Sigma FP2, Who's it For? - The Random Photography Show

[00:00:00] Speaker A: It. Foreign. [00:00:31] Speaker B: Everybody. And welcome back to the Camera Life podcast. It is Monday 26th October 2026, and being a Monday night, we're bringing you the random photography show. That's right. We're going to cover off the latest industry news. We're going to have a look at some people's images, but we're also going to talk about some new product releases and just find out what we've been up to on the daily. But without further ado, let's, let's, let's welcome the man of the hour. I don't know why, but the man of the hour, Justin Cassels. How are you boss? [00:01:00] Speaker A: I'm amazing. I'm amazing. I've had a wonderful day, Very productive. But then I started doing a little bit of preparation for this show. Looking at that new camera that got released that's on our thumbnail. And I got into a dark mood. Into a ranty mood. Did you? I need you to pull me out of it. [00:01:21] Speaker B: I might stoke the fires of rats. [00:01:23] Speaker A: Okay. [00:01:24] Speaker B: You know, to see what comes from, I mean usually the, you know, you're the TED Lasso of the photography world, as I like to fondly call you. Let's see the darker side. I say. [00:01:33] Speaker A: You think? [00:01:34] Speaker B: Yeah, why not? [00:01:35] Speaker A: Okay, well, let it rip. Should we get right into it? Should we talk about this thing that Sigma released? Let's do it. [00:01:40] Speaker B: Yep. So over the weekend Sigma released a brand new brick, so sorry camera. It is the FP2, which is the follow up to the original FP which was made for both. I think it was made for L mount as well as for Sigma mouse. Yes. So they've announced the FP2. It's yet again a brick shaped full frame camera. Very minimal design. Not quite as minimal as the, what was it? The Sigma bf. The aluminium block that they, that they made. [00:02:14] Speaker A: Yes. [00:02:16] Speaker B: Highly functional, very practical, no frills. But the option to add additional features and accessories to it that they will charge an insurmountable amount of money for. So that's what's going on. [00:02:35] Speaker A: Okay. So the first thing I did was bring up the Sigma page, the product page for it. [00:02:45] Speaker B: Right. [00:02:45] Speaker A: And obviously we all like new cameras and I don't want to hate on, I don't want to hate on Sigma, but the first thing I brought up is this is the product page which is, if you watch it for a second, it's actually very cool. Cause there's an ant crawling on the. You see the ant? Did you see? Yeah, here it is. Look, there it goes. So if you watch it long enough, you'll see the ant crawling around on the camera. And it's probably the coolest part of this product page because as you scroll down, I don't know, it's just. I'm being negative. This is what I mean. You got to pull me out of it. But it's like so. Okay. This is the smallest full frame camera they're claiming, and I believe them. It's pretty tiny. [00:03:28] Speaker B: Interchangeable lens. Yes. [00:03:31] Speaker A: Sorry, Interchangeable lens. Smallest interchangeable lens, full frame camera. It's. It's the smallest. It's what, 480 grams or something? [00:03:39] Speaker B: Which is tiny. [00:03:40] Speaker A: Yeah, it's tiny, but it's not that tiny considering it has no grip and no evf. That's. Yeah, well, one of my big issues. [00:03:51] Speaker B: I get that. And I think, you know what, Sigma, there's the ant. Do you remember when Apple first brought out apps for the smartphones, one of the apps you could get were ants crawling around on your screen. Oh, yeah, it's one of those weird little. Yeah, weird little apps that they put out. What does it weigh? Yeah, it weighs 460 grams. It's only 11.2 by 7.1 by 4.1 centimeters. It is tiny. It has multiple tripod mounts. Two on the side. [00:04:25] Speaker A: Yeah, quarter 20 mounts for quarter 20. My issue with it. No, I don't want to go there. I don't want to go there. Let's move on. Let's look at some of the sample pictures that show the beautiful way you can add film grain on top of some snapshots. Doing it again, I can't pull out of. I'm in a nosedive, Greg. I'm feeling negative. [00:04:49] Speaker B: Let's talk about the positive aspects of the camera. Okay. [00:04:52] Speaker A: Yes, please. [00:04:53] Speaker B: Let's start with some specs. So it's a 24 and a half megapixel image sensor. It offers a dual base ISO 320, which is pretty cool. It's a little hype. It's pretty cool. It can record up to internally. It can record up to 6k up to 29.97 frames and the maximum video output is prores raw 12 bit up to 6k 30 frames. But I did see somewhere that external. Wasn't the external recording a little bit bigger than that? Higher than that? Anyway, it doesn't matter. [00:05:27] Speaker A: Yeah, it's. It's highest. It's highest res video modes. You can't record to the internal storage or the SD card. So you got to go straight to a. Yeah, but, but that that is raw. Like, it's. It's. Yeah. [00:05:40] Speaker B: Oh, yeah, yeah. And. And what Sigma have done with this is they've. They've tried to make it a camera of two halves with a very obvious switch on the top that switches from cine. Not movie or video, but cine. [00:05:55] Speaker A: Yeah. It says cinema still. [00:05:58] Speaker B: Not photos, not photography, but to still. So I like that little. That little nod to some old school terminology. But. And what Sigma have apparently tried to do here is to make this a very accessible camera. You know, if you want to shoot video, then it's ready to go out of the box. You don't need a monitor, you don't need any additional bits and pieces. If you want to shoot stills, you can shoot off the screen. It is a articulating screen, which I really, really like. It sort of, you know, it rotates up and it rotates down, and that's kind of it. But it doesn't have an evf. Now, you do have to buy. They do offer a separate evf and apparently they have other accessories on the way. That's the rumors, anyway. So that evf, though, I mean, even on the. Even on the one that came out, the original FP at Camera House, that original EVF is selling for about $4,000 for the Mach 1 version of this camera. [00:06:55] Speaker A: What? Oh, with the EVF bundled. [00:06:57] Speaker B: No, no. Yeah, with the EVF. So it's about. No, no, no, no. I think It's. It was 4,000 for the EVF on its own. [00:07:04] Speaker A: No, this one's not that expensive. [00:07:06] Speaker B: I know it's not. Yeah, I know this one's not. But the. The one. The original one when it came out. [00:07:15] Speaker A: Oh, Den will love this. Check out there. [00:07:17] Speaker B: I know. [00:07:17] Speaker A: Look at this. [00:07:18] Speaker B: 5,000 with both. Yep. [00:07:19] Speaker A: Look, Dennis. Because I saw Dennis in the chat. Hi, Dan. I missed you. Look at showing how cool Open Gate is. Look at all the different things you can do with Open Gate because you can't crop regular video. So this is much better. Look, you can go there and then you can bring it in, and then you can do this vertical. Beautiful. [00:07:36] Speaker B: Nice, Nice. [00:07:38] Speaker A: Look. Okay, let's. Let's be real. [00:07:44] Speaker B: All right. [00:07:44] Speaker A: It's. It's tiny. You just said that you can shoot video. You can shoot video without any accessories, but it is designed for accessories. I think they're. They're pushing it. Let's find the. Where's the EVF one? It doesn't have a video. An image of it. There's. [00:08:03] Speaker B: There's another link. [00:08:05] Speaker A: They're trying to push this as where is the actual. Somewhere here. It's basically like, this is your camera. This. Yep. And it's. This is your camera. Photography reveals deep, fundamental truths about the subject in front of the camera, the photographer behind it, and the relationship between them. It's a personal form of expression. And even given the circumstances, no two people will ever take the same picture anyway. This is why we believe the photographer should not need to adapt to their camera. In our view, the ideal camera is one that fits seamlessly into individual preferences, requirements and the style of the photographer. I'm like, this is, It's a beautiful sentiment, but it's nothing about what this camera is. No, that's my issue is that it's like, this is not a photographer's camera. They might think it is, but this is a really cool small cine camera that'll be super useful for production crews or even down to YouTubers as you know. A second camera or something like that. Yeah, but Glenn's called it here. Nice marketing bs. That's this side of it that this is your camera, which they're sort of pushing on that. It's. It's customizable and, and all that sort of stuff. I just, I think it's all. You've designed a really cool small cine camera that can take photos, but then you have to add a grip and an EVF and all of that to do it properly. And then it ends up being a cumbersome larger than a Nikon Z5II or something that would take great images just out of the box and probably be smaller and lighter once you add on the grip and the EVF and the hot shoe. Because it doesn't have a hot shoe. [00:09:50] Speaker B: No, it doesn't. [00:09:50] Speaker A: I don't know. It's a very. And then this is the hardest part of scrolling down this page. I'm sorry. Sigma, I really like your lenses. Your great company. I've visited ISOO many times. It's got wonderful snowboarding, but that's where these cameras are made. But I just love to see you guys make a crazy cool camera because look at, look at this. Full frame expressive powder power and wide dynamic range. And then the image you see is this. [00:10:16] Speaker B: It's terrible. [00:10:17] Speaker A: Like, I'm like, what? Where's the what? Yeah, there's some, like, bottles in it. I don't understand. I mean, I'm sure that's someone's art, but I'm not criticizing the art, but there's no wide dynamic range in that shot. It's like, yeah, film. [00:10:31] Speaker B: Well, that's the thing, even though, I know, but even the this is your camera thing, it doesn't, it doesn't compute because this is the most generic camera body you can buy. You know, to make it your camera, you've got to spend thousands more buying either third or first party accessories, including an evf which sticks out like a sore thumb. Literally like a sore thumb. It looks like a swollen, you know, gnarly arthritic thumb sticking. Like you've got to screw to the side of the camera for it to work. There is no grip, there is no hot shoe, you know, so you're either looking at setting this up with a pretty decent cage if you're going to use it for video, or having to accessorize the crap out of it to make it your camera. You know, I, I get it. And it's the same with the, oh, there's an actual bug on my screen now. It's the same with the bf. Like, that was a beautiful piece of industrial design. [00:11:30] Speaker A: I was cool with that because of how, how much of a swing it was. It's a shame that it was a bit of a miss in terms of its overall functionality and stuff. But hey, it was beautiful and they were trying to do something special and they did do something special and it looked really cool. I agree. I think that was, that was. And, and I think this is cool for them to make too. It's really honestly the marketing about, of this camera that I don't like. It should just have been like, hey, what a cool little cine camera. Fairly specialist use case cine camera that you can rig out, but it's tiny. Enjoy. But trying to turn it into like an artsy, fartsty photo camera or be [00:12:12] Speaker B: honest about it, you know, here's the foundation. Build your own creative tool. Like, and here's our list of accessories. You know, like what it is. [00:12:21] Speaker A: Yeah. Which they kind of are. But even then, trying to pretend that you could build it into a really great photo camera, I just, I, I, the people that, that, So I watched a few, I watched a few YouTube videos from reviewers that's not like, and it's unfortunate they have to do their thing because it's like they really tried. Obviously it's a big improvement over the FP1. So they all focused. It's like, hey, this is all the first FB that, you know, like it's, they've improved all this stuff that we had issues with and that's good. But no one really addressed the fact that it's like, how does it compare to any other camera in this price point. Once you take into account, you know, like adding a couple of things that you need for photography and no one even looked at that and said hey, it's, I don't know, it's not. Once you, once you take that into account, if you want an EVF and a grip and a hot shoe, it is. This is just hideously impractical for photography. It's really. [00:13:21] Speaker B: And expensive. [00:13:22] Speaker A: You can use it as is and expensive and yeah, just overall just not great. It's just a mid range. A Canon R8 Mark II would beat it in every way straight out of the box. The Nikon Z5 2 or Z5 3, whatever it's up to. The ZR would be an Amazing. No EVF on the ZR, but it's got that giant 4 inch screen. Yeah. And obviously none of them are as light. And that's what's cool about this, is that it's tiny and lightweight. The smallest full frame camera. They should be focusing mainly on that and not talking about the color modes and not talking about the wide dynamic range and all that other stuff. I don't know. Sorry Sigma, I got, I got a little crazy. [00:14:04] Speaker B: It's okay, you're allowed to have an opinion. Justin. You know, what did someone say last week? You guys should do more research. That was one of the comments we got on one of our videos. [00:14:15] Speaker A: This show is research we learn on the show. [00:14:18] Speaker B: It's on the fly. Yeah, we make no apologies