The Random Photography Show feat. Glynn Lavender (EP153)

[00:00:01] Speaker A: Help support a photographer. Snapping frames chasing light Shadows dance day. [00:00:17] Speaker B: To night Lens sharp, soul in sight the camera whispers hold it tight Click, click Moments freeze time captured in the breeze the camera light the flashing night frame the world. [00:00:43] Speaker C: Well, if you've been paying attention to. To your screen as we played a little intro song there, you'll no doubt have a little taste of what we're in for tonight. That's right, everybody. Welcome back to the Camera Life podcast. This is the random photography show. It is the 2nd of February, 2026, and all I can say is, thank God January is over. That just felt like the longest month ever. But of course, I'm not alone. As you can see, we've got a very full studio. I didn't even invite you calling us fat. I said full. Of course we. We have the boss here. Justin. G', day, Justin. How are you? [00:01:18] Speaker D: Good evening. I'm great. I'm great. Busy day. [00:01:21] Speaker C: Yeah, well, we'll dig into that. Or we won't. We're also joined by. Unfortunately, our preferred co host wasn't available, so we've got Glenn Lavender joining us today. Tamaron Ambassador. Apparently he takes photos in toilets. I've seen all sorts of crazy things going on in his social feeds, but we'll get to. We'll get to Glenn and find out what he's been up to in just a moment. And of course, another BFOP workshop instructor has joined us and it's Julie Powell. How are you? [00:01:49] Speaker D: Hi, guys, how are you? [00:01:53] Speaker C: Yep. Well, we're here to start. [00:01:57] Speaker B: Yeah, I think. [00:01:57] Speaker D: Well, I think this sums it up. Nick Fletcher's in the chat. He says, dear God, Glenn and Julie, I'm off. [00:02:02] Speaker B: Oh, that's not smartest thing I've heard all day. [00:02:09] Speaker C: So, yeah, as I said at the top of the show, Glenn is here to co host with us. He was our first choice for the night and we may live to regret that decision, but he is here nonetheless. And Julie is here. Now, before we dig into what Glenn's been up to and before we say g' day to everyone in the chat, Julie's popped on for a little bit of an ad. Ready? What have you been cooking up, Julie? [00:02:31] Speaker A: Well, I am actually running a photographer retreat. Now, this is. This is not a huge production like the fabulous guys at BEOP do. This is just a really small retreat. So we. I've hired out the Flack Telegraph and Post Office in Ban. I don't know if you've ever been there or seen it. It is an incredible studio. Incredible studio to work out of. So I have hired that for the weekend and I have got some incredible models coming along. We've got sessions all weekend. We have all sorts of things from Gatsby, film noir, Hollywood glamour. We've got vintage glamour. We've also got some sort of cheeky little Lolita, grunge Marie Antoinette type things happening. So. [00:03:27] Speaker B: Lolita to Epstein now I think that's a new name. [00:03:33] Speaker A: No, no, we're not going that far. [00:03:36] Speaker C: It's easier if you just ignore him. Just push on through. You're doing great. You're doing great. [00:03:43] Speaker A: So yeah, so basically we're, like I said, so we've got some incredible models that are coming in. We've got hair and makeup by some very talented people, stylists, clothes, clothing, the whole lot. So I've still got one full weekend session available and that gives you access to everything over a complete two day immersive photography retreat. And it's open to all levels. So even if you, you know, more of a beginner or all the way through to somebody who knows exactly what they're doing, you're more than welcome. [00:04:18] Speaker C: So you then, Glenn. Sorry mate. [00:04:22] Speaker B: Damn, damn cheap is all I can say. I don't, I don't know how you do it for the money. [00:04:27] Speaker A: So there's our incredible models that we've got set up. So we have the incredibly talented Sky Medusa, we've got Holly McKenna, we've got Jesse Fawn and we have got Nicola Page as well. So we've got the two girls on the left will be our Saturday models and the ones on the right will be our Sunday models. So we've also got some single sessions that are available as well. So if you can't make it for the whole weekend and you just want to book one or two sessions on the Saturday or the Sunday, then they're available as well. So yeah, if you are hanging out for a little bit of an intensive photography retreat, then yeah, sign up, let me know. Down the bottom of this page that the guys have got up, there's a link you can just click on that and that goes straight through to my email and I can help you out with pretty much anything. Oh, you're gonna go look at that? [00:05:30] Speaker D: Yeah, yeah, I thought, I thought about it. [00:05:33] Speaker C: So just legit for the, just, just some logistics for everybody. So this is on Saturday, March 21st kicks off at 9:30am and runs through until Sunday. Yeah, that's okay. That's why I'm here. The 22nd and that goes through until 6:30pm so two action packed days. And how far away is do we pronounce it? Balance. [00:05:54] Speaker B: It's ball and ball. [00:05:58] Speaker A: It's about. For those, for those who don't know the area, it's about 30ks from Ballarat. So it's on the way from Melbourne. [00:06:08] Speaker B: About 20.20ks pass back as marsh. If people are more familiar with the closer town. Yeah. And to be a little bit more positive, it's actually be all Anne. It's a motivational town. [00:06:23] Speaker D: Okay. I'm not even gonna go. [00:06:25] Speaker C: I'm just so sorry, Julie. I, I didn't, I didn't, I didn't prepare you for any of this. [00:06:30] Speaker A: Hey, look, you think I haven't shot with Glenn before? I know I've been dragged into shooting and toilet blocks with this man. [00:06:36] Speaker D: Honestly. [00:06:40] Speaker B: I'm glad that. [00:06:41] Speaker D: Yeah. I didn' said shooting. Then I was like, okay, okay, all right. [00:06:47] Speaker B: With camera. [00:06:48] Speaker A: With camera. [00:06:50] Speaker C: Whatever pays the bills. [00:06:51] Speaker A: Julie's actually a really, really historic town in country Victoria. It's got some incredible buildings. Absolutely incredible buildings. [00:07:02] Speaker C: And it sounds like you've, you've booked yourself an amazing space to work from. So there's four sessions, two on the Saturday, two on the Sunday, is that right? [00:07:10] Speaker A: That's correct. Yep. [00:07:11] Speaker C: And you've got one spot left for the full retreat pass. So that's two full days and they are very long days. So you'll get, you'll certainly get your money's worth. And then there's some single sessions that are up for grabs as well. [00:07:22] Speaker A: Exactly, exactly. [00:07:24] Speaker C: Wonderful. All right, well. [00:07:26] Speaker D: And don't delay. Get on it. Book now. You don't want to miss out on that. That is. And like Lynn said, that price seems a little insane to me. Very, very cheap for what is on it. [00:07:35] Speaker B: And I've got to say, I've been ogling this venue for years as a place I'd love to do some work and it's fabulous. So as far as an environment goes, you can't go wrong, you know? [00:07:45] Speaker D: Yeah. [00:07:46] Speaker C: Amazing. [00:07:47] Speaker A: It's just my biggest problem. When I walked in there was. My head exploded and I thought, what, what am I going to shoot in here first? And then I went, people, let's do everything. [00:07:58] Speaker C: Yeah, why not? [00:08:01] Speaker A: So, yeah, because there's two rooms. So even, like even each session there's four. Four sessions, but there's a model in each room. So if you actually break it down, it's eight mini workshops. [00:08:12] Speaker D: Wow. Wow. [00:08:14] Speaker C: That's creative math. That is. [00:08:17] Speaker A: Yeah. So eight mini workshops. So. [00:08:20] Speaker B: Yeah. [00:08:20] Speaker A: Yeah, I, yeah. Don't talk to me on The Monday and Tuesday following. Because I'll be. So will our models probably. But yeah, no, we are super excited about this one. [00:08:30] Speaker C: And these are models that you've known for a while. You've worked with them. You've worked with them lots. We've. And talking offline. Julie, I just wanted to raise with everyone. You've been an absolute demon with putting out content not only on your socials but on YouTube. You've been putting out videos every few days over the last month. So it is looking for some guidance into a whole range of different photography genres, skills and attitudes. Head to Julie Powell. Sorry, it's. Yeah. Juliepow photo.com and from there at the top there's a link to a email. Her YouTube, her socials. Yeah, go and check it out. But yeah, thank you so much for joining us. [00:09:10] Speaker B: No worries. [00:09:11] Speaker A: Thank you so much for having me. And I'm gonna jump out and we'll. [00:09:18] Speaker D: Get you on for a. Get you on for a full co host one one week soon. Yeah. If you've got the time. [00:09:24] Speaker A: Totally love to enjoy. Have fun with Lynn. I'll catch you on the flip side. [00:09:29] Speaker C: It is what it is. [00:09:36] Speaker D: This one. Oh look, our heads are much bigger now. Look at the size of this. [00:09:41] Speaker B: It's almost matching my ego size now. Look at that. Almost. [00:09:48] Speaker C: Before. Before we dig into what you've been up to. Oh gosh. That's something I didn't want to see. I glanced up and there it was. [00:09:56] Speaker B: That's what she said. [00:09:58] Speaker C: Just, just before we. Just before we. We dig into what you've been up to. Glenn, for a little update. Let's. Justin, you want to say hello to some people? [00:10:06] Speaker D: I do. It was going crazy in the chat. Everyone was in here like first, first comment. Dennis, of course. School of light. Note to self, you're limited to 49 comments during the live tonight. [00:10:17] Speaker C: We'll see now. [00:10:18] Speaker D: We'll see. Yeah, exactly. We'll count them up. [00:10:20] Speaker B: I should say the same for myself. That might be safe. [00:10:23] Speaker C: I think you've already used them. [00:10:26] Speaker D: Brett Wooderson has donated one of his comments to Dennis. So Now Dennis has 50. He's trying to be a good boy. Okay. Brett Woodison, Good luck. I'll keep an eye on you. Philip Johnson is here. Good evening. It says P.S. glyn. Don't worry, I won't tell Bruce you have strayed. Lol. [00:10:44] Speaker B: Yes, that's my. My. My co host of my podcast who wanted to record the other day and I said no and I'm. And I'm on you before him. That sounds bad, but you know what I mean. [00:10:56] Speaker D: Is this going to be. Is this going to be a problem? Is this going to be a conflict? [00:11:00] Speaker B: I've never been faithful. Yeah, just ask my wives. [00:11:05] Speaker D: Okay, moving on. Tin type man says, hey, gang. Happy Monday. Felicity Johnson. Hello, friends. Good to see you. Flick. Gareth Davies. Good morning all. Good morning to you, Sir. John Pickett. Evening, everyone. David Leporati. Good evening. Can't believe it's February already. Yeah, I know. We skipped last week, so it kind of like January just flew on past. And Tony is here, says I'm taking bets if they'll be late. Any takers? No, we. We weren't very late. Just a little. Greg, we're gonna make. This show is going to be the. We're going to run on time. I've got a plan and it's going to be amazing. We're going to finish in an hour and a half like I've always planned. It's going to happen. [00:11:44] Speaker B: Yeah, that's what I said. Yeah. Never came through there, Nick. [00:11:50] Speaker D: Couldn't quite. Couldn't quite hit your time. Goal. Craig Murphy. Good evening. Lisa Leach. Good evening, beautiful. [00:11:57] Speaker B: Hey, Lisa. [00:11:58] Speaker D: Bruce Moyle. Good to see you. What is up? Paul says, g', day, you lot. Obviously Nick Fletcher was here, but then he left. Maybe you'll come back. I don't know. Bruce Moyle says, I think Glenn set up in his bathroom. He often has public I'm on the toilet. Bathrooms. You're on the toilet. [00:12:16] Speaker B: I'll give myself the shits. It's just safer. [00:12:22] Speaker D: Ltk. Good evening. Robert Varner says I retreated from photography altogether. Yeah, that's a good way to do a retreat. Photography retreat. Who else? What do we got? Lucinda's here, Greg Carrick is here. We've got a ton of images in for the your images section already, which is quite amazing. That's going to be a big section. So we're going to fly through and get to that as quick as we can. If you haven't sent yours in yet, this is your very much your last chance. Email them right now to justinuckystraps.com or email them later for next week. That's fine too. That'd probably be better, actually, but whatever you want. Who else? Digifrog is here. [00:13:01] Speaker C: Hey, Dave. [00:13:02] Speaker D: Phil Thompson's is here. Everybody's here. Oh, Julie's back in the chat. Hey, Levin Barrett. Rear View Photography is here. Rick Nelson is here. Wow. We should have a week off more often, Greg. Everyone's. Everyone's back in the chat. It's amazing. [00:13:17] Speaker B: It's, it's not because of you guys, Just. [00:13:23] Speaker C: Because of Julie. [00:13:23] Speaker B: Yes, exactly. [00:13:25] Speaker D: It probably was. Okay, let's get into it. What are we doing? [00:13:31] Speaker C: Let's make a start. [00:13:34] Speaker D: Well, before we do that, I mean we've got a whole, we've got a whole. Well, we've got a whole section in the middle for Glenn. But just, just, just talk. [00:13:44] Speaker B: I'll interrupt as I go. I'll just address. [00:13:48] Speaker D: What, what did you do today? [00:13:51] Speaker B: Well, I had a morning nap followed by an after school nap. [00:13:57] Speaker D: Okay. [00:14:00] Speaker B: That's about it. [00:14:01] Speaker E: Okay. [00:14:01] Speaker D: It's a busy, busy one. [00:14:03] Speaker B: That's a normal work, normal weekday. [00:14:05] Speaker C: I only fit one nap in today. [00:14:07] Speaker B: Really? [00:14:08] Speaker C: Disappointed. Yeah. [00:14:09] Speaker B: How long for though? I could only get an hour for each one. [00:14:13] Speaker C: So I lay there and pretended to be asleep to trick my brain to be asleep for about an hour. And then I think I dozed for about half an hour and then I just. This isn't working. So. Yeah, disappointing. [00:14:22] Speaker B: All like, just getting the better training, dude. Better train mental training. Just bang. [00:14:27] Speaker C: Yeah, I've been reading your book. [00:14:29] Speaker B: I'd like to get three in a day. So today was a little bit under normal averages, but yeah, it is what it is. Yeah. [00:14:36] Speaker D: Yeah. [00:14:36] Speaker C: Do you enjoy a nano nap at all? Justin, I don't think I've ever heard you talk about nano naps. [00:14:41] Speaker D: I took my hammock down in the backyard, but when my hammock used to be up, I would often have a little after lunch siesta. But I do have to. So this. I've changed my diet only a week and a half ago and now I no longer feel sleepy after lunch, which is very interesting. [00:15:01] Speaker B: Oh, I'll change back. There's afternoon naps. When I used to work in an office, I used to take my lunchtime under my desk asleep, you know, just roll under the desk and just George Costanza style. Straight asleep under the desk. Yeah, I get in early to work so I can have a nap under the desk before work starts. You've got to make sure you get. Yeah, I don't sleep at night though. That's the other problem though. So I do sleep more during the day than I do at night. I'm a sort of a three o' clock till 6:30 kind of sleeper at night. [00:15:35] Speaker D: What? Yeah, three hours or two and a half. [00:15:39] Speaker B: Yeah, three and a half. Yeah. [00:15:40] Speaker D: Wow. No wonder you need to nap during the day. Yeah. [00:15:43] Speaker B: So I'm not, not, not good at night. Never been good at night. That's my whole life though. So it's just the way I am. [00:15:50] Speaker D: Do you work at night? Like do you edit photos? [00:15:54] Speaker B: No, I, I, I research locations. I I dot T's and cross eyes on on stuff. A lot of my contacts are overseas so I do a lot of stuff in the middle of the night talking to them. That's the. Because there's usually maybe 8 or 10 or 12 hour time differences so it kind of works pretty well. I can get them all that kind of stuff and as any customer who's ever been reached out to me knows, I'll. I'm almost available 24 hours a day online so they can reach out and I'll connect with them if they have a question about stuff. So. [00:16:26] Speaker C: Cool. [00:16:27] Speaker D: Very cool. [00:16:28] Speaker C: Well played, sir. Well played. Let's get to clips and comments. Boss. [00:16:33] Speaker D: Yeah, I want to pull this. Well, actually no, I don't need to pull it up. I'll just read it out. But we had a great episode on Thursday where with young gun Matthew Garberg. What a fun episode there. A couple of comments on that one. Yeah, it was really fun. It was good. Digging into the upand cominging career of a young photographer and videographer who's just trying to figure out how to make this thing work. And it was. Yeah, it was very interesting. [00:17:01] Speaker C: What are you doing? [00:17:02] Speaker B: I'm trying to match the color. I'm trying to match the color scheme. But no, gave me the. There we go. [00:17:07] Speaker D: Oh, actually I need it. No, I need to change mine anyway because mine's wrong. That's what I normally have. That's way better. My colorful background. Okay. So one of the comments on Matthew's episode was from Mayor Hall. R7U says it was great having an episode focusing on an emerging career. Justin and Greg's suggestions to Matthew were constructive, informative and generous. Providing direction and advice to develop his business and the areas he should focus on. He has an exciting career ahead of him. I agree. He does have an exciting career and our and our advice was amazing. [00:17:46] Speaker B: I should go watch. I should go watch that episode. I'm going to go watch the episode. I'd love to have a career in this business. [00:17:53] Speaker D: He's still working on it. [00:17:55] Speaker B: Got to wake up one day. [00:17:59] Speaker C: One day. But yeah, it was a good chat. It was a really good chat. [00:18:03] Speaker D: Yeah, it was really interesting just to get that perspective as well of like what it's like to be up and coming now. And I think it sort of, it's. Everything has changed so much, but it's always kind of similar stuff. I'm sure it was every Every sort of new generation of technology or mediums or industries changing and things like that. I'm sure there's always been sort of the. The people hanging on to the way it used to be. The new people up and coming being like, you guys don't know what you're doing and the people who have been doing it, like, you don't know what you're doing and you know, like. And the answer's somewhere in the middle. Or a bit of both. Or. Yeah, you know, yeah, it's. It's interesting. Anyway, so go back and have a listen to that if you're interested. It was a great episode. Also had another comment saying what a boy you are, Matthew. That was from Gabrielle Cowell. That might be maybe Mum. I don't know. [00:18:54] Speaker B: Hopefully. [00:18:55] Speaker D: And final comment I'm going to read out. This was off the Adam Edwards interview from a few weeks back. And this was from Dennis Smith. He said, back from New Zealand and watched this back. There are few photographers who. There are few photographers who have the mix of technical skill, genuine care for the community and so much to teach as Adam, I feel humbled to be a part of what he does. A great watch. Yeah. Because. Yeah, they got a. They got a workshop together. [00:19:21] Speaker C: They do. [00:19:22] Speaker D: Yeah. I don't know, I think it's sold out. I'm not sure if it's not. It should be very, very cool. Oh. Apparently Gareth says it could be food intolerances. Justin. Took years for doctors to diagnose me. I feel younger now than I did 15 years ago. Interesting. It could be. Very well could be. I'm basically. [00:19:44] Speaker B: We thought for years, my wife is gluten intolerant. At least 15, 20 years of our marriage. Turns out she was just intolerant. [00:19:52] Speaker D: Gluten intolerant. What was I going to say? Yeah. No, so. But it very much could be because I'm basically eating only meat, eggs and cheese and that's. That obviously eliminates a lot of things. [00:20:10] Speaker C: So that sounds like a great diet. [00:20:13] Speaker D: It's delicious. [00:20:14] Speaker B: What type of meat? Owl? [00:20:16] Speaker D: Yeah, mostly owl. Anything that's hard to get, you know, on the endangered side. [00:20:22] Speaker B: Have you ever noticed how much owl tastes like beaver? Have you ever noticed it's got the same kind of water based, kind of, I don't know, little gamey. Strange because once a flying thing, once a water animal, it's odd that it tastes similar. [00:20:36] Speaker D: What's the. What's the weirdest thing you've eaten in your travels? [00:20:42] Speaker B: Ow. [00:20:43] Speaker D: You've