The Random Photography Show feat. Joe Orchard (EP155)

[00:00:30] Speaker A: Fantastic. [00:00:32] Speaker B: I can't believe how good that looks, Justin. And welcome to the Camera Life podcast. This is the random photography show and it is the 9th of February, 2026, and we're coming to you live from all over the country. Really? And we'll get to that in just a moment. But if you're. If you're paying attention, you may have noticed our new introduction produced by. Not a video guy, Justin. [00:00:55] Speaker C: Nope. [00:00:56] Speaker B: I think it's a fair effect. Should we give it a little bit of a score, guys? Alex, what would you score it out of five for that intro? [00:01:02] Speaker C: Sure. [00:01:03] Speaker D: Five. It's great. [00:01:04] Speaker B: Yes. [00:01:05] Speaker E: I'll take it. [00:01:05] Speaker B: You just won a lucky strap. Well done. What about you, Joe? [00:01:09] Speaker A: If it's for a lucky strap, I'll also give it a 5. [00:01:13] Speaker E: What would it be if it wasn't for a price? [00:01:16] Speaker A: 4.9. [00:01:19] Speaker B: Well, well played. And of course, yes, we. Obviously we're not here alone. Justin is here. G', day, mate. How are you? [00:01:26] Speaker E: I'm good, I'm good. I spent as. As Yelena's just commented here, I spent way too much time making that intro today on Canva. I was sweating. I probably should have made it in Final Cut or something, but I sort of got too deep halfway through and. [00:01:41] Speaker C: I was like, oh, this has gotten. [00:01:42] Speaker E: More complicated than expected. But, yeah, otherwise I'm good. Real good. [00:01:46] Speaker B: All right, good. Now, of course, being the random photography show, we've got a bunch of stuff to get through tonight. We've got news, we've got image reviews. I've got something in a box that I'm going to unpack in front of you all live. Although I don't have my fake nails on, so I can't do the clicky thing that all the young folks are doing. But we are joined tonight by Joe Orchard, who is a. What is your title at Blonde Robot, Joe? What is your official title? [00:02:11] Speaker A: I asked for a title change recently just because. Just for the sake of. I'm a content producer, but when I did the interview, it was named something else. And then when I got hired, it changed a lot. But yeah, so I do. I work with the marketing team at Blonde Robot. We import and distribute all sorts of different media, tech and goods. Angel Bird, Think Tank, Tamron Red, and part of the marketing team. I do all of their content. So social media across those platforms. And I guess most poignantly. And what's my. Occupies a lot of my week is the get the Shot podcast. Yeah, yeah, it's. We interview various photographers. We've got Dennis in The chat. [00:02:59] Speaker B: Dennis Smith. And we're so sorry you had to interview Glenn Lavender. We've done that. [00:03:04] Speaker A: Oh, man, he was the first one I did and he was just the worst. I can't believe it. Yeah, Yeah, sorry. [00:03:15] Speaker B: No, no, you're right, mate. Sorry to cut you off. We'll certainly get to unpacking a little bit more about who you are and what you do over at Blonde Robot and for Tamron Australia and. But before we do that, we're joined by another special guest. It's Alex Frayne, everybody. For those of you that have been around for a while, Alex is. Alex has rejoined us tonight to talk about an exhibition he's got coming up. And part of the. The seat of that exhibition was. Was talked about in our March 2025 podcast interview with Alex. So you can roll back the clock and, and watch that one. Not now, but later. And Justin's even got his book. [00:03:51] Speaker C: Oh, yeah, I like this book. I really. [00:03:53] Speaker B: And we talk a lot about. Yeah, and we talk a lot about that book in that interview. But Alex, you've got something new coming up in just a couple of weeks. [00:04:03] Speaker D: Yeah. [00:04:05] Speaker B: What's happening? How are you and what's going on? [00:04:07] Speaker D: Well, things are good. Did three trips to America and I think the last time we spoke, I just come back on the. On the third trip and the idea was always to make a photographic essay out of this crazy place in America called America, which is more bizarre than even I could ever imagine. The idea also was to find, you know, an endpoint for the imagery. And this time I thought not so much in the book sense, but an exhibition. So I pitched the idea to the Adelaide Festival of Arts, which is, you know, the big dance in Adelaide every mad march. You know, you've got the Fringe and you've got womad and you've got the Adelaide Festival of Arts. So having already done a show at the Adelaide Festival of Arts in 23, I re pitched this idea to them as, you know, a standard exhibition. And they came back with, you know, well, we're interested, but we'd like a venue that, you know, have you got a venue? So I had to go and get a venue which ended up being Islay, which is the immersive light and art exhibition space in Light Square in Adelaide, which is a beautiful three story venue, quite an immersive venue. It's very screen based, but it also has traditional gallery space. So it, you know, it was a matter of getting a curator on board, a producer on board, getting contracts in place, you know, so Three way contracts with the Adelaide Festival and the venue, and then, you know, curating the work, which was, you know, two or three thousand film images down to, you know, 50. So brought in a good curator from Adelaide Contemporary Experimental Arts, Danny Zavala. And we, we started work, we started to, you know, pair it back. And she had readily identified some of the themes, you know, which I sort of deep down kind of knew were existing in the works. Really, it's all about End of Empire because, you know, America is steeply in decline. It was clear when I got there that, you know, this America was not the America that I'd seen through movies and popular culture. And it was an America which is, you know, going through that end stage of empire where, you know, towns have disappeared. Some towns have half the population they did five years ago. Other towns are decimated and have, you know, no employment. You know, this is all great for camera, but it was quite emotional to see such a powerful world leader, you know, going through this. So, you know, the curator and I started to sort of really hone the collection to speak to that theme, you know, because I guess one of the things that's hard about curating is do you show the best work or do you show a coherent series of images which are part of, thematically connected, you know, that, you know, that have, you know, a common aesthetic, but also a common body politic and a common kind of theme. So that was tough, you know, that was like a month or so of deciding what to leave out, really. You know, the same way that a filmmaker will leave out some of the best stuff that they think they've got, you know, because the editor doesn't think it works. So a curator can be likened to a bit of an editor. And then we locked off the, you know, what we were going to print. So they're all about one and a half meters wide by about one meter tall, you know, so. [00:07:18] Speaker B: Wow. [00:07:18] Speaker D: Kind of large, large frames. Yeah, you know, big thick frames under glass. I mean, you know, for the Adelaide Festival, why, why the hell wouldn't you, you know, go. Go hard. Yeah, you get an opportunity to be in a big show like this, you know, and the festivals it covers, visual arts, obviously, Drama, dance, choreography, Writers Week, not. So that's been canceled this year. I'm sure viewers will know what happened there. But, you know, Isabel repairs coming into town to perform what Mary said, Queen Mary of Scott. So, you know, this, this is a big show and I just think we had to go for it. So there was a little bit of donor Fundraising involved. So, you know, I had some angels come in to help with, you know, the cost of the thing, the venue, you know, the charged, the items that the venue charge for reduced. So I'm very grateful for that. So it's been a real team effort to get things going, you know, because it could have been, you know, 100 grand plus in the end, it sort of turned out about 50 grand. So that was a little bit of state, a little bit of the donor, a little bit of mine. This is. This is how we roll. [00:08:27] Speaker B: Yeah. It's interesting hearing you and we talked a little bit before we went live, but, you know, you've just detailed a whole bunch of admin tasks that on a good day would paralyze me. But, you know, it, you know, there was nothing in there about the business of photography. And we talked earlier about how you just want to get out and shoot, but you've got so many loose ends to tie off in preparation for this festival. You know, it. It's almost a body of work in itself. You know, it's a shame you don't have a documentary crew following you around. Not Melania style, but, you know, just to see what it's like for a professional photographer, an artistic photographer, who's about to put on a huge exhibition at an internationally recognized event. To see the behind the scenes, I think would be fascinating. Justin, do you mind just bringing up the festival's page, the Ilab Ila page? So Manifest Destiny, it runs from 28 February to 15 March. It's from Monday to Sunday, but it's closed Tuesdays. And on the site, which we'll drop in the, in the show notes for everyone later to check out, it goes into a lot of detail about this immersive experience that you've created. Now you're also collaborating with a musician. Can you tell us a little bit about that? [00:09:44] Speaker D: So half of the exhibition is really standard traditional works on paper framed. The other half is in their, what they call their light studio, which is a. It's Australia's biggest LED screen. It's a great big curved screen in a room, you know, 12 foot high. It's, you know, it's huge, it's massive. And so part of the deal with Isla was that they wanted that space used. So I got together with some 3D artists and Donnie Sloan, who is actually an old school friend, you know, he's the, he was the producer of Empire of the sun and some of their. He wrote some of their biggest hits. So we got together and you know, rather than just have images on an LED screen that are sort of silent, I thought, let's put some music into the mix. So he's composed music for the duration of the short film, which is really a short film of my stills, you know, but rendered animated, not 3D, just animated. We've got Anna Fraser, who's one of Australia's best in this space. She does all the Sydney Opera House projections and such. [00:10:51] Speaker B: Yeah. [00:10:51] Speaker D: So we're lucky to have her involved. And, you know, she's put together a little film of the images, but, you know, not a slideshow. And Donnie's composed the music and it's very much in that same. In along the lines of Empire of the Sun. You know, he wrote that song Walking on a Dream, which is a. Was a big hit worldwide. [00:11:11] Speaker C: Whoa. [00:11:11] Speaker D: Yeah, Seriously, he wrote. He wrote that in Kentown in Adelaide when he was sharing an apartment with someone. You know, before that he'd been in sneaky sound system. And then he left and went to America to find his fortune. So we're lucky to have Donnie involved. He's, you know, he's much bigger name than me and he's got world profile. So I think the fact that he's on board kind of made the festival really say, you know, yes, we want the show. Because the festivals, they tend to sort of rely on name artists like him to. Especially in the visual arts realm. Adelaide Festival, they want to have that kind of name on posters. [00:11:53] Speaker B: Yeah, we see it. We see it in the Ballarat Biennial too. You see a lot of big international names get just to, you know, help to bolster ticket sales a bit, I think. And it's not to say we don't have amazing talent here, but we do see that at these sorts of festivals. [00:12:07] Speaker C: Oh, yeah. [00:12:07] Speaker D: And because it's a ticketed event, you know, I needed to feel comfortable that we could sell tickets for 30 bucks ticket. In Adelaide, there is a tradition through Sala, the Fringe, the Adelaide Festival. And in the visual arts, there's a tradition of free events, which I think, you know, has its upside and it has its downside. The downside is it sort of trains people to expect the visual arts and Adelaide are free everywhere. I hope that, you know, I hope that breaking that habit is. Is not too hard for some people. I hope that they'll say, well, you know, 30 bucks a ticket, that's, it's. It's affordable. [00:12:44] Speaker B: It's a day out, isn't it? Yeah. [00:12:46] Speaker A: And. [00:12:46] Speaker B: And you, you know, you get to check out other artists, work, you get to be involved in what's going on in town. So it's amazing. [00:12:54] Speaker D: See the works with music and in a great space. So, yeah, I hope it's not too much. But, you know, there was still quite a big debate, you know, back in October when we're putting the whole thing together about whether it was going to be free or not. And I don't think people on either side of that debate have changed their minds. But I think it's. Maybe it's a generational thing. Like, I think in the 80s and 90s in Adelaide, visual arts was just like a free thing. Right. And it was experimental. There was some famous experimental places in Adelaide and it was all kind of radical stuff and really cutting edge and contemporary and it was free. And you know, Andy Warhol, two years ago or three years ago at the Adelaide Festival, that was really cheap, like it was 20 bucks to see the most famous artists of the 20th century. So, you know, there is that tradition of being low cost visual arts in Adelaide because it's kind of expected. But you know, I don't think we've sold lots of tickets already, so I think we're okay. [00:13:52] Speaker B: Yeah, yeah, I think just on that, I think I. I feel that art should be accessible to everyone, but it shouldn't come at the cost of the artist, you know. Absolutely. And then I could go, I could get dug into a tanks and. Tanks and submarine old man rage debate. But I'm not going to on this show. We'll save that for another show, but. [00:14:12] Speaker D: I'll join you on that show. [00:14:14] Speaker E: Good, good. I love it. [00:14:16] Speaker B: But so Manifest Destiny. Now you've got the main show, but there's also three other intimate events. Justin, if you could just scroll down quickly to the bottom and we'll just tick these off. Talk to us about these three events. [00:14:28] Speaker D: So the Lab Rats. The first one there is basically I'm going to be showing people how I developed film on the road in America. So I'm going to actually have a roll of film, take it out of the camera in a dark bag and process it right through to development stage and hanging it up to dry. So, you know, there's a sort of obviously renewed interest in analog formats, particularly buying film. Especially younger people are kind of finding their parents cameras and experimenting with film. So I'm going to show the next step of developing. Maybe I'll show some scans, you know, if we've got some time. But yeah, there's a lot of people out there who are fascinated. You know, a lot of people think that you need a dark room to develop film. You don't. You just need a dark bag. You can do it in daylight, you know, which is what I do. So I need to sort of, you know, demythologize the whole thing a bit. The immersive table is a big dinner which people buy tickets for and they're booked months in advance. It's a popular thing at Islay, which is this idea of having a show but also having a dinner, which kind of along with the show, they have a room downstairs which is just four walls of LED screens. And so, you know, they'll. They'll feast on American cuisine. So I've started to put together a menu of American kind of delicacies which. [00:15:45] Speaker B: Are, you know, what is an American delicacy? [00:15:49] Speaker E: Hot dogs. [00:15:49] Speaker B: God. [00:15:49] Speaker A: I mean, obviously fried chicken. Tell me. Yeah, that's it. [00:15:54] Speaker D: You've got your ribs, your wings, you've got your gumbo. If you're talking down New Orleans, you've got fried everything. You've got your hot dogs and ice cream. So, you know, we've got a gourmet cook who's trying to sort of tart up what I would call, basically it's just junk food and re. Reinterpret American cuisine in a sort of hoot cuisine way. And I haven't had dinner yet. [00:16:21] Speaker A: Alex. This was a bad idea to have this conversation. [00:16:24] Speaker B: Like a bucket of chicken. [00:16:26] Speaker D: Yeah, that's right. [00:16:27] Speaker B: Yeah. [00:16:28] Speaker D: A tweet, a twinkie and some Dr. Pepper. [00:16:31] Speaker E: Yeah. [00:16:32] Speaker D: American food, you know, it takes a bit of getting used to. It ain't. You know, they don't have the stuff that we have. You know, they're, they're, they're not into, you know, the steaks are not as good and they don't. They're not into vegetables and salad like we are. And when you, if anyone's going to go to America and spend like a month there, my advice is be careful of the food, because you'll probably enjoy the fried food for the first two days, but then it will. You'll find it sort of revolting. And so I always say, if you can find a steakhouse in whatever town in America you are, go there because you'll get your meat and potatoes and veg and salad, and you won't get that. You know, everywhere in America like it is here, we get great food. We're spoiled because we've got cattle. But, you know, over there, it's a different cuisine. And it's, it's not something that I would recommend to anyone. For more than a couple days. Unless you've got a good plan, you've got to have that plan to find decent food because it gets you down after a while. [00:17:29] Speaker B: And just finally, while we're on the topic of food, the final event is the. Or the final event listed on your. On the site is Art sell on Lunch. What's that one about? [00:17:37] Speaker D: Yes, that's just a small gathering for collectors, some of who would know my work, some of who would own the work. It's a little conversation with Tansy Curtin, who's the curator at the Art Gallery of South Australia. She's