when we get stuff wrong either. The, the originals at Sigma FP retail for around $4,000. That's an extra thousand really to get. Yeah, well that's what it's currently at our friends at camera house if you want to get the original FP, it's the ELF. The L mount version is 4200. [00:14:40] Speaker A: Does this train prices yet or. No? [00:14:43] Speaker B: No, I haven't been able to find it yet. The, the EVF that you, that you would buy to add on to the FP1 or the original FP was an extra thousand dollars. [00:14:55] Speaker A: Yeah. Right. I heard this one was about 400, 400 US or something. So maybe it'll come in at like 6 or 700 Australian. But it just, it makes it. [00:15:02] Speaker B: Well here's the price here. So US$2200 just for the camera and 2750. So an extra 550 US for the camera with the AVF. I can't see if we can buy that separate yet. No. [00:15:24] Speaker A: And so the price of the Canon R8 Mark II in the US is like two grand. [00:15:31] Speaker B: Yeah. [00:15:31] Speaker A: With an EVF and IBIS and everything. And it doesn't have open gate, but the R6 Mark III has open gate and it's probably not that much dearer. All right, let's. I think we should. Let's. Let's talk to the people in the chat, though. They're probably. Let's see what people think of us ranting. Ranting on this. Well. Oh, you want to see what people think about this? This. Let's. Glenn Lavender said, this is not my camera. Yes. That's probably a slogan. Dennis Smith said, I'd rather clamp my balls in a vice than own this thing. [00:16:01] Speaker B: Okay, well, there you go then. [00:16:03] Speaker A: And Glenn hopes the six people who buy it like it. Lezokie. Poor man's liker. Ms. Aim says, how is this better than a phone? Paul Sutton. A viewfinder is essential for me for a camera. I agree. But I also don't mind when companies make a viewfinderless body. Some people don't want it, especially if they've been shooting with phones a lot or whatever. So I totally get that. It's fine. Especially if you're trying to make something this small. If they leave the viewfinder off, no problem. But don't try and pitch it as a. This is a photographer's camera. [00:16:38] Speaker B: Yeah. [00:16:39] Speaker A: It's not. It's a cine camera that you could use for photography. Kind of like the Nikon zr. They didn't try like Adam Edwards uses the ZR for photography. Nikon pitched the ZR as a cinematography camera. Cinematographer. Yeah. Videography. And you can use it if you want to, but that's not what they aimed it at. And I think that was a smart move. [00:17:02] Speaker B: Yep. [00:17:04] Speaker A: Okay. Who else we got here? Bruce Moore says it's a webcam. That'd probably make a great webcam. [00:17:08] Speaker B: It's expensive webcam. [00:17:12] Speaker A: Paul says that the marketing copy sounds like an artist statement in a city gallery. That's exactly what it is. [00:17:20] Speaker B: Yeah. It makes no sense. [00:17:21] Speaker A: Rick Nelson. I think Sigma cameras are for artsy photographers, not for working photographers. I would agree with that. Other than this could be used by a working videographer. I'm sure. I think there'd be. There'd be tons of them that are like, hey, we could pick one of these up. We already use our mount lenses. We'll add one of these as a whatever cam. [00:17:42] Speaker B: Yep. Look, I will say this for Sigma. They are making brave. I mean, they make gorgeous glass. There's no. And they also released with this. Or they've Announced with this, a new 50 mil 1.4, a new 50 mm 1.4 lens, which should be amazing. Contemporary lens glass. And they're making that for Sony as well. And I think maybe Nikon Z anyway, that, you know, when it comes to their camera bodies, they are making brave steps. You know, they're trying new shapes, they're trying new materials, they're trying like to completely change what everyone else is offering. But how many of those do they have to release before they realize that they're just not gaining traction? [00:18:27] Speaker A: Yeah, it's like it's brave in the wrong direction. I think they could do something so much like if they went more the direction of a Leica SL kind of body where it was a little bit bigger, a little bit more full featured, but with that premium construction that they did on the bf, made it perfect for their lenses. You know, all that where it matches and looks amazing and stuff. They could end up with something and maybe made the image quality, like make the actual image quality great. Don't just grab the someone else's sensor and then try and, I don't know, put it. Anyway, anyway, let's get it. [00:19:06] Speaker B: I get it. [00:19:07] Speaker A: Let's see who else was in the chat. Quickly, before I have to show you something Lucinda sent me. Oh, let's see who else in the chat first. Of course, Dennis was first. Missed the Monday madness. We missed you, Dennis. I hope you had a great job. All about it. Philip Johnson. Happy Monday, Les. Okey. You got to get up early. With you little around. Yeah. You were third. Les, what's going on? And there were six waiting. Well, that's fun. Chris Nielsen. Who else is here? Felicity Johnson. What's up? Tristan. Oh, Tristan. Good evening from Tokyo. We hate you, Greg. We hate you. Richard Mail. John Latimer. Of course. Paul is here. Ricky's here, John Pickett. Oh, Dennis is shuffling through four terabytes of Bangkok footage and backing it up. Yikes. [00:20:03] Speaker B: Yeah, I'm glad that he kept Bangkok all as one word. Otherwise that would have been very disturbing announcement. [00:20:10] Speaker A: Hey, the footage you get in Bangkok could be like that. Anyway, Lisa, good to see you. Digifrog tintype man listening in from a rainy Dublin. [00:20:21] Speaker B: Amazing time. [00:20:22] Speaker A: Is it there? What time is it in Dublin? Time in Dublin. 8.51am oh, how nice. You're probably having a coffee watching. [00:20:34] Speaker B: Top of the morning to you. [00:20:35] Speaker A: Top of the morning to you. Apparently I look like a spaghetti western. [00:20:43] Speaker B: Okay. [00:20:45] Speaker A: Stuart Lyle, good to see you. Who else? Neil Leach. David Skinner. Oh, my God, you're three minutes late. You're fine, David. Or else. Who else? Paul Sutton, everybody. Very busy. Very, very busy. [00:20:59] Speaker B: Yeah. Thank you, everybody. [00:21:04] Speaker A: Okay, you want to see this video that Lucinda made? [00:21:07] Speaker B: Please tell me some things you love about your lucky strap. Camera strap. I don't get sore shoulders. I love it. As a physiotherapist, I can tell you [00:21:17] Speaker A: that it is very comfortable and it is good for the shoulders. Not bulky, easy to carry, and you [00:21:22] Speaker B: could carry it for hours and not get. Not get tired. [00:21:25] Speaker A: Already. [00:21:26] Speaker B: It's changed my life. I've only owned it for five minutes. [00:21:29] Speaker A: Soft. Very soft on the leather. And it's got a tiny little bit of cushion in, so I'm actually not feeling too bad on the neck that it's comfortable. Yep. [00:21:36] Speaker B: And then I can personalize it. [00:21:38] Speaker A: And this one's got my name on it. [00:21:39] Speaker B: It was feel. It was the feel of it. The lightweight. It's nice and soft, this soft, aren't they? [00:21:45] Speaker A: Yeah. Amazing yourself young. Buy a lucky strap. [00:21:52] Speaker B: All paid actors. [00:21:53] Speaker A: That's right. [00:21:55] Speaker B: Yeah. From the local bright acting troupe, Tim Pates. [00:21:59] Speaker A: How did we get a reporter of that caliber? I still don't know. I still don't know how we works. Magic Dennis Smith for like. [00:22:06] Speaker B: Actually, I don't. I don't think Dennis gave anyone a choice in anything over that weekend. It just happened. Just got smithed. [00:22:13] Speaker A: It got smithed. Anyway, there's the new Lucky Straps ad. If you would like to be as happy as all the people in that video on Lucky Straps TV, just go to Luckystraps.com and check out the range. I can give you a little tip. There's a sale coming up, so if you've been thinking about buying something, don't do it yet. Unless you're desperate and you got a trip coming up, in which case, use Code Greg now. It's the best deal you'll get right now. Otherwise, wait just a couple of weeks. We'll let you know. [00:22:42] Speaker B: Just saying. Just saying. And cheers to Lucinda. Yet another fine product. [00:22:47] Speaker A: Thank you very much. [00:22:48] Speaker B: Out of the house of Goodwin. [00:22:52] Speaker A: One final little comment on the Sigma Chris Nielsen. I think people who shoot Sigma cameras are special, like people who drive sobs. That's pretty funny. [00:23:06] Speaker B: Oh, wow. That's kind of point on point, though, isn't it? [00:23:10] Speaker A: Yeah. People that buy Saab, it's a special kind of. That's a special kind of motorist. [00:23:15] Speaker B: Yeah. And then they spend their life complaining about it. [00:23:18] Speaker A: That's right. [00:23:20] Speaker B: It's very Saab like, isn't it? Well, where do we. Where do we kick off? Where do we go from here? I feel like you've. [00:23:27] Speaker A: You've. [00:23:27] Speaker B: You've brought us all down, Jay. [00:23:30] Speaker A: I'm sorry, I don't mean to pick on Sigma. Like I said, the lenses are amazing and I do like that they make cameras I just love. I think they could make a great camera. I'd just love to see them just make an amazing photography camera that everyone goes, holy shit, this seems great. Even make it expensive because it doesn't have to be. You don't have to compete with Canon and Nikon and Sony or whatever. Like, make a more expensive camera, but make it something where everyone goes, oh, shit, I want that. I can't afford it, but I wish I could and just do something special. I don't know. [00:24:03] Speaker B: Yeah, park it halfway between, you know, like a Fujifilm and a Leica. Put it around the seven grand mark, but have it actually have a grip and an EVF and a hot shoe. Maybe a good start. [00:24:15] Speaker A: Maybe not seven, six, you know, I don't know thereabouts. But, like, make it. Yeah, give it that. That, you know, like you did with the Sigma bf. But make it actually really perform and make it a little bit more ergonomic for us photographers who like a few buttons. [00:24:32] Speaker B: Yeah. [00:24:32] Speaker A: And. Yeah. [00:24:34] Speaker B: Yep. [00:24:34] Speaker A: Anyway, question from the chat. Lisa Leach, lucky straps question. Can you have a wrist strap personalized? Absolutely. You can. [00:24:42] Speaker B: Of course. [00:24:44] Speaker A: Of course. You can do that right on the website, but if you need some help, just email [email protected] and I'll help you out. Help you figure out a. You know, whatever you want to do. [00:24:53] Speaker B: Yeah. Or you just give Greggy a call. I'll get you a deal. It'd be fine. Go away. [00:24:58] Speaker A: Tristan's gonna give you a tour in Japan if you come over. [00:25:02] Speaker B: Oh, that'd be lovely. [00:25:04] Speaker A: Yeah. [00:25:04] Speaker B: Do you know, when we're at Bright, the aforementioned photography festival, Sam Olsen has been hassling me to. To organize some tour groups for Tokyo photography tours. [00:25:19] Speaker A: What? [00:25:19] Speaker B: As her and I will run. Oh, crazy, crazy, crazy. Yeah, that'd be fun because Sam went over there earlier this year. I think she went for like two and a half months and she did a big recce. She loves a recce and, yeah, she's pretty keen for it. I'm just having trouble getting out of the bed these days. I don't know about getting to Tokyo [00:25:40] Speaker A: again and then running tours, then running tours. [00:25:44] Speaker B: I'd have to do my own recce first, of course. You know. [00:25:47] Speaker A: Of course. [00:25:48] Speaker B: Maybe a good month in Tokyo, you know? [00:25:52] Speaker A: Anyhow, tell me, is my Audio all messed up. Someone back here. Who was it? Who back here said something about my audio? [00:26:00] Speaker B: It froze a couple of times. Yeah, but you are in the bush now. [00:26:06] Speaker A: Yeah, that's what I'm worried about. I don't know if it's my Internet or something, but someone said it's out of sync, so if it's out of sync, let me know. [00:26:16] Speaker B: Is it is a tiny bit. Yeah, I think mine is too. [00:26:21] Speaker A: Might be just Internet speed tonight. I'll probably. Maybe I have way too many tabs open on my other screen. [00:26:28] Speaker B: Yeah. [00:26:28] Speaker A: Anyway. [00:26:29] Speaker B: Yep. Hey, Joe tell you I'm buying a printer? I bought a printer. [00:26:34] Speaker A: Which one did you get? [00:26:36] Speaker B: I got a Canon. I got the Self. [00:26:39] Speaker A: Careful. Oh, what? That should be okay. Oh, just because by four printer you might end up putting your foot through it the same way I want to put through my foot. [00:26:47] Speaker B: This one I can actually drop kick. So. [00:26:49] Speaker A: Yeah, yeah. You could launch it over to the other side of the street. [00:26:53] Speaker B: I pretty much could. That'd be a fun video. The print swap that we did at BFOP with everyone's six by fours. This the selfie printer. I got prints just shy of a 6x4. I don't understand why they did that, but anyway. And yeah, it's coming tomorrow thanks to the good folks at Amazon. So I'm going to start printing out some stuff. [00:27:19] Speaker A: Well, that's cool. [00:27:20] Speaker B: How's your printer going? [00:27:23] Speaker A: I haven't turned it back on since bfop. Well, it's on, but I haven't printed anything because I'm still angry at it. [00:27:29] Speaker B: Yeah, put it in timeout for a bit, turn it around to face the corner so it knows. [00:27:39] Speaker A: Yeah, I don't know. Neil, do I have Starlink? I do have Starlink, but this isn't Starlink. I'm. This