eaten. Ow. You haven't really? [00:20:47] Speaker C: Yeah. [00:20:48] Speaker B: Ow. Camel snakes. Buffalo, of course, pretty common. Crocodiles. Yeah. Whatever they put down in front of you, you kind of have to eat. [00:20:58] Speaker D: Yeah, you'll try. You'll try anything. [00:21:00] Speaker B: I don't know. I don't want to. [00:21:02] Speaker D: Have you eaten? Like bugs, like where they cook? [00:21:06] Speaker B: Oh, yeah. You had the crickets, the scorpions, the little baby sharks on the stick. Have you seen those? It's like a little skewer, but the shark's only about 12 inches long and you get it to the whole shark. That's kind of never kind. That's kind of bizarre. None of them, they enjoy, you know, it's just sometimes you got to be polite. [00:21:26] Speaker D: Yeah, I. I'm not worried about being polite when it comes to eating shark on a stick or. Although I guess that is not that much different. Flake Flathead flake. [00:21:36] Speaker B: Sorry, not to the head's the problem. Yeah, yeah, yeah, yeah. Bit of gripple in the head. [00:21:43] Speaker D: We've got a diagnosis. Owl eating. Ow. That might be why you're stuck up all night. [00:21:47] Speaker B: There you go. No, no, maybe. [00:21:55] Speaker D: And yes, Yolanda's kept it off too. I am still drinking beer, so it's not like I'm. I haven't eliminated everything. If I could change that to just water, that would be. That would be eliminating even another thing. But I don't know if I can do it. We'll see. [00:22:10] Speaker B: This is a genuine thing, though. Just. I've changed to drinking only soda water at all. [00:22:16] Speaker D: Just soda water. [00:22:17] Speaker B: So the water, because it's. It's cold, it's refreshing, but it's sparkling, so you kind of feel like you're having a bit of a treat, but has. Yeah, it doesn't have any. Any of the minerals that mineral water has, which can't be good for your system if you drink too much of it. But it's not like drinking plain water. So when you feel like a tasty beverage, it's actually pretty good soda water. [00:22:34] Speaker D: That's. That's. I do have that. A fair bit of that in the fridge. That is. It's a good. [00:22:40] Speaker B: Yeah, I'm sort of stream. And just keep filling. Yeah. Keep filling up the bottles, you know, drink. [00:22:45] Speaker D: Yeah. Otherwise it's a lot of this stuff. This heaps normal. It's an advice. Paul. Non alcoholic beer. [00:22:56] Speaker C: Did you say non alcoholic? [00:22:57] Speaker B: Yeah, why not? [00:22:59] Speaker D: Yeah, I just like the taste of it. Like the taste of it and it's sort of, you know, instead of have. I don't want to drink beer every night, like drink alcoholic beer every night. But if I Like that if it's hot and I want to have a beer while I'm on the podcast, it's. It's going to be one of these. [00:23:16] Speaker C: That's one thing. Because I stopped drinking about five years ago. Completely. I don't drink anymore at all. And one thing, one thing that I miss is that, that refreshing beer on a hot day, that refreshing taste and. [00:23:34] Speaker D: Yeah. [00:23:34] Speaker C: That quench, you know? [00:23:35] Speaker B: Yeah. One of the few things that quench, isn't it? Yeah, yeah. [00:23:38] Speaker C: It's just something special. And I tried non alcoholic beer for a while but it just, it just wasn't the same. [00:23:47] Speaker B: I've never ever been drunk in my life and I don't really drink at all. But a beer on a hot day is like my, my vice. Yeah. That's my thing. [00:23:54] Speaker C: Yeah. [00:23:54] Speaker B: But I've never ever imbibed alcohol in any sort of quantity in my life. [00:23:59] Speaker C: Wow. [00:24:00] Speaker D: Really? [00:24:01] Speaker B: Yeah. I'm so obnoxious with that alcohol. I'd hate to see what I'm will it. Yeah. It's always, it's always been my theory, you know, how bad could it get? [00:24:09] Speaker C: Why push the envelope too far? [00:24:12] Speaker B: How bad could it actually get? You know? So. [00:24:14] Speaker D: Yeah. [00:24:16] Speaker C: All right, let's talk about some photography. [00:24:18] Speaker D: Yeah, we should. I just want to quickly bring up where did I see. There was one back here. People talking about eating quokkas and things. Robert Varna says it's still minus 13 degrees C in New Jersey. For all of those suffering the heat in Australia. It sounds cool, doesn't sound fun. But when it snows, I bet it's really fun. And then cleaning up the snow sucks. Jason Rogers photography. Good to see you. G' day guys from Maryborough. [00:24:41] Speaker C: G', day, Jason. [00:24:42] Speaker D: Thanks for dialing in. And Dennis burned off three comments by accident. [00:24:47] Speaker B: Oh, that was that. Whoops. Is a mistake. And damn. No, no. [00:24:50] Speaker D: Yeah, I don't know what. He's losing it. Rear view photography. Levin Barrett has eaten deep fried, fried grasshoppers for me. He says Bangkok. So long as you put them in head first, they're delicious. [00:25:02] Speaker B: You need to because the liquid from inside the brain kind of softens the rest of the flesh. [00:25:06] Speaker D: Yeah. [00:25:07] Speaker B: Sort of coats and gives you that little, little satay flavoring. Shall we say no. [00:25:11] Speaker C: Stop, please. [00:25:12] Speaker D: No, no. Can't do it. Can't do it. [00:25:16] Speaker B: No. [00:25:17] Speaker D: I'll. I'll ask you. We'll move on. But I'll ask you later on Glenn, about food in India because I'm interested to know. [00:25:22] Speaker B: Cool. [00:25:23] Speaker D: I'm assuming it's different to Indian food. That we get in Bendigo. [00:25:28] Speaker B: I don't know. I've never been to Bendigo. No? Well, I've never eaten it. I can guarantee I've never eaten Indian in Bendigo. So. Yeah, but we'll talk like we talk about it later. Let's talk about good stuff first. [00:25:39] Speaker D: Yeah. What do we. Okay. I didn't even change my thingy. What else have we got? Oh, you got some clips. Is there any of these clips we should bring up, Greg? Bring them all up one at a time. Social posts? No. [00:25:54] Speaker C: Maybe just go to the 360 cat cam. I thought this was fun. And I think. I think that's something that anyone could do if they were looking to set up a rig of this nature. I think it's really clever. [00:26:07] Speaker D: All right, let me see. Do we need sound or no sound? [00:26:10] Speaker C: No, no sounds fine. [00:26:12] Speaker B: Greg, can I ask a little question? Since I've got you live, I've wanted this. Often when you're talking, I keep seeing your chair because I don't have great eyesight. [00:26:20] Speaker D: Does that. [00:26:20] Speaker B: Does your chase chair say regret lab? [00:26:25] Speaker C: No, not regret. [00:26:26] Speaker B: Secret. [00:26:28] Speaker D: You got your chair from a secret lab? [00:26:30] Speaker C: Although sometimes I feel like it looks like I'm wearing like a. Like a habit. [00:26:34] Speaker D: Yeah, yeah, it does. [00:26:35] Speaker C: Because I always wear black. The chair is. It feels like I've got like a thing going on. [00:26:41] Speaker B: It's a bad habit to get into, that's for sure. [00:26:43] Speaker D: Yeah. [00:26:44] Speaker C: All right, let's. [00:26:46] Speaker D: Okay. [00:26:47] Speaker C: This is gonna be a long show. [00:26:49] Speaker B: None of my business is all you're saying. That's all. [00:26:51] Speaker D: All right. So I haven't seen this yet. I'm about to press play. All I can see is there's a cat sitting on a post. Looks like a poorly constructed seesaw. Let's see what happens. [00:27:04] Speaker B: This doesn't look very 360 to me. I'm just. [00:27:08] Speaker D: All right. Just. [00:27:08] Speaker B: Oh, I see. [00:27:10] Speaker D: Okay. That's a very well behaved cat in a snowstorm. [00:27:13] Speaker C: Well, I thought you could do it for your dog photos, Justin. [00:27:16] Speaker D: Oh, look at the shot. [00:27:19] Speaker C: How cool is that though? [00:27:20] Speaker D: That's clever. [00:27:21] Speaker C: It's just a simple little rig. [00:27:24] Speaker D: Wow. What a cat. [00:27:26] Speaker C: Yeah. Pretty amazing looking cat, that hair. [00:27:28] Speaker D: And having snow in the shot just makes it even better. I can't believe it. Just sat there and watching it like, what are you doing? [00:27:36] Speaker C: I just thought it was a really clever and ingenious way to create a really stable 360 pano shot whilst your subject will always stay in the middle. I think it's really clever. [00:27:45] Speaker D: Well, they do those for photo booths, like three video booths. Have you seen those, Greg? Yeah, and it spins around and then it kind of does that. But yeah, it looks like he's, he's. [00:27:58] Speaker C: That looks like a homemade. [00:27:59] Speaker D: It looks semi. [00:28:02] Speaker B: I think it's pretty cool that he nailed the cat there though. I think if you look closely, there's a couple of nails in the feet. I think that's. I mean such a beautiful cat for art, but that's pushing stuff, you know. [00:28:14] Speaker C: It is. It is indeed. [00:28:17] Speaker D: Let's. [00:28:18] Speaker C: Let's skip to the news. The other social posts are just trivial little things. [00:28:21] Speaker D: Okay. Nothing isn't. [00:28:24] Speaker B: Isn't that what the news is? [00:28:26] Speaker C: Yeah, they're trivial too, pretty much. Okay, let me just read out a couple of headlines. Oh yeah, sorry, we've got a jingle. Oh look, there's a couple of Fujifilm articles. [00:28:39] Speaker B: Boring. [00:28:39] Speaker C: There's been. Patents have been spotted. Hey, you've got a Fujifilm patents have been spotted for a Fujinon. So Fujifilm made Fujinon glass full frame 75mil f 1.4 and a full frame 56mil f 1.4. [00:28:54] Speaker D: I don't believe it. [00:28:55] Speaker C: Well, it's a, it's a legit patent. [00:28:58] Speaker B: It sounds patently ridiculous to me. [00:29:00] Speaker D: Yeah, it is more like it's so full frame. [00:29:05] Speaker C: So maybe they're making lenses for other mounts. I mean Fijian on glass is pretty amazing. So much better than Canon. [00:29:14] Speaker D: Is it though? Prove it. [00:29:16] Speaker C: You know, you know it is. What else? Let's. [00:29:21] Speaker D: I mean that is interesting though because would they ever go full frame? It just doesn't seem like. I feel like it's going from. You really think they would make lens or they would get labeled as someone else's lenses? Maybe. [00:29:33] Speaker C: Why not try to, try to jump on the, the Sigma and Tamron train, get a little bit of that action. [00:29:40] Speaker D: Because they'd be competing against two people that have been like third party. [00:29:44] Speaker B: They've been on the train for years. [00:29:52] Speaker C: On the, on the, on the scorecard either. [00:29:54] Speaker D: True. But the, the other issue is though like they. So they'd be going in hard against established players when they could just be bringing out more products for their own ecosystem that they can. [00:30:04] Speaker C: Well I'm glad you brought that up, Justin, because in March there is a Fujifilm event being held and it's called a focus on glass and apparently they're going to be revealing some the upcoming lens roadmap that's on the market. [00:30:18] Speaker B: Will that be really hand handy? Because Fuji's focusing. So if you could focus on glass that'd be really Handy, you know, you would hope. That's hard. [00:30:25] Speaker D: Hey Greg, have you ever heard, just talking of Fuji, have you heard of this, of the guy, the YouTube guy? Pal2Tech. Have you ever seen that guy? [00:30:34] Speaker B: He's good. [00:30:34] Speaker D: Yeah. So did you see anything that come out in the last couple of days from him or the last week or so? [00:30:40] Speaker C: No, I, I don't agree with anything on YouTube. [00:30:42] Speaker D: Okay. He, he, we're on YouTube. [00:30:46] Speaker B: Especially this. [00:30:49] Speaker D: He must have brought up to Fujifilm a lot of the complaints that have been circulating. I think essentially I didn't go back and watch the old video. I saw his recent one. Basic. So lots of complaints around. Like we're not seeing the investment in our sort of cameras that we bought with firmware updates and things. We're not seeing the models of cameras we want to release. We're seeing X halves and things like that. We're not seeing mental stuff. Yeah, yeah. We're not seeing like just the next, you know, the XT6 or whatever. Like people just want the next camera or they want a firmware update for their current camera and blah, blah, blah. And he, yeah, this is, he actually got a response from Fujifilm. [00:31:33] Speaker B: Yeah. [00:31:33] Speaker D: Complaining about the lack of firmware updates and focusing issues. Gareth Davies says. So they, they responded very quickly and they were like, I think everyone believed that they just are ignoring their customers and doing what they want or whatever. And they're like no, no, we, we, we listen to all of this stuff and we're working on everything. Like we, you guys are our customers and we're. If you send us a, anything, it gets read. And I thought that was, it was really interesting. They responded to him straight away officially. Yeah, yeah. [00:32:07] Speaker B: That could be Fujifilm usa. That might be Fujifilm usa, not Fujifilm Japan. [00:32:12] Speaker D: I don't know. [00:32:13] Speaker B: It might, I don't know. [00:32:14] Speaker D: That's a good question. It's a good question. [00:32:16] Speaker C: Yeah, I mean I, I've done, I've done Q&As with one of the lead managers, product managers in Japan for. I think when I reviewed might have been the, the GFX100RF. I had a, I was given the opportunity to do a sit down like a Q and A online. But I know that often, not often, but every now and then Fujifilm Australia will send me, you know, a question or ask what I think people are thinking about this or that or what has been my experience with this. And so I'm always giving them that sort of feedback but they don't ever do anything I say. [00:32:51] Speaker D: Well, I mean they don't do anything everyone says. They just, they just read it and then move on. [00:32:56] Speaker B: Fuji Australia is a very small fish in the big bowl. Yeah, yeah. [00:33:00] Speaker C: Oh, absolutely. [00:33:00] Speaker B: Not a lot of influence. [00:33:02] Speaker C: No, no. [00:33:03] Speaker D: Here we go. Oh, it's all coming in. Glad we've got the chat. Tintype man says it was Fujifilm usa but the CEO in Japan also got involved. So yeah, they took it seriously, which is, I think that's a very good sign because a lot of big camera brands would just ignore that stuff. They would just be like, look, it's just noise. We know what, we know what our plan is. Let's not, you know. Yeah, Very, very cool. Yeah, yeah. Fujifilm. [00:33:30] Speaker C: Whether they're making third party lenses, whether they're making that a thing or. [00:33:35] Speaker D: Well, LTK's got a prediction. X Pro. I'm expecting full frame. Explains the long wait. I, I'm with Greg. I reckon they just, they wouldn't. You would need to launch new lenses like they've built out an entire X series lens ecosystem. Yeah, yeah. They'd be starting from scratch. It would be so hard. Yeah, yeah. [00:33:58] Speaker C: I mean having said that, they do need to update some of their lenses. [00:34:02] Speaker D: Yeah. [00:34:02] Speaker C: You know, we're still rocking Some Gen 1, you know, 2012 lenses are still being sold today as current, you know, but that they're not optimized. They're not optimized in terms of focus performance and they're not optimized for a 40 megapixel sensor. So this, you know, they really need to push them along. [00:34:23] Speaker D: So Glenn, you bought a Fujifilm? I did, yeah. [00:34:28] Speaker B: Big boy. [00:34:29] Speaker D: Did Tamron make Fujifilm Mountain? No. [00:34:33] Speaker B: So I had to be very quiet about it. Yeah. [00:34:35] Speaker D: Oh, should I. Okay. I was actually, yeah, I thought maybe they did, but I just don't publish. [00:34:44] Speaker B: As many photos as I shoot with, with the Fuji. I mean the big test will be I'm, you know, as my next tour, I'm taking Fuji for the first time. I'm also taking a new Tamron lens yet to be released. [00:34:58] Speaker D: Oh, what is it? Yeah, what is it? Give us a hint. [00:35:02] Speaker B: Well, I'll tell you what it is. It's not a focal length. I'm overly happy taking. [00:35:06] Speaker D: 600 mil. [00:35:08] Speaker B: Yeah. [00:35:08] Speaker D: 900 mil. [00:35:10] Speaker B: 900 mil, 1.26 mil. I've taken, I've taken the entire, the entire tour's luggage allowance is one lens. [00:35:20] Speaker D: Okay. [00:35:20] Speaker B: It's not, in fact the plane's got a trailer towing behind the plane on the way just to carry the lens. No. So. So whilst, yes, I have invested in Fuji with my own money which is frankly ridiculous. I know it's unheard of for me just about two and three lenses, Fuji lenses. So it's, it's. But it's not something I'm going to promote the same way I promote the images I shoot with Tamron lenses. The focus is different and the, the. Yeah. And so we'll see how happy they are about it. Tamarind Australia already understand. Tamara. India already understand. It's the US and Japan who I work with who may be a bit more. Yeah. Temperamental about it. But, but here's the thing for the last, for the last. I don't know. I think I've been a Tamarind ambassador for like 18, 20 years, something like that. I've never shot a single photo without. With a non Tamron lens in that time frame. So it is quite different. [00:36:25] Speaker C: Yeah. [00:36:25] Speaker D: Wow. [00:36:25] Speaker C: Oh wow. Yeah. [00:36:27] Speaker B: Yeah it's a, it's a whole new world. [00:36:29] Speaker C: Yeah, that's pretty cool. [00:36:31] Speaker D: So basically every photo like that most people see of your work is a Tamron lens even if they. [00:36:37] Speaker B: Unless it's a phone photo. Yeah, unless it's a phone photo. Yeah, yeah I'm really, I'm really, really fussy about that. I. I've got 2x halves actually Greg. So it's just. It's next. It's the next one. It's the next full. Yeah, the next full. It's quite good. Yes. You get the full frame X series is quite, quite handy. But yeah, I've always been very, very, very careful not to ever post photos done with other brands of lenses because I've seen Tamron and Best, especially American ones do their top 10 photos of the year posts on social media and six or seven of their top 10 are done with other brand lenses. I'm going, well that's just disgraceful, frankly. Yeah. If, if you're being supported by this company and you're obviously shooting enough with non sponsored product to get their volume out of your entire year's work. So yeah, I've always been explicit that every. To the point that when I'm on tour if, if a customer needs a lens, I've got a lens that's doing a certain type of shot. It might be 100 to 400. They haven't got something that big. I'll put it on their camera, I'll take their lens and put it on mine and I won't shoot until I'll get the lens back. I won't even take a single photo. Just that by chance. I don't accidentally post a photo that I like that I did on a Canon or whatever lens. [00:38:00] Speaker D: Yeah, yeah, yeah, makes sense, Jason. [00:38:05] Speaker B: It's honesty. Yeah, yeah, yeah. [00:38:07] Speaker D: Integrity, integrity, exactly. Jason Rogers photography says, Love, love my G2 7200 Tamron lens. It's been an absolute game changer for me. [00:38:17] Speaker B: Yeah, I love that lens to pieces. What? Really? Really? And so I've had to move over to mirrorless camera because Tamron don't really make anything for DSLRs anymore. And their, their mirrorless version of that lens is 70 to 180. And I can't tell you how much I missed that 20 mil. Visually. My brain, just, my OC, my CDO, as I say earlier, just, just, just goes crazy by not having that extra 20 mil. It's almost like I can't take a good photo. [00:38:46] Speaker D: Do you zoom in so hard that you, like, damage the lens when you. [00:38:50] Speaker B: Bottom out on that infinity focus? Yeah, I'm just trying to get past 180. How it actually feels bad to not have the 20 mil. It actually feels sort of the physical sensation of loss that I can't get. But I'm serious, it's. I know I take the piss a lot, but it genuinely has a field in my body that is just not right. [00:39:19] Speaker D: It also. So you could probably tell me the difference. It seems like you would be far better off with the 35 to 152 to 2.8. When it's going 150, it's close to 180. You know, like you're sort of like. [00:39:33] Speaker B: Well, yeah, but I like 200 and now I've lost 200 down to 180. Now I've lost 180 down to 150. Yeah, I know, but I used what I used to hate. I really hate now. [00:39:42] Speaker D: True, but. [00:39:43] Speaker B: But you know, the last tour I did use the 35 to 150. [00:39:49] Speaker D: Yeah, but. [00:39:50] Speaker B: And, and that would be my preference to take on this next tour as well. But I'll 95 be sure I'll be taking other lenses than I planned. So, yeah, just to be able to get shots for those lenses. But it might mean I'll take more lenses than I planned because I need the ranges that I want. [00:40:11] Speaker D: Yeah, well, yeah, you probably can't tell us anything. You