Ricoh GRIV Monochrome and more with Cam Blake - The Random Photography Show EP150

[00:00:12] Speaker A: Oh, Greg, I've played the wrong intro song. It's the one with that lyrics. Let's just roll with it. [00:00:17] Speaker B: Or you could sing. Can you come to sing? [00:00:19] Speaker C: Yeah, I don't. I don't do Bob Marley. [00:00:22] Speaker B: Yeah, I don't do sing. I don't do singing. [00:00:25] Speaker A: Just go with this one, then. [00:00:26] Speaker B: Let's just go with it. Just turn it off. You've ruined it. You've broken them. He did break the Internet. Literally. Cammie, you just said, let's break the Internet. And here we are. [00:00:34] Speaker C: We're 30. We're 30 seconds into this, and it's gone to already. [00:00:37] Speaker A: Yep. [00:00:39] Speaker B: But, you know, that's what. That's what happens here on the Camera Live podcast. Welcome, everybody, to another episode of the Camera Life podcast. It is the random photography show, believe it or not. This is. Well, we're Fairly sure episode 150, and I think that's celebrating. But we couldn't have ish, give or take. But we couldn't have done it with any. Without any of you guys. And obviously I couldn't have done it without Justin. But this is. What is it? It's the 19th of January 2026, and we are joined tonight by another famous or more infamous podcast, Cam Blake. [00:01:14] Speaker C: That's better. [00:01:14] Speaker B: Welcome to the show, Cam. [00:01:16] Speaker C: Thanks, Greg. How you going? Welcome. [00:01:18] Speaker B: Doing all right. So good to have you on. Be trying to get like we talked about getting you on. I think it was beef up 2024. We bailed you up on the last day and we said, hey, that's right. We're doing a podcast too now. You're not the only famous people. [00:01:33] Speaker A: Yeah, but then we did the down south show. [00:01:36] Speaker C: Yeah, we did the combined show. [00:01:38] Speaker B: We haven't. And we haven't had Cam on to talk about Cam. [00:01:42] Speaker A: Well, we have to do a full interview one day, which is the 26th of March. [00:01:47] Speaker C: Yeah. Coming back in a couple of months. [00:01:50] Speaker B: Oh, it's all done. [00:01:50] Speaker A: Cool. [00:01:51] Speaker C: I thought you were. [00:01:54] Speaker A: I don't know anything. I just rock up and Greg knows. [00:01:59] Speaker C: So you're pretty much me on my show and you're on your show. [00:02:05] Speaker B: None of this would be possible without Yelena because we're both idiots when it comes to. Compared to Elena's performance when it comes to organizing things. [00:02:14] Speaker A: Which. Which speaking of Yelena, she's just messaging. She's saying based on the audio podcast, you're at 148. So tonight would be 149. But if you count the lives at befop, it's probably over 150. So for the sake of numbers, call it 150. So she's, she's listening and actually correcting our count. So yes, she keeps the trains running on time. [00:02:35] Speaker B: Executive producer, really. [00:02:36] Speaker C: When you think about it, every show needs one. [00:02:39] Speaker B: They do. But of course the Camera Life podcast wouldn't be possible without the. The support of Lucky Straps. If you're looking for a brand new handmade Aussie made leather camera strap to connect with your craft, head to Luckystraps.com use code Greg at checkout and get yourself a healthy little discount on any of the Lucky Straps branded products. We also do T shirts, we do hoodies, There's a few left. We didn't have many after bfop, but there is a few left. And yeah, of course, camera straps, wrist straps, shoulder straps, thick, thin, we do them all. No prejudice here. But yeah, let's get on with the show. Justin, you made it back in time from Melbourne. [00:03:16] Speaker A: I did, I did. I just pulled in less than half an hour ago and I'm back and I'm ready to go. So I'm fired up, excited today for a nice lunch. We did. [00:03:25] Speaker B: Thank you. [00:03:26] Speaker C: How often do you do Melbourne? How often you do Melbourne? Is it Bendigo, isn't it, where you are? [00:03:31] Speaker A: Yeah, very. Just rarely really, unless there's something going on. I don't like driving in Melbourne. Yeah, I do, actually. [00:03:41] Speaker C: Who does? [00:03:41] Speaker A: I just don't. I don't like them. They're weird. [00:03:44] Speaker C: They're even better when the trams are coming through. [00:03:47] Speaker A: Yeah, I don't like that bit. Yeah, yeah, yeah, yeah. No, I just don't like the. Everyone's just in a rush. Everyone's just in a hurry all the time. I don't like it. I like if we go to Melbourne. I usually like to either like drive and park straight away and then not use the car or. Yeah, get the train down and pay. [00:04:05] Speaker C: 150 for a car park. [00:04:07] Speaker A: Yeah, if you can find one. And they never hit my car. Yeah, right. Yeah, anyway. Yeah, anyway. [00:04:14] Speaker B: But good to have you on board, Cam. How have you been? [00:04:17] Speaker C: Yeah, yeah, good. Thanks for having me on. Yeah, it's been. Been a nice little Christmas New Year's Eve period without actually. Well, actually being home's been nice. [00:04:25] Speaker B: It's. [00:04:25] Speaker C: Yeah, reintroduced myself to the family. They seem to be getting used to me again, so must be almost time to go. Go somewhere else. But it has been good. Had a busy 2025, but yeah, it's just been nice the last few weeks. Just chilling out and just catching up on some editing and Doing some odd jobs around the house and, you know, all that kind of stuff that you don't do when you're not there. [00:04:48] Speaker A: So, yeah, you were saying you've literally been chilling out while we've been up here, sweltering in the 30 to 45 degree heat. It's been snowing there, you said, in Tassie. [00:04:58] Speaker B: Yeah. [00:04:58] Speaker C: It's ridiculous. So when you're talking about Melbourne being, you know, busy and stuff, that's the reason we moved to Hobart. We moved to Tassie because Melbourne was just too busy and crazy and hot. Like I don't, you know, catching a train home from the city on a 45 degree day. Not. Not much fun. Not fun at all. So down here, I think in the last. I've been here, home six, eight weeks maybe, I think we've only had like one or two days over 25 down here, which is fairly warm for Hobart. But it hasn't been what you guys been getting up there. So I've been watching all the news and the fires and floods and, you know, down here it's been. It's snowed on Christmas Day down here in the mountains. It snowed. I think it snowed about a week ago as well. And this week, I think Wednesday or Thursday is going to be a top of 12 in Hobart. It's ridiculous. So. [00:05:48] Speaker A: Wow. Yeah. [00:05:49] Speaker B: Yeah, that's nice. [00:05:50] Speaker A: That's. [00:05:50] Speaker C: It is ridiculous. It doesn't make any sense. [00:05:52] Speaker B: I think it's, you know, what, what's. [00:05:54] Speaker A: Changed in the week here. [00:05:55] Speaker B: Yeah. Actually, I was talking to Adam Edwards who was a guest on our show last week on Thursday. And if you haven't checked out that episode, guys, go check it out. It's great interview with Adam, but I'm shipping him, or we're shipping him a Lucky Straps hoodie. And I looked at the weather forecast for Broken Hill and it's going to be like an average of between 35 and 45 over the next week. Why is that man getting. [00:06:17] Speaker A: He's got his Iceland workshop coming up. [00:06:20] Speaker B: Oh, he has two to three weeks. Yes. He's going to Iceland. Yeah. [00:06:22] Speaker A: Otherwise, Hoodie not. Not required. [00:06:25] Speaker C: Yeah, that's a. That's a fair shock, going from Broken Hill to Iceland in win. [00:06:30] Speaker A: Yeah. [00:06:30] Speaker C: That'll be a difference of about 60 degrees. Yeah. [00:06:33] Speaker B: Wow. [00:06:33] Speaker A: Yeah. [00:06:33] Speaker B: And his first time, he'll just snap. [00:06:36] Speaker A: Frozen and not be able to move. [00:06:37] Speaker C: Yeah, yeah. Bloody hell. [00:06:39] Speaker B: Curl up sucking your thumb and cry. [00:06:41] Speaker C: Well, there was, there was. There was a chance that him and I were going to share that. That little Iceland Trippy did. He was looking for a few more numbers and we discussed about getting a few more numbers together. Just didn't line up but. But I think, yeah, it be nice to get to Iceland. I haven't been there but I think he's very excited about it, so. [00:06:58] Speaker B: Yeah, he is. Yeah, he's pretty keen and he's getting himself, you know, he's geared up for the year. He's making YouTube videos again. He's. He's setting some really solid plans. A couple of other friends of ours are looking at first time travels and running workshops. Louise Sedgman's going to Morocco. [00:07:14] Speaker C: Oh yeah. [00:07:14] Speaker B: Awesome. And she is, she's got like a tour that she's booked with a friend and someone else I think like a handler in country and they're going to all these places that are to do with, with horses. [00:07:27] Speaker C: Yeah. [00:07:30] Speaker B: Yeah. So they're, you know, they're going to like these really, really. I don't know the words for it but unusual kind of, you know, places where they, where they've got horses and, and activities and I don't know the. What, what's the words for horses? I've lost my words. [00:07:44] Speaker C: Paddocks, Stables. [00:07:46] Speaker A: Yeah, fields. They've got paddocks. Horses got good paddocks. [00:07:49] Speaker C: You got horses anyway. [00:07:50] Speaker A: Sums it up. [00:07:51] Speaker C: Google sums it up. [00:07:52] Speaker A: Look it up off. [00:07:55] Speaker C: There'd be some, there'd be some countries that would have some like weird ass horses as well. Like you could probably travel the world, shoot, not shooting horses, photographing horses and. [00:08:04] Speaker A: You could probably get buys a lot. Zebras are pretty weird. The black and white version. [00:08:10] Speaker B: Oh yeah. [00:08:11] Speaker A: Actually we'll be talking about. [00:08:12] Speaker C: Is there a non black and white version of zebras or. [00:08:16] Speaker A: Yeah, no, horses, Horses. Horses called horses. Yeah. [00:08:23] Speaker B: Keep up. [00:08:24] Speaker A: I've heard the zebras are a lot more expensive but we'll talk about that later. I'm gonna just quickly say hello to everyone in the chat. Fermi 8809 was here very early today. 2:41pm That's a long wait. I appreciate the commitment but who else is here? Lucinda Goodwin. Good to see you. Says hey gang. Ian Thompson. Afternoon all from a hot Pilbara. 46.5 degrees here today. What's it like in your world? What was it Greg? 32 in Melbourne. [00:08:55] Speaker B: It's also really humid. [00:08:57] Speaker A: Yeah, it was raining. 18 hey. Good is it? [00:09:03] Speaker B: Yeah. [00:09:05] Speaker A: Liz Okie said. Good evening all and hello Cameron, Lisa Leach. Hello to all. Pete Mellows. Hi everyone. Good to see you man. Good evening. Hope you're going well Tint up, man. Melbourne got. I thought. I thought I got it over 28. Anyway, it wasn't matter in the concrete Jumbler. [00:09:23] Speaker C: Probably would be. [00:09:23] Speaker A: It felt hotter. That was the thing. Everything just radiates and feels like Richmond's. [00:09:29] Speaker B: Like that Richmond's really exp. Like how bright was it when we came out of the restaurant? [00:09:32] Speaker A: Right. Yeah. [00:09:32] Speaker B: And it's just bouncing off that concrete. [00:09:34] Speaker A: Yeah, yeah. [00:09:36] Speaker C: Dodge the dodging, the druggies and the ice addicts down Breach Road. [00:09:39] Speaker A: You know, I didn't see any today. [00:09:41] Speaker B: I didn't see. [00:09:41] Speaker C: Maybe one day they saw you too hot. [00:09:49] Speaker A: Gareth Davies, Good morning. Hey, Garrett, Greg Carrick. G'. Day. All from my air conditioned radio station. Suck it up. Pilbara. Philip Johnson. Who else is here? Felicity's here. Hey, Flick. [00:10:03] Speaker C: Hey, Flick. [00:10:04] Speaker A: Who else? Who else? Who else? Paul David Lipparati. Rick Nelson. Andrew Thompson. Nick Fletcher. Hello, everyone. The standards are dropping. You've got the big C. Yeah, yeah. [00:10:16] Speaker C: Are you referring to me or the other big C? [00:10:19] Speaker B: We're literally scraping the bottom of the country. So. Yeah, I'm good, thanks. [00:10:24] Speaker C: Thanks for asking. [00:10:25] Speaker A: Yeah, yeah, yeah. Good to hear from you. Rear View Photography. Levin Barrett. Good to see you. Bruce Moyle. Mitch Gamble. Oh, Tony. Nice little 7.99 donation. [00:10:37] Speaker B: Oh, that's a. That's a. That's a true Melbourne coffee price. [00:10:40] Speaker A: Yeah. Coffee for Greg. That's about what they're running these days. Is it $8? [00:10:43] Speaker B: Yeah, it is. [00:10:44] Speaker C: Surely it's more than that. [00:10:45] Speaker B: Yeah. Comes with a shot of heroin. [00:10:48] Speaker A: Robert Vana's here. Says it's cold and snowy in New Jersey. I bet it is freezing. [00:10:53] Speaker B: Oh, yeah, that's a wild weather too, in the States. [00:10:56] Speaker A: Thanks for converting that for us, Robert. It's like. I think that in Fahrenheit that's like minus 8/9 or something. I can't remember. [00:11:03] Speaker B: What about Kelvin? [00:11:05] Speaker C: Your viewers need to do. Your viewers need to do themselves a favor. There's a skit by Saturday Night Live. It's the George Washington in a. In a skit where he goes over the reason why America use Fahrenheit inches, yards. Google it. Google Saturday Night Live American George Washington skit. It is hilarious. We played it on an America too. As to why they use the different measurements. Makes no sense at all. They're the only people in the world do it. It's hilarious. But do yourself a favor after this show, of course. Not now. Not when you finish. Yeah, yeah, yeah. [00:11:36] Speaker B: Don't. Yeah. Actually I did learn something about something similar because I'm a word person. Because I write that, I found out that the reason why Americans have different spelling to words like honored is because when they were using typesetting to either create and content, you know, but they had influences way back then that they would drop the unnecessary letters and it just became common vernacular to use the short. [00:12:03] Speaker C: Cheaper to print them. [00:12:04] Speaker B: Because it was cheaper. Yeah, it was cheaper to use the shortened versions of the words. Really. [00:12:07] Speaker A: That was it. They would. They were just. Everyone knows, honor. They'll figure it out. [00:12:12] Speaker B: Yeah. Like, yep, yep, yep. [00:12:15] Speaker C: In true American style, they said it's our way or no way. [00:12:19] Speaker B: Although I don't know why they use Z instead of S for, like, minimizing and things like that. That's. [00:12:23] Speaker A: That's. [00:12:24] Speaker B: I don't know about that one. I'll get back to you next week, everyone. Stay tuned. Yeah, this has been word. [00:12:28] Speaker A: That is a weird one. [00:12:30] Speaker C: Words of Greg, episode one. [00:12:32] Speaker A: Well, speaking of words with Greg, they said the word you were looking for, Greg, was equine. Equine. When you were saying thanks. [00:12:39] Speaker B: Thanks, Flick. [00:12:40] Speaker A: More horse things. Anyway, Bruce Moore said also telegraph because a letter costs added up. So it was like price per letter to telegraph stuff. [00:12:49] Speaker C: I guess that means Bruce still uses telegraph and Lonnie, doesn't he? But they still use it up there. [00:12:54] Speaker B: And kerosene lanterns. [00:12:56] Speaker A: Yeah. [00:12:59] Speaker B: All right. [00:12:59] Speaker A: And final. Final comment from Dave Fluttersuck. Good to see you, Dave. It's weird. The only pop in. You pop in. Sometimes you're not on every show and sometimes you're on other shows. Dave Fluttersuck. I see you've got that critten cam Blake on. We do, yeah. [00:13:13] Speaker C: Like you said, they're scraping the battle. Yeah. I could be a real cretin if you want. Or I can just try and curve. Curve my cretinus. It's up to you guys. [00:13:21] Speaker B: Go for mid range. [00:13:23] Speaker C: We'll see how many coffees you get. [00:13:24] Speaker A: Bought for a better show. Exactly. We'll see if the viewers drop off or we'll stay on. Okay. Should we do some. Do some stuff. Should we. [00:13:35] Speaker B: We'll do some podcasting. [00:13:36] Speaker A: Do some podcasting. Yeah, I mean, I guess we could. Yeah, I guess we should look at some. [00:13:43] Speaker B: Let's look at the weekend. [00:13:44] Speaker A: We just read. We just read a lot of comments out, though. And now there's. We got a lot of comments on the channel last week, too, so I almost feel like I don't want to bore people. Actually. This is a good one. Let's. Let's talk about this very quickly because this is a comment. Actually, let Me play my thing first. Ready? I'm gonna show Cam how professional we are. [00:14:01] Speaker B: Don't blink. [00:14:02] Speaker A: Next segment. And now we're into the clips and comments. [00:14:08] Speaker B: That's it, Cam. [00:14:08] Speaker A: That's it. That's. If you're waiting to be a professional. [00:14:12] Speaker C: Before I came on here, I was a little bit worried that this show may outdo the down south photo show. But I'm feeling better now. I'm feeling much better. [00:14:20] Speaker A: You'll be right. It's not anything special but so this comment here, I'm going to bring this up add to stage after last week's show. We're talking about little point and shoots and those Olympus or OM system tough cameras, the TG6 or TG7. Andrew Connor says definitely a fan of the Olympus TG6 or 7. It's incredible. The macro slash stacking is ridiculously good. Can get some fringing on the images. But overall, utterly brilliant camera. I'll send sample images and sample images he did see. But have I. Do I have them? Let's just pull one up. [00:15:01] Speaker B: Who is this from? [00:15:01] Speaker C: Be an anti. [00:15:03] Speaker A: Andrew. [00:15:03] Speaker C: Andrew Connor. Be a bit of an anti climax if you said you're going to share images and nothing was there. [00:15:09] Speaker A: Yeah. [00:15:09] Speaker C: So like there we go. [00:15:10] Speaker A: Look at, look at this little macro. Little macro. [00:15:13] Speaker B: That's cool. [00:15:15] Speaker C: They are, they are impressive, those cameras, I must say. [00:15:18] Speaker A: Yeah. Just from a little. I think they're about 550 bucks or something at the moment. [00:15:22] Speaker C: Yeah, they got, they got. They've got a 1cm macro mode. [00:15:26] Speaker A: Yeah. [00:15:26] Speaker C: Like they're amazing. They're incredible. Almost touches. Yeah, yeah, yeah. [00:15:31] Speaker A: And all. And an enclosed roughly. I can't remember what it's like. Roughly. Like a 2428 mil to 100 mil lens or something thereabouts. Like sort of a general purpose zoom. [00:15:40] Speaker C: Yep, it is. Yeah. We, when we, when we did the Franklin river trip that we used to do, almost every customer bought one of those and took it down. Just you have any little life jacket and pull it out and snap it and it's waterproof, smash proof. But the images, Adam, were really good. But the macro on them is. Is just ridiculously good. [00:15:57] Speaker A: Yes. [00:15:57] Speaker C: As that example shows. [00:15:59] Speaker A: Yeah, exactly. [00:16:02] Speaker B: Yeah. [00:16:02] Speaker A: So I think, I think that's on the shopping list. Don't tell Yelena. It'll probably be her birthday present or she might get it sooner if we have a trip coming up. But she's looking for a little point to shoot and I think I'm sort of obsessed with getting something that's higher quality images. But I don't think she cares as much and I think this will be fun and. Yeah, like, say, versatile canoeing or something like that. You just chuck it in. [00:16:26] Speaker C: Yeah. [00:16:27] Speaker A: Doing it doesn't matter. [00:16:28] Speaker C: They're. They're bulletproof. They really are. Yeah. Yeah. [00:16:30] Speaker B: And they're like a quarter of the price of most better quality point and shoots at the moment. [00:16:34] Speaker C: Yeah. [00:16:35] Speaker A: She just wants something that's a phone but not a phone. She doesn't want to use her phone. [00:16:40] Speaker C: But why do that, though? Why do people not want the phone but want the same thing as the phone? [00:16:46] Speaker A: She doesn't like having a phone around when she's socializing with people or hanging out and stuff like that. [00:16:51] Speaker B: Right. [00:16:51] Speaker A: She doesn't like that, like it being a distraction or whatever. [00:16:55] Speaker C: What about if she got like a phone case that just looked like a camera? [00:16:59] Speaker A: Yeah. But it's still got notifications and all that stuff. [00:17:03] Speaker C: So she just wants the. No distractions, just photo stuff. [00:17:05] Speaker A: Yeah, exactly. Yep. [00:17:06] Speaker C: Right. [00:17:08] Speaker A: Yeah. Like, if we go out in the boat often, we'll go out in the boat. She doesn't want to take her phone in the boat at all. [00:17:14] Speaker C: Yeah, that's fair. [00:17:15] Speaker A: Just because. Not. Not because she'll lose it or whatever, but more just. She'd rather just be away from it while we're doing other stuff. [00:17:21] Speaker C: Disconnect. Yeah. That's good because you get a lot of people ask. You get a lot of people asking about the compact cameras. And like you said, there's a heap of them around these days. [00:17:29] Speaker A: Yeah. [00:17:29] Speaker C: But I always, like, with customers that we have, I always go back to Mike, but the iPhone does almost everything you needed to do, but maybe. And maybe better and. But a lot of people are. Yeah, but I don't want to. I don't want to use my phone because of distractions and stuff like that. But yeah, when they're bloody good cameras and it's hard to push people away from them, that's. [00:17:48] Speaker B: Yeah. Well, I just. I just got the 17 Pro and my partner Sasha, she's got the max. [00:17:53] Speaker C: Yeah. [00:17:54] Speaker B: And the photography from them is just phenomenal. [00:17:57] Speaker C: Yeah. Yeah. [00:17:58] Speaker B: And the zoom, like the. The zoom is ridiculously good. [00:18:02] Speaker C: Yeah. [00:18:02] Speaker A: Yeah. [00:18:03] Speaker C: It's unreal, isn't it? [00:18:04] Speaker B: Yeah, it's really cool. [00:18:05] Speaker C: Yeah. [00:18:06] Speaker B: Very cool. [00:18:07] Speaker A: Okay, back to some more comments. Let's. Let's have a look at what else we had. So Rick Nelson, when we were chatting with Alex Kearns about goals and we'll talk about goals, Rick Nelson said, such a great show as always. Thanks, Rick. I loved hearing everyone's goals for the new year. I have three myself. Continuing my own podcast. Being consistent is number one. Number two, my wife got me the photographer's playbook for Christmas, so I want to work through that this year. Nice. [00:18:36] Speaker B: I got that too. [00:18:37] Speaker