is currently like some sort of fast fixed wireless which gets about the same speed as Starlink. And I'm sort of testing. Starlink still isn't that fast for upload streaming, unfortunately. Unless I get the super mega expensive business one, which I don't think I can afford. So anyway, yeah, so we're doing our best, but it's definitely. Unfortunately, the new house is amazing, but the Internet is a bit of a downgrade. [00:28:15] Speaker B: No, we can always switch to ham radios. I hear they're coming back. [00:28:19] Speaker A: Maybe I'll try turning my resolution down. Let me see. Where's my. [00:28:24] Speaker B: That might help. Another camera came out over the weekend. Did you know about this one? [00:28:35] Speaker A: No. What is it? [00:28:36] Speaker B: Well, the good people at Leica released a Leica Q3, the 43 in a Formula One edition. Do you want to bring that up for us on the big news? Big news. [00:28:52] Speaker A: I'll bring it up. I might bring up the. Gosh, you can't even get it in Australia, can you? Yeah, you can. I want to bring it up on the. I don't know what link you had there, but I'm going to bring it up on the store so we can see the price. [00:29:04] Speaker B: The link is like a store. Melbourne. [00:29:05] Speaker A: Oh, perfect. Okay, okay. Okay. Here we go. There we go. [00:29:12] Speaker B: So they've released a special edition of the. The Q3 43. Only at this stage. This is the Formula One edition. It comes with a carbon fiber front grip. It has a carbon fiber rear thumb grip. It also has a carbon fiber hot shoe and soft shutter release button. Little bit of red accenting. But other than that, that's. I think the strap is the same. Is that the same strap? Like what you got? [00:29:40] Speaker A: There might be slight differences. No, no, it's not what came with the camera. So it's a different strap than what comes with the standard Q3, but it looks like it's just a rope strap made by whomever. But it's got. [00:29:52] Speaker B: The rope strap has F1 embossing on it and the front lens cap, or the front camera cap, I think it is, is an F1 version. This is going to retail for $14,190. Ouch. [00:30:06] Speaker A: But it's got a hot shoe and an EVF. It does have a hot shoe comes with it. [00:30:11] Speaker B: And a grip. [00:30:12] Speaker A: And a grip comes with that, too. So it's actually a good deal if you think about it. [00:30:17] Speaker B: It's actually cheaper than the Sigma. [00:30:19] Speaker A: Yeah. [00:30:19] Speaker B: Once you add all the accessories to it. So, yeah. Interesting. Interesting choice to go with the 43 over the 28. [00:30:30] Speaker A: Yeah, I mean, I guess. I bet you they have like a list of. So they probably alternate special editions. This one goes on the 28. This one goes on the 43. You know, like. And it just comes out. I wonder how they do decide. But, yeah, I bet you they, you know, then the reporter edition will come out on the 28, and then the Lenny Kravitz edition will come out on the 43. And. And when it's the Lenny Kravitz edition, I'm sure it depends on what, which one Lenny Kravitz likes to shoot with. But when it's the F1 edition, I'm guessing they just picked one. Or maybe because if you were going to take one of these cameras to the F1 as a punter. The 43 would be a more useful focal length than the 28, so maybe [00:31:15] Speaker B: that's what I thought. Glenn has great minds. Glenn 43 gets you closer to the cars on the track. [00:31:22] Speaker A: That's true. [00:31:23] Speaker B: And Den says it's not as cool as my Leica. Lucky color burst strap of awesomeness. [00:31:28] Speaker A: Yes. Dennis was rocking one of these on his Q3. As am I. You know, secret Squirrel business. You'll find out about them soon enough. Can't even see it because it's not focusing. There it is. Look at that. Look at that. Oh, look at that. Who needs an F1 edition when you've got that? [00:31:49] Speaker B: Yeah. Yep. [00:31:53] Speaker A: Bruce Moyle says it's for rich dicks. [00:31:57] Speaker B: Yeah, pretty much. I think a bunch of the F1 drivers got given one. I saw some footage on Socials of them being handed a box while they're on the track. [00:32:07] Speaker A: No. [00:32:07] Speaker B: You know. Yeah. It was all like product placement kind of. [00:32:11] Speaker A: Yeah. Isn't that crazy that Leica are a big, you know, like, they can do stuff like this? [00:32:19] Speaker B: Yeah. [00:32:19] Speaker A: You know, like partner with the F1. [00:32:22] Speaker B: Yeah. [00:32:23] Speaker A: Although back in the day, F1 race teams had Canon on them. That was pretty cool. [00:32:28] Speaker B: Mmm. [00:32:29] Speaker A: Remember that? [00:32:30] Speaker B: And now a lot of them will have action cams as well. [00:32:34] Speaker A: Yeah. But I mean, they had Canon on them as like, the major sponsor. [00:32:38] Speaker B: Oh, really? No, no, I didn't remember. Is like the cigarette kind of colors. [00:32:43] Speaker A: Yeah. Yeah. [00:32:44] Speaker B: Peter Stuyvesant, the Marlboro, the Camel. [00:32:48] Speaker A: You know, they all had these F1 cars. Used to look sick. I'm just trying to find that. Basically everyone. Every picture I can see here. Models, not real cars. Nigel Mansell, was it? [00:33:04] Speaker B: Oh, no. [00:33:06] Speaker A: Is that Ring a bell? Is that the wrong. Am I finding the wrong stuff? Yeah. Nigel Mansell, 86. [00:33:11] Speaker B: John Pickett says William F Williams F1 had Canon. [00:33:14] Speaker A: Yeah. Here we go. Hang on. Share this tab instead. Boom. Hang on. Check that out. [00:33:30] Speaker B: Oh, yeah, look at that. [00:33:31] Speaker A: Like, that's proper. That's proper branding. [00:33:34] Speaker B: Yep. That's very old school. [00:33:39] Speaker A: That's right. Legit. [00:33:43] Speaker B: Yep. [00:33:43] Speaker A: What film stock do you reckon that was shot on? Oh, [00:33:52] Speaker B: Lesoki was working at Canon back then. He thinks you're a dark horse, Liz. Ok. You're full of surprises. Yeah. [00:34:04] Speaker A: How cool. [00:34:05] Speaker B: Yeah. [00:34:07] Speaker A: Anyway, back when camera brands used to have F1 team sponsorships. [00:34:13] Speaker B: Speaking of camera brands, like, there's a little bit more like a new. Should we just get that out of the way while we're talking Leica? [00:34:20] Speaker A: Let's do that and then let's look at some Images from some peeps. [00:34:23] Speaker B: Yeah. According to the good folks at Leica Rumors. Let me just bring. Now I've got to remove your crap from the screen. Gosh, I'm always cleaning up after you. [00:34:33] Speaker A: Do you want me to. I can bring it up. Do you want me to bring it up? [00:34:35] Speaker B: Yeah, you might do it better than me. I'm a bit slow. The. The one about the M11 and the MA Limited editions. So Leica Hammer tones have been confirmed with some leaked images. [00:34:49] Speaker A: Oh. [00:34:50] Speaker B: With this new colorway, it's kind of like a. It's like a gunmetally kind of. I don't know how you explain. I think Hammertone has more of a texture to it, doesn't it? [00:34:58] Speaker A: Hammertone has a texture? Yeah. [00:35:00] Speaker B: Yeah. Wow. What's going on? [00:35:07] Speaker A: I don't know. What? Yeah, apparently my Internet is bad today. It doesn't want to show anything. [00:35:13] Speaker B: No, it doesn't. All right, let me bring up mine. Get out of the way, old man. [00:35:18] Speaker A: Oh, yeah. [00:35:19] Speaker B: Didn't. [00:35:20] Speaker A: Did we already look at this? Or is this something different? Not this exact one. But didn't they release. They released a Hammertone something? Oh, no, no. [00:35:26] Speaker B: They released the gray tones of the. The M11, wasn't it the. What's the cheaper one? That's an L10 copy. The Lumix copy. Can't think. Can't think. Anyway, these are the Hammertone ones. So it's got like a textured, finished, old cameras, new skin, basically. Okay. And in final news from Leica, according to the folks at the rumor site, what's happened to our layout? Oh, my God. What have I done? [00:36:06] Speaker A: I'll sort it out. You just tell me. You just tell me what you want. You shouldn't. Why are you touching anything in the back end? [00:36:11] Speaker B: I don't know. I don't know. [00:36:13] Speaker A: Bringing things up. Let me. [00:36:14] Speaker B: Now, all of a sudden, I can't get rid of this box. It's all. It's all. [00:36:18] Speaker A: You just let me do it, all right? [00:36:20] Speaker B: You take care of me, Please, boss. According to the rumor sites, Leica will release the M12 series of cameras to replace the M11s in early 2027. And that they'll be doing that instead of an M11R. But the rumors say that we can expect only minor changes and improvements over the previous gen, which makes no sense. But I guess if it ain't broke. [00:36:49] Speaker A: Yeah. Yeah. It's not. I don't know. Anyway, we'll see. [00:36:55] Speaker B: Yeah. [00:36:56] Speaker A: Oh, Leica tested ibis for the M12 model. Not sure if it will be Implemented. Okay. [00:37:02] Speaker B: It's kind of about time. [00:37:06] Speaker A: It's not like they don't need that stuff. [00:37:09] Speaker B: No, they're stable enough. Well, their incomes are, that's for sure. All right, let's. Let's ditch the news because it's just. It's all making me upset. Let's move on. Let's look at some images. [00:37:23] Speaker A: Yeah, let's look at some images. [00:37:25] Speaker B: Yeah. [00:37:25] Speaker A: Who you got? [00:37:26] Speaker B: Infect me with your funk? We've got Paul. Good old Paul C. [00:37:35] Speaker A: All right, where are we? This is probably a good time to say if you're listening to the show for the first time, this is the section where we bring up your images. You can actually send images to us and we'll bring them up on the show. Just email the cameralifeuckystraps.com and if for some reason we don't bring them up, that's because they got lost in Greg's inbox. He's got some dark hole in his inbox that sucks them in. I've actually had to start doing a cross check prior to the show to see if there's anything that got slipped through the gaps. But anyway, the camera [email protected] send us one image and why you took it and what you like about it. You know, a few words, the settings were and if you got any questions or you want any feedback, just let us know and we'll do our best. [00:38:20] Speaker B: Indeed. So this is Paul. Hi guys. After a storm pass through this afternoon, I headed out to my local reserve with the new Fujifilm X100VI and tried looking around for something different in what is normally very familiar territory. I eventually found it in the form of a puddle and its reflections. Sometimes it gave a clear image, like with this one, but by dropping small pebbles in the water, like experiment with different effects. Using the Velvia Vivid preset on the brackish water, I found it morphed into a more retro effect without need for any editing. It was a great exercise in just stepping out and seeing what unfolded. I didn't explain myself very well with. This was the second email that Paul sent to me. I didn't explain myself very well with that image description below was trying to say that I found that by varying the level of ripples in the water, I could explore a spectrum of clear to fully abstract images. For someone who likes clarity and precision, this was a bit of a change. Cheers, Paul. He likes clarity so much he sent two emails to clarify. [00:39:23] Speaker A: To really clarify. He's not very clear image. I love that I Didn't actually. I see it now. I didn't realize that was it. Do you not want me to tell you what my initial thought of what this shot was? [00:39:39] Speaker B: Go for it. [00:39:40] Speaker A: A really low to the ground angle with a wide lens. So, so the very, the bottom of the frame is like the, just the, the ground and then somehow it's looking up. I realize now it's not possible, but this is just where my mind went. And it was looking up at the trees and the tree canopy, but then there was some, maybe some light colored dead grass or something coming over the lens to create that kind of softening effect in the color. Yeah, I thought it was shooting through something to get that effect. And I thought he just like sat his camera on the ground and pointed it up. And then when he said it's a puddle, I was like, oh, yeah, very clever. [00:40:21] Speaker B: Well, when the email first came through and I glanced at it because everyone's came through and I would send a quick reply saying, yes, I've got it, I've got this one, I just, from a casual glance, I thought it was actually like shot on film because it has that kind of that grainy, not quite saturated color, kind of feel like that sort of that gold tone throughout it. But yeah, I love it. I think it's great. And you know, the, the, you know, the reflection and the ripples are important, but the, the, the structure of the tree is quite interesting. The way that it's got these curves, that sort of curve up towards the top center of the frame and yeah, I really like it. It's fun. [00:41:02] Speaker A: Picked a nice spot because otherwise it could just be a messy, you know, messy, blurry shot. Yeah, but it's got some nice lines in there, some good direction and yeah, very interesting angle. Well done. [00:41:13] Speaker B: Yep, nice work, mate. Up next, former employee of Canon, Les Okey has sent in an image. [00:41:23] Speaker A: Where is Les? There he is. [00:41:28] Speaker B: This is from Les. Sunset at the Cathedral on Mount Buffalo taken from the hump. Check out the two climbers on top of the right hand rock. Nikon Z7 with a 24 to 120 F4 at 24 mil F16.5 seconds with a Nissi Jet Mag CPL and 6 stop nd I love this photo. [00:41:50] Speaker A: Yeah, this is great. Hang on. How far in can we go? But yeah, they're perfectly on top of it. Yeah, giving