The Random Photography Show feat. Joel Alston (EP157)

[00:00:00] Speaker A: Sa. [00:00:30] Speaker B: Well, I still can't get used to it. Good evening, everybody and welcome back to the Camera Live podcast. This is the random photography show and it is the 16th of February, 2026, if you can believe that. We've got a pretty packed show for you tonight, but just before we get started, I don't know if you've noticed, there's a couple of beards in the room and one of them is not Justin. [00:00:52] Speaker A: Yeah, yeah. [00:00:53] Speaker B: Jordan, of course. Joel. Elston. How are you, Joel? [00:00:57] Speaker A: Good. [00:00:57] Speaker C: Guys, thanks for having us on again, Keen. [00:01:00] Speaker A: Wait, I'm keen? I just realized you didn't make it into the special guests part of the. The intro. I was four hours in when I was putting those heads in there and I was just going back through old thumbnails, I was like, who else has been on? Who else has been? Yeah, yeah, I'll have to. I'll have to add you in. [00:01:17] Speaker B: I love you, Joel. Even if he doesn't, I still love you. And of course, being the random photography show tonight, we have, like I said, an action packed show. We've got Joel here to help us. Co host. Joel is not a guest, he's part of the crew. And we're going to cover off industry news. We're going to look at some watchworthy YouTube. Justin's got a little game show in mind which might be a little precursor to something bigger down the track. And yeah, we've got a couple of other bits and pieces to cover off. But first and foremost, how are you, Justin? [00:01:47] Speaker A: Look, I'm really good. I had a great day today. It was very productive. I got a lot done, made some clips from previous episodes and what else did I do? I got my thing down here, email, blog post, lots of stuff planned this show. Come up with this new segment tonight that you guys don't know about that may or may not be a hit. May not be a hit, we'll see. It could be a disaster. But anyway, that'll be fun. So, yeah, I had a good day. What'd you do that's good? [00:02:17] Speaker B: Well, I worked. Someone had to. And yeah, just a bunch of admin for the podcast and a few other bits and pieces. I squeezed in a nan and app, which is always great. It's always a good day when you squeeze in and out and app and yeah, I just spent the afternoon grooming my beard. What about you, Joel? [00:02:37] Speaker C: I actually spent today working at my climbing gym, so I like step climbs at a climbing gym. So I made all the climbs today, so I'm pooped and I'm keen to sit down and just chat and not move my body for an hour or so. [00:02:51] Speaker B: That's fair. How long have you been doing climbing for? [00:02:54] Speaker C: Yeah, I've been climbing for like six or seven years and sort of help making the climbs on and off for about five years, but now I'm sort of there much more permanently, which is cool. [00:03:07] Speaker A: Well, I was gonna say. So is that a love thing or is it. Is it an actual job? Because I know it is a job. Yeah, because I know a lot of people do that as like a. Just to help out, kind of like keep the roots creative and things like that. Because I know a lot of climbing gyms. Well, I don't know, maybe you can tell me, like, are they. Are they profitable businesses or are they more kind of like it's for the love of the thing and they kind of just scrape along trying to pay the rent. [00:03:32] Speaker C: Well, I think since climbing was in the Olympics, it's become so much more popular and it's actually in this really big boom at the moment. So there's like 17 climbing gyms in Sydney and there's three in Newcastle and one in Gosford. So there's like actually a lot around and they change sections of the wall each week. And I just work in the gym. I coach as well. And I also do like content creation stuff. So it's like a lot of different avenues to keep me interested, which is cool. But yeah, it's pretty popping industry right now. I think climbing is kind of popular. It's trending. [00:04:08] Speaker A: Cool. [00:04:08] Speaker B: I'm always fascinated watching some of your. When I dial into some of your socials, Joel and I, you know, every now and then you'll see a beautiful wedding shot on film. Sometimes it'll be in color, sometimes it'll be