A: Ah, twinning. [00:18:38] Speaker B: Because Lucinda recommended it. Haven't opened it, haven't looked at it, but I've got it. So I'm all ready. [00:18:44] Speaker C: There you go. [00:18:45] Speaker A: For those that may not know, what is the photographer's Playbook? Greg, what is it? [00:18:49] Speaker B: Basically, it's a collection of over 300 assignments. Inspirations from famous photographers and some less famous photographers. But basically it's good to flick through and maybe just choose a random page and they'll give you some sort of either guidance, a tip or an assignment to do, and then you can. [00:19:08] Speaker C: That's cool. [00:19:09] Speaker B: It's just to help break that I don't know what to photograph at the moment kind of thing. It is good. It is really good. And Lucinda, like I said, Lucinda recommended it to us late last year. [00:19:20] Speaker C: That could almost be the B flop pipe the BFOT playbook for this year. Could it? Just pick a page and that's what you're doing? [00:19:25] Speaker B: Yeah, we don't need Matt or Nick. [00:19:29] Speaker A: Just no instructors at all. Just have 600 of those books when you get there. Just tear out a page, grab a. [00:19:36] Speaker C: Page, and away you go. Or we could just do like an A.I. beef up, just A.I. the whole thing, and you can design the whole thing. I'm sure the Shenanigan Knights would be a bit more enjoyable if they are doing it. But instead of. [00:19:47] Speaker B: Oh, that's hard. [00:19:48] Speaker C: Instead of, well, I got punched in the face last time I was on stage, so, you know. [00:19:52] Speaker A: Well, that happens. [00:19:53] Speaker B: Yeah. Yeah, that happens. [00:19:55] Speaker A: Lots of risks. [00:19:56] Speaker B: There are some risks involved. I'm sure that's a line. [00:19:59] Speaker C: There's a line for it as well. [00:20:00] Speaker A: Oh, yeah. Yeah. [00:20:04] Speaker B: Last year. Yeah. So do you think you'll be there this year? [00:20:09] Speaker C: Oh, if I get invited, I will be, yes. [00:20:11] Speaker A: Oh. Oh, well. [00:20:13] Speaker C: Well, I'm assuming I'm going. I'm just. I don't want to be cocky and assume I'm automatically invited. [00:20:18] Speaker B: Nick Fletcher has just said. Oh, sorry, boss. [00:20:23] Speaker C: You can't spell. That's okay. [00:20:25] Speaker A: I guess we'll see. Ken, I guess he might not have been talking about you. Oh, and Cam, Is he dead to me? Okay. [00:20:30] Speaker C: Oh, come on, Nick. [00:20:32] Speaker B: There you go. [00:20:33] Speaker C: Yeah. [00:20:34] Speaker A: Oh, dear. [00:20:35] Speaker C: Hopefully. Hopefully I'm going. [00:20:37] Speaker A: Hopefully. Well, I hope you are back in the saddle. We'll sneak you in. [00:20:41] Speaker B: Don't worry. [00:20:42] Speaker A: Not likely okay, you heard it here first. Breaking news. [00:20:50] Speaker C: What will I do with the second weekend of October now? [00:20:54] Speaker A: Sorry, I have to end. And the final. Rick Nelson's final goal for this year. Number three. I want to begin pub. The publishing process of the novel. I'm filming finishing about two photojournalists. Well, that is very cool. [00:21:06] Speaker B: Wow. [00:21:06] Speaker A: Some great goals. We'll be following along. [00:21:08] Speaker C: Big goals. [00:21:09] Speaker A: Yeah, yeah, yeah, yeah. [00:21:13] Speaker B: Good luck. Well, one of my goals was just to not stub my toe as much, but he's writing a book. [00:21:18] Speaker A: How's it going so far? It's not great. [00:21:20] Speaker C: Not great. Not great. Have you got big toes or. [00:21:24] Speaker B: No, I just. I'm clumsy. [00:21:26] Speaker C: Clump. [00:21:27] Speaker B: Yeah, Clumsy. Yeah, I'm clumsy. [00:21:30] Speaker C: Yeah. [00:21:31] Speaker A: Okay. What else? Wow, there's so many good comments from this. I don't know what happened this week, but thank you all. It was a ton of comments. Went a little bit crazy. Lots of comments on. Still coming in on David Ducheman's episode, which is great. Which even Nick says in here somewhere. Didn't comment. Thanks. Could have, but David Duchemin was freaking unbelievable. Yeah, great. Great guy to chat to. Very, very cool. Thanks everyone that recommended him. Awesome podcast. If you haven't listened to it, go back and listen to it sometime this week and leave a comment. Tell us what you thought. Very, very cool. He. Who else commented on that? Lisa Leach said, incredible episode. David has an amazing insight into camera craft and articulates it so well. [00:22:17] Speaker B: That he does. [00:22:18] Speaker A: It's the talking. He's such a great talker. [00:22:20] Speaker B: He's got better words than me. I've only got half the words he has. [00:22:23] Speaker A: I hope he doesn't have time to start his podcast up again. We can't compete with that sort of stuff. No, just come on. House instead this. So this Les Oki had a comment on there as well on that episode from David. This is a quote of David Ducheman from the podcast. I think just because you looked at it doesn't mean you saw it. [00:22:46] Speaker C: I was like, yeah, that's deep. [00:22:48] Speaker A: I've never said anything like that. He's very deep. He's very deep. [00:22:51] Speaker C: Yeah. I've never thought anything like that, let alone said it. [00:22:56] Speaker A: Just like pretty sensei. [00:23:01] Speaker C: The monkeys playing the symbols. [00:23:03] Speaker B: Oh, I banged my toe. [00:23:05] Speaker C: That's about it. [00:23:09] Speaker A: Okay, a couple of other quick comments. This one is from Gareth Davies from last week's Monday night episode. Great podcast. Keep missing them. But listen, when I'm driving. Gotta check. Going to check Nick Carver's photos before watching his YouTube videos. I'm about to fail one New Year's resolution and I'll blame Greg for that after reading his review on ShotKit. I also blame you all since you say the X half isn't a real camera, so it doesn't count as a camera. And I'll be allowing myself one more. So what you're buying in hex half, is that the loophole you're going to buy one because we said it's not a camera and that's not really a camera. Not buying a camera. [00:23:45] Speaker C: Yeah. [00:23:45] Speaker A: Okay. [00:23:46] Speaker C: Has anyone bought. Has anyone bought one of those? Is that the Pentax, little Pentax thing, isn't it? [00:23:53] Speaker A: Half frame. No, not the Pentax film one. All right, The Fujifilm. [00:23:58] Speaker C: The Fuji half frame one. [00:24:00] Speaker A: Half frame one. [00:24:01] Speaker B: Yeah, right, yeah, yeah, clever idea. Just not quite. Not quite realized enough and far too expensive. [00:24:09] Speaker C: But give it like 10 years down the track and they'll be, you know, people be wanting to get them because they'll be all hip and happening back then and maybe. [00:24:16] Speaker B: Yeah, yeah, they're giving them away as prizes. And then there's currently a deal, I think it's in the States where if you buy an XT5, which is their flagship photography camera, you get a free X half. And they just released a white one. A right, a white version in Japan. They're trying to, they're trying to move them. Someone, that someone's at the back, a rattle can, just painting all the black ones white. [00:24:40] Speaker C: Yeah, yeah. Make them look rid of. Yeah, yeah, yeah. I remember when I bought a. A GFX 50 years ago and they, when I bought that, they gave you an X100V or whatever, whichever version was at that time as, as freebie for buying it. Yeah, it's amazing. [00:24:58] Speaker A: Oh, that's awesome. [00:24:59] Speaker C: Yeah, that's really cool. [00:25:01] Speaker A: Well, speaking of the X100. More speaking. [00:25:04] Speaker C: Yeah, well, I end up. I end up keeping that and got rid of the gfx. Yeah, yeah, yeah. [00:25:09] Speaker A: So speaking of that, Gareth in the comments says, no, I had the X half and since you all said it doesn't count, I bought a gfx. Nice. Yeah, well played. [00:25:21] Speaker C: So he's gone from a half frame, like 12 times bigger to a medium format. [00:25:26] Speaker A: Yeah, yeah, yeah. [00:25:29] Speaker B: Well played though. Very smooth. [00:25:31] Speaker A: And in this comment here, he also goes on to say the other resolution is the shoot in black and white. I'm going to allow myself the ability to produce color from the RAW files, but every photo will be composed in black and white. White and seen first in black and white. So far I think it's improving my composition. [00:25:45] Speaker B: Yeah, definitely. [00:25:47] Speaker C: Definitely shoot in the black and white. [00:25:49] Speaker A: Mode you do as well, Cam. [00:25:51] Speaker C: Yeah, yeah. If I'm doing black and white, I chuck it in the jp. Black and white with a raw. Just so you see things in black and white, you know, you see things differently. So definitely. [00:26:03] Speaker B: Yep. [00:26:03] Speaker A: Yeah. Okay. A couple more quick comments. We also had Adam Edwards on. Obviously another great interview and lots of comments. Craig Murphy says very cool chat with one of my favorite photographers and a good bloke who I always look forward to catching up with in Bright. The conversation about social media really resonated with having losing a similar tribe due to the algorithm. Also reckon Adam would make a great Aussie. Nick Carver. Yeah, I think so too. I think Adam could, could pull that kind of vibe off. [00:26:32] Speaker C: When we interviewed Nick Carver for our show, the Down South photo show. We like and subscribe. You can or not. I don't know if anyone is subscribing these days, but anyway. But we did say that we had a person in mind. We're thinking of getting Nick. We had to talk to him after about a chat. We're thinking of trying to organize a way to fly him out to Australia purely to go to Broken Hill and Outback Australia with myself, Brendan and Adam and whoever else and, and go out and do. Go out and do some of those classic old Outback, you know, deserted sheds and falling down buildings and old towns and stuff like that. And he was up for it if, if it got up and going. He was going to get a free trip to Australia, obviously. But it'd be a very cool thing to put together, that's for sure. [00:27:17] Speaker A: Oh, imagine. Yeah, imagine you should get him out. [00:27:19] Speaker B: For beef up. [00:27:23] Speaker C: The endless money. Beef up isn't. [00:27:25] Speaker A: Yeah, just keep spending. [00:27:28] Speaker C: Yeah. Lines up and away you go. [00:27:31] Speaker A: Yeah, yeah, that's right. [00:27:33] Speaker B: Everyone's a winner. [00:27:34] Speaker C: Yeah. [00:27:36] Speaker A: Okay. Too many, too many comments. I'll have to come up to some next week, otherwise we'll be doing this all day long. Was there anything else that I really wanted to bring up? Adam's a top bloke. Mick Oz 78 says. What else? Amazing. Oh, there's just too many. [00:27:57] Speaker B: Oh. [00:27:58] Speaker A: Pete Mellow said. Thanks for the shout out, Greg. I used to love the Leyland Brothers when I was a kid. [00:28:03] Speaker C: Yeah, I remember watching Leyland Rose. Yeah, well, people all over the countryside. [00:28:08] Speaker B: They did Pete Mellow's videos got that very similar approach to it. It's a very humble Aussie. [00:28:13] Speaker C: Yeah. [00:28:14] Speaker B: Travel, you know, well traveled kind of. Yeah, it's great Yeah, I love his work. [00:28:18] Speaker C: Yeah. [00:28:19] Speaker B: And I think he's in the chat today. I think he's watching always. Oh, and he's also just moved to Canon. [00:28:27] Speaker A: Has he? [00:28:28] Speaker B: Well, he's in the, in the process. [00:28:29] Speaker C: Yeah. [00:28:30] Speaker B: He's going on to Canon Mirrorless. I consoled him and, and said, look, you know, we all make mistakes, mate, it's fine, you know, thing. Nothing's redeemable. [00:28:39] Speaker C: Yeah. The main thing as well, he's also a Tasmanian. Well, of course. [00:28:45] Speaker B: Yeah, he is, yeah. [00:28:47] Speaker C: All the good, all the good people live down here. [00:28:51] Speaker A: All right, I'll pull this clip. [00:28:53] Speaker C: Moving right along. [00:28:54] Speaker A: Moving right along. Tell us about. Hang on, I'm going to refresh it. Tell us about this thing that you found on social media. [00:29:02] Speaker B: It's. It's this company that does this. I can't remember the company's name. 4D something. What did I call it? [00:29:08] Speaker C: 4D Replay. [00:29:10] Speaker B: And they set up these rigs with multiple cameras, like lots of high end, high spec cameras and they do this. They basically do a synchronized shot and then they can basically pan the camera around whatever the subject is. And in this case it's a gymnast and they're, you know, they're able to freeze time and have that person suspended in the frame whilst they move the cameras around. And it's. I just think it's really clever. And before we went live, we're talking about how we've seen that in. Used in some movies. What was the one that you brought up? Cam? Didn't you mention one? [00:29:46] Speaker C: Yeah. So there was the guys who designed the Matrix one out of the Matrix that all the time. I think you called it Justin, which I think is what it's called. A couple, a couple of professors that were doing my course at RMIT had some input into that when it was all getting designed. So yeah, I remember when that came out. Like we're all the same. When the whole Matrix thing came out with the camera spins around like. [00:30:06] Speaker B: Yeah, we'll just. [00:30:07] Speaker C: Blown away. And the same thing with sports. Like, it looks amazing. [00:30:11] Speaker B: Yeah, it's really clever for sports. [00:30:13] Speaker C: Yeah. [00:30:13] Speaker A: Yeah, I guess because now with, with I guess Hollywood, most of it is probably CGI'd a little bit sometimes and AI coming and things like that. Whereas sports, you can't do that. Like for this application, it's got to be really. It's got to be that athlete doing this thing. [00:30:31] Speaker B: Yeah. [00:30:32] Speaker A: In the moment. So the application for it here is awesome. [00:30:36] Speaker C: Yeah, yeah, yeah. I just thought it was very cool. [00:30:39] Speaker B: Worth worth marveling at because you know, that Rig would have cost. [00:30:42] Speaker A: That's what I was gonna say. That. [00:30:44] Speaker B: And I think they're high speed cameras. Yeah, I think they're high speed cameras. [00:30:47] Speaker A: Yeah. And. [00:30:49] Speaker B: And the other. I didn't put a link, but it reminded me of the. Have you guys ever watched the slow mo guys? [00:30:56] Speaker A: Yes. Yeah. [00:30:57] Speaker B: These two British guys, they live in America. Don't know why, but these two British guys and they have these phantoms. Is it Phantom slow motion cameras? Like really high speed, you know, like 1, 2, 200,000th of a second kind of frame rates. And they. They just basically film crazy explosions and. And guns going off and things being pierced and. And they slow it right down and it's just absolutely mesmerizing. So. Yeah, check out the slow mo guys too. They've got some great stuff too. [00:31:25] Speaker A: Yeah. They've got 15 million subscribers on YouTube. [00:31:29] Speaker B: They'll fire a cannon at a, you know, at a pool table to, you know, just. And they slow it right down to see how the cannonball hits the white ball that then, you know, bursts into a million pieces and 400 mile per. [00:31:43] Speaker A: Hour cue ball again. [00:31:45] Speaker C: It's starting to sound like beef up something that you do a beef up to get a super slow mo and you can shoot, shoot, shoot Nick out of a cannon Tom or something like that. Or shoot Tom out of a cannon. Even better. [00:31:57] Speaker B: Yeah, yeah. [00:31:59] Speaker C: Worry about any cameras. [00:32:00] Speaker A: Just. [00:32:00] Speaker C: Just shoot him out of a cannon. [00:32:01] Speaker B: Just. [00:32:02] Speaker A: Just to watch. [00:32:03] Speaker C: Just to watch. I'll pay for that. [00:32:08] Speaker B: Okay. [00:32:09] Speaker A: I think that's about it. There was lots of good comments. Sorry, I can't read everyone's out. But it was just nuts on. On the Internet. I'll be going through them all manually and checking them out and replying, you know, with the typing. But yeah, you guys. Awesome. I love it. Get in there. [00:32:23] Speaker B: Like subscribe. Thanks, guys. [00:32:25] Speaker A: Keeps us rolling. [00:32:25] Speaker C: Awesome. [00:32:26] Speaker B: Does. [00:32:27] Speaker A: Should we look at the camera news? [00:32:29] Speaker B: Yeah, I'll just. Do you want me just to skim over it? [00:32:32] Speaker A: I want some of it. I mean, I know Nick just wants us to get to the GR4 monochrome. That's the only reason he's here. Yeah. So we are getting to that. And that's not. We'll just. We'll quickly whip through some of the other ones, so. All right. [00:32:44] Speaker B: So lots of. I know we didn't rehearse. [00:32:50] Speaker A: Cut. [00:32:50] Speaker C: Start again. [00:32:51] Speaker A: Yeah. [00:32:52] Speaker C: Is this live? Okay. [00:32:54] Speaker B: Oh, no. News. Lots of lens news this week. Yeah, we had a couple of surprise drops. We had the monochrome gr, which we'll get to shortly. Last week we had Fujifilm release the new Instax little cine camera as well as a new Instax mini link printer which looks pretty cool. But while we're on the topic of Fujifilm$25, thank you very much. Fujifilm are looking at for the Fuji shooters out there. The XF18 mil is one of Fujifilm' very first prime lenses. It's not quite a. A pancake but not quite a standard looking lens. It was one of their very first gen one came out with the X Pro one. That was their first interchangeable with two other lenses which I can't think of right now. I know I should know that but there's a patent has been spotted for a brand new Mark II version of the 18F2 which is an incredibly popular focal range and the lens is really popular. So hopefully they're, they do a good job there and keep some of the character of the original. [00:33:55] Speaker C: That's a big gap between Mark 1 and Mark 2. [00:33:58] Speaker B: It's. Yeah, it's the biggest gap I think because they've updated all their. They're still like they're 23. The 16. They've done a couple of different. Around 30, 35 mil. They've all been upgraded but yeah, this is, this one's gone the distance for sure. [00:34:16] Speaker A: 18. Greg, have you shot this? Has that ever been a lens of choice? [00:34:19] Speaker B: Yeah, I, I've used that lens in the past. I didn't really gel with it. It's quite slow given how old it is. [00:34:26] Speaker A: What about the focal length though? Like. Because it's just that bit wider than like it's, it's about 28 mil full frame equivalent. Yeah, so it's a bit wider than 35. It's the, it's the focal length I really like. Do you gel with it? The focal. [00:34:39] Speaker B: I didn't gel with that like I did the 16s. So I had the original 16 when I bought my first interchangeable lens. Fujit was the XT1 and I bought the 16F 1.4 and the 23F 1.4 and I love those two lenses but they were sluggish and you know, I moved them on at some point, moved to the smaller compact primes. But I've got a 16F 2.8 compact prime which is tiny and I really like. Yeah, I really like the 16 for certain things. Do I still have it here? I don't know where it's gone. [00:35:10] Speaker C: There it is. [00:35:11] Speaker A: Greg Carrick says your cameras were too old. It focuses quicker on modern Fujis. [00:35:17] Speaker B: Yeah, it probably does, but still Anyway, that's the Fuji news you'll all be pleased to hear. Jumping to a little bit of other lens news, Brighton Star have just announced a 50 mil f 1.05 full frame manual focus lens. I think it's for Sony and Nikon at the moment, obviously, because Canon are bastards. But yeah, 50. A 50.105. That's. That's really compelling for people that love shooting portraits and paper thin depth of field. [00:35:53] Speaker C: Yeah, yeah, that's very thin. That's very thin. [00:35:58] Speaker A: For manual focus and not for me. [00:36:01] Speaker C: Yeah, yeah, that's. [00:36:03] Speaker A: That. [00:36:03] Speaker C: That's precision. [00:36:05] Speaker B: It is focusing. [00:36:06] Speaker A: It was like when Nikon released the. The 50 mil noct with their, you know, as. They're like flagshipy awesome lens. That newer one, you know, the. That's. And it was manual focus and we're like, okay, yeah. What? [00:36:19] Speaker B: Yeah. Why? [00:36:20] Speaker A: I'm not doing. I'm not doing that. So like, you know, no one's gonna buy. [00:36:24] Speaker B: That was expensive, wasn't it? That knocked. That was crazy. Yeah. [00:36:29] Speaker A: And it was massive as well. [00:36:30] Speaker B: Yeah. [00:36:31] Speaker C: And it was heavy as shit. [00:36:32] Speaker A: Yeah, yeah. Show off the capability of that new ZED system and that mount to be able to let all that light in and actually get to another 0.95 or whatever it was. But yeah, yeah. Manual focus. I mean. Yeah, you basically. [00:36:46] Speaker C: I don't think I've ever. I don't think I've ever met anyone. I don't think I've ever met anyone that's actually owns a lens like that. Like a 0.95 or a 0.1 or an F1. [00:36:55] Speaker B: Yeah. [00:36:55] Speaker C: Plenty of point point 1.2s, but not. I don't think I've ever come across anyone who's got one be. They'd be pretty rare, I reckon. [00:37:01] Speaker A: Yeah. [00:37:02] Speaker B: Yeah. But it's interesting they've gone with a 1.05. Like it's. It's very specific. It's not. Why didn't they just call it an F1? Who's gonna know? [00:37:12] Speaker A: Just don't tell anyone. Will measure it, Greg. Someone on a forum will measure it and complain. Yeah, but you know, that's how it is. [00:37:21] Speaker B: Yep. And Nick Fletcher says Knocked was a marketing exercise. They sold three. [00:37:26] Speaker A: He sold three and he bought them. Oh, Nick also says 28 millimeters. Really difficult. Justin must be a ninja. Thanks, but no. I just pointed at stuff. Sometimes it works, sometimes it doesn't. Glenn also says we shouldn't put gel on the lens because it makes the photos go soft. Okay, we won't do that. [00:37:46] Speaker C: It's still school holidays, isn't it? At the moment in Victoria. [00:37:49] Speaker B: Yeah, it is. Yeah. [00:37:49] Speaker C: Yeah, yeah. Okay. So that's, that's why Glenn's tuning in. Okay. [00:37:58] Speaker A: So what else? Oh, did you see. Sorry. But just to derail the news for a second, Greg, I don't know that's true or not, but apparently Viltrox and Nikon are having a like a little tiff about third party lenses. Did you see that? [00:38:10] Speaker B: I did, I did want to bring it up because it was a rumor at that point. Drama. Did you thrive on that? But yeah, apparently there's, there's a rumor that Nikon is suing Phil Trox over something. [00:38:25] Speaker A: But you know, I think infringing on patent. [00:38:29] Speaker B: Yeah. [00:38:30] Speaker A: Stuff around lenses because obviously Sigma and Tamron license stuff and maybe Viltrox went around some