it scale. But also you can see them clearly. You know, if they were a little bit down one side or something, you start to look, you know, if you get half a human, it looks weird. You need to see the legs and stuff. And the shape is great. And then the lighting is great. You got such good contrast and shadows on the backside of that rock you. [00:42:19] Speaker B: Yes, it's really punchy. [00:42:21] Speaker A: Yeah. Epic, but also natural, you know, like it's not. It's not this like explosion, sunset or sunrise or whatever or moment in time. It feels more like a real moment that you or I could see. Whereas, you know how sometimes you see a photo and you're like, oh, that's a once in a lifetime moment up there. Whereas this is like, oh, yeah, this could have just been last Tuesday or whatever. It doesn't seem out of reach. But it also is really well done, if that makes sense. [00:42:53] Speaker B: Yeah, absolutely. And Rick Nelson echoes my thoughts, which is beautiful. Print it. Definitely print it, Les. Or send me the file again. Oh, no, I've got the file. I'll print it six by four and I'll send you a copy. So I'm getting a printer. [00:43:09] Speaker A: Almost six by four. Almost six by four. John Latimer says, love it. David Skinner. Nice one. And also Jason Rogers. Long time no see. How are you? And even longer time no see. Ernesto Creativo. Hi, guys. [00:43:25] Speaker B: From Germany. [00:43:26] Speaker A: Long time no see. Happy to see you live this time. Well, good to see you. Don't be a stranger. Send us a photo. [00:43:33] Speaker B: Yeah, beautiful shot, though. Is great work. [00:43:37] Speaker A: Yeah, great work, really. Should we do another? [00:43:40] Speaker B: Let's do another. David Moscaro sent in two images and a video. Let's start with the images. [00:43:47] Speaker A: Images. [00:43:48] Speaker B: The miniseries shot with the D500 with a Nikon 200 to 500 from top of Salesforce Tower. So if you remember, last week we showed a very quick video of Salesforce Tower, which is the really tall building in San Fran that Daddy somehow gets access to. That and the top of the Golden Gate Bridge somehow too. He gets the best vantage points and he uses that to photograph these us Blue angels. [00:44:15] Speaker A: Blue Angels. So cool. [00:44:22] Speaker B: Yeah. [00:44:22] Speaker A: You're frozen. Greg, were you there? [00:44:24] Speaker B: No, sorry, I was just trying to read the comment. [00:44:26] Speaker A: Your brain froze? Not the. [00:44:28] Speaker B: Yeah, my brain. Yeah, Well, I was frozen. Yeah. [00:44:30] Speaker A: Computer Internet's fine. [00:44:32] Speaker B: It's just Greggy. [00:44:33] Speaker A: Greg's frozen. It's. You know what sucks about our Australian. You know, people that do this, they still got propellers. Everyone still have propellers. The roulettes. Yeah, they still got like. Like Cessnas. [00:44:49] Speaker B: They're not Cessnas, but, you know, they're the training aircraft. Paul. Where's Paul? Paul would be able to tell us. [00:44:55] Speaker A: I think they are quite capable propeller aircraft. That Are pretty crazy to fly, but still, it's just weird when you're like, they still got propellers. Come on, guys. [00:45:03] Speaker B: Yeah. [00:45:03] Speaker A: Can't get jets. Nothing. All right, we'll go to the next one. [00:45:07] Speaker B: Yeah, go to the next one. Oh, [00:45:12] Speaker A: gosh. You're almost at the same height as him. Look. It's crazy. You can see that yellow helmet in the. [00:45:20] Speaker B: Yeah. [00:45:20] Speaker A: Dang [00:45:23] Speaker B: cool angle too. [00:45:24] Speaker A: Yeah. Just been that high up and then I wonder if. Will this video work? [00:45:32] Speaker B: Let's give it a shot. [00:45:33] Speaker A: Does it have sound? [00:45:35] Speaker B: We'll see. I think it did. Oh, yeah. Look how high up that is. [00:45:59] Speaker A: Yeah, there's. The planes are so low compared to where D is. That's crazy. Wow, what a view. [00:46:13] Speaker B: Yeah. [00:46:17] Speaker A: On the bridge we here. Wow. That's nuts. [00:46:29] Speaker B: That is. That is nuts. Just as Tennis said, Les. Yes, that is in San Fran. [00:46:34] Speaker A: Yeah. [00:46:35] Speaker B: And Paul has come back with some education for us all. So the Aussies use the. Is it the Pilates PC21 trainers used by the Roulettes Turbo prop just don't generate the same sort of noise as twin F404 turbojets. [00:46:52] Speaker A: I knew that already, but it's exactly what I was thinking, Paul. That's exactly what I was thinking. I hate those turbo props. They're so slow. [00:47:00] Speaker B: Yeah. [00:47:03] Speaker A: And quiet. Ernesto Creativo says, where should I send my pictures to? Sorry, I missed to write it down when you mentioned it some minutes earlier. Well, send them to the cameralifeuckystraps.com that's the camera life or one [email protected]. email it there. Have a subject line about, you know, images for the podcast or whatever, send us one image and tell us why you want to send it in. If you've got any questions or you want any feedback or anything like that or otherwise just want to share it with us, that's totally fine too. [00:47:37] Speaker B: Yeah, indeed. But thank you, David. Thanks for sending that in as always. Amazing. Up next. Better up. It's David Skinner, everybody. [00:47:49] Speaker A: The David's. Do you do this in alphabetical order? [00:47:51] Speaker B: No, I didn't. But just seemed to work out that way. So David Skinner said. Hi all. I wandered around the village front gardens this morning Sunday and took many photos practicing with the Tamron 90 mil Macro. Nice. Where the scene looked like I could try shooting through technique with only a portion of the scene in focus. I had a go at that. Jeff Freestone is pretty good at it and has run workshops at BFOP with this approach. This one probably didn't work, but on processing I could see A shot with a tiny bit in focus and the overall softness as a natural abstract appeals to me. What are your thoughts? Cheers, David. [00:48:31] Speaker A: Are your thoughts, Greg? [00:48:32] Speaker B: I love it. It's pure abstract. It's just, you know, it's. It's the play of shape and light and shadow and form and. Yeah, it's. I find it really, quite, quite compelling. Like, I'm trying to work out what that huddle in the bottom right corner is. You know, it's almost like. Is it someone's hands? Not, you know, like, like knuckles? Or is it. Is it, you know, or is it something else? Is it a flower? Is it, you know, it's. It's what. Really hard to tell what it is, but I like it. [00:49:02] Speaker A: Yeah. To me, it was a plan. And the softness is what makes it. It's funny, after mentioning the softness, this actual plane of focus that's in there, whatever that is almost out of place, if that makes sense for me. It's almost like it would almost be better without that because this, the. The shape and the tone, the softness of the rest of the image really works, I think. [00:49:35] Speaker B: Yep. [00:49:38] Speaker A: Yeah. [00:49:38] Speaker B: Yeah. I love it. Very, very well done, Liz Okie wanted to know if it's Noki. Always classy, Liz. Bruce Moyle. I like doing this with skin. Out of context. That sounds really bad. That's okay. We understand. Dennis says that that is sci fi. And Felicity Johnson says I like it too. Is it succulent leaves? Let us know. [00:50:03] Speaker A: Kind. It does look like succulent leaves, doesn't it? [00:50:05] Speaker B: Does a bit, doesn't it? Yeah, yeah. [00:50:08] Speaker A: Profiterola. [00:50:14] Speaker B: Nice. [00:50:15] Speaker A: Ernesto says.com sorry.com or eu.com au I don't know if I just. Maybe my Australian is coming through a bit thick tonight. Now, Dennis also says put your name as the file name, unlike this idiot, which. He's not an idiot. You're not an idiot, Dennis. As Lezokie said, it's a rookie area error. And Lisa Leach said, I've been. It's been so long since I sent images in, I forgot to add my name to the images. Sorry. Yes, it is very, very helpful if you put your file, your image, file name as your name. That would be amazing because if it's like DSC 03-642-8967. It's hard for us to know whose image it is when we bring it up. [00:50:59] Speaker B: Yep. But I fixed it. [00:51:01] Speaker A: All right. [00:51:02] Speaker B: I got you all. It's okay to say it. I'm here for it. I've got a few images. Can we have A look at some of my images, perhaps? [00:51:13] Speaker A: No, we haven't got time. No. [00:51:15] Speaker B: Okay. Should we do some more news now? [00:51:17] Speaker A: We can do. Let's do yours. Let's do yours. [00:51:21] Speaker B: Okay. Have I got them open myself? No, I do not. [00:51:27] Speaker A: Well, I can show you. [00:51:29] Speaker B: So is this one to show you? Oh, yeah. So yesterday, one of our kids, Juno, she's in a band, a vocal group, and this isn't her, but they put on a concert at the Brunswick Ballroom, which is kind of. It's got a pub vibe. It's kind of not quite a pub. Anyway, so they put on this performance called Put it on. And they welcome a whole range of different acts, regardless of talent, age groups, you know, they just sort of invite people to come up and do a short set of a couple of songs and had a decent crowd. And we all went because Juno was playing with her band, the Fates F A T E S. And of course, I get up there and I'm standing in line to. To get my free meal ticket because it came with a meal. And guess who's standing there with a pair of cannons dangling off a. Off a double harness. [00:52:26] Speaker A: Who. Who's a canon shooter that would have two cameras. [00:52:30] Speaker B: And does concerts. [00:52:33] Speaker A: And does concerts. Jimmy Chin. [00:52:38] Speaker B: It was Jimmy. It was a cinder Goodwin. Of course. It was a delightful surprise. So I'm standing there with Sash and I look over and there's this nerd standing there with two cannons, pretending that she's clever. And. And so I gave a grief because that's what friends do. Nice. Yeah, it was good. It was really cool. [00:53:00] Speaker A: Unclip the cameras off her dual harness. [00:53:02] Speaker B: Yeah. What's this garbage? [00:53:04] Speaker A: It's not sanctioned, that. That harness. She's not listening tonight. She's busy. [00:53:09] Speaker B: She is busy. But yeah, she was there photographing the gig. She was a last minute call in because the person who was photographing was supposed to do the gig wasn't. Well, so Lucinda made the trip down to Melbourne and I'm glad she did. We got to catch up, which was lovely. [00:53:24] Speaker A: Nice. [00:53:25] Speaker B: Got to see in action. [00:53:27] Speaker A: Should I press more of these? Yeah. Oh, no. [00:53:29] Speaker B: Yeah, there's more. And then just some kind of random streety shots from some travels last week. That's the new wheel or the revamped wheel at Docklands. [00:53:43] Speaker A: Oh, don't get me started. If you want another negative Nelly rant. That bloody Melbourne wheel, Jeebus. [00:53:48] Speaker B: Yeah. [00:53:48] Speaker A: Would that take a decade to get it moving? I know. It's never been such a shame. I feel like they put it in the wrong Spot too. It needs to be on the water. It needs to be in. You know what I mean? [00:54:00] Speaker B: Yeah. It should have stayed in the cbd. You know what's really interesting? When it first opened, it was quite busy. It opened just before COVID before all [00:54:09] Speaker A: the cracks started forming. [00:54:11] Speaker B: Before the cracks, before the heat waves, before COVID and then after covert, that whole area just. Just dives. [00:54:18] Speaker A: Yeah. And then it was even going. Needed draconic revamp it now that it's. [00:54:22] Speaker B: Well, I don't know. I mean, they're offering a whole bunch of different experiences. Like they've got ones that have got like bars in it. We can actually in the. In that. In that cabin. The cabins are quite big. I can't remember how many people they hold, but they're huge. [00:54:35] Speaker A: They'd have to be a 20. A 20 person cabin each one. [00:54:39] Speaker B: Well, what do you know? [00:54:40] Speaker A: I'm guessing like it is that. I mean, I'm just looking at the amount of like, I've been in a lot of these. Look, I'm. I haven't been in any wheels. I've never been to wheel, but I've been to a lot of gondolas that have similar kind of capsules. And something that big could probably have 20 to 40 people in it. If you were at the. [00:54:59] Speaker B: No, not 40 or whatever, maybe. [00:55:01] Speaker A: No, sorry. But if you were in Japan, you wouldn't. You would be standing like shoulder, shoulder with 40. Just because you're just trying to get to the top. You're not there for like a sightseeing. You're just trying to get from A to B. Yep, yep. Oh, here we go. Hold on. Felicity Johnson. My dad was the engineer who had it stopped. He said the welds were scary. Oh my God. How could someone weld this and not be an absolute. Just ninja welder who would let like a. A scrub on this job. That's insane. So how could you do bad welds? I don't understand who. Who ends up doing welding is their profession and can't do it. [00:55:46] Speaker B: Well, yeah, especially on something like this. [00:55:49] Speaker A: Yeah, that's got lines. [00:55:51] Speaker B: It's just. It's just a few seconds away from being a Simpsons episode of it. Rolling down the Balti Bridge, you know. [00:55:57] Speaker A: Exactly. [00:56:00] Speaker B: But it was a beautiful day and the light was. The light was gorgeous. And so, yeah, I took a bunch of frames that day. That was when I was on the way to the alpaca event because alpaca have their store there. [00:56:12] Speaker A: Oh, yeah. [00:56:13] Speaker B: This was at the Capitol Theater, which is owned by RMIT. In the city. That's where Juno had her year 12 graduation and I just. Yeah, the