal. [01:35:40] Speaker B: Yeah, he did. [01:35:42] Speaker A: I'm interested to know why I was. I've got one in my. I've got. And so I categorize everything. It's like must, must and then nice to have and then maybe but definitely don't need it. And that's where unfortunately my Q3 is in the. You know, it's probably not coming. Yeah, it's. I'm gonna have two bodies. I can, you know, I can take lots of crazy looking. [01:36:05] Speaker C: No. [01:36:07] Speaker A: Yeah, no gimbal. [01:36:09] Speaker B: All right, let me ask you some quick fire questions from the chat. [01:36:12] Speaker A: Okay. [01:36:12] Speaker B: Lots of people have questions. So is all your gear weather sealed? [01:36:18] Speaker A: Pretty much. Pretty much all of it. It's surprising even my non L lenses that canon make. Those RF the 16 to 28 and the 28 to 72.8, they're both weather sealed. Ish. [01:36:31] Speaker B: Yep. [01:36:31] Speaker A: They'll still get dust everywhere. [01:36:33] Speaker B: Yeah. Okay, next question from Philip. How many inoculations do you need for Africa? [01:36:40] Speaker A: I was recommended to have six and I, I talked it down to one. You always negotiate. But I did, I did. I actually only got. I only got one. I got hepatitis A. That, that seemed to be the most risky in terms of most likely to get and then the most you don't. Would really not like to have. But there's, that's that there's, there's travel things you can get with pharmacists and doctors and stuff. You can go. It was really easy. There's a pharmacist program in Victoria now. I don't know where it is. So I just booked a travel consultation. He went through everything with me, asked me tons of questions, checked everything, told me all the information that he had and then you can get whatever you want on the spot there. It was actually really easy. Cool. [01:37:27] Speaker C: Yep. [01:37:29] Speaker B: Dennis wants to know, does the R5 have dual ISO? [01:37:32] Speaker A: Yes, it does. [01:37:33] Speaker B: Okay. [01:37:34] Speaker A: And also, Dennis, don't worry. If I take a gimbal. I wouldn't, wouldn't use it to shoot stuff. Like I would. I would use it if I was getting some B roll of a lodge or something to make it look fancy. I certainly wouldn't be taking it to shoot people and animals. I'm not. [01:37:48] Speaker B: Yeah. [01:37:49] Speaker A: I'm crazy. I'm a hand. I'm a handheld man. Shaky, shaky all day. [01:37:54] Speaker B: Flick wants to know when are you going? [01:37:57] Speaker A: Friday morning. Leave bendy at 6am and I think I get to South Africa three weeks from now. I can't remember the exact flight schedule, but it seemed like it was going to take a long time because Felicity [01:38:09] Speaker B: is about to go too soon. When are you. [01:38:11] Speaker C: Are you doing Sydney, Jonas? [01:38:14] Speaker A: Go via Perth on the way there, Vice on the way back. [01:38:17] Speaker C: Yeah. [01:38:18] Speaker B: Okay. [01:38:18] Speaker A: Yeah. [01:38:20] Speaker B: Dennis raised a good point. Make sure you take an action cam. [01:38:23] Speaker A: Yeah. So I'm gonna take the little Insta360, go ultra. I'm going to do lots of POV stuff of me shooting, but I'm also hoping to slap it on some of the other people that are out shooting and just turn it on and just let them go so that I can get some. Just sort of what it. You know what it's like to be POV on safari. This is, this thing's great. I probably, I don't know If I'll take a 360. Dennis. I hate 360 cameras, but I probably should, but I just, I don't like the post production. [01:38:51] Speaker B: Yeah, fair enough. And that's it for our quick fire questions. Adam, Cool. You know, you've done this gig and you've taken people with you. What's the biggest mistake that you see people make packing gear for a trip like this? It's a once in a lifetime opportunity we get excited about. You know, I've got all this beautiful glass, I've got two bodies. I'm just going to take it all. But what, what do you see happening? [01:39:14] Speaker C: I think the risk is, and it's a bit different, I guess for Justin because he's going to do some, something specific. [01:39:20] Speaker A: Right. [01:39:20] Speaker C: But as a, as a general punter, the risk is taking too much stuff. Yeah. Like you are literally better off. Like if, if, if Justin was going to shoot wildlife, which is what you're going to shoot, really, I would. You would have your 24 to 105, your 70 to 200 and your 100 to 500. That would be it. And like 90% of the time you'd have your 70 to 200 and your 100- to 500 on. And just every now and then you might, you know, switch out to your wide lens. I think the risk is that you take, you know, a prime or something else. Or something else and you're like so busy changing things or, you know, getting lost in your gear that you don't get the shot anyway. [01:40:11] Speaker A: Right. And I think that's the thing. Yeah. I should have clarified. Like, my use case is I want to be able to film at people. I'm actually going in there to take photos of photographers and. Sorry, to video photographers. So I need to film people getting into the vehicle at 5am before the sun's come up. So I need a 20 mil prime. You know, like it's not, it's, that's not for once we're out there. It's, it's for leaving the lodge and returning to the lodge and stuff like that low light inside, eating dinner, you know, so it's. Yeah, I have, Yeah, I have a very different require. [01:40:47] Speaker C: Yeah, yeah, yeah. [01:40:49] Speaker A: For me. [01:40:50] Speaker C: Yeah. But I definitely think people. It's to it and it's just to trips in general. Right. Like Africa is an extreme case. But like, even when I was in Iceland earlier this year, like it's really easy to take too much stuff and in Iceland it become almost a joke. When we got out the car, it was like what lens do we need? We need your 24 to 70 or your 24 to 105, like whatever that. I just call it the walk around lens. [01:41:15] Speaker B: Yeah. [01:41:15] Speaker C: Because it, it literally is so close to the right lens. No matter what you need. [01:41:22] Speaker B: Yeah, yeah. [01:41:23] Speaker C: Maybe you need something a little bit wider, but you can take two steps back. Or maybe you need something a little bit longer and you can crop in. By sticking with just keeping it super simple, you're gonna get better photos because you're not going to be so worried about, oh, now change this lens in a dusty car. [01:41:43] Speaker B: Yeah. [01:41:43] Speaker C: Or I've got to change this lens and it's blowing a gale and raining or whatever. [01:41:48] Speaker B: Yeah, yeah. [01:41:49] Speaker C: Just keep it super simple, you know, [01:41:51] Speaker B: like it is interesting. It's a common mistake though, isn't it? I know. Even just myself, my first trip to Tokyo in 2015, I took, I took two bodies, two Fuji bodies. I think I took three