the senior curator there, so she will be talking more so more about the art of the photography and aesthetics and less. Less the politics. You know, when people talk about this event, they tend to sort of immediately insert the politics of the whole thing into it, which is, you know, obviously in our faces every day. I think the discussion with Tansy will be a chance to step away from that and into, you know, my happy place, which is talking about, you know, framing, composition, aesthetics, what I like to see through the lens, how I see the world. So, yeah, that'll be a fun little talk with her. She's an excellent interviewer at the art gallery, but it will be at the venue Isla again in that room with the four walls of led. So, yeah, three events that people can book. It's going to be a busy two weeks. Yeah, busy two weeks. [00:18:47] Speaker B: Yeah, I bet. And you've got, you know, you've got a lot of food to tuck away as well during that time, so good luck with that. But look, it sounds amazing that we're almost out of time, Alex, but just very quickly, I believe you've picked up recently a new zombie apocalypse camera and you fitted it with. You fitted it with a lucky strap. What did you get? [00:19:05] Speaker D: Well, yeah, I mean, look at this strap. This. This was from Lucky Strap. And there we have the Panasonic S9, which is my new favorite camera. It's a compact without a viewfinder, but I'm getting over that. I'm learning how to use led. And the best thing is this beautiful strap that Lucky Straps sent to me last time, which has a little embossed. You can see the embossed name there. [00:19:29] Speaker A: Look at that. [00:19:29] Speaker D: Beautiful. [00:19:30] Speaker C: Beautiful. Yeah. [00:19:31] Speaker D: Very happy with that lasty. [00:19:32] Speaker B: Very classy. What lens are you rocking this? What lens? What lens are you rocking on that? At the moment, that's just the 20. [00:19:40] Speaker D: To 60 kit lens, which has been really fine. I want to get the 50 mil pancake prime for that camera, it's the L mount system. I don't have any other Lumix or Panasonic lenses. Some of my richer friends have Leica systems. So theoretically I can throw on one of their lenses and, you know, pretend that. Pretend that I'm a retired doctor. [00:20:06] Speaker B: Yeah, you might have to sign some sort of insurance waiver or something, perhaps. [00:20:10] Speaker E: That's right, absolutely. [00:20:12] Speaker B: Yeah. [00:20:12] Speaker D: Yeah. I love the full frame of compact. It just, it's beautiful for close ups. It's got all the luts in there which I don't use, but, you know, one day I'll learn how to use them. I just shoot, you know, raw and beautiful images. Particularly the skies are nice and, you know, up more like a film image with the bright, the bright skies, you know. So, you know, I do shoot film mainly, but I have to say at the moment I've been rocking the S9 and loving it. Thank you for the scrap a year ago. [00:20:49] Speaker B: Yeah, you're more than welcome, welcome. [00:20:50] Speaker E: Glad that it's getting some news. [00:20:52] Speaker B: Yeah, absolutely. So just a reminder to everyone, Alex Frain, Manifest Destiny. It's at the, the Adelaide Festival between 28th February and 15th March, Monday to Sunday, closed on Tuesdays. We'll drop the link in the chat. [00:21:09] Speaker E: Yep. [00:21:10] Speaker C: And it's in the description as well. Yeah. [00:21:12] Speaker B: And it's in the video description. So please, guys, just check it out, have a look. If you're. Obviously, if you're in the hood for the festival, then you know, it's only a short. A short and a relatively inexpensive ticket to go and check out Alex's work at ila. But look, this sounds amazing, Alex, we're really proud of you and incredibly thrilled for you that this is something that we, you know, you hinted at 11 months ago when we last spoke and to have you reach out to us over the weekend and just say, hey, you know, it's happening, can we talk about it? We're very excited to get you on and share the great news. So we wish you nothing but good luck with it and I'm sure it's going to be a huge success. [00:21:49] Speaker D: Thank you, Greg. Thanks, Joe, and thanks, Justin. [00:21:52] Speaker C: No worries. [00:21:55] Speaker B: Yeah, well, look, we'll let you, we'll let you get on with your day and learning how to use your luts on your Panasonic. And yeah, look, thanks again, mate, and all the best and maybe down the track we'll get you back to have a chat about what you're working on next. Yeah, no pressure, no pressure, but I'll. [00:22:11] Speaker D: Always Come to you. [00:22:13] Speaker B: Thank you. [00:22:13] Speaker C: Perfect. [00:22:13] Speaker E: Cool. [00:22:14] Speaker B: All right, mate. All the best. Thanks for dropping by, Alex. [00:22:17] Speaker A: See you, mate. [00:22:18] Speaker C: Catch up. [00:22:18] Speaker B: Bye. Bye. [00:22:20] Speaker C: See ya. [00:22:23] Speaker A: There we go. [00:22:24] Speaker E: And then that one like that. [00:22:26] Speaker B: That sounds like such a cool experience. [00:22:28] Speaker C: I know. [00:22:30] Speaker A: And now I have to top that. [00:22:32] Speaker B: You do? [00:22:33] Speaker E: Yeah. What are you. What are you working on, Joe? What's your exhibition? [00:22:36] Speaker B: What have you done that's worthy? [00:22:39] Speaker A: Well, the ironic thing about me hosting a photographer podcast is I don't actually have a photographer background. [00:22:47] Speaker B: No, you don't, do you? [00:22:49] Speaker D: No. [00:22:49] Speaker A: I'm a videographer by trade. I still use lenses. I'm still using DSLRs and mirrorless, and so I know all of that stuff. And I've learned a lot doing this. I think that I'm sure you guys have found with doing this in your show. The, you know, you think you know stuff, and then you speak to all these different people from different parts, and they just teach you way more than you ever thought you could. I mentioned so. [00:23:12] Speaker B: Yep, very true. [00:23:14] Speaker E: Lots of free education doing this podcast. [00:23:17] Speaker B: But that's part of the reason why we do it as well, because, yeah, don't tell anyone that we get anything out of this, but, you know, for the community, everyone's picking up ideas and inspiration and learning stuff or making connections with people that can help them learn it. So I think that's. That's a really important part of why we do photography podcasts. At least over here at the Camera Life can't speak for you, Tamron folk. [00:23:39] Speaker A: Yeah. [00:23:41] Speaker E: Speaking of connections, I'm going to quickly. [00:23:42] Speaker C: Say hi to the chat because we. [00:23:43] Speaker E: Haven'T done that yet. Thanks for hanging with us. [00:23:45] Speaker C: Chat. While we were chatting to Alex, what. [00:23:47] Speaker E: I first want to bring up is. [00:23:49] Speaker C: So where is it? Where is it? Here we go. [00:23:54] Speaker E: Felicity Johnson, good to see you. Nearly blew out my eardrums. Was the intro really that loud? Because I did turn the volume down, but I have a feeling something's, like, automatically leveling the. Like making bring it back up to unity or whatever. Or normalizing the audio because I turned it down. [00:24:08] Speaker C: I was worried about that. [00:24:09] Speaker E: So was it loud? Everyone tell me what else. Philip Johnson's here. Tennis is. He says, joey a legend. [00:24:16] Speaker A: I've got a fan. [00:24:18] Speaker E: You've got a fan. You've got a fan. [00:24:21] Speaker C: What else? [00:24:23] Speaker E: Bruce says, wtf? I assume that's about the intro. Was it that bad? Bruce? [00:24:30] Speaker C: And he also says, Hi. [00:24:31] Speaker E: Dennis says, 2.3 out of 5. [00:24:34] Speaker B: What? [00:24:35] Speaker E: It's rough. Oscar material. [00:24:42] Speaker C: What else? [00:24:42] Speaker E: Who else is. Oh, Levin's here. Good to see you. Levin. Levin's just. [00:24:46] Speaker B: Hey, Levin's gonna join us next week too. [00:24:48] Speaker A: Yeah. [00:24:49] Speaker E: Launched a nice new. New tour, new Victorian photography tour, so gotta check that out. [00:24:56] Speaker C: Next week he'll tell us. [00:24:57] Speaker B: Plus, he's been doing some very, very interesting photography work from. [00:25:02] Speaker E: From the cockpit. [00:25:03] Speaker B: Cockpit. [00:25:03] Speaker C: He sent. [00:25:04] Speaker A: Wow. [00:25:05] Speaker E: Because he's so. [00:25:06] Speaker B: He's a. He's a commercial airline pilot. He travels abroad and around Australia. And yeah, he's got some work to show us that most people don't get to see because. [00:25:16] Speaker E: What was your name again? [00:25:17] Speaker C: Sorry? [00:25:18] Speaker E: The name. [00:25:20] Speaker B: Barrett. Yep. [00:25:21] Speaker A: All right. Expect an email from me. [00:25:27] Speaker E: Yeah, he's. He is a cool dude. And yeah, I've got some of those images, but I'm not going to bring him up tonight. I'm going to wait till he's on. [00:25:33] Speaker C: The show so we can have a. [00:25:34] Speaker E: Look, get his commentary. Who else? Lucinda's here. Good to see you. Gareth Davies says good morning. Good morning. [00:25:41] Speaker B: Hey, Gary. [00:25:42] Speaker E: Craig Murphy, Glenn Lavender, of course. Go big or go home as a relation to the giant Prince of Alex's. That's crazy. [00:25:50] Speaker C: One by 1.5. That's amazing. [00:25:53] Speaker E: That's amazing. Paul says good afternoon from Perth. Late to the party. That's okay. Yeah. [00:25:59] Speaker A: Glad you're here. [00:26:00] Speaker E: What else? Lucinda went to the Andy Warhol show twice. Was in Adelaide for three days. Oh, and yeah, the there is the Head on photo expo is currently on over in Perth, which is unfortunately a. [00:26:11] Speaker C: Long way away for us. But, yeah, it is happening. [00:26:13] Speaker B: No road trip this time. [00:26:14] Speaker E: No, it's a bit of a. [00:26:15] Speaker C: Bit of a hike. [00:26:17] Speaker E: Rick Nelson, good to see you. Yeah, kfc, nice American food. [00:26:21] Speaker A: Stop reminding me. [00:26:25] Speaker E: What else. I think that's about it. Who else is here? You guys were on time. Yeah, we were on time. We were so organized. The intro didn't show for you? No. Rick Nelson said it was good. [00:26:35] Speaker C: Bruce, this wasn't bad. [00:26:36] Speaker E: Just surprised. I'm not upset, I'm just disappointed. Oh, hang on. 2.3 out of 5 is a very high score. Okay, I'll take. [00:26:45] Speaker B: Is it in whose Book? [00:26:48] Speaker C: Okay. [00:26:49] Speaker E: All right, now we've seen everybody. [00:26:51] Speaker B: Aside from being here to steal our trade secrets, Joe, let's. Let's just dig into a little bit about who you are and what makes you tick. [00:26:59] Speaker A: Yes. [00:27:00] Speaker B: Your turn in the hot seat. [00:27:02] Speaker A: My turn in the hot seat. So thank you, everyone, for jumping on and listening. So far, I sort of. As I said earlier, I'm the host of the get the Shot podcast, hosted with Tamron Australia. Yes, that Tamron. And we interview photographers, videographers, all these different perspectives, and it's about the creative process. We sort of believe that if you're out shooting, that's what's the most important thing. It doesn't matter if you use a Sony system, Elmat Nikon, whatever it may be. We want to hear your stories and we want to know what you're up to. And so that was the genesis of the podcast, and we've recorded 19, I think, which has gone by really, really, really quickly. And I've been absolutely blown away by what I've learned, what I've done. And, yeah, aside from that bit of videography work here and there, a lot of social media stuff. I think we'll touch more on that a little bit later, but that's sort of what I'm up to. Yeah. [00:28:11] Speaker B: And so your background are you. You said that you, you know, you're not a. You're not a stills guy, obviously, you're a videographer and you've, you've even your old videography business was OMFG Media. [00:28:25] Speaker A: Yeah, that stands for Orchard McNeely Family Group, but I've been told it also stands for something else. [00:28:33] Speaker C: Something else. [00:28:34] Speaker E: I was wondering whether you did that on purpose because it was funny. [00:28:38] Speaker A: That was so Orchard's, of course, dad's name, McNeely's mom's name. And that was something my dad said as a joke. And I'm like, this is fine, I love it. And so it kind of became a bit of a trademark for me to use acronyms like that. My last podcast was called Film Media Love. So. [00:28:59] Speaker E: Oh, yeah, I saw that. When I was having a click around earlier, I saw that. I don't know if I saw another one as well. Maybe that was. Yeah, I saw the fml. I can't remember what else I saw. [00:29:09] Speaker A: I've done a few different attempts at podcasts, but FML was. I used to live in Germany, and I really got along with my boss over there, who's this quirky West Berliner named Jan. And him and I just really got along and we're like, let's just do a podcast. We can. It's a good way to stay in touch. And so that was our Monday night activity. But, yeah, OMFG Media sounds more complex than it was. I was just a freelance videographer, and in classic fashion, I go to uni and study media media, and I couldn't get a job. And so, like a lot of people, you just, you know, you've got a camera, you've got time, may as well try and earn Some money from it. And I found myself in some pretty funny circumstances and situations and shoots. [00:29:58] Speaker B: Yeah, that's cool. [00:30:02] Speaker C: Was there anything just absolutely wildly crazy. [00:30:05] Speaker E: That you can remember? [00:30:06] Speaker C: Just the. [00:30:07] Speaker E: The. [00:30:07] Speaker C: The craziest of the crazy. [00:30:10] Speaker A: A fun one, I like to tell people, was my friends run a company called Pretty Privilege, and they have a mascot, which is a dude wearing a pink morph suit. And so, you know, very, very small fitting. And we were on a boat going up and down the Yarra, holding up a sign saying, is this demur? Which was a meme at the time. And it was just this big publicity stunt, and I had to film it. And because they were going up and down the Yarra in Melbourne at, like, five knots, I had to find a way to be sometimes ahead of them, sometimes behind them. And I know I'm in perfect condition. I look like a statue of David, but I actually can't run that far and carry all my gear. So I actually had an E scooter, and I would zoom up, park myself. I'd be on a constant call with the Georgia who was driving the boat, and I'd be like, all right, I'm ahead of you. I'm on this bridge. Slow down now. And then I would get the shot, and then I'll move to another location. And we did, like, four laps, and you'd see people standing around with their friends, like, hell's going on? [00:31:29] Speaker E: But, yeah, very nice. I mean, it's. It's probably, like. [00:31:36] Speaker C: It's probably the best way to get around Melbourne for a shoot now. Yeah, an E scooter, if you don't have to travel long distances because you don't. [00:31:42] Speaker E: Don't get stuck in traffic. You're moving. You can keep an eye on everything. [00:31:47] Speaker B: I've been on street walks where, you know, the group kind of gets split up and people fall behind as they stop to, you know, capture a particular part of light. And then every now and then, you'll see someone just catch up to the group. They'll just be on a lime bike or a scooter. Let's park it, get off, and keep walking with the rest of the group. It's crazy. [00:32:03] Speaker A: They got rid of a lot of them in Melbourne. People were sort of sitting in the era. [00:32:08] Speaker B: Yeah, they're right in the river. [00:32:12] Speaker E: It's pretty easy. Every now and then you see on. [00:32:14] Speaker B: The news where they go, you know, this crew is pulling and they've got these cranes, and they're just pulling up masses of bikes. And I just think all that crap in the River. Although on that note, Joe, you might will probably know this better than I will, but I've seen a lot of social media stuff where videographers and cinematographers are using almost like a scooter that has a. One of those sort of steady camera rigs built into it. And some of them are sort of four wheels, some are three wheels and they use it to get, you know, obviously fast moving shots. It's pretty cool. [00:32:45] Speaker A: Yeah, that whole genre on social media of like janky setups where people are just attaching gimbals to like race cars and stuff like that. Like before drones were commercially available, people were building them themselves in their garages and. Yeah, I love that stuff. It's so exciting to see and it gets you a perspective that you wouldn't normally get. There's a. I'm gonna shout out a really popular Instagram account. Shitty rigs. Have you guys heard of them? [00:33:15] Speaker E: I've seen them. [00:33:16] Speaker C: Yeah. Yeah, I've seen that. [00:33:18] Speaker A: It's everything that I've just mentioned. It's. But it's people duct taping, you know, cameras to ceilings and stuff like that. It's. It's actually hilarious. [00:33:29] Speaker E: Yeah, there's. I think I, I see one pretty regularly. That is. [00:33:36] Speaker C: That'S not the one I'm looking for. [00:33:38] Speaker E: Oh, maybe that is. [00:33:39] Speaker C: Yeah, it is. Yeah. [00:33:40] Speaker E: Because it's like lighting as well in. [00:33:42] Speaker C: The, like the sort of the lower end film industry and stuff like that and it's just. [00:33:46] Speaker A: Yeah. [00:33:47] Speaker C: Whatever they could find to make it work on the day, it's got, it's so good. [00:33:51] Speaker A: It's so good as well because whether you're entering, if you're trying to enter film or make short films, you can recognize yourself. [00:33:59] Speaker C: There's. [00:34:00] Speaker A: But once you've gone past that or succeeded, you can recognize. This is what I was doing too. I was doing janky stuff and I think people love that behind the scenes sort of look as well. [00:34:10] Speaker C: Yeah, yeah, exactly, definitely. [00:34:13] Speaker B: Definitely a vibe for that at the moment. [00:34:15] Speaker C: Yeah, I'll quickly bring one up then. We better, we better get into the news. We're going to have another late show if I'm not fast. Here's an