of that potentially. I don't know. [00:38:37] Speaker B: Yeah, some of those Chinese brands that have coming out recently are kind of pushing the boundary on what's allowable. [00:38:44] Speaker A: You know, I find it hard to. [00:38:45] Speaker C: Live with the Chinese company. I would have thought they'd be straight down the line. [00:38:50] Speaker B: Yeah, you know, funnier things have happened, Cam. [00:38:54] Speaker C: No doubt. [00:38:56] Speaker A: Anyway, rumor. Moving along. We'll talk about that when it's substantiated. What else? [00:39:02] Speaker B: Speaking of, our friends at Tamron, they've patented a brand new 28-70 f2 lens design, full frame, which yeah, I thought was very interesting. I thought that'd get your attention. [00:39:14] Speaker A: Yeah, well, I mean it's usually the case. It's like one of the companies breaks ground on it. Canon. [00:39:19] Speaker B: Yeah. [00:39:20] Speaker A: Did it an amazing job, made an epic lens, but it was quite beastly. Sony took a number of years to iterate on it, but then iterated with a lighter and still equally amazing lens. Yeah, better probably. Some would say not better image quality, but better because you can actually hold it for more than 10 minutes and then without cramping up. I actually really like that lens and if I kept shooting weddings, I would have kept it, but without not shooting weddings. It was just not useful for me. [00:39:50] Speaker C: Yeah. [00:39:51] Speaker A: But then. Yeah, and then as you see. And then a third party will grab it and probably then bring it out at a more palatable price for them and wait. And wait. Well, no, if I. I'd be very surprised if, if Tamron can bring that out under the weight of Sony's, I'll be impressed. Image quality. [00:40:10] Speaker C: You've got Tamron's number one brand ambassador in the comments there. Mr. Glenn Lavender is a Tamron ambassador. He, he might even have more inside Goss on that, but I don't think he'd tell us anything. There you go. [00:40:21] Speaker A: Tamron, Tamaron. They're our guys. If they can't do it, no one can. [00:40:27] Speaker C: Or is it no one should. [00:40:29] Speaker A: The official response from brand ambassador Lavender. Sorry. I'm contractually obliged to type that whenever they're mentioned. Fair enough. [00:40:45] Speaker B: Onto Canon. [00:40:46] Speaker A: Yeah. [00:40:47] Speaker B: Yeah. It is cool. [00:40:48] Speaker A: It is cool. [00:40:49] Speaker B: It is cool. [00:40:49] Speaker C: This is where I just turn my screen off and tune out for Canon. [00:40:51] Speaker A: For a couple of minutes. [00:40:52] Speaker B: You can. [00:40:52] Speaker A: Yeah, if you want. Or you can throw mud at them. Whatever you feel like. [00:40:55] Speaker C: Yeah. I can't imagine being a Canon. They bring something out every three seconds. [00:41:01] Speaker B: They do. You'd have to. [00:41:04] Speaker A: They bring. [00:41:04] Speaker C: Every time you see something, it's Canon. And then you guys get all excited and get a little bit excited where you shouldn't be, and you all go out and buy it and then. Then you all buy it and then you all get disappointed because it's so expensive and it just goes on Canon. Just get over yourselves. [00:41:18] Speaker A: Yeah, yeah. [00:41:18] Speaker B: How many 50 mils do you need? Like, seriously. [00:41:21] Speaker C: Exactly. Exactly 50. We've got options. [00:41:24] Speaker A: It's nice to have options. Options. Hang on, I don't even remember now. What are you shooting with currently, Cam? [00:41:28] Speaker B: What's. [00:41:29] Speaker C: I don't know. [00:41:30] Speaker A: I've got a bit of everything still running. A mixture of things. [00:41:36] Speaker C: Yeah, no, I'm running. Actually running just like her now. Speaking of being a wanker, just pure Leica at the moment. I got rid of all my own stuff and. Wow. Yeah. Got rid of. Offloaded, all that. But, yeah, I've never owned my first Canon. I ever own. The first camera was like an old film camera, like an EOS 600 or something like that, and that was it. I haven't. Haven't gone back since. But every now and then I get. I get an itch. I'm like, well, maybe Canon, maybe I should try it out. And then I just see they, you know, they come out and release 600 products every week and it's just like, I can't keep up with that. [00:42:08] Speaker A: So they really don't. They really don't. If you. If you say, if you delete out of your brain anything they release for crop sensor, if that's not. If you're not into that, they really don't release many cameras. Right. I mean, the. The gap between the R5 and the R5 Mark II was four years. That's a pretty. [00:42:29] Speaker C: Well, I'm coming from a guy. I used. I used om for a while. Where it was like a decade between. [00:42:35] Speaker B: Every. [00:42:36] Speaker D: Every five. [00:42:36] Speaker C: Every five years sort of probably feels a bit quick for me. But anyway. [00:42:40] Speaker B: And you have acclimated to the Tasmanian pace of life, so. [00:42:44] Speaker C: Pace of life, that's right, yeah. You know, yeah, yeah, yeah. Photography is fairly new down here, but. [00:42:49] Speaker A: Have you acclimated to Leica's release schedule where they release a camera with technology that come out a few years earlier and then after that they release one in like a khaki brown and then yeah, release one in another color and then another. And I. This is for some. Someone that owns a Q3, so I'm not. Yeah, yeah, it got me too. [00:43:12] Speaker C: It's. It gets all of the color. It gets all of them. That's thing. Anyway, back to your pretty little can. [00:43:18] Speaker B: Let's, let's finish the Canon news because no one wants to hear it, but Canon paper was spotted for an RF300 mil F 2.8 just to prove Cam's point with a built in extender. [00:43:32] Speaker C: Has that been done before? Oh yes, that's been done before. Yep. [00:43:36] Speaker A: Yeah. Moving along and I think. Yes, yes, that one. Yes. [00:43:42] Speaker C: Three out of two. Eight is pretty good. [00:43:44] Speaker B: 300 is amazing. [00:43:45] Speaker A: Yeah, yeah, that would be incredible. [00:43:46] Speaker B: That would be a hefty lens. And the other one was. There was a tease from Canon. They like to tease Canon RF35 1.2. What do they have in that space at the moment? [00:43:58] Speaker A: Justin, they've got 3514 the VCM which is a wonderful lens. But so Cam. The VCM is their hybrid range of lenses. So It's. They're mostly 1.4s, the L series, it's. So they've got a 1.250 for example, which is their top of the line. 50 mil. It's pretty heavy. Beautiful. Absolutely amazing optics, but quite heavy. The VCM is half the weight, 1.4. But the thing is the 50, the 35, the 24 and the 20 are all this. They're the same lens size, exactly. [00:44:42] Speaker C: Oh yes. [00:44:43] Speaker A: And within about 50 grams of each other. So for like. So for video you could swap them on and off a rig and have no changes whatsoever in your balance or anything like that. [00:44:54] Speaker C: Yeah. But for photos that was similar to the OM. The OM system brought out the 1.2 versions and they're all exactly the same size and weight like a 17 or 25 and a 45 or something like that. [00:45:08] Speaker B: Yeah, yeah. And Sigma reads again okay too for their, for that. That camera they brought out last year to be it. What was it? Sigma that little silver aluminum block bf. [00:45:20] Speaker C: Oh, yeah. [00:45:20] Speaker B: Does that feel wrong? Yeah, they re released all of their. [00:45:24] Speaker C: Yeah. [00:45:25] Speaker B: Primes in metal in silver and black for that launch. [00:45:30] Speaker C: But yeah, so the VCM is like. It's a hybrid line of lenses. [00:45:35] Speaker A: Hybrid because it's got an aperture. It's got a clickless aperture ring, which I don't like. It's great for video, obviously, but you can't turn it to a clicky aperture ring. And it's also. It's more. So the optics are the L series optics, but without going to the level of 1.2. So they're 1.4, but they're super sharp and great. But people have issues with some of them because some of them rely on software corrections more than traditional L series lenses would. So the 35, for example, does have some distortion that gets corrected. And a lot of photographers were like, hey, we want an L series lens that doesn't rely on software corrections because that's what we should be getting. And at the moment, when you pay. [00:46:20] Speaker B: That sort of coin, you would. [00:46:21] Speaker A: Well, no, because these are. I know this is going to sound expensive. These are only $2,000. The 50 1.2 is like three and a half. And that's what a 35 1.2 would be. So it's like there's been some compromise made on price to achieve price and weight. And there's a lot of photographers that aren't happy with it. Videographers seem to be happy. Yeah, at least. So they're cheating then? Well, no, because I'm pretty happy with the optics of the 51.4. I'm going to sell my 51.2 because it's. I don't need that extra. I don't like the weight of it and I don't need that extra. 0.2 doesn't really make a difference in my images and I like the weight of the 1.4 better. And optically it's fine. So. But yeah. [00:47:08] Speaker B: And you've got the 45 now, haven't you? [00:47:11] Speaker A: Yes, which I may or may not keep, but it could be a good travel lens. The 45 is pretty cool. [00:47:17] Speaker C: So the Canon do a lot. They can do a line of. Do they do a line of video lenses as well? And then. [00:47:23] Speaker A: And they've got. They've got cine lenses, if that's what you mean. Like proper cine stuff. And then. Sorry, they do. They have their, like, power zoom lenses. They've got a 24 to 105 2.8. That's very much. [00:47:37] Speaker C: And yet they don't. They don't release too much stuff, though. No, no, they've got eight lines of lenses for. I think they've got hybrids and. [00:47:44] Speaker A: Yeah, because they cater to quite a broad range of professionals. [00:47:48] Speaker C: Psychopaths who just have to have everything. It's just too much. [00:47:54] Speaker A: Hang on, hang on, hang on. All right, Glenn says, cam, I gotta go. Make sure you pimp out our India, too. Are you guys going to India? [00:48:02] Speaker C: Yeah, yeah, we're on India. Don't ask me where. It's March this time next year. March, February, next year. Hang on. I don't know. [00:48:07] Speaker B: Two spots left, apparently. [00:48:09] Speaker C: There you go. How do you know this? You want my website or his website? [00:48:12] Speaker A: Oh, yeah, it says here two spots left. Thanks. [00:48:15] Speaker C: You're doing a pretty good job of pimping it out yourself, Glenn. Keep going. But yeah, we are. We are going at some stage. We are going. It's around about the start of the year. Okay, we got two spots left. And then I think we may be going again later that same year in September. Ish time as well. [00:48:32] Speaker B: Wow. [00:48:32] Speaker C: So, yeah, I've never been to India, so I've known Glenn. I've known Glenn for many, many years. So we've done a couple of little tours together down here in Tassie, but India is a different game altogether. So, yeah, I'm thinking of doing the Shane Warren thing and just taking a suitcase full of baked beans and just having them the whole time I'm there so I don't get sick. [00:48:53] Speaker A: Oh, you're a bit worried about. [00:48:54] Speaker C: Yeah, Well, I don't know. Like, you hear all the stories, but. [00:48:59] Speaker A: Have you had, like. Do you struggle with travel? If I travel anywhere, like Southeast Asia, I'll. If it's more than two weeks, at some point I'll probably have an upset stomach from food. [00:49:11] Speaker C: Yeah, I'm not too bad. Yeah, I'm not too bad. But India might be a completely different ball game, so we'll see how we go. But, but, yeah, no, we've got two spots. If you want to come to India with Glenn and myself. [00:49:24] Speaker A: Who would it. Who would it suit? What sort of trip is it? How long is it? Like, who. Who is the ideal person for this trip? [00:49:30] Speaker C: Well, pretty much anyone. This isn't into their travel bit of street photography. It'll have a. It'd be more focused on street photography sort of people, you know, the streets of India and the places of India. But there'll be a little landscape stuff in there as well. I've. We've already got, like, I Said a few people on board, but people that are interested in that sort of subcontinent. The colors and the people and the. Yeah, I guess not the. Not the drama of India, but, you know, like just the sort of countryside, I think, the culture and all that kind of stuff. [00:49:58] Speaker B: So. [00:50:00] Speaker C: So, yeah, it should be good. A lot of fun. Glenn's been there a thousand times, so I'm really relying on him to keep me alive for. I think we're doing 14 days or 12 days. I think it is. Might be 12 days. I really should have a look at what it is, but, yeah, it should be good. And yeah, like I said, Glenn's been there that many times. It's. It's gonna be good. With his knowledge of getting there and having a lot of fun and just seeing some sights and, you know, street photography. People. Photography is not what I do most of, but whenever you go traveling somewhere, you're just drawn to taking photos of. Yeah. Of people and, and, and like I said, culture and colors and, you know, the way people live in different countries, it's sort of. It goes hand in hand with travel. So it should be a lot of fun. [00:50:41] Speaker A: Yeah, I. I'm. I've got it written up on my. My board. [00:50:46] Speaker B: Your vision board? [00:50:47] Speaker A: My vision board, which I haven't finished yet, Lucinda. I'm working on it. I actually got my big planner, actually. You want to see this planner? [00:50:52] Speaker B: Great place. Because you don't shut up about it. Just shut up. [00:50:56] Speaker A: It cost me a fortune. Ready? What is that? [00:51:07] Speaker B: AO or A1? That's crazy. The big ass calendar. [00:51:12] Speaker C: Wow, that is. That's big. [00:51:14] Speaker B: It's doing a lot of good on your floor. [00:51:16] Speaker C: Yeah. [00:51:17] Speaker B: You can't hear us, so I can just throw shots. [00:51:19] Speaker C: That's good. Yeah, yeah, yeah, that. That's awesome, mate. Yeah. I wish I had one of those. That's incredible. Yeah. [00:51:26] Speaker A: Well, I have a second one that I could part with because I. It was actually almost cheaper to get two than one. The shipping was $80 U.S. oh, Nick. [00:51:38] Speaker B: Fletcher's got one for this. [00:51:39] Speaker C: Isn't that just from. Isn't it just from Officeworks? [00:51:42] Speaker A: No, no, you can. It's. No, it comes from a company. It's. You can write on it with whiteboard markers like it's a. A. It's a. Yeah. It's not just a printout. No. [00:51:51] Speaker C: 80. Shipping. [00:51:53] Speaker A: Shipping. [00:51:54] Speaker C: How much did the calendar cost? [00:51:55] Speaker A: I don't want to say. I'm investing in my year. Okay. Anyway, I'm. I'm gonna. I've got India up on it. [00:52:08] Speaker B: It's Doing a lot. I love it. [00:52:10] Speaker A: Yeah, yeah. [00:52:11] Speaker C: If the ATOC one thousand dollar paper calendar, they're going to start thinking this. Yeah, there's going to be something going on. [00:52:19] Speaker A: Imagine that if they're like, no, this is ridiculous. No one would ever spend that much on a calendar. Where are you hiding the money? [00:52:29] Speaker B: A couple of bits of news very quickly before we move on. [00:52:32] Speaker A: Okay, well, I was going to talk about India because. [00:52:34] Speaker B: Well, just. Just one second. Oh, okay. Do India. Go on, do India. [00:52:37] Speaker A: Oh, I wasn't going to talk about for long. All I was going to say was I got to the point of trying to find flights and where to fly into, and it's actually way more complicated than I thought. It's a freaking big country. There's a lot to see and it's all spread out. So I'll be. I'll be lurking on your web page for that tour and try to steal as much information as I can. [00:52:56] Speaker C: Well, hopefully Glenn gets us in the right airport, because I don't know where I'm going. [00:53:01] Speaker A: It's massive. It's massive. [00:53:02] Speaker B: Yeah. [00:53:03] Speaker A: Anyway. [00:53:03] Speaker C: Yeah, it's. [00:53:04] Speaker B: Yeah. [00:53:04] Speaker C: And the one thing. [00:53:06] Speaker A: Expensive than I thought. [00:53:07] Speaker C: One thing I do want to do when I'm there, I want to play cricket in the street somewhere. I have a game of cricket somewhere because I'm a big. I'm a big cricket lover. I. If I see a cricket match going on, the camera's going down and, you know, I'm going to roll the arm over or have a bat or something like that. You know, that kind of stuff is good fun when you're traveling around just to get involved with it. Yeah, yeah, we'll see. [00:53:26] Speaker B: Yeah, that's cool. That'd be awesome. [00:53:27] Speaker A: Very cool, Very cool. [00:53:29] Speaker B: Get someone to, like, take some shots or, you know, even just grab some iPhone footage. Yeah, yeah. It'll be one of those moments that you'll remember. You know, you connected at a different level with people. [00:53:37] Speaker C: Yeah. 100. That's great. [00:53:39] Speaker A: Yeah. [00:53:41] Speaker B: Just. [00:53:41] Speaker A: Yeah, yeah, I will. I will reach out. Glenn. I've actually been binging. There's some really good, like, POV street photography videos in, like, Varanasi and a few other places, and I've been binging some of those. There's actually a dude that wandered around it. His was really good. Might try and find it and. And bring it up on a future episode. I really liked him very. He's like this South American guy that just travels around doing street photography and his. His images were great, but he kind of talks about his process a Little bit stuff. And I was like, I gotta go here anyway. All right, we can finish the news now. [00:54:12] Speaker B: Okay, last two lens announcements. There's a potential for another Canon RF14 MIL F1.4L VCM to go along with all those other. [00:54:25] Speaker A: 14.1.4 would be pretty cool. Especially if it's in that form factor. [00:54:28] Speaker B: That's wild. [00:54:29] Speaker C: Yeah, yeah. [00:54:30] Speaker B: As Dennis would say. And Finally, a new 7 Artisans M75. Here we go again. With an odd aperture f 1.25 mark II for Leica M mount. So it doesn't count. But that's been officially announced. Not a room. Sorry, that's on its way. But it's interesting, some of these third party brands are changing the playing field by going like Brighton Star and then Seven Artisans going with really kind of unusual aperture, max aperture ratings. Like. And if. What was that other one? F1 and 0.05. And this one's F1. 1.25. [00:55:05] Speaker C: Yeah. [00:55:06] Speaker B: And maybe that's just to get people's attention. [00:55:08] Speaker C: I think it is. And it'd be. They'd be a fraction of the price of the generic ones. So. Yeah, maybe there's. Maybe they're thinking if we make these, we might sell a truckload of them just for people to say They've got a 1.5. [00:55:19] Speaker B: Yeah. [00:55:20] Speaker C: Or 1.25 or whatever it is. [00:55:22] Speaker A: Is it that? Or is it just. They make the optical formula and then they. That they like. And then they test it and they're like, well, this is what it was. Whereas, you know, this is what the F stop is. Whereas camera companies tend to want to hit those. Those numbers that people are looking for. We need to release a 2.8 because that's what someone wants or whatever. Whereas they're just like, oh, we made this. We sort of copied this off an old lens that we thought would be cool and we figured it out and that is cool. And that's what it is. [00:55:48] Speaker C: Yeah. [00:55:49] Speaker A: It doesn't really matter what the number is. [00:55:50] Speaker B: Yeah, yeah, yeah, True. [00:55:53] Speaker C: Maybe I'd be tempted to try one of those seven Artisans ones, whatever they're called, Artisans. Because I've got an M mount which I could put it on there. But they're not expensive. Like they're only a handful. Yeah. [00:56:05] Speaker B: A couple of hundred bucks. [00:56:06] Speaker C: Yeah, yeah. Not thousands of dollars. Like it's not, not a big investment and you know, it might give you some funky sort of look about your photos that you don't get on other ones. [00:56:15] Speaker B: Yeah. And especially if it's got a character that you like. You Know. [00:56:19] Speaker A: Yeah, it was, it was the third party lenses for M mount that made me contemplate a film M camera for a little bit. [00:56:27] Speaker C: Yeah. [00:56:27] Speaker A: And then I, I decided to just curb my enthusiasm for a while and, and hold up and just shoot with my Canon film camera. But I got, I got pretty excited about getting like a M something in somewhere between them two. [00:56:40] Speaker C: And I've got a nice little M6 over there somewhere. It's fun to play with. Yeah. [00:56:44] Speaker A: You shoot with a little bit. [00:56:45] Speaker C: Yeah, yeah. I actually put a couple of rolls of film through it just over the break I've had here. And funnily enough, they all, they all turned out pretty well. So. Yeah. But yeah, it's good fun. Like just shooting some film here and there. It's good. And that the M6 is a classic and I'm a bit of a camera whore when it comes to stuff, you know, just collecting I don't need for the sake of it, you know. [00:57:08] Speaker B: Yeah. [00:57:08] Speaker C: So someone's got it. Yeah, someone's got to. Yeah. There's a lot of us out there, I think. [00:57:13] Speaker B: Yeah, I think so. [00:57:13] Speaker A: Exactly. [00:57:14] Speaker C: Yeah. [00:57:15] Speaker B: Tin type man's in the chat. How you going mate? You've just, you're just recovering from surgery. [00:57:20] Speaker C: I hope you're well. [00:57:22] Speaker B: Seven Artisans are actually fabulous lenses for the price. So this Seven Artisans M75. So for the Leica M Mount, the F 1.25 is US$470, which is a fraction of what you pay for a Leica end mount alternative. [00:57:40] Speaker C: At that F stop, you'd be paying $20,000 for a lens like this. [00:57:44] Speaker A: Yeah. Which is what would stop me from even contemplating it. M, like an A film M camera would be like that. Even a cheap lens from Leica is gonna, like, even a secondhand cheap lens is gonna run me at a minimum, what, a couple of thousand dollars or something? [00:57:58] Speaker C: Yeah, yeah, something. [00:57:59] Speaker A: Yeah. So it wasn't even an option. And then when I saw the, the great range of third party stuff that was. Yeah. From a few hundred dollars, maybe a thousand for something pretty cool. I was like, oh okay, maybe this. I could actually do this. [00:58:14] Speaker C: It's worth having to go. I'm a bit of a sucker for just buying stuff and trying it out. [00:58:18] Speaker B: Yeah. [00:58:18] Speaker C: You know, you can always buy something and then you move it on. Like buying and selling stuff's