monochrome. And then all of a sudden there'll be you hanging off a wall and, you know, practicing with a group of mates out in the bush. It's amazing. I love it. [00:04:25] Speaker C: Yeah, no, it's a fun sport and like another way to be creative. So, yeah, it's something that I want to keep going. I love it. [00:04:33] Speaker A: It's. Yeah, that's a super interesting thing that people may not know if they're not familiar with how like climbing gyms and particularly bouldering gyms and stuff work, that someone has to come up with the routes that are color coded, things that people have to climb that are all different grades. Someone's got to go in there and figure out that. And it can be really difficult because you might set Something that just works for you but may not, like, suit other people or, you know, you get used to things, you fall into kind of a rut of what suits you. And yeah, it would be a very challenging, mentally challenging and creative role by the sounds of it. Yeah. [00:05:10] Speaker B: Yeah. [00:05:10] Speaker C: Oh, no, I love it. Today's my favorite day, so set day is my favorite day. And, like, I get pretty pooped at the end of it because it's like you said, mentally, but physically. But all the things that I love. So I can just do this all day. [00:05:21] Speaker A: So. [00:05:22] Speaker C: But yeah, it was really fun. I love it. [00:05:24] Speaker A: Nice. [00:05:25] Speaker B: Very cool. [00:05:25] Speaker A: Do you have one photo? [00:05:27] Speaker B: I'll go on. [00:05:27] Speaker A: So, Joe, I just want to find out whether he takes photos of people bouldering or is that just like you keep your two worlds a little separate? [00:05:34] Speaker C: No. So I'm helping with the social media content there. It's actually the only time I'm shooting digital, which is weird way for it. [00:05:42] Speaker A: Still. [00:05:42] Speaker B: We won't tell anyone. It's okay. [00:05:44] Speaker C: Yeah, so don't tell anyone. But I have been doing the social media account for one of the gyms, so I take photos, like on the set days and then make a video of like a climb at the end. So, you know, and there'll be photos of patterns of climbs on the wall or people doing moves. So, yeah, there's photos on any climbing gym account. Has it. [00:06:06] Speaker B: It's. [00:06:06] Speaker C: Yeah, it's sort of happening at the moment. It's fun. [00:06:09] Speaker B: Yeah. Oh, that's very cool. And what about your other photography work, your barefoot and bearded work? How's that going for you? [00:06:16] Speaker C: It's much slower, but, like, I'm. I'm more. I'm good with it because I like having the gyms as a stable weekly income in something that I love and keeps me fit and keeps me mentally stimulated and challenged. And I just want to keep weddings at like 10 to 15 a year, which means I can be much more selective with the people that I photograph and take on. And I've sort of really niched out my website aesthetic even more so now so that the people I do get just always book, essentially. Because if you'll only talk to someone that weird if you are in love with what they do. [00:06:53] Speaker B: Yeah, yeah. [00:06:54] Speaker C: And so it exists quietly, the barefoot and bearded stuff, but just enough. And photography is like. I just follow. I know bursts of motivation to go out and shoot street. And then if I don't feel it, I just look at photo books more often. And then when I feel motivated again, I go out and it's like kind of nice just to have photography exists like that in my life mostly now because it's always just been every week go out and shoot and just have to create over and over and over again and just like have to give something. Feel like you've got to give something world class every week to now just it being so separated for weddings. So I'm excited to shoot them when they come up, but then my just daily stuff is just like, I want to go shoot today and I just go do it and it feels really good rather than like feeling like I have to. So I'm actually really happy with how photography exists in my life at the moment. And I got a dark room, so I'm doing printing heaps of cool stuff. I got stuff to like, show you. It's been fun. Yeah, it's. [00:08:00] Speaker B: I feel a road trip coming on, Justin. [00:08:02] Speaker A: Oh, stop it. I could