can. Can you even tell us when we might find out about this new lens? [00:40:17] Speaker B: Next month. [00:40:19] Speaker D: Oh, interesting. [00:40:21] Speaker B: It should be in Australia by the end of this. Well, actually it should be, should be in Australia. End of Jan, I'm going to go out to Tamron this week and see if it's there for me and pick it up and see. But I don't need the official launches for a few weeks and then the stocks won't be arriving till March or whatever. [00:40:41] Speaker C: Yeah. [00:40:42] Speaker D: So be careful when you pick it up that you don't do your back. [00:40:45] Speaker B: Yeah, that's. But. But there's a bit of hot gossip and I'll tell you, almost no one in the world knows that knows about this lens. So that's a bit of camera life. Yeah, Camera life exclusive. [00:40:59] Speaker C: Oh, you heard it here. Heard it here first, folks. [00:41:01] Speaker D: You heard there's something coming sometimes surprise news. Tamron are going to release a lens. Who would have thought? [00:41:12] Speaker C: Surprisingly, Fujifilm are releasing full frame lenses. [00:41:17] Speaker B: Dennis just commented that a 28-70 F2 would be an amazing video and there was talking about patents before they have patented that lens. Now I don't know any more in production about anything about that but a couple episodes ago, you guys, we did. [00:41:30] Speaker D: Yeah, we talked about it. Makes total sense. [00:41:34] Speaker E: Yeah. [00:41:34] Speaker B: Fabulous. But it's. It's. It's nothing. I know this is certainly not the lens that's coming out and I kind of wish it was because that'd be kind of a cool lens to take. [00:41:42] Speaker D: Yeah. [00:41:43] Speaker B: But my November tour is doing a lot of nighttime stuff so that actually would be a. I hope it does come true and I hope it does come out by then. I'll take one of those. It'll be. Yeah, it'd be fabulous. [00:41:55] Speaker C: Yeah. [00:41:56] Speaker B: But we'll see for sure. We'll see. [00:41:59] Speaker D: Very cool. [00:42:02] Speaker B: Sorry. [00:42:02] Speaker D: Well. Well, very quickly before we move on to Fujifilm. Is it true as well, the other thing move on from Fujifilm? I should say we're not moving to it. Did they. Was there a thing where people could vote on what lenses they wanted? Is that. [00:42:17] Speaker C: There was something about that. [00:42:19] Speaker B: Yeah. [00:42:19] Speaker C: Yeah. I think it's to do with this thing that's coming up, this Focus on Glass event. [00:42:23] Speaker D: Okay. [00:42:24] Speaker B: Okay. [00:42:24] Speaker D: I think it's kind of related. [00:42:26] Speaker B: Yeah. Greg, you would know about this. There's some Fuji event in Melbourne coming up. [00:42:31] Speaker C: Yeah. So the. Yes, I do. In fact Justin and I already have media passes for it. So Fujifilm held their first in a while consumer summit. They called it the Creator Summit. It was held in Sydney at Luna park last year. This year they're doing it in. In Melbourne. In Port Melbourne. Yeah. Actually they're holding it at a place. It was the first place I met Greg Carrick in person and it was. I can't remember what it's called now. It's in Port Melbourne. It's like a big venue center. And the old Fujifilm, one of the old Fujifilm employees used to do this people with cameras event. [00:43:06] Speaker B: Yeah, that's right. They did one down there. I was there. [00:43:08] Speaker C: They did one down there. [00:43:09] Speaker B: Yeah. [00:43:09] Speaker D: Okay. [00:43:09] Speaker C: Yeah, so they did one down there and they're going back there for this Creator Summit. They've got some friends of the show. Russell Lord is going to be a guest presenter. Who else did I say, Justin? [00:43:21] Speaker D: You said Russell and you said. Who was the other person? [00:43:27] Speaker B: I think Russell posed as a male model for a bridal workshop I once ran in Western Australia, if my memory really is correct. [00:43:35] Speaker D: Really? [00:43:36] Speaker B: He's Tuxedo, the whole thing. [00:43:38] Speaker D: Wow. [00:43:40] Speaker C: Russell Ord. Oh, Michael coyne. Oh, that's Dr. Michael coyne. Russell Ord. And obviously Charlie our. Our good friend who's been on the show a few times. He's actually going to come and jump on the show on an upcoming Monday night. Just to give everyone a bit of a heads up about the Creator Summit. Last year's event went off really well, though. Fujifilm were obviously really pleased with it. They're coming back for more and this time they're bringing it to Melbourne, which is wonderful. [00:44:05] Speaker B: The lovely Andrew Hall. [00:44:06] Speaker C: Andrew hall will be there. He'll be on hand. He's also doing a presentation, I believe, as well as Spruiking Instax. [00:44:12] Speaker D: We've had a lot of these people on the show, Greg. I don't know what's going on. It seems like there's some sort of a setup or something because they're all amazing photographers. Yeah. This is very cool. What a. Yeah, good. Great lineup. [00:44:25] Speaker C: No, it wasn't Pentridge. Greg. Greg Carrick thought it was a timber yard. [00:44:28] Speaker D: Timber yard. [00:44:29] Speaker C: Timber yard. That's it. Yeah, it's in port. [00:44:30] Speaker D: That's it. [00:44:31] Speaker B: Yeah. Yeah. [00:44:32] Speaker D: Melbourne. Yep. So Saturday, 9th of May, 10 till 6. And so. So yeah, last year it was two days, Saturday and Sunday. Obviously they've squeezed it down to just one day, which is probably better, I think. Just try and get as many people there on the one day instead of spreading it across a full weekend. Makes it a bit easier for people to. To get there. And it's 45 bucks for an early bird ticket. That's the go. [00:44:57] Speaker C: Yep. [00:44:59] Speaker B: Or free Media pass is probably more the go. [00:45:01] Speaker D: Yeah, yeah. What are we gonna do with the money we saved on that, Greg? Go for lunch? [00:45:06] Speaker C: Yeah, yeah, we'll go for lunch for sure. [00:45:08] Speaker B: Parking. [00:45:09] Speaker C: I love spending your money. [00:45:14] Speaker D: Yeah. Cool. Lots of partners. Yeah, it looks good. Very cool. Should be very cool. [00:45:19] Speaker C: They always put on a good event. So what else is happening in the news? Let me just quickly run off some headlines for you guys. Earlier in the week, Leica announced and released a brand new 35 mil f 1.2 Noctilux lens. It is currently 9650. And I'm pretty sure that, yeah, that's the B and H price, so whatever. That equates to 45 million Australian dollars for that lens. [00:45:45] Speaker B: Australian pesos. [00:45:47] Speaker D: Pesos. Glenn, what's your, like, what are your thoughts on a lens like that? Or like the F1, the. The knocked Leicas and stuff where it's manual focus, super, you know, shallow depth of field. [00:46:03] Speaker B: Well, I, I've never been a super, super shallow depth of field shooter at any stage in my life. 2F2 is probably the widest I've ever, ever shot. [00:46:12] Speaker D: Okay. [00:46:14] Speaker B: And now as I'm getting older, anything to do with manual focus and even contemplating anything lower than maybe F11 in manual focus, to get something in focus, would I. I need like 15ft of depth of field now rather than 15 millimeters? Yeah, it's, it's, it's not much chance. So look, I think there's a, A place my, my concern always with lenses like that. People are more concerned about the vibe and the feel of the bouquet than they are the quality of the photos they're taking. This, the light and the subject. A pretty bouquet doesn't make a great photo. You know, give me great light and an interesting subject and interesting story, and I'm. And I'm hooked up. Give me out of focus for the sake of out of focus. Give me only one eyelash in focus for the sake of one eye. It just doesn't speak to me. That's your game. If that's what you love, go for. That's the great thing about art. You could do whatever you like. It just doesn't float my boat at all. But I can certainly see why there's a market for. And you know, if someone gave me one, I'd like to have a play. But. Yeah, I know I wouldn't. I wouldn't be shooting with it. Yeah. Because I know all my shots would be. And it's often the case where people. It's like all the gear and no idea. It's all. If I buy a better camera, I'll be a better photographer. Yeah. You know, if I upgrade this body to the next body, I'll somehow my ability to light something and capture something interesting will improve. And that is not ever going to be the case. So. But do it makes you happy. We don't live very long in the grand scheme of things. [00:47:49] Speaker D: No. [00:47:49] Speaker B: If you've got the money and it's what you like to do with it, go for it. Good on you. I'm so happy for you. Yeah, yeah. Don't make me look at your photos. [00:47:58] Speaker D: Speaking of having money. [00:48:01] Speaker B: Hello. [00:48:01] Speaker D: If you. If you have the money and life is short. Leica Camera actually considering selling a majority stake for 1.2 billion. If anyone that's listening is into that kind of thing. [00:48:13] Speaker B: You know, I'm just checking. Me. Not this time. [00:48:19] Speaker D: No. Okay. [00:48:20] Speaker B: Not this time. [00:48:21] Speaker D: Yeah. So that's interesting. Yeah. Majority state, but to who? [00:48:26] Speaker B: So DJI going to buy them like they bought Hasselblad Is going to work the same way. DJI Hasselblad. [00:48:32] Speaker D: Like a company just gobbles up everything. [00:48:34] Speaker B: Yeah. Interesting. Yeah. [00:48:38] Speaker D: That reminds me, I was supposed to do an ad at the start of the show. Greg. [00:48:42] Speaker B: Oh, goodness. [00:48:44] Speaker D: Yeah. [00:48:45] Speaker C: For what? [00:48:46] Speaker D: For the camera for my workshops. Oh, yeah, that's it. Where is it? I forgot. It's very important. It's such a cool ad. Stick with me. [00:48:58] Speaker B: Let's start again. [00:49:02] Speaker C: Where's Julie? [00:49:03] Speaker D: Don't leave. All right. [00:49:06] Speaker C: Just while you. While he's pulling that up. A couple of potential new Canon lenses. We mentioned these briefly last week or the week before whenever it was. We were last on a Canon RF14 MIL 1.4 VCM. So that's its video quality lenses. And a. There's also a rumor of a Canon RF7 to 14. 2.8 to 3.5 fisheye zoom is. [00:49:28] Speaker B: That'd be nice. That'd be fun. They. [00:49:31] Speaker D: That would be nice because I don't. [00:49:32] Speaker C: 7 to 14. [00:49:33] Speaker E: Yeah. [00:49:34] Speaker D: I don't think we have a fisheye at the moment in the RF native mount at all. [00:49:38] Speaker C: Yeah. [00:49:38] Speaker D: Because fisheyes kind of went. Kind of not cool anymore. [00:49:42] Speaker C: Yeah, they went out for a bit. [00:49:43] Speaker D: But kind of gone out. But that. That would be wild. [00:49:49] Speaker B: The 70s called and wanted the lenses back. [00:49:51] Speaker D: Yeah. No, I just. Hey, you know, I'd have to go and find some skateboarders if I got that lens that's. Yeah, that's wide. I hadn't seen that rumor. I haven't. I've been all too busy to be on the Canon rumors site. [00:50:05] Speaker C: Well, that's fair. That's fair. [00:50:07] Speaker D: Wow. Oh, hopefully they. Yeah, they do need one. Some. Something in the range. [00:50:11] Speaker B: Yeah. [00:50:13] Speaker D: What else? I'll. I'll pull this. I'LL pull. I'll pull the ad up after we. [00:50:17] Speaker C: Finish a couple of other lens announcement. Rolly who. I don't even know who owns Rollie anymore. They've announced an AF24F 1.8 and a 35 1.8 Nikon Zed mount. And I think they're also doing them for Sony. Maybe. [00:50:32] Speaker B: But why announced? [00:50:34] Speaker C: Well, who owns Ry now? [00:50:36] Speaker B: Don't know. Probably Viltrox. It's a way of getting. It's a way of getting around the lawsuit that just changed the name of the lenses. [00:50:44] Speaker D: That's what I was going to say. Isn't that what's going on at the moment? They get. [00:50:49] Speaker B: You can't sue us because the name keeps changing on the lenses every six foot. [00:50:52] Speaker D: Yeah. [00:50:54] Speaker C: Yeah. [00:50:56] Speaker D: We missed this one, Greg. We missed this one. I'm not even gonna say it. [00:51:01] Speaker B: Oh, pretty. [00:51:03] Speaker D: Yeah, yeah. [00:51:04] Speaker B: The surf life saving. The surf lifesavers want it. Yeah. [00:51:07] Speaker C: No, it's. It's just that they just came out with a color version of an existing lens. [00:51:13] Speaker D: I see that. I'm wondering why. [00:51:15] Speaker C: No, I know. I. I don't know why they went those colors, but there's something very compelling about it. [00:51:19] Speaker D: You like it? [00:51:20] Speaker C: Yeah. Kodak color. Yeah, I kind of do. Like if that was an X, that's an X mount. [00:51:25] Speaker D: I guess it is. [00:51:25] Speaker C: So I can drop that on. You know, I'm not saying it's. [00:51:29] Speaker D: It's beautiful. Interesting. So what. What can you put this on? What's it for? Oh, you can put it on an X mount. [00:51:37] Speaker C: Yeah, I think it's X. Oh my gosh. So you could get that for 100 bucks? [00:51:41] Speaker D: Yeah, you're. You're thinking about it, aren't you? I am. [00:51:44] Speaker C: It's only a couple hundred bucks. [00:51:47] Speaker D: As a colorful accessory. [00:51:49] Speaker C: Just. [00:51:49] Speaker B: Why not? [00:51:50] Speaker C: But I. I have just ordered a new Fujifilm pro grade lens. So did you. [00:51:56] Speaker B: That. [00:51:56] Speaker C: That will have to wait. Yep. [00:51:58] Speaker D: Okay. [00:51:59] Speaker B: I did test out the Ttartisan 35 1.8 for Fuji. When I got the Fuji, I got access to a few to test for free and I gave them back. I could have them for free and I gave them back. I just couldn't get a sharp foot. I could get a single photo in. [00:52:19] Speaker D: Focus with did they did. Were you able to access this amazing color though? [00:52:24] Speaker B: That's the thing. That's probably where I went. I went wrong, you know. But I can't swim very well so I'm not going to be down the beaches and using it as like a flotation device that people can find Me easily in the. In the surf. So it's okay, you know. Yeah. Does it come In a Happy McDonald's Happy Meal? Exactly. [00:52:41] Speaker C: That would be a great marketing. [00:52:43] Speaker B: Just needs a little Ronald McDonald picture on the side. [00:52:45] Speaker C: Yeah. [00:52:46] Speaker B: Really tasting the hamper or a little. [00:52:48] Speaker C: Just that disposal thoughtfully thing that they put on everything for like 50 years. [00:52:56] Speaker B: They need a purple and black one. They need it. No, every. Every McDonald's character color, and you've got to collect the set. Happy Meals. [00:53:04] Speaker C: Late last year, someone brought that 200 mil, was it? No, someone brought out, like, a bright purple lens, and it just got canned. No one. No one bought it. I think it was late last year. [00:53:17] Speaker B: A few funny colors. Yeah. Surui, I think, wasn't it? [00:53:20] Speaker C: Yeah, yeah, yeah. They did the 200. They did one in that blue and. Yeah. [00:53:25] Speaker D: No one. [00:53:26] Speaker B: Like, I kind of liked it, to be honest. [00:53:29] Speaker C: Yeah, it's a couple hundred bucks. That'd be fun. Like, why not? [00:53:32] Speaker B: But it's something different. I mean, we're kind of tired of black or black and silver, as the case is. If you're Fuji, it's kind of a bit dull. [00:53:40] Speaker D: I mean, so Lucinda says that trying to appeal to all the charmer blind box people, you know, that would actually be more fun if it was a cheap lens and it literally was a blind box and they had like seven different colorways that you may or may not get. Different combos of the ring and the thing that would. That would be pretty crazy, especially if it was just limited edition. Once they sell out, they're gone. [00:54:01] Speaker B: Well, I really like what Nikon do with their ZF and ZFC with all the different colored versions with the color. And if you've got the orange ZF with this lens or the ZFC with this lens, that'd be kind of cool. [00:54:12] Speaker D: Yeah. [00:54:12] Speaker B: You're kind of matching your lens to your body color. [00:54:16] Speaker D: Tony says you won't lose it or use it. Tony's probably. I finally got Greg. I got to have a. Hang on. I got to have a drive. So Tony's got one of those racing sim racing machines things that he set up in his shed. I got to have a drive of it on Sunday. It's crazy. [00:54:38] Speaker C: Yeah, like. [00:54:39] Speaker D: Like it. The feedback through the wheel and stuff and how. It was very difficult. I was very, very. I crashed. [00:54:47] Speaker C: I'm proud of you. [00:54:48] Speaker D: It was fun. Proud of you. [00:54:49] Speaker B: Was that Mario Kart? [00:54:51] Speaker D: That's what I said. I said, can we load Mario Kart up on this thing? And he's like, no, no, we're going to do going to do Bathurst in an Audi. And I was like, okay. And first corner. No pressure, no pressure. Yeah, we, we had a good time. All right, we'll quickly get through the rest of it and then I'll come back to a question. [00:55:10] Speaker B: Yeah. [00:55:10] Speaker C: All right, let me just quickly just reel off the rest of the lens news. I mentioned the Rollies. There's been a leak, A picture, a first leak picture of a new Nikon Z120 to 302.8 lens. Apparently it's a. It's a. It's a beast. It's huge. Laura have just announced a new 90 mil f 2.82 times ultra macro for micro 4/3. And I think also for Sony, I might be wrong there, but I'm pretty sure for Sony as well. And yes, despite the Nikon lawsuit, Viltrox has come out to say that it isn't changing anything with its product roadmap. It is forging ahead. [00:55:47] Speaker B: We're just renaming them all. Rolly. Yeah. [00:55:50] Speaker D: Confidence. Yeah. [00:55:52] Speaker C: And there's some news. There's some news items that you've dropped. [00:55:55] Speaker D: Yeah. The only one that we probably need to talk about is the one that I think we missed a little while ago was the. That Await digital camera. [00:56:06] Speaker C: Oh, yeah. [00:56:07] Speaker D: Did you see this, Glenn? [00:56:09] Speaker B: What is it? [00:56:09] Speaker D: Sorry. It's called the Await digital camera. It's another one of these little cameras where you sort of have a limited number of shots and things. But the difference with this one, basically you get 24 shots per roll and then there's no rear screen to preview the images. The idea is to shoot the old school way, blah, blah, blah, which we've seen a fair bit of that. But it's got a dedicated app and print processing follow through. So you get your 24 shot roll of film mailed to you on. On six by fours. [00:56:47] Speaker B: So there's no way of downloading the photos on your computer at all? [00:56:50] Speaker D: Yeah, well, through an app. Yes. Yeah. [00:56:54] Speaker B: Yeah, that ruins it for me. [00:56:56] Speaker D: Okay. [00:56:56] Speaker B: If you had no access to seeing your photos, you couldn't download them, you couldn't upload them to social media. All you could do is shoot and print. That would be awesome. [00:57:04] Speaker D: Yeah, no, unfortunately, I think, yeah, that's. [00:57:07] Speaker B: How many people download them. And off. That's it. [00:57:10] Speaker D: Yeah, it's. Yeah. So basically you can go through and you can select to include or remove any shots from your roll that you want printed. But I believe the price, no matter what, it's a price per roll. So if you. If out of the 24, you're like, I only want 22 of them because two of them were dick pics. You'll still pay the same price per roll to get that printed, those 22 shots. Because I think, I guess they want to avoid people picking and choosing, you know, all the different shots because that's kind of not the point of it. The point of it's supposed to be you. Every shot should be a memory of some sort or whatever. So I do like your idea. I wonder if it would actually be cool if they just had a setting for that. Yeah, send me everything. I never want to see it. I don't want to touch. [00:57:54] Speaker B: Yeah, it'd be bold. It'd be a bold move to do, but it would be a bold move. Yeah. [00:58:01] Speaker C: I do like these. These companies are thinking outside of the traditional box. You know, they're, they're coming up with unique solutions to make image making appealing to different audiences. And that can only be good even if it is short lived. [00:58:15] Speaker B: Well, I use a little clickster brand digital disposable, no screen but built in memory cards. But the same thing. You go and you just shoot with no knowledge of what you even, even your framing's off because the viewfinder is not particularly good for actual accuracy. But it's kind of fun if you're just out there just. You had a picnic with family and you just want to snap away. It's. It's great and kind of in. I like the aesthetic and I like the, the, the joy of pulling out the pockets. You know, it's. It's kind of nice. Even though I've got other cameras I can shoot with that still comes out, you know. [00:58:50] Speaker C: Yeah, that's fun. [00:58:51] Speaker B: I like it. [00:58:53] Speaker D: But yeah, I like