part primes and three zooms. And then by my last trip to Tokyo, I took one camera. Oh, actually I took my X70, which has got a fixed 27 mil, but I took one camera and a 35 mil prime equivalent, F2. And that was it. Because over those, over those sort of four or five trips, I discovered that I was hating carrying camera gear. And you're right. You spend more time hunting through your bag and second guessing your decision than just capturing the moments. I often tell people that now. Yeah. Because often when you, you know, what inspired you to grab your camera in the first place, the light you saw, the composition, the subject, whatever it may be, you know, if that, if that grabbed you then and there, you need to be ready to take that then and there. There's no point going back into your bag to find a better lens because that moment that inspired you to lift your camera, it's gone. [01:42:51] Speaker C: That's it, you know, 100%. Yeah. Like, I could have shot Iceland with one lens. [01:42:57] Speaker A: Yeah. [01:42:58] Speaker C: Legitimately I could have done, like there's a few things where I might, I, I might have shot with my 14 to 24 instead of my 24 to 70. And maybe a few shots I did with my 70 to 200. Yeah. But that very small handful, if I would have taken that 24 to 120, you wouldn't have like, no one would have said, oh, you didn't have the right gear with you. Like when they look at all the photos, there's just, you know, it's, it's, it's definitely better just to be in, focused on what you're Doing, you know, watching the lot, finding your subject, focusing on your composition than worried about changing a lens in your bag. Plus then you don't have to carry a heavy bag around. [01:43:40] Speaker A: Right, yeah. Oh, we better, we better, we better crank onto some things. But I just need to say, Adam, I've ordered, it hasn't arrived yet as a last minute order, otherwise I would have about it. The rocket blower with the dust filter. Yeah, yeah, yeah. And I got a little cleaning kit off those guys as well just because I couldn't find the swabs that Wayne Rogers recommended. But yeah, so I just ordered. Because I was ordering the blower anyway. [01:44:05] Speaker C: Yeah. [01:44:05] Speaker A: What are they, what are they called again? Visible. Yeah, Visible dust. Yeah, visible dust filter, rocket blower. Fancy thing. Yeah, yeah, I'm excited to get that. [01:44:15] Speaker C: Yeah. [01:44:17] Speaker A: A couple of quick, quick chatty chats. Lisa Leach says I'm heading to Scotland for five weeks. I was going to take a wide lens 24 to 70 and a 228 to 400 for landscape. Do you think this is okay? I reckon that's perfect. [01:44:29] Speaker C: Yeah, I think it's perfect. Yeah. [01:44:31] Speaker A: Yeah. [01:44:31] Speaker B: 100. [01:44:32] Speaker C: Yeah, 100. [01:44:34] Speaker A: Nice and easy. And you've got that big, that 28 to 400 for just when you're just like. I'm not sure what I'm going to encounter, I just roll with that. [01:44:40] Speaker B: It's got to be ready. Yeah, yeah. Amazing. Oh, one quick question. [01:44:46] Speaker A: Yeah. [01:44:47] Speaker B: I had, if you don't mind, when it comes to traveling overseas on this sort of tour, what, what sort of, what's available for insuring your gear? Is it part of your travel insurance or do you have to take out something separate? [01:44:58] Speaker A: I've got to check my renewal just reminded me like I've got gear insurance. But yeah, it's. If you list it on your travel insurance, it's going to cost a heap. [01:45:08] Speaker C: If you list travel insurance will cap at five grand. [01:45:12] Speaker A: Yeah. [01:45:12] Speaker C: So most travel insurance policies will cap no matter whether you list it or not, five grand. [01:45:17] Speaker A: Well, I think the one I do, you can list it individually but each one it'll cost, each one will cost another $100 or something. You know, like if you add a $5,000 lens on it'll. It'll add another $100 to your policy. Another hundred dollars to your policy. So it's like to go over this standard cap that covers, you know, an iPad or whatever, a couple of bits and pieces. Yeah. It's going to cost a hefty amount and often actual gear insurance probably for the year, probably isn't much more than what you might spend on a big trip through travel insurance. Yeah. Yeah. [01:45:52] Speaker C: It's always good to talk and look into your policy though, because I know like all my gear is covered through my business policy, but it's not covered overseas. [01:46:01] Speaker B: Yeah. [01:46:02] Speaker C: So, you know, then I've either got to decide and like, to be fair, I look at the kit that I'm taking, like when I went to Iceland, but I'm just not going to insure it. Like, if it goes, it goes. Like I'll just, you know, like, because, you know, it's like a lot of it's quite old now. Like it's done a few laps around the block and by the time you go and get a policy for a few hundred thousands of dollars, whatever, you know, you just decide whether the risk is worth it for you or not. [01:46:31] Speaker A: Yeah. Can you tolerate the. The potential loss of something or multiple things? [01:46:35] Speaker B: Yeah, yeah, yeah. [01:46:38] Speaker A: All right. We better get. It's. It's. Yeah, we got a lot of images to do. [01:46:42] Speaker B: Let's go into images, folks. [01:46:44] Speaker A: Yeah, maybe I'll quickly blast through through mine because I've got them sitting here ready to go. This is a big set. It was in honor of Adam Edwards coming on and. But I'll whip through them fast. So this was my first time shooting doors off in a R44 for the fink desert race. My first and only time actually for the Fink desert race. So we'll go through them quick. I whittled today. These were all from a different catalog years ago. So I had to go through my rules today for 4,000 images that were unedited. So I've whittled it down to 20 quick ones. So we think desert race is an out and back desert race from Alice Springs, a couple hundred Ks down to Fink and then they camp overnight and then come back again the next day. They run buggies and bikes. Long tradition and just the. The terrain is hot and wild. [01:47:37] Speaker C: Yeah. [01:47:38] Speaker A: And so long straight. [01:47:40] Speaker C: How'd you get that gig with it? [01:47:43] Speaker A: With a small privateer team and some of the people wanted to take a chopper down to the. Like down to the fink end. [01:47:51] Speaker C: Yeah. [01:47:51] Speaker A: To check in and then to fly back. So I got a spot in that wasn't paid or anything like that. It was just a people I know hanging out shooting. So I was shooting the Canon 1D Mark i4 with that beautiful 1.3 crop sensor and 7200 with a 2 times teleconverter. This is the Fink footy oval. [01:48:16] Speaker B: Oh, wow. [01:48:18] Speaker A: How Good. Is that. [01:48:21] Speaker B: That's