example of a lighting rig. [00:34:27] Speaker E: That'S horrendous. What looks 2250, a tube light hanging from, I don't know, some string attached to some coat hangers which is attached to a pole which is taped to. [00:34:40] Speaker C: The ceiling with gaffer tape. [00:34:42] Speaker A: And that's not like their roof, that's their mum's roof or their auntie's roof or Something like that. Yeah. [00:34:48] Speaker E: So that's amazing. [00:34:49] Speaker C: It's. It's pretty good. It's. It's worth a follow. [00:34:52] Speaker E: Yeah. Like, there's another. [00:34:53] Speaker B: You've done a few custom rigs, Justin. You made that around the neck. Point of view. [00:34:59] Speaker E: Yeah, but that was. I mean, compared to this, that. [00:35:01] Speaker C: That looked like a very professional setup. [00:35:05] Speaker E: Compared to this, I've definitely done some more. I wouldn't get that stuff I've done. I can't even remember. [00:35:11] Speaker C: But, yeah, back in the day I used to try it, like for modifiers and things like that. You wouldn't buy stuff. You just try and make something. [00:35:18] Speaker B: Yeah, I used to make my own reflectors when I was doing product shots early on. [00:35:22] Speaker E: Yeah, exactly. [00:35:23] Speaker B: Because reflectors are expensive, so. Yeah, very cool. All right, well, thanks for that little catch up, Joe. We. We get a bit of a flavor for who you are. So how long have you been doing the Tamron podcast now? [00:35:40] Speaker A: We are five months in. Yeah, we've got 17 episodes out so far. Someone in the chat the IG handle was shitty rigs. Just one word. Yes, 17 episodes out. We've had all sorts of different people on. We've got some really, really exciting ones booked and planned in the future. I'll keep it mysterious just to irritate everyone and make you subscribe. [00:36:11] Speaker E: Come on, give us something. Give us something. Oh, actually, you know, we should hassle you for. Is there something. Is there anything. [00:36:16] Speaker C: Is there any cool products coming out that you know about that we don't know about that you shouldn't tell us about, but. But you're going to. [00:36:24] Speaker A: I'm not telling you anything. [00:36:26] Speaker E: Come on, there's got to be something. It's got to be something coming. [00:36:31] Speaker A: Some little. [00:36:32] Speaker E: It's not that big of a secret, but it's big enough that you get. [00:36:34] Speaker C: In a little bit of trouble. But you wouldn't get fired, like just on the edge. [00:36:38] Speaker B: No pressure, Joe, no pressure. It's only your income. [00:36:41] Speaker C: Trying to think of something that he's. [00:36:43] Speaker E: Like, yeah, I won't get in trouble if I tell them about this MEM. [00:36:47] Speaker C: Card that just come out that no one cares about or something. [00:36:51] Speaker A: Memory cards are a tricky one, actually. Well, do you know that there's the shortage of NAND chips? N A N D chips? [00:37:02] Speaker C: No. [00:37:03] Speaker A: Okay, this is super interesting. So if you need to buy an SD card, buy it now and stock up. There is a global shortage on NAND chips. And these are core components in solid state drives, which is storage and processing. And so it's because of all of chat, GPT and image curation and stuff like that. They've just bought all of them. So those types of products are experiencing shortages. And so buy up now. If you need SD cards, solid state drives, ram. [00:37:40] Speaker E: Okay, so I was going to say. So even solid state drives and RAM. [00:37:43] Speaker C: And stuff like that, it's all the same or gets affected. [00:37:45] Speaker A: Yep. They all require the. I don't know if it's NAND or nand, but. [00:37:51] Speaker E: Yeah, okay. [00:37:53] Speaker B: All right, all right. You've been warned, folks. [00:37:57] Speaker C: Yeah. All right. [00:37:58] Speaker E: I better go shopping. What was I going to say? Well, Felicity says Tamron. [00:38:03] Speaker C: Tamron is the best. Chuck out the red. [00:38:05] Speaker E: I don't even know if that rhymes. [00:38:07] Speaker A: That's good. Right. [00:38:10] Speaker C: And there's. [00:38:11] Speaker E: There's rumors in the chat circulating of. [00:38:13] Speaker C: A new Tamron lens in incoming and there's a lot of pressure for you to release the details, but we won't push too hard. [00:38:22] Speaker A: But no comment. [00:38:22] Speaker E: No, don't. [00:38:24] Speaker A: Yeah, no, that's all I'm giving the audience. [00:38:26] Speaker C: No comment. Okay. [00:38:28] Speaker E: All right, all right. [00:38:29] Speaker C: All right. [00:38:29] Speaker B: Well played, sir. Smartly done. [00:38:33] Speaker E: What next, Greg? [00:38:34] Speaker B: Well, before we jump into the news, we've got a bit of. [00:38:36] Speaker C: A. [00:38:37] Speaker B: Bit of a community call out for those of you, especially those of you that are in the BFOP Groupies Facebook group. You may have seen a post recently about our friend Jen Cooper from Cannon, Australia. Jen has. And she. We've cleared it with her. She's quite happy for us to. To discuss this. Jen's a mum. She's got a partner. She's got two young teenage kids. She's recently being diagnosed with stage four bowel cancer, which is why. Partly why she wasn't at BFOP 2025 last year. Usually Jen would have been on hand, probably being more crazy than anyone else there, but life at the party. Yep. So, yeah, she's been diagnosed with a pretty horrible condition. Lots of complexities to it, and she has set up a GoFundMe to raise some funds to help pay for medical expenses, but also to support her partner and kids through what is. You know, and I've been through it. I've lost a partner to cancer. It's a. It's a horrible, horrible thing for any family to go through and it's. It's quite destructive for everyone involved. So we'll drop a. Do you want. Have you got the page there to bring up, Jay? [00:39:49] Speaker E: Yeah, thank you. I'll put a link, a link in the description. [00:39:53] Speaker C: I'll throw a link in the chat too, just for anyone that might want to contribute. [00:39:58] Speaker B: So, yeah, so the GoFundMe is set up. If you are in a space that you can donate and you feel like that's a good way to, you know, spend a little bit of extra cash, then I know that Jen Coops and the family would be. Would be very appreciative. So she's got an ongoing treatment plan that she's working towards. She's got an incredibly positive outlook and attitude to all of this. And I think at the end of the day, she just wants to make sure that her family are supported, regardless of what the outcome may be. So, you know, Jen, we're thinking of you. We're sending you all the love that we can through the power of the Internet. But know that you're in our thoughts and that I'm sure that everyone in our community is. Is pulling for you. That's for sure. [00:40:41] Speaker C: Yeah. Yeah. [00:40:43] Speaker E: So, yeah, if you can support. Jump on over there. Links in the chat and the description. [00:40:48] Speaker C: And I'm sure you could search it on GoFundMe as well. [00:40:51] Speaker B: Yep, most definitely. Thanks, guys. Should we get on with the news? [00:40:56] Speaker E: We should get on. [00:40:57] Speaker A: Let's do it. [00:40:59] Speaker C: Let's do it. [00:41:01] Speaker E: All right, cool. [00:41:06] Speaker B: Okay, so just to kick off, Joe, we've heard that there's a new Tamron lens coming. What. What do you have to say about that? [00:41:13] Speaker E: I was gonna make. Yeah, it's funny. I was gonna make that same joke. And then I was like, oh, no. [00:41:16] Speaker C: I better not push it anymore. [00:41:21] Speaker E: Yeah, you can handle it. And plus, we're about to just talk about all the new lenses, Canon release. [00:41:25] Speaker C: So we try and balance it out in some way. [00:41:28] Speaker B: Should we jump into a couple of social posts just quickly? [00:41:33] Speaker E: Yes, sure. [00:41:34] Speaker B: All right, let's start off with Jeff Cable. So, Jeff Cable. We had Jeff Cable on last year. Jeff Cable is one of the official photographers for Team USA's Olympic team, whether it be summer or winter Olympics. And he's over there again shooting everyone from the. From the USA Olympic team Winter Olympic team in Italy at the moment. And he's been posting some stuff on his socials. We interviewed Jeff. When would that have been? About halfway through last year. [00:42:03] Speaker E: Yeah, sometime last year. [00:42:04] Speaker B: Yeah. Anyway, you can look it up. It's in our catalog of past videos, but he gave us a lot of insight into what goes on behind the scenes for a photographer at an Olympic event for a team. And yeah, he's back at it again and he's been posting some stuff. I remember when we spoke to him last year, it was amazing just to hear of just how long his days are. And he has to travel, you know, all across this country, wherever the host country is, to get from one event to another within a certain time frame to meet his obligations. And. And what. What was the time frame? He shoots and then edits his images within 16 minutes. [00:42:41] Speaker C: Yeah. [00:42:41] Speaker E: And uploads something like. That depends on the. Yeah, it depends on the actual, like the particular event. But when he's covering specifically USA Hockey. [00:42:52] Speaker C: Which is the team that he's sort of there to follow, that stuff is. Yeah, I'm pretty sure it's like somewhere between six and 12 minutes, depending on what's going on because their game update specific images. But then he does get a chance to shoot some of the other team usas and even just other things going on where there's less pressure because he's not specifically the person covering that event. So he gets to shoot a bit more for fun with slightly less time pressure. But it would still be crazy. [00:43:20] Speaker B: He. [00:43:21] Speaker E: He puts a lot of it up. [00:43:23] Speaker C: On his blog as well and sends out emails and things too. So if you're interested in kind of he. Yeah. Following the behind the scenes stuff. I don't know how he has time to do that while he's actually working, but it's crazy. [00:43:32] Speaker A: Nine Olympic Games. Wow. [00:43:34] Speaker C: Yeah. Yep. [00:43:36] Speaker B: Yeah, the ones from Paris were just phenomenal. [00:43:41] Speaker A: He. He. [00:43:43] Speaker E: He used to be the marketing guy for what. What company was it, Greg? [00:43:49] Speaker B: Oh, standards, wasn't it? [00:43:52] Speaker E: He was the marketing. What do you call it? Like, like the marketing officer. Cmo, VP Marketing or whatever. Like legit Silicon Valley kind of guy. [00:44:02] Speaker A: Not that big of a deal. [00:44:05] Speaker E: Has nose and has photographed and traveled. [00:44:07] Speaker C: To Japan with Was Steve wck. [00:44:12] Speaker E: Yeah. [00:44:12] Speaker C: And then quit that to become a photographer. [00:44:15] Speaker B: Yep. And so when he's not shooting or prepping for an Olympic, he. He shoots birthday parties and bar mitzvahs in California. That's his main gig. [00:44:22] Speaker A: Wonderful, isn't it? [00:44:23] Speaker C: Yeah. [00:44:24] Speaker E: And tours and everything with like. [00:44:26] Speaker C: Yeah. Goes to the Galapagos. Yeah, it's. Yeah. Anyway, very interesting interview. [00:44:31] Speaker B: Such a sweet guy to talk to. Like just. [00:44:33] Speaker A: He's also getting an email. [00:44:35] Speaker B: Yeah, I see what's happening. We need to start charging a fee, Justin. [00:44:40] Speaker E: We need a contract. [00:44:41] Speaker B: Where's Alex's lawyer? All right. Yeah. So look, we wish Jeff all the best and we'll keep an eye on his stuff and he'll crush it. Yeah, he will. Yeah. Pretty amazing. Next up, someone from our community, Lisa Leach, has been out photographing bird landscapes. [00:45:01] Speaker E: I've got some of those shots for your Images. Okay, we'll leave them so we can just. [00:45:05] Speaker C: We can hold on to them. [00:45:06] Speaker B: Yeah. Stay tuned. And just finally, the last social post. Cam Blake, who joined us only a couple of weeks ago as a co host on a Monday night, sitting in the hot seat where Joe is now. He's been on his tour in Japan and has been completely rubbing my nose in it. And every time he posts something, I go on and I post a comment saying, I still hate you because I want to be in Japan. [00:45:31] Speaker E: Found the snowy. The snowy. [00:45:35] Speaker C: What do you call it? [00:45:35] Speaker E: Vending machine. Yeah. [00:45:37] Speaker B: So this is my first time in Japan. [00:45:39] Speaker E: It's amazing. [00:45:40] Speaker B: Yeah. That. That lake is crazy. And they were just. The lake is so completely frozen. They just walked out onto it and. [00:45:48] Speaker A: Unreal. [00:45:49] Speaker B: And they could access that Tory gate, which normally you couldn't because it's submerged. You know, you can't get to it from land. But. But. Yeah. So Cam's running a tour there at the moment. His first Japanese tour. It's his first time in Japan. He's got a very skilled supporting person over there, a local, and. Yeah. And somehow he managed to get, I think eight consecutive days or something stupid of a clear shot of Mount Fuji from every angle. So I hate him even more. But. Yeah, so maybe we'll. We'll catch up with him down the track and see how he went with that. Actually, we've got him coming back for an interview, haven't we? Yeah, we do. In March. Yeah, in March. [00:46:31] Speaker E: Yeah. [00:46:33] Speaker B: So that's it for social news. Let's talk about industry news. Late last week, Sneaky Canon dropped a couple of new lenses. Justin. [00:46:42] Speaker E: They sure did. [00:46:43] Speaker B: What did? [00:46:43] Speaker E: They sure did. They did a couple of wide angles, 14mil F, 1.4, and a 7 to 14 fisheye. [00:46:53] Speaker B: Okay. Now the question is, have you ordered them one or both? [00:46:58] Speaker E: No. So I looked. I don't need the fisheye. I. For a second I looked at it. [00:47:02] Speaker C: I'm not going to use that. [00:47:03] Speaker E: It goes. It goes full circular. It goes to, like 190 degrees, full circle. [00:47:08] Speaker C: So you'll get, you know, the black. [00:47:09] Speaker E: Have you. You haven't seen any of the. Let me see. [00:47:12] Speaker A: I've seen this. It's a little bit like Poor things. Have you seen that movie? [00:47:17] Speaker B: Yes. [00:47:18] Speaker C: No. [00:47:19] Speaker B: Yeah. [00:47:19] Speaker A: Poor Things every now and then has these fish eye shots, and that was to do with the film and the lens that we're using. And I saw on the article that similar thing with the. There's a skateboard shot, and it's awesome. [00:47:34] Speaker C: Where is it? [00:47:35] Speaker E: Let's See if it's going to give us the share this quickly. So, yeah, it does full circular. [00:47:41] Speaker C: I don't think I need that. I don't think it would be a good thing. And they got the bulby front lens element which I'm just no doubt going to scratch. [00:47:52] Speaker E: So. [00:47:52] Speaker B: Yeah. Oh, wow, look at that. [00:47:55] Speaker E: Yeah, so it, yeah, it does full circular 190 and then it goes to. [00:48:00] Speaker C: Basically like at 14. It's a fisheye effect, but a square, you know, like, like this. [00:48:09] Speaker A: Wow. [00:48:11] Speaker E: Yeah, so it does crazy good. [00:48:13] Speaker C: Does get very close. [00:48:14] Speaker B: That. That's a lot of, a lot of range for really cool applications in both video and stills, isn't it? [00:48:20] Speaker E: Yeah, yeah. And I think they, they've, they've had one. [00:48:23] Speaker C: This is just the first one that's in the RF mount, the native mount to the current mirrorless canons. So people have been obviously just adapting the old one. [00:48:34] Speaker A: I love that, that photo of the skateboard going around the edge of the pipe because if he flips upwards or accidentally makes the lens rip the demo. [00:48:44] Speaker C: Unit like I was gonna say. Yeah, you're hitting, you're hitting this. [00:48:49] Speaker B: That just looks so sketchy. [00:48:51] Speaker C: Yeah. [00:48:52] Speaker E: So F 2.8 to 3.5. [00:48:54] Speaker C: Knowing that it's an owl, like it's gonna be, it's gonna be good. [00:48:59] Speaker B: Yeah. [00:48:59] Speaker C: And the retail price looks to be. [00:49:01] Speaker E: 27.99 in Australia, which is, I mean, not unreasonable for a Canon L series. [00:49:08] Speaker C: Because some of them are even more than that. [00:49:10] Speaker B: Yeah, it's a specialty piece of glass too. [00:49:13] Speaker C: Yeah. [00:49:14] Speaker B: I think what's interesting is that they dropped this the same day they dropped a 14 mil prime. [00:49:21] Speaker C: Yes. A 1.4, which is, which is very cool. [00:49:27] Speaker E: Now the 1.4 is the same series as the other VCMS that I've been buying, which is this one here. But it's the first one that just. [00:49:36] Speaker C: Differs slightly from the body shape because all the, all the Canon L series VCM lenses, they're the primes. Like they do a 24, 35, 50, 85 and a 20. And they're all essentially the same body so that videographers can swap them on and off rigs. And it's almost the same weights, about the same size, and it allows them to kind of work fast while swapping over lenses. And this is one of those. But because it's a 14, 1.4, the element is a bulb style element again with like a fixed pedal hood. So it's slightly longer and slightly heavier than the other ones. [00:50:18] Speaker B: Still a shit for adding filters. [00:50:21] Speaker E: Yes. Well, it looks like it's got a. [00:50:23] Speaker C: Gel filter holder on the back. [00:50:24] Speaker B: Oh, okay. So that makes a difference. But still. [00:50:27] Speaker C: Yeah, yeah. [00:50:29] Speaker E: So it is much more in line. [00:50:31] Speaker C: With Canon's L Series glass pricing at 38.99 Australian dollars. [00:50:37] Speaker E: So it's one, it's one that you're. [00:50:38] Speaker C: Not just going to go and grab as a little. Oh, that might be fun to play with. This is, this is something that. This is an investment if you, if. [00:50:46] Speaker E: You do Astro, I'm sure it would be an amazing investment. Otherwise, it also says it's good for broad landscapes, so there's that. But yeah, but I mean, if you're doing landscapes and not Astro, like you're. [00:51:02] Speaker C: You're probably just