the idea of an easy way to get the prints back without doing anything. That's actually something I would really enjoy if, if there was some way that I just took the photos and then they just arrived next week. Yeah. And it's just done. [00:59:09] Speaker B: Instead of having Hipstermatic used to do something like that with their, their phone app. And it was literally, it's a roll of 24 and you couldn't. So you take the photos but you don't. You can't see the photos at all. And you can't get the film developed until you finished all 24. And then you had a choice. You could just hit print and Hipstamatic would print and send it to you. Or you could hit ability to download, but it'll take like a day. You wouldn't be able to download the photos like a Day after you finish your roller 24. So you still had to wait. I finished my own film, but I've still got that delayed gratification and that, that always appealed to me as well. I thought that was pretty clever. And you get to choose different films to go into the, into the app, so different effects. It was pretty clever. [00:59:51] Speaker D: That's cool. [00:59:53] Speaker B: Yeah. Yeah. Delayed gratification is good. Yes. My wife. Yeah. [01:00:03] Speaker D: The only other stuff I had in here, we won't worry about too much of it other than Netflix is getting ready to roll out vertical videos that made me want to throw up. Zuckerberg says, smart glasses of the future. Now I agree. Meta is going to trial premium subscriptions for Instagram and Facebook that's installed. Interesting. It depends on what the, what the benefit's going to be. But if they could. If. I mean, I love YouTube ad free. I always. It's so weird when I go when I see someone's YouTube and I'm like, oh, you have to see KFC ads. [01:00:35] Speaker B: All the time, every 13 minutes. Yeah. [01:00:38] Speaker D: There's no ads on it other than. The only ads I believe are if people are sponsoring content somehow to get their video in your feed or something like that. But other than that, you're not seeing stuff from random car ads or anything. So it's. Yeah. So if they went that way, that would be a big, huge change in their. The way everything works and it would be interesting to see what the uptake would be. But I don't, I don't reckon it's going to be an ad free experience. I think it'll be something they talked about, you know, AI features and stuff like that. Yeah, it's like, that's not. [01:01:09] Speaker C: Well, I mean, they said that, they said that all of those streaming services would be ad free when we first subscribed. [01:01:15] Speaker D: Yeah. [01:01:15] Speaker C: And they're all full of ads now. [01:01:17] Speaker D: Netflix is still ad free. [01:01:20] Speaker B: It depends on the plan you're on. If you're on the cheap plan, you've got to pay the premium plan. In my sports app. I, I'm, I'm. I love football. Australian rules football. It's 41amonth or something. Plus ads include still. Yeah. $40 a month for ads and as well. Yeah. Oh, I know. For 41amonth. [01:01:42] Speaker D: That's interesting. [01:01:44] Speaker B: Yeah, it sucks. So I'm only, I only. I only. Only go on. Only subscribe during the season and as soon as the season's over, it's dick delete. [01:01:55] Speaker D: Yeah. Yeah. [01:01:56] Speaker B: And then, and then they come back to you, say, oh, we'll give you three months, half price. So you can't. The six months you have it. Three of it's half price. So I kind of. [01:02:03] Speaker D: Yeah. [01:02:03] Speaker B: Ameliorates out the cost a bit, but it's still outrageous. Yeah, yeah. [01:02:09] Speaker D: And I think that's basically it. That's all I had. [01:02:12] Speaker C: Yeah. I think, I think the rest can. We can park for now. [01:02:15] Speaker D: I'll. I'll bring this question up actually. We'll go to this. We'll go to. [01:02:21] Speaker B: Does he have an advert you've got to do? Where's your advert? [01:02:24] Speaker D: Oh, yeah, yeah, yeah, yeah. [01:02:25] Speaker B: Thank God I'm here. [01:02:26] Speaker C: Someone's got to remember. [01:02:29] Speaker D: Yeah, thanks. Okay, one second and then I've got a question that we can, we can talk about and then we'll get into. Glenn. Oh, where are we? Window. This one here is the ad. Check this bad boy out. Happy customer. Happy customer sent us a picture of their deluxe 45 leather rolled edge camera strap on their. Nice, nice Hasselblad X2D. Is it an X2D or an X2D2? I don't know. Either way it looks fancy. [01:03:03] Speaker B: I think it's an. It's an expensive. [01:03:05] Speaker D: Actually. I think you'll find that one expensive. Hasselblad expensive. [01:03:12] Speaker B: It's French. [01:03:13] Speaker D: Yeah, it looks very nice, doesn't it? What a good combo. [01:03:16] Speaker B: Straps. Nice though, isn't it? [01:03:18] Speaker D: It's all right. [01:03:20] Speaker C: All right. [01:03:21] Speaker D: Anyway, that's the ad. If you would like your own lucky camera strap, head to Luckystraps.com and use code. Greg. [01:03:27] Speaker C: Terms and conditions apply. Hasselblad not included. [01:03:30] Speaker D: Yeah, yeah, definitely. No hassle, blood included. Okay. Now that's what. Yeah. So the only way to watch it. [01:03:40] Speaker B: What's in the box? [01:03:41] Speaker D: Plan with ads. And look, there was ads included in that too. Yeah, ads included in our show. Ads are everywhere. Okay, Glenn, I want you. [01:03:49] Speaker B: This is a. This is a Japanese tamron ad. There we are. So I'm still pimping out the brand. [01:03:56] Speaker D: You know, well done. You got to do the thing. Here we go. This is a little bit of a right down. Up Glenn's alley. Jason Rogers Photography. What would your. What would be your two lenses when traveling overseas? America trip coming up in April. 28 day road trip. [01:04:17] Speaker B: I think it's pretty simple. The 9 millimeter and the AK47. That's pretty much. You'll fit right in. Yeah. [01:04:27] Speaker D: If you plan. Depends on how much shooting you plan on doing while you're over there. [01:04:30] Speaker B: Jason, don't use the word shooting. Yeah, I did a project where I was photographing the survivors of D Day from the British army that lived in Australia. And I learned very quickly you don't walk up to him say, hi, I'm here to shoot you. It doesn't go very well. Or they comment on the amount of gear you've got and you say, yeah, that stuff. The. To sink a battleship. Oh no, you couldn't. I learned these things very quickly. Thank God Glenn's here. Oh, that's because of the advert reminder. I thought you. L don't you like me for a minute there. But no, it's all about. [01:05:00] Speaker D: She does, she does. [01:05:02] Speaker B: She hasn't met me though, so. Yeah, probably, yeah. No one ever has. I would go now. It depends if you're doing urban or if you're doing rural. You know, are you going yourself, Yoast the Mighty or you're doing. Are you doing the park? So you're doing the. If you're doing downtown New York and going to Disney and stuff like that, I don't think you'd ever go. I don't believe I'm saying this, but I don't believe you can ever go too far wrong with the 24 to 70 and a 70 to 200. Having said that, I've taken about four photos in the last decade with a 24 to 70. I hate the focal length with a passion, so I would prefer something much wider like 15 to 30 or 16 to 35, something like that. But it does depend on what you want to shoot. You know, if you go. I think if you're doing landscapes, you can't not take a 70 to 200. The ability to isolate locations, small parts of a scene where that little bit of light is just perfect, is such an underutilized landscape lens. And of course in the Uber wide for all the the vistas, that would make sense as well. It depends on the camera you're using too. So I've just changed over to Sony and shooting with the Sony A7RV, which is a 60 megapixel camera, but I have it set up with a hot button so I can change from full frame to APS C. So my 35 to 150 Tamron can be 35 to 150 or can go to 225. Effective on APS C. So it's kind of nice to have that little bit of extra built in ability to see differently. Yeah, so that's kind of a nice little feature to do. And that's something the Fujis do with the like the XC5s. You can, you know, press the button. It goes from the 40 to like a 26 megapixel. And 35 mil lens becomes like a 55 mil lens. So that versatility is kind of handy when you're traveling and you don't want to carry too much gear. Having the ability to switch that way is, is kind of nice. It gives you kind of four lenses instead of two. So that's something to think about too, maybe. But yeah, I, I would say as a general carry around a 24 to 70, you know, 70 to 200 is hard to beat. Yeah, it's boring, but it's, it's going to get you 90 of your shots. [01:07:20] Speaker D: Yeah, I would, I would have to agree. Oh, I, So I did three months in the States with just the Q3, so just the 28 mil. I, I with you. I really love compression of a longer length lens for landscapes and stuff like that because I'm pretty bad landscape photographer. So same when I, when I cruise around New Zealand, most of the stuff that I shot was with the 7200F4. Yeah. And a nice light, like not a big heavy, but something light that you can walk around with. And that's. Yeah. So I would be similar, but I would just, I like to have a lightweight prime or something, especially for walking around cities and just, I like to be able to have it be part of my holiday, not be like, okay, I'm lugging my camera gear out, I'm just like, oh, we're going for a walk to a coffee shop. I'll bring my camera. So yeah, I was like to bring something light for that as well. But so it sounds like I can't. [01:08:16] Speaker B: I can't do it personally, I, I can't compromise the potential shots by only having one lens. I understand all this stuff. I know all this stuff about, oh, you know, what's the thing they say about if you restrict what you use, it expands your creativity. Bullshit. It means you miss a ton of shots. It means you miss a ton of opportunities. It means you're compromising your art and you're compromising how your photos could have been. To be a smart ass with one lens and look what I can do. [01:08:43] Speaker D: Yeah, that was basically it. That's what I did for three. [01:08:45] Speaker B: Pretty much it. Yeah. [01:08:47] Speaker C: That was my last trip to Japan. But you know, yeah, you're right. [01:08:51] Speaker B: Every shot was shit. That's the choice. Every shot. No, every shot's a compromise. [01:08:55] Speaker D: Exactly. [01:08:55] Speaker B: Every shot is a compromise versus I have full flexibility to shoot anything. My vision. And if you do not know what you're going to face. How can you know? I mean, I shoot portraits at 600 mil all the time. You know, I shoot portraits of 15 mil all the time. If I carried a nifty 50, I'd be not good. Yeah, yeah. But that's the way I see the world. And, and like most males, I have an opinion and I'm more than happy to share it. But it's, it's I, I find that's a terrible compromise to the art you could shoot. But I also understand why people do it. [01:09:34] Speaker D: Yeah. Yeah. See, I'm not, I'm the opposite in the sense that it. [01:09:38] Speaker B: Yeah, you're wrong though. [01:09:44] Speaker D: Depends on the situation. But it, it. Even when I was shooting weddings, I started off and I want to be able to shoot everything. But the best images I got, I think were often when I limited myself to only shooting with one prime for the day. It forced creativity. And maybe I'm just. Maybe the problem is I think this is it. My brain is powerful enough to be creative with one fixed focal length, whereas somehow yours has expanded to all of the focal lengths at a time. See, it just means your brain focal length. [01:10:19] Speaker B: I, I, I consider myself much more like a golfer, like a pro golfer. Who knows how every single club goes to the exact yard. [01:10:27] Speaker D: Yeah. [01:10:27] Speaker B: And I see the world through. Very, very fixed. And I can look at any. This is how I get to shoot in toy. By the way, I emailed you the toilet block shot. Be behind the scenes just in case. Just then, just then. What people talk because people mentioned it all the time and it's hard to understand what we're doing. But this is how I can see photos where there are no photos to take. I can capture photographs that in locations that are uninhabitable to take a decent photo. You can take your photos because I see the world through. It's not just about. To me, a 200 mil lens is not really about compression. It's about minimal angle of view. It's all about angles of view. [01:11:04] Speaker D: Yes, yes. [01:11:04] Speaker B: Compression. But, but realistically, I can eliminate X amount of the world or I can include the X amount. [01:11:10] Speaker D: It's exactly that. It's isolated. Isolating down to a something interesting that I've seen that's at a distance. Yeah. And being like. [01:11:16] Speaker B: No. I predominantly shoot people, of course. So it to me, the person can be any size because I can move forwards and backwards. I become the zoom. But it's really about how much of the world I include behind them. It's isolating the world that they live in versus if I had to shoot with the 35 mil lens because that's all I had on me. I'm forced to, to put them in the world that's actually there rather than the world that I want, if that makes sense. With a 600 mil lens, I can eliminate 90% of the world and I have a fabulous backdrop everywhere. It doesn't matter where it is. [01:11:48] Speaker D: Yeah. [01:11:49] Speaker B: So it's, it's a. Yeah, but that's just the way I shoot. It's neither right nor wrong. It's just my heavily, heavily forced opinion. Yeah. [01:11:58] Speaker D: So just to follow up, we'll put a cap on this and there's a few comments in here we'll flip through. Jason says so my 18 to 270 and 70 to 200 Tamron lens would do, but then later on says maybe I need to bring my 35 mil prime. I, if it was me, I don't know what your 18 to 270 is, but I would probably bring the 18 to 270 and your 35 and maybe leave the heavier 7200 at home. [01:12:23] Speaker B: Absolutely no need to take the 70 to 200. [01:12:26] Speaker D: Yeah, that's what, that's what I think. So run a bit lighter. You've got the 35 for when it's darker or whatever. And then unless there are some images you have in your head, you can only achieve with that 70 to 202.8. Use the eight engine 270 and just, just enjoy the good L of all that range, you know? Yeah. [01:12:44] Speaker B: When I go out with the kids, I used to use my 28 to 300 Tamron. Just family stuff because it's, it's got all the range one covers everything. Fabulous. Yeah. But yeah, if you are shooting some, some, yeah. Nighttime city stuff, maybe a 3518 is going to be pretty handy or I personally, I prefer a 20 mil 2.8. Yeah, I like, I like wide. You know, if I'm doing New York, I want a bit more New York than 35 it's going to give me, but that's just, you know, again me. But yeah, if you've got a all in one like an 18 to 270. Now admittedly it's not going to be the same level of quality as a pro lens, but you know, if you're gonna, if I had the choice of compromising to a single fixed prime or an 18 to 270, I would compromise to the 18 to 270. Yeah, yeah. I actually did A entire Vietnam tour with the 28 to 300. Just to say it's a one lens trip. Yeah. And yet is the quality quite as good now? It's 5% off maybe. But did I get 90 of the shots I would have normally? Yeah, yeah. [01:13:51] Speaker D: Oh, I like this one. Rick's. Rick's coming back at it. Bring one lens and miss some shots due to wrong focal length or bring all the lenses and miss the shots due to choice paralysis. [01:14:01] Speaker B: It's no choice paralysis. You make decisions fast. Always two bodies out. 15 to 30 on one side, 70 to 200 on the other. I'm usually shooting 15 or 200. No choice paralysis. Make, make good choices, work fast. Learn how to change lenses fast. Learn how to get your camera lens out of your bag fast. Every, every in trip. As a professional travel photographer. Absolutely. You're always, you're always going to miss shots because. Happens fast sometimes. [01:14:29] Speaker D: Yeah. [01:14:29] Speaker B: You know, and we could talk when we actually start talking about travel. I have one set of settings I use for 90 of my entire trip. I don't change settings for 90 of every tour had the same two settings. That's it. One aperture, one shutter speed. But so I never missed, I never missed shots thinking about aperture or shutter speed and having two cameras out. I pretty much never miss shots because I don't have the right focal length ready. So I am ready all the time. But I see all the time people are slow to change settings. People are slow to change lenses. They're sitting there putting the rear lens caps on and they're taking the. It takes them five minutes to change the lens. Well, you'd be better. You know, that's fine. When you're strolling down the street, you've got plenty of time. But if you're in an active environment with lots of stuff happening, it's got to be this. And then maybe it is. Well, this is happening so fast, I'll just have to shoot with what's on the camera. And that's the compromise you have to live with. And then the compromise is no shot or the shot with the lens. I've got. [01:15:27] Speaker C: Yeah. [01:15:28] Speaker B: Versus this. I can create more from this shot by having the right lens by working faster. [01:15:35] Speaker D: Yeah. [01:15:35] Speaker B: Or understanding how to see better. And that's all experience and time and, and so on. But yeah, yeah, this is the, is the way. But I said I, I have a very particular way of doing things. As I said, I, I really think of myself as a golfer when it comes to lenses is how that we use them in very, very specific Ways and no meaning. I've been doing this for 40 plus years. So when I started out there were only, the only good lenses were prime lenses. So you did carry eight lenses with you and you'd really use them like golf clubs. You pulled them out for very specific shots like a golf shot or a photo shot. So you got very quickly adapted seeing the world through those focal lengths and as zoom lenses got better and better then you could reduce the amount of stuff in your bag to the point where 95% of my shots are taken with two lenses. [01:16:24] Speaker D: Yeah, yeah. [01:16:25] Speaker B: And, but, yeah, but maybe that's just. You fall into bad habits. You just shoot the same way every time as well and your photos are boring because of it. Yeah, there's maybe that too. There's an argument to be said for that for sure that my photos are boring because I do the same thing over and over again. [01:16:42] Speaker D: I think you, once you, once you find, once you find what you like and what you enjoy and what works, it's, that's, I think that's part of developing your own style. [01:16:50] Speaker B: Yeah, I think style is a, another word for stagnation. If you have a style, you're not, you're not developing, I'm told. I'm very opinionated if you have a style. Style is great for business people, bookie for style. But I'll tell you, you do that style for 10 years and you're bored batshit of it. And you maybe can't grow as a photographer because you've been in that style for so long. [01:17:15] Speaker D: We see that with the musicians that are generally known as sort of being more creative, pushing the envelope a little bit more. You can see through their career, the style. Some of them manage to do it sort of slowly and bring everyone along. Other ones, they'll just be like, you know what? I'm, I'm doing country music now. And all their fans like what? But yeah, they get, they get bored with the, they don't want to. [01:17:40] Speaker B: But here's the thing. Yeah, but here's the thing. If everything you do is different as a musician and you have fans, your fans are following you because everything you do is different. Whereas if you, if you have, if you have a number one, your first song is a number one hit and it's massive around the world, you have a good chance you'll be a one hit wonder. Because all they want is that over and over again. Again. [01:17:59] Speaker D: Yeah. And then you bring out another of another album of those songs and they're like, they're not as good as the first one. [01:18:06] Speaker B: Yeah, there's a great, there's a great song called Box Set by the band Bare Naked Ladies from Canada. And it was actually on their first album and it was all bemoaning the success of if they had a number one hit single. And this is before there were anybody. They wrote this song and then years later, 15 years later, they had a one hit single and it destroyed the band because that's all anyone wanted anymore. Even though they had 15 years of music out there, what they became known for was the overnight sensation. You know, it's a great song. Just to talk about how the industry works as well. [01:18:38] Speaker D: It's very funny. So, yeah, crazy bit of a. Now that we're into the Glenn lavender section, a little bit of a layup for you here. Glenn, Lisa Leach. Good to see you. Lisa says hi. Glenn, when does your India September 2027 workshop open for boys bookings? [01:18:53] Speaker