crazy. [01:48:23] Speaker A: Isn't it cool? [01:48:24] Speaker C: Yeah. [01:48:27] Speaker A: That is a shot I'm pretty sure of. I think that's. I can't remember if that's Fink or closer to Alice. I couldn't work it out, like, whether it's prologue or. It must be Fink. No, there wasn't that many people there. I think that must looks like a prologue. Yeah, yeah, but. But prologue on race day. So, like, where they come out of. Yeah, but anyways, just that, like the dust that you can see from the. From that elevated view, because they'll be. They'll let you know. 600 bikes go. So there's just this trail of dust across the desert. This was one of the fuel stops that I've manned multiple times, multiple years I've shot. There's a guy in the corner shooting here from where I've shot many shots on different years when I was there. So they're. They're friends of mine down there. That was our. That was our beautiful bird and our pilot hanging out, just making sure that it doesn't blow away. That's the Fink coming into Fink. There's a little unofficial kind of finish line with a jump that everyone crowds around. Little mini grandstands on each side. Fink's not a big town. Fink's a small town. This is the Fink end. This is what it looks like. So basically, you get down there, if you're not with a big team, you're dusty and dirty. Everyone sleeps in a swag. There's mice everywhere. There's nowhere to, you know, clean up and stuff. And you just. If you're lucky, you've got someone cooking food for you and you're trying to get dust and out from under your eyelids. And everyone's like, this is how they were keeping track of guys that were like, what number they were and when they'd be coming through and stuff, stuff like that. It's just cardboard with a Sharpie written on it. That's. Yeah, that's generally what you look like after you've raced. Pink. And then that's another chopper that was. You can see it above. So that. That's kind of the height that we would have been following a lot of the guys and stuff for. But that would have been one of the news crews, I would say. That's what. [01:50:41] Speaker C: Super cool. [01:50:42] Speaker A: That's what a lot of the corners look like. You can see it's probably not as close to that now. This is 2013, but, yeah, that table is set up with those umbrellas. Yeah, yeah, yeah. They've. They've cleared that back a little bit, I think, these days. But yeah, it was. Yeah, was pretty loose. But that's just your standard camp along the way. [01:51:05] Speaker B: So how long is the race? How many K's? [01:51:08] Speaker A: 220 each way. Does that sound right? I think so. 230. [01:51:16] Speaker C: Yeah, it's 200 something. [01:51:20] Speaker A: Yeah. This is one of my faves. [01:51:21] Speaker C: Yeah, two 230 each way. [01:51:24] Speaker B: Yeah. [01:51:25] Speaker A: And then. Yeah, more undulating through the desert dust as far as the eye can see people. Just all the way from that 200, there'd be long straights where you don't see anyone, but there'd just be dots of people just all the way over the place. You know, you drive along and then there'd just be two people on deck chairs just watching in the middle of nowhere. [01:51:43] Speaker C: They go out and camp for days before and after, like. [01:51:46] Speaker B: Yeah. [01:51:47] Speaker C: To get their spots. Some of them. Yeah. Crazy place. [01:51:51] Speaker B: Oh, that's great. I love that. [01:51:52] Speaker C: Yeah, I like that one. [01:51:54] Speaker A: Yeah, that was. That was a favorite. Just the lines. [01:51:57] Speaker B: Yeah. And the contrast is amazing with the. The dust. [01:52:04] Speaker A: All right, that was my quick 20 images. Bruce Moore says, love doors off shooting. I could do that every day. Oh, yeah. It was scary, though, when they. When he. When he tips it up and you're like. It's doors off and. And I had like a lap sash belt on, like not a harness or anything. [01:52:22] Speaker B: Yep, yep. [01:52:25] Speaker A: I could just fall out. [01:52:27] Speaker B: That's very cool. Can we just quickly bring up my few? [01:52:30] Speaker C: Yeah, yeah, let's get yours, just very quickly. [01:52:33] Speaker B: So as you guys, if you've been following me on socials, you'll know that. That I have cats, lots of cats. And a dog, Hazel, of course. But Sasha and I picked up two new kittens about a month ago now, I reckon, so they were both under three months old, very little. And I've been playing around with photographing them in different lights and at different times of the day and just sort of getting into the hang of it. And this is Chihiro. This is. This is my kitten. And I'm very much in love with her and I can't stop photographing them. But this is shot with the. These are all shot with the Fujifilm XE5 and a 23 1.4, which is a 35 equivalent. And just here in the office, they sit on this windowsill in front of me in the light and it's just. It's hard not to take photos of them. And then this is susu this is. This is Sasha's cat. She's. Apart from the white under her chin and the white on her paws, she is so black that it's really hard to photograph her. I've never found that with other animals. It's so hard to. And to get form and shape of her limbs. And often she just looks like a little black mass sitting on the chair or in a space. She just casts. No, it's very hard to see her form. It's. It's really fascinating. But, yeah, I've been doing that a bit lately. Lots of street photos, but every now and then I like, you know, throw something else up. [01:54:01] Speaker A: Bit of wildlife every now and then. Safari. Bit of a safari around the living room. See what you can spot. Yeah, I really like this one. [01:54:11] Speaker B: Yeah. Yeah, that was this morning, actually. Just morning light. It was a beautiful sunrise this morning in Melbourne. Lots of orange in the clouds. So, yeah, Having fun with that. [01:54:26] Speaker A: Very nice. Couple of quick comments. Richard says, got to photograph a bride and groom in a helicopter once. Talk about a perk of the job. My assistant had to drive my car from the Yarra Valley into Melbourne. Oh, that's awesome. Just like. Oh, that is cool. I'll meet you you in there. That's great. And Lisa Leach says, do you get motion sickness swinging around? No, which is funny because I get. I can get car sick pretty easily on, like, a windy road if I'm not driving or, like, seasick. But no, not. Not really. In a chopper? No. All right, should we get back into. [01:55:05] Speaker B: Yeah, let's. [01:55:06] Speaker A: Chris Nielsen. [01:55:07] Speaker B: Chris. Chris Nielsen. I'll start reading. Hey, everyone. This week I've got a couple of waterfalls for you. All were shot on my D500 and a Taquina 11 to 16.2.8. All images were shot at 11.16mil equivalent. First image is a waterfall in central North Island, New Zealand. For Lord of the Rings fans, it's just upstream from Gollum