go and rediscover my climbing lack of skills. [00:08:09] Speaker B: Yeah, come on. [00:08:11] Speaker A: I'm a solid. I'm a solid. What do we go up to? What are the grades of bouldering in Australia? Are they again, like the highest? [00:08:17] Speaker C: The highest. [00:08:18] Speaker A: Is it 1 to 15 or V0 to 17? Yeah, yeah, nice. I think I'm, I'm. I'm solidly off zero, but I'm not sure how far after that I got. It's so much fun. It's so much fun. [00:08:29] Speaker C: Yeah, yeah. Come up. [00:08:31] Speaker B: Very cool. Let's dive into the show because we are here to talk about photography. But just before we do, wouldn't be have a live crew on board egging us on. [00:08:43] Speaker A: See who's here. [00:08:43] Speaker B: Sometimes there's a few comments in there about you being beardless. [00:08:47] Speaker A: Yeah, I know. I saw those. Rodney Nicholson was here first evening team. Although I did think I saw a message before that from Dennis that didn't somehow, like, sometimes they disappear because he puts them on like the day before and he's like, can't wait. Speaking of Dennis, he says evening a night with Joel, cancel all calls. That's right. Except for calls to this show, which you can actually call. Anyone can call the show right now and we'll attempt to get. Get the rodecaster to connect to my phone because sometimes it doesn't work and we. You can just talk to us. Just call/614-855-12370, the numbers on the screen right above Joel's head. So yeah, just call that anytime you want and say whatever you want. Just be nice. Or not. Lisa Leach says hello. Three beards and a clean skin. Unless Jim has shaved, but. Yeah, Jim isn't here. Jim's. Jim's not here yet. He might join. He might not. Just depends how he. His evening goes. We'll see. He might just pop on. Tintyp man evening all. I was thinking of skipping tonight. Then I saw Joel was on unmissable. Wow. You are. [00:09:47] Speaker B: Wow. [00:09:48] Speaker A: Crowd pleaser, Joel. Wow. [00:09:50] Speaker C: I gotta come down for us. I want to come down to you guys because I need to spend some time with the Tintyp man learning how to tin type. That's. We chatted about it. I need. [00:09:59] Speaker B: I'm heading down there next week. [00:10:01] Speaker C: Is it next week to do it? [00:10:03] Speaker B: I am. For a portrait sitting. Yeah. [00:10:07] Speaker C: Tell me everything when it happens. [00:10:08] Speaker A: Yeah, he mentioned it and I. I was thinking maybe trying to time it and get down there and get some footage or whatever of it happening, but. Oh, I don't know how next week will go. We'll see. You'll have to. We'll figure it out. He's along. His. His studio is like where It's a long. [00:10:26] Speaker B: Phillip Island. [00:10:26] Speaker A: Phillip island, yeah. That's going to be a struggle for me next. [00:10:29] Speaker B: So I'm going to train out to Barrick, I think. Does that sound right? Anyway, end of the line somewhere. And then he's going to pick me up, so. [00:10:38] Speaker A: Oh, nice. [00:10:38] Speaker C: You'll be such a good tintype portrait, Greg. I think you'll look just. The beard will be amazing. [00:10:47] Speaker B: Yeah. I'm going to oil it and get it all fluffed. Yes. [00:10:52] Speaker A: Who else is here? Philip Johnson is here. Rick Nelson is here. Yes. The topic of tonight is film. More real. Joel will make it more real. Dennis says that's right in the eye of the photographer. Bruce Moyle is here. Tweak Productions. Good evening. Who else? Yes. You did get the new intro. Greg Carrick. Good to see you. He typed his comment on film so it's more authentic. That works. What else? What else? Rick Nelson says film is more real. Literally animal byproducts go into making it. Oh, I didn't know that. That's. [00:11:30] Speaker C: There's horse gelatin in it and hair. Like horse hair. [00:11:35] Speaker A: I think that's a downer for the show. Anyway. Yes. This. The podcast. I just ate a steak, so I shouldn't pretend that I. [00:11:46] Speaker B: It doesn't matter. [00:11:48] Speaker A: Podcast is shot on Super 8. Yes. What else? Who else is he? Nick Fletcher's here. Intro sick. Thanks. Still going okay. Come through okay. Hope so. Lucinda. It's a beard man. Witch. Yeah. I kind of feel like I'm in a beard man, which. [00:12:04] Speaker B: Yeah. [00:12:05] Speaker