going to choose a lens, a wide lens that is an F4 or something and not. And not spend anywhere near that much money because you're probably stopping down to way higher than that anyway. But, yeah, certainly Astro Beast. [00:51:16] Speaker E: So, yeah, very cool, Very cool. Something different. Good to see. I think Sigma is the only other brand that's done a 1.4, like 14 or wide of some point. And it's, it's like twice as big, twice as heavy. But this does rely on distortion and. [00:51:34] Speaker C: Like fairly heavy distortion correction in camera. [00:51:36] Speaker E: Like in camera profiles or whatever. [00:51:39] Speaker C: Whereas I don't think the Sigma does so much. And that's probably the trade off you get for trying to make something lighter is they're sort of, I guess, bending the rules a little bit by digitally correcting it instead of optically correcting it. I don't know. Does that make sense? Joe, you know more about lenses than me. [00:51:57] Speaker A: It does, but I'm sure even still with all of that, the lines on the side get really curvy and not straight. [00:52:05] Speaker B: You'd think so, wouldn't you? [00:52:06] Speaker A: Yeah. [00:52:06] Speaker C: Yep. [00:52:07] Speaker B: Yeah. You might crop some of it off. Very cool. Just a couple of quick bits. We won't bring these up, but The Canon EOS R5 has officially been discontinued, according to my very reliable source. How long has that been out for? That's been out for. That was the first, wasn't it? [00:52:24] Speaker E: That was the first one, yes. That's released in 2020, I think. [00:52:30] Speaker B: Okay. [00:52:31] Speaker E: Yeah. And I mean, the two's been out. [00:52:32] Speaker C: For a while now, so that makes sense, I guess. [00:52:35] Speaker B: What else is worth sharing today? A little bit of Canon news. Canon launches a white version of the EOS R50V in Asia. So it's just a stock white lens, which is really weird, but we've been seeing that a bit. We saw that one last Week we talked about that orange little TC Artisans one for the Fuji X mount. Yeah, that was. [00:52:55] Speaker A: Yeah. [00:52:57] Speaker B: Enticing. [00:52:57] Speaker C: You like. [00:52:58] Speaker A: There's also the. The. The Hectors by. Oh my God, I forgot who did them. But they're like this silver color. That's like really, really nice. Let me see if I can find them. Give me a sec. [00:53:14] Speaker E: Yeah. Okay. [00:53:15] Speaker B: What else have we got? [00:53:16] Speaker E: What are you doing that. Just a question from. [00:53:19] Speaker C: I still don't know how to pronounce this. [00:53:21] Speaker E: Katzenellenbogen 3 in. I don't know what is the distortion on this lens? Like I use the 24 to 105.2.8. [00:53:30] Speaker C: And man, for that price is. It's unacceptable. You can see cropped edges in it. [00:53:34] Speaker E: Do you mean. [00:53:35] Speaker C: So when it's uncorrected you can see dark edges. [00:53:39] Speaker E: What. What you'll find is that's. [00:53:42] Speaker C: That's in the raw. That's outside the normal image area. That's. So it relies on distortion correction. The same thing happens with a lot of their lenses. [00:53:55] Speaker E: But you're actually getting. [00:53:57] Speaker C: So that would probably be at like 22. The equivalent frame of a 22 mil lens. And then at corrected. It is a 24 mil lens. But it is something that a lot of people aren't happy about because it's very much a departure from traditional lens design where you had to get it right in the lens, in the glass. But as a trade off, it's a 24 to 105 2.8. It's like, you know, that's a lens that never existed before. They've obviously had to make some compromises to make it happen. So it's one of those things. [00:54:29] Speaker B: Yeah, yeah, yeah. It's interesting. It's very interesting. In other lens news. Oh, did you find what you're looking for, Joe? [00:54:37] Speaker A: Yeah. So it's called the lights. L E I T Z Hector H E K T O R There's six of them. They're all prime lenses and they're all this really striking silver color. Like I remember when Max Airs came out and they were all silver like that. It's sort of. [00:55:00] Speaker C: Yeah. [00:55:00] Speaker A: Emblematic of that. [00:55:02] Speaker C: This is. So these are a Leica product. [00:55:05] Speaker A: Yeah. [00:55:06] Speaker C: Because they're expensive. [00:55:07] Speaker A: Oh, very. Like all six of them will cost you like 65, 000. Yeah, I've got this exact page. [00:55:14] Speaker E: Yeah, yeah, yeah. It's like. [00:55:21] Speaker C: They look like a piece of machinery. [00:55:22] Speaker B: That's. And I like what. What Sigma did when they launched that camera. What was that weird Apples camera they brought out last year? The bf. When they launched the bf, putting aside what anyone thinks about that camera, they relaunched all of their primes in a new silver to match the camera and in a new black and so. And they all kind of look fairly similar. It was like that. It was like a set you could get of every Sigma lens in the new finishes to match the new camera. I wonder how they did with sales on that. You never. [00:55:51] Speaker D: We haven't really. [00:55:52] Speaker B: They've kind of slipped off the radar, the bf. [00:55:54] Speaker E: I think everyone sort of unanimously said, that's really cool, it looks really cool. And then tried to shoot with it and we're like, it's not really cool to shoot with. But everyone was like, it's cool that you tried to do something different. [00:56:08] Speaker C: But it wasn't. I don't know if the user experience was a trade off. [00:56:12] Speaker A: I'm glad it failed. Sigma's our number one competitor. So. Dude, saying Sigma with my employees is like saying Voldemort. [00:56:23] Speaker E: Like is it really, Is it a rivalry? Do you guys have a poster like a Sigma logo up on the wall you throw darts at? [00:56:30] Speaker A: Nah. But like if we're at a trade show and we'll be next to Sigma or we're visiting a shop, we were like purposefully frame out Sigma or like cross it out as like a joke and, and stuff like that. [00:56:44] Speaker E: Do you think, do you think they do the same about you guys? Probably not. [00:56:50] Speaker A: It's actually something funny. When I first got hired at Blonde and they're like, oh, you're a videographer. What did you shoot on? I go, oh, I shot on a pocket cinema 6K with a Sigma 35, 16 to 35. And they're like, I'm sorry because we distribute Red and Tamron, so that's so good. [00:57:13] Speaker C: They're like, get out. [00:57:14] Speaker A: Yeah, yeah. [00:57:18] Speaker E: A couple of quick comments just while we're, while we're rolling along. First of all, it's okay. Cats and Ellen Bogan love it. Cats and Ellen Bogan says yes. But I was shocked. Even the Sony 50 to 150 F2 is not that bad. See, that's the thing. 50 to 151 enormous lens and optically wonderful thing for them to have a crack at. [00:57:39] Speaker C: And they did it well. [00:57:40] Speaker E: But a telephoto is a lot easier to deal with that sort of, that. [00:57:46] Speaker C: That issue of really dark vignetting around the edges at that telephoto ends. I don't know why, but when you. [00:57:51] Speaker E: Go to these wide. It seems to be on all of the wide lenses that they're doing a. [00:57:55] Speaker C: Lot of that management digitally for that kind of stuff. Distortion. [00:58:00] Speaker D: Yeah. [00:58:01] Speaker A: Which makes a point where it may not be scientifically possible otherwise. [00:58:07] Speaker E: Yeah, that's very true. [00:58:08] Speaker B: For the size of the lens. Yes. [00:58:10] Speaker E: For the. Yeah, yeah. [00:58:11] Speaker B: It's always a compromise. It'll be interesting to see what happens should Canon ever release their RF mount to how third party. [00:58:21] Speaker C: What they do. [00:58:21] Speaker B: Lens companies what, what they will do. Whether they'll push hard on the, you know, these are correct in camera or these are correct on the lens. You don't need in camera correction. I think that, you know, that might kind of sway a few people. Do you think, Jay? [00:58:36] Speaker E: I mean like, you know, third party will do. That's why like Tamron, I've got that 35 to 150. That's a cool lens that no one ever made before. 35 to 150 F2 to 2.8. [00:58:48] Speaker C: That's what I like to see happen from third party. [00:58:51] Speaker E: I like to see him go, let's make. Yeah, let's make something that's like either cheaper for what, like you know, so it's like quality is as good but it's cheaper. [00:59:01] Speaker C: Awesome. [00:59:01] Speaker E: Or hey, this doesn't even exist. [00:59:04] Speaker C: Let's make that for that mount because yeah, that's what, that's what you want to see. You need options. I love options. [00:59:11] Speaker B: Yeah, yeah, that's very true. [00:59:13] Speaker A: Justin, would you like a role in our sales department? [00:59:17] Speaker C: Maybe. [00:59:19] Speaker E: Maybe. [00:59:19] Speaker C: Got to go. [00:59:20] Speaker B: Well, maybe now last couple of quick bits of news. Can we just scoot through those just very quickly. Viltrox has announced their first lens for Leica L mount. It's a Viltrox AF 16 millimeter F 1.8 full frame. Obviously we've talked about Canon enough. And the only other thing is that Fujifilm. I don't know how this got on the page. Fujifilm posts record high revenue and profits, largely bolstered by their digital camera and Instax and film sales, which is pretty cool. Film is a cash cow. Instax is a cash cow for Fujifilm and they're even building another factory. I think we talked about that a couple of weeks ago. They're building a new factory in Japan for the increased demand in Instax products. So it's pretty cool. [01:00:08] Speaker E: You skipped over one. I don't know if it's intentional, but apparently there's rumors kicking around of the Z9. 2. [01:00:14] Speaker B: Oh yes, the. [01:00:16] Speaker E: The what camera brand makes that again? [01:00:19] Speaker B: Nikon. [01:00:20] Speaker E: Nikon, Nikon, Nikon. So they're. Oh, hang on. Apparently so they're predicting a new low native ISO of 32 which can deliver medium format like image quality. [01:00:39] Speaker C: That'll be interesting to see if that happens because that, yeah, that sounds at odds with what the other thing that it says, which is a new 46 megapixel stacked sensor doesn't use global shutter, but it does have a 3.5 times faster readout speed than the Z9. That's already pretty decent. And a flash sync speed up to 17 20th of a second, bringing it closer, close to a global shutter camera. [01:01:06] Speaker E: The, the chance of them achieving that and also medium format like image quality. [01:01:12] Speaker C: Seems slim, but I mean that would be pretty cool. [01:01:17] Speaker B: And also who's written this? This speculation, you know, that's the other side of it. Like who, who's actually put together this list? Is this the Nick on Rumors guy? Just sort of flouncing stuff up a bit, making it a bit flowery or is it real? You know, I don't know. [01:01:30] Speaker E: Apparently it'll have, have a lot of red video features, you know, because they're the same company now. [01:01:38] Speaker C: Red. [01:01:39] Speaker E: Nikon owns red. [01:01:40] Speaker B: Is that right? [01:01:40] Speaker A: Nikon owns red? That is correct. And there is a lot of interchange between them where there's some Nikon cameras that are at the same caliber as some lower end red stuff, which is getting a little bit confusing. However, there's heaps of tech reviewers that are making all these videos on the reviews, but it bolsters the SEO and it's actually doing really well for both companies. So strangely enough, funny outcome from accessibility of technology like that. Yeah. [01:02:18] Speaker B: And looking at last year's sales, they've recently posted last year's full year SIPA data as well as a whole bunch of stuff in Japan around different retailers and what they sell. And just year on year the, the camera sales are still increasing. You know, 2025 was a great year for cameras and photographers. You know, there was, we, we are getting more and more options than we've ever had. You know, we're looking at all these third party lens manufacturers as the renowned ones. And then there's all these Chinese companies that are pushing out glasses with big claims and some of it obviously falls through. But I think we're, you know, we're spoiled for choice when it comes to cameras. [01:02:57] Speaker A: Absolutely. [01:02:58] Speaker B: We often, you know, we often have guests say, oh look, all cameras for me, they all pretty much do the same thing. It's just about what feels better or what has the better glass or you know, that sort of thing because you know that competition is getting Very, very close in terms of differentiating one brand from another, especially at a flagship level. Everyone's just pushing that bar up higher and higher. [01:03:19] Speaker A: Absolutely. [01:03:20] Speaker E: Well, and that's. We had that chat on Thursday show, which, if you haven't seen. Go and watch that because that was fun. With Peter Coulson. Three hours of discussion on all things photography. But he is big on that, that It's. [01:03:35] Speaker C: He's like. [01:03:36] Speaker E: It is about the gear, but it's. [01:03:37] Speaker C: Not about the gear. That's like his motto. [01:03:38] Speaker E: It's like any of the cameras will. [01:03:41] Speaker C: Be fine, but he likes a camera that feels good in his hands. That's why he's chosen the cameras that he's got. [01:03:47] Speaker E: And I think he said he's actually. [01:03:49] Speaker C: Working on a YouTube video at the moment where he shoots a heap of stuff with everything from his iPhone up to his Hasselblads and in between to show that he can make great images with any of them. But there's a reason that he's chosen the ones that he. That he mainly works with and there's a reason that he hasn't upgraded his Hasselblad for what he said, 15 years or something like that. [01:04:09] Speaker B: Yeah. [01:04:10] Speaker A: Just. [01:04:10] Speaker C: It works and it. It feels great in his hands and he knows it. And every time you get a new piece of gear, you have to take a bit of a backward step to learn that new piece of gear. [01:04:19] Speaker B: Yeah, the quality stuff is a bit. [01:04:22] Speaker C: That's. Yeah, yeah. [01:04:24] Speaker E: So anyway, go check that episode out, if you haven't already. [01:04:27] Speaker C: After this one. Not right now. Yep. [01:04:30] Speaker B: And just to. Just to top off this news segment, a little bit of watchworthy YouTube. Our good friend Adam Edwards has just published episode four of his scorecard series for the Mari Triangle, the Honest Reality. It's about shooting wildlife in Africa. Amazing videos, really down to earth. Great content creator and, yeah, great to see that Adam's pushing out content. [01:05:00] Speaker E: Very cool. There's a couple of quick questions here. [01:05:04] Speaker C: That we can maybe dive into or Joe can dive into before we get into the next segment of. [01:05:08] Speaker A: Oh, no, my name's appearing. Shit. [01:05:10] Speaker E: Yep, here we go. Let's start with this one. Katzenellenbogan says, does Joe know if Sony will ever stop with the 15 frames per second limit on third party glass? [01:05:22] Speaker A: That's more of a Sony question than a Tamron question, I'm unsure. However, Sony seem to care about the end user quite a bit and so they will find ways to make them happy in the best way that increases revenue and market share. So maybe that feature won't get fixed for a while. It's hard to exactly tell, but it's definitely something they're likely aware of. [01:05:54] Speaker C: Yeah. [01:05:55] Speaker E: Is it. [01:05:55] Speaker C: I mean, it's probably one of those things it's hard to know. Is it a technical thing? Is it a. Is it a sort of a limitation that they've. They've placed on there? Or is it a limitation that, you know, things I don't know, they've had to optimize their lenses to do something, to work at that speed or whatever. It's like. It's hard to know. [01:06:14] Speaker A: Yeah, it's quite. It's quite tough to know. Yeah. [01:06:17] Speaker C: Yeah. But it would be nice if they did ditch that because it probably is the one, the one thing. Although, I mean, depends what you're shooting. 