secret pool from the movies at 1 15th of a second. The second and the third images are from Bridal Veil Falls near my home in Hamilton, New Zealand. That's near your home. That's. That's amazing. [01:55:43] Speaker A: Wow. Really? [01:55:44] Speaker C: It's beautiful, isn't it? [01:55:46] Speaker A: Yeah. Just near my home. [01:55:49] Speaker B: Just a creek up the road. The color one is four seconds and the black and white is a fifth of a second. No other reason than I like the look. Oh, look at that contrast. The detail in the rock. That's beautiful. Thanks again for a great show. [01:56:11] Speaker C: Stunning. The color one wins it for me. [01:56:14] Speaker B: Yeah. [01:56:14] Speaker A: I was going to Say, I think. I think color and I think it's because of the mossy like or whatever that the lower part just that. I don't know, being able to see the texture of the rocks and then the green and it's beautiful. [01:56:28] Speaker B: Lisa Leach says, what a shitty place. [01:56:31] Speaker C: Yeah, terrible. I like all the space in the horizontal version in the color version. Yeah, yeah. [01:56:41] Speaker A: This feels a little bit. [01:56:44] Speaker B: Yeah. [01:56:44] Speaker A: I just don't. I don't think it gives as much to the viewer, but obviously it's a very different look and feel and it's cool for what it is. [01:56:53] Speaker B: Pretty moody. [01:56:54] Speaker C: Sure. [01:56:54] Speaker A: Yeah. Love that. [01:56:56] Speaker C: Love it. [01:56:57] Speaker B: Up next, Paul Carpenter. I thought I'd put a collection in this week. If you're short on time, just go with File name Paul. C4 battle damage. [01:57:09] Speaker A: We can whip through them, Paul. We can do the whole story. [01:57:12] Speaker B: Yeah, absolutely. This is an American B17 aircraft built in 1945 and spent the last 50 years displaying at air shows in Europe. The B17 has been represented in movies such as Memphis Belle and the recent Apple TV series Masters of the Air. In this seven shot sequence, I've tried to represent a mission with a series of images to show the following phases. Start, taxi, takeoff. Battle damage, which I think is this. Approach, landing and shutdown. [01:57:49] Speaker A: That's awesome. [01:57:49] Speaker C: It's cool. [01:57:50] Speaker B: I like that. [01:57:51] Speaker A: What a great set. [01:57:52] Speaker C: Yeah. [01:57:52] Speaker B: Can we. Can we just cycle through them again from the start, please? Yeah, I was reading. I missed some. That's beautiful. Oh, I like that. I like that detail from behind. That's great. [01:58:09] Speaker A: This. This looks. It's great. Like fake. So good. It's not true. [01:58:14] Speaker C: Like a model. Yeah, yeah. Like it's a model movie. Yeah, yeah. Super cool. [01:58:22] Speaker A: And then that. That's awesome. Having. Having the ground in there for context, you know, like that's. And that beautiful light. [01:58:30] Speaker B: Yeah. [01:58:30] Speaker A: And then the. Getting the smoke from the touchdown on the wheels. And then this one of those perfect. Dead on center Pano. Yeah. Epic. [01:58:46] Speaker B: Great work. Well done. All shots are taken with the R5 with a 100 to 500, except the last, which was a 24 to 105. And again, there's those focal ranges we've been talking about all night, right? [01:58:57] Speaker A: Shutter speeds, lenses. [01:58:59] Speaker C: Yeah. [01:59:01] Speaker B: Shutter speeds range from 1-80th to 1-500th and ISO was generally 100, 320. So. Yeah. Cheers, Paul. Thank you, Paul. [01:59:10] Speaker C: Epic. Super good. [01:59:12] Speaker A: Great series. [01:59:15] Speaker B: And Paul says part of the air show displays to emit smoke from one of the engines. [01:59:20] Speaker A: Oh, so they didn't have an actual battle. Oh, no. Change My mind. Those photos are terrible. That's cool that they do. [01:59:27] Speaker B: They were fake after all. [01:59:29] Speaker C: Yeah. [01:59:30] Speaker B: Yep. [01:59:32] Speaker A: Yeah. Incredible work. [01:59:34] Speaker B: Amazing. Up next, we've got the one and only Dennis Smith. He's been a very busy boy. Very busy boy. Hey, guys. The last three nights, I've run a light painting. Portrait activation five hours each night. So long days. Around 630 portraits. Sorry, 800. [01:59:52] Speaker A: 830 portraits. [01:59:55] Speaker B: Single frame, like single exposures. 830 single exposure portraits in 15 hours. So about one portrait every 16 seconds. Seconds. It was incredible. The diversity of cultures blew me away. People were waiting in the room watching the giant projection of the images building in real time in awe. Thank you. Live composite, universally kind, polite, gentle humans. I feel destroyed physically today, but wrapped a community in light. Oh, that's a beautiful way to put it, Dan. Oh, that gave me goosebumps. And there is a wild behind the scenes video coming. I don't think we'll be able to show it tonight, but. Yeah, these are. These are absolutely magic. [02:00:34] Speaker C: Yeah. [02:00:35] Speaker B: And, you know, looking through them, I noticed that the lighting effects are different for each of the shots he sent us. But there's like. This is. I don't. I don't understand how he does that. [02:00:46] Speaker A: Yeah, they're like sparkly. [02:00:49] Speaker B: I don't know. It's just magic. [02:00:52] Speaker A: I love that he. That he's. He always chooses based on what he's feeling from the people. Like what? Yeah, I can always. I remember him saying it from Beef up last year. You're a blue boy. You're a blue boy. When he was going around because he got to pick different, you know, what color he wanted to do for what. And it was just. Yeah, yeah, yeah, yeah. So cool. I love how, like, bold this one is. This one white. Yeah. Like, how strong. [02:01:27] Speaker B: This is phenomenal. Brucie says, very cool, Dan. Lisa. Oh, my goodness, Dennis, you are superhuman. Dennis said, I made up new color sets each night. As if you didn't have enough. How did you. [02:01:46] Speaker A: How did you light the people? [02:01:49] Speaker B: He's got that, that sort of blade light that he. He scans over them. [02:01:53] Speaker A: Did you scan all of the. In the groups like this? [02:01:57] Speaker C: Yeah. One at a time. Yeah. [02:02:00] Speaker B: That's. I had to keep you still. [02:02:01] Speaker C: Yeah. [02:02:03] Speaker B: How would you do that with kids? [02:02:08] Speaker A: Strobe. Okay. Strobe for the people. Yeah. Okay. I was going to say you're a superman. You must have 15 arms. [02:02:18] Speaker C: Have you seen this man? [02:02:20] Speaker A: Yeah, yeah. [02:02:21] Speaker C: Have you seen him in action? Yeah. [02:02:23] Speaker B: Because when he did the. When he did the Instax portraits of BFOP Last year, he didn't use a strobe, did he? He used that sort of blade tool. [02:02:32] Speaker A: No, no, he scanned. He scanned. But that was. That