space was just beautiful. Never been in there before. [00:56:25] Speaker A: Oops. Was that the last one? No. [00:56:28] Speaker B: That one? No. And that's the Fates singing one of their songs. And if you look in the bottom [00:56:34] Speaker A: left hand corner I see Lucinda. [00:56:38] Speaker B: You see Lucinda Wild Lucinda. Do you want to zoom in for the people? There she is. [00:56:44] Speaker A: She looks scared. Like you've caught her when she was supposed to be working. [00:56:48] Speaker B: Yeah, look at her, she's sitting down, she's not even taking photos. Second rate. But that was a fun, that was a fun thing to shoot because you know, complex lighting, all that sort of stuff. [00:57:02] Speaker A: Ah, yeah, yeah, it's fun. Dark. Test the Fujis out, Richard. Mail says Justin Wheelie doesn't like that wheel. I'll show myself out. Les Okie. Did you just say Wheelie? Interesting. Oh dear. [00:57:19] Speaker B: Oh my God. [00:57:22] Speaker A: Apparently it was a 44 degree day that killed the wheel. Wouldn't surprise me. Nice shot, Greg. Wheel. [00:57:32] Speaker B: Thanks. [00:57:32] Speaker A: Proud of you. I guess. I guess it was the lowest bidder that built it, so. Yes, that would make sense, but surely, wouldn't it? If you're welding something, you know what a good weld is. If you don't know what a good weld is, you shouldn't be welding something crazy. [00:57:45] Speaker B: Yeah, but apparently the people, they, from memory when they made it, they hadn't accounted for Australia's hot weather. [00:57:55] Speaker A: Yeah, it comes out of nowhere, that hot weather every. [00:57:57] Speaker B: Yeah, those 40 degree days in, in Melbourne, no one's ever heard of them before. [00:58:02] Speaker A: I, I guess that makes sense. I don't know enough about metal but again I feel like if you welded something correctly it could handle 44 degrees. But I guess there is a lot of joins in that structure. So. [00:58:17] Speaker B: Yeah. [00:58:17] Speaker A: Wow. Anyway, just quickly, Dennis says, Greg, your images from BFOP were stunning. I agree and I mentioned it on one of the shows, I think. But there's a series in there you need to finally one day when you've gone through all of them, whittle through and find. But I think there is a very strong set of images in there because there's some that I don't know what it is that's different to what you've shot because you shot images last year at BEFOP that were great. But there's something going on with this year's images that you took that is a step into a new realm than what you normally take. And I don't know what it is yet and I think we might, we Won't be able to put our fingers on it until we see, you know, a set of like somewhere between 10 and 20 that are really. That you've. That we've had time to sit with them and be like, all right, these are the essence of what was befop this year. There's something. There's something different there. I don't know what. Yeah, pretty special. [00:59:18] Speaker B: Yeah. Yeah. Look, I. I've thought about it a lot, you know, because I came away from that weekend feeling like I'd taken some of the best images that I hadn't, you know, that I'd ever taken. And part of that was the excitement of bfop. Part of that was the energy of bfop. It was very tangible experience. You know, anyone that goes will know. Obviously, a new piece of glass helped. New 18 mil Fuji lens that. That you know how to get better [00:59:48] Speaker A: at photography without buying. New gear. [00:59:52] Speaker B: New lens, next day, new lens. But there's this thing that I've been. And we've talked about it a lot, and I know it's cheesy and it feels like a cheesy throwaway line, but I lent in in more ways than one. You know, I pushed myself. I got in closer to people. I had conversations with people while taking their portraits just to disarm them and get them, you know, being animated and not just standing there going, you know, it was. There was a real connection there that I was making with people as I was taking their photos. And I just. I just really pushed myself with how I approached it, how my camera saw what I was seeing and shifting it a little, you know, and sometimes it was just as simple as just tilting my camera 15 degrees to 1 side and just composing with that, you know, and using, you know, all of that stuff that we learn about composition, but twisting the scene a little bit and trying to make it fresh and new. So, yeah, it was. I'm really happy with what I achieved, and I am looking at doing something a little bit more substantial with them. Probably a photo book about beef up 20, 26. So. Yeah, stay tuned. [01:01:05] Speaker A: Well, there's a lot of. A lot of people asking about a book. A lot of people asking about a book. And then Les says, you're in the zone. And apparently it's Fuji Magic and Greg Sorcery. [01:01:18] Speaker B: Oh, I like that. [01:01:19] Speaker A: John Cricket says the if you know series was amazing. [01:01:24] Speaker B: That was a teaser. [01:01:26] Speaker A: Yeah, the teaser, the teaser. They were special, mate. Like, he had special access and people felt safe with you. [01:01:34] Speaker B: Yeah, thanks, Dan. [01:01:36] Speaker A: Les okay, says you disarmed them and then shot them. [01:01:39] Speaker B: That's the last joke from you tonight, Les. All right, one more. [01:01:44] Speaker A: Oh, dear. Okay, let's do. Is there more news? [01:01:49] Speaker B: There's a little bit of news, yeah. [01:01:52] Speaker A: Tell me about it. [01:01:54] Speaker B: What have we got? Apparently, the US pricing for the upcoming Nikon Nikkor Z120 to 300F 2.8 TC VRs lens will be around US$14,000. [01:02:09] Speaker A: That's what I think that's what Adam guessed last week. Last week? Yeah. That's basically right around you guessed. Yeah, they said 14 or 16. I can't remember, but yeah. [01:02:20] Speaker B: Yeah. [01:02:20] Speaker A: Well, that makes sense. It's an expensive lens. It was fancy. [01:02:22] Speaker B: What does that push it up to here, like 20 something? [01:02:25] Speaker A: Oh, was that us? [01:02:26] Speaker B: That was US dollars. 14 US oh, right. [01:02:29] Speaker A: Yeah, for sure. It'll be 20 to 22 or something. [01:02:31] Speaker B: Yeah. [01:02:32] Speaker A: Dang. [01:02:33] Speaker B: Yep. And that's going to be a beast. Constant F 2.8, 120 to 300. It's going to be massive. What else we got in Lens News? The people at Fujifilm planning to release a new version of the XF50 to 140F 2.8. It's a Mark 2. It's. They're claiming it will be smaller and lighter, but optically better. And the original version of the 50 to 140 is being marked down at some stores around the world. So there's. There's obviously signs there that they're winding down that. That product so they can bring in a new SKU. Actually, the original 50 to 140 was that. You know, how I tell that story about, you know, one night in Kyoto, I wandered into a Yoda Bashi camera and walked out with a 50. That was the lens. [01:03:17] Speaker A: Yeah. [01:03:17] Speaker B: The drunken purchase in the middle of Kyoto made sense to me at the time. [01:03:25] Speaker A: The 50 to 140 is one of the lenses that you're not going to enjoy this segment, Greg, so you don't have to listen if you don't want to. The 50 to 140 is one of the things, the lenses that I looked at when a lot of wedding photographers were switching to Fujifilm to get that lighter, more, you know, stealthy look and lighter all day. And I looked at the 50 to 140 because I'd used a lot of 7202.8, and I had the Canon and Nikon 7200 F4 lenses both on the previous mounts for DSLRs. And those F4 lenses off both Canon and Nikon were really light and really sharp. Like, really, really sharp. Excellent lenses. And as we all know, 2.8 on a crop sensor is the same as F4 on a full frame. Fact. It goes for noise at high ISO and also goes for depth of field. Mathematically fact. And I looked at it and I was like this is the same weight as an F4 on a full frame. So there's, there was no like benefit at that point. And even now. So this, the current one, the version 150 to 140 is 995 grams. [01:04:40] Speaker B: Yeah. [01:04:40] Speaker A: The current Canon 7202.8 is 1100 grams for full frame. And so it's like. But that's what. So I think Fujifilm have lagged behind a little bit in that crop tally range. And hopefully this new one, you know, if they can shave 100 grams off it or something. And it really helps keep it Fuji in that lighter overall lighter package when you're looking at like for like because I think, oh well, Here we go. Canon 72 200F4RF weight is currently. That's the 2.8. Yeah. So 1070 for the 2.8 currently for full frame. So it's actually only 70 grams or 75 grams heavier for full frame than the Fujifilm F4 is 695 grams. So. And if a Canon 7200 F4 on a full frame body would be lighter than the Fuji whatever that one is 50 to 140 on a, you know, on an X T5 or whatever. Isn't that crazy? [01:06:01] Speaker B: It is crazy. And whereas I know everything. Yeah, yeah. They seem more balanced. Yeah, they're red badge zoom. So there's the 8 to. What is it? 8 to 16 if 2.8. 16 to 50 F 2.8 and the 50 to 140 F 2.8. They're all considered red badge, which is their premium pro range of zoom lenses. They're all internal zoom I think, but they're all very front heavy, especially on those bodies. On those bodies. And so they've re released the 16 to 50 or 55, whichever it is, they re released that 2.8 and it's much smaller, it's much lighter. The glasses balance throughout the lens. It's not all on the front. And I hope they do the same with the 50 to 140 because it was a. For a Fuji lens, it was an amazing lens. I mean it's quite old now. [01:06:55] Speaker A: I was gonna say, I remember looking at this like this. This would have to be. Well, when did it come out? It'd be eight years ago at least. [01:07:03] Speaker B: I think, yeah, maybe eight. [01:07:06] Speaker A: Because I remember looking at it years ago. [01:07:09] Speaker B: Yeah. [01:07:10] Speaker A: And seeing and thinking, like, do I do this switch? Like a lot of people go in this direction. And then. Yeah, I sort of weighed it up with the lenses and was like, oh, it doesn't seem like a big enough. [01:07:20] Speaker B: Yeah. [01:07:22] Speaker A: No. 20. 2014. It was 12 years ago. It's 12 years old. [01:07:32] Speaker B: Yeah. [01:07:33] Speaker A: Yeah. Wow. No wonder it's. Yeah, it's not. Gosh, they might shave the thing in half. [01:07:40] Speaker B: I hope they do. [01:07:42] Speaker A: I hope they do. [01:07:45] Speaker B: Good lens, though. [01:07:48] Speaker A: Quick comment from Dennis Smith. For those who think the Q3 is a poser's box. I've never actually heard that statement, opposers box. I just backed up about 4,000 images from my commercial shoot in Bangkok tonight. It is a workhorse. [01:08:07] Speaker B: 4,000. Yeah. Well, I was talking to Nev earlier today. Nev Clark. [01:08:13] Speaker A: Yeah. [01:08:15] Speaker B: He's been doing weddings and he still takes his gfx, but he was saying he only used the GFX for some longer shots with the 120, 110mil prime on it. Other than that, he's using his two Leicas. He's 28 and he's 43. He's doing most of his wedding work on those. [01:08:32] Speaker A: Interesting. [01:08:33] Speaker B: Yeah. [01:08:34] Speaker A: I would love to shoot a wedding on the. The Q328. And I know I would get some shots that I would think would be amazing. And I think it would put me in a different mindset to really deliver some great images. [01:08:52] Speaker B: Yeah. [01:08:52] Speaker A: But I know I would get a better overall delivery for the client on my Canons for sure. Like, if you. [01:09:03] Speaker B: Is that because you can guarantee every shot? Almost. [01:09:06] Speaker A: Yeah. [01:09:07] Speaker B: Yeah. [01:09:08] Speaker A: It's just way more reliable in every situation you can imagine. Especially, obviously for autofocus. You know, the Q3 is going to give you something special. And especially if you can get in the mindset of only using mostly just that one camera and really just get in the zone for the whole day. But, yeah, if you're like. If you're running around laying on the ground, taking photos of kids, and then the next minute you know, the bride's walking down the aisle and the next minute the dad's doing the thing, and then there's this just like. And it's go, go, go all day. [01:09:41] Speaker B: The. [01:09:41] Speaker A: Yeah. What you can do with a Canon R3 or an R5 Mark II or whatever, you know, it's just 70 to 200. Well, yeah. Or even. [01:09:52] Speaker B: Well, it means you can get to things that you can't get to in time with a Q3. [01:09:57] Speaker A: Exactly. And just, you know, it crosses rooms. [01:10:00] Speaker B: Yeah. [01:10:00] Speaker A: If you do want to shoot, you know, confetti, obviously a wizard on a Q3 can get a great confetti shot, but you know, if you're a scrub like me, I could have 50 confetti shots. Yeah. [01:10:14] Speaker B: So, yeah. [01:10:14] Speaker A: But the Q3 is I, it certainly does produce commercial level work and I would, I would love to shoot a wedding with just that. Got one booked in next year. I wonder if what's doing a wedding next year? Yeah. With Jim though. With Jim. So what's. Do we have to. If I was kind of just shoot with a Q3, do I have to sort of tell them that, do you reckon? I probably should, shouldn't I? Do I get Jim to tell them, hey, I'll take all the proper photos and Justin's just going to run around with the Q3 and see what happens. [01:10:48] Speaker B: So you're going to be the artsy fartsy one and Jim's going to be the serious one. [01:10:52] Speaker A: Jim will hate it because he has to do all the proper work and I just run around with the world's lightest, greatest camera and just pretend I'm [01:10:58] Speaker B: cool getting candid shots like