B: Well now the damn kids are almost back at school, I can actually start doing some work and I've got a meeting with my grand crew next week just to finalize stuff. So hopefully in the next two to three weeks we'll be up and launched which would be good. So nice to tick that one off and get on to the next thing. [01:19:09] Speaker D: Nice. [01:19:10] Speaker B: So that'd be a. [01:19:12] Speaker D: What are your bigger trips looking like for this year and next year? And are they all. So is like for you, the. I know you do lots of smaller workshops that you, you know, pop up through the year and things when you can schedule them in. But your big trip, they all booked out. 2026 is all booked out and done. [01:19:28] Speaker B: 2026 is full first part of 20September 2027 is the next bookings. Next openings. Yeah, really. And, and except for workshops that I do these days, I mostly do workshops in Melbourne, but I used to do workshops all over Australia, do workshops around America. But I've sort of kids, you know, and I'm the home dad. So my wife has a, an actual career that actually pays money and. Yeah, yeah, so I, I'm the home dad. I do all the cooking, all the cleaning, all the gardening, which is why the garden's full. [01:20:00] Speaker C: Am I supposed to be doing that too? [01:20:01] Speaker B: Food poisoning? Yeah, I do it. All the kids have got food poisoning and the garden's overgrown now. But I do, I do all the stuff. My wife comes home, all she has to do is put in her pajamas and put her feet up and, and relax and I do everything else. So. So life has become since they're having kids and that's probably going to change as they get to a certain age. But my eldest has autism and so that has its own limitations about. Sometimes you need to be a little bit more present. So I can't. I. I used to do over 100 workshops a year and now I'm down to 10, 15 maybe. So it's a vast change in life. Yeah. Actually about 120 workshops a year, I think was my maximum. And now and then I only do two to three tours a year. That's the way for, you know, two, two to two and a half weeks at a time. So, yeah, the rest of the time I'm there for the family, so. [01:20:58] Speaker C: Yep. [01:20:59] Speaker B: Yeah. Which is great because I love that. I mean, I'm, I'm a. My love language is, is helping and sharing and giving and that sort of stuff. So being able to do that for your kids is pretty cool, you know. [01:21:09] Speaker C: Yeah. [01:21:10] Speaker B: I'm very fortunate. [01:21:10] Speaker C: Yeah, yeah, yeah, indeed. [01:21:14] Speaker B: Yeah. But said hopefully a couple of weeks time, it's gonna be a cracking tour. A lot of rural India, a lot of out in small villages spending time with families, photographing them, crafting beautiful shots. I, I really shoot people. So. Yeah. That's all. That's why India draws me all the time. As well as the people are fabulous to look at. They photograph well and they're usually very well welcoming to you, which is always kind of nice. Yeah. [01:21:42] Speaker C: Yep. [01:21:43] Speaker D: I've been watching some POV footage of street photographers in India. [01:21:49] Speaker B: Yeah. [01:21:50] Speaker D: Just cruising around. [01:21:52] Speaker B: Yep. [01:21:53] Speaker D: In. Even in some of the popular places like, which I assume it's popular place for street photography. Varanasi, I've heard you talk about. [01:22:00] Speaker B: Yeah. That's the number one. Yeah. Yeah. [01:22:02] Speaker D: The number one spot. But it's still it. I'm trying to figure out what's going on because no one seems to be bothered by it. It seems if you live in a. [01:22:10] Speaker B: Country of 1.4 billion people, personal, private space, it becomes a very different experience. [01:22:16] Speaker D: Yeah. [01:22:17] Speaker B: So what we, what we understand as boundaries don't really exist. So. But yeah, there's, there's a couple things. The Varanasi is a little bit different because it's becoming to some degree a pay to play environment. So if you want to photograph the holy men, the barbers, usually, it's a bit of. Yeah. Bakshish has to come over and some of the guys there are, you know, dressed up models as opposed to actual holy men. And it's their job there to walk up and down and, and get foreigners to take their photos for money. So that's that's not a particularly fabulous experience and you'll see a lot of the same people in the same photos as you look around. However. Yeah, there are many, many genuine travelers there. As in holy men traveling and when you donate some money to them then it is going to either feeding them, allowing them to continue the journey or they have a small commune and it feeds the commune. So it's a very different experience than just give me some money from a photo and, and but I, so on. In places like Verinessi I will pay some people to take some photographs because they bit like I would a model here because that part of the tour can become a bit of education as opposed to just shooting. So most of the tour is shooting what happens but sometimes nothing's happening so you have to make it happen. And sometimes there's an opportunity to craft something beautiful. But it requires someone, especially if you've got eight people want to shoot, it requires that person to be with you for a little bit of time and be understanding. So if I'm going to ask someone to be with me for half an hour, I'm happy to give them a little bit of money to say thank you. Yeah, but it, but it's always not walk up, can we take you photos? Stand there, look there and everyone starts shooting. It's talk to them, find out their name, find out where they're coming from. Do they live around here? Is this a community? You know, learn something. So when you look at the photograph it's not just a cold, soulless experience like Mr. Wu, the cormorant fisherman in China who's standing there holding his lantern with his hat on and the cormorant with his wings out and the yellow mountain in the background. And there's 15 Mr. Woos lined up all the way down the beach, down the riverbank. And you can choose your Mr. Woo of choice for $40. You look at that photo and it's soulless and means nothing but people will espouse. Oh yes, Mr. Woo's just come back. He's a fifth generation corant fishing. He's just come back from, from being out on the water and we managed to catch him. No, it's not, it's all pay to play. So that's something we, we kind of want to be a little bit careful about and not trying to create those kind of environments. But every single morning I get blessings from holy men from, from Varanasi who we've shared WhatsApp numbers with and they send me photos of their families and they. I've got snake charmers from Pushkar who send me photos of their kids and stuff. Birthday parties. Yeah. We want to make the connection with the humans we're with because then when we look at the photos, it feels better, it means more and, and there's a better recollection. We don't want to look at photos and go, oh, yeah, he cost 500 shekels. That's. Yes. What's the point of that? You know that that's not, that's not travel photography. That's. I don't know what it is, but. So there's got to be some soul. Because I, I say in my talks that my photos are time machines. When you look at your photo, it takes you back to the moment. The sounds, the smells, the, the people you're with. It all comes back when you look at the photo. So you want that recollection to be a positive, enjoyable, joyful thing, not a soulless, horrible, crappy thing, you know, that's y. Yeah, yeah. Jason just asked, do I get nervous asking strangers to shoot them? Absolutely. I've been doing this for. This. It for 40 years. Every single person I walk up to is hard to, to do, you know, But I have a couple of tips, a couple of tricks. If you walk along with a stupid smile on your face and try and get eye contact with people and they look at you and smile to. At you, you've made a connection. If you give a bit of a wave at the same time in the way back, you've got a bit more connection. Yeah. And then you've got a little bit of an opening. You can say hello and see how they respond. It's really, really good to be a people watcher, to understand people's body language. Yeah. If you see someone hurrying down the street, you're not going to try and stop them to take their photo because they're in a hurry to get somewhere. If you see someone wandering around, just kind of glancing around or they're leaning on a pole, they're not doing nothing. Engage those people, talk to those people. And the worst someone can say is no. [01:26:56] Speaker D: Yeah. [01:26:57] Speaker B: And. And as I always say, and people find this hard to believe, when I was a teenager, I wasn't that attractive, not like I am now. And I would go to a blue light disco, which, if anyone doesn't know what that is, is an underage disco. And this was the 70s and early 80s, so, you know, discos were still a thing. And you'd go in there and you'd see A group of girls and you walk up to one and say, you want to dance? And no. Do you want to dance? No. Do you want to dance? No. If you ask enough girls, one girl eventually is going to say, yeah, I'll dance with you. Your night is made. You know, you walk down the street and ask 10 people to take their photo and two or three of them say yes. How many great photos do you need? You've got some opportunities, you've got some. And it's not just a photo. The photo is almost secondary. You've now got a chance to talk to someone, ask them about the environment, talk about where they live. Have they traveled here? Especially a place like Varanasi, People, they, they, they flock there for religious purposes to, to wash away their sins in, in Mother Ganga. So, yeah, they, they're excited to be there. It's like a vacation for them. So they're happy and if they're happy, it's really good, easy to engage them. Yeah. Jason says you'd love to try that in America. Absolutely. Because at least don't. Americans as individuals are fabulous people. It's the, the overall can be. But I've done, I've done hundreds of workshops in America. I've got many American customers are absolutely love to pieces. Like anywhere, there's a few Pratts. But, you know, you walk along in a game and I guarantee you there's still a love in America of Australians and Australian accents. So you say, g'. Day. [01:28:38] Speaker D: Hello. [01:28:39] Speaker B: Put another shrimp on the bar bay. Yeah. Straight away, you've made a connection with people. People will gravitate to you. It can be just as joyous and experience. There's an old homeless man who lives in Bethlehem, Pennsylvania, who, he is a ex Vietnam vet. He was an ex heroin addict. He was living on the streets. The first time I was, I was leading a photo walk through town and the first time and I saw him had this fabulous face. Now, I don't normally approach homeless people take the photos, but he had this gorgeous face. And the first connection was talking to the guy, not, can I take you for. Not sneaky with the 200 mil lens. It's walking up and saying, g'. Day. And after a few minutes talking, my God, he's from Vietnam. And he had lots of Aussie mates that were in Vietnam with him. And we had a connection, we talked and then I took photos of him and we all had a laugh. I gave him a bit of a hug. And then next time I've seen Bethlehem doing the same thing, I heard my Name being yelled at. There's John. This guy's running down the street waving. Do you want to take my photo again? You know, someone had treated him like a human and had a great experience with him and captured some cool photos. But, you know, it. It's. Yeah, it's engage people as humans first, photography second. Yeah. And, and, and even if they say no, you've had a good experience. [01:29:53] Speaker C: Yeah. [01:29:54] Speaker B: Even without the photo. Yeah. So that's a. A pretty good. A pretty good approach, I reckon. But it's never easy because. Yeah, we're shy people usually, you know. [01:30:05] Speaker C: Yeah. [01:30:05] Speaker B: We're behind the camera for a reason a lot of the time. [01:30:08] Speaker D: Yeah, that's right. [01:30:10] Speaker C: Yep, very true. [01:30:11] Speaker D: That is right. Okay. That was my phone. It's connected to the Bluetooth, but now it's making other noises. I don't like it. [01:30:19] Speaker C: That was your one hour and 30 minute reminder. [01:30:22] Speaker D: I know. [01:30:23] Speaker B: You forgot. I talk a lot, though. [01:30:25] Speaker D: The show is almost. We need. All right, we need to get to your images section because this is probably. This is the most images we've ever had. [01:30:31] Speaker B: No, we've got. No, we've got. We've got to talk Indian food first. [01:30:34] Speaker D: That's what I was going to say. But we also. And anything else that you want to chat about, specifically, Glenn, about stuff. Stuff you've got going on. [01:30:41] Speaker B: Thanks, Lisa. I've got my India, my next India tour launching in a couple of weeks if anyone's interested in coming to India with me and with Cam Blake, funnily enough. So, yeah, me and him mashing together for that. So that'll be a two egos on tour. Be fabulous. And I've got. So the next couple of. I'm off to Bangladesh in a couple of weeks. So, um, follow my, My, my Facebook or Instagram if you want to see some images from there. We're going to photograph some otter fishermen, which I've never seen photos taken off before. These guys who used otters to round up fish into their nets for them. Kind of a cool. They don't fish for otters, thankfully. [01:31:20] Speaker D: I was gonna say for a second there, I was like, I don't know where they're Gl. [01:31:25] Speaker C: Tastes like Al. [01:31:28] Speaker B: So it's like the cormorant fishermen in general, Japan, but they use. They use otters to do it. So I've never seen any photos done of these guys. So it'll be kind of an experience. [01:31:35] Speaker C: Yeah. [01:31:36] Speaker B: One of the great things about going to Bangladesh is there's a lot of places you go they've never seen. A Westerner before. So, yeah, you're the first Westerner. So you've got to be on your best behavior for once because you're setting example for, you know, a fair part of the population of the planet. But, but that experience. Oh, no, I know, right? That's what she said. But when, when you, when you make a connection with, when you go to places like that, it's so easy to connect with people because they're as interested in you as you are in them. And that's one of the big things of why I love to travel. I don't want to go to places where people don't want to see me and places like Vietnam as much as I like it. In the towns in Vietnam, they're so sick to death of having cameras shoved in their face 400 times every day that you're not going to get much of an experience with a lot of the, the people on the, people selling on the fruit and veg on the streets and whatever. So going to places where people are very curious about you is a great start for good photos. And I'll be doing another tour to Bangladesh next November, I think, so keep in touch with that one too, if he wants to come along. So, end of my workshops. I've got a flash workshop on February 21st coming up, in fact. So if anyone wants to, to completely change their world, the flash is my favorite tool. Given the choice, I would use, I would use flash in every single photo I ever took. And yeah, and I'm not to blow my own horn, I'm a master of natural light. I, I, I, I live and breathe natural light, but I prefer flash every single time because I'm a bit melodramatic and I can create more dramatic photos with flash and a bit. I'm a bit of a control freak. I want the light where I want it with the intensity that I want it with the color that I want it. And I want to be able to control ambient the way I want to. Which you can't do with natural light quite so easy. [01:33:24] Speaker D: Yep. Wow. [01:33:26] Speaker C: Very cool. [01:33:27] Speaker D: So every lens, all the light, control, everything. [01:33:31] Speaker B: Control freak. Yeah. And some people say, some people say control freak. Like it's a bad thing. [01:33:40] Speaker D: Well, not for a photographer, no, but. [01:33:42] Speaker B: Not for someone, for someone who leads tours, being on control of every single nuance of every single aspect of tour, it's actually a good thing. To be a control freak, to always be a tour leader is like a duck. Like most photographers, working photographers are ducks. You know, the calm on the surface pattern like crazy underneath because everything's going wrong. But yeah, that's, that's having all those things working in the brain at one time is actually kind of a good thing in that kind of environments, especially places like Bangladesh and India where stuff can go wrong. Speaking one more thing I could pump out there may or may not. I'm hoping it's going to happen, but I might be doing an Africa trip August, September next year, but Africa trip with a difference. We're going into working with some, some conservation people who are using infrared drones at night to track elephants moving through farmland and damaging crops and stuff and working on ways of mitigating human animal encounters. So be working with those people going to the Rhino Conservancy where they're breeding rhinos. All this kind of. So quite a different experience than big lens, shoot a line sitting down kind of experience. Yeah. [01:34:58] Speaker D: Sitting down specifically. [01:35:01] Speaker B: It could be laying down. Yeah, well, but that'd be Tanzania. And so I'm just working through the details on that. So. [01:35:10] Speaker D: Wow. So have you done, have you done Africa before? [01:35:13] Speaker B: Yeah, so I've done Tanzania before. [01:35:15] Speaker D: Yeah, Tanzania. But it's a more traditional one or more like this. [01:35:18] Speaker B: Yeah, it's a little bit as pointed, big lens at animals, a line sitting in a tree. Take a photo, take 4,000 photos or there's a line laying on the ground. Take 3,000 photos. There's. There's a line walking past. Take another 2,000. [01:35:32] Speaker D: Is it that, is it that, that you're not so excited about where it's sort of. It's not. There's a lot of waiting around. You don't have a ton of control because is it that like you, you like to be able to move, to be more dynamic? [01:35:48] Speaker B: I think I get the experience and it's not anywhere near as static as that, but it's like all the guy, all the drivers are in touch with each other from all operations and if something's happening, 30 vehicles descend on this one. Pride of lines and you. And then all of a sudden you've got vehicles behind your subjects and. Yeah. I don't know, your vehicle or you say you've got two vehicles wandering along by yourself exploring and finding stuff. Really kind of cool, your vehicle wandering along, trying to catch up with the other 20 vehicles that are already there. A little less, a little less organic. Yeah. And. And maybe there's a lot to be said for self drive. I know you can do that certainly in Kruger in South Africa, a little bit of self drive tours where you just literally wander around and See what you find. Yeah. You might not get some of the cool stuff that these guides are tapped into, but maybe your experience may be a more authentic, you know. [01:36:52] Speaker D: Yeah. Yep. [01:36:53] Speaker B: I don't know. [01:36:54] Speaker D: Natural. [01:36:55] Speaker B: Yeah, it's just. But that's, again, that's my sensibilities. Yeah. Look at. On the reverse side of things, you're guaranteed to get shots because everyone's tapped in. Yeah. Especially if you're going for, like the, the wildebeest crossing the rivers, you know, through the migrations. Somebody spots something happening, bang, you're going to be there, you're not going to miss it. So there's a lot to be said for being in the right place. You know, that's the problem with a lot of travel. It's. It's a balance between trying to make something authentic and guaranteeing to get some great shots. And that's the same with my tours. When we set up a photo versus allow things to happen, the organic versus the. Yeah. You've got to try and strike a balance between those two. Because if it's all only one thing, it's not as. Yeah. Again, you look back at the photos as you first thought, oh, look at that animal. Or I couldn't get the damn car out of the way. Yeah. [01:37:49] Speaker C: Yeah. [01:37:49] Speaker D: I don't know. [01:37:50] Speaker B: I overthink everything. So. Yeah, don't. Don't take my, My word on things. [01:37:57] Speaker D: No, it's a good, It's a good perspective and I think it's still one of those things. I'll still want to do it one day when I've got the money to go over there and, and, yeah, when you go. For me, it might. It's probably going to be more about seeing the animals than getting great photos. Probably. But I'll still try and do it in a photo kind of way. [01:38:15] Speaker B: But of course, because that's what we do. [01:38:17] Speaker D: Yeah, but it's, it's. I think, yeah. I'm not going to be going over thinking I'm going to make the world's greatest, you know, safari images on one trip, one quick trip, you know, compared to being done. [01:38:28] Speaker B: Go look at David Duchamp, many photos of elephants and you won't bother trying. You know. [01:38:31] Speaker D: That's right. [01:38:32] Speaker B: There's a lady called Piper Mai who does just remarkable shots in Africa. It's like, well, you know, I, I don't have those skills. I don't have the time to invest. I mean, these guys invest a long time to get a couple of shots. We're there for 10 days to get a thou. 10,000 shots, you know, exactly. We will have limitations and all those things. It's all about setting realistic expectations and, and the big thing. And I'll say this also for, for, for Jason, who was to about, in about America before. And I'll say this to everyone who travels with me, try not to have any preconceived ideas of the photos you're going to take. The less you can think about the photos you're going to take, the more you'll be open to seeing what actually is there to shoot. The more you go out looking for a particular type of shot, you're going to walk past the 10 great opportunities and may not find that opportunity that you were looking for. And that's especially true in places like India where everything is so dynamic. But if you're looking for one specific thing, you might miss a thousand great photos that weren't the photos you intended to take but were a far better recollection recreation of what you actually experienced. So try and, try and not think too much ahead. Obviously. Plan locations, look at a few photos, but don't, don't worry too much about angles and all the minutiae of details. So you are, you are open to actually looking, to actually seeing. And that's how you get photos that are uniquely yours is if you uniquely shoot the things that uniquely happen uniquely in front of you, you know. [01:40:06] Speaker D: Yep. [01:40:07] Speaker C: And there's a lot to be said for trusting your skill set too, that when that shot does come up, you'll know how to take it. You don't have to stress about it as much in the lead. [01:40:16] Speaker B: Yeah. You know, and be prepared to know you're going to lose a lot of shots. You're not going to get every photo, and that's okay. And again, in a place like India, there's a million opportunities. [01:40:25] Speaker D: Yeah. [01:40:26] Speaker B: You go to America, there's maybe if you want to shoot some people on the streets, there's less opportunities. If I wanted to walk down the streets of Melbourne to photograph it, there's less opportunities where people would be open to be photographed loving them versus a place like India or even Africa or. Yeah. Vietnam or Myanmar or anywhere you travel to, there's more opportunities for interaction for those sort of photos. So setting realistic expectations is, is, is really important. And, but if you're in a place where there's a million opportunities, don't. Doesn't matter if you lose 100. Doesn't matter if you miss the first hundred. Yeah. Just keep persevering, you know. [01:41:03] Speaker D: Yeah. [01:41:04] Speaker B: How many good photos do you need just one. [01:41:07] Speaker D: Yeah. [01:41:09] Speaker B: My goal per year is six to 10 photos that I love, and I rarely get there. I really rarely get 6 to 10. And. And as is always the case as a photographer, the six to 10 photos that I love, no one else likes. Yeah, yeah, yeah. They're the ones you put on. You put on Facebook. Oh, people gotta go eight for this. And you get crickets. Happens every single time, you know? [01:41:30] Speaker C: Yeah. [01:41:31] Speaker B: So what would I know? [01:41:32] Speaker D: I've actually got our first lot of images that we'll look at. Actually have an interesting, interesting question along with them that's kind of on that. On those. On those lines. [01:41:43] Speaker C: So let's bring them up. [01:41:45] Speaker D: Well, do we. Anything else, Glenn, before we go to. [01:41:48] Speaker B: I'll talk all night long on this stuff, so we just should move on. [01:41:52] Speaker D: All right, let's do the world's fastest what's in the box segment. [01:41:59] Speaker B: Hope. Hope is all that's left in the box. [01:42:04] Speaker D: Oh, will it focus? [01:42:06] Speaker B: He's focused. [01:42:10] Speaker D: What do we got? I had to get one because Greg's got seven and we're gonna have a little competition. [01:42:16] Speaker B: And he wouldn't give you one of his seven? [01:42:18] Speaker D: No, no, he wouldn't give me one of his. I got this one. Hang on. Is it gonna. Oh, Canon's. Come on. Canon's so good at focusing on my eyes. It just says no. Anyway, it's that one. [01:42:30] Speaker B: Put your hand behind it. Put your hand. Put it in front of your hand. [01:42:34] Speaker D: There you go. Oh, you are good at photography and stuff. Wow. Have you got that one yet, Greg? [01:42:44] Speaker C: Not sure, because Sasha's bought a few too, so I think we're only missing the. Yes, she has. Every time a parcel arrives from somewhere, it's like, oh, yeah, there's another one on the table. [01:42:54] Speaker D: Thing is so small. [01:42:56] Speaker C: So small. [01:42:57] Speaker B: That's what she said. [01:43:00] Speaker D: I walked into that one. Okay, you did well. Now I officially have my little Kodak key ring thingy that I'll use once and then put on the shelf. [01:43:11] Speaker B: Exactly. [01:43:13] Speaker D: We'll do our challenge. Okay, let's get to the. Your images section. The biggest one ever. Shouldn't skip a week. This is what happens. Okay, first images from. I'm gonna read this email at first. Actually, no, I'm not. These are from Dave Digifrog Clark from Tassie. Just a random chat you boys may relate to. I've attached a series of three for your listener viewer images. My Canon mirrorless with 24 to 105 at 6.3 1000th, taken south of Hobart, base of Mount Wellington. [01:43:52] Speaker B: Why? Thousand set to 10,000. [01:43:54] Speaker D: Hang on, hang on, hang on, hang on. He goes on to say, hang on. Whenever I get a half decent shot, particularly when shooting for me, I often stew and procrastinate over which one is the shot, which to share, print or display. Doubts arise. I question my first choice. I ask the misses. She says totally different one to the one I was thinking is her favorite. And so it goes on so much that in the end I usually just leave them on the hard drive and they never see the light of day. This set is a prime example taken 12 months ago to the day. I obviously edited the, edited them at the time and for the reasons above, never revisited them, shared them or printed them. Only come across them today. And my first thought was, my first thought was, why didn't I ever do something with that shirt shot? Does anyone else have this conundrum? These three, for example, same subject, all different. I like each one for different reasons. So we quietly slip into the undecisive and insecure photographer mode. Follow them close lightroom, and then that's the end. Yeah, I don't know, is this like, oh, actually, finally there's a little bit, little bit more really conscious as we get older. We need to print more. Seriously. Can't imagine our kids are going to ever want to go through how multiple scattered hard drives and lightroom catalogs when we check out. They may however, read a coffee table book, flip through an album of granddads, or Stan, you know, I've lost my place. Anyway, you get the picture. You get the picture. Dave's worried about what are we doing with our photos and how do we pick which ones are the shot when there's three. Three very similar shots, but I would. [01:45:38] Speaker B: Just say delete the first two. It's pretty simple. Dave. [01:45:41] Speaker D: I, I wanted to say 100. I agree completely. [01:45:45] Speaker B: What? [01:45:45] Speaker D: It's interacting. [01:45:47] Speaker B: Show me number two again of the big rabbit. [01:45:51] Speaker D: I'm glad we're on the same page on this. All right, where are we? There we go. [01:45:54] Speaker B: That's a rabbit. No one would ever know that's a kangaroo or wallaby overseas. Oh, look at that. Nice, nice looking bloody rabbit. Go show me number one. If you're not going to clone out that bit of weight on his nose, don't bother showing the photo at all because it looks like it's stuck to his nose. And that is something strange. It's like an arrow in his heart. [01:46:18] Speaker D: Yeah, not enough. Not enough. When it comes to silhouettes, it's all about the shape of the body. And what you can see. Yeah. 100. This one. As soon as I can kill a shot. Yeah, I was like, this shot is. Is awesome. This is an awesome shot. [01:46:32] Speaker B: This is the one Kraken shot. How many photos do you need, Dave? One. One great one. That's a great one. Job done. Toss the others. Delete them off your hard drive. Don't ever look at them again. All killer. No filler. [01:46:45] Speaker D: Isn't it hard, though, I guess when you. When you're so in too close or whatever and you're going back and forth, but as soon as I saw this one, I was like that. That's the best shot out of those three. And it's. It's. Yeah, look at it. Look at what's happening. It's. Yeah, there's so much more story to the image. It's. Yeah, it's perfect. [01:47:00] Speaker B: But what do you think? What do you think when you look at this photograph? What do you do? You put yourself in the. In the animal's place. Do you think, what's he doing? Is he pulling it towards? Is he smelling it? What story being built. And you can imagine you almost. You're anthrop. Anthropomorphizing this. Easy word to say. So I'm not anthropomorphizing the kangaroos to what it's doing. The other one's a lump or something standing there with an arrow in its heart. You know, there's no story. Lump. And great, great story. Great photo. Fabulous moment. Caption. Why should there be any doubt? [01:47:32] Speaker C: Be critical. [01:47:33] Speaker B: Be hypercritical of your stuff, but don't listen to your voice saying you're. Because you're not it. All you did is you work through. You sketch through the shot until you nail the. The decisive moment, the right time to shoot. And Dave, you know I love you. Just send me your photos and I'll pick the crap out of them for you and I'll solve all those problems for you. [01:47:52] Speaker D: Yep. [01:47:53] Speaker B: You know, I would. Did I mention I'm opinionated and I'm happy to share those. [01:48:00] Speaker D: Yeah. [01:48:02] Speaker B: Beautiful. [01:48:02] Speaker D: David, it sounds like the. The chat agrees with that choice. Silhouette. Stronger. Doesn't have the grass growing out of its head. Yeah. Three for me. Roof fiddling with the grass adds interest. Dave's given Bruce Moyle a crisis about his hard drives, but. But it also agrees about number three, Dave. Dave was worried that he looked obese. Yeah, potentially. Yeah. The silhouettes are weird, man. Like silhouettes of people. You notice that really quickly shooting silhouettes that, like, if they're Turned the wrong way. You can't use it. You need to be able to see legs, legs, arms, like. Otherwise they're a weird shape and they don't look human. Exactly. [01:48:45] Speaker B: Yeah. [01:48:46] Speaker D: Number three. Number three. Yep. Perfect. [01:48:49] Speaker B: Dave, it's. Y O, U apostrophe re on. You're on. Not you're on, it's. You are on English lessons too, mate. Come on. Me and Dave go back a long time, by the way. Purple. So to me, digi frog. So I love into pieces and. But I love his dog more. [01:49:11] Speaker D: Let's keep. Let's keep this show rolling. We're going to go to another. Dave. David Leporati actually sent these ones in before our last show that we didn't do last week. So they've been waiting for a while on my hard drive. And he says, I thought I might really mix things up with something totally different. These are some of my digital photo art images I produced several years ago. Watercolor of my children when they were young. Zoom in to see the watercolor paper texture. Now, I need to sit here somewhere. Each of the painted layers has a mask which is adjusted to bring the smaller, sharper details into the photo image. Yeah, there's a whole. There's a whole lot of details here. Very, very. Hang on, let me get to it. So image number two, rodeo rider in oils. Canvas, texture applied. And then image number three is another rodeo rider in oils. And then you can see. [01:50:18] Speaker C: All the. [01:50:18] Speaker D: Different layers that he draws, which I think he said he draws with. [01:50:24] Speaker C: The. [01:50:27] Speaker D: The Corel Painter digital photo art software. Like using a stylus. Where is it? There's so much detail in this info, but, yeah, crazy. Crazy amounts of layering. Oh, wow. [01:50:45] Speaker C: I love the way he does the exploded view. [01:50:47] Speaker B: Yeah. [01:50:48] Speaker C: That itself is an art form. Yeah. [01:50:53] Speaker D: Crazy. You should make tutorials for how to do things in Photoshop. Corel drawer art. It's. Yeah. It's insane. Yeah, It's a very interesting technique. Taking it from photography to. I mean, I guess a lot of people paint, literally paint their. Their photos as a form of art. Yep. I've never tried it. I'm terrible, terrible painter. So. Yeah, unfortunately, David, I still don't quite understand how these were created, even with the exploded view diagrams, but it's very impressive. Well done. Yeah. All right, who we got next? Phil Thompson. I'm going in a strange order tonight. I gotta try not to miss anyone. Phil Thompson says. Well, I'll say this one first. Firstly, thanks for your wonderful advice regarding the camera strap and the speedy delivery of his camera strap. [01:52:01] Speaker C: Nice. [01:52:02] Speaker D: Anyway, moving on. He was able to capture the aurora at Torquay and somewhere else. I can't pronounce Connor War. Connor. [01:52:16] Speaker B: The Connor worry. Yes. It's a. Like a backwash, like a lake. A salt lake. [01:52:22] Speaker D: Okay. All right. Right, right. [01:52:29] Speaker B: Strong bar one head. Sort of. Yeah. [01:52:31] Speaker D: Had to contend with clouds and they began to clear progressively. Camera is a Pentax K1 Mark 2 using the 15 to 30 mil. Lens settings were ISO 6400 on all of them. 2.8 on all of them. Shutter speeds 4 and 5 seconds from for Connor worry and 4 and 6 seconds for the talkie ones. So you got the aurora. [01:52:56] Speaker B: It was a big night. Maybe another big night. Tomorrow night. If anyone's thinking of going out to. The forecasts are looking like tomorrow or the day after. I think the third largest solar flare power in 10 years or something is launched off the sun. It depends how it all lines up. I don't know much about it. I don't do landscapes, but I did see some info during the day. [01:53:25] Speaker D: Very cool. I'll have to keep an eye on it. Maybe it's finally time. Yeah. These are great. Well done. Good job getting out there. I like the track in there. Very cool. Yep. Nice reflection. Okay, now, David mascara. Coming in early. I'm actually doing in order of submission tonight. Starting with the oldest, working to the newest. I hope you had a good break. Time to get back at it. Here's a slightly different type of street picture. These are more quick grabs or if it looks like I interacted with someone, maybe a quick. May I? At most not. Not. Whereas he normally sits, sort of chats with people for a bit of time and then takes their portrait. Always hit and miss what people's reactions will be. So I'm always on high alert. These with nikon film cameras, F6, F2, as F3FM3A and the classic range finder with HP5 film. Welcome back and have a great show. Gosh, you live in a cool place. So many characters. Yeah. Nice. [01:54:46] Speaker C: Yeah. [01:54:47] Speaker D: I think I like that one. [01:54:49] Speaker C: Yeah. I like the guy squatting down. [01:54:53] Speaker B: In. [01:54:53] Speaker C: The doorway, I think. [01:54:54] Speaker D: Yeah, yeah, yeah. Very cool. Always very cool. And all on film. I've been shooting some film. It's fun. [01:55:08] Speaker C: Yeah. I've got a new film camera lens for you here. [01:55:12] Speaker D: Yes, yes, you do. [01:55:13] Speaker C: Get it in a couple of days. [01:55:14] Speaker D: Yeah. For my new film camera, Nick Fletcher says fic. I checked out for four days and Glenn is still banging on. [01:55:25] Speaker B: There's no one here called Glenn, so we're okay. [01:55:32] Speaker D: And then he Says, when are we getting David M to Australia? I love David's photos. Yeah, his photos are cool. To put together something, he needs a website or somewhere people can go to see all these street photos. Okay. Where's Gareth? Gareth. See somewhere. There he is. I'm hoping to get back in the studio sometime this year. We've been going through some of my old photos to update my website, so I thought I'd send them in for a review. This was my first studio shoot back in 2014. It was with a group of photographers in Paris and they were virgin, very experienced with lighting, which was great because I was and still am clueless with artificial light. Oh, I know someone who could teach you. Yeah, his name is Glenn. [01:56:18] Speaker C: Glenn. [01:56:20] Speaker D: Glenn shot on a Canon 70D with the 7200F. Four second photo was at Shadow D Vincennes in natural light with the same camera and lens. I'd only been shooting for around a year at the time. Living near Paris was just amazing for photography. The groups, locations of the weather, all helping to shoot every weekend. The model was a student at the time and now an up and coming fashion designer. Very cool. Do you ever go back through your old photos, Glenn? [01:56:53] Speaker B: Nah, it never. Why bother? Yeah, if there was, but I saw them the first time, they're still going to be. [01:57:05] Speaker D: What about, what about old photos that you liked? Do you ever go back and just look through stuff or is it. [01:57:10] Speaker B: I don't look at it. I don't really look at any of my photos to be honest. Any photos of the kids, family, that's all that matters. The, the problem is for the last 20 years the majority of my photography has been teaching or tours and so a lot of similarity in the images because I'm teaching same principles. So there's many variations on the same theme. So that kind of doesn't make you want to go back and look at them and yeah, if I liked it enough then that it stood out, I would be using in my talks, I'd be using it in my presentations. That kind of. It would. It would still have a little bit of life somewhere unless it's being replaced by something far better or better or slightly better or marginally better or less crap, as the case may be. So always looking, always looking to improve the images. We use to talk about capturing images. But. So I don't know. So who are these from? It. Sorry, this is from David say. [01:58:15] Speaker D: No, this was where I was. We. Gareth. [01:58:18] Speaker B: Gareth. Just go back to the first one for so because these are the very early ones in his shooting career and he was shooting with other people. And I feel more okay to actually give critique on the photos which I didn't do with the previous ones. You might notice for the only time tonight I was quiet. [01:58:38] Speaker D: I did notice. I was like, is his microphone broken or what's happening here? [01:58:42] Speaker B: So just so. So there's lots of. To me, this is a good starting image in the shot. And I don't think it's anything to do with, with, with his setup is how they've been said. The. The eyes are very dead. There's almost no cat's. A tiny bit of catch light in the right eye. There's nothing almost on my screen. There might be in real life, I don't know. But it doesn't. It doesn't. Oh, I need to see some depth in those eyes. So a little bit more catch light. I don't care about a flyaway hairs. They don't worry me. See. So you can see the lights just a little bit too high. Because it's too high. We've got no catch light. She can look, she can have the exact same pose, but the light is set too far above her head. So it does two things. It gives her no catch lights properly in the eyes. And then look at the shadow under the chin. It's a very, very strong fall off. The chin becomes foreshortened basically by having no depth underneath it. It's. It's almost truncated. Biggest shadows falling off as it's. As the, you know, the actual chins receding it. If that light had been brought just ever so slightly forward, you'd have catch lights and just a tiny bit more sort of fall off under the chin. And the shot would have had more depth and a bit more attraction for you to stare at. Hypercritical. I mean, if this is the first time you're doing this stuff. But if more experienced people are setting it up, maybe they're also still learning as well because. And here's the things. If. If I was shooting this setup, so if next time Gareth was. Was thinking about it, I would get to take half a step back. I'll get to take. Shoot where she is maybe half a step. I'll get people to move through the light to see just how the different spills are on her face. So if she took half a step back, that light now is further forward. She'd have catch lights and less light under her or more light under her chin. And he may prefer. You may hate that, but at least you see it. If you want to learn how to light someone, Walk them through the light a little