15 frames per second is definitely enough for me for most things. So, yeah, if I wasn't. I'm guessing if it's bird photography or something like that, people want their unlimited or obviously sports photography. But even for the sports photography I do, I usually cap it. Unless the person's doing something that's like a very limited chance of getting the shot, I might bump it up. But I actually find 10 to 15 frames per second is plenty for most of my shooting. But if you're spending a lot of money on a lens, you'd like it to be able to work at whatever your camera is capable of. [01:06:58] Speaker E: So I get it. [01:06:58] Speaker B: Yes. Just slightly related, note the. A lot of the content that's coming out on Social is about the photographers at the Olympics, the Winter Olympics at the moment, and some of the shots they're capturing of the snowboard events and the ski and the downhill and. And the slalom and some of the photography is just phenomenal. I just feel like every time we have an Olympics that that artistic level of image capture increases. You know, I've seen some really amazing compositions that. That are more artistic than sports photography, but they still tell the story. So. Yeah. [01:07:36] Speaker E: Levin has a question. Hey, Joe, what happened to Syrup and their awesome genie motion gear and sliders? [01:07:45] Speaker A: I believe this was a product that Blonde Robot used to distribute. This was before my time. I don't know the specifics of what happened there. If I did, I wouldn't even share it because it's sort of bad form to reveal that. But I don't know too much about the products themselves, so unfortunately, I don't really have an answer for you there. Sorry. [01:08:17] Speaker C: Yeah. [01:08:17] Speaker E: But yeah, obviously not something good of. [01:08:20] Speaker B: You being on the show. Can't answer those sorts of questions. You didn't Read the terms and conditions. Come on. [01:08:27] Speaker E: How come you don't know if Sony. [01:08:28] Speaker A: I was supposed to know that I was going to go on a podcast and be aware of products from back. [01:08:33] Speaker C: When and go back through the whole catalog. [01:08:38] Speaker E: No, it's. [01:08:38] Speaker C: Yeah, it's. I do remember, I remember those products. But yeah, I don't, I don't remember anything about what happened to them when they sort of disappeared from the, from the range around in the camera stores and stuff. But I do remember seeing they were pretty cool. I think I fiddled with one one day. [01:08:54] Speaker E: Yeah, quite cool. [01:08:55] Speaker C: Sliders. [01:08:56] Speaker E: What else? [01:08:58] Speaker B: Let's move on to tonight's topic as selected by Joe Orchard. [01:09:05] Speaker E: Art versus attention versus attention. [01:09:08] Speaker B: So tell me, thinking, what's on your mind? [01:09:10] Speaker E: Topic? [01:09:12] Speaker A: A lot of my work and a lot of work that I've done throughout my career is social media related. And my perspective from that is I studied media communications and majored in cinema studies. And so part of that was looking at the history of cinema and just screen motion in general and print. And all people did throughout history was try and get wider and wider and wider and wider. But now everything is this, you know, square and flat, like sort of how we are displayed here. [01:09:47] Speaker B: Yeah. [01:09:47] Speaker A: And at the same time as Instagram's particular gripe with this like marketed and soldier as this place where artists in particular can share their feed and get accessibility and eyes on their work that they couldn't previously get without accessibility to magazines or publications or galleries. The things that people post on Instagram changed a little bit from cool artsy things to attempts at getting attention. And so if your goal with your photography is to get followers and, you know, get likes and stuff like that, there's absolutely nothing wrong with that. You're totally welcome to do that. I am concerned, however, there's a big part of the photography community that's a little bit about that loses the art part of it and focuses a bit more on the attention. And so it's more of a personal thing and this is very subjective. It needs to be a good balance and if we push a little bit more towards the art side, we'd find more of a balance that way. [01:11:06] Speaker B: I think it's a good topic and I think you raised some really good points. Last week we were discussing was it with what's his name, that idiot we had on Glynn Lavender. Now I've lost my train of thought. We're talking about how, you know, places like Instagram used to work for us as photographers and visual creatives and now it feels like it's the other way around. We've got to keep feeding it for it to be of any value to us. Yep. You know, it feels like it's, it's, it's kind of, it's, it's, it's flipped over time to, you know, those. That sort of influencer style content that's, you know, call it clickbait, call it shock value, whatever you want to call it. It's that getting, that attention, getting people to like, because there's a, there's an inherent need to build up your likes to feel value or feel valued. That's, that's kind of where social media is heading. It's training us to feel valued by giving them content that we get likes for. That's, that's kind of my view of it. What do you think, Jay? [01:12:11] Speaker E: Interesting, because obviously I do agree, like, if you get trapped in optimizing for. [01:12:19] Speaker C: Whatever gets, I guess, the most attention, the most feedback and praise, if you optimize for that, it's going to change your work. The question is, is it changing your work for the better or for the worse? And that depends on what your goals are and what you're trying to create. [01:12:36] Speaker E: You know, if, if it leads you. [01:12:39] Speaker C: To a place where you're creating things that you're excited about and proud of. Like, so, for example. [01:12:49] Speaker E: Every episode of. [01:12:51] Speaker C: The podcast that we do, we try to make a better episode than last time. So hopefully more people watch it. [01:12:58] Speaker E: I'm hoping that that is not leading. [01:13:02] Speaker C: Us down a path of creating something just for attention, but it's, it's helping us make a better show with the feedback that if more people watch it, I'm thinking, okay, well that's probably a better show than last time and we get incrementally better. But I guess the issue would be, is if we, some, you know, we start doing things that are not in line with what we wanted to create just because they get more views and then, and then you go in the other direction, I think. I think that happens a lot. Just not even on just social media, but also you see it happening on YouTube, I think, where the really popular people start creating things that are not what they really started out to create. But they made a video like that one day and they're like, okay, I guess I need to make them like this now. Cause otherwise I won't get as many views anymore. [01:13:47] Speaker E: Does that make sense? [01:13:48] Speaker A: Yeah, there's a, There's a chef on YouTube named Joshua Wiesman who has fallen under criticism because he used to have recipes. And now his videos are. I tried the hottest barbecue in Texas. I did this. I went to this. And so the products moved away from, you know, something educational and a bit more self serving. [01:14:13] Speaker B: Yeah, it is a bit self serving, especially when you start with those eye. You know, I, I went 21 days without taking a photo. You know, whatever it is, it is instantly. It's, it's not about what you're putting out to people. It's what you want people to come. [01:14:26] Speaker C: In and look at. [01:14:28] Speaker B: You know, it's more about trying to sort of almost trap or trick people into sort of starting and engaging with what you've created. You know, when sometimes I'll criticize Justin for our thumbnails for YouTube as clickbait. But it's true. At some point we've had to find a balance between, you know, feeding the machine that is YouTube to allow it to recognize us and to share us with other people, to bring us up on other people's feeds. And, you know, unfortunately, you do have to play that game just a little bit, at least. [01:15:04] Speaker A: Absolutely. And when it comes to podcasting, we, you know, I cut and edit clips from the podcast three to four a week. And so you get micro stories from the podcast. And my mindset is that the podcast is the main media piece and that these clips are supplementary and should hopefully draw you to the podcast. But as everyone sort of knows, the clips get way, way more views. And interesting fact, if you're worried about views and that you're not getting any attention, here's some quick maths to show that you can you get more views than you realize. We get on average about 2,000 views a real on Instagram and on YouTube three times a week. Times that by 52. So we're getting 60,000. Well, times two. So 1.2 million views across two platforms a year, which is nuts. And that's more eyes on Tamron and Tamron Australia than anything else. And we have some clips that have done a lot more than that. So views become arbitrary, especially in the context that you sort of look at it there. [01:16:22] Speaker E: Interesting. But okay, so you're saying we should. [01:16:26] Speaker C: Chase attention, not up. Okay, I got it. [01:16:28] Speaker A: No, it's the context of how you want to sort of. [01:16:31] Speaker B: We're going to put out a clip about that. [01:16:34] Speaker E: No, no, I get. And I get. And I think it's also. It's very different too, when, when photography, it depends on why you're trying to create. [01:16:43] Speaker C: If we're talking about photography specifically because. [01:16:46] Speaker E: Videos and YouTube do have that different. [01:16:48] Speaker C: Sort of thing where it's, it is a. [01:16:53] Speaker E: There's so many metrics there. [01:16:55] Speaker A: Yeah. [01:16:55] Speaker C: That. Because it's got more data, obviously. [01:16:58] Speaker E: So the, the traditional photo sharing platforms. [01:17:02] Speaker C: Which are not really photo sharing platforms anymore of like Facebook and Instagram, the data that it had to go on I think is like how long you. [01:17:11] Speaker E: Looked at it for when you like were scrolling past. [01:17:13] Speaker C: Like, did you sort of slow down and look at it? And then obviously if you liked it and put a comment on it or whatever was a bit more data. [01:17:19] Speaker E: Whereas, you know, this like YouTube has the data of. Did you click on the thumbnail? How long did you watch for? [01:17:27] Speaker C: And when did you drop off? Did you subscribe? Did you like. [01:17:30] Speaker E: There's all this sort of. There's more, you know, someone might watch for half an hour or for 45. [01:17:35] Speaker C: Minutes or whatever and it's, it's got a lot more to look at. [01:17:39] Speaker E: I don't know, I think that might be a little bit too where it's. If someone, if you create a photo that's glitzy and people stop to look. [01:17:48] Speaker C: At it, it's going to show that to more people. But that's like a split second decision. [01:17:54] Speaker E: You know, it's almost. [01:17:55] Speaker C: Yeah. It's almost closer to just getting someone to click on a clickbaity thumbnail. [01:18:01] Speaker A: Yeah. [01:18:02] Speaker C: This is kind of the same as getting someone to stop and look at your photo on Instagram. [01:18:07] Speaker A: And that's interesting because, yeah, YouTube, you have to decide to watch a video no matter, you know what, listen, you have to accept a short correct. If you're gonna watch a get the shot podcast or this, you have to click it and decide to watch it. Whereas on Instagram and chip shots you get fed content. And I can't believe that that is now a distinction. You always had to choose what media you watched and engaged with. Well, if we've brought a history, you were. There was one news station, there was one newspaper, but like in your town. But media was about choice and options and what you decide to engage with. And now it's mostly given to you on a game that can be played. [01:18:56] Speaker B: Yeah, yeah. [01:18:59] Speaker E: So then if you don't. [01:19:01] Speaker C: Drake. [01:19:02] Speaker B: No, I was just going to say, you know, it is interesting that you've now got a. You've got to scroll, call it a doom scroll, call it whatever you want, but you know, you've got to scroll until you find the thing that catches your eye enough for you to stop for three seconds. You know, people are putting out all this content and we're Mostly just bypassing it as fodder, you know, until we get to the, to the nuggets that we actually want to engage with. But we've, we've had to interact with so much stuff to get there. And you're right, I don't think Instagram doesn't give us much choice. And the amount of times that I've had to retrain my algorithms to go back to photography, and it's interesting the things that it keeps wanting to steer me towards are sports that people my age typically play. So, you know, like golf and stuff like that. And I'm not sporty at all. [01:19:52] Speaker C: Or. [01:19:55] Speaker B: Variations of, you know, attractive women and, and content that's sort of geared towards a, you know, middle aged man. [01:20:02] Speaker E: And I constantly, I get fed attractive women playing golf. And so if I'm getting. That's a holy. One of your algorithms is heading into me. I'm not sure. [01:20:16] Speaker C: Anyway, you know what I mean? [01:20:17] Speaker B: So. And so I've got to retrain it, you know, and if I happen to look at, like when I was looking at Peter Colson stuff, you know, obviously a lot of his stuff is female nudes or almost nudes. They all have something on, but. And just from looking at his stuff, it then just kept trying to feed me that same sort of content. Not by photographers. [01:20:37] Speaker E: No, not by, you know, not art though. [01:20:41] Speaker B: Yeah, more the sort of the shady side of stuff. [01:20:43] Speaker E: Yeah. [01:20:44] Speaker B: And so, yeah, it's really frustrating. It keeps trying to tell me what it is that I'm interested in and I'm fighting it, you know, and, and if it, and I say to people, if it wasn't for this job or trying to be a photographer and have a bit of a presence, I would ditch social media because it's not serving me. I'm serving it. [01:21:02] Speaker A: Yeah. As soon as I get a connection with someone on Instagram, if it's gonna turn into a podcast appearance or other business where I'm instantly trying to text them on WhatsApp or something else. [01:21:13] Speaker B: Yeah. [01:21:14] Speaker A: As soon as I can distance myself from there. Yeah, that's what I do. [01:21:18] Speaker B: Yeah. [01:21:19] Speaker E: So I'm going to read out a. [01:21:21] Speaker C: Couple of comments, I think, if that's all right. But yeah, let's. [01:21:24] Speaker B: Adam Edwards and Dennis have both got a couple of great ones. [01:21:27] Speaker E: Yeah. [01:21:27] Speaker C: But I'll. [01:21:28] Speaker E: Let me maybe pose a question for. [01:21:30] Speaker C: You guys to think about and for the chat to think about. I'll read some comments and then we'll hit it. It's like, so if that's the case, if we sort of Know that chasing attention on social media is probably not the best way to create meaningful art. Unless that is specifically if we're doing it Mr. B. Style. Our art is to get as much attention as possible, then that's fine. But if you're, if you're actually trying to create something different and something new, where do we share our work? That's my question. [01:22:01] Speaker E: So I'll read a couple of comments. Jason says there is potentially a highly destructive circular pathway underway too, with the increasing push to attention seeking also being. [01:22:14] Speaker C: What the AI algorithms are being trained on. [01:22:17] Speaker E: That's a fair point. [01:22:19] Speaker C: That that is then AI learning all this, all the bad stuff that's getting reinforced by sort of clickbaity, rapid, you know, fast attention stuff. But it goes on to say a. [01:22:34] Speaker E: Possible, a possible positive from this might. [01:22:36] Speaker C: Be that it forces people back to live in person interaction, maybe. [01:22:40] Speaker A: Absolutely. That's on the rise. It is absolutely happening. [01:22:45] Speaker B: That's what you've seen. [01:22:47] Speaker A: Yeah. That same company I mentioned earlier with the. The Pink man shoot. [01:22:53] Speaker B: Yeah. [01:22:54] Speaker A: The whole thing is a lot of more live events and that's getting more turnout than they can possibly imagine. They sell out in like 12 minutes, multiple hundred tickets to things and stuff like that. So, yeah. [01:23:08] Speaker B: That'S very cool. [01:23:10] Speaker E: Dennis says one quality view that is matters more to me now than a million likes. [01:23:14] Speaker C: Truly. [01:23:15] Speaker E: And Adam Edwards goes on to say, this is a topic that's so hot. [01:23:19] Speaker C: For me at the moment. [01:23:19] Speaker E: Currently making. Currently making my. [01:23:23] Speaker C: Why I'm focusing. [01:23:24] Speaker E: I'm not sure that's why. [01:23:26] Speaker B: Why I'm focusing. Photography efforts to YouTube in 2026. [01:23:30] Speaker C: In 2026. Yeah. Exactly. And where are we? Who else has been going on A lot of. Lot of back and forth. I'll try to get through all the, all the comments. [01:23:41] Speaker E: Craig Murphy says I'm done with Instagram. [01:23:43] Speaker C: I don't need to be on there. I know I'm missing some stuff, but can live with that. Yeah. Flickr. [01:23:49] Speaker E: Okay. [01:23:50] Speaker C: I didn't even know that was still a thing. People say that sometimes, but I don't know if it's. If it's available for me. [01:23:56] Speaker B: Yes, I got off Flickr. I got a Flickr because it started to get filled with crap that was like social media. It just became a dumping ground. And there was lots of porn and all sorts of stuff going on in there. It just really lost its edge. [01:24:10] Speaker A: It's always just with these new technologies and apps. It's always memes and nudity. It always falls into those two categories. And I'm fine with memes but yeah, yeah. [01:24:23] Speaker B: I mean, don't get me wrong, I like nudity. But, you know. [01:24:27] Speaker C: There'S other websites for that. [01:24:29] Speaker E: There's other ways to deal with that. I don't want an algorithm. [01:24:33] Speaker C: I want to choose what I look at. [01:24:35] Speaker E: That's right. [01:24:36] Speaker C: I'm kidding. Or am I? [01:24:38] Speaker E: Adam Edwards says, here's food for conversation. Photography is slow art. [01:24:43] Speaker C: It needs you to take time to observe and digest. Yet we are putting it onto platforms that have an average photo view time of one to two seconds and an. [01:24:51] Speaker B: Image that's about, you know, the size of a 35 mil film slide. [01:24:55] Speaker C: Yeah. [01:24:56] Speaker A: On a bit rate. That's absolutely tiny. So any of your details are just gone. [01:25:01] Speaker E: I'll show you some images in the. [01:25:04] Speaker C: Your image section of mine that I'm having major problems with. That's a fair point. That's a great point. [01:25:11] Speaker E: Who else have we got? [01:25:12] Speaker C: Okay. [01:25:12] Speaker E: A lot of people talking about Flickr. Yeah. Okay. Maybe it's making an old school comeback like retro gaming. [01:25:20] Speaker A: I'll have to get Flickr. [01:25:22] Speaker B: Yeah. [01:25:23] Speaker E: Lucinda, social media legend says I gain a lot of my work via social media. I think the biggest push at the. [01:25:30] Speaker C: Moment is that people want to connect with people. You have to cut through the AI with personality. [01:25:35] Speaker E: That's it. [01:25:35] Speaker C: That is absolutely true. Yeah. So you've got to put yourself on there. But the question is then. [01:25:39] Speaker E: So we're talking. Yeah, that's a great point. If you're trying to promote yourself as a photographer, it's definitely. You probably gonna have a harder time. [01:25:49] Speaker C: If you go off social. So you could definitely still do it, but it's going to be tough. [01:25:52] Speaker B: But having said that, Lucinda has a prolific social media game. Like, it is one of the most impressive