pretty popular. [00:58:22] Speaker A: These days, but you don't lose as much especially if you're buying and selling it. Like with M gear. If you're buying and selling second hand cameras. As long as you don't Buy a dud or something like, you're probably not gonna lose much money. [00:58:32] Speaker C: Yeah, yeah, that, that's the, that's the thing I enjoy about the Leica system as well, is that you never really lose money on them where, you know, taking the piss out of Canon and Nikon and Sony. Like, you buy something in six months, later they're obsolete, you know, something else is coming out and you lose half your money. Where at least with the M series lenses you can, you know, you. You might pick up something that's 20 years old and it's still, you know, holding its value really well, so. Which is pretty rare in the photography world, but. Yeah, yeah, it's all money. [00:59:01] Speaker A: Yeah, exactly. [00:59:02] Speaker C: Yep. [00:59:04] Speaker A: Greg Tintype, man says I'm going. Well, couldn't remember my name yesterday, but got a notification from ebay this morning on my bids on 600 watt flash, a manfrotto geared head. And what's an ULF camera? ULF camera? [00:59:18] Speaker B: Ultra low frequency. [00:59:19] Speaker A: Like a infrared, Maybe pain meds. Pain meds and ebay are dangerous. [00:59:25] Speaker B: Yeah, well played. Life is all about balance, my friend. Yeah, definitely. But that's pretty much it for the news. There was a couple of other things I put in the running sheet, but I think we'll park those because I think we need to spend some time talking about this Ricoh GR for monochrome. Oh, Ultra large format camera. Well, you really went. You really leaned into it. [00:59:48] Speaker A: Yeah, okay. Yeah, cool. [00:59:50] Speaker B: Ouch. [00:59:51] Speaker A: Yeah, that will strip your flesh. [00:59:54] Speaker C: Does ebay. Does ebay have a. Does ebay have like a policy that if you're under the influence of medicine, do you get like your money back if you make stupid purchases, like a. [01:00:03] Speaker A: Cooling off period or something? [01:00:04] Speaker C: Cooling off period. Or, you know, you can't make major decisions or use machinery under the influence or something like that? [01:00:11] Speaker B: Well, back in the day I used to drink a bit. I don't anymore for the same reasons, but every now and then I'd have a parcel show up and it would. [01:00:19] Speaker A: Be a lens or something. [01:00:23] Speaker B: Yeah, pretty much. [01:00:25] Speaker A: Another little prime. [01:00:26] Speaker B: Yep. [01:00:29] Speaker A: Here now. [01:00:33] Speaker B: Kids don't need food. All right, let's talk about the Rico gr. Oh, you played your jingle. Sorry, I played. [01:00:42] Speaker C: I played again. Play it again, Sam. Yeah. [01:00:45] Speaker A: Oh, no. [01:00:47] Speaker B: So in case you've missed the news, Rico who late last year announced and released the brand new Ricoh GR4 and they also released the HDF version. Is that correct? Yeah, they did. They announced the HDF version and right at the end of the year they announced a monochrome version. So just for A bit of context. The Ricoh GR3 proved to be really popular. Just no one could get them in stock. Ricoh really ran into some issues last year with production. They just couldn't keep up with demand. There was some production issues with faulty cameras going out to customers. That's still being experienced today even with the new cameras and I'll touch on that in a little bit But Rico have announced a monochrome camera. So it has a special sensor where they've removed the color array part of the sensor and technically you should get clearer, higher quality images in a roundabout way. I don't know all the voodoo magic that goes on inside them because you've removed layers of filter layers of layers that cover the filter the sensor. Sorry, fuck, I can't even speak anymore. The color layers that cover the sensor have been removed so there's greater pass through to the image sensor. Anyway, over to you, Justin. [01:02:05] Speaker A: Well, I mean no, that was good. That was good. Yeah. Basically the first thing when I saw this camera is some things are saying it's just the same sensor but with the color filter layer removed. And then other people, other marketing materials suggest that it's a new sensor or they had to develop a new sensor with Sony because it has on sensor phase detection autofocus which apparently isn't a thing if you were to remove the filter array or something. And that confused me. That's, that was my first point of confusion when I was looking at this trying to figure out what, what we're actually getting because I don't want to jump straight to the thing but the thing is it's really, really expensive compared to it is the GR4. It's, it's, it's $1,000 dear in Australia. [01:03:07] Speaker B: Yeah. Wow. So currently on ted's the Ricoh GR4 monochrome is listed for $2,999.95. And just for some context the Fujifilm X100 Mark VI is at 2800. [01:03:24] Speaker A: So the, the retail. So Ted's have already discounted the retail is 3348 I think. [01:03:31] Speaker C: So they knocked off 400 bucks before. [01:03:33] Speaker A: It comes out 2. Pretty much 3. No, sorry 3248 down to bring it just under 3000 or whatever. Yeah. So 3248 they're selling the GR4 most of people selling the GR4 for like 2000. The, the normal color one and I don't know like they're, they're very, very similar. They're very. In terms of what it would cost to build Them obviously there's R D involved. They're saying that it's a new processing engine for monochrome. It does actually have monochrome dedicated JPEG presets in it, which the Leica Q3 monochrome doesn't have. The Leica Q3 monochrome only outputs DNGs, as far as I'm aware. Is that. Have you ever had that use that camera Camp? [01:04:20] Speaker C: I've had a ML. I had a M10 monochrome, yes. But I've never had. I've never had a Q monochrome. But with the M10 it had. I don't think it had any special black and white JPEG settings. I think the M11 monochrome might. I think there's. I think there's something new on the M11 one. But yeah, the Leica looks thing, I think that's all part of it. But yeah, it's a three, three grand for a point and shoot black and white cameras. That's a bit rich. [01:04:51] Speaker A: So I'm just quickly. [01:04:53] Speaker B: So the, the standard Ricoh GR4 with the standard lens is 2200. This is on Teds. [01:04:58] Speaker A: Okay. [01:04:59] Speaker B: This is not recommended retail. The GR4 with the HDF filter system in it, which makes things a little softer and fuzzier but still sharp. Dreamy 2400 and then the big jump is to over three grand for this new monochrome camera. My concern with this, once again Ricoh is doing exactly what they did with the GR3. No one could get stock of the GR3 because they had seven or eight different SKUs. They had the 28 mil and a 40 mil standard. They had a 28 mil and a 40 mil HDF. And then they had a 28 mil diary edition, street photographer edition, one other special edition. So they, you know, they had seven or eight SKUs for the same camera and no one could get any of them. Especially in Australia, it was really hard to get stock. The wait lists were huge. There were production issues. So for those that haven't seen the camera before, a GR4, the GR series is famous. It started with a film camera originally. A little point and shoot film pocketable camera. They have a lens that sort of opens and closes. It's like, it's. It's got like a, a cover, like an old school, you know, just sort of slides across, covers the lens to keep it safe. People have been reporting what they did with the gr3 where those. That gate would get stuck because what happens is the gate opens, a lens protrudes a little bit, the whole mechanism shifts to achieve focus. The Gates are getting stuck and that was a big issue with the GR3. They were having to replace lots of faulty models. The GR4 going through some GR forums earlier today. Customers are experiencing multiple times that that's happening with their camera. So there was two people in the chat who not our chat in the GR chat who bought the GR4 and the the lens gate issue happened. They sent it back, was sent to replacement and within a month, within a couple of weeks or whatever it was same problem. So there's a production issue at rico. [01:06:55] Speaker C: That problem used to happen. That problem used to happen on the old film camera. Little the GR film camera. It's just been a problem since daytime. [01:07:03] Speaker A: Hello? Oh we've got a caller. Sorry but I've got him. Who have we got here? [01:07:09] Speaker D: Caller, you've got Nick Fletcher. I'm a frequent listener, occasional caller. [01:07:18] Speaker A: Well it's nice to have you here again Nick. [01:07:20] Speaker C: Funny sounding voice. [01:07:22] Speaker A: What are your thoughts on the GR4 monochrome? You're quite a fan of overpriced point and shoot cameras. [01:07:32] Speaker D: Well I was just thinking I've never heard so much spoken in all my life than you three banging on about this. [01:07:38] Speaker B: Oh whatever. [01:07:39] Speaker C: But yet you're still listening. [01:07:44] Speaker A: Here's the thing. [01:07:45] Speaker D: You don't like it, don't buy it. [01:07:46] Speaker B: But. [01:07:48] Speaker D: This is a niche camera for black and white nerds who want another stopper dynamic range. Well why wouldn't you let them buy that? [01:07:57] Speaker A: Oh hey, don't, don't get me wrong. I'm, I'm. We hadn't got to that part yet. I was getting there. I was getting there. What I'm just what I'm thinking, what I'm disappointed about in the release is there's not enough to tell me why this is worth a thousand dollars more. The, the marketing materials don't show it. They just say oh it's better but it doesn't show it. There's no side by side comparisons with the same shot shot on a GR4 or a GR4 monochrome at various ISOs that show that it is better they just tell you supposed to believe them. [01:08:30] Speaker D: They were pretty much you shave off the RGB like, like color layer off any sensor is going to give you a stop. So like they'd have to be utter wits not to give get a stop more dynamic range. I'm pretty sure they're going to have done that. [01:08:45] Speaker A: Yeah but are we supposed to trust that for a thousand bucks more? [01:08:49] Speaker D: I'd ask Greg whether to trust Fuji or not. [01:08:51] Speaker B: He'd have a view. [01:08:54] Speaker C: Well it's gonna be. It's got a bigger battery. It's got a bigger battery and it uses micro SD cards. So that's worth a thousand. [01:09:00] Speaker A: Yeah, I don't. I don't like the micro SD cards. But anyway, that's the same as the GR4. That's. It was mainly that. The fact that it seems like a big jump. But as someone said back here that the Pete mellows. I think the Pentax K3 3 K3 3 monochrome was about that price and it. It's a thousand dollars dearer than the K3. So I guess maybe that is just in their business model. That's where it needs to be for them to justify doing it. Doing the. Doing this project. [01:09:31] Speaker D: Ask Cameron how much the M11 monochrome. [01:09:35] Speaker A: Is more than the M11. [01:09:36] Speaker D: About $3 billion. Would it be? [01:09:39] Speaker A: Is it. [01:09:40] Speaker C: Yeah. [01:09:40] Speaker A: Is it dear. [01:09:41] Speaker C: It might be. It's. It's probably. It's about 15 grand. Maybe 15, 16 grand. [01:09:46] Speaker A: Now isn't that what the. That's what the M11 is as well though? Or is that. [01:09:50] Speaker C: Yeah. [01:09:51] Speaker D: Don't prove me wrong with facts. Come on. [01:09:57] Speaker C: The M11 color. In what color? In black and white. I think they're the same price, the same thing. [01:10:04] Speaker D: Can we. Can we get a guest on with less facts next time? [01:10:08] Speaker A: I'm just checking. The M11 is 15190 in Australia. Let me just check. It's not hard to navigate this website. [01:10:16] Speaker C: It might be a tad more, but not much more I think. [01:10:19] Speaker A: Let's see. It is. It is. It's fifteen hundred dollars more. [01:10:27] Speaker C: That's like 10 bucks. That's 10 bucks. [01:10:29] Speaker A: Yeah, that's a tad in like a terms, but it is over. Over a thousand dollars more. So. Okay, maybe we'll have to. Maybe we'll have to give him this one. Maybe it just costs a thousand dollars more to remove that. So I assume what they do is they build the GR4 and then they take it apart and remove that sensor layer and then have to put it back together. [01:10:50] Speaker B: Yeah, yeah. [01:10:51] Speaker C: All those kids maybe then maybe they know they're not going to ever have stock of them so they just. Just drain a thousand bucks out of people. Just if you get one, you pay a thousand dollar premium. [01:11:01] Speaker B: It could be that what is interesting is that. Oh, go on. Sorry, Jay. [01:11:06] Speaker A: I was just gonna ask Nick, will you be buying one of these? [01:11:09] Speaker D: Oh, almost certainly. [01:11:11] Speaker A: Yeah. And that's where I was. And then I got. I got. [01:11:14] Speaker D: No, no, I absolutely will not be buying one. [01:11:18] Speaker A: Oh you won't? [01:11:19] Speaker D: But I love the idea that it's out in the wild. [01:11:21] Speaker A: Okay, okay. So it's not for you. [01:11:24] Speaker D: Well, I just. I've already got too many cameras and. [01:11:26] Speaker C: That would be another. [01:11:27] Speaker D: Too many cameras. [01:11:28] Speaker A: There's no such thing. [01:11:29] Speaker C: At least one fits in your pocket, Nick. It's not very big. [01:11:31] Speaker B: We don't. We don't know what you mean. [01:11:32] Speaker A: That's right. [01:11:33] Speaker D: Oh, yeah, I love the gr. I want them to do the. Is it that they do like a 40 mil gr. That's what I want them to do that. [01:11:41] Speaker A: Yeah. That's the thing is they will bring out that X model with a 40 mil lens so that they've got. You can see the road map unfolding, like Greg said, where they've. They've done this before and then they'll. Yeah, they'll release a GR4X and then they'll release the GR4X monochrome as well, I'm sure over the next coming years. So. [01:12:02] Speaker D: Because I'm not good enough to use 28mil, unlike Justin, it's not hard. [01:12:06] Speaker A: You just walk closer. [01:12:09] Speaker B: But interestingly, once again, like all of looking at a couple of the camera stores that are stocking the GR4s in Australia, they're all special orders, so they don't have. But no one has stock of the four. [01:12:20] Speaker A: And the. Obviously the four monochrome won't be out for a month or two. Probably. [01:12:24] Speaker B: Yeah, that won't be out. But the others, they're all on special order. Water. [01:12:29] Speaker A: Comment from Greg Carrick says the lenses are dust vacuums. So no thanks. This has been a common problem on them for years. And it says that there, it says there was some improvement made in this design, but it doesn't look like it's solved, that's for sure. [01:12:44] Speaker B: It's not. One of the complaints I saw in the GR forum was that there was dust inside the lens. When they opened the box, they had said it straight back. [01:12:53] Speaker C: You can't just call that like film grain effect or something like that. [01:12:56] Speaker A: It's just a big grain. [01:12:57] Speaker C: Yeah, it's a film. It's a film profile dust effect and. [01:13:02] Speaker B: Just sprinkle a little, little sand in there. Yeah, it's interesting. I mean, we wish them all the best because more cameras out there is good for everyone. But it's interesting to see that some of those, those issues that cause customers grief, you know, and let's face it, they don't sell cameras without customers. They really haven't addressed them. They've made no assurances. There's no marketing around. Hey, you know, we're going to have these or. [01:13:28] Speaker A: Yeah, yeah, let me put one. Let me put one other fact out there. I know. I don't know if I'm still on the line, but I'm going to throw a fact. [01:13:34] Speaker D: Oh yeah, I'm still here. I'm just gonna. [01:13:38] Speaker A: Okay, so you're still here. So here's one more factor that I pulled up and I know this isn't relevant and maybe it's just a matter of it used to be under pressure priced and it didn't. Their business model wasn't working, but the Ricoh GR III launched in Australia in 2019. What was the price of the GR3 in 2019? Any guesses? [01:13:59] Speaker D: What is it now? [01:14:01] Speaker A: The. The GR4. So the GR4 monochrome is now 3250. [01:14:06] Speaker D: The GR I'm going with seventeen hundred. [01:14:08] Speaker A: Dollars was thirteen hundred dollars. [01:14:11] Speaker D: Oh, man. [01:14:12] Speaker B: Yeah, it's a big jump. [01:14:14] Speaker A: It just seems to have come up really fast and I'm guessing maybe they weren't. Maybe they had it underpriced for where they. For where they want to take things. [01:14:23] Speaker C: Or it was so popular that they thought the next one we bring out will crank up the price and we'll double it. [01:14:27] Speaker A: Yeah, it's just accelerated really, really quickly. That's all I'm. That's got me because it was like it was this. [01:14:34] Speaker D: But here's the thing. Yeah, okay, here's the thing. You can go and buy these boutique cameras and pay a lot of money, like Cameron's got them all, or you can go and buy like a D5, like unbelievable camera for not very much money these days. So, you know, take your pick. [01:14:50] Speaker A: Exactly. Well, the hard thing is, and this is where I think they've set the price probably right for what they want to do. There isn't anything to pick in this range, really in terms of the X100 is the closest thing and it's still not quite pocketable. And then other than that, they're all outdated compact cameras, I think. Unless anyone can think of one that's anything that's under $2,000. What is there that's under $2,000 that's been updated recently. That's a decent photography camera. [01:15:21] Speaker B: Not a lot. [01:15:22] Speaker C: IPhone. [01:15:24] Speaker A: Yeah, that's what we were talking about before, is it iPhone? [01:15:28] Speaker C: I think, I think, yeah. I think the one thing you're missing about this, this Ricoh camera coming out is that the price of it. Yeah, it's overpriced, but people buy it. People just. [01:15:36] Speaker B: Yeah, they will. [01:15:37] Speaker C: Stuff. [01:15:37] Speaker B: Yeah. [01:15:38] Speaker C: Like people. There's no limit. Yeah, there's no limit on. [01:15:41] Speaker D: You've got. Yes, Cameron, you've got a fleet of likers. [01:15:44] Speaker B: What? [01:15:44] Speaker D: What are you talking about? [01:15:46] Speaker C: But people will buy them. Like this is the thing, Nick. Like they can price it whatever they want. People just buy stuff these days. Like I'm buying heaps of that I need. [01:15:55] Speaker A: I'm broke. [01:15:55] Speaker C: But I'm buying it because I want it. That's what it is. [01:15:59] Speaker A: That's a. Yep. [01:16:01] Speaker B: You only live once, mate. You only live once. Make the most of it. [01:16:04] Speaker C: That's right. [01:16:05] Speaker B: I, I just to. Just to bring up Fujifilm, which I rarely do, I want them to bring back the X70 range and yeah, I saw on a couple of the rumor sites, people calling for a Fujifilm X80 and then do a monochrome version because that is really pocketable. It's got a fixed lens, it's got, you know, all the Fuji magic, just. [01:16:25] Speaker A: Some point and shoots that are decent quality, that can replace a phone, that are actually better quality than a phone. Like there's a step up. It's got to be a step up, not just the same. [01:16:34] Speaker C: What about a Deluxe? Leica Deluxe Monochrome? Is it one of them? [01:16:39] Speaker A: I don't know if they did a monochrome, but, gosh, that'd be expensive. But the Deluxe is a cool little camera. [01:16:44] Speaker B: They are. Yeah. I've looked at those too well there. [01:16:47] Speaker C: So the Deluxe, they're under three grand. [01:16:50] Speaker A: Yeah. [01:16:51] Speaker C: Yeah, there you go. [01:16:52] Speaker A: So. And like. Yeah, I don't know, it's just, it's very interesting. So to summarize it all, there wasn't enough for me to see that it was that the image quality was actually better. And I know what Nick's saying, it is better. I'm sure it is. They're not idiots. They know how to make a camera and they know the improvements you'll get from going full monochrome. But you have to show me. And the only place I could see it was actually on a YouTube channel called Samuel Street Life. So he. And it said the title of the videos I tried to Rico GR4 monochrome. And I think because he shot a video for one of the ambassadors, he actually had the chance to test it after that and he did side by side comparisons with his GR4 on the same scene at every ISO. Oh, wow. And that's the only place I was able to see it, but I could only see it through the YouTube video, which you can't really tell that much. But I had to take his word on it that he said it definitely has an improvement in both like high ISO capability, but also just detail. Even at base ISO he said was noticeably better. And in the crops that he showed in the YouTube video, it looked better, but it's still hard to tell. But he was like, it looks better. [01:18:03] Speaker B: Yeah. [01:18:04] Speaker A: So. [01:18:04] Speaker B: Well, Jason La's been our good friend Jason Lau, who's been on the show a couple of times in the past, he went to Brisbane for the GR Space, the new shop in Brisbane, their launch. And he's been running around with a GR4 for a while now. So it'd be interesting to see if he gets monochrome, which we might be able to get him on the show to talk about. [01:18:23] Speaker A: Well, that'd be cool. And with some sample photos. [01:18:26] Speaker B: Yeah. With some actual. Yeah, actual real life use. Interestingly about this camera, a lot of places are comparing it to the Q3 monochrome. [01:18:34] Speaker A: Well, that's just going to happen because the Q3 monochrome is the camera in that space other than obviously the M11. But the M11's that next step out of reach for most people. We've got to have the lenses and everything. Yeah. Whereas the Q3 is something you can just buy and it's ready to go. [01:18:49] Speaker C: Yeah. [01:18:49] Speaker A: And they are. They're comparing it to that. And obviously completely different price point. [01:18:53] Speaker B: But it is interesting. It makes it really stark that they just aren't. Are not any other products in this space that are monochrome. [01:19:00] Speaker C: Yeah. [01:19:00] Speaker B: You know, if there is a demand for it, if people are just like Cam says, people will buy it. Why aren't other brands doing it more? [01:19:07] Speaker A: It's yeah. Interesting that monochrome. I saw some Reviews of the M11 and maybe I'm wrong about this because it's only based on what they've said, but they would like the black and white files you can create from