was like one or sometimes two people. Yeah, but, yeah. Oh, hang on. The phone's not off, is it? No, the phone is not off. [02:02:45] Speaker C: He's just got you blocked. Dennis, [02:02:50] Speaker A: what is happening? [02:02:52] Speaker B: We're trying to get to the end of the show. Dan, we don't want you calling. That's. That's just going too far. [02:02:56] Speaker A: Yeah, that's true. Maybe we'll have to. We'll. We'll. We'll get a call in next week and talk about the. And show the video. [02:03:03] Speaker B: Yeah, please. [02:03:04] Speaker A: Yeah, yeah, Get a bit more context. But, yeah, yeah, imagine. Yeah, I didn't even think about that. Imagine, like you have a group and you do. So you do the light painting, you do the thing. You scan one person, you scan another person, you scan another person and then the last person ruins it and you're like, oh, yeah, you have to go start again. Oh, you'd be dark. [02:03:28] Speaker B: Well, there's a family portraits. There's little kids in them. Like in this one, you know, they're not going to sit still, especially, you know. [02:03:33] Speaker A: Yeah. [02:03:34] Speaker B: When there's this sort of activity when Dennis is dancing around them with light, like. [02:03:37] Speaker A: That's right. [02:03:38] Speaker C: You got to stab them with a lightsaber. Yeah, [02:03:43] Speaker A: yeah, yeah. Epic. [02:03:47] Speaker B: Nice. Incredible, incredible, incredible. As always, Dennis, thank you for sending those in. Let's move forward. John Latimer. You got them, Jay? [02:04:01] Speaker A: I'm looking. No, hang on. Just hold the phone. Which one is it? Which one is. [02:04:15] Speaker B: Looks like something taking in a wildlife sanctuary. He didn't name it properly. He's admitted. [02:04:23] Speaker A: I think that's why I can't find. Find it. But I will find it. I will find it. [02:04:30] Speaker C: Let's see, let's see. [02:04:37] Speaker A: You guys just talk to the chat. [02:04:39] Speaker B: All right, let's have a look. Dennis has always also said there's a large softbox. Pop, then paint. So he takes the. He flashes the family and then gets into the scene and paints around. There were up to 10 people in some of the photos. And just cheers from Dennis. Yeah, you must be buggered. [02:05:06] Speaker C: That's a big job, 800 splashing around in water. [02:05:10] Speaker B: Yeah, that's true. [02:05:12] Speaker A: Yeah. [02:05:13] Speaker B: Maybe you wanted. Who knows? Hey, here we are. [02:05:16] Speaker A: John Letterman was hiding. It was hiding. [02:05:18] Speaker B: All right. Hey, guys, sorry I didn't change the file name. I hope you've all learned your lesson now. Amazing interview on Thursday. Just finished it over the weekend. And what an incredible journey he's had. And of course, you're referring to our lengthy discussion with Australian wildlife photographer Steve Parish. Still feels surreal. In fact, I remember messaging Justin that night going, did that really just happen today? Did we just spend four hours talking to Steve Parish? Yeah, yeah, it was pretty cool. Anyway, John, this week's photo was taken at Nanggac Wildlife Sanctuary. It's a small area run by Latrobe Uni for nature studies etc in Bandura. I watched this cormorant for a while and managed to get a photo straight after his swim, flapping his wings and water spraying everywhere. Really happy with the photo. It was great to unwind and just sit to watch nature. [02:06:13] Speaker A: This is a crack. That's a cracking shot. [02:06:14] Speaker C: Yeah, yeah. And I love that it's forked through. [02:06:19] Speaker B: Yeah. The foreground bokeh is just. It's dreamlike. [02:06:23] Speaker C: Yeah. [02:06:24] Speaker B: Shot with the Sony A7R3 with a 200 to 600 at f 6.3, ISO 6400 shutter speed 1 200. Hope you all have a great week and take care. Thanks, John. [02:06:40] Speaker A: 1 2,000. I was like, geez, how did they manage to get the droplets sharp at 1 200? We have 1 2000. Yeah. Everything. [02:06:48] Speaker B: Oh, did I say 1 200? [02:06:49] Speaker A: Yeah, for a second. [02:06:51] Speaker B: How have they done this? [02:06:52] Speaker A: Yeah, but, yeah, it's. It's crisp and sharp and. Yeah, great, because you often see the corant. You know, if it's photographed, it's from, you know, front on. You can see the wingspan. This is. I've never. I don't think I've ever seen this kind of angle before and certainly not with, like, the flapping. I love it. [02:07:11] Speaker B: Yeah, that's great. [02:07:14] Speaker C: I love wildlife shot through a foreground too, though. I think that adds so much. Yeah, it's just out of focus enough to see that you're looking through something. It's really good. [02:07:27] Speaker B: Yeah, yeah. Well done. All right, cool. Next is Shamit Shah. Hi, Justin. And team. And team. The name's Greg Fella. [02:07:39] Speaker A: All right, you're part of the team. [02:07:42] Speaker B: Whatever. Please see attached two images which were taken on two different days at the same location. These were taken on my walk around a lake not far from where I live. With both images, I wanted to try a minimalistic view. I see. First image was taken with the Nikon D60, 55mm F5. 61640 of a second and ISO 1600. The first image. Sorry. I like the reflection of the clouds on the water with that first one. He says the second image was taken with the om em 10 mark 4, 70 mm f 5, 1-500-TH of a second. ISO 320. There are some leaves stuck on a fence which I thought would be a nice subject for a photo. I like how the ripples in the water have turned out in this image. Thanks for hosting a great show. Thanks for sending in some images. [02:08:33] Speaker A: I like that it's a good composition on this second image. Like framing the post up on the left hand side, keeping that uncropped and framed in to the image. But then. Yeah, they're just leading out through the bottom. [02:08:48] Speaker B: Yeah. [02:08:48] Speaker A: Cropped. [02:08:50] Speaker B: Hey, Adam, is this what you would call like intimate landscape images where people get really close to a specific part of the landscape? [02:08:58] Speaker C: I think so, yeah. Like, I think it's interesting. I've had some conversations recently about what. What's minimalism, you know, because I think everybody's version of that could be a little bit different. [02:09:13] Speaker B: Yeah. [02:09:15] Speaker C: But I find it. People can get. So this, this is such a great practice because people will go and. And, you know, go to get the banger. [02:09:28] Speaker A: Right. [02:09:28] Speaker C: Like the whatever version of a shot they want to get with the big foreground or whatever. But like, sometimes I find it really nice to wander around for half an hour before that just to get these kinds of shots right, build the scene, even if it's not for everyone else but for you. And a nice exercise. Like, if you were going to