photography social media games I've seen. [01:26:01] Speaker E: And it's, and it's not necessarily like, here, here's my images. It's like, no, here's me taking my images. Here's my favorite images from this. [01:26:09] Speaker C: It's, it's, it's also. Yeah. [01:26:11] Speaker E: Lots of work turning that work into putting her personality into the page, which is. It's. [01:26:18] Speaker B: Yeah, it's very much her. Yeah. Yeah, for sure. [01:26:23] Speaker C: Wow. [01:26:23] Speaker A: What fantastic. Lucinda, I've just got you up on my second monitor. Great job. Keep it up. [01:26:28] Speaker B: Yeah. [01:26:29] Speaker E: She's crushing it. [01:26:30] Speaker A: Yeah. [01:26:30] Speaker E: As soon as those meta glasses come. [01:26:32] Speaker C: In horizontal, I'm getting some. I just don't. I hate. [01:26:35] Speaker E: I hate vertical video. I'm not doing it. I refuse. [01:26:39] Speaker A: It's 2K and it's a square. I've got a pair. So you can do horizontal. If you edit it. [01:26:45] Speaker E: Is it a square? [01:26:47] Speaker A: Sort of. It's. It's like a 4x5 type thing, but it's. It's 2k 2.7k across, so no 2.7k up. And so you may be able to get something wide if you. [01:27:05] Speaker E: Adam says just turn your head to the side. [01:27:07] Speaker C: Look. I've thought about that, but I feel like I'll get. Install neck. [01:27:11] Speaker E: Okay, what else we get? Yeah, it's. Lisa Leach is trying trialing Iris. Yeah, I tried glass. I just found. [01:27:23] Speaker C: I didn't find the images I was. [01:27:24] Speaker E: Looking for on there. [01:27:26] Speaker C: That's why I think why I ended up buying photography books recently over the last year. I think that's probably the way that I like to consume photography and I would like to go to more things. [01:27:37] Speaker A: I want to double down on that and say that's an absolutely great idea. I've interviewed on the podcast a few people who are winners and runners up on Australian Photographer of the Year three through the Australian Photographer magazine. And in addition to seeing the winners and runners up, you see the next sometimes 15 to 20 people who place there. And so they're all getting exhibited differently. So if you don't like social media and want to see your work somewhere else, apply for these competitions. [01:28:10] Speaker B: Yeah, I think the biggest challenge is, is overcoming the giants. That is Instagram, less so Facebook. But they're still. They're still in the game. You know, these other sites like Glass and Iris are great, but most people don't know they exist. Especially if you're looking for clients. Clients don't know to look on glass. [01:28:30] Speaker E: Yeah, no, that would purely be for. [01:28:33] Speaker C: Just sort of consuming other people's work and having them consume your work. That you're all photographers. [01:28:39] Speaker E: Which I guess is what we're doing on this podcast. [01:28:41] Speaker C: Like no one's coming on this podcast other than Tony. That doesn't. Tony's our best viewer that doesn't have a camera. But yeah, no one else. Yeah, shout out. [01:28:49] Speaker E: Tony unfortunately damaged his MCL on the. [01:28:51] Speaker C: Weekend, so I don't even know if he can drive his sim at the moment. [01:28:54] Speaker B: Oh, no. [01:28:55] Speaker E: Tony, Grade two tear. Yeah, I'm on my way, brother. [01:28:59] Speaker B: I've got coffee, I've got beer. We'll get it working. Don't you worry. [01:29:03] Speaker C: We'll figure it out. [01:29:05] Speaker E: Okay, last couple of comments. [01:29:07] Speaker C: Where are we? [01:29:08] Speaker E: Bruce Moyle. So when does Lucky Straps do a member touring art show? Look, that is genius. That is absolute genius. I would love to do something physical at some point. [01:29:19] Speaker C: I'VE thought about whether we could do. [01:29:21] Speaker E: A calendar, a book, like, could we do a photo annual book or something. [01:29:26] Speaker C: From like photos that you guys have sent in and stuff. I don't know. I've thought about different ways that we can somehow bring some of this into. [01:29:33] Speaker E: Yeah, Print swap, maybe. [01:29:36] Speaker A: We are in discussion at work on doing a get the shot book. And that is all I'll say for now. [01:29:44] Speaker C: I think that's a really good idea and we're going to, we're going to do it too. And ours will be better because ours will be called the photo annual, which I think sounds way cooler. [01:29:55] Speaker E: We'll have a book off. We could. Oh, we could do a book swap. I'll give you one of our books and you can give us one of your books. [01:30:03] Speaker A: Absolutely, yeah. [01:30:04] Speaker E: Yeah. It's bringing it into the physical world, I think is a great idea, especially until my, my future prediction comes true. Here's my. [01:30:15] Speaker C: Oh, hang on, hang on, hang on, hang on. [01:30:18] Speaker A: We're gonna call her. [01:30:20] Speaker E: We got a caller, I think. Let's see if, see if we can get him in. Nick, can you hear me? Oh, it's gone. Where'd he go? No, he hasn't gone. Hold on, hold the line. You know the deal. [01:30:32] Speaker B: See, Joe, this is how a podcast is done proper. [01:30:35] Speaker A: I know, right? [01:30:36] Speaker E: I love the company rode, but their Rodecaster Pro 2 does not do Bluetooth. [01:30:41] Speaker C: Very well at all. [01:30:43] Speaker F: Can you hear me? [01:30:44] Speaker E: Yeah, we can hear you. [01:30:44] Speaker A: We got you. [01:30:45] Speaker E: We can hear you, mate. What's going on? [01:30:48] Speaker F: Hello, Steve, I was just. You so have to do an album. We can, we can. Oh, yeah, you promote it through Beef Up. You'd sell a couple hundred copies before you even promoted outside. You'd cover your cost before you even did any advertising. [01:31:04] Speaker C: I didn't even think. [01:31:05] Speaker F: Genius. [01:31:06] Speaker E: That is. I mean, how would you. [01:31:08] Speaker F: And then get it, get everyone, everyone who's been on the show to send you one image and there you go. You have like 60 of the best photographers in the world to start with. You're done. [01:31:17] Speaker C: That's a great idea. [01:31:19] Speaker E: And then just have. Maybe we can have a few pages. [01:31:22] Speaker C: Reserved for like a competition entry that's open to anyone that hasn't been on the podcast as well. [01:31:28] Speaker F: Yeah. And you guys put your stuff in. We can have like close ups of a derailer. [01:31:32] Speaker A: You don't want to see their photos. [01:31:37] Speaker E: Oh, yeah. I don't know. [01:31:38] Speaker C: I'd have to get. I'd have to get a bit more artistic to try and slot my stuff in. [01:31:42] Speaker E: In between. [01:31:42] Speaker C: Bruce Moyle and Dennis and. [01:31:44] Speaker E: And all the legends, but. And the Nick Fletchers you made. [01:31:48] Speaker B: I have a question for you, Nick. [01:31:49] Speaker C: Oh, hang on. [01:31:50] Speaker E: Yeah, go Greg. [01:31:51] Speaker B: Oh, good. Yes, Justin. I caught up this week. I went to Bendigo and we were chatting away about planning our year out, and we both asked ourselves and each other, are we actually invited back for BFOP 2026? [01:32:06] Speaker F: Good question. Almost certainly. Yeah. Of course you are. [01:32:11] Speaker E: 70. 70 chance. Yeah. [01:32:13] Speaker A: Yeah. [01:32:14] Speaker B: Because we started making plans and we got excited. We went, oh, hang on. [01:32:17] Speaker E: I was like. I was like, I better book some accommodation. But also, I don't know if we're definitely going. I've got to wait in here. [01:32:25] Speaker F: I. I keep bumping into people who I'm certain are going to be fog, and they go, am I invited this year? And I'm like, yeah. Have we not told you? [01:32:36] Speaker E: I think that's a fun way to do it. Keep people on their toes. [01:32:40] Speaker F: Yeah, no, we'd love to have you back. That'd be awesome. [01:32:42] Speaker C: Wonderful. [01:32:43] Speaker B: There it is. [01:32:43] Speaker C: Wonderful. [01:32:45] Speaker E: Clip that and get the thing. [01:32:47] Speaker F: Get the thing printed. There's not enough printed work out there. I'm so sick of images on computers. Get it printed. [01:32:54] Speaker A: Yeah. [01:32:54] Speaker C: Okay. Photo annual. We're making it happen. [01:32:57] Speaker B: Yeah. [01:32:57] Speaker E: Thank you. [01:32:59] Speaker C: Cool. [01:33:00] Speaker F: See ya. [01:33:01] Speaker B: See ya. [01:33:01] Speaker E: Thanks. [01:33:01] Speaker B: All right, thanks. Bye. He calls it every week now. [01:33:08] Speaker E: The only live call in photography show on the Internet, believe it or not. [01:33:13] Speaker A: Let's get another one. Someone else call up. Come on. [01:33:16] Speaker E: It's people. They don't as often. We've had had David from San Francisco call in. So we've had an international caller, but yeah, people don't get. They don't get their phones out quick enough. They just jump in the chat. But you know, it's there. It's there for you to have your opinion. What was I gonna say? Yeah, we'll definitely. There's a lot of good ideas about the. [01:33:38] Speaker C: The. The book. Bruce is saying suggest the process behind. [01:33:41] Speaker E: The scenes with cur. [01:33:43] Speaker C: Curation as a YouTube series would be awesome. That would be very cool. Like, film those videos while we're doing it, but don't drop them until the book is out. [01:33:52] Speaker B: Yep. And get a printer in Japan to do the printing and I'll fly over and do the behind the scenes photography. It'll be fine. [01:33:59] Speaker E: Work expense, covered expense. [01:34:03] Speaker B: I'm gonna get to Japan at some stage, I'm telling you. [01:34:06] Speaker A: Anyway, I went over New Year's. It was beautiful. [01:34:09] Speaker B: Shut up. Hate you. I hate cam. [01:34:12] Speaker E: Blake, everyone in Japan, very quickly, before we move on from this awesome topic, I'M going to tell you, Joe, my prediction for where we might eventually be able to show our work virtually without. [01:34:29] Speaker C: Having to have a gallery exhibition. But instead of being a tiny on. [01:34:33] Speaker E: A phone, when we do have our good goggles, our Apple Vision Pros and. [01:34:40] Speaker C: Our meta Oculus Questy things that are actually good. [01:34:45] Speaker E: Because I think that's going to happen. [01:34:47] Speaker C: Some variation of it. [01:34:50] Speaker E: I think we're going to be able to curate our own gallery experience that. [01:34:57] Speaker C: Other people can come into and hang out with us virtually. But you can have the photos displayed big. You can have. Alex Frain can have his amazing soundtrack with his image. [01:35:09] Speaker A: Does it really Gary's mod. You can probably do it in there too. [01:35:13] Speaker E: No, I'm sure there's hang artwork on the wall. [01:35:16] Speaker A: I'm sure there's. This exists in some capacity. [01:35:22] Speaker C: Okay. [01:35:23] Speaker E: Well I want it to exist in a. In a simple and specific capacity where. [01:35:29] Speaker C: It'S like there we go. [01:35:30] Speaker A: It probably is not easy going. [01:35:32] Speaker E: Yeah. [01:35:33] Speaker C: Like this is something that any. [01:35:34] Speaker E: Anyone in this chat could. [01:35:36] Speaker C: Could get the app. They could put their photos there. They can move them around and sort of design their space. [01:35:40] Speaker E: They pick a space that they want. [01:35:42] Speaker C: You know, it might be. [01:35:43] Speaker A: And they could sell it digitally in this thing called a non fungible token. [01:35:48] Speaker E: Let's not go back there, Joe. [01:35:50] Speaker C: Let's not go back there. [01:35:51] Speaker A: No, no. I know you said you wanted to move on, but I did have like some quick notes about you sort of, as you've pointed out, have to post on social media if you try and get client work. [01:36:03] Speaker B: Yeah. [01:36:03] Speaker A: Some quick things to be a little bit more on the artsy, authentic side of things that I've found that has worked for some accounts. So the big one, authenticity. Who are you? Who's the person behind the camera? If you. If they know who's taken the photos, they know who they're hiring and who it is. So that's really important. More time in pre production. So figure out what your style is going to be on Instagram and actively focus on that. There's a guy I found, his name is Hawak Photo. All of his photos are green, gray and a little bit of yellow and it's a stunning feed to look through. And in terms of making your photos pop a bit more on Instagram, depth of field and texture. Texture is really hard because of low bit rates and stuff like that. But if you can make something look a bit more tangible, especially on screens, they're impressive, but also not that impressive in a lot of ways. Those are my. My quick point is to doing a little bit better on social media. [01:37:13] Speaker B: So. [01:37:13] Speaker E: So when it comes to that, you sort of almost talk about treating the. [01:37:16] Speaker C: Photo specifically for social media as in sort of. So when you talk about texture, like you might be adding more texture than you would if you were going to print it 1 meter on the wall because you're like, hey, this, this is going to be viewed on a tiny little phone. I need to, I need to do a specific edit for the phone that probably wouldn't look great printed, you know, on a beautiful A2 whatever. High res. [01:37:40] Speaker A: Absolutely correct. Yeah. [01:37:41] Speaker C: Okay. [01:37:42] Speaker E: Good tips, great tips. Anything else? [01:37:50] Speaker B: No, I think we, I think we can draw a bow in that if we're going to try and stick to a reason. [01:37:54] Speaker A: Post videos of BTS as well. Keep doing that. [01:37:57] Speaker C: Yeah. [01:37:58] Speaker E: Lucinda's the, she's the gold standard. Yep, yeah, absolutely. Okay, well. [01:38:07] Speaker B: Can I open my box now? [01:38:08] Speaker E: What's in your box, Greg? [01:38:10] Speaker B: Have you got a box too? [01:38:12] Speaker E: Mine's not in a box, but while you're getting your box, I can just pretend if you want or if you. [01:38:16] Speaker A: I love this whole what's in the box thing because Justin looks a little bit like Brad Pitt and I'm getting seven vibes. [01:38:24] Speaker E: If only. [01:38:25] Speaker C: But yeah, that is where that meme is, where the name come from. I just, I don't, I don't want to commit to screaming it out. [01:38:34] Speaker E: You want to go first, Greg? [01:38:35] Speaker B: Yeah. Can you make the screen a bit bigger? [01:38:37] Speaker E: Oh yeah, I can make you. [01:38:39] Speaker C: I'll put us over here. Hang on. [01:38:43] Speaker B: So I got a box. I got a box from Fujifilm Australia. What a surprise. Everyone says. So if you've been following. I've been talking about some lenses recently. I've tested a bunch of lenses. I didn't rush into making this lens choice. Probably over the last, what, maybe three or four months I've been sort of playing around with, you know, trying to work out what I need, what I have, what I'd like, that sort of stuff. And so I settled on a prime lens. Oh, that's neat. I'm just waiting to see if they packed any other goodies now. They didn't. All right. [01:39:19] Speaker C: You thought they might have given you. [01:39:20] Speaker E: A little present maybe. [01:39:23] Speaker B: Who knows? So this is the, the new version of the Fujifilm XF23 millimeter F 1.4. It's weather sealed. It uses Fujifilm's new linear motors and it is more specifically designed for The Fujifilm Gen 5 sensors and processors and camera bodies which I now have with my Fujifilm XC5. So it is here. Sorry, I meant to be doing the ASMR stuff. Sorry. And so, yeah, I decided to go for this. Even though I've already got a 23F2. I wanted something a bit more pro, something with a bit better aperture for low light stuff, but also just an everyday lens for me when I, when I choose to carry a slightly heavier lens because the, the other 23 is quite light, but this is faster in focus, it's got a brighter aperture, it's got sharper optics throughout the range and throughout the aperture range. And yeah, I'm pretty excited to get this out and test it. And even though it's. It's one of their, you know, pro grade primes, it's still tiny. [01:40:36] Speaker E: What do you reckon it weighs? How does it feel? How does it feel in the hand? [01:40:39] Speaker B: It's about 380 grams. [01:40:41] Speaker E: Throw it up a little bit just so I can get an idea. [01:40:43] Speaker B: No, there'd be none of that. There'll be none of that. But yeah, I'm pretty excited. Very excited. So that's my first new lens for a little while. I don't have the other one here to compare, but yeah, I'm pretty excited. It is a sexy lens, Dennis. It is. And so 23 is my favorite focal range. On many of my trips to Japan, I shot with the 23ft almost exclusively. F2. Almost exclusively. I love that focal range. It's a 35 mil full frame equivalent. And it just seems to work for me. And so I wanted to lean into what works and go for something a bit brighter and faster. So here we are. So stay tuned for some content on that one. Some content, yes. [01:41:27] Speaker E: Will you put it on social media? [01:41:29] Speaker B: I will. On little pictures. [01:41:32] Speaker A: Apparently the human eye is of roughly 24 millimeters. I've heard that before. [01:41:39] Speaker E: Yeah, I've heard anything from 24 to 50. And then people say, people say they're like, yeah, 50s the perspective. And then 24 is like the width. And I'm like, okay. And then I don't know, I like 28, which is why I asked Greg to go and collect this for me. Which is my new old Canon EF28 millimeter 1.8 to go on my Canon film cameras. [01:42:10] Speaker C: I sent some film off today. I tested it out. [01:42:14] Speaker E: Oh, can I do it this way? [01:42:15] Speaker B: Yeah. [01:42:16] Speaker E: Tested it out on the weekend. So I ran a roll through with this on and I did it. I ran it on two cameras because one of them was a new camera and I was worried. I was like, what if the. What if the Camera doesn't work or what if the lens doesn't work? [01:42:29] Speaker C: If I test a new camera and a new lens with a roll of. [01:42:32] Speaker E: Film, I won't know which one is shit. So I mixed them all around and. [01:42:36] Speaker C: Tested it on everything. [01:42:38] Speaker