the regular M11 is so like great. It's hard to justify a dedicated monochrome camera at that price when like a 60 megapixel file from that sensor is so good. [01:19:33] Speaker C: Yeah. [01:19:34] Speaker D: Well, I think you're missing the most important point. Which was what? What your guest David Duchaman said. I've pronounced his name wrong, but best podcast ever. I mean, he said, you know, key to creativity is constraints. [01:19:50] Speaker A: Yes. [01:19:51] Speaker D: Go out with a fixed lens camera in black and white. Away guy. [01:19:55] Speaker B: Yeah, yeah, that's very true. It's a very good point, Nick. [01:19:58] Speaker A: It's true. [01:19:58] Speaker C: Yeah. The M10 monochrome. I had the M10 monochrome and the M10 because again, wanker. But I had them both. And exactly what Nick's is saying there as well. Like I would take the black and white out and you don't have color. You've got no other choice but the shoot color. That's why I bought it. I wanted to have that. That somewhat constraint when I went out there where I had to create something out of that colorless file. And really I wasn't looking too much at whether or not that file was sharper or better or more dynamic range or whatever it was more the fact that it was. I couldn't do anything else but shoot black and white completely changes your mindset of how you shoot because you know you're never going to have a color file of that ever. You know, you can't. You can't get a color file of what you're taking there. So. Yeah, but I don't know. I don't think I. I solved mine because it was just like. Well you know what? I can probably just use my other color one and just convert the black and white perfectly fine for what I'm using it for. So. Yeah. It's an interesting one. [01:20:58] Speaker A: There it is. Imagine it. Imagine a GFX monochrome. Imagine how like imagine. Why don't they do that? Come on. Fuji. [01:21:13] Speaker B: Yeah, yeah. I'm really surprised they. In 10 years they still haven't done a monochrome X100. [01:21:20] Speaker A: Yeah. An X100 would obviously sell like hotcakes. But. But. And then a GFX that are the one Nick's got. What's it called? The RF GFX 100 RF 100 RF in monochrome. That would. [01:21:31] Speaker C: That would be like spending big bucks. [01:21:34] Speaker A: Yeah, but it would be basically it would. It would wipe the floor with every other monochrome camera. It would have to. Oh yeah. And. And the fact that it's got no IBIS and F4 would no longer matter because you could turn the ISO off a little bit. [01:21:46] Speaker C: Yeah, yeah. [01:21:47] Speaker B: True. Very true. [01:21:49] Speaker A: Nothing. Not even a bite. I've lost him. [01:21:53] Speaker D: Well, I genuinely. The only thing that would be the issue and I sound like a Matt Cummins wannabe is the real issue with an F4 lens is the focus in low light. And it won't solve that in black and white. [01:22:07] Speaker A: No. So you have had a little bit of issues with that. [01:22:17] Speaker D: It is the single most frustrating camera I own. But it's also like go back to David. It's like the most interesting camera to use. [01:22:27] Speaker B: Yep. [01:22:29] Speaker A: Okay. [01:22:30] Speaker B: Well put. Did you dropping the gold tonight, Nick? [01:22:34] Speaker A: Yeah, yeah. [01:22:36] Speaker D: And the whole a 28 mil. You've got to be some sort of ninja Thing is. Exactly. From using this camera. [01:22:42] Speaker A: Yeah. [01:22:42] Speaker D: Because you have to get a lot closer to someone with a 28 mil lens than you do with a 35 mil lens. Like Gari. Much closer. Like start a street fight in Sydney. Much closer. [01:22:55] Speaker A: Yeah. That's why I don't shoot street photography in Australia. It's just too. It's too confusing. [01:23:01] Speaker B: Gnarly, that's for sure. [01:23:02] Speaker A: I like to do it overseas where no one seems to care. It's great. [01:23:05] Speaker B: Yep. [01:23:08] Speaker A: Okay. Anything else about the other. About the GR4, Monica? [01:23:13] Speaker B: No, we'll keep tracking it as a story. I think it's an interesting product, you know, and I think Nick has articulated it really well that, you know, it does provide creative constraints, creative opportunity through force constraints. And only good things can come from that. And just seeing, even just with the Ricoh GR for the colored color editions, people are getting out there creating some really nice, nice images, really working within that. That 28 mil focal distance and. And leaning into it, making the most of it, which I think is amazing. So, yeah, we'll keep tracking it and we'll. We'll let you guys know if we hear more stuff. [01:23:48] Speaker A: Yeah. Final thoughts. [01:23:49] Speaker D: And I. I should probably go and leave you with Cam, who is the professional here. And Cam, are you gonna turn up in October to our little soiree in Bright? [01:23:59] Speaker C: That sounds like an official invite. Yes, I. I would love to go along. Thanks, Nick. Thank you. [01:24:06] Speaker D: Unlucky. [01:24:07] Speaker B: You're not invited. [01:24:10] Speaker D: No, we want you back. We'd love to have you back. Can't wait to see you. We were out with Matt last night going. Oh, please, God. Cam comes back. So we'll see you there. [01:24:20] Speaker C: You say that now live. Wait till we get off air. No, it'd be good. Be good to catch up with everyone and get back there in October. [01:24:30] Speaker B: Yeah, for sure. Absolutely. Well, thanks for joining us. [01:24:34] Speaker A: Thanks, Nick. We'll have to have you on. On a Monday night one day when you're free. We want to hear stories about your trip. [01:24:40] Speaker D: Cool. [01:24:40] Speaker C: See ya. [01:24:41] Speaker D: Bye. [01:24:42] Speaker A: All right. Bye. [01:24:44] Speaker B: I think that was a yes, but. [01:24:46] Speaker A: He said, ooh, we'll take it as a yes. Okay, what's next? Well, just quickly. The final thing I saw about the GR4 monochrome was the advertising on their website. Website. I actually did kind of like they did it in a very creative way with images and words from a range of their photographer ambassadors on the product page. So there was very little about the product and lots of images in sets and then words about why that shooting with this camera works for Them very much more about, like, the craft as opposed to the tech specs. But that's where I'm like, cool. But I know all of these guys could have made these images with any camera I know they can. So I also need to see the, hey, this is why it's better. This is why it's worth a thousand dollars more. Look at this picture. Now look at this one. Look how much better it is. Otherwise I find it hard to justify it because like it says here, don't all newer cameras have monochrome picture profiles? They do. The difference is this has. Normally you have to split the colors into their separate RGB colors, whereas this, you take that filter away, you, in theory, get more detail, like Nick said, more dynamic range. But you've only got monochrome there, no color. But if you get the. The FOMO of buying one of these monochrome cameras, for starters, make sure you at least just put your current camera in the monochrome picture profile and use it like that for a month. [01:26:17] Speaker B: Six months. [01:26:17] Speaker A: Six months. And see, before you go and spend. Spend the money on one that can't do color. So. [01:26:23] Speaker B: Yep. [01:26:24] Speaker A: Yeah, like you did, but you had a color one too, so it doesn't matter. [01:26:29] Speaker C: Yeah, yeah, that's true. I think that. [01:26:32] Speaker B: I think. [01:26:33] Speaker C: I think monochrome's cool. I. I do think the idea of a monochrome camera is cool. I still think the Q3 probably tops the list of if I was going to buy one, that's the all in one sort of package that you could go with. That's a great camera. But yeah, like, if they get stock of these things and people happy to drop three grand, they're going to have a lot of fun with them, that's for sure. [01:26:54] Speaker B: Yeah, yeah, yeah, yeah. [01:26:56] Speaker A: And it could help put that range on the map. Who knows, Maybe they've got other products planned in future to add to that line that are, you know, the next something bigger or, or whatever. So, yeah, anyway, yeah, very cool. All right, should we move on to talking about. What's our next segment? Oh, it's Cam. Blake, it's me. [01:27:16] Speaker C: What's music for me? [01:27:18] Speaker B: Sorry to say, but Glenn Lavender's back in the chat, too. Sorry, guys. [01:27:23] Speaker C: It was cool for a while. Do we sell those two spots yet? Glenn, come on. The bookings done now. [01:27:29] Speaker A: All right, so what have you been up to? You've been all over the place. Lots of workshops, lots of busyness. Tell us, tell us some stories. [01:27:38] Speaker C: Yeah, where do we start? Last year was busy, that's for sure. I think the last time we guys, we spoke was when we had Brendan on the two podcasts together. That was earlier last year, I think it was. Yeah, yeah. So since then. Yeah, been gallivanting all over the place. Lots of workshops. Probably too many to be honest. It sort of burnt me out a little bit towards Linda last year. Just sort of living out of the suitcase. It sounds cool, but it's not. So yeah, I've been doing workshops and meeting lots of great people, seeing some great scenes around Australia, around the world, which is lovely. But yeah, it's, it's been the last, quiet sort of last six, six to eight weeks. And yeah, we're gearing up to go again. Like we sort of start in about two weeks time. We're off again to start for the next year. But it's been good. But yeah, it's just been really nice. Probably the highlight of last year was just watching everyone have such a great time where we were going. Like, not because we were hosting them, but just the places we went and conditions. We saw some amazing conditions, amazing sort of light and everyone got some really great photos and you know, it sort of makes it all worthwhile when you, you know, you've got a collective group of people that are really happy with what they're doing and it was good. [01:28:47] Speaker A: Yeah, it's. I, it seems a bit crazy that when I see the amount that you've got, like you're saying like it's, it must really be fueled by that. Yeah, that, that joy that you bring everybody because otherwise I don't know, I don't know how you do it. Like it just seems. Yeah. How many workshops you did last year? Or is that something? [01:29:08] Speaker C: Yeah, I think it was a, like because there's a couple of little one days there. We do like a little, little master classy thing here where we do some printing. So it's probably about 20, 20 odd, maybe early 20s, maybe last year. [01:29:21] Speaker A: Yeah. [01:29:22] Speaker C: But yeah, like it's, it does get grinding and like, you know, we all know Tom Putt really well. Like he travels around a lot and you know, you talk to him about trips he goes on and you know, he's always, he's always buzzing and always high hyperactive and really, you know, going off his tree about things. But you know, you just know that after each workshop or after each day you get back to your hotel room and you just crash and you sort of, yeah, you have a bit of time to yourself. But it's, it's a bit of a combination like. Yeah, you're right. Like the people Having a great time and, and having good. Getting great photos. But it's also just experiencing like just amazing light or amazing scenes. It keeps you sort of going. Like we've had. [01:29:58] Speaker A: We had. [01:29:58] Speaker C: We had an aurora in Utah this year, which is really unheard of to have an aurora so far south. South. Yeah, south from the, from the North Pole. So that was pretty crazy to see that. And you know. Yeah, we had moments in Scotland that were really lovely. Kakadu. We just got back from Kakadu a few weeks ago. Had some great shots of crocodiles and things like that. So it's, it's. Every trip's different, but it sort of keeps you going. I've got a lady that's helping me as well. She sort of keeps me on my toes and she's a good soundboard for when we get back to our rooms and sort of, you know, debrief. And I think it's. For a while I was doing them on my own and that's hard to do them on your own when you get back to, you know, you can either call in home if they'll answer or you just. You sit in your room editing photos, doing nothing for a few hours. So yeah, having a team, having a team's definitely helped make it a bit more enjoyable as well. [01:30:52] Speaker A: That must help having. Yeah having someone and just a second person to help. Just to help literally with logistics or anything like that. Just so it's not all on you, you know, someone's asking you a question, you're thinking about something else. That's got to be organized and system. [01:31:05] Speaker C: I used to lose my most time I'd lose my. On a trip would be at dinner time when someone had screw up the order and the waitress had come out and they're like, oh, who's got the, you know, the chicken snitzel with the mushroom gravy? And I didn't order that. I didn't know, like, oh, I've got to, I've got to deal with this now. Like, how does this my, my freaking problem. You know, there's a chicken snitzel that's not right. But having someone else who can, like you said, just share the load a bit makes a big difference. And I. Kudos to the guys that run their workshops and trips on their own and, and don't have any. Like, I, I did that for a few years and it was, it was okay, but it's really heavy, heavy work where yeah, having a bit of a team, I think it lightens the load a bit. So yeah, it makes a bit more enjoyable. Yeah, you've got to pay them. You don't make as much money, but you gotta, you know, you still, I think the payoff is a much better mental state when you get back, you know, when you come back to where you need to be at home and you're not sort of shitty with the world because you've, you know, just worn out, so. [01:32:03] Speaker A: Yeah, yeah, yeah, yeah, exactly. It's like, it means that you can do, you can keep going and doing these workshops without running out of steam. Yeah, exactly, yeah. [01:32:11] Speaker C: 100. Yeah, exactly, yeah. But yeah, no, we have, we've had, we've had a lot of, a lot of fun. [01:32:17] Speaker A: What else, where else did you go last year? Scotland. [01:32:20] Speaker C: Jesus, where did we go? We're in Scotland for a month. We did back to back trips. Back to back 10 day trips in Scotland. Speaking of. [01:32:30] Speaker A: Now, you know, I'm coming to India to deal with menu issues. Oh, I mean, whatever. [01:32:37] Speaker C: I'm easy. I'm baked beans on a plate, mate. So I'm easy to worry about my menu. You're there to keep me alive, Glenn. So, yeah, we did back to back Scotland. That was going well until the third day when I backed the high car into the other hire car. That was a good way to sort of stress yourself out on a trip. That was the first damage. [01:32:57] Speaker B: Two hire cars, well done. [01:32:58] Speaker C: Yeah, both mine. Both the ones I paid for, which is great excesses. No, no excesses actually, because there's some things you can get away with. My, my cousin Daniel, who used to help me out, he's a panel beater by trade. So I was on the phone to him from Fort William in Scotland back to King Lake in Victoria there at know what hour of the night it was. And I said, jesus, I've backed this high car into another car. It's got a little bit of a dent on the back of this one. He goes, that's all right, just go buy a suction cap, you know, thing though, from the hardware shop. It'll pop back out. And we pop back out and we return the car and nice. They didn't see anything. So. So that was good. We got away with that one. But yeah, we did Scotland, which was great. We had some really beautiful conditions in Scotland. We did Utah for 10 days. We did last year was the first year we teamed up with Ozgeo. We're doing some workshops in conjunction with them. So same, same workshop, just they're promoting it and putting their name to it as well. So we did a couple of Tarkine up in the northwest. Has he ones. We did a Flinders island one as well. We went to Flinders Ranges. That was really nice as well. Scouted Kangaroo island for the Down South Photoshop workshops that we do. So we've got one of those coming up this year which is already sold out, which is great. What else do we do? We did some macro. The lady that's helped me, Cheryl, she's a macro photographer. So we've sort of incorporated a macro side of things as well, so we can sort of tap into that macro market. Yeah, yeah. So a few things in Tassie, southwest of Tassie, we do a, a three day flight in there, we fly in there and sort of glamp down in the middle, absolute middle of nowhere. But it's absolutely stunning. It's really, really nice. So yeah, we go all over the place. The Daintree went up to the Daintree Kakadu, as I said. So yeah, it's getting all over the place. [01:34:52] Speaker A: Yeah, yeah. [01:34:53] Speaker C: It's crazy. [01:34:54] Speaker A: How do the international ones come about? Because obviously like you could, you, I'm guessing you could probably run an endless amount of landscape workshops in Australia, you know, even probably in Tassie almost. [01:35:06] Speaker C: Yeah. [01:35:07] Speaker A: You know, like there's plenty around. So is it people coming to you and saying, I want to go to these destinations or do you go, I've always wanted to photograph here. I'm going to try and build a workshop around it. [01:35:17] Speaker C: A bit of both or it's a bit of both. I'm, I'm really cautious of making it look like people are paying for your holidays because that, that's, that, that, that, that gets out real quick and you know, you sort of tell the, the operators that are doing that and the feedback comes back real quick from customers that, you know, I felt like I was just paying for that person, that person's holiday to wherever. But yeah, pretty much my whole business has been surrounded by my customers driving where they want to photograph. So like to go or, or places that you think would work. So, but originally it was just Tassie. I was just doing all Tassie stuff and then I had a customer base that sort of said, look, we've done all your Tassie stuff, where else you going? So I thought I'll go to go to the mainland, I'll start doing this, I'll start doing that. BFOP was a massive one the first year I attended that and then with the COVID beef up years, I got a lot, a lot of work out of that. People seeing how nice Tassie was when it was online only. And then the international ones just pretty much came again. Like people was like, okay, I've done all your Tassie, I've done all your mainland, you know, where else are you thinking of going? And then it's just based on what I've researched or other people I've seen photos of inspired by other people's work. So Utah. I've always, I'd always had a craving to get to Utah and do all the big five national parks there. And then Scotland, Scotland came about because almost everyone that came to Tasmania who had been to Scotland all said, jesus, place reminds me of Scotland. You should go do a workshop in Scotland. So Cheryl, the lady, it helps me, she's from Northern England and she'd been to Scotland a few times and she said, yeah, we should do a workshop in Scotland. I know, it's okay. I know some of the places we can go. And, and I. That's, that's probably my favorite workshop at the moment. Scotland. It's, it's just a cool place to go to, take photos. So, yeah, it's, it's really on the base. I'd say it's probably 80 based on customer feedback and suggestions. And then you know where I'd like to sort of go based on photos I've seen or photos I want to sort of take. We're off to Yosemite in a couple of years for a winter workshop in Yosemite. That's, that's been a bucket, that's been a bucket list of mine for ever. And we went and we went and scouted that out just last year after Utah, we did a quick sort of three or four day trip over to there. So yeah, that's, it's, it sort of leads its own way. Like customers based on where they want to go, where I'm thinking of going and people are just lovely. Like, like most of the international stuff we do sells out pretty quickly. It's just like, okay, cool, Cam's going to Japan or Cam's going to America or whatever. And they sell it nice and quick, which is nice. So, so, yeah, big thanks. [01:38:01] Speaker A: You're going to Japan in like a few weeks. [01:38:04] Speaker C: I'm going, I'm leaving next week to go to Japan. We got a tour starting on first of Feb. [01:38:10] Speaker A: Damn. [01:38:10] Speaker C: So first of Feb, Yeah. Again, I've never been to Japan, but everyone's saying, you know, if you want to do something in winter, Northern hemisphere, Japan's a really good place to go and Check out. [01:38:21] Speaker A: So where are you heading? [01:38:24] Speaker C: So we're going to do Tokyo, bullet train down to Mount Fuji and then we're going to drive sort of out through Matsumoto, up through the snow monkeys. Yeah, I think it's up to Nagata and then across. There's a lake district across the top of there and back into Nicole and then. [01:38:42] Speaker B: Something. [01:38:42] Speaker A: Yeah, yeah, yeah. You're going to the lakes district. [01:38:46] Speaker C: Yeah. And then back down, back into Tokyo. Now there's another guy down here in Tassie, Luka Brian, who's another photographer down here. Him and I've been mates for a few years now and his wife is Japanese and they lived there for eight or nine years. So I reached out to him, I said, would you like to do a winter trip to Japan, like a joint workshop? And they said, yeah, absolutely. So we've got a Japanese speaking person coming with us, which is great. She's lived there, she knows the culture, Luke knows the language. We just go along and you know, we'll do all the photography stuff and have a ball. So. Can't wait. So I don't think the temperature is going to be much different to what it is here in Tassie for summer. It doesn't sound like it's not going to be too different, so. Yeah, yeah. [01:39:30] Speaker A: Oh man. You'll have a ball if you're going anywhere near. If it's the lakes district that I think it is like around Lake Inuashiro and like it's called Aizu is the area. It's so cool through there. [01:39:48] Speaker C: Yeah. [01:39:51] Speaker A: Yeah, yeah, yeah. Giant light like it freezes over. We've been out ice fishing on it and stuff. All right, there's or there's like multiple lakes around that. But. [01:40:01] Speaker C: Yeah, yeah, that's the one. That's the one. Yeah, yeah. I just. [01:40:05] Speaker A: Yeah. I mean people would be that pre. That prefecture would be more commonly known as Fukushima. But don't worry about that side of it. That's all sorted now. They've covered that up, it's called. So they actually changed the name to Aizu of that whole area because really. Yeah. Tourism slowed down but it's nowhere