put this image in a book, what supporting images would you have with it? And these are the kinds of things that you would generally capture now, which I think is really cool because you go out and shoot these and you learn something you didn't know. Like, you will see something works that you didn't think about or. Yeah, it's really cool. It's a cool way to do it. And I like. I like shooting this kind of stuff in black and white and even to the point where it's cool to put your camera, if you've got a mirrorless camera, into black and white. So you only see black and white. [02:10:24] Speaker B: Yeah. [02:10:25] Speaker C: Because it can really help you simplify things. Yeah, yeah, it's cool. [02:10:31] Speaker B: That's great. Very cool. Thank you, Charmette. Wonderful images. Up next, we've got David Skinner. Evening, everyone. Should I start reading? [02:10:45] Speaker A: Go for it. I'm almost there. [02:10:47] Speaker B: Here is an image taken in harsh light on the Ballerina coast with Brendan Waits. Sorry, I've got a yawn. It's getting very late. Nikon Z7 Mark 224 1. [02:10:57] Speaker C: Just as you say, Brendan's name. Yeah. [02:10:59] Speaker B: You're Pretty Much Brendan White ISO50F 4.5, originally processed it in color. I'm inspired by James Popsis, a brilliant high contrast and harsh light color photographer based in Wales that travels to coastal Mediterranean Spanish villages as well. However, watching James R Burns video, also a UK photographer, I saw the potential to rework it as a black and white high contrast. James is very good at working bright light in hc. Black and white. What are your thoughts? And here are the images. The black and white for me for sure. [02:11:40] Speaker C: Same. [02:11:42] Speaker B: Yep. [02:11:43] Speaker A: Yeah, I agree. I don't know if the. The color, the lighting in this one is. Is enough to. [02:11:48] Speaker C: Yeah, yeah. [02:11:50] Speaker B: Whereas this, it just works with the. With the otherwise dull sky. [02:11:55] Speaker C: Yeah, yeah. [02:11:56] Speaker B: You know, it removes that need to try and create definition when it's not there. [02:12:00] Speaker A: Yeah. Focus. It really pulls me into the form of the boat. [02:12:04] Speaker B: Yeah. [02:12:05] Speaker A: The bird on the back of the boat, the windows on the boat. Like the windscreen. Yeah. That's nicely framed below that duck. [02:12:12] Speaker B: Yeah. [02:12:13] Speaker A: Horizon. The land and the trees become what? Yeah, I think everything just becomes easy. It's a focus on the shapes. [02:12:20] Speaker B: Yep. [02:12:23] Speaker C: Yeah. I really like it. I like. It's really good in black and white for sure. The thing I get drawn to, that I actually really like is the power pole. [02:12:35] Speaker A: It's funny, it's like. Because everything else up there is kind of empty and then it's just there. [02:12:41] Speaker C: Yeah. [02:12:42] Speaker B: But the line that's running off it leads you back to the vote. To the boat. [02:12:45] Speaker C: Yeah, yeah. I think that's why it works. Yeah, it's good. [02:12:52] Speaker B: Amazing. Yeah, really good. Well done. Up next, Mr. Nev, Neville Clark, the story. Good afternoon, team. The story behind this photo was rather simple. I wonder who has sat in this chair and what stories were told? Albany, Western Australia. Like a Q328FA, ISO 200 shutter speed 13 20th with a 18 Polar Pro Ms. Gold filter. [02:13:22] Speaker A: Firstly. This is really cool. It's really beautiful. Like. Yeah, classic print. Huge on the wall of a dentist's office. A real fancy dentist too. Not one of those ones that I would go to like a problem one [02:13:41] Speaker B: that one that owns a Leica, basically. [02:13:42] Speaker A: That's right. That's exactly right. But I was curious about the mist filter. Do you know, Adam Edwards, what a 18 Polar Pro Mist gold filter would do for this? Like what? What does that do? [02:13:57] Speaker C: The mist filters normally like got a. This one has obviously been golden, would warm the image up. But they've normally got like little translucent specks on the glass almost a bit like it's been sandblasted so it makes the light bloom. So it softens the light but not the detail typically. So like if you zoom in and be ultra sharp, like not soft but it will soften the light and bloom the light and you can kind of see where it's done that a bit up around the sun. It sort of bloomed the light into the clouds a bit. Yeah, yeah, yeah. A lot of wedding photographers and stuff use mist filters because it's kind of an effect that you can't. Yeah. You can't really create it in post the same. It just doesn't look the same. Yeah, it's really [02:14:50] Speaker B: that I bought for doing some night street work to make sort of neon lights kind of bloom a bit more. [02:14:55] Speaker C: Yeah, yep. Same thing. [02:14:57] Speaker B: I haven't used them but I've got them, you know. [02:15:01] Speaker C: Yeah. Bruce just said in the chat missed use heaps in cinema, which there's heaps of that. It's a real common look on a lot of the new shows actually. I've noticed with the really back to that really low contrasty misty look when there's, you know, backlit. [02:15:17] Speaker B: Yeah, yeah. Amazing. That's gorgeous, Neville. [02:15:22] Speaker A: Yeah. [02:15:22] Speaker B: And beautiful photo Nev. Yeah, it is really well done. There's a quick comment here from Crackers who works at the. Is it Yara Yarra Valley fm? I think it is. He's nearly up to his third rodeo show. We're still going so. [02:15:37] Speaker A: That's right. We gotta get. We gotta get this thing done. I've got to get up at 5am tomorrow. [02:15:43] Speaker B: We're almost there. We're almost there. We've got to get Justin to bed. Everyone. This is from Lisa Leach. Up next. Hey, Justin and Greg. This week's image is another from the high country. Oh wow. I have titled this one Nature's duality. At just 40 capacity, Lake Ilden's receding waters exposed the remnants of bull rushes on the lake bed, revealing the past while the calm surface reflected the life continuing to flourish on the water's edge in the name of growth. I'm always happy to receive input and feedback from yourselves and the chat. It's just 81 days to befop. Kindest regards, Lisa. This is beautiful. [02:16:28] Speaker C: It's cool, isn't it? [02:16:29] Speaker B: Yeah. [02:16:33] Speaker C: I love intimate reflections. I nearly put a shot in tonight in my shots of just the stick going into the water with like a fairly some almost similar to this but in. In color. Yeah, I can't. And you would have to see like in the interest of feedback whether it would look better flipped 180 or worse. [02:16:58] Speaker A: I was just thinking this. I'm like, does this need the Bruce Moyle flip? But like, are you talking to just go full upside down? [02:17:06] Speaker C: Yeah, yeah, yeah. So the tree's up the right