a street photographer. Yeah, I think we should do that. [01:11:04] Speaker A: I think I should too. [01:11:04] Speaker B: But I don't know because, you know, having hung out with you guys a fair bit and seeing how you, how you work together, you know, there's certainly a lot of ribbing going on in that relationship. [01:11:17] Speaker A: Yes, yes there is. [01:11:20] Speaker B: It's quite funny to be a part of, to witness it. It's the looks that Jim gives you. Oh my God, it's hysterical. Let's finish up this news and then we'll, we'll do some more, we'll do some more images. In other Fuji news, they are pumping even more money into its Instax business. We announced this a few weeks back that they were building new factories actually a couple of months ago before befop. But yeah, they're investing further into Instax. Instax cameras and film production are ramping up. They're continuing to prove popular across a range of demographics and good luck to them because the more Instax they can sell, the more they can invest in lighter lenses for us Fuji shooters. [01:12:08] Speaker A: It's a, it's a symbiotic relationship. I think it's great. Especially if it helps. Yeah. If it, if it helps fund development on the, on the camera side and, and yeah, yeah, I think it's awesome. [01:12:19] Speaker B: Well it, it's kind of like your model. You Know the model that we use here, you know, you sell lucky straps, camera straps and merch and it helps support what we do on the, on the camera life, the community. You know, it's that kind of symbiotic relationship where one feeds the other, so you kind of cycles it back. [01:12:37] Speaker A: You admit that the X series of cameras is just like a money pit that doesn't make any money for them. [01:12:44] Speaker B: Are you saying that this is a money pit? Probably is. Yeah, it probably is. That's all right. [01:12:48] Speaker A: But it's your money pit. [01:12:49] Speaker B: I'm just the talent. [01:12:50] Speaker A: Exactly. Hey, I mean, it's hard to say it's not when we have zero sponsors and with the way that we talk about companies like Sigma will never have any sponsors either. But no journalists. [01:13:03] Speaker B: Although we thought we got it. We thought we got spanked today. I had to call you in a bit of a panic and say, oh, Justin, I think we're getting sued. [01:13:10] Speaker A: Breach of copyright. Breach of copyright. [01:13:14] Speaker B: Cease and desist. It was a scam in the end, but it had me going for a minute. [01:13:19] Speaker A: Yeah, I mean it looked very professional. It looked very professional. Had it in a dress and it [01:13:24] Speaker B: was a real law firm. [01:13:25] Speaker A: Was a real law firm. [01:13:26] Speaker B: Not the email address, just the name they used. [01:13:28] Speaker A: I wonder if that law firm knows that a scammer is using their name to going, you know, like. Because they probably don't even know. [01:13:35] Speaker B: Maybe that's just how they do business or maybe. [01:13:38] Speaker A: Yeah, that was a bit funny. Ernesto is about to get an Insta. What's a pal2? Do you know that? [01:13:49] Speaker B: Oh yeah, yeah, the Insta. The Instax PAL2. That's the new little camera. Only Instax that connects to your phone. It's like the squished X100. [01:13:58] Speaker A: Yeah, squished. [01:13:59] Speaker B: Yeah, yeah, yeah, yeah, yeah, yeah. I wouldn't mind getting one of those, but I've just ordered a Canon selfie, so I'll just use my Fuji cameras for that. [01:14:10] Speaker A: One toy at a time. [01:14:11] Speaker B: One toy. [01:14:12] Speaker A: Lucky Straps TV will get us on Apple tv. They have the bucks. Yeah, exactly. That's how, that's how it'll work. Yeah, it's going to go. [01:14:19] Speaker B: Yeah. But we are working on some, some, some little collaborations with some different companies. We've got a couple of things in the works. I bumped into a few people and had some chats while we're in bright. Good, good opportunity to network with fellow brands. [01:14:35] Speaker A: Mover and a shaker. [01:14:36] Speaker B: I'm trying, I tried to be, tried to be, push myself out of my comfort zone. More leaning in. Had a chat to the folks at Nissi. Trying to finally get you that Jet mag that you've always wanted. [01:14:49] Speaker A: Yeah. Gosh. I'll say Nissi a hundred thousand times like Mr. Beast used to do that. I'll just go, nissi, Nissi, Nissi, Nissi, Nissi, Nissi, Nissi. They just have to give me one of those jet magical tickets. [01:15:02] Speaker B: Yeah, yeah. [01:15:04] Speaker A: Actually I take that back this year. I won't do that. I'll say it a thousand times. [01:15:08] Speaker B: Yeah. Yeah. Let's not get ahead of ourselves. [01:15:12] Speaker A: That'll take a while. [01:15:14] Speaker B: What else? Viltrox have teased yet another lens. This time it's a 35 1.4 prime. [01:15:22] Speaker A: That's a normal focal length. [01:15:23] Speaker B: That's just a completely normal lens. What a bizarre concept. From them. What else? The Hasselblad branded Oppo. Which is the phone camera find X10 Pro Max is the world's first phone with three 200 megapixel rear cameras. That just feels stupid. [01:15:45] Speaker A: I bet it. I bet it mostly sucks. I shouldn't say that. I bet it's not as good as an iPhone camera. [01:15:54] Speaker B: Probably not. And where are you going to store all that data? Like you would fill up the phone in no time. [01:15:59] Speaker A: In the cloud. In the cloudo. What's the Oppo version of the cloud, Whatever that is. [01:16:05] Speaker B: Cloudo. [01:16:05] Speaker A: Yeah, in the Cloudo. So you've got a 200 megapixel main cam. I've heard them talk about these and then it turns out they're not actually 200 megapixel. I don't know what the trick is, but there's something about it. 200 megapixel Oppo cameras. It's not actually 200 megapixel. What is the. [01:16:23] Speaker B: No. Often it's computational and it kind of equates to that. [01:16:31] Speaker A: Oppo x 10 Pro Max. Tell me about Oppo Australia. I need to find out what's going on with this thing. I can't believe Hasselblad put their name on it. But they are owned by DJI, so that makes sense. [01:16:47] Speaker B: Yeah. [01:16:49] Speaker A: 10% off for new subscribers. No thank you. It's got a 10 centimeter macro. 17. Stop. Cine grade video Liars. No it doesn't. There's no way it has 17 stops of dynamic range cine grade video. Unless they're just. Just absolutely smooshing pixels together from everywhere they can possibly find them. There's no way. I need to see this thing. I can't say anything about the camera system. Triple 200 megapixel yeah. Doesn't say anything about it. [01:17:32] Speaker B: It uses a large, large type 1.1.56 image sensor. [01:17:41] Speaker A: It says so on this website, the oppo. The official. Oppostore.com is that the official one? Looks like it maybe. [01:17:51] Speaker B: Yeah. [01:17:52] Speaker A: Yeah. And so it's like you scroll down and it says a few things and you scroll a bit further, it's got a nice little video about nothing. And then you scroll a little bit further trying to find out about these cameras. And then it just says FAQs. How long will it take to get my order? Can I exchange my order? Any other questions like this? Anyway. [01:18:15] Speaker B: Is that it? [01:18:17] Speaker A: Yeah, it's just. [01:18:18] Speaker B: Yeah. [01:18:19] Speaker A: Anyway. [01:18:21] Speaker B: Yeah. Funny things. Funny things. [01:18:24] Speaker A: I'd like to. I'll. Maybe one day I'll get excited and watch a MKBHD video on what it's actually like. But I remember someone saying that these 200 megapixel ones aren't. Aren't all they seem to be when you start shooting with them. [01:18:38] Speaker B: Yeah. [01:18:39] Speaker A: There's a lot of compromises which would make sense because we know that if, you know, the Fujifilm rammed a 200 megapixel sensor into one of the. Into the X half. It wouldn't, you know, it's not something probably combust. [01:18:54] Speaker B: Just melt, get too hot. And the final bit of news. More of a community service announcement than anything, but Nikon has released new firmware updates for the Nikon Z24 72.8 Mark 2 and the 1424 2.8 lenses. And that is the end of the news. [01:19:17] Speaker A: Speaking of Nikon, Jim's here and he's posted a Mega Piggle. [01:19:21] Speaker B: Hey, Jimmo. It was very cool catching up with Jim. I got some great photos of him on the one day that he showed up to Bright. He doesn't work for when we're sitting around the fire pit with the bottle of lube. Yeah, [01:19:40] Speaker A: that was funny. It was good to be there. It was good. [01:19:43] Speaker B: Yeah. If you know, you know, you see it's coming. [01:19:47] Speaker A: Yeah, but if you know, you know, Bruce said before he didn't understand the if you know you. What was it? If you. Oh, yeah. Still don't get the if you know thing. I am dumb. [01:19:56] Speaker B: I don't know. It was just a silly thing. [01:19:58] Speaker A: I don't really get it either. [01:19:59] Speaker B: That's all right. I was, you know, I was well medicated in the evenings and it just came to me when I was editing photos at 2 in the morning and Lucinda's yelling from the room next door, stop. Stop posting pictures Greg, go to sleep anyway. [01:20:16] Speaker A: It was ridiculous. We were. We'd be get. We'd get home, I'd have a donut with butter on it and a beer. And then next minute, Greg would be like, I've got to go to bed. I'm so tired. I'm exhausted. I've got to go to bed. And then you trundle off the bed. And then five minutes later, Lucinda would get a notification. Greg posted a picture or something. I don't know how. I don't know how we're finding out it was my mom just posting stuff. [01:20:44] Speaker B: You know, what was actually delightful. We'll get back to the if you know, you know, thing was that I realized that I was waking up every morning thinking about photography, and I was falling asleep thinking about photography. And that's a pretty beautiful state of mind in the current world we live in. You know, that's, that's, that's where my brain was at. I thought that was really cool, the if you know, you know, thing. It's, it's just a silly catchphrase that I came up with that, you know, only people that go to BFOP understand that BFOP energy, that BFOP vibe, you know, And I'm writing about it in an article I'm doing for Lucky Straps, which will be out probably next week. It's, you know, it's all about. You can't describe befop to someone effectively. You have to experience it. You know, I mean, you can get a flavor for it and you can give them some bits and pieces and some anecdotes and stories, but until you attend to befop and really push yourself into it, you don't really know what it's like. But if you've gone, if you're there, if you know, you know, that's what I was going. It made sense to my medicated brain at the time. All right, can we just move on, please? Now I'm embarrassed. Okay. [01:21:46] Speaker A: Okay. Is that all the news? [01:21:51] Speaker B: Yeah, it's all the news. [01:21:54] Speaker A: Okay. Yeah. What else we got? Who else is. [01:22:00] Speaker B: We've got the. The one and only Dennis Smith, who I have labeled the MVP of BFOP 2026. Just saying. You'll get a certificate in the mail. I love this. Hey, legends, I'm back in the land of the living. Here is a pick for tonight. This was made on the Flinders Ranges in February of 2021. There are a few elements here and some hidden gems. I spin the orb, I put the tool down, pick up the blade and wiggle away because of the climb. I'll tend to make a few images before coming down to review. This was shot on the Olympus EM1x180 seconds F4, ISO 200. [01:22:42] Speaker A: There is a lot going on here. What's with the little glowy. The little balls? [01:22:48] Speaker B: Yeah, I saw those two. I was trying to work out what they were. [01:22:52] Speaker A: What is. [01:22:55] Speaker B: Is it part of. Part of the final piece? Yeah, I wasn't sure. Den, can you fill in the gaps? Is that what the secret little nuggets are? He said there are some secret little nuggets here. I knew he was working with aliens, but come on. [01:23:10] Speaker A: Yeah, [01:23:14] Speaker B: he said he got a box of them from AliExpress, whatever they are, right? [01:23:23] Speaker A: Yeah. That's cool. [01:23:25] Speaker B: Yeah, I love it. It just adds that little. Little intrigue. [01:23:31] Speaker A: The short star trails in the back as well. Yeah, just give it a real, like a sense of motion, like you move. [01:23:41] Speaker B: They're just silver balls from Silver Fox. There it is. [01:23:49] Speaker A: And Dennis is obviously all moonlight. So lit by moonlight, even though it looks like daylight because it was such a long. Yeah, a long. [01:23:58] Speaker B: What do we say it was? 180 seconds. It's amazing. Yeah, very cool. [01:24:05] Speaker A: Wild Wiggles away for 100 pounds. [01:24:07] Speaker B: Wiggles. That's his new name. Up next, we've got John Latimer with an image. Hey, guys. Hope all is well. Earlier this week I found myself in Sydney for a short stay for work errands. I stayed around where I normally do and headed down to the Badu Mongrove mangroves in search of some more little semaphore crabs. I found a lone crab by himself creeping around at low tide. I've been trying to work on adding story to my photo. So in my head, I was working with the feeling of being alone or isolated and tried to photograph him with those feelings in mind. Happy with my progress. It was much harder to photograph him this time around. The sun wasn't as strong. Every camera shutter seemed to make him retreat and the waiting game would slowly start again. As always, thanks again and have a great week. Thank you, John. This was shot with the Sony A7R3 with a 200 to 600 used inbuilt crop to push the reach to 900. Couldn't