bit. Give them. Walk them through the arc of light and shadow and see what suits your taste. And we're talking the difference of 6 inches backwards. It's almost like a lean back and forward. But you learn so much about how to light someone just by that slot. And even if you've got like two strip boxes set up on the side, get someone to walk through it and they walk straight the way through, all the way through the lights, even past the lights to see how the lighting changes on the person. Going from full to. To half lighting to rim lighting. Yeah, you get to really learn how to light someone by not shooting camera down two eyes and just watching them move. So if that's something people are looking at, doing, experiment with that. We tend to set something up and shoot 50 shots of the same thing. Yeah. Whereas we could maybe do half a dozen of this one, take a couple inches back, take another half a dozen, change the pose. You know, try these experiments to find, as you said earlier about finding your style, finding the thing that excites you in the lighting, finding the way, the way that appeals to you or makes you feel you've caught the strongest image. And you do that by experimenting slightly differently in, in the shots in the lighting, if that makes sense. And the second one, I. I think she's lost her balloon. It's just, it's just gone. [02:01:56] Speaker D: It's just out of. It's slightly out of frame. [02:01:59] Speaker B: I think it's up there and. And she should be looking higher because where's the balloon gone? I just. When it comes to story, I'm confused about. And again, this is a long way back. And this is my opinion. And you know, I'm happy to be told that I'm completely wrong long. But I don't really understand what's going on in the photo. Yeah, she could be reaching out for someone's credit card for all I know. Yeah, there's. There's. There's an unresolved story that I don't understand and that's been critical. But I think tough love is still love. And I think people, a lot of, A lot of shows, a lot of things I see online, people never uncomplimentary about the photos that are shown. And I don't know. And I'm happy to be the bad guy and be the one who feels as being a bit of an. And doing people a disservice, but maybe some people might learn a little bit of a different way of seeing if Nothing else. [02:02:59] Speaker D: Exactly. That's constructive criticism. It's. [02:03:02] Speaker B: And. [02:03:02] Speaker D: And that's always the. The way. I guess even calling it constructive criticism is supposed to be a good thing. It always still sounds bad, but it is good. It's. What? Because, like you say, it's your opinion on what you would have changed about the image. [02:03:14] Speaker B: Yeah. Yeah. [02:03:15] Speaker D: Based on your experience. And. And you've had a fair bit of experience, so. Yeah. [02:03:18] Speaker B: Yeah. Good on you, Gareth. I mean, and again, it's just an opinion. But here's the thing. If you're doing this shot and this is your idea, shoot that idea, because that's what's. But maybe. What else can I do before you move on? Can I shoot lower? Can I shoot higher? Yeah, get. What if she crosses her arms? Or she. Yeah, try and. They may all suck, but that's how we learn what we like. You know, if we come up with one idea and then move on to the. It's hard to find good lights. It's hard to find good locations. There's no point going there and just taking one photo and moving on, trying to find the next good thing. Yeah. How can I work this? What if I tried different angles? What if I tried different heights? What if I was lower? What if I was higher? You know, all these things. Yeah. Yeah. Before you move on. Yeah. [02:04:01] Speaker D: Great advice. Don't give any more, though. Don't give any more, though, because otherwise this show will be nine hours long. We've got a pile of. A pile of shots let's get on to. [02:04:15] Speaker B: Hopefully they're all. I won't have to give any commentary. [02:04:20] Speaker D: Philip Johnson says this image was captured in the megalong valley in Blue Mountains. The white gums have always caught my eyes. Captured as eight separate segments as a panorama merged in Photoshop. Tidied up using Topaz shot with the A7IV Sony 7202.8. Hang on. I don't know if we can. No, I tried to zoom in and she didn't work, but. [02:04:46] Speaker B: Yeah, you see, you zoomed really close in on that shot. [02:04:49] Speaker D: Amazing. Yeah, that was the other shot, unfortunately. I can see it really big and it's very cool, but it's not zooming in very well. It's great. It looks like. I can't tell. It's hard to explain, but it is. It's a big file. Very nice. It would look cool printed. [02:05:14] Speaker B: I don't like the green tree on the right. [02:05:17] Speaker D: Hang on. What green tree? Oh, what green tree? [02:05:20] Speaker B: How can you. How can you not see it? [02:05:21] Speaker D: See well. So do you think it would be more balanced with that? Not there. [02:05:25] Speaker B: It's not the balance. Think about pulls and pushes. I'm going to talk too much. Pulls and pushes in a photo. Where's your eye being pulled? Where's your eye being pushed? That's a heavy, heavy weight in that photograph. That's all light, light trees and light airy. And they've got this heavy element on the right hand side that draws your eye. So that's a pull straight away from being able to see the photo as a whole. I love you, Phil. I knew it was yours as soon as it came up. But Phil's a great guy. I love. I love Phil's bark stuff. I think it's fabulous. [02:05:57] Speaker D: That's what I. That's what I wanted to get to is the bar. [02:05:59] Speaker B: That tree just kills me. But that's just me. [02:06:03] Speaker D: Yeah, it would be interesting. I can. I get to manually crop it here. I'm just seeing it without it. I. I mean, this is going to sound bad and obviously I wouldn't do it, but if I could chop that tree down, I feel like that would be. [02:06:14] Speaker B: Yeah, good. Good idea. Yeah. I'm with you on that. And I'm down with that. No problem. [02:06:22] Speaker D: Okay. Tree bark. [02:06:26] Speaker B: If that tree was in the middle. Okay. Then there's a juxtaposition between all the white trees and this dark tree with green. Then you've got this juxtaposition and different weight and different balance and different story. You know what I mean? Your eye is telling you these two conflicting feels about how the photo is versus it's on the side. So it's a secondary, not important thing. But it draws my eye. Sorry. Go onto the back, onto the bark. [02:06:56] Speaker D: Tree bark is. Is an addiction for me. It's in a way, unique, hard to copy, easy to access, especially if mobility is an issue. Trees, we have plenty. And the best time to shoot is when the bark is wet. A 74.7202.8. I do like your tree bark. [02:07:14] Speaker B: Every time I see his tree bark photos, I think of the 1990s band Lost Trios Ring Barkas because it has the word bark in it and I can't not. And they had this really bad song and I just, you know. Next. [02:07:31] Speaker D: Next. Yeah, it actually does look like an album cover. Yeah, I love the one. This looks like your cd. [02:07:40] Speaker B: If you know the band Stone Roses. There's a very. Is a quite a Stone Roses kind of vibe to it. [02:07:46] Speaker C: Yeah, it is too, isn't it? [02:07:48] Speaker D: Yeah. Even with the little. The Philip Johnson Photography. Logo down the bottom. I'm sort of like sitting back and I'm like. [02:07:54] Speaker B: I'm amazed at the wilderness and finds that logo stuck on stuff. [02:07:59] Speaker D: Incredible. Okay, LTK, let's go. Photos from the 24 hour race at Daytona. That's cool. First photo. These aren't in order. I'll do my best. First photos, one of the cars overheating. The other two when heavy fog come in. And then the others are racing shots. So car overheating. Hang on. Heavy fog. That's interesting. More heavy fog. [02:08:38] Speaker B: But these last two story straight away, you're imagining yourself there. You're imagining the sounds, the smell, you know, it's evocative. Yeah. There's a. It evokes something in you. Look at that. This car's zipping past. Who's this guy? Is he a manager? He's the next driver in the car. [02:08:52] Speaker C: Car. [02:08:52] Speaker B: Is he someone from the pit crew? You know, there's the story happening all the way through the shot. [02:08:57] Speaker D: Yeah, I really like that one with the silhouette going through the. Yeah, like. So that. That one too. But I think I like this one more. [02:09:05] Speaker B: Yeah, but so that one, he's got the headphones on, though, so he kind of. It puts you there on the track. Yeah, he's got the noise. He's. He's almost like those guys down at the airport waving the planes in. You know, he's. It's this, this story galore in this shot, you know? [02:09:19] Speaker C: Yeah. [02:09:23] Speaker B: But. [02:09:27] Speaker D: Don't hold back, Lyn. [02:09:29] Speaker B: No, I know this this way. I've taken 4,000 panning photos in my life, and 3,999 and a half of them sucked. So I admire anyone who can pan and even get something remotely being able to tell what the object is. [02:09:47] Speaker D: Yeah. [02:09:48] Speaker B: So. [02:09:49] Speaker D: Yeah, and Tony is very jealous. He was actually, while we were hanging out, he was watching this race live the other week. So, yes, he would be very jealous. LTK says. Got in the car at midnight, drove 11 hours to Florida, spent four days at the track camping out. Didn't want to send in just clean shots of the cars. Yeah. Well, thank you. I'm glad. I'm glad you. Is those fog shots and stuff something you would normally do or are you trying to push yourself a little bit and do something. Do something different because. Yeah, I do. I really like that one. Very cool. Okay. Felicity Johnson. [02:10:27] Speaker C: Oh, this is bound. [02:10:28] Speaker B: Oh, that's awesome. Yeah, that's awesome. Look at that. [02:10:31] Speaker D: We're getting through them. Here we go. Let me see. I don't know which One's which to read out what a spiral of fleece was taken at East London near Serpentine. Yeah, I got it. I got there. Focused on. Focused on the farmer. 1/30 of a second. ISO 100F22 on my old Nikon D750. Yeah. [02:10:58] Speaker B: Lovely. Then desaturated. But I'm looking. Looks. Feels like desaturated in post. [02:11:04] Speaker D: It looks like it, yeah. [02:11:06] Speaker B: Which is good because the color becomes the standout element again. Pulls and pushes. So that color pulls is another element that pulls you to the subject. And we will, we'll see with that peripheral vision the, the flow and movement of the sheep. But the story and the intent and the, and the, the concentration is all on the guy and that's where we want to be pulled. [02:11:28] Speaker D: Yeah, yeah, yeah. If. I mean the hard thing is, is the. These scenes don't just happen continuously, so you've got to go quick. If I was being fussy, I would love it if his hat was framed in the shed. Slightly lower. It didn't have the roof intersecting with hat lines. [02:11:50] Speaker B: Yeah, I crop the foreground too. [02:11:53] Speaker D: Oh yeah, just get rid of it. [02:11:54] Speaker B: And by cropping the foreground, you'd also get rid of some of the. The sky which is a bit of a pull because it's. It's this big white bright object. So just tightening it up 10 or 15% would. It would increase the feeling of motion because there's no static element in front of them. So the ground is static. So that anchors you. The. If you didn't see that grand. Just hold your hand up in front of. In front of the screen, everybody, to see if all you could see was sheep. All you feel is movement. It just changes the intensity of the shot. But that's just my opinion. [02:12:27] Speaker D: Always just European, but everyone's a fan. Great photo. And yeah, Bruce Moyle said, look, it's a picture of Fujifilm users. [02:12:38] Speaker C: Oh, whatever. [02:12:39] Speaker D: And I thought that was good. Okay. Creek amongst the ferns. Taken on a beef up trip at Mount Buffalo. What's. How do you pronounce that? Yeroban Creek. Yroban Creek. [02:12:52] Speaker B: You're open. [02:12:52] Speaker D: Yeah, you're open. Okay. [02:12:54] Speaker B: Yeah, down. Further down. It's got a good Murray Cod. [02:12:57] Speaker D: Really? Oh, is this the. What, really? [02:13:01] Speaker B: Yeah. So I'm. I'm the font of useless knowledge of all sorts of things. [02:13:07] Speaker D: Yeah. And finally this one's called you've got a problem mate. Hang on. Is it? Yep. [02:13:15] Speaker B: Oh, yeah. [02:13:16] Speaker D: Take. Taken on a beef up trip at Mount Buffalo. No Magpie collecting nesting material. Giving Me, the look. [02:13:24] Speaker B: It looks like you say, you've got a problem, mate, and I'm your problem. Yeah, that's cool. Shot. I love the. The swirl on the beat. The swirl of those lines on the beat. They're kind of drawing you down to the. To the point. And there's no one even. Yeah, yeah, yeah. It's kind of crooked and a bit. A bit evil and a bit twisted. It's kind of nice. [02:13:43] Speaker D: Yeah, yeah, very cool. [02:13:45] Speaker B: Malevolent. [02:13:46] Speaker D: Malevolent. Yeah. I don't like it. [02:13:50] Speaker B: It's looking. I like that in black and white. The green. The green kills it. I'd love to see that in black and white and. And some real focus on the eyes and really draw you to that strength, because I think the green makes you look through the photo more, and I think that if the. If the background was black and white, you would stop at the bird more. That's just me, in my opinion. [02:14:12] Speaker D: All right, onto the next one. But before I do, Greg Carrick says, did you miss my shot? If so, next week is fine. No, I've got it here. We've just got lots, and I did them in order of when they come in. So we're still working towards yours. We're getting there. We're getting there. Okay, next. Scott Longdon, Tintype man. Hi, Justin. I trust you. Well, thanks for all the well wishes. Recovery is going well and hopefully I can get back into the dark room in the next week or two, start submitting some more tin types in the interim. I know Greg is interested in macro. Oh, my gosh. Hold. Hold the phone. We've got a. [02:14:50] Speaker B: Hey, Dennis. [02:14:52] Speaker D: Hold on, caller. Hello, Nick, can you. Can you hear us yet, Nick? No, hold on, Hang on. Is this gonna work? Why does it never. This is the worst podcast ever. [02:15:09] Speaker B: Well, thanks. [02:15:10] Speaker D: Hold on, caller, hold on. Not because of you, Glenn, because my phone never works. Can you hear us? [02:15:16] Speaker B: That's just your opinion. [02:15:18] Speaker D: Hold on. Oh, we're almost here. We got it. Okay. What's going on? [02:15:23] Speaker E: You're ten. Four rubber duck. [02:15:26] Speaker D: What are you doing? [02:15:29] Speaker E: I'm listening to Glenn mispronouncing you Robin. [02:15:35] Speaker B: You Robin. [02:15:37] Speaker E: You're Robin. [02:15:39] Speaker B: You might be Robin. Every. Every cod fisherman I've ever known has caught a cod in Europan Creek has called Euroba. [02:15:47] Speaker E: Well, I'm only saying that I. I live on your Robin Creek track, next to your Robin Creek. It's not far from Robin Falls. [02:15:56] Speaker B: Does have some nice trout in it. That far up? Maybe it's the country gently further down where the cod are. That Call it something different. Not the highfalutin. [02:16:05] Speaker E: I would think so. [02:16:05] Speaker B: Hill folk. The highfalutin hill folk. Call it something different. [02:16:09] Speaker E: I, I and I, I also wanted to say I, I reckon Glenn is about the best critique of photography I've listened to. I just thought it was absolutely wonderful. But at the same time, you need someone who goes, shut up. That photograph is amazing. [02:16:25] Speaker D: First, he doesn't, he doesn't preface it with this is wonderful, but tough love is still love. [02:16:37] Speaker E: That photos that we've just looked at were universally pretty bloody good. Glenn picked up on the things that would make it brilliant. [02:16:46] Speaker D: Yes. [02:16:49] Speaker E: We should probably say they were pretty bloody good first. [02:16:53] Speaker B: He's right. [02:16:54] Speaker D: That's mine. [02:16:55] Speaker B: I don't say that very often to anybody about anything because I never admit I'm wrong. But he's right. I should, I should lie and say I really like this photo. But. [02:17:09] Speaker E: But, but it's like this, the single most useful set of critiques I've, I've heard. So Glenn, thank you. [02:17:15] Speaker D: Thank you. [02:17:18] Speaker B: Here's the thing. So to anyone, the way I critique photos and I can just disassemble any photo in 0.2 of a second, tell you every single thing that's wrong with it, in my opinion, because that's what I have to do to all my crap photos I take. Every single photo I take, I look at God. Jesus, Glenn, why'd you have that, that and that in it? And I have to fix it there and then on the spot. And I've got two seconds to take the photo. So I'm for years of just disassembling my own and making it slightly less by finding those things that are pulls and pushes and weights and balances and all those things that change the shot so I can be a little bit blunt and Nick, spot on, I should always say. I really like that. I would, however, possibly look at changing. It's just not my nature. But he's spot on, right? [02:18:05] Speaker E: Oh, Glenn, I, I, I, I love you like a brother. I think that's exactly the way to go at it. But it's a big, brutal way to live. [02:18:11] Speaker B: Yeah, absolutely. And that's why I hate my own photography so much. Nick. [02:18:19] Speaker E: I'm with you all the way. [02:18:21] Speaker B: It's not even a joke. I can't stand my photos. [02:18:23] Speaker E: I know. I'm with you. [02:18:25] Speaker D: You hate, you hate Glenn's photos as well. Nick. Love your dear. [02:18:35] Speaker B: Okay, we'll have to sit down one day, Nick, and just pick the crap out of each other photos. That'd be awesome. [02:18:41] Speaker E: I, I, I think it's the single fastest way to improve. But it's so painful. [02:18:46] Speaker B: Yeah, yeah, but, but having said that, there's nothing I have not. I never say why'd you shoot that crappy sub? I never pick on the subject. I just say these couple of elements are a distraction or they're unthought. You haven't thought through how it could be slightly better is there's never a critique on the photo itself, just the weights and balances and, and, and how people see photos. So I hope that comes across a little bit more to people that it's never. Everyone's photos are great. Everyone. Yeah. This is your art. You do what you want. But in always. And I was preface in my opinion that slight variation would take your great photo to really great. [02:19:25] Speaker E: I, I used to there was a great. It no longer goes. There's a great podcast called Long lens fast shutter. You can still download the episode episodes and there was a guy called Matt Cohen who's a rodeo photographer, sports photographer. And I used to listen to it just because he would be the most brutal appraiser of photography photography I've ever heard. He just like someone send a photo, he'd go that's absolute shit. Why are you wasting my time with that? And then rip this photo apart. But it was so, it was such an accelerated learning. It was almost the exact opposite of what we were doing with befop, which was trying to create an environment where everyone was sort of like safe to put out their stuff out there. But it was such a brilliant way to get good fast just by listening to this guy ripping photos apart. So Glenn, I think you're doing a service to the photographic community. Thank you. [02:20:19] Speaker B: Thanks, mate. My favorite line to use at any workshop is when people show me their photos, you know, there's nothing wrong with that photo that can't be fixed by going back and doing it properly. Pretty simple. Yeah. [02:20:35] Speaker E: All right, I'm gonna leave you guys to it. You don't need to hear from me. Love your work. [02:20:38] Speaker D: See ya. Thanks for calling in, Nick. All right, we get. We better burn through the rest of these. [02:20:45] Speaker B: I love this, I love this ant photo. And there's nothing I'd do to change it. [02:20:49] Speaker D: Oh, interesting. [02:20:51] Speaker B: Nick said I had to say something nice. [02:20:53] Speaker D: Oh, okay. First of all, spot on new member Brendan Waits Cameron photo. What a legend. What a great store. What a wonderful person. Now, what are we looking at here? Greg, you shoot macro. What are we looking at? [02:21:06] Speaker B: They're called ants. [02:21:08] Speaker D: Yeah, yeah. What sort of ants? [02:21:10] Speaker B: And what are they, black ones? [02:21:11] Speaker C: Well, they're currently friendly because they're talking. [02:21:15] Speaker D: Okay, all right, let me read. Let me read the rest of this out. Scott, Teen type man goes on to say, I call it mind meld. It's two sugar ants, less than 4 millimeters each on a piece of fencing wire. Started out as something I thought would be really easy. By the time I finished, I had pretty much my entire set