E: But yeah, thanks for getting that for me, Greg. [01:42:41] Speaker B: No worries. [01:42:42] Speaker E: It's beautiful. [01:42:43] Speaker B: It was good because I was on. I was coming to Bendigo a couple of days later, so delivered in person. [01:42:50] Speaker E: Very cool. You got any boxes to open up, Joe? [01:42:53] Speaker A: I don't have anything to open up. Do I have anything camera related? My room's a bit of a. Hey, I'm selling a bunch of Lego and so it's kind of everywhere because I took a bunch of photos of it. I got this little bad boy. [01:43:09] Speaker E: What's that? [01:43:09] Speaker A: It's the Sony ZV1. It doesn't have any lens attachments to it. But if people often wondered the size matter. And this little bad boy here got me 13 million views on tick tock in six months. [01:43:25] Speaker E: So. [01:43:27] Speaker A: Yeah, that was street interviews. [01:43:29] Speaker B: Nice flex. [01:43:30] Speaker A: I was going to ask content imaginable, really? [01:43:35] Speaker E: 13 million views, wow. [01:43:37] Speaker A: The first video we ever did got. Sorry. The second one released got 1 million views. And we're like, we're on fire, guys. We're going to keep doing this and. [01:43:46] Speaker E: Take over the world. [01:43:47] Speaker A: It took us a long time to get there. And here's a little secret about virality. You never really know what's going to pop off and yeah, what does that. Keep trying, guys. [01:43:59] Speaker B: Yep, Levin just dropped in to say. Just bought that myself last week. Very impressed with it. He says that he's up to two views so far with it. So we call on your claim, Joe. [01:44:13] Speaker A: Oh, I'm a better editor than I am shooter, so. [01:44:16] Speaker B: Oh, maybe. Maybe that's what it is. Maybe that's what it is. Yeah, there you go. So you don't have any boxes, Justin? [01:44:23] Speaker E: No, mine was already out of the box. [01:44:25] Speaker C: I had to test it. No, but it won't be long before I. [01:44:30] Speaker B: The other box I have is. I've got a new. A newer. How do you pronounce it? Neewer? Neewa? Ne. [01:44:36] Speaker C: I'm not sure. [01:44:39] Speaker A: Them, so I don't know either. [01:44:43] Speaker E: I've blocked them out. [01:44:44] Speaker C: I've blocked that out. [01:44:47] Speaker B: All right, let's get into your images. [01:44:49] Speaker E: Yeah, we should get into your images. We should. What am I gonna do? [01:44:54] Speaker C: We should do this first, I guess. [01:44:58] Speaker E: There it is. [01:45:00] Speaker C: Might get a new sound to go with our new intro, I think. [01:45:03] Speaker B: Oh, that's so good. [01:45:04] Speaker E: It is good. Should I Start off with our images for something different. Different because we haven't shown any for a while. [01:45:12] Speaker B: Yeah, a couple of quickies. [01:45:15] Speaker E: Do you want me to quickly whip through? I've got a lot, but I'll just quickly whip through to show Joe why I'm having so much trouble with social media. [01:45:26] Speaker B: What's. Because you're shit. But aside from that. [01:45:29] Speaker C: Aside from that. [01:45:33] Speaker E: Where are we? So I'm taking the entire podcast on. [01:45:39] Speaker C: A journey with me as I try. [01:45:40] Speaker E: And launch a pet photography business. And so I've been working on a studio. Like, I've got the studio set up. This is the latest sort of a. [01:45:50] Speaker C: Couple of test shoots that I did. [01:45:52] Speaker E: About two weeks ago now, I think. [01:45:54] Speaker C: And these aren't finished images. I've just been playing around with edits. [01:45:58] Speaker E: But I have a ton of trouble. [01:46:01] Speaker C: With the ones that have been posted to social media so far. How good of that dog? It's exactly going for. [01:46:08] Speaker E: I was dreaming about getting the shot. [01:46:09] Speaker C: With the bed hair with the sticking up at the back, because I know this dog comes to the gym that I go to, Monty. [01:46:16] Speaker E: And so the issue that I'm having. [01:46:20] Speaker C: Is banding in these backgrounds that have slight, like, smooth gradients when you post them to Facebook or Instagram, particularly because they compress the. Yeah, like so. [01:46:34] Speaker E: So particularly the, like. [01:46:37] Speaker C: Once you get into these red. This is funny. [01:46:39] Speaker E: Once you get into these red sort. [01:46:42] Speaker C: Of gradients and stuff, the banding is just. I can't get rid of it. How funny is that? [01:46:50] Speaker E: Oh, good dog, Good dog. [01:46:56] Speaker A: I've got a whip it now and he's got the longest snout. Like, it's very impressive. [01:47:01] Speaker C: Oh, yeah. [01:47:01] Speaker A: You can't rest anything on top of that. It just. [01:47:06] Speaker C: No chance. [01:47:08] Speaker E: But yeah, these. So these red, like. [01:47:10] Speaker C: Yeah, red background shots are just. I don't know, you put them on. They put a couple of the ones. [01:47:17] Speaker E: Actually, I think the one on social. [01:47:19] Speaker C: That went up was. Was actually just these ones and I even had banding in the gray. [01:47:25] Speaker B: Yeah. [01:47:28] Speaker A: I think I've got a separate. [01:47:32] Speaker E: What happens if you clean the background up with a Voto? I need to talk to you about this, Richard. I did clean the background up on these with a Voto and I was. I was worried that that was sort of causing some of the issues, but I played around with it and I think. I think Bruce is onto it here. Resize and add noise, but you cannot. [01:47:53] Speaker C: Fully deal with the compression artifacts, but Happy to be proven wrong. But yeah, from the, like, the research that I did, they were just like a bit of Noise over the top might help, but it's social media's compression. [01:48:05] Speaker A: And you lose a bit of the sharpness in the process on the subject itself. [01:48:10] Speaker C: Yeah. [01:48:11] Speaker A: Yes. [01:48:12] Speaker E: Rick says try to break up noise. [01:48:14] Speaker C: Yeah, that's Richard. You're on. [01:48:16] Speaker E: You're coming on the show soon, Richard. [01:48:17] Speaker C: When is that? [01:48:18] Speaker E: That's coming up. [01:48:20] Speaker C: I had it somewhere. [01:48:21] Speaker E: That's soon. Is it next week or is. [01:48:23] Speaker C: No, the week. [01:48:23] Speaker E: It's not this Thursday. [01:48:24] Speaker C: Thursday. [01:48:25] Speaker B: I'm choking to death. It's next week. [01:48:26] Speaker C: Oh, yeah. Not. Not this. [01:48:29] Speaker B: Now, this. This Thursday we've got Bronwyn Kid. Followed next week. The following week by Richard. And then who else we've got. We've got Jeff Freestone's coming up, Craig Witchen, all sorts of people. [01:48:42] Speaker A: Oh, Craig. We had him on the podcast. [01:48:46] Speaker E: Whatever, your beatus. Anyway, there's my dog photography. Round two. We're getting through it. I'm doing 10. 10 test shoots before officially launching the business. And I'm. I'm up to three. Oh, even Nick. Nick says add noise too. All right, I'm gonna try that. I hate noise, though. And grain also works. [01:49:05] Speaker C: Okay. [01:49:08] Speaker A: I should get you in touch with one of our Tamron ambassadors, Alex Kearns. Her whole thing is. [01:49:15] Speaker C: Yeah, yeah, Alex. Alex is the person that is. Is. Has made this happen. She. [01:49:21] Speaker E: She was the one that, like, helped. [01:49:23] Speaker C: Spark the idea from just being something I've thought about doing to, like, do it. Yeah, she's the best. [01:49:29] Speaker A: How's me introducing a photographer? Like you don't know them already. Pardon me? [01:49:36] Speaker C: Yeah, no, we. [01:49:37] Speaker E: We've had her on the show. [01:49:38] Speaker C: We met her be. She's got one of our belts and actually. Beautiful. Yeah. [01:49:44] Speaker E: And she's been on. She's. She co hosted. [01:49:46] Speaker B: Yeah, she co hosted as well, a few weeks ago. Yeah. [01:49:49] Speaker C: Yeah. [01:49:49] Speaker E: So she's been on twice. Do you want me to bring yours up, Greg? [01:49:53] Speaker B: What? [01:49:54] Speaker E: You should. Your images. Have we looked at these yet? [01:49:56] Speaker B: Oh, I don't know if we did. I think we ran out of time last week because that bloody Glenn Lavender didn't shut up. [01:50:02] Speaker E: Oh, boy can talk. All right, tell us a couple. [01:50:11] Speaker B: So, actually, I just put a blog out about this on my. On my own site today, so you can go and check it out and the story that goes along with it. I met up with a friend who I went to high school with. We were best mates in high school, and when we finished high school, we hung out a lot and we kind of got into photography together. We both went to art school and we set up. This is the Guy who. I've often told this story about how when I shot film, when I was just a 18 year old, a friend of mine and I, we converted one of his parents ensuite into a photo lab. And so we had all the plumbing because it was an ensuite. And so we had these benches and everything from the bench up was photography and everything from the bench down was homebrew. So this is the guy who I'm talking about. So we kind of fell out of touch when I started uni. There's a little complication around that. And then we hadn't spoken for about 30 years and then we connected a couple of weeks ago on socials and then we met up in the city to go for a photo walk together and just catch up on three decades of lost friendship. So it was a pretty emotional time and a pretty amazing time. But it was great to also kind of combine that with something that we used to do together all the time, which was to go out and do photos. So we. Yeah, it was really, really quite a special, special day for me catching up with this person. So, yeah, we. I got out and I had my Fujifilm X70, my little fixed lens compact. And that's all I took that and a spare battery. That was it. [01:51:45] Speaker C: Interesting. [01:51:47] Speaker E: So you often take the X70 out instead of your amazing XC5. The XC5 is so good. How do you. [01:51:56] Speaker B: It is good. It's just a different shooting experience for me. You know, it's a fixed lens. There's, there's, there's, you know, it's that whole limitation thing that I don't have an evf. I've just got a screen. It's a fixed. What is it? It's an 18 and a half. So it's about it. What does that work out to? Like a 28. [01:52:14] Speaker E: Is that a 28 frame? [01:52:16] Speaker B: Yeah, yeah. [01:52:17] Speaker E: Why don't they make a new version of that? [01:52:21] Speaker B: Yeah, it's. It's the bane of my existence, Justin. Don't get me started. Tanks and submarines. So, yeah, so I take this because it's tiny, it's compact, I don't have to think about it. I can use it. I can pretty much use it in my sleep. I've, you know, I've had this for over 10 years and it's just a great little go to point and shoot. Literally just a point and shoot, which is great. [01:52:44] Speaker A: So, yeah, my first ever job was around the corner in the Emporium there. So that is like the one Cor Crossing. I reckon I'VE been across more times in my entire life. [01:52:56] Speaker C: Yeah. [01:52:58] Speaker E: Small world. [01:53:00] Speaker B: It is. [01:53:02] Speaker A: Yeah. [01:53:02] Speaker E: Great shots. [01:53:03] Speaker C: I really like the. Yeah, this station and this. [01:53:05] Speaker E: This. [01:53:06] Speaker A: That's stunning. [01:53:07] Speaker C: Yeah, it's just. It's got so much. [01:53:10] Speaker B: Thanks, guys. [01:53:11] Speaker C: Contrast, like. Yeah, I really. That one's. [01:53:13] Speaker E: I didn't think that one was my. [01:53:14] Speaker C: Favorite out of these. I thought it was one of the ones with the orange. Like, this was really cool. On second look, I actually really like that one. [01:53:24] Speaker B: So I'm using Fujifilm film sims. I shoot Raw and then I apply them in Lightroom, But I kind of give them my own little personal twist on the sim. So I take the base, which is a Fujifilm sin across or usually classic chrome, and then I sort of lean into making them sort of jump out a little bit more, making them my own. So. Yeah. Thanks. [01:53:48] Speaker E: Everyone reminds him of COVID Yeah. It is interesting. There's no people in a lot of these, which is surprisingly. [01:53:56] Speaker B: No. Well, it's a Sunday morning, and I really wanted to showcase the architecture because it is pretty phenomenal when you go down into these new subway stations. Like, they're pretty spectacular, to be honest, when you think about how far underground you are and what's been built above you, and. Yeah, they're incredible. So. And there's lots of beautiful angles and shots and. And even with people, because I did take some shots with people in the frame. Yeah, they're just remarkable spaces, and it's good to get down there now because not everyone's using them yet. You know, they've only just started, like, increasing the. The train rotation that's running through them, I think, this week. So. Yeah. Cool. [01:54:40] Speaker A: Fantastic. [01:54:41] Speaker E: Great shots. [01:54:42] Speaker B: Thanks, guys. [01:54:45] Speaker E: All right, let's. Oh, no. I've just gone off the wrong thing. [01:54:47] Speaker C: There we go. [01:54:48] Speaker E: Let's move on to Felicity Johnson. [01:54:55] Speaker B: Oh, wow. [01:54:57] Speaker E: Hi, Justin. Hope you and the gang are well. A few photos for tonight. This one is devotion in the Sacred Heart Cathedral, Bendigo. [01:55:07] Speaker C: I know it well. [01:55:09] Speaker B: Yeah. I've shot weddings a number of times, haven't you? [01:55:12] Speaker C: I have. [01:55:12] Speaker E: The lighting is horrendous when you're trying. [01:55:17] Speaker C: To make the bride look not yellow. [01:55:20] Speaker E: Yeah. Where they stand up there with all of the yellow stained glass windows. Other than that, it's quite wonderful. [01:55:29] Speaker C: Great. [01:55:29] Speaker A: Yeah. [01:55:29] Speaker E: Great image. And then we have sheep and dog. I love this photo as it shows the speed this red healer is using. [01:55:40] Speaker C: To control the flock. Brakes on. Yeah. That's nuts. That is very nice. [01:55:47] Speaker B: Have you guys noticed Jay and. And. And those of you watching along, that it doesn't matter? What Felicity points the camera out at, we always get a great shot. [01:55:57] Speaker E: Seems to be that way. [01:55:58] Speaker A: Absolutely. Which I'm two for two so far. [01:56:01] Speaker E: And with. [01:56:02] Speaker B: You should see her macro work and her landscape. [01:56:04] Speaker C: That's what I was about to say. With good variety, though, too. It's not all the same subject. It's always different stuff. [01:56:10] Speaker B: Yeah. And her birding stuff. Oh, my God. [01:56:12] Speaker C: Yeah. [01:56:13] Speaker B: Just a smart ass all around. Felicity, love you. [01:56:16] Speaker A: Yeah, thanks, Bruce. [01:56:17] Speaker E: Great shot. I like the framing, too, of this. Yeah, it works. [01:56:24] Speaker C: Works very well. I don't know if it was cropped. [01:56:26] Speaker E: Afterwards or if that's what. [01:56:27] Speaker C: If that's what she got in camera, then. Well done, magician. [01:56:30] Speaker A: Yeah. [01:56:32] Speaker E: And finally, this photo shows the close interface between salt lakes and cropping land. DJI Mini 4 Pro in the Mallee. [01:56:43] Speaker B: It's just been out on a. On a. Another drone adventure. Just today or yesterday, I think I saw on her socials, she's been out and about. Amazing, amazing work. [01:56:53] Speaker C: Yeah, I dig the shadows. Hit off the trees. [01:56:58] Speaker B: Yeah. [01:57:00] Speaker E: Yeah. [01:57:01] Speaker C: Very cool. I'm not. [01:57:02] Speaker E: Yeah. For some reason with drones, I'm. I'm always a. [01:57:05] Speaker C: It's probably just most of my photography actually always tend to point myself towards the sun, but then I end up missing out on. On stuff like this, where the sun's casting interesting shadows with the direction of the shot. [01:57:22] Speaker A: I'm turning this moment from Felicity's photos into something about me. But I did a drone work for a rooftop Pilates class, and it was just meant to be sent to the other videographer for them to incorporate into their video. But I just edited the shots together and just put some Instagram truck over the top. And it has, like, way more views than all of my other posts combined. Times three. And it's just satisfying drone footage. I love this sort of stuff. This is fantastic. Yeah. [01:57:56] Speaker B: Yeah. [01:57:57] Speaker C: Drones are so cool. [01:57:58] Speaker E: Yeah. [01:58:00] Speaker A: And dangerous. [01:58:02] Speaker E: And dangerous. Yeah. And. [01:58:03] Speaker C: And you have to do all the stuff and. Yeah. I don't get mine out as much as I should for those reasons probably. But yeah. Awesome work, Felicity, as always. [01:58:14] Speaker E: Who else? Who have I got next? Oh, Paul. Paul says. Paul Carpenter says. My travel buddy from last year's New Zealand road trip asked for a copy of this image yesterday. I had left a copy of the Raws with him as a backup before I traveled home and he picked this one out. Interestingly, I had rated the Raw of this A1 star, and it was completely filtered out and lost to me. Funny how different images appeal to different people and why you should occasionally go. [01:58:44] Speaker C: Back and look at Your rejects. [01:58:46] Speaker E: And this was the Canon R5 with 16 to 35, 21mil F11, 0.4 of a second and then goes on to PS are you happy with your RF 16 to 28? My 16 to 35 is 15 years old. And okay for landscapes, but rubbish for astro. [01:59:05] Speaker C: Okay, first, let's talk about the image first before I talk about the lenses. [01:59:09] Speaker E: Great color. Great like. And great line of the waterfall coming through. Yeah, it's. [01:59:14] Speaker C: Yeah, yeah. [01:59:16] Speaker A: The leading lines, the sort of crescent shape it sort of makes. It's fantastic. [01:59:21] Speaker B: Yeah. Because there's one in the sort of. On the. On the far bank and then there's one close to the. To the foreground. It's kind of like that same kind of scallop shape. You know, it's interesting about these sorts of images that we go back and look at and. Or someone points out something that we. We didn't appreciate. And even over time I've