near any like. And it doesn't. That's. Yeah. But I've been there four times to that district for snowboarding. [01:40:32] Speaker C: Yeah, yeah. [01:40:33] Speaker A: It is amazing. And if you're doing it up, up through past like Nazelle, like where the snow monkeys are and stuff. Yeah, it's got to be amazing. [01:40:44] Speaker C: Yep. Yeah, yeah, yeah. So really excited about that. My biggest worry is and Greg and I were talking offline as well. You're talking about things that you like to collect. But that camera district, that's in Tokyo where they've just got endless streets of second hand camera stuff. [01:41:00] Speaker B: Yeah. [01:41:03] Speaker D: Yeah. [01:41:05] Speaker C: It's going straight into those shops. [01:41:07] Speaker A: Yeah, yeah, yeah. [01:41:09] Speaker C: Just again, I don't need. But I'll buy it, you know. [01:41:12] Speaker A: Yeah, yeah. Well, apparently GR4s are cheaper in Japan, so you could buy one of those. Yeah, apparently. That explains me, the four trips to isu. [01:41:25] Speaker B: Yeah. [01:41:27] Speaker A: Bruce Moyer wants to know, how can you run a tour when you haven't been there planning AI? No. [01:41:35] Speaker B: Not actually, not actually going. [01:41:36] Speaker C: We're just gonna, not actually goggles on and away we go. It's a good question and I'm, I'm a bit reluctant, quite reluctant to go somewhere I don't scout. I know there is some people that will just put on tours without scouting. I haven't been to Japan, but Luke o', Brien, like I said, he's lived there and been there and he's a great photographer down here as well. So I'm sort of putting my confidence in him that he knows and he does, he knows all the places that we're going and seen the photos that he's got from there. So I, I sort of, I guess through his eyes. I've done a bit of scouting, but most places that we do definitely scout. So we scouted America before we went. We scattered Scotland before we went. We've scattered Utah. Sorry. Yosemite. Going to New Zealand this year as well. Been there a few times. So I, I don't ever want to rock up to somewhere and just be, you know, making up as you go. I don't. That's not cool. And I think people pick up on that vibe real quick as well. If you're sort of scratching your ass trying to figure out where to photograph things every morning because you haven't been there, that's a pretty poor look on business as well. [01:42:40] Speaker B: So, yeah, good coin and putting confidence in you guys to take us to the good spots, take us to the good light it. Let's go see stuff that we're never going to see again or, you know, we haven't seen before. [01:42:52] Speaker C: Yeah. [01:42:53] Speaker B: And yeah, it's, it's a key part of your brand, isn't it? It's that trust. [01:42:55] Speaker C: Yeah, yeah, well, totally. And, and you know, more often than not every trip, you know, there's a handful of times on every trip where we do get that magic light or that magic moment and sometimes you just Turn the camera off and sit back and just watch everyone else enjoy it. It's almost. It's almost as much fun as you shooting yourself because you just see the glow on their face that they're holy. I'm standing here at whatever place it is that I never thought I'd stand before and the lights going off and I'm getting these epic photos like that. That pays for itself. And it sounds corny. It sounds. Sounds a bit wanky, that. That's how I think. But it's a lovely feeling when you. When you put something together that works and it comes off. So that's sort of what we pride ourselves on, is having a good time, putting people in the right place at the right time, have a few laughs, have a few beers, nice and relaxed and get people where they need to go. But, yeah, but, yeah, good question, Bruce, because I wouldn't do it normally without scouting, because I think that's just a recipe for looking unprofessional, and that's not good. Yeah. [01:43:53] Speaker A: Yeah. [01:43:54] Speaker B: I think your clients deserve better, don't they? [01:43:56] Speaker C: Yeah, yeah, absolutely. Yeah. And like you said, they're putting, you know, some, some trips are 10 grand, 15 grand. That's a lot of money for a trip. You know, that, that goes a long way, obviously. Accommodation, food, transportation, teaching, whatever it is, organizing. But, you know, I, I'd feel like an absolute prick if I got back from a trip and I hadn't scouted it and we got no good photos and, you know, because I didn't do my research properly, you know, you wouldn't be able to sleep at night. I think so. Yeah. [01:44:23] Speaker B: Yep. [01:44:24] Speaker A: A couple of good comments coming in. Adam Edwards in the chat. Good to see you, Adam. Thanks for joining us last week. And says, geez, doing it tough for a guest. Yeah, it's. It's getting hard. Yeah. [01:44:34] Speaker C: Yeah. I'm not even charging this one. It's free. [01:44:39] Speaker A: Another comment about your workshops. I hear the macro market is very small. Glenn says, oh, my God, I haven't got my badum. Ching. Sound effect. [01:44:47] Speaker C: But it's still school holidays. [01:44:49] Speaker A: Glenn Nev Clark, good to see you. Says, yeah, good point. There's a few glorified holiday workshops that really aren't workshops. Yeah, not many, though. But they're around, but it's not. [01:45:01] Speaker C: There's not many. But yeah, there's. There's stories. Yeah, yeah, yeah. That's the thing. [01:45:09] Speaker A: Anyone that's been doing it for as long as you have, or, you know, Adam has or whatever, like, you can pretty quickly get an Idea of, like, how many workshops this person's done and where they've done them. And, like, you can sort of start to put a picture together of like, okay, this person's legit. They're not just. [01:45:23] Speaker C: Yeah, but that's also another. That's also another. Another trap you can fall into. And I've found myself doing that over the last couple of years with some of the places I've visited before, like, especially the northwest Tassie Tarine region. Like, I've spent weeks in that place. And you're going back to the same places, same time of year, same sort of conditions. You know, sometimes you've really got to ramp up your excitement because otherwise you can say, I've done this show this photo a thousand times before. I want to make, you know, you've got a. You're almost like acting a bit. To make sure that the excitement level of the group is still high when you walk into a forest that you've seen 600 times before. So, yeah, it's a tricky one sometimes if you go to the same place a lot to really get that excitement level up and get people looking legit, because otherwise it could just look like you don't care that you're there. And that feedback gets around as well. Yeah. [01:46:14] Speaker B: And I guess that's when I was just going to quickly say, so I guess that's where going to different locations really breaks that for you as the tour leader. [01:46:22] Speaker A: Yeah, well, it's exactly what I was going to say because I've done a bit of snowboard photography and I've been. And I've paid to go on a few tours for them as well. So I've been. I've been kind of part of the team and I've also been a participant in a snowboard to a company called Mint Tours that used to operate out of Australia. Now they do it, but they do it from the States. They're quite a big operation in that world. And the guy that owns it, he has this thing now that he calls Black Ops. And that's his email list that. That is. You sign up to it. It's just emails from him about these tours that he does called Black Ops Tours. And they're like to Kyrgyzstan or they've done them in Russia and stuff like that, or these. These places that he hasn't ne. Because they scout everything, obviously, like in detail. They've got local guides and their team, and it's very well organized. But the Black Ops ones are things that he's like, I'm Doing this? [01:47:21] Speaker B: Yes. [01:47:21] Speaker A: Six. Six other people or four other people can come and do this with me. Here's the plan. You know, it should all be good, but we are going to Kyrgyzstan. So, you know, like, yeah, it's, it's, it's a different. He kind of advertised it a different offering. This isn't like a hold your hand to her. This is a, we're going on an adventure tour and it's an adventure to go on and if you want to come with me on this adventure, let's go. And I was like, that's actually a pretty cool way of doing it as well. [01:47:49] Speaker C: It is a good, it's a, it's a cool way of tapping in because generally those ones as well, you'll, you know, I've heard of people doing it before as well. Like, they'll run them a bit cheaper than their normal constructed tours. So people get a bargain. They're going somewhere where they know it's not really that, that sort of structured, but they're going to have a good time and they trust the person taking him there. So, yeah, that's a cool idea to do that. And it's another way to scout places without sort of scouting them as well. [01:48:15] Speaker A: That's kind of, I think, how he treats it as well, where it's like, and this could turn into a tour, but if it doesn't, it doesn't. We still had fun. But yeah, it's, it's, yeah, it's interesting because you've got to, you got to keep your cup full as a photographer as well. [01:48:27] Speaker C: Yeah. [01:48:28] Speaker A: You know, new experiences and. [01:48:29] Speaker C: Yeah, that's something that I, I struggled a bit, A bit last year towards the end. Is that again, it sounds all sort of cliche, but I just didn't feel like I was shooting for myself at all. Like, you know, like, like you guys, like everyone else listening. Like, my photography is sort of born out of, you know, getting away from things and clearing your head and getting out to nature and keeping, you know, keeping active and all those kind of things. But when you're running these trips sort of day in and day out, you know, you're taking photos, but really it's. You're the last one taking a photo. You're getting everyone else set up and making sure everyone's getting what they want. So you get back to your hotel room, it's like, oh, yeah, I got a couple of nice shots, but geez, there was a great shot I missed because I had to set that up or, you know, so I found towards the End of the year I'm just like, geez, I'm really struggling a bit for my own motivation to take photos on my own because I'm sort of photoed out by the time you get back from the trips. You don't want to get home and then go out again. So to combat that, this year we've decided to go to locations just a couple of days earlier and have a bit of that time to just have another sort of last minute scout at something that we might want to look at just so we can sort of fill that cup of hours like you said, with a photo or two and then get, get into the work side of things and make sure everyone gets the cracking shots they want. But yeah, it's hard to keep maintaining that cup full of fun when you, when you're sort of doing a lot of photography as, as a job and teaching people how to sort of fill their cup, you know you're not filling yours at the same time. [01:49:55] Speaker A: Yeah, exactly. Yeah, yeah, that's interesting. [01:49:58] Speaker C: Which is why again, that's why place things like bfop. I love Beef up. You know, I'm sure Nick's listening still, but to me BFOP is a. And the way I felt about BFOP when I first went there, it was almost like a bit of, almost like an end of year party for the photographers to sort of let their hair down a little bit, still have fun, still interact with customers and teach a few things and learn a few things. But really it was quite a relaxed atmosphere and environment where you could really be yourself knowing that, you know, you had 20 people to deal with in three hours. You're not going to teach them everything they need to know, but you can have a bit of fun with it. And that's like, even to this day, like Beef up to me is a real sort of enjoyment side of work where, you know, you can really sort of let your hair down for a few days. You can be a, you get away with it. You know, you can have a few drinks, you have a few laughs, you know, it teach people. There's no pressure on, you know, how much you got to teach people or what they need to come out with. Just be yourself and you know, it's a really good sort of end of, towards the end of the year thing to do. [01:50:53] Speaker A: Yeah, yeah, I think, and I think it's that access to people that, that, that if all of the people that rock up, which was us year one, it's that access to the photographers where they are having a beer at the end of the night near where you're standing, you know, like they're not like these separate people that you only see when they're on stage or when you pay for the workshop or whatever. It's that, that makes it special and that also makes it cool for the workshop instructors too because they, it's every bit more chill and relaxed. The pressure's off and. [01:51:24] Speaker C: Yeah, yeah. And credit credits and Matt and Nick as well. Like I think they've, they've always chosen really good people to be there. Like they've got a, they've got a theme of photographers, they like going through BFOP who know how to relax, who know how to have a bit of fun. They're good at what they do but you know, they, they're not, you know, the ego is checked at the door, which I love. Like just kick that ego out of the tent. We don't need it. So. Yeah, it's always, it's always a good relief. [01:51:49] Speaker B: Yeah, yeah, yeah, yeah. I remember them saying about choosing workshop instructors, you know, we really want them to have that beef up vibe. [01:51:58] Speaker C: Yeah. [01:51:59] Speaker B: You know, just that kind of special flavor of like what you said. And, and you do see that. Yeah, you see that, that people, you know, instructors will come back from the big bad, but from the big bus trips or being up on the mountain all day and they, they'll still come back to the HQ and sit down and have a beer and a chat and. [01:52:18] Speaker C: Yeah, you know. [01:52:20] Speaker B: Yeah, I love that. [01:52:20] Speaker C: Yeah, it's very cool. Yeah, it is, it's very cool. And, and yeah, like that's exactly why that plate that that festival has been so successful is because of that exact reason is it's just one big happy family of photographers, all have a bit of fun together. Which is what in a way it's sort of the DNA I've tried to take onto my, my trips that I do is that yes, I'm organizing a trip for you and yes, I'm the professional and going to help you sort of get better photos if I can. But really it's, it's six to eight people all going to a place they love, all doing the same thing we love. And all I'm, all I'm doing is helping you make sure you're at a hotel room, get you there, get you fed and make sure you get that shot if you don't know what you're doing or you're unsure or what settings or compositions and things like that. And that's pretty much the DNA for, for bfop, it's Just have fun in it all together. Lovely place. Have fun and enjoy it. [01:53:12] Speaker B: Yep, yep. Yeah. Successful formula, that's for sure. [01:53:16] Speaker C: Yeah, it's working. Yeah. [01:53:18] Speaker A: I better pull up some images for our. Your images section. [01:53:22] Speaker C: Yeah, yeah. [01:53:23] Speaker A: I've just got to download a few more because I wasn't watching my own books and some more's come in while we've been on the show. Show. If you're just listening to this now, but you're gonna send us in images for a future show, email them to justinuckystraps.com it's too late now for this show, but for next week's show, [email protected] Over to you, Greg. [01:53:42] Speaker B: I was just going to quickly say just a comment here from. From Levin. Oh, and Levin posted on his socials a couple of photos. One was of the fires that he took because he's a. He's a commercial pilot in Australia and he does international and national legs and he's been posting some shots from the cockpit of the fires. That was one that's worth a look. And then I think yesterday or this morning, he posted a photo of a storm that was quite a distance away. They were up quite high altitude and there was a storm and there was lightning was flashing down, obviously through the clouds. But then every now and then there'd be this blue jet of energy. [01:54:18] Speaker C: Yeah. [01:54:18] Speaker B: That came out the top into the atmosphere. Oh, it was just magical. Like, it's just. That's cool, you know, flying along and he's just taking these shots. Pretty cool. Amazing vantage point. But yeah, he has said one of the great things about tours workshops is giving people a place where they can spend time with people with shared passion. [01:54:37] Speaker C: Yeah. [01:54:37] Speaker A: And. [01:54:37] Speaker B: Oh, sorry, that was. Glenn Levin said. Sorry, Glenn. [01:54:41] Speaker C: Yeah. [01:54:42] Speaker B: No one listened to what I just said that Glenn said, it's not worth it. I tried. Leon has said I try to stay in the area after the tour is finished to catch up with sleep and then do my own thing at my pace. The bonus is I often discover new hidden locations for future tours. [01:54:57] Speaker C: Yeah, 100. Yeah, it's just. Just that, that pressure valve release once, you know, and like, there's a lot of stress running these things as well. Like you, you're everything. You're sort of keeping an eye on everyone and everything that's going on. You're driving your car in a foreign country or whatever, so there's a lot of pressure and when you get to the end and you get everyone through it and everything's gone smoothly and everyone's got Some great shots and they're all raving about the tour. It is good just to switch that off at the end and go and do something relaxing. I know when we did Utah the year before last, Brendan was there as well. We had him help helping him. And I went and played golf. We played a game of golf in Vegas after the workshop or before the workshop just to. Just to relieve a bit of the stress and pressure of what was happening. So, yeah, if you can stay around and a lot of customers do as well, they'll tap on a few extra days here or there. But. But you will find locations or you'll go down the road that you drove past that you didn't have on the schedule, but on your own, you just go, let's just go down here and see what's here. And you'll find a gem somewhere or, you know, then you chuck it on next year's tour. You know, you find something and you can put it on the next trip that you do there. [01:56:02] Speaker B: So. Yeah. [01:56:03] Speaker C: Yeah. It's very true though. [01:56:08] Speaker A: Nick says running a small group tour for a week would be enormous stress. [01:56:14] Speaker C: More stressful than 500 people at a festival. [01:56:17] Speaker A: Yeah, it's. Yeah. I feel like the festival would be harder. [01:56:22] Speaker C: Yeah, I have a feeling the festival could be a bit stressful. [01:56:25] Speaker A: Yeah. I've only done one workshop. It was. Was three full days, but with a night. What did we do? A night before and a night out. So it's kind of like. I think it was four nights or something like that. They stayed on. So wedding photography workshop. And Jim and I tried to teach people. I think we had six or eight people and we tried to teach them everything we knew about wedding photography from everything. Like. And night sky photography, sunset photography, off camera flash. We did. How we shoot receptions, we did in three days. Champagne bottle. No, not only that, website review, package pricing. We did an entire business start to finish, three days. We didn't go to bed before 2am any day. And then we were up at 6am every morning for something. I felt like I was hit by a truck. We never did another workshop. Yeah, but we had. We had tons of fun. [01:57:20] Speaker C: Yeah. [01:57:20] Speaker A: Straight after it, Jim was like, so we're gonna do another one. I was like, I just need a minute. And then. And then we just never got back to it. Yeah, it's too much, too quick. [01:57:30] Speaker C: Yeah. I think, I think it is something you could get burnt out in. And I think again, it's just that time management and just know. I think you know, one thing Brendan and I Have spoken about a bit. When we do our down south workshops is the first couple we did with together, he was like, I feel like I just got to teach him everything every day. I'm like, but people can't retain that information. You can't fill people's brains up every day and then back it up the next day and then the next day and the next day and expect them to remember everything you said. Just break it down, little bite sized bits of information every day and you know, and then summarize something that that Cheryl lady helps me does. That's a really good add on to ours is every day she does a little report of every day, where we went, what we saw, little tips that we gave. And at the end of the trip we email that out to everyone as a post trip report. So people go back home and the information is there in their inbox. Straight away it's like, oh, that's cool. Oh, yeah, day one. I remember that now. That feels like a week ago that we were there. So she does little notes all throughout the whole trip, which I would never be able to do on my own because I just don't have the time or patience or probably the brains to put it all together. But again, it's just that little bit of just not trying to, you know, reinvent the wheel every day for people but just summarize it for them at the end and hopefully they take that away and. And study that and. And practice it. [01:58:47] Speaker B: I love that. [01:58:48] Speaker A: That's a great idea. Just little. Yeah, little memories and little room. [01:58:51] Speaker C: Yeah, yeah, yeah, yeah. [01:58:53] Speaker A: It's good. All right, should we look at some images? [01:58:56] Speaker B: Yeah, let's do imagery. [01:58:59] Speaker A: Let's do it. Where are we? How do I do my thing? All right, let's start with. [01:59:07] Speaker C: It doesn't get any better that music, does it? [01:59:09] Speaker A: It doesn't. [01:59:10] Speaker C: I thought after two hours I might. [01:59:11] Speaker B: 150 episodes. [01:59:14] Speaker C: It's still not good. [01:59:17] Speaker A: Now where are we? There we go. I think I took this one. I can't quite remember. Oh, no. This might have been you cam. [01:59:23] Speaker C: That was me. Yes. That looks like one of my ones. [01:59:26] Speaker A: It is, it is. Tell us about it. [01:59:30] Speaker C: So this is my mate Jamie, who's another good photographer down here in Tazzy. We went up Mount Wellington to. This is. This is a classic lesson of why you don't go home early. So we went up Mount Wellington, which is the big mountain here on the footsteps of Hobart. And it was a warmer kind of day, but there was some rain meant to be coming through, and I wanted to go up there and shoot some rock formations and some of the flowers, native flowers. This was