way. [02:17:09] Speaker A: That's what I was just thinking. I was trying to do it without, you know. [02:17:13] Speaker C: Yeah. And. [02:17:14] Speaker A: And like, I'll let you know. [02:17:16] Speaker C: I wouldn't know the answer. [02:17:21] Speaker A: It does look really cool upside down. [02:17:24] Speaker B: It looks really cool this way too. But it's. It's this. It draws your eye into the reflection and back out to the. To the bull rushes to the reads. My, my. My focus is shifting the whole time. It's really quite clever. [02:17:40] Speaker C: Yeah, yeah, yeah. I love it. The other thing in the. In the interest of feedback is one thing that we all do a little bit when we process images like this is because it was clearly this moody scene, we tend to under expose them in processing. So, like, the brightest light in the image should still be close to white, even if it was a dark, moody scene. Unless you're going for a really grungy sort of look. So I think it could be. Then it might be. My screen could be a little bit brighter in the whites, if anything. [02:18:17] Speaker A: Yeah, I would agree with that. You could potentially lift it a bit and you might then get a bit more definition around the tree and. [02:18:26] Speaker C: Yeah, yeah, yeah. [02:18:28] Speaker A: Because I can see it on my thing on my monitor, obviously. Yeah, I think you could lift it a little bit without risking it looking sort of over. Overblown or unnatural. It is hard, though, because it is a reflection on water. So this is probably very true to the. The what. What it was. [02:18:49] Speaker C: Yeah. [02:18:49] Speaker A: But, yeah, you could probably push it a little bit. [02:18:52] Speaker C: Yeah, yeah. I would treat it like I was printing it. If I treated it like I was printing it, I would use the curves to bring the white right towards What? [02:19:02] Speaker A: Yeah. [02:19:02] Speaker B: Yep. [02:19:03] Speaker C: Just great. Super cool. [02:19:08] Speaker B: Very cool. Amazingly so. Thank you for sending that in. Up next, let's keep it moving. We've got Felicity Johnson, who has been winning award after award this week or last week. She kept getting notifications of awards for different competitions she's entered. Prolific. Absolutely amazing. Felicity Johnson. Hi, Justin and Greg. Thank you so much for your Steve Parish podcast. It was our pleasure. Just a couple of insect macros. I'm eagerly awaiting for the temp, the temperature to rise so that the invertebrates become active again. I can spend hours in our garden and the bush searching for them. Shot with a Nikon Z8105 Mil Nikon F 2.8 Macro. Cheers. Flick look at that. [02:19:54] Speaker C: Love the wasp. [02:19:55] Speaker B: Oh, that was. [02:19:57] Speaker C: Yeah, that is so good. So good. [02:20:02] Speaker A: You must get so close to these things. [02:20:05] Speaker C: Macro photography is so hard, man. Yeah, like. Yeah, that is. That is a cracker of a shot. That's amazing. [02:20:18] Speaker A: It's. It's so sharp. [02:20:21] Speaker B: Yes. [02:20:22] Speaker A: Wanted to do that. [02:20:23] Speaker B: Oh, wow. Yeah, that's great. [02:20:29] Speaker A: Yeah, it's. [02:20:29] Speaker B: And I like the crop, too. The crop is. [02:20:34] Speaker A: Yeah. Really nice framing. [02:20:35] Speaker B: Yeah. [02:20:36] Speaker A: Beautiful colors. [02:20:38] Speaker B: Amazing. [02:20:39] Speaker C: Yeah, the colors work really well. Hey, the purple flower and the orange and the wasp. [02:20:44] Speaker A: Yep. [02:20:44] Speaker B: And the way that black brown has just been obliterated, like. But there's some. There's a. There's a hint of definition, isn't there? There's a hint of color. Like, different colors in that background, shapes. It's really cool. Amazing. All right, should we move along? [02:21:06] Speaker A: Phil Thompson. [02:21:08] Speaker B: Phil Thompson, attached to my images for tonight's podcast, all taken at Queenscliff last Saturday evening after I had been photographing a Gilbert and Sullivan operetta performance there in Queenscliff. That's very posh. They finished around 5pm Enough time to allow me to get to the south wharf to photograph the twilight pastels looking away from the setting sun. Then the afterglow from the setting sun was still putting on a show in the northwest behind me. So I drove over to Queenscliff Marina area and was able to capture the second and third shots looking over Swan Bay. The shots are the two locations where only were only 30 minutes apart, with the wharf shot at 5. 45 and the marina shot at 5:58. [02:21:54] Speaker A: Look at that. [02:21:56] Speaker B: All shot on the course. The Pentax K1 Mark 2 with a shutter speed of the different freight shot. Okay, I won't go through them. As always, thanks for a great show, the wonderful guests and the fantastic community that you have and are continuing to build. For us photographers, it's our absolute pleasure. Thanks for sending in images and hanging around to watch [02:22:20] Speaker A: beautiful sunsets, Phil. [02:22:22] Speaker B: Yeah, yeah, And I'd love that. The middle shot with. With the boat. [02:22:25] Speaker C: Yeah. [02:22:26] Speaker B: Just, you know, you can obviously make out the outline of the anchor kit and the bow and the rail, but, yeah, it just. It just sort of adds to that story, [02:22:37] Speaker A: I think. All shot drawn to this bad boy. [02:22:40] Speaker C: Yeah, yeah. The shop shot with the sheds. For me. Yeah. [02:22:43] Speaker B: I'm shot with a 15 to 30. [02:22:45] Speaker A: Warm light and cool. Cool everything. [02:22:48] Speaker C: The color contrast in this is, like, perfect. Yeah, it's so good. The only thing that could make it better is if the light was on, but you can't control that. [02:22:58] Speaker A: That's right. Yeah. [02:22:59] Speaker C: Yeah, yeah. That's really good. [02:23:03] Speaker B: Yeah, yeah. Amazing. Thanks, Phil. [02:23:08] Speaker A: Lucky last. [02:23:10] Speaker B: Is it? [02:23:10] Speaker C: It is. [02:23:11] Speaker B: It's Philip Johnson, everybody. Oh, he's waited so long to see his photos. It's usually the first in the chat, so we appreciate your patience, Philip. Greeting, gents. Attached images and settings. Image captured in the megalong valley in the Blue Mountains. I love wandering the area. The white gums are stunning in all weather. Philip shot this with a Sony A74 70 to 200 Mark II 2.8 and process using Photoshop 26 and Topaz. [02:23:42] Speaker A: Beautiful as always. Australiana. It's just like. [02:23:44] Speaker C: Yeah, yeah. [02:23:45] Speaker A: I like the V shape of the trees. You guys see that? [02:23:48] Speaker B: Yeah. [02:23:49] Speaker A: The V shape of the. [02:23:51] Speaker B: Yeah, yeah, yeah. [02:23:54] Speaker A: Coming in from both sides of the image to these. The. The main sort of two trees at the front. [02:23:59] Speaker B: Yeah, yeah. That's