found, you know, I've gone back to some of my older first couple of trips to Tokyo images and images that I had disregarded as I've developed more of an eye for the art of photography as opposed to the technical skills back then. As you develop more of an eye. Some of those images that I just discarded initially, I've actually republished because. And edited again because I was looking at them differently. I was a different person. I had a different set of perspective. I had different experiences under my belt and a different appreciation of my art. And yeah, I too recommend everyone go back and look at some of their old stuff that they thought wasn't worth sharing or even just, you know, putting up for their own sake. Definitely worth worthwhile exercise. [02:00:25] Speaker C: Yeah, completely agree. [02:00:27] Speaker E: It's fun too. That's. [02:00:28] Speaker C: And that's why I actually like to shoot in black and white a lot of the time. And then it's like when you get bored, you can go back through and discover them in color and just see if it's a different. A different feeling and process them and stuff. Yeah. [02:00:40] Speaker E: One final thing on this image is I think. I think it's the swirly here that. [02:00:44] Speaker C: It'S drawing me in. See how the water like, swirls? [02:00:47] Speaker E: So it's like the shape is this. [02:00:48] Speaker C: Way, but then this is like kicking back and swirling and it's just. I keep end up looking at that. Every time I look at the image, my eye ends up falling onto the swirly. [02:00:55] Speaker B: Yeah. Now I can't not see that. [02:00:58] Speaker A: So good. [02:00:59] Speaker B: Yeah, yeah, yeah. [02:01:02] Speaker E: Okay. And the lens. So the RF 16 to 28 lightweight non l version of a 2.8 wide angle lens. Honestly, it is a great lens for what I use it for because it's light, but it relies heavily on distortion. [02:01:19] Speaker C: Correction and vignette correction, which I think. [02:01:22] Speaker E: For landscapes, if you didn't need wider. [02:01:25] Speaker C: Than 16, it would be totally fine. But if you. You're saying, but your old one's rubbish for Astro. This one won't be amazing for Astro either. It's going to rely on vignette correction and then that then in Astro introduces way more noise in the corners. And then also if it's also relying on distortion correction, then you end up with issues in the corners with your stars and stuff like that. [02:01:49] Speaker B: I didn't know that. [02:01:51] Speaker E: Yeah, it's like you could definitely use it. You give it to Richard Taddy or. [02:01:55] Speaker C: Someone, they'll make an amazing image with it. But there are better, definitely better Astro lenses than that. Unfortunately, they're expensive. [02:02:06] Speaker E: So. [02:02:07] Speaker C: Yeah, I don't know. Don't know what to. [02:02:09] Speaker E: I don't know what to tell you other than either get the 15-35L version. [02:02:14] Speaker C: For double the price almost and double. [02:02:16] Speaker E: The weight or, you know, almost a similar level of quality for Astro. They do the 16 2.8 pancake lens. [02:02:27] Speaker C: Doesn'T cost you very much, but it's not a zoom. [02:02:29] Speaker E: I don't know. That's a tough one. That is a tough one. It would be fine. [02:02:34] Speaker C: Not amazing. The 20 mil 1.4 that I've got, which is about the same price. I think obviously it's a prime lens. That. That's a mate. That would be way better for Astro. So that's my. That's my two cents. [02:02:50] Speaker B: Cool. [02:02:52] Speaker E: Okay, next we have Lisa Leach. [02:02:56] Speaker B: Hey. [02:02:56] Speaker E: Hey. [02:02:57] Speaker B: Back in the game. [02:02:59] Speaker E: Oh, no. Why is that small? Hang on, that didn't work very well. Let me try this one. [02:03:06] Speaker B: You had one job. [02:03:07] Speaker A: Bloody Max. [02:03:09] Speaker B: You had one job. [02:03:11] Speaker E: It's. Hang on, that one's better. Oh. We might only be able to pull up two of Lisa's four images. We'll see. The other two are very small. Something's happened. It's like it's only downloaded a preview or something. Anyway, let me read the email at first and then I'll see if I. [02:03:27] Speaker C: Can figure it out. [02:03:28] Speaker E: Lisa says it's been a while since I sent anything through for the podcast, as the summer months can be largely uninspiring in the landscape genre, particularly if, like myself, you have a penchant for muted colors and moody scenes. I made some. [02:03:42] Speaker C: Yeah, I know. I was like, this is. I liked Reading this email has cool words. Makes me sound smart. [02:03:47] Speaker E: I made some images recently of the Victorian bushfire fires in my local area. I was a little nervous. A passerby may consider me insensitive for capturing the devastation. I was mindful not to include homes and property that was lost or damaged and only documented the effects to the landscape. As I walked with. Walked with my camera in hand, I noticed greenery emerging from the burnt soil. I was amazed at the tenacity and. [02:04:13] Speaker C: Resilience of Mother Nature. [02:04:15] Speaker E: Perhaps there's a lesson there. By the way, I now have 19 months experience in photography and loving it. [02:04:26] Speaker C: Yeah, the. [02:04:28] Speaker E: There's two other photos, but they're just teeny tiny and I don't know what I've done wrong. Lisa. I'm sorry. [02:04:35] Speaker B: They are on Lisa's social media if anyone wants to go and check them out there. [02:04:39] Speaker E: Go and check them out over there. Yeah, there's one that. With a tree that I really like, but I can't see this one. [02:04:46] Speaker A: That horizon. It's like a perfect sine wave. [02:04:50] Speaker C: So good. [02:04:51] Speaker E: Yeah, it is too. Just. [02:04:53] Speaker C: Yeah, yeah, yeah. [02:04:57] Speaker E: Great choice of having. Leaving the gap, you know, like the way that you've. You've left just enough space up the. [02:05:02] Speaker C: Top there to balance out the space down here. [02:05:05] Speaker B: Yeah. [02:05:06] Speaker C: And the. [02:05:07] Speaker A: Yeah. [02:05:07] Speaker E: Multiple sort of waves running through it. There's great work. [02:05:12] Speaker B: It draws your eye all around it, doesn't it? This shot. You just. You're traveling the whole time. [02:05:18] Speaker C: Yes. [02:05:20] Speaker A: Yeah. [02:05:21] Speaker E: Very cool. [02:05:24] Speaker B: Great work as always. [02:05:25] Speaker E: Yeah. [02:05:28] Speaker C: Yeah. Dennis is saying the first one you showed on the preview is stunning and it's on Lisa Socials. Yeah, I can see it. [02:05:33] Speaker E: It's small here and it looks so good. Yeah. [02:05:37] Speaker C: We'll have to bring it up on a future episode. [02:05:39] Speaker E: Sorry, Lisa. [02:05:40] Speaker C: It does look. [02:05:40] Speaker E: Yeah. Very, very cool. Next up, we have David Mascara from San Francisco with not black and white street portraits, but color street portraits. Here are some quick street grabs with the point and shoot 28 ti and mostly Kodak 200 and 400. And just answering question we asked once about whether we. Whether he gives the photos. He does. He actually carries envelopes with photos. Because I see a lot of the people again when I. [02:06:14] Speaker C: And then I pass them out. [02:06:15] Speaker B: That's so cool. [02:06:16] Speaker E: And then the ones that don't mind giving email addresses, I send them to them as well. [02:06:23] Speaker B: That's a beautiful full circle story, isn't it, that you're wandering along and you come across this person who you took a shot of last month. Month or whenever it was, and you hand Them. This photo, and it's just. Yeah, I think that's magical. [02:06:34] Speaker C: Yeah. [02:06:35] Speaker E: Especially because it's all. Yeah. [02:06:36] Speaker C: Well, most of what he shoots is on film, so. Wow. [02:06:39] Speaker B: Yeah. [02:06:44] Speaker C: Yeah. The colors of these, when they come through, I was like, all right, I need to go and buy some more. [02:06:50] Speaker A: I feel like I met this guy when I was hunting in Germany. [02:06:54] Speaker E: Let's get this guy. [02:06:55] Speaker A: Yeah, yeah. This particular guy, he sold me something I shouldn't have bought. [02:07:06] Speaker E: Yeah. Great shots. Great to see some color. You're the black and white street portrait guy. But these are awesome. [02:07:17] Speaker A: Very, very nice. [02:07:18] Speaker B: I love that one. [02:07:20] Speaker C: Yeah. [02:07:20] Speaker B: I love the green. The kind of green hue to it. It's just. [02:07:23] Speaker C: That's the gold. That's got to be the gold 200, isn't it? The. [02:07:27] Speaker E: Yeah. [02:07:28] Speaker C: I put a roll of that through my sprocket rocket, which is now down with John at Lumina Lab. So I'm excited to get that back. I'm really hoping I didn't muck it up. [02:07:40] Speaker E: I gave it to my friend to. [02:07:42] Speaker C: Take a photo of all of us on the boat, and I told him exactly how to do it, and he. [02:07:48] Speaker E: Took one, and I was like, awesome. [02:07:50] Speaker C: And then he took another one, and this is a. Like, It's a manual window. So he just took. He just. I was like. [02:07:59] Speaker E: He's like, don't worry, I got two, so it'll definitely turn out. [02:08:03] Speaker B: I was like, it could be interesting. [02:08:07] Speaker E: Yeah, we'll see. We'll see. [02:08:10] Speaker B: Okay. [02:08:12] Speaker E: Last one. Jamie Vanden Brink, Tweak Productions. These were sent through a week before last and somehow didn't make it through. Jamie says, hope you had a wonderful week. Have been going through my photos, and I thought I would share some. I took at the Melbourne Royal Exhibition Building. Booked a tour of the building when visiting Melbourne for the Comedy Festival for my birthday a couple of years ago. I had taken photos of the exterior before, but really wanted to see what it looked like on the inside. Absolutely nailed the timing for the tour as it was in between setups for events, so it was empty. I was not disappointed. The inside was as beautiful as the outside. It's quite colorful, but I love this black and white series as it emphasizes the lines of the architecture and the. [02:08:58] Speaker B: Way the light falls. [02:08:59] Speaker E: Wow. [02:09:01] Speaker C: Yeah, that's the one. [02:09:02] Speaker B: That's insane. That is amazing. [02:09:07] Speaker D: Yeah. [02:09:08] Speaker B: Well done, Jamie. [02:09:10] Speaker E: Okay, hang on. I want a proper Glyn roast. All right. [02:09:14] Speaker A: You're not gonna find us doing a Glen roast, but you'll likely find Glenn at a roast. [02:09:20] Speaker B: Yeah, true. [02:09:23] Speaker E: Let me see. I can't even. I'm like trying to just find something to. To do a Glenn and I'm struggling. [02:09:32] Speaker A: Sorry. We're taking away the attention from these wonderful photos. [02:09:36] Speaker E: Yeah, no, I'm. I'm trying to think of. [02:09:38] Speaker C: All right, let's. [02:09:39] Speaker E: There's got to be something here. All right. The clouds in the background are too cloudy, actually. Here we go. You may have slightly over processed here around the leaves. Where are we? We're getting a little bit of haloing around the leaves. Might have had to push it too hard to recover the sky and the shadows. [02:10:02] Speaker C: Cause there must have been quite a lot of detail and contrast. [02:10:05] Speaker E: So just that's probably the only thing that I can see. Oh, stop. [02:10:09] Speaker C: The flag. [02:10:09] Speaker B: Just stop. [02:10:10] Speaker E: The flag isn't straight. I'd like to be able to see the flag. You know, you could have brought a big fan to ensure that the flag was blowing perpendicularly. [02:10:21] Speaker A: You've got to prepare for the weather. [02:10:25] Speaker E: I'd like to see slightly slower shutter speed so there's a little bit more like streamy water flow, like a waterfall. What else? [02:10:35] Speaker C: I don't know. I got nothing. [02:10:36] Speaker B: There's nothing else. Amazing. [02:10:41] Speaker C: Yeah, exactly. [02:10:42] Speaker E: Nothing to roast on these photos. Yeah. Cool. I think that's it. [02:10:47] Speaker B: Very cool. I think that's the last image this week. [02:10:49] Speaker E: Yeah, I'm pretty sure. [02:10:52] Speaker B: Hell yeah. [02:10:53] Speaker E: All right. [02:10:53] Speaker A: Oh, yeah. [02:10:54] Speaker E: We did it. [02:10:54] Speaker B: We finished surprisingly early. I know. [02:10:59] Speaker E: All right, we've shaved 20 minutes off. We're aiming for a one and a half hour show. We're getting there week by week. We're doing it. [02:11:08] Speaker B: But look, that is. That is where we're going to draw a bow in tonight's Camera Life podcast. Everybody. Thank you so much for joining us. A couple of things just, you know, get some admin out of the way, please. Don't forget to give us a like on tonight's episode. It helps other people get notified that we have content in the waiting. And if you haven't already. Well, why not? You need to subscribe. Subscribe to the Camera Life podcast. Hit the bell icon to always. And then that way you'll get a notification in your time zone to when we're next going live. And on that note, we go live twice a week. Every Monday evening, 7.30pm Australian Eastern Daylight or standard Time. And. And that's when we do our random photography show. And then every Thursday morning, 9am Australian Eastern Standard or Daylight time, we do an interview with an amazing photographer, whether they be Australian or international. We get them all. We get the best ones here. Unlike some Other podcasts. [02:12:01] Speaker E: Hey, Joe, speaking of other podcasts, head to The Tamron Australia YouTube channel, which is linked in the description below. And also just search Tamron Australia and subscribe to that so that you see all the new get the Shot episodes that have been recorded. Because if we can get enough of you to go and subscribe there now or over the next day or two and they see that spike, we'll hit them up to try and give us something that we can give away on one of our episodes, you know, like. [02:12:28] Speaker C: Whatever their most expensive lens is or something. [02:12:30] Speaker A: Surely we've just got a spare one of them laying around. [02:12:36] Speaker E: We'll start from the horses. Start with that. But, yeah, we'll. [02:12:39] Speaker C: We'll. [02:12:40] Speaker E: I'm sure we'll be able to get them to support the channel in some way. [02:12:44] Speaker A: Absolutely. [02:12:44] Speaker E: Even if they don't. Even if they don't go over there and get that. [02:12:47] Speaker C: Because there's great episodes coming and there's. [02:12:50] Speaker E: Great episodes that have already happened, like the one with Dennis. [02:12:53] Speaker A: Yeah. I'll add, just on a personal level, thank you for the plug as well, but thank you for you guys for having me on and for sort of lifting the whole, you know, a rising tide lifts all ships and what you guys have done for Australian photographers and podcasts and all of that above, you guys are really leading the charge. And so thank you so much for. [02:13:16] Speaker E: Thanks, Joe. [02:13:17] Speaker A: Enabling this space in this community. Community. [02:13:20] Speaker B: Appreciate it. [02:13:20] Speaker E: Thank you. [02:13:21] Speaker B: Thank you. [02:13:22] Speaker E: Really appreciate it. Says they're giving away Sigma lenses, which have been dropped. I mean, that works. [02:13:30] Speaker A: That's one. [02:13:32] Speaker B: And just one last piece of housekeeping. Don't forget that tonight's episode of the Camera Life podcast, the random photography show, has been proudly brought to you by Lucky Straps, which is also us. Yeah, we're our own sponsor. How smart are we? Head to Luckystraps.com and have a look at our fine range of premium leather camera straps, handmade in Bendigo, Victoria by Justin and the team. And I don't. I don't touch anything dirty, so I just. [02:13:58] Speaker C: Me neither. Really? [02:13:59] Speaker B: Yeah. You don't, do you? No, no, no, you don't. [02:14:04] Speaker E: They are nice. Yeah, they're pretty nice. [02:14:08] Speaker B: And if you do happen to buy a Lucky Strap product, then use. Use Code Greg at the checkout for a healthy little discount, too. But other than that, please join me in thanking Joe Orchard for joining us tonight and sharing some insight and some wisdom, but also just getting into the groove of chatting about our craft. So it's been an absolute pleasure, Joe, and we'd love to have you. Have you back on again in the. [02:14:31] Speaker A: Future, of course, when you guys don't have a thousand guests booked already. Oh, that is true. Yeah. [02:14:39] Speaker E: Yeah, we have a problem. We want to interview everybody and we're. [02:14:42] Speaker C: Just the entire world and we're just chipping away at it. [02:14:44] Speaker E: Yeah, we're getting there. [02:14:46] Speaker C: Twice a week. [02:14:47] Speaker A: Hell, yeah. [02:14:48] Speaker E: All right, well, I play some music and we'll read some comments. [02:14:52] Speaker B: Yeah, let's do that. We'll say goodbye to some peeps. [02:14:56] Speaker E: Lucinda used their lucky strap at a wedding last week. Don't ask. Oh, you're a wedding photographer now. Very cool. Bruce Moyle says. Thanks, Joe. And everyone, great fun tonight. Thanks, Bruce. [02:15:06] Speaker C: You're very welcome. [02:15:08] Speaker E: As always, Tintype man. Thanks. Enjoyable as always. Rick Nelson. Thanks, everyone for a great show. Thanks, Joe. Here, here, Joe from Paul. [02:15:18] Speaker A: Hang on. [02:15:19] Speaker E: Tweak Productions. Unlike Garfield, I love Mondays because of the camera. Another great show. Love seeing everyone's images. Gives me inspiration. Craig Murphy. [02:15:30] Speaker C: Night, all. [02:15:30] Speaker E: Great show. [02:15:31] Speaker B: Hi, Craig. [02:15:32] Speaker E: Who else? Lisa Elite. Good night, guys. Thanks for showing my images. Who else? Paul Dennis, Philip Johnson. Tintype man. Jason Felicity, everybody. Thanks, everybody. If I didn't read your name out. Oh, Levin. Rearview photography. Thanks, guys. Always fun. See you next week, Levin. And we'll catch you guys on Thursday. [02:15:53] Speaker B: Yeah, Be safe, everybody. [02:15:56] Speaker C: Bye. [02:15:57] Speaker A: Bye. [02:15:58] Speaker B: Bye.