a bit of a filling my cup sort of time where I thought, let's just go with a mate and have a bit of a. Have a bit of a fun hour or two. And we got up there and all these. This rain clouds all just started to come in and everyone just. Everyone just left. Everyone pretty much half the people on the mountain just decided, oh, it's going to rain. Going to go back to Hobart, get dinner or whatever and be done with it. And there's a few of us that stayed up there and, you know, five minutes after the sunset, the entire sky just lit up. Just like amazing colors of the sky. The whole thing, that whole rain band had lit up all different purples and yellows and oranges. And I turned around to sort of shoot where the color was and Jamie was standing there on top of this rock formation. I originally told him to piss off and get down from there. Then I actually said, now get back up there because you actually look better. The photo looked better with him in it than it did with just the rocks and no. No person. So. But it was one of the nicest sunset we had all year, really. It was really lovely and just that fire in the sky just took off. But it's a really good lesson that just don't pack your up and go home early. I. I always say, even on workshops, you know, we've got thunderstorms rolling in or lightning flashes in the distance. Everyone's like, oh, we probably should pack up. No, we're going to get wet, we're going to get uncomfortable, but we're going to try and get Mother Nature doing something pretty cool. So. Yeah, but yeah, I just thought, no, just having him in the shot looking at his camera. Once again, he's not actually looking where he should be, but he's looking down at his. He's a Canon. He's a Canon user, so we can't expect too much from him. Yeah. So he was probably trying to get through the menu system of how to change it from a JPEG to RAW or something like that. I don't know. But yeah, I just thought it looked a bit better with him in it than without it. [02:01:29] Speaker A: So, yeah, great image. [02:01:33] Speaker B: And I love it with the, with the subject in it. It just, it adds to the scale. [02:01:37] Speaker A: Yeah. [02:01:38] Speaker C: Yeah. [02:01:39] Speaker A: Nick Fletcher says, freaking awesome image cam. And Greg Carrick says, try that with a monochrome. [02:01:46] Speaker C: You have to have a good imagination. [02:01:48] Speaker A: Nev Clark says, safety, duty of care. [02:01:50] Speaker C: All that, yeah, that's what, that's what public insurance is for, mate. [02:01:55] Speaker A: Yeah, that's right. [02:01:56] Speaker C: Yeah. [02:01:58] Speaker A: Okay, next. [02:01:58] Speaker C: Haven't, haven't had, haven't had anyone struck by lightning yet. So I'm doing all right. [02:02:02] Speaker A: That's right. [02:02:03] Speaker C: Touchwood. This is another. So talking about projects and goals, you're talking about people earlier in the episode that people were putting goals together. One of my goals for this year is actually explore Mount Wellington more than just drive up to the top, take a photo and come back down. I've been down here for about 14 years now and I still haven't looked at 50 of the mountain up there. So my little fill my bucket exercise for this year is when I am back here is to try and shoot all the different seasons of this mountain and just see what, what, what happens. So this is another day. It was actually a really foggy, sort of moody day at the top. So I thought, oh, as you do, I'll get up and go take some photos up there. And this red tree or red shrubs called skaparia, and it only blossoms for about two or three weeks of the year around about sort of January. So this is only a couple weeks ago. And just that moody rock formation and you know, the, the red splash of color, that was the sort of shot I was looking for. I was looking for that mood and rock and really inspired by Peter Dombroskis. For those who don't know who Peter Don Broskis was, he was an incredibly gifted Tasmanian photographer. Shot everything on large format film with large format cameras. He spent a lot of time on that mountain also. And a lot of the shots that have inspired me have all been his ones from the old calendars he used to do and things like that. And that sort of got me thinking, you know what? I really don't know this backyard as well as I want to be. Lovely to get up there and see if I can get some shots that might sort of do the mountain a bit of justice. So, yeah, it's, yeah, just a bit of fun one with a nice color in front and a bit of mood. [02:03:39] Speaker B: Yeah, it's a great composition and I've been really admiring that with your work. Often there'll be these grand, you know. Yes. Yosemite like landscapes, but. And then you'll kind of, you'll go into the intimate landscape detail and you'll show the, you know, a close up of a rock and a, and a plant and lichen and you know, it's just, it helps to fill in the, the story. It's not just about the big scenes. There's also a lot going on at ground level. [02:04:04] Speaker C: Yeah, yeah, I try. And again, something we talk about on the workshops, if, if you went through my lightroom catalog and sorted by focal lengths, I'm either, I'm either at 200 or 300 mil right into a landscape with detail or on wide angle, you know, 21 mil or something like that to get that big grand landscape and then chuck a macro lens in there to try and get some detail and some of the other things. But I, I love trying to get those detailed shots. [02:04:29] Speaker B: Yeah. [02:04:30] Speaker C: And I think sometimes you can get, you can get sucked into those big grand scenes if there's something really good. Light wise. It's, it's sometimes hard to put a different lens on and try and get into a, a section a bit more or just a detailed shot. But yeah, yeah, so, but yeah, I'm the same. I, I think some of the better shots, I do some of those more intricate detailed ones where I feel like, you know, maybe you take a bit more time to set them up and you look a bit harder and you're searching the landscape a bit more for those sort of shots as opposed to just having that, that grand landscape right there every time. So. [02:05:04] Speaker B: Yeah, yeah, yeah, that's great. [02:05:07] Speaker C: But that's. That, that plant, that plant's beautiful, but it'll rip your pants to pieces. It's like it's so sharp. It's. It's the shittest plant in Tasmania, but it's one of the prettiest as well. So if you walk through that with like hiking pants on long enough, it'll start ripping your hyping hiking pants to pieces. But it flowers and, and the flowers are all yellow, pink, violet, orange, red, white. Like there's all different colors and sometimes the same bush can have all the different colors on there. It looks pretty, but it's a prick of a thing, that's for sure. [02:05:41] Speaker A: I'm gonna remember that. Hopefully to clip the shittest plant in Tasmania. It's gonna be a good. [02:05:49] Speaker C: You won't, you won't have too many arguments, I don't think. [02:05:53] Speaker A: Final image from cam. [02:05:56] Speaker C: Yeah, so this. I bought a new drone the other day because, you know, because, because you can. Well, I had a chrome drone. No, imagine that, that, that would be some serious purchasing if you bought a monochrome drawing, wouldn't it? Like. Yeah, that'd be, that'd be different level. That'd be Nick Fletcher kind of level. So. But I bought the new Mavic 4 Pro. I had the 2 Pro for a while. I had it for ages. And I don't fly my drone that often. It's quite hard down here in Tassie to fly drones in the national parks and without getting your ass kicked. And as soon as you put it online, the locals get all fussy about it and get yourself in trouble. But I took this one the other day. Again, it was just another one. As I'm gonna. I haven't flown my drone for a while. I'm gonna go out and give it a go. And this is out towards the southwest. And that top of that mountain's got a big scar from fires that went through a few years ago. But again, that's just classic Tassie wilderness. Light rays, endless mountains. It's a pretty amazing place, Tassie, and yeah, get above it. Done a few flights over the southwest as well and just seen the mountains and yeah, it's a cool place to explore from the air as well. Yeah, it's. [02:07:14] Speaker A: Yeah. Beautiful landscape in the back there. It's like. Yeah, yeah. Trying to appreciate it through the little YouTube window is pretty. It looks awesome on my screen. That's why I'm zooming. [02:07:24] Speaker C: Yeah. And that's the thing. [02:07:25] Speaker A: That whole. [02:07:26] Speaker C: The whole south. West. West coast of Tasmania is all that kind of stuff. It's such a. An incredible landscape. And again, it's, you know, New Zealand, you know, South Island, New Zealand's bloody incredible. But South Tasmania is also incredible on different levels. So definitely, if you, if, if you haven't been to Tasmania with your camera or you've just been to those typical hot spots like Cradle Mountain and Wineglass Bay, do yourself a favor, come down and spend a week on the west coast of Tassie. If you're a landscape or nature photographer and you'll. You'll wet your pants of how much there is to shoot from top to bottom, it's just incredible. So. But. But I was pretty happy with the drone. Like, the new. The new files out of that are really nice. Like, that's. I think it's 100 megapixel. The new Mavic 4 Pro stills. [02:08:13] Speaker A: That's cool. [02:08:14] Speaker C: Stills. Yeah, for stills. So there's a lot of detail in it you can play with. And the battery life's like, you know, talking about advancements in technology, I think the Mavic 2 Pro to the Mavic 4 is probably a good seven or eight years difference, I think. But the difference in battery life, I can. You can always fly up to 45 minutes in this drone. Now with the old one was 18 minutes. Huge megapixels. Yeah. Lots and lots of sort of automated panoramas you can do, and it's a lot of fun. It's just. It's just tricky down here with the national parks and where you can and can't fly. So. Yeah, you've got to be a bit careful. [02:08:51] Speaker A: Yeah, Very cool. [02:08:53] Speaker B: Amazing. [02:08:55] Speaker A: All right, we're gonna. We're gonna fly through them tonight because once again, my time management skills are abysmal and we're now 40 minutes beyond the tug time of this podcast, so. [02:09:06] Speaker C: 40 minutes. [02:09:07] Speaker A: 40 minutes. I was aiming for an hour and a half, and we're at 2002 minutes. So up next, we have the one and only David Leporardi. This collection of images was actually sent through right towards the end of the year, and then we had a little break from your images, and then I somehow missed them last week because I'm pretty bad, so he says. Image number one, Wyndham Waterfront shot with the Fujifilm X20 2012 megapixel compact camera. Wow. And Photoshop treated X20. [02:09:38] Speaker B: That's old. [02:09:40] Speaker A: That's. Is that why you were like, wow, because it's old? Yeah, it's a really old looks. [02:09:45] Speaker C: It looks. It looks. Looks like it's shot on film. [02:09:47] Speaker A: It's great. [02:09:49] Speaker C: Yeah, yeah, yeah. A lot of mood to it. Texture. It's good. [02:09:57] Speaker A: And then image number two, Brisbane Cityscape shot on Canon EOS 40D with the 17 to 55 2.8 lens. [02:10:07] Speaker C: There's a theme here. [02:10:10] Speaker A: What's that? [02:10:11] Speaker C: There's no color in them. [02:10:14] Speaker A: Yes. You obviously aren't familiar with the photography of David Leporardi. Possibly the broadest of all photography genre people, from macro to fighter jets. All right. He shoots it all. [02:10:30] Speaker B: Yeah. [02:10:30] Speaker A: Right, so continuing the monochrome theme tonight is Misty dawn, Flinders Peak. [02:10:37] Speaker C: Yeah. [02:10:38] Speaker A: Fujifilm shot with Fujifilm XT1 with the XF55 to 200 mil lens. [02:10:44] Speaker C: Is that it? Shot in Velvia mode. I love them. I love the modes on the Fuji. Yeah, I loved. I love the modes. They're so very clever. I love the cloud, how it sort of replicates the same shape as the mountain. [02:10:56] Speaker A: That's what I was looking at. The shape through the. Through the cloud is really cool. [02:10:59] Speaker B: Well, the peaks on the ground and twin peaks in the cloud too. [02:11:03] Speaker C: Yeah, yeah, very Clever. [02:11:06] Speaker A: Image number four, waves with intentional camera movement. Fujifilm XE2 with the 55 to 200 lens. 1/18 of a second with the movement. [02:11:19] Speaker C: Don't you just love the. The back color of the waves. When you get that back, sort of aqua, turquoise color. Yeah, I love that. [02:11:25] Speaker A: Yeah, it pops through. [02:11:28] Speaker B: Who's the Western. Western Australian photographer who does underwater and surf photography? We've had him on early. [02:11:35] Speaker A: Oh, there's a few, but, yeah. Oh, you mean a Russell Ord? That's been Russell Lord. [02:11:38] Speaker B: He's a master of wave photography. [02:11:41] Speaker C: Like. Yeah, yeah. [02:11:42] Speaker B: Incredible stuff. [02:11:43] Speaker A: Yeah, there's a few of those guys that do that, that stuff and yeah. [02:11:46] Speaker C: Just always look, it's a bit like aerial that kind of stuff, isn't it? Like there's only a certain amount of people that can get it right and go out and sit in a wave and, and get all the crashing waves and stuff like that happening. It's a, it's a specialty, that's for sure. [02:12:00] Speaker A: Yeah, he's, he's very much. Because he was a surf, like surf big wave photographer first. So. Yeah, in the Waves is if you've never seen his documentary. There's a little ABC documentary, it's only about 30 minutes about him trying to get this particular shot at a crazy break. It's called One Shot about Russell Ord. If you ever look at something to watch. Yeah, well worth it. It's crazy. Final shot from David Leporati. Oh, sort of old Dubbo jail with the Fujifilm XT5 and XF16-80F4 lens. And then because he's always awesome, he's given us a Photoshop behind the scenes slide. So this is the image which is actually clipping the top of that. Let me just adjust this a bit. I see what's been happening. That's better. Where are we? So this is how we made it. Zoom in. So original color image levels and color adjustment layer. Silver effects layer. Levels adjustment layer. Texture adjustment layer. Enlighten mode levels adjustment layer. And photo filter CPA layer. [02:13:26] Speaker C: I've been, I've been shooting for a while now and I, I'm okay at Photoshop. I could not put that graphic together in my life. [02:13:32] Speaker B: No, I don't know how. [02:13:34] Speaker C: This one, I think I'm just, I'm just as impressed with the graphics of how he's done a photo as well. [02:13:40] Speaker A: Yeah. [02:13:41] Speaker B: And. And when he shoots macro, he'll often do things like things that are light on fire and then he'll send us the behind the scenes shots of the whole process. That's. Yeah, it's just remarkable. It's so fascinating. [02:13:52] Speaker C: Very cool. Yeah, it's well done. [02:13:54] Speaker B: He's good fun indeed. [02:13:57] Speaker A: Yeah. [02:13:58] Speaker B: Okay, great work. [02:13:59] Speaker A: Thanks. Thanks, David. And moving on. To our other David, our other favorite David from San Francisco. More street portraits. He actually said. I think he said, I hope you're not getting sick of my street portraits. I'll try and send some other photos through. I think that's what he said. Like, no, it's fine. Keep sending these in. More black and white street portraits. Here we go from San Francisco, Cisco and. And around. And I think. What did he say these ones were with? Because he often shoots film. But then. Oh yeah, these were the D810 with some 50 mils. Yeah. He says I'll try and mix it up in the future shows. [02:14:38] Speaker C: Yeah, that looks like Nick Fletcher after a beef up. He's heading after. He's on his way home. [02:14:50] Speaker A: It's 8:30am Monday morning. [02:14:57] Speaker C: The Hangover. Yeah. [02:15:00] Speaker B: Oh yeah, yeah, yeah, that's cool. [02:15:03] Speaker A: Yeah, there's a book in there somewhere. There's a book in there somewhere, David. And yeah, Tintype man says keep sending him. [02:15:11] Speaker C: Yep. [02:15:12] Speaker A: Yeah, we all enjoy them. [02:15:14] Speaker C: Yeah, they're cool. San Fran's got some interesting, interesting characters around the streets, that's for sure. [02:15:20] Speaker A: Yeah. [02:15:20] Speaker C: I think, I think most major towns in America have some pretty interesting opportunities for street photography. [02:15:27] Speaker B: Yeah. [02:15:27] Speaker A: And like David's sort of spoken about it multiple times, but the, it's, it's sort of, you know, the way, like talking to people, the way that you approach them and all that sort of stuff to be able to. [02:15:37] Speaker C: Yeah, yeah. [02:15:38] Speaker A: Interact and, and do them justice in making their portrait is something that he really works hard on and has spent a lot of time doing. [02:15:49] Speaker B: Yeah. And he stops with them and spends time chatting with them. [02:15:53] Speaker C: Yeah, yeah, yeah. I was gonna say it's not, it's not a hard thing just to have a bit of mutual respect, is it? And a bit of a kind heart like, you know, if you're getting a photo of it, all good. But just to sit and talk to someone who's a bit down on their luck for five minutes is not much out of your day really, is it? To. To do that. So good on him. [02:16:10] Speaker A: Yeah, exactly. Yeah. Okay, up next, Felicity Johnson. [02:16:17] Speaker B: Just before we go into any more, Felicity Johnson has won multiple accolades. I'm sure just this week alone she continues. [02:16:24] Speaker C: She's won everything. [02:16:25] Speaker B: Yeah. [02:16:29] Speaker A: Yeah, yep. [02:16:31] Speaker C: Can't help but think all her success is on the back of the interview that she did with Brendan a few months ago. That it has inspired by our show, but I don't think it's got anything to do with that at all. [02:16:40] Speaker A: But the rise has been meteoric and, and it tracks back to that interview with the show. Totally upward curve. Yeah, definitely. [02:16:47] Speaker C: Yeah, totally. Yeah. I'm glad you. I'm glad we can join the dots and I'm sure Flick wouldn't mind, but. [02:16:52] Speaker A: And yeah, well, I expect a great. [02:16:53] Speaker B: To gain like 5, 000 subscribers just from you being here with this cam. [02:16:57] Speaker A: I hope so. [02:16:58] Speaker C: Yeah, I wouldn't. I'd imagine your subscriber's gone down and the viewership's been low. [02:17:02] Speaker A: If. If you're new here, please subscribe. [02:17:04] Speaker B: Please. [02:17:05] Speaker C: It's a monochrome horse. [02:17:07] Speaker A: Listen to good Vinces. It's a monochrome horse. Which means it's a thousand dollars dearer than a regular horse. But it's worth it, trust us. It's actually got more detail, so. Hang on. I'm not sure if this is either a stream steam train driving past the Gornong silos, It's street art in Melbourne, or a rainbow bee eater attacking a brown snake. Looks like it must be street art in Melbourne. [02:17:34] Speaker B: I'm guessing it's not the latter because that's a color shot. The. The snake and the bird interaction. [02:17:40] Speaker A: This isn't a steam train. And then this is definitely a rainbow bee eater attacking a brown snake in its nesting tunnel. That is cool. [02:17:53] Speaker C: Wow. [02:17:54] Speaker B: There's a whole series of these images that she posted on her Facebook page. Page. If you're following Felicity, go check them out. There's a whole sequence of these and it's just a beautiful, you know, jaw dropping story to. To kind of get your eyes on. [02:18:08] Speaker A: So, yeah, apparently, apparently it's zebra, not zebra. I mean, and then. And then you realize, oops, I stuffed up my titles and you're worried about the way I'm pronouncing the titles of the steam train in Cornwall. Okay, anyway, this is. This is very cool. As much as the other ones are cool images. That is like. Yeah, I've never seen anything like that before. [02:18:37] Speaker C: Yeah. All right. [02:18:39] Speaker A: Yep. Crazy. [02:18:40] Speaker B: Yeah, go check out the whole lot. They're amazing. [02:18:44] Speaker A: Okay, Greg Carrick. Let's see what he has to say about these. Oh, we got carrot picks for tonight. All photos taken on the weekend at. Is it caveat near. Yay. Oh, from the Longmore fires. Okay. [02:19:04] Speaker C: I was gonna say it looks like a fire burner. Yeah, yeah, yeah, yeah. [02:19:06] Speaker A: Fujifilm XE4. [02:19:12] Speaker B: Wow. [02:19:13] Speaker A: Yeah. [02:19:13] Speaker C: Wow. [02:19:15] Speaker B: Just. [02:19:17] Speaker A: Oh, gosh, bus is just burnt. [02:19:25] Speaker B: I'm glad Greg went back out this out to post the fires because years ago when we had the big black Saturday. Was that what it was called? The really bad. [02:19:34] Speaker C: It Was Black. Black Saturday. [02:19:35] Speaker B: Yeah, yeah, yeah he went out. I think it was that one. Anyway he went out after pass and he took some shots and I'm pretty sure they used them on the news. They were just magical. Just show. And also showing that you know, new growth or it had already broken through and really glad to see he's back out at it. [02:19:56] Speaker C: Yeah. [02:19:58] Speaker A: Yeah. Great images Greg. Thanks for sending them in. Yeah. I hope your radio show is going well because you're probably on right now. [02:20:08] Speaker B: Black Friday shots you said. Thanks. [02:20:11] Speaker C: Black Friday. [02:20:12] Speaker B: Yeah, yeah, yeah. [02:20:14] Speaker C: It's a bit of a. It's a funny one for photographing fire zones and stuff these days. It's. It's a bit of a sensitive sort of, sort of topic isn't it? If you. Yeah, like I, I know when I, when I lived in Melbourne there's always you know fires up in bright or. I remember driving from. I remember driving from Melbourne to bright ones to check on the grandparents house and took the camera and dozen rolls of film and went up to the Alpine national park and tried to get some photos of it all happening and back then it was a bit different but now it's, you know it's a different sort of game now if you go around these fire zones with a camera and. [02:20:44] Speaker B: Yeah. [02:20:44] Speaker A: Well there's the safety aspect and then there's. Yeah, like they don't want, they don't want more people coming to. [02:20:51] Speaker B: Yeah, yeah. And people call it as like grief tourism, you know like that's, that's the. [02:20:55] Speaker C: Other thing as well. [02:20:56] Speaker A: Yeah, exactly. [02:20:57] Speaker C: Yeah, yeah, yeah. So you've got it. [02:21:01] Speaker A: Yeah. Nice Greek characters. [02:21:03] Speaker C: Yeah. [02:21:03] Speaker A: Permission being invited out to photograph because. Because that's the other thing. It's. It's a tough thing because you also not probably not in the