gorgeous. [02:24:05] Speaker A: Just a classic. [02:24:05] Speaker C: I like it. I would like to see it cropped where you couldn't see any of the white of the sky. [02:24:13] Speaker A: That'd be interesting. I wonder, just. [02:24:16] Speaker C: Just to see. I think it would feel more foresty. Maybe just. [02:24:21] Speaker A: I can do that too. [02:24:23] Speaker C: Just like. Yeah. Like back to that tree shot of mine. I think sometimes we're, like, really drawn to have lots of the tree. [02:24:33] Speaker B: Yeah. [02:24:34] Speaker C: But sometimes like those. Those trunks in the foreground are like, so good. Maybe. Yeah. You could just go just a tiny little bit tighter and get rid of a bit of that white. Maybe not even all of it. [02:24:47] Speaker A: Yeah. So you're thinking to preserve a little bit more of the. So maybe you'd have to. If. Because who knows what trees were there. I don't know what's possible. [02:24:56] Speaker C: Yeah, yeah. [02:24:57] Speaker A: If you could. If you could walk back a little bit further, maybe, and then zoom in, just focal length. Yeah, yeah, yeah, yeah. [02:25:06] Speaker B: But gorgeous. [02:25:06] Speaker C: But even just a crop of that would be interesting to see. Yeah. Even at that aspect, if you just took it down even half of that white sky, it would bring it in a little bit on the edges, too. Yeah, yeah. Interesting. But that's beautiful. Trees are so hard to photograph. [02:25:24] Speaker B: Yeah. [02:25:25] Speaker C: I think, like. Yeah. To do well. They're so hard. Like, this is such a good shot. The color's really good in this because that green color can be really hard to keep under control. [02:25:40] Speaker A: Yeah. You can get tempted to want to push it because it looks. Oh, yeah, you just crank it. Just keep cranking it. You're like, oh, yeah, look at that green. And then all of a sudden it doesn't look like the Australian bush anymore. [02:25:50] Speaker C: Yeah, exactly. Yeah. [02:25:54] Speaker B: Love it. [02:25:56] Speaker A: That's it. We're done. Right on the door of 10 o'. Clock. [02:25:59] Speaker B: Amazing. [02:26:00] Speaker A: 2 hours and 26 minutes and it's my bedtime. [02:26:04] Speaker B: It is indeed. We've got a very big week, young man. Look for everyone that is sending photos tonight. And every time that we do this, which is every Monday night at 7.30pm Australian Eastern Standard Time. Thank you so much. We all gain not only insight and inspiration, but we all learn something from your images just as much as we do from each other's. And so we always encourage you to send your work through and to do so. You can send your images to justinuckystraps.com Please include change the file name to your name so that it's easy for Justin. He gets a bit confused with lots of numbers and letters and things. He's not very good with that stuff. He's from Bendigo anyway, so I'm not [02:26:45] Speaker A: going to be here next week too. So we'll have to figure out if we can even do this next week. I'm in the middle of setting up an email address that you can access to Greg that'll. Or that, I don't know, trying to work it out. Yeah, a new email address. But always, folks, we may or may not show your images next week. We will promise nothing and do our best, [02:27:05] Speaker B: but you can send in your images. Make sure you send in your camera use, lens use, used a few of your settings and a little bit about your experience. You know, where were you? What were you doing? Why were you there? What did you gain from it? Let us know what else we got to cover off. [02:27:19] Speaker A: Boss, I don't know, make sure everyone's following Adam for when he puts out another awesome YouTube video or. Or anywhere else. [02:27:28] Speaker C: Yeah, yeah. That's been on the. On the side vendor with all the other stuff going on, so I need to get back into that. [02:27:35] Speaker B: Yeah, but I've been watching your clips, your shorts. [02:27:38] Speaker C: Yeah, I've just been like smashing heaps of small things out of the big things. Yeah. Which has worked well. [02:27:45] Speaker A: No, Bruce, I did see yours. Damn, Bruce, I did see yours. I did see yours. I saw it too late. [02:27:52] Speaker B: Ah. [02:27:54] Speaker A: I was doing something else. [02:27:56] Speaker B: Well, I can do. [02:27:56] Speaker A: Sorry, Bruce. [02:27:57] Speaker B: I have skills. [02:27:58] Speaker A: Yeah. Yep, it did come through. [02:28:03] Speaker B: Next week, Bruce. Sorry, mate, [02:28:06] Speaker A: not too spicy. I didn't actually. I didn't actually get a chance to look at the image. So now I'll have to have a look. I'll have a look and see. Yeah, I mean, but yeah, please, please [02:28:16] Speaker B: send in your images, folks. What else we got to cover Off. You won't be here next week but we're, we're looking at getting some guest co hosts to fill the hot seat that Justin has left behind for both the Monday night and for the Thursday morning show. And just to recap, we do this twice a week. We always go live Every Monday night, 7.30pm Australian Eastern Standard Time, the random photography show, which is what you've just witnessed and experienced. And then every Thursday morning, 9am Australian Eastern Standard Time, we interview an amazing photographer. You can go check out Adam's long form interview with us, you can check out Steve Parish's three and a half hour interview with us. It's really up to you. There's a lot to go. We actually Steve was our 200th episode of the camera podcast. So there is a lot going on in that back catalog and you know, no better time to start than now. Over to you boss. [02:29:08] Speaker C: Let's do it. [02:29:12] Speaker A: Good night. Greg Carrick. He says cheers chaps. Well done. Phil Thompson. Great night again guys. Thanks and good night. See you all on Thursday. Says well, hang on. John Latimer. Thanks everyone. Always a pleasure to hear from Adam. Yes, thanks Adam. It is fun show guys. Safe travels, Justin. Yeah, hopefully we'll see how I go. I'll be on Thursday's show. Yes, I know we do need to see Bruce's image now. Well, at a minimum I'll send that to Greg. We'll sort Bruce's out for next week. [02:29:42] Speaker C: Yeah. [02:29:43] Speaker A: Should we richer. See you all. Thanks for a great show. Lisa Lee, Thanks. Good to see you. Nev Clark. Yes. And it is bedtime for everybody. [02:29:51] Speaker B: But thank you. Adam, great to see you again. [02:29:54] Speaker C: Thank you guys. See you in like eleven and a half hours. [02:29:59] Speaker B: Yeah. [02:30:01] Speaker A: Rick Nelson, thanks for another great show. Thanks everyone. Felicity Johnson. Thank you. I will. Have fun in Africa. Who else, who else was here today? David Skinner, Dennis Smith. Great night comment. Tourette's everybody. It was good to see you all and we'll, we'll catch you guys on the next one. [02:30:21] Speaker B: Be safe everyone. Bye.