get close this time. Kills the. Kills the MP mega pixels. Ah. Kills the MP to around 18, 18 megapixels. But it's all part of the process. Yeah. And experimenting. Shot at f 6.3 for 1 3, 20th of a second. I love it. It's got a cinematic feel, you know, it's almost it's almost like an animated character. [01:25:33] Speaker A: Yeah. And the character is lonely. [01:25:35] Speaker B: Yeah. It tells a story, John. It's what you were going for. [01:25:39] Speaker A: Yeah. I think you did a great job communicating that. Like the tones, the treatment, the way you've edited it, but also the center framing and just. Yeah, yeah, I think it's perfect. [01:25:50] Speaker B: I think it's really nice. [01:25:51] Speaker A: Great job. [01:25:52] Speaker B: Yeah, well done, John. Up next, we have Paul Commute. C O, M, E, O, U. Is that how we would pronounce that? I don't think Paul's ever sent in an image before, if he's a new. Paul entered this recently, a local photo contest. A lot of fun. Divided the city into 75 squares. You picked a random square and you had 24 hours to submit five photos. It's the APMA City Squared event. Didn't get past prejudging. Oh, well. But local dinner, trying to figure it. Local diner, trying to figure out how to capture Slice of Life as it were. Sending it in just to see what you all thought. Love the show, Paul. Say, well, thank you, Paul. I love diner photography. I think it's. It's really cool because it's. There's a timelessness to it. We've seen it so often in American movies and, you know, road trip movies and all sorts of stuff. You know, often bad shit goes down in diners or people break up or people find like it's just a really. There's life happens in these places. And I always love the. And gravitate, gravitate towards these sort of photos. So well done. [01:27:04] Speaker A: Yeah, very, very cool. I love that idea for a photography competition as well. Dividing the city. Yeah, it's pretty. Be annoying if you got to give in the bit. That's the 75th one away from where you live, you know, because you get divided into script. But I. Yeah, that's. That's actually a really clever idea in terms of this image. Black and white. Love it. Cool light coming through the windows and sort of bringing that main character to the forefront. I'd probably just experimented a little bit with finding angles that maybe introduce more elements into the. Either, like you've sort of got the foreground, this big area in the foreground, but it's not telling much of the story, if that makes sense. You've got a little bit of story there with, you know, that looks like there's a menu, there's some streaks of, like, shadow and light across it, but it's not adding much to our. To our image. But it takes up a lot of real Estate. That's probably the only thing I would be looking at is like, was there somewhere else you could have put the camera, you know, gosh. In front of a sauce bottle or something or what? I don't know. Depending on what you were trying to communicate. That's what I would have played with maybe if I was doing this kind of challenge. But I can already see there'd be so much fun moving around a space like this. There's a sign on the window outside. Like, what does that sign say? Could I have shot the sign on the window outside and had someone in the background that contrasts with whatever that sign says? I don't know. Like, yeah, this. It's actually a very fun idea for a challenge. [01:28:36] Speaker B: Yep. Yeah. And we don't have anything like that, that sort of diner experience here in Australia, do we? [01:28:44] Speaker A: I mean there was sort of. There is, but they're diners. They're like American style diners. Whereas our, like a closest thing that what we would have in terms of in being iconic like that, other than cafes, kids to cafe. But they're, they're a different kind of vibe. Is probably either a pub or a fish and chip shop. You know, if you think of like clap, I guess that'll be. Yeah, what else is there? That's, that's kind of milk bars are gone and. That's right. [01:29:16] Speaker B: Yeah. [01:29:17] Speaker A: So like. Yeah, maybe a pub obviously has that, but in a different way. Yeah, it's a little bit more drinking oriented, a little less food oriented, but it has that kind of classic nostalgia about it. [01:29:31] Speaker B: And then. [01:29:31] Speaker A: Yeah. Otherwise maybe a traditional style fish and chip shop or maybe someone else's. [01:29:36] Speaker B: Because our highway based food stops aren't. There's nothing glamorous, there's nothing romantic. [01:29:41] Speaker A: Hey, about a lot of the one, a lot of the ones in the US are not either. Most of it, I guess it's not, it's not all. It's not all diners where you're, you know, like a forgotten land with great service and beautiful food. It's mostly just shitty fast food. Yeah. The worst of the worst that you could imagine. [01:30:02] Speaker B: Yeah. Well, way to crush my dream. Thank you. [01:30:04] Speaker A: Sorry. All right, what else? [01:30:10] Speaker B: Yeah, wonderful. Who we got up next is Marty Strecker. I think this is the first time Marty sent in a photo, isn't it? [01:30:18] Speaker A: I think so. [01:30:20] Speaker B: I think it might be as well. Hi, team. So I love movement and motion blur. Waving my camera around, seeing what happens. Two days of shooting mountain bike at Finch Hatton for an event. It rained most of the Time camera is good for it, but lights trigger other gear. Oh, boy. Tough day on steep slopes and squishy ground. This is shot with the OEM 1 mark II with a 12-40mm lens. F4. 1/20 of a second. Nice ISO 100. Once I've got the proper shots, I play around like this. Oh. So he takes the crisp, clean shot and then he goes for motion blur stuff. [01:30:59] Speaker A: Smart. [01:31:00] Speaker B: Have a good week. Thanks, Marty. [01:31:03] Speaker A: Love it. Like just the great balance between the motion and detail. Detail the eyes as like. Yeah. Dennis Les mentioned, like straight to the face. You get that expression. You're like. Like he's moving, he's on the edge. He's a little worried about what's about to happen next. We can see enough of the bike to know a lot of detail about it, but there's still. [01:31:32] Speaker B: And great framing. [01:31:34] Speaker A: Yeah, yeah, yeah. Great framing from. From the left them heading forward. Be nice to see a little bit more of that feature. But you probably couldn't see more. That's like from a mountain biking point of view to see a little bit of that landing. Like what. What was before that? Was there a jump? But yeah, that's not always possible. And being able to read the trail sign in the background is awesome. So great work. [01:31:57] Speaker B: Yeah. Amazing. Good stuff. Thanks, Marty. Keep them coming, I reckon. [01:32:04] Speaker A: I feel like Marty said one in before. Maybe. I can't remember. [01:32:07] Speaker B: Yeah. [01:32:09] Speaker A: Anyway, [01:32:12] Speaker B: still got a few to go. [01:32:13] Speaker A: Dennis says you could work on some masking to accentuate that. I agree. That is one thing you could play with is mask the writer in lightroom and then have a play with editing the writer and the background differently and see what you like and what you don't like. You could soften the background, sharpen the rider. You could try and make the background look busier if you really wanted to and just see. Have a play. Probably already have. I don't know. It's a good shot. [01:32:39] Speaker B: Yep. Well done and thanks for sending it in. [01:32:43] Speaker A: Yeah. [01:32:44] Speaker B: Up next, we have Phil Thompson has two images. Greetings, Greg and Justin from the wild and woolly west coast of New Zealand. He's currently on tour. I'm in Hokitika at the moment. And these are a couple of shots from our trip between Franz Josef and Hockey Ticket. Yesterday. We took a minor diversion off the highway to the settlement of Okarito to get some shots of the shed on the jetty at the lagoon and also the driftwood and black sand at the Okarito beach. [01:33:13] Speaker A: Oh, I like that. [01:33:16] Speaker B: So alien. Yeah. Punchy. As often is the Case in this wetlands area. It was misty, cloudy, windy and some rain as well. These were all shot on my Pentax K1 Mark 2. Good old reliable. The shed shot was with the 28 to 105. And that was at 130th of a second aperture f 29 and ISO 100. And the beat shot was with the 15 to 30 wide angle at 125th of a second aperture f 22, ISO 100. As always, thanks for the great show and this platform and community for photographers. Cheers. Thanks, mate. [01:33:53] Speaker A: Thank you. And thanks for sending me these two images. [01:33:57] Speaker B: The chip's going well. [01:34:00] Speaker A: Look at those dark clouds and the [01:34:03] Speaker B: reflection's really good in this. Like it's just got that ripple through it and. [01:34:07] Speaker A: But that shape as well, where it's sort of. Yeah, giving a bit of a inverted triangle, pyramid shape. [01:34:14] Speaker B: Yeah, beautiful. They look good in black and white too. [01:34:20] Speaker A: And as Dennis says, F29, mate, you have a clean sensor. Yeah, yeah, it'll show up every little, tiny little spot. [01:34:29] Speaker B: It does. Amazing. Well done, Phil. Hope you're having a great time. Looking forward to seeing more of your work. Up next, we have yet another Philip. Philip Johnson. [01:34:44] Speaker A: Were these in alphabetical order, Greg? [01:34:46] Speaker B: No, they weren't. Just the way it happened. Just I went through the emails one at a time and that's just the order they came in. Mostly from Philip Green gents. The attached image was captured after befop on a trek to Mount Buffalo National Park. That park is quite different than my local environment of the Blue Mountains. Here we in awe of the sandstone cliffs in this park. Sandstone gives way to mountains of granite. This was shot with the Sony A74 with a 70200 process with Adobe Photoshop. Topaz photo shot at f 4.512, 50th of a second. ISO 100 at 90 mil. Oh, there's the yawn. It's like clockwork. [01:35:29] Speaker A: Yeah, great. [01:35:30] Speaker B: I love this shot. Yeah, absolutely love it. The contrast and the color and you know, the blue competing with the blue sky, competing with the sandstone in the front, in the, in the middle ground. Oh, it's just beautiful. [01:35:45] Speaker A: Yeah. The blue sky and the granite are sort of like a band of cool blue tone and then you've got that really warm center band and then the green down the bottom. I can't remember what they call it in photography with the three tones in the photo, but this, these three layers, they just, they work really well. [01:36:06] Speaker B: Beautifully done. That's worth a print, that's for sure. And it's just Got these lovely. You know, you've got the softness of the clouds, then you've got the harshness of the upright granite and then you've got these sort of organic forms of the sandstone in the middle and then you've got the, the kind of. The mix of, of grasses and plant life in the foreground. Yeah, it's just got. There's just layers of everything. Layers of color, layers of texture, layers of tone. Really well spotted and well. And well captured too. Yeah, it's one of the best ones I've seen in some time. [01:36:41] Speaker A: Les is four layers but I, but I'm seeing it as three. I'm seeing it as. I'm including the sky and the granite. I know they're two layers but because they're that cooler tone, I'm seeing it as three layers of color. That's just me. [01:36:58] Speaker B: Yeah, I see what you're saying. You're wrong, but I see what you're saying. [01:37:01] Speaker A: The whole top section is like the cooler background tone and then. Yeah, the middle is obviously the focal, the warm and then the foreground is green and I just, I dig it. Yep, really great shot. [01:37:18] Speaker B: Yeah, it's a keeper, that's for sure. Print it. Get a six by four to you in the mail tomorrow. [01:37:26] Speaker A: Quick comment here from Jim. If I did it F29, it would be just dust spots. Yeah, same. It would look like a night sky photo but instead of stars it would be dust spots. [01:37:40] Speaker B: Yeah, yeah, [01:37:44] Speaker A: probably. [01:37:44] Speaker B: It's crazy, isn't it? Because I thought I had a clean sensor. I did a couple of longer exposures in Tasmania. When Sasha and I went down there, I just sat on a, on a wall by the, by the bay and there was just dust spots everywhere. Sworn it was spotless. You know, it's crazy. Let's look at some more work today. Lisa Leach finally returned from God knows how many weeks away in the UK and then a quick trip down to Bright and got to meet Neil. Neil was there with Lisa, which was lovely because I think back in the day it was Neil who first started watching us and commenting and then Lisa. Lisa chipped in after a while which was amazing. Okay. Dear Justin, Greg and the camera life community. It's been a while since I sent some images, so here's a cheeky four to share. We'll let it slide this time. Lisa. These images were taken during my recent trip to the UK and are part of a woodland series I am putting together for myself. Nice project. I have an enduring fascination with trees and woodland. The woodlands hold the essence of somewhere sacred and hallowed. A place of quiet, revenant, reverence, mystery and deep connection for me. Warmest wishes to all, as always, Lisa. These are absolutely stunning photos. [01:39:05] Speaker A: I was, yeah. [01:39:07] Speaker B: Going through them in awe earlier today when she sent them through. [01:39:11] Speaker A: Yeah, these are next level. [01:39:13] Speaker B: This one. [01:39:16] Speaker A: Oh, I don't know. This one? Or is it. Or is it this one? The. This is so good. [01:39:21] Speaker B: That's. Yeah, that's pretty phenomenal. Oh, I don't know, it