moment doesn't feel like it but people probably do want to be able to document what's happened to be able to talk about it in the future. [02:21:16] Speaker B: Yeah. [02:21:17] Speaker A: You know like remember it in the moment. No one does but yeah, sort of. So I think yeah when, when a community wants it to be documented. Yeah the photographer can go and do their thing which is pretty cool. [02:21:32] Speaker C: Yeah, totally. [02:21:35] Speaker A: Good work Greg. Onto another Greg, this one of the Chromie variety. Tell us about these Greg. [02:21:42] Speaker B: So this was last week kind of in between really, really hot days and I went out about probably 6 or 7pm so really long shadows. You can tell by the angle of the shadows that the sun's on its way out and yeah, just, just. Yeah just a little wander in my neighborhood. Went to the Skate park. It's like 200 meters from my door. Fascinating place. And the culture of skate parks is really starting to captivate me the more I go there. And I'm thinking maybe a long term project there because it is so local and it's something I can document all through the year without, you know, having to sort of go to a place to capture content for a project. So. Yeah, so I just went out. The light was absolutely stunning. I had my food, my new Fujifilm XE5. I had a 27F 2.8 pancake and I, I just, I just looked for the light. [02:22:36] Speaker C: I look for color light on the boots. It was very cool. [02:22:39] Speaker A: Yeah, the boots, really cool. His head down like that and the boots are drooped down. It's kind of like. Yeah, yeah, it's got a, that's got a vibe about it. [02:22:47] Speaker B: There's a somber vibe there, isn't there? That is. [02:22:49] Speaker A: Yeah. [02:22:49] Speaker B: End of a long day. His work boots. [02:22:52] Speaker C: Yeah. And the Mrs. Has just told him to go get some milk and eggs from cold. Last thing he wants to, he wants to go to the pub. [02:23:01] Speaker B: Yeah, well, just that I'm going to get a six pack while I'm there. [02:23:04] Speaker C: Exactly right. [02:23:05] Speaker A: The eggs were $9 and the milk was $8. And it's like what's going to come with the world? [02:23:12] Speaker B: But yeah, yeah, it was, it was just one of those days where, you know, I was really connecting with what was going on around me in terms of the shadow and the light and just finding pockets. You know, when you shoot in a city street, you being present is important, but going back at different times of the day is equally important, you know, especially when you start to sort of look for favorite light traps. I like to call them light traps, you know, where people walk into this pocket of light out of a relatively. Like this one here, it's just a tiny slither of light and I just caught her at the right moment. But I framed it to make sure I had the leading lines. The building in the distance, some of the sky, some cloud. Yeah. So I, I was vibing and I went out and did it and then some people started screaming and as it got dark I thought, you know, that's probably my cue to go home. [02:24:00] Speaker A: I'm going away. Yeah, yeah, that's a good one. [02:24:03] Speaker C: The young and the old. [02:24:05] Speaker B: Yeah, just the shadow play as well. Like it's just. Yeah, yeah, it was a really great spot and it was a spot where that shot of the girl walking out from the corner into the pocket of light that Was, you know, five meters away. It was a really nice spot that I found and it's a spot that I go to. It's my local shopping center. You know, it's Pran central. It's, it's where the, my son walks through it to go to school. It's a really local area. But just by going at a different time of day, you know, finding new light. It was really, really, really fun. [02:24:35] Speaker A: Lots of people commenting on this one. Top shot. Really good, Greg. Nice light. I like that one actually, is what. Yeah, and that's brilliant. [02:24:43] Speaker B: Oh, thanks guys. [02:24:45] Speaker A: And I'm just going to just check something here. Yeah. Exciting new fried chicken retailer opening in 2026. How lucky am I I'll be coming down to visit Greg. I love fried chicken. [02:24:58] Speaker B: You do? We had a bit of fried chicken today. [02:25:01] Speaker A: Yeah, we did. Karaage. Okay, next. Well done, Greg. Well done. Great street photos. Les. Okey. The big Scott. The big night. The big night. What does that say? Kilkunder Trestle Bridge, 11th of May, 2024, 10:30pm Nikon Z7 with Nikkors was 14 to 40F4. [02:25:30] Speaker B: Wow. [02:25:30] Speaker C: That was a big Aurora night. 11th. [02:25:32] Speaker A: That was the one. [02:25:33] Speaker C: That was the one. [02:25:34] Speaker A: That was the big one shot. [02:25:36] Speaker B: The composition under the bridge. Far out. [02:25:39] Speaker C: Yeah, it's very cool. Yeah, yeah. Should have just got the Harry Potter train going across the bridge. Yeah, little lit up windows. [02:25:49] Speaker B: Do better next time, Les. [02:25:51] Speaker C: Yeah, wait for the train. Jeez. [02:25:54] Speaker A: Hang on, hang on, hang on, hang on, hang on. [02:25:56] Speaker C: Oh, don't tell me the next one's got a train in it. [02:25:58] Speaker A: No, but I can't. Oh, I can't enhance. He mustn't have sent it through to me big enough. But there's people. [02:26:06] Speaker C: Oh, there's people on there. Oh. [02:26:09] Speaker A: So when I make it big on my screen, it's very cool. There's a lot of detail on the bridge. Yeah, it's awesome. [02:26:15] Speaker C: Yeah. [02:26:15] Speaker B: Great shot. There's really. That's a key. [02:26:17] Speaker C: And the water, little water shape down below is really lovely. [02:26:20] Speaker B: Yeah. [02:26:22] Speaker A: Yeah, yeah. [02:26:24] Speaker C: Doesn't it? Yeah. That's the same night, I'm thinking the 11th of May. I was coming back from a workshop in Melbourne and I was flying on a Jetstar flight and I got the air hostess to get my phone into the cockpit and take photos out the window of the cockpit of the, of the instruments as we flew down the Hobart. So I think it's just pretty sure that was the 11th of May. It's the same night. So that was a massive aurora. Yeah, it's Very cool. [02:26:47] Speaker A: Yeah. [02:26:48] Speaker C: Right. [02:26:49] Speaker B: You should print that, Liz. Yeah, definitely. [02:26:53] Speaker A: Yeah. He says next time for the train. Yeah. Nice. Nice shot. Top shot. And careful, they'll get hit by the train. Nice photo. [02:27:07] Speaker C: Always positive. Shouldn't he be in bed? [02:27:13] Speaker A: Tweak production. Lobster reflection, action. Yeah. Rear view 11. Barrett. Superb. Astro Aurora. Well done. Yeah, it was big. May have another one the next couple of nights. That's true. There was a little alert that went out today of a maybe, maybe so. We'll see. [02:27:32] Speaker C: We don't get very good ones down here in Tassie. I'll probably just stay in. [02:27:36] Speaker A: Yeah, you get them every time, don't you? [02:27:38] Speaker C: Yeah, they're pretty. No. Dying down a bit, but. [02:27:41] Speaker A: Yeah, you only get out of bed for the big ones. [02:27:44] Speaker C: I tell you what, I changed my approach to Auroras a few years ago. I changed it. I don't get off the couch until it's on someone's Facebook page that it's going off, then I'll go out. Otherwise, you just walk around the dark. [02:27:55] Speaker A: Browse. Yeah. Unless it's real, I'm not going. [02:27:58] Speaker C: That's it. [02:28:02] Speaker A: Old people don't sleep camp. Okay. [02:28:05] Speaker C: That's true. [02:28:06] Speaker A: Up next, Lucinda Goodwin, the one and only. I took some portraits in the Sunflower Field last week. [02:28:14] Speaker B: Yeah, that's gorgeous. [02:28:16] Speaker A: Yeah, beautiful. [02:28:17] Speaker C: Really nice, isn't it? [02:28:19] Speaker A: Yeah. [02:28:19] Speaker B: And the color. Oh, it's lovely. Well done. [02:28:23] Speaker C: Yeah. [02:28:26] Speaker A: A few little shots. I'm assuming this is probably some sort of singer, songwriter type person. Possibly. Maybe just a bit of a guess. [02:28:35] Speaker C: Like an album cover thing or a promo shoot or something. [02:28:38] Speaker A: Yeah, like a promo shoot. She does a lot of that stuff because she does a lot of live music, but then also. Yeah, promo. [02:28:43] Speaker B: Promo and studio. [02:28:45] Speaker A: Studio stuff, yeah. Yep. [02:28:48] Speaker B: Yeah, yeah, yeah. [02:28:50] Speaker A: So I think. I think the first one's my favorite. [02:28:52] Speaker B: I think this is the same. [02:28:54] Speaker A: Yeah, yeah. [02:28:55] Speaker B: The. The portrait, there's a magic to it that it's hard to put your finger on. You know, some shots like that, you just can't call it out, what it is, but it just cost you. [02:29:06] Speaker C: I'd like it. I'd like to see, like, a crop shot of just her. Her sort of head down. So I'd like it just above her head down. Be lovely. Can you zoom that in? [02:29:16] Speaker A: Yeah, I was gonna say, I think. Oh, not that far. Hang on. [02:29:19] Speaker C: Like, sort of. That sort of thing. I like that. Just. Yeah, I don't know. Yeah, it's a great spot. [02:29:26] Speaker A: Yeah, it is a great spot. [02:29:28] Speaker C: Yeah. Yeah. [02:29:29] Speaker A: And. [02:29:29] Speaker B: Yeah, wonderful. [02:29:31] Speaker A: Very nice. [02:29:31] Speaker B: Nice work, kiddo. [02:29:32] Speaker A: There's a lot of thanks for sending. [02:29:33] Speaker C: A lot of talented people out here, isn't it? [02:29:35] Speaker A: There is, but we've got our little crew of people that send photos in. It's really fun. Yeah, it means I never have to go on social media, she says. I did also do that crop cam. [02:29:45] Speaker C: Oh, excellent. [02:29:46] Speaker B: Cool. [02:29:46] Speaker C: Great. [02:29:46] Speaker A: Never doubt the Lucinda. [02:29:48] Speaker C: Yeah. What lens was that shot on? Does it say what camera and lens? [02:29:51] Speaker A: Ah, let's see. You won't want to know, but I'll just check if it's on here. Canon EOS R5 Mark II. And that is at. Doesn't say what length. 70 mil. So maybe it was on her. 70 to 270. [02:30:08] Speaker C: 200? [02:30:09] Speaker A: Yeah, yeah, at 2.8. And 24 to 70. I want to say 24 to 70. Okay. [02:30:16] Speaker C: 24. 7. Okay. Oh, well, it's pretty wide, isn't it, when you draw back out of it. [02:30:20] Speaker A: That's true. Well, It's. It's at 70, but yeah, I thought maybe she was using. I'd probably be doing a lot with a 20 with a 70 to 200 in that location because I'd probably be doing some compressed stuff as well. Get all those sunflowers popping. [02:30:32] Speaker C: Yeah, yeah. Beautiful. [02:30:34] Speaker A: Yeah, Very nice. Okay, final one for the night is. Just got to get the emails up because they've gone somewhere. What's happening? Here we go. The one and only Philip Johnson. As I have been in hospital now out, I've been revisiting an old image with new techniques and more advanced software. This image was processed using Photoshop Nik Silvereffects Pro and some Topaz was a simple Capture with Sony 6400 that I carry with me sometimes. Tree barks are addictive. [02:31:18] Speaker C: Yeah, they are. Yep. [02:31:19] Speaker A: That's great. It looks really cool. Very cool. [02:31:21] Speaker B: Yeah, that's amazing. [02:31:23] Speaker C: It almost looks like. Almost looks like. Like the. The fur or something on the back of a cow as well. It's almost like some. Yeah, like. Like the fur is peeling off something, but it's not. It's obviously a bark tree, but yeah, it's beautiful. [02:31:38] Speaker A: Yeah. Very creative processing. Yeah, Love it. [02:31:42] Speaker B: Lots of love in the chat too. [02:31:44] Speaker C: Yeah. [02:31:45] Speaker A: Oh, yeah, look at them. [02:31:46] Speaker C: That one, that one should be. Should be printed. That one put on a wall somewhere. [02:31:49] Speaker A: Yeah, Yeah, I reckon that's worth a print for sure. Yeah. [02:31:53] Speaker B: It's compelling, isn't it? Just. [02:31:57] Speaker C: Well, your eye just keeps looking around at all the detail. [02:31:59] Speaker A: Yeah, exactly. [02:32:00] Speaker C: The. [02:32:01] Speaker A: Yeah, because it's got that. That circle sort of thing in the top left. It balances out all the heavy on the right hand side. It's. Yeah, it's really interesting. Captured. Oh, sorry. Yes. Well done, Philip. Number next image captured using Sony A7.4 with 7200mil, 2.8, processed using Photoshop and converted to black and white using silver effects. [02:32:25] Speaker B: That's lovely. [02:32:28] Speaker C: Yeah. [02:32:28] Speaker A: Dare I say also monochrome. That's right. [02:32:32] Speaker C: Yeah. [02:32:33] Speaker A: Which means it's more expensive. [02:32:36] Speaker C: A thousand bucks more. You can charge a thousand dollars more for that print now because it's black and white. [02:32:40] Speaker B: Yeah, that's very true. [02:32:42] Speaker A: Yeah, yeah, yeah. [02:32:44] Speaker C: It's cool. [02:32:44] Speaker A: Very nice. And final one is this one. Early morning sunrise. Handheld shot. Magnificent sunrise over the Gross Valley. Sony A74. 7202.8. Yeah, yeah, yeah. [02:33:01] Speaker C: Nothing beats a bit of atmosphere. [02:33:03] Speaker A: No. Yeah. A little bit cloud, a bit of movement in it. [02:33:06] Speaker C: Yeah, yeah. Beautiful. [02:33:08] Speaker B: And that gold. [02:33:09] Speaker C: I love the mountains. Mountains are awesome. Yep. [02:33:14] Speaker A: Epic, Epic work. But great work on that. Yeah. Like that bark shot that. I haven't seen anything like that. That's very cool. [02:33:21] Speaker C: Yeah, that is very cool. [02:33:22] Speaker B: Yeah. [02:33:23] Speaker C: Yeah. [02:33:24] Speaker B: Good eyes, Philip. I've got a good eye, my friend. [02:33:26] Speaker A: You sure do. Glad you're at a hospital back with us. Okay. Anything else? Is that it? [02:33:35] Speaker B: I think that's all. I think that's all. We might draw. We might draw a close to tonight's episode. We've been coming for three hours. It feels like two and a half. Yeah, two and a half. [02:33:45] Speaker C: Did I pass the audition? [02:33:47] Speaker B: Oh, yeah, you did. Yeah. You can come back any. Anytime you want. [02:33:51] Speaker A: Anytime. [02:33:52] Speaker B: Yeah, Any. Any Wednesday or Friday. [02:33:57] Speaker C: Yeah. Okay. [02:33:58] Speaker A: Wednesday or Friday. We don't do shows on those days. [02:34:00] Speaker B: Exactly. [02:34:02] Speaker C: Yeah. [02:34:02] Speaker B: But. But look, just on behalf of. [02:34:06] Speaker A: Of the. [02:34:07] Speaker B: The Camera Live team and obviously all the amazing people in our community, thanks so much for joining us. Cam. It's been great to have you here to help us host and. And see what we do here, and hopefully you can improve your own podcast as a result. [02:34:20] Speaker C: Well, yeah, if. If we ever get around to recording our next episode again. We did one not a few weeks ago, but look, you know, we. We're very proud of the way you guys have grown. We'd like to say we sort of contributed a little bit to getting you guys. [02:34:33] Speaker A: Sure. [02:34:33] Speaker C: Off the couches and get going, so. [02:34:35] Speaker A: Yeah. [02:34:36] Speaker C: Yeah. But it's been fun. I'm glad I could help out tonight and. Been a lot of fun. Great photos at the end now. Brilliant. And, yeah, a little bit too much canon talk for my life, but apart from that, it's been fun. [02:34:46] Speaker B: Yeah, we can't edit that out because we're live, so I guess we'll learn from that. But anything else coming up that. That you want to quickly plug? There's the workshop with Glenn. [02:34:58] Speaker C: Yeah, yeah, yeah. We've got two sets left. March 12th to the 26th, 2027. So it's next year, March, a couple spots left. If you don't know Glenn, Glenn's one of the best photographers I've ever come across. He's got a. Just a knack of getting photos in all sort of lighting and stuff like. And he's a great bloke and lots of fun. Hopefully he's still listening. I might get a pay rise, who knows? But yeah, we'll have a lot of fun together. Him and I have known each other for many years, so we work well together. So if you want. I'm excited about going to India. I've never been there, but if India's on your places of places you wanted to visit, then jump on board. We've got a couple of spots left. And then for me personally, stuff, most of the workshops this year are going pretty well. I've got a few spots left in our Utah trip later this this year. I think a few people have been a little bit reluctant with all the stuff that goes on over America. But the last couple years we've been there, it's been perfectly fine where we go and we haven't had any real issues at all. What else we got there. [02:35:58] Speaker A: Yeah, so I can attest to that too, Cam. Once you kind of get into the States, all that stuff kind of melts away a bit. Once you're like just hanging out with people, doing the normal thing day to day. That stuff doesn't seem to penetrate day to day very much. [02:36:14] Speaker C: Once you don't turn the news on, everything's okay. So, yeah, so we've got a few spots there. Daintree Macros are all sold out. Cradle Mountain Winter Workshop, we've got plenty of places on that one. Scotland, sold out. If you want to come and learn how I edit and how I print, we've got some master classes that we do down here and then we've got Kakadu at the end. It's got a few places, but everything else is selling pretty well. Like I said, we've got India next year with Glynn. Japan 2027 is already sold out as well. [02:36:46] Speaker B: Oh, wow. [02:36:47] Speaker C: So there's a few things. [02:36:49] Speaker A: See what's in 29. Oh my God. Gosh, you've got 2029 workshops up here. [02:36:55] Speaker C: Yeah, people are asking for. That's not the full schedule, but. [02:37:00] Speaker A: Yeah, yeah, but these are like the big ones you're starting to. To put. To put in or, or whatever. [02:37:05] Speaker C: Yeah, just start getting there. Like Yosemite, the first Y1 we're doing, that's already sold a few places on. [02:37:12] Speaker A: It as well in, in 2029, I. [02:37:15] Speaker C: Think it's got a couple of spots or one or two spots gone. Yeah, a couple of spots may be gone there. So that's crazy. But yeah, if you, if you want to. Yeah, I, I like, I used. Like, you can probably find out more about me when we do my interview in a couple of months, but it's just a quick one. I used to work in government for many years. Like 15 years working in child support. You know, that was the debt collection job, collecting, you know, to separated parents, money getting abused every day. So to be able to do what I do as a job is an absolute blessing. And, you know, I can't thank the customers enough for letting me get along with what I do or get away with what I do, more like it. But, you know, that's a big difference from what I used to do. So people. If people are booking stuff out in 2028 and starting to book 2029 like it is, it's just crazy for me. I don't, I don't understand it, but it's working and yeah, broke, don't fix it type of thing. [02:38:07] Speaker A: Exactly. [02:38:07] Speaker B: Well, I think the flip side of that is that you're obviously delivering a product that customers value if they're booking three years in advance. So, you know, who knows where the world's gonna. Especially America. [02:38:19] Speaker C: Well, that's right. [02:38:20] Speaker B: You know, that's a testament to the product that you've created, the service that you offer and the skill that you bring to people to help them become better photographers, to find those one or two shots every day that make them feel like that trip was actually really worth it. And we're going to book it again for next year. So hats off to you. That's a huge excitement. [02:38:36] Speaker C: Thank you. Yes, appreciate that. Excellent. [02:38:40] Speaker B: But look, I think on that note, folks, we might wrap up just a couple of little housekeeping things. Just a reminder to everyone that we love your support, we love our community. Don't forget to hit like. And if you're new here, please hit subscribe and hit the bell icon because then you'll get notified in your time zone every time that we have a live coming up. We do this twice a week, Every Monday evening, 7.30pm Australian Eastern Standard Time, or Daylight time, we have our random photography show where we just talk about photography, basically, and then. And we also review your images, which is one of our most favorite things to do. Every Thursday morning, 9am Australian Eastern Daylight Standard Time, we interview an amazing photographer. And this week we've got Dean Holland coming up on the 22nd. And we have also got camp. Speaking of booking in advance, we've got Cam coming up sometime in March, late March. So that's already locked in. [02:39:33] Speaker C: Yeah. [02:39:34] Speaker B: But other than that, get into the chat. Let us know what you thought of tonight's episode. Don't forget to send your images for review to justinuckystraps.com and your images might appear on a future episode where we get to talk and celebrate your work. [02:39:50] Speaker A: Sure will bruise. Everyone does. We. We try. And so unless I miss it in my email inbox, everyone. [02:39:57] Speaker C: Yeah, yeah. [02:39:58] Speaker A: That's why. [02:39:58] Speaker C: And good job to you guys too. Like, run. Like, you guys get a lot going on in this show. It's. It's amazing that you go and you do it twice a week and every now. So kudos to you guys for doing 150 episodes. That's something. That's an achievement. That's for sure. [02:40:10] Speaker B: Yeah, thanks. I was hoping for a cake, but I'll take the words. I really appreciate it. [02:40:14] Speaker C: It doesn't matter what it's made out of or. [02:40:16] Speaker B: Yeah, yeah, don't send me a cake. But we will. We'll roll some music. The right music this time. Time. [02:40:27] Speaker A: Yeah, I've got the right stuff. Yeah, the right stuff. See you on Thursday. Philip, thanks for joining us. Glad to see you. Phil Thompson's the photographer of the year. Thanks, guys. Great to hear from all of you. And some awesome photos there at the end. Cam, you're one very busy man with all those tours. Very blessed to see and shoot all those locations. [02:40:47] Speaker C: Indeed. [02:40:48] Speaker A: Levin and Barrett. Levin, Barrett. Rearview photography. Congrats on 1 50, 50ish episodes. Craig Murphy. Great show. Even with cam. I agree. What else have we got? Tweak Productions. Good to see who else was here. Greg Carrick, Glenn Lavender, Bruce Moyle, Les Okie. Thanks, everybody. Tin type man. Good to see you. David Leporati. I don't know all of you. You're all awesome. Lucinda, thanks again. Good night. Good night, Liz. Catch you in the next. [02:41:23] Speaker B: Be safe, everyone. See ya. [02:41:25] Speaker A: Oh, look, it's Brendan Waits. Bye, Brendan. [02:41:29] Speaker B: They're going. [02:41:30] Speaker C: Show's over. [02:41:31] Speaker A: Show's over. Okay, good night. See everybody.