of studio lights, reflectors, cameras, and a PC in the garden. It took about five to 6,000 shots over four to five days before I got this one. [02:21:47] Speaker B: Did you freeze the ants, like, with, like, some sort of ice or something so they'd be frozen in that spot for that length of time? That's what we used to do in the old days. We get a butterfly put in the freezer for 10 minutes till it was dead or. And then put it back on the flower. [02:22:01] Speaker D: What is that how you. You film photographers used to do as a macro? [02:22:05] Speaker B: Was done in the olden days. [02:22:07] Speaker D: The original macro focus stacking. You'd actually get 10 butterflies and. [02:22:14] Speaker B: No, that's a cool shot. Worth the effort. [02:22:16] Speaker D: Well, maybe worth the effort if I remember. It was the Lauer 100 mil F16, ISO 800. Around 800th of a second. Needed lots of depth of field, F16, and shutter speed because the buggers were so fast in tons of light. Yeah. Crazy. Crazy. Very cool shot. Looks. Looks you wouldn't. It's hard to see on here. Like, on my screen, it's so. [02:22:42] Speaker B: The detail looks amazing. [02:22:44] Speaker D: Yeah. [02:22:44] Speaker B: And I love the fact that this barbed wire, this rusty barbed wire does not look remotely like. But it looks like a twig. [02:22:50] Speaker C: Yeah. [02:22:51] Speaker B: Elemental. It's got this. It's got this great texture and life to it. Yeah, it's fabulous. [02:22:56] Speaker C: Yeah. Wow, look at that. [02:22:57] Speaker D: Yeah. [02:22:59] Speaker B: I would have cleaned up that flyaway. Fly away hair on the top of his head there, though. [02:23:03] Speaker D: Okay, righto. The flyaway ant here. Okay, who we got next? I'm gonna forget someone. This is. I shouldn't have done them out of order. [02:23:17] Speaker B: And Dennis, just quickly for Tim, Type man. I got a friend request from you on Facebook this week, but it didn't read like your wording, and the spelling was slightly wrong with the names. I. I said no to you if it actually was. You said that again. [02:23:36] Speaker D: That's funny. Okay. Dennis smith. We took 100 kilos of filmmaking light, painting and photography gear to Easter island. And this image, made with a tool that weighs about 20 grams, was my favorite, mainly because there is a wild story that Goes with it. Less is more. Olympus E M1 Mark II, F 1.2, ISO 110 seconds. Middle of the bloody night. It's all moonlight. [02:24:02] Speaker C: Oh, wow. [02:24:03] Speaker B: And the thing that makes the photograph for Dennis is the story around the taking of the photo. And that's kind of what we talked about earlier. When you're connecting with people in the streets, there's a story around that elevates a great photo to even greater heights because of the story around it. And this is classic case in point. [02:24:20] Speaker D: Yeah. But, yeah, epic shot. I wonder what it'd be like to stand there and look at that in person. Crazy. [02:24:28] Speaker B: Probably windy. [02:24:29] Speaker D: Yeah, probably windy. I mean, that guy's not moving around much. [02:24:34] Speaker B: Yeah, good point. Trees have all blown over, though. [02:24:38] Speaker D: That's true. Very cool, Dennis. Thank you for sending it in. Who else have we got? Lucinda. Good one. Hey, Justin. I painstakingly made this backdrop by hand in the studio. And there's another one. How did you make it by hand? I can't tell. Did you stick bits of paper together? [02:25:13] Speaker C: That's. [02:25:14] Speaker D: That's intense. [02:25:17] Speaker B: No, I think it's inside a building. Don't think it's intense. [02:25:21] Speaker D: Yeah. [02:25:21] Speaker B: And the clowns walls wouldn't be strong enough. [02:25:24] Speaker D: I like this. This is cool. [02:25:26] Speaker C: Yeah. [02:25:26] Speaker D: What do you think about this, Glenn? You're a. You're a lighting lighter. [02:25:32] Speaker B: What am I. What am I supposed to be thinking? [02:25:34] Speaker D: Do you. [02:25:35] Speaker B: What's it saying? What's it saying to me? What's it saying to you? It's always a good one. So I'd ask for a critique. Ask them straight back. What do you think about it? How do you. What. What do you like about this image? [02:25:46] Speaker D: Well, I like in terms of what they're saying to me. I have no idea. I don't know what it's saying. I'm assuming she's a potentially a musician and this is some sort of COVID art type project. [02:25:59] Speaker B: But wouldn't you straight away think was more to do with motor racing than musician? [02:26:03] Speaker C: No, Lucinda's a. Lucinda shoots musicians. [02:26:07] Speaker D: She's a. Yeah, yeah. So I like the. I like the. The way, like. I really like the. The light being a hard circle with all these squares going on and the like. And the way the flag is draping around the same. So just in terms of shapes, purely for aesthetic purposes, I'm enjoying it. And obviously the red stands out a ton. Match the lips. But maybe it stands out too much because her face is less noticeable in the. In the image. If it is for cover art or. [02:26:42] Speaker B: Something, don't know, there's such. I actually really, like, listen to his work, so. And I've seen lots of great concert stuff, so I just. I just don't pay attention when you say who's whose photos come out. I'm add. But I don't get the shadow on the floor because I don't understand where the light. Well, I can see where the light's hitting the wall on the right hand side of. And that kind of bugs me because if it's. If I'm supposed to be thinking the spotlight's doing the lighting, why is there a splash of light on the wall on the right hand side? And then why is there a shadow coming from her feet to the left? Because that doesn't. There's no obvious light source coming from that direction. So my OCD sees all those things straight away and gets confused. And. See, this is the problem. I don't even really see the content of the photo. I see the things that don't make sense to me. And that's. I don't know if that's a good thing or a bad thing, but I don't. I didn't. I couldn't have told you she had lipstick on until you mentioned it because that's not what I see when I look at the photo. The last thing I ever look at is the subject. I just look at everything else. And if I'm thinking concert photography, I'm used to light coming from above because, you know, you know the classic shafts of. Yeah, that's where lighting. But this is. This is straight on. So it makes me. It doesn't make me think music because I. I didn't pick that. It was Lucinda's work. So I didn't think musician. I thought motor. Motor racing. So is that a hit car headlight, you know, is. Is kind of. Is kind of where the. Where the logic came. Not the logic, just where my brain went, you know? And the arm being cut in half by the shadow kind of does my OCD a little bit. And then that little speck of light. See how hypercritical. This is terrible. Nick's right. I'm a. That little speck of light on the right side of the arms, just above where it's cut off. I can't not look at it. [02:28:27] Speaker D: Yeah. [02:28:28] Speaker B: And then eventually I'll come to the subject. The subject's interesting and I like the shape. Yeah. Once I've seen the things that. That kind of pull me wrong, then I look at the subject and everything. Everything there is good. If I. If I. If I zoom in tight. It's all kind of cool, but the. [02:28:44] Speaker D: Way my brain works. I was wondering what it would look like as a. I can't. Hang on. I don't see me as like a square crop. I don't. I can't really do that on here because it's not lightroom. [02:28:53] Speaker B: But yes. Kind of. Lips are a bit weird for. Too close. [02:28:59] Speaker C: Yeah. [02:28:59] Speaker B: It's got that sort of slightly half open, but that. Because the lips gone slightly half open, the top lip's kind of thin. So you have. And this is. This is why I hate my own work. I can't stand looking at that. [02:29:12] Speaker D: Do you like anything? [02:29:14] Speaker B: Yeah. Those ants were nice. Yeah. No, but, but. And it's not that the. It's not that I dislike the photo. That's the thing. It's. It's, it's just. And again, it's just freaking stupid opinions. But it's just the things I see. Yeah. And I. I would. I would highly recommend people ignore most of my advice, you know, because if you start looking at the world like I do, it's. It's pretty bleak because it's just, you know, just. I just want to fix this a little bit. And fix this a little bit. And fix this a little bit. Yeah. Sorry. Lucinda, I do like your work. I enjoy looking at your concert. I love concert photography. Yeah. [02:29:51] Speaker D: I like the. I do like the dedication to coming up with a backdrop that doesn't exist. [02:29:57] Speaker B: Yeah, that would have been a ton of words. [02:29:59] Speaker D: What did she say? Here, cut the squares. [02:30:02] Speaker C: Paper roll. [02:30:03] Speaker D: Wow. [02:30:04] Speaker C: Wow. Dedication. [02:30:06] Speaker B: That's ton of work, isn't it? [02:30:08] Speaker D: Yes. Yes. That's a shitload of work. I guess you can't just go and buy a giant F1 flag. Like a giant checkered flag. [02:30:16] Speaker B: Yeah, a wall sized. [02:30:19] Speaker D: Wall sized checkered flag. All right, last couple, I think. I think we've done almost everybody. This is Rick Nelson picks from the Elora Queensland Heritage Festival last weekend. Shot on Fujifilm 400 film with my 1934 Leica 3 film camera on 50mm 3.5 lens. Had a blast with my wife. Seeing the country town. Let me bring these bigger for you. [02:30:45] Speaker C: Who did you say this was? Sorry? [02:30:47] Speaker D: Rick Nelson. [02:30:48] Speaker C: Oh, Rick Nelson. Okay. [02:30:50] Speaker D: Shooting some film. [02:30:51] Speaker C: Yeah. [02:30:53] Speaker D: Having a bit of fun. I can't wait to get my film developed. I'm going to send it down to Lumina Labs. Isep. That's very cool. The umbrella holder. [02:31:08] Speaker B: Yeah. [02:31:08] Speaker D: Nice. Got the exposures and everything. I can't imagine a 1934 Leica would have a light meter so nicely done. Yeah, very cool. I want to see more Jason Rogers gearing up for the 2024, 2026 season. A couple of my favorite shots from last year. So these would have been on the. The Tamron 70 to 200, I think. I think that's what he was saying. [02:31:44] Speaker B: That's cool, isn't it? I, I shoot a fair bit of AFL footy. I photographed the North Melbourne Football Club training and, and it's all about that, that trying to capture the exact. The anticipation of moment is the hardest thing in sports. I, I knew a guy many, many years ago, I wanted to be a sports photographer and back in the days of film, couldn't afford film to go out and test, so he'd actually just shoot sports on tv. So he just actually have his camera in front of his TV and just really. Just timing. Yeah, just practice timing. Shooting sports. Yeah, that's seems silly, but it's actually a really good idea, you know, and something you could just do at home. And even if you just not even take it, but just pretending, bang, that's the moment. Bang, that's the moment. Just to kind of get your anticipation up. It's kind of a really cool skill. I've remembered that for like 30 years and it's always struck me as such a. Such an innovative way of thinking about how do I practice my skill without costing me a fortune. [02:32:41] Speaker D: Yeah, yeah. Okay. Last couple. Greg Carrick, which I almost did miss. Somehow. I don't know how this ended up out of order, but anyway. Greg Carrick, Aurora at Lilydale Lake, January 20, 2026. Fujifilm XE4 with a Takina 11-16mil lens, 15 second ISO 322.8. [02:33:06] Speaker B: That was a hell of a night, wasn't it? [02:33:07] Speaker D: Hey, yeah, crazy. I still haven't seen one. It eludes me. Very, very cool. Yeah, I can see tons of stuff on here. You guys probably can't see much. It's. Yeah, it's pretty well done, considering it was with that tiny little crop sensor as well. It's amazing. [02:33:33] Speaker C: Imagine. [02:33:35] Speaker D: Imagine. Just kidding. All right, Greg, you've got a few photos that Glenn was. [02:33:43] Speaker C: No, we'll skip them. It's late. [02:33:44] Speaker D: Are you sure? [02:33:45] Speaker B: Yeah, we're very late, you know. [02:33:46] Speaker D: Okay, I'm conscious you wanted to keep. [02:33:48] Speaker B: It to an hour and a half and here we are two and a half later. [02:33:51] Speaker D: Yeah, I know. I still can't. [02:33:52] Speaker B: Sorry, guys. [02:33:54] Speaker D: It's okay. It was great. It was great. We'll go, we'll do. We'll do ours. I had Some as well. We'll do ours on the next one. [02:34:00] Speaker B: It's funny with Greg's photos, I actually went into post production and edited all his photos. [02:34:07] Speaker C: Yeah, that looks so much better to. [02:34:08] Speaker B: How I would have shot them. It's funny how the conversation tonight's gone that I've actually got him picked on several of his photos and well, they should have done like this. [02:34:20] Speaker C: Whatever. What an. [02:34:22] Speaker B: Can we show the toilet block photo though? [02:34:24] Speaker D: Oh yeah, yeah, yeah. Yours are ready to go. Let me go. Which one do you want me to pull up first? [02:34:32] Speaker B: Being the behind the scenes so people can see the environment. [02:34:35] Speaker D: Yes, absolutely. There it is. [02:34:38] Speaker B: So again, this is all about understanding how lenses see the world. How can you eliminate background and how anywhere can be a photo opportunity. And then if you pull up the actual shot, so that's another toilet door behind her on the other side and this beautiful warm light coming through the ceiling skylight. But by eliminating everything. Now the problem with this style of photography again is you are you, you get to compose only the shot that you're allowed to compose that the environment will give you. I couldn't do more body because it would show other things in the photograph like door handles or whatever it may be. So you constricted to what you can shoot. But you can shoot something somewhere always, you know. And a classic ending in every single one of my photographs is wherever the model is looking is where the light is coming from. So yeah, always pose for the light. Pose for the light, pose for the light. Just rinse, lather, repeat, get those catch lights in the eyes as we were talking about earlier. But just shows again, you can shoot anyway. I did send through another way. I don't know if you've got access to the other photos that I sent through on the Dropbox. There was another example of, of shooting through. Through lenses, how lenses see as well from last weekend's natural light workshop. That was done in 44 degrees, which is very pleasant. But it's a. There's a behind the scenes of a guy laying on the ground. One of my customers, one of my lovely customers, he's come to Bangladesh with me. Lovely guy. And then the result we can produce by using lenses in very specific ways. So I'm not sure if you can pull those up or not. [02:36:21] Speaker D: Yeah, one second. I can do this. Can I. Is it this? No. Is it that? [02:36:31] Speaker B: Yes, that's behind the scenes at the front of the Tamron Australia headquarters. So that's. So this was a 44 degree day. We didn't walk anyone anywhere it was just too. It was an oven outside. So limitations to where you can shoot this is about the best. And then if you look at the. This is my, my lovely 14 year old daughter. And then the end result by using the right lens and the right. And being in just the specific work location is the next one. [02:36:59] Speaker D: I think hopefully it's the next one back. Yep. [02:37:02] Speaker B: So that's the shot we were taking based on that location. So that, that's the ability to be able to really minimize the world, see a world with it. Like I said, like a golfer will see a club. You know exactly how far that will go. I can see a scene and go. I know exactly what that lens will, what each lens will see and what focal length I'll need to allow that shot to work. So that's sort of 200 millimeter, for example. [02:37:27] Speaker D: So 180 or 200. [02:37:32] Speaker B: It could have actually been. No, it was. I was using the Tamron 25 to 200. So it was shot at 200 on that one. [02:37:40] Speaker C: Nice. [02:37:41] Speaker B: So I've been using. That's a new lens Tamarind brought out and. But it just shows again when you have control over where you can stand in a scene and you have control over how you can control the world. There are photos anywhere to be taken and it's a skill learned many years ago as a wedding photographer. When you're always time poor. You know what it's like. Justin with the hair and makeup always takes twice as long as it said it would. And. But, but the actual ceremony is still going to start at the same time. So your time to be able to shoot has gone from an hour and a half to 14 seconds. You have to be able to pull out stuff like this and get, you get, get something usable. Even if it's not necessarily the ideas you had in your mind that you were going to shoot. [02:38:21] Speaker D: Yeah, exactly. [02:38:22] Speaker B: You shoot what's there. [02:38:23] Speaker D: Do your best with what you got. [02:38:25] Speaker B: Yeah. [02:38:26] Speaker C: Amazing. [02:38:27] Speaker D: All right, well done. Well done everyone. Thanks for sticking with us for another two and a half hour show. That was supposed to be an hour and a half. I've done it again. I should not be in Justin's fault of anything. I'm gonna put Greg in charge of one of the episodes. See if we can do it on time for once. Thanks very much, Glenn. That was awesome. [02:38:47] Speaker C: Yeah. [02:38:47] Speaker D: Oh, really appreciate it. [02:38:49] Speaker B: Anytime, guys. More than happy to talk about myself. Yeah, yeah. I am my own favorite subject. So, you know, anytime. Yeah. To hear me waffle on. [02:38:57] Speaker D: Yeah. [02:38:57] Speaker B: Just. No, no. I, I hope the Goal always is that it's, it's not a sharing of ideas, but yeah, a conversation at least. And this is a person's viewpoint. Take the two or three bits that mean something, that make sense to you and ignore everything else and do that with everybody. If anyone gives you a hard and fast rule in photography that you must do this or you mustn't do that, ignore that. Yeah. Find the kernels that work for you and, and you build your, your kit bag by coming up with a little, little skill sets that work. And even if it's an giving you that information, take it. That could work and hopefully, hopefully it adds, even it adds one little idea to how you shoot. That's what. That stops you having a style because you're still growing, you know, you're still moving forward. [02:39:46] Speaker D: Yeah, exactly. [02:39:48] Speaker C: No, it's amazing advice and, and you know, on behalf of us here and everyone watching along, thank you so much for your time tonight. Glenn, always been an eye opener and yeah, we really appreciate your time tonight. [02:40:00] Speaker B: Oh, guys, love being here. Thank you for having me. [02:40:03] Speaker D: Thank you very much. Oh, I didn't even get to pump your for info about India. Oh, well, next time. [02:40:08] Speaker B: Okay. Food's great. There you go. Just call me sometime, dude. [02:40:15] Speaker D: I will, I will, definitely. Because I'm going this year. [02:40:18] Speaker B: Oh, Tweet Productions photos didn't come through. Oh, Send it to me directly, Lynn, at creativephotoworkshops.com and I'll critique the crap out of them for you. And that's gonna go to anyone if they. If, if anyone's got. Yeah. Cares what I say. Happy to. Yeah, Message me on Facebook, come and say hello, whatever. Always happy to chat stuff. I don't sleep, so I've got to do something. [02:40:41] Speaker D: Yeah, let's start emailing you just before I go to bed and expect a reply when I wake up. [02:40:46] Speaker B: Exactly. Call. Or we can catch up for coffee or lunch sometime and just talk. Happy to. [02:40:51] Speaker D: Yeah, that'd be amazing. Thank you. [02:40:53] Speaker C: Awesome. [02:40:54] Speaker D: All right, let's roll the music and see who was in the chat. Sorry, tweak production. [02:41:03] Speaker B: I just like to thank Alex Kearns for not showing up and hassling me. [02:41:07] Speaker D: Was she gonna give you give you some grief or she. Ah, well, maybe next time. Yeah, sorry, tweak. I'll check to see if your photo's there. If not, we'll get him on next week. Lisa Leach says. Thanks, Levin. Thank you. Good to see you here. Phil Thompson's Greg Carrick under my third radio show and he's still talking digi Frog. Good to see you. Jason Rogers. Rick Nelson says, love the longer shows, though. Thank you for all the great show missed last week. Yeah, we missed it, too. Bruce Moyle. Good to see you. Brendan Waits. I did that workshop when it was 11 degrees. Who else? Who else? Who else was here? Dennis was here. Always. Philip Johnson. Ah, it was epic. Lucinda, good to see you. Hope your fingers aren't sore from cutting out all those things. Tintype man. I don't know. That was crazy. Felicity, we'll see you on the next one. Good night. [02:41:58] Speaker C: Be safe, everyone. [02:42:00] Speaker B: Bye. All right.