just feels alien, doesn't it? It feels like a. And it's interesting because I don't know if the frame's twisted or that could just be the landscape, because everything is twisted in this landscape. [01:39:38] Speaker A: Everything's twisted. You're on the side of the hill. It's just up is down. Down is up. Yeah, really good. This is great too. But yeah, that's a beautiful shot. This. This is beautiful because I don't know if I've ever seen an image quite like this before. Whereas I've definitely seen amazing mossy forest shots. You know, like they're. They're something that always appeals when you see it. Yeah. Oh, wow, that's. That's beautiful. Whereas I don't. This. This, like whatever that is on the ground. What is that? It's like little balls of green fluff covering. [01:40:19] Speaker B: I'm assuming they're boulders. [01:40:21] Speaker A: Oh, maybe. But yeah. And they've got just little leaves just dropped on them. Little brown leaves just sprinkling. Like confetti has been dropped on these. Yeah, that's. [01:40:35] Speaker B: Yeah. Amazing. I look forward to seeing more of this series. [01:40:41] Speaker A: Yeah. [01:40:44] Speaker B: And yes, you should print it. [01:40:46] Speaker A: Phil Thompson. Those woodlands are like movie scenes. Exactly. I think that's what I ultimately gravitate towards with any photography is like, does it look like a movie? And if it does, I probably like it because I really like movies. [01:40:59] Speaker B: Yeah. [01:41:00] Speaker A: I'm simple. [01:41:02] Speaker B: We know. Yeah. [01:41:04] Speaker A: Amazing work, Lisa. Thanks for sending 4 in. Never do it again. No, I'm kidding. They're great. They're really, really cool. [01:41:14] Speaker B: Yeah. Oh, as for these little. [01:41:16] Speaker A: Yeah, you're onto it. Yeah. [01:41:19] Speaker B: I have no idea what they were. Just did not stand on them just to be safe. [01:41:23] Speaker A: Yeah, good, good idea. They might creatures or something. [01:41:27] Speaker B: Did you read Day of the Triffids in high school? [01:41:29] Speaker A: No. [01:41:30] Speaker B: No, you're too young. [01:41:31] Speaker A: I was born in the 1900s, so. [01:41:37] Speaker B: Yeah, very funny. Up next, Neville Clark. He sent in one image, the scene. Have you got it there? [01:41:47] Speaker A: I can't access this. Is it either enormous or it's massive? [01:41:54] Speaker B: It's like 54 meg. [01:41:56] Speaker A: Okay, well, give me a second. I've just tried to download it or something. [01:42:01] Speaker B: Do you want me to bring it up? [01:42:02] Speaker A: So. No. Oh, yeah, it is 51. No, no, I got this. I just. I'll bring it up in a different way. [01:42:13] Speaker B: The scene. This is Pemberton in Western Australia. I got up early in the morning and I was driving into town. This was a spontaneous, lucky occurrence. No such thing as luck, Nev. You put yourself out there. That's what happened. I was on my way to grab some coffee. Where's the coffee shop where you're going? Anyway, sorry I didn't have a lot of time to compose this because there were cars regularly coming through and getting run over is not a good idea. I underexposed it by about two stops just to control the highlights as I didn't have time to set up bracketing. This was shot with the Fujifilm GFX 1/0 mark 2 with the GF20 to 35. This image is heavily cropped. And then I use lightroom generative upscale times 2. Drop the Shadows and highlights to make the trees darker because they would break down at editing otherwise. This is shot at f14, ISO 320 and at 1/70 of a second. Yeah, great. It's just calling you into that middle, isn't it? [01:43:18] Speaker A: Good job taking the opportunity too, when it unfolded, having that GFX one hundreds too, just sitting on the seat there, ready to go. I guess [01:43:28] Speaker B: you never know. You never know. You've always gotta have your camera with you. But. Yeah, that's beautiful, Nev. Really, really great image. [01:43:35] Speaker A: Yeah, love the tone. [01:43:35] Speaker B: Massive file. [01:43:37] Speaker A: It is a massive file. Should we just see? Oh, no. I don't know if I can zoom in the way I've got this set up. No, not very well. Yes, it can. [01:43:47] Speaker B: Oh, wow. [01:43:48] Speaker A: Hang on, we've zoomed in. Maybe too far. Yeah, we're down to. Yep, yep. [01:43:56] Speaker B: Oh, the road curves to the right. I didn't know the road curved to the right. [01:44:00] Speaker A: Yeah. Stupid computer. Way too far. Great shot. [01:44:14] Speaker B: Yeah. Nice work, Neville. [01:44:17] Speaker A: Nice work, Neville. Do we have any left or is that it? [01:44:20] Speaker B: We have Felicity Johnson with a cheeky entry that came through late because I didn't get it. Justin says he did. I don't know what's going on there. One image. Hello there. Here is a photo from our recent Bendigo Camera Club trip to Tasmania in mid September. [01:44:38] Speaker A: Hold on, hold on, hold on. [01:44:39] Speaker B: Where's the image? [01:44:40] Speaker A: Yeah, you didn't put it in the thing. [01:44:42] Speaker B: Oh, didn't I? [01:44:43] Speaker A: No, I'll bring it up on the emails. Hold on. [01:44:48] Speaker B: Sure I did. [01:44:50] Speaker A: I'm fairly sure it's not in there. [01:44:53] Speaker B: Whatever. Dennis says that Felicity is a sick like painter. Oh, look at that. Hello there. Hello there Felicity. Here is a photo from our recent Bendigo Camera Club trip to Tasmania. Mid September, Mount Wellington in the snow. The road was closed for half the day so we sat in a stone cabin halfway up the mountain drinking hot chocolates in front of an open fire. What are you writing? A novel? That sounds amazing. As soon as the roads were cleared from snow, barriers went down and we drove up there as the snow fell lightly around us. Cheers. Oh my God. I just been taken on a journey. This is beautiful. I love [01:45:38] Speaker A: is beautiful. [01:45:39] Speaker B: So much going on and you know like there's these sort of layers that disappear into the, into the back left corner. [01:45:45] Speaker A: Really, really wonderful. That's just that view over there. But the frosty frozen detail is so good. [01:45:55] Speaker B: Yeah. I think the coldest place that I've ever been in my life was on top of Mount Wellington in May, back when Isabel was first pregnant with Sebi editor Seb. So What? We've been 25, we rented it, we flew to Hobart for a little holiday and we rented a car and we drove up to the top of Mount Wellington and got out and it was like being stung by a thousand wasps. It was so cold. Yeah, I've never felt anything like that wind chill that just literally just cuts right through you. It's amazing. Anyway, enough about me. This photo is incredible flick. I think you should print it just [01:46:39] Speaker A: for something single handedly just destroying all the world's paper. Craig. [01:46:44] Speaker B: No, I'm elevating print photography. Justin. [01:46:50] Speaker A: Amazing, amazing shot. Felicity. Good job just getting out there and doing it because that's the other thing. It's easy to be like ah, the roads might be dodgy or very cold or oh, we probably won't make it up there in time or whatever. That's awesome. Yeah, just got to go for it when these things happen. [01:47:07] Speaker B: Yeah. And if anyone out there in the community is not already following Felicity's socials, I highly encourage you do it. I'm daily astounded by some of the work that Felicity is putting out there. Either images shot in her backyard, whether it be macro, bird life or the dogs running, you know, through the mud, you know, just. Or posting that she's won competitions or she's holding an exhibition at this place or she's selling prints at a market or just prolific with her craft. So amazing work. Keep it up and yeah. Check out Felicity's work online. It's. It's a real treat. Well done as is. Everyone's just. Felicity's is better. [01:47:48] Speaker A: She also managed to pull this off with a badly sprained ankle, so. She did. Yep. Just overcoming adversity. Speaking of overcoming adversity, Yelena sent me a message before. We have reached over 1000 followers on Instagram. We now have a 1001 followers on Instagram. And if you don't follow us on Instagram, you should, because you should. We put up updates about what's coming up on the show, all the guests that we get on. Like on this Thursday we're going to have T.J. thorne. On last Thursday we had Dylan Jevon on from Brunswick Darkroom to talk about why you had started Darkroom in 2025 and 2026. It sounds insane, but he did it and he's doing it and he's teaching people the joy of film photography and processing things in a dark room. But also on Instagram, we'll put up little snippets of the shows so you can see all the fun things that happen. If you don't manage to catch this week's episode, you'll see us just being silly on little 60 second clips and reels and things. So go and check it out on Instagram. Keep us in touch. DM us, you know, all the cool things that the kids do these days. And if you're listening later on, you're not here with us live. Because if you're here with us live, I know you're subscribed. I know you are. You wouldn't do that to us. But if you're listening back later and you're not subscribed, you should give it a subscribe. Maybe you'll catch a live one day. Maybe you could send a photo in or if you not into that, just leave a comment below to let us know that you're listening. I just want to know. I know you're out there because we get thousands of views on these but we don't get, you know, I don't know who you are or where you're from. Just give us something. Say g' day in the comments, please. [01:49:33] Speaker B: That brings us to the end of your images for this Monday evening. So thank you to everyone for sending in your images. We love it. We love the level of detail that you guys provide with your images. A short explanation about what it meant for you, where you were, why you were there, some camera settings, what gear you shot with, and we can provide feedback if you want Totally up to you. But this is a safe space. Here we hold you and we comfort you while we look at your photos. That sounded very weird. Justin, tell the people where they can send their photos to because I get it wrong every week. [01:50:11] Speaker A: The camera [email protected]. that's the camera [email protected] yeah. [01:50:19] Speaker B: And it should 75% chance it'll get to us. [01:50:24] Speaker A: Yeah, 60% of the time. It works every time. [01:50:26] Speaker B: Yeah, that's right. [01:50:28] Speaker A: All right. Should we call it. It's pretty late. Maybe shine 21. [01:50:33] Speaker B: Well, I yawned before, so yeah, definitely time to go to bed. But. Oh, Dennis just posted a. An update. [01:50:43] Speaker A: Maybe I can come to the next one. Oh, no, it's gone. [01:50:46] Speaker B: You do it. [01:50:48] Speaker A: Okay, great. [01:50:51] Speaker B: Sorry. Oh, I'll do it. Yeah. Dennis Smith, School of Light has said I'm about to lock in some more fabric dates before exness, by the way. So Fabric is a studio owned by Jason Lau. [01:51:06] Speaker A: I was about to fill that into. I was like, what does that mean? What are some fabric dates? [01:51:12] Speaker B: Yeah, so. [01:51:13] Speaker A: So yeah, it's a studio in Melbourne, Greg. It's in. It's in. [01:51:17] Speaker B: Yeah, it's in. Box Hill, Tim Box Hill. Justin owns two studios side by side. Fabric is the one that. That could be blacked out. Massive space, perfect space for running workshops. So I went there the Sunday, the weekend before befop, so the first weekend in October and did the light painting workshop with Jen and life altering experience, you know, just all that so much and also just, you know, gain so much more understanding of what Dennis, what Dennis brings to the craft and how he achieves that. And so my respect for that man just doubled, if not tripled on that weekend. So yeah, amazing. [01:51:55] Speaker A: So good. Well, maybe I'll get to go to the next one. That'd be very cool. [01:52:00] Speaker B: But you should. [01:52:01] Speaker A: He's also working on something in Bendigo which could be very cool. Send an email that gas works. [01:52:06] Speaker B: Oh, nice. [01:52:10] Speaker A: What's this face? [01:52:11] Speaker B: Yeah, yeah. [01:52:14] Speaker A: All right. [01:52:16] Speaker B: All right. Well, let's call it just a reminder, folks. This is the Camera Life podcast. We do this twice a week. Every Monday evening, 7.30pm Australian Eastern Daylight Time at the moment, every Thursday morning, we interview an amazing photographer at 9am Australian Eastern Daylight Time. Please, like subscribe. Give it a thumbs up, all that stuff. Justin, you want to say goodbye to some peeps? [01:52:37] Speaker A: I do. Thanks Tristan, for catching the live for once. So good to have you here. And everyone else, like Ernesto was here. Thanks everyone that was popping in from all over the place that we used to see months ago and we haven't seen you for a while. John Latimer, Bruce Moyle, you're a legend. Jim Aldersey says Jess Gas works is cool. It is cool. We've got to get Dennis in there. Lisa Leach. Thanks for sending some photos in. Dan. Gareth Davies. I'm a bit slow but I worked out when our clocks change, when your yours change. Ours change because you're in Australia and it increases the difference by two hours. Ah, well, next time, Liz. Okey, good night. Felicity Johnson. Who else? Andrew Thompson. Good to see you. Rick Nelson. Thanks for another great show. Always the highlight of my week. Ah, that's nice. John Pickett. Ms. Ames. Thank you. Who else did I say Les? Philip Johnson. Like and subscribe? Yes, please do that. Thanks everyone else. If I didn't get to you, I'll see you in the next one. [01:53:35] Speaker B: See you guys. Be safe.