A: Anthony Stonehouse. Who else? Who else? Yeah. Timber's coming. [00:12:10] Speaker B: He's coming. [00:12:11] Speaker A: Phil Thompson. Roy Bigsby. Yes. Man, you guys, it's everywhere. Chat's going crazy. Apparently Victorians also like to wear black while drinking coffee. That's true. It's my whole life, basically. Can someone send Joel some colored lights? Yes, we'll do our best. [00:12:31] Speaker C: Oh yeah. [00:12:32] Speaker A: I've really let the team down. I'm sorry. It's not. [00:12:35] Speaker B: It's okay. [00:12:37] Speaker C: My lounge room, kitchen, you know. [00:12:39] Speaker A: Finally. Who else we got? John Pickett, Jason, Paul Sutton. It's crazy. Okay, we're here. Oh no, hang on. What's this one? Public relations Dwell Wolf. Best viewers on stream Boot. Okay, thanks. And that's all. That's all the comments. [00:12:55] Speaker B: That's it. [00:12:56] Speaker A: That's our one comment we get from Twitch whenever I stream to Twitch. [00:13:00] Speaker B: Well, thank you for joining us once again, everybody. Great to have you in the chat. Please feel free to ask your questions throughout the night. And don't forget, yes, we do have a live call in number and you know, if anyone wants to call in and ask, ask Joel a hard hitting question or ask Justin about his lack of facial hair, the number is there on the screen for you. And just a reminder while I've got your attention, if you're new here, welcome. This is the Camera live podcast. We stream live only twice a week. Every Thursday morning, 9am Australian Eastern Daylight Time or standard time. Every Thursday we interview an amazing photographer. Such as. [00:13:35] Speaker A: Oh, such as Bronwyn Kid on Thursday. Well, Joel, yeah, as well. But last Thursday just gone. Bronwyn Kid. [00:13:41] Speaker B: We had Bronwyn Kid. [00:13:42] Speaker A: That was an epic. [00:13:44] Speaker B: We've got Richard Greenfell. Grenfell. [00:13:47] Speaker A: Grenfell. It's gonna be a good one. He doesn't know. So he did some promo for the upcoming episode on his YouTube channel, which is awesome. And his Instagram and everything. And he keeps saying because he's known on his YouTube channel for like business photography, business advice and he runs a boudoir studio and he keeps saying, oh, you know, I think it's a podcast about all things, you know, all things photography. So it'll be a bit different to my normal content. He doesn't realize that Jim and I are like coming. We're just going to extract all of his business information out of him for our own businesses. He's like, oh, I think they're going to ask me about cameras and stuff like that too. I'm like, no, it's just going to be a two hour business. Yeah, free clinic pretty much. Exactly. So he doesn't know, he doesn't know what he's walking into. Well, you know, we'll ask him about his cameras. [00:14:36] Speaker B: I know. But the following week we've got Jeff Freestone joining us. [00:14:39] Speaker A: Oh, yeah. [00:14:39] Speaker B: And then the week after that we've got Craig Witchen reunion where it's going. And of course we also go live Every Monday evening, 7.30pm, Australian Eastern Standard or daylight time for the random photography show where we talk about everything to do with what's going on in the industry and for us and our guest this particular week. So if you are new here, please subscribe. Hit the bell icon. That way you'll get a notification in your time zone as to when we're going live next and give this, give this, give this video a thumbs up. It certainly helps us out a lot. So thank you. [00:15:12] Speaker A: Thanks. [00:15:13] Speaker B: Now, what shall we go to first? Just before we jump in the news, should we do a little call out for our friend Jen Cooper? [00:15:20] Speaker A: Yes, I'll throw that in the comments. [00:15:23] Speaker B: Yep. So for those of you that were watching or listening, last week we made an announcement that we had Jen's approval for. So Jen Cooper is a friend of ours and she's been a, she worked BFOP the previous year, not last year. She was unwell last year to come to befop. Previous year was her first year at bfop and gosh, did she, she pulled out all the stops for that weekend. Tragically, Jenna's been diagnosed with a fairly serious cancer and, and around that there's a whole bunch of complications and her and her family are obviously going through a lot right now. They're, they've got a bit of a battle on their hands and Justin has just dropped in the chat. There is a link to a GoFundMe campaign that Jen has set up to help just subsidize the cost of, you know, her not being able to work the family, having to rally and, and be available for her whenever she goes in and out of hospital over, over the past and coming months. So if you're in a position to help out, you know, jump on the link, have a look at the GoFundMe campaign. Jenn is very open about this. She's amazing, strength, spirit. She's very open about what's going on. She just recently shared a little bit of positive news on a recent update around some recent surgery and treatment that seems to be working well. So, yeah, go and check it out and show your love for Jen who is, you know, an amazing member of our community and yeah, that's about all I've got to say on that one. [00:16:56] Speaker A: Awesome. I dropped the link in the description. So if you listen to this later as well, it should be in the description on YouTube and you can follow that to the GoFundMe. Okay, onto the news. [00:17:08] Speaker B: Onto the news. This is the news. Where do you want to start? There's lots of lens news. It's just lenses are going off, everyone's making them. [00:17:22] Speaker A: Everyone's making them. Just not for Canon, but everyone's making them for everybody else. And it's weird. It's. It's crazy. Do you think it'll ever slow down? Will they. Will they hit sort of critical mass saturation of every lens in every focal length from every lens manufacturer for every mount, and then it's just done. [00:17:39] Speaker B: I think they'll just keep doing, you know, they'll just keep making small incremental changes and making it a Mark II and a Mark III and you know. [00:17:47] Speaker A: Joel, do you run any new lenses on your. Because you've. Have you still got a Leica? You used to run a Leica at all? [00:17:54] Speaker C: No, yeah, I'm. Yeah, yeah, yeah. I'm still shooting the Leica. I haven't got anything else new. I think I got a little point and shoot since. [00:18:02] Speaker A: But. But no but as in new as in like, do you put any like modern made M mount lenses from these third party brands on your Leica or are you running like old Leica glass? [00:18:14] Speaker C: Yeah, just old, like a glass. Just for the aesthetic that I want. I'm not going to rock anything else. So I have. This is the only time I hear about any new gear is when I come on and speak to you guys. So it's cool, it's cool to hear about like what's happening, but it's just never in it. [00:18:28] Speaker A: There's. There's so many from those. Oh, what are the, what are the brands? I'm thinking of like Light lens. No, no, yeah. TT artisans. Like the M mount specific ones where they try and recreate. [00:18:42] Speaker B: Yeah. [00:18:43] Speaker A: Older glass and things like that. Is it Light Lens Lab or something like that? [00:18:50] Speaker C: Artisans definitely marketed a few of them to be like old recreations of Laka and stuff. Yeah, yeah. But it's just never the same. It's not the same. [00:19:00] Speaker A: Well, of course it's not the same. I don't have to say $2,000 instead of 20. But yeah, light Lens Lab seemed to have. Oh yeah. Voit Lander. Yes. [00:19:13] Speaker C: Yep. [00:19:14] Speaker B: Yeah, they. [00:19:15] Speaker A: I'm looking on their website now and they're All. Most of them seem to be sold out too. But like they made. They made. Let me bring it up. Just to really derail the show early. It's not news, but I saw ones like this. So where it's like it's designed after a specific 1.2 and they try to recreate the look and lots of stuff like that. [00:19:43] Speaker B: Yeah. [00:19:43] Speaker A: Which is interesting. [00:19:45] Speaker B: Yes. [00:19:47] Speaker A: And you can choose aluminum, brass, titanium color. Like it. It's. [00:19:52] Speaker C: That's interesting. [00:19:54] Speaker A: It is. And it's. [00:19:55] Speaker B: But it. [00:19:55] Speaker A: So they're three grand, which is expensive probably for what it is, but also not compared to whatever the original that you can't buy that, you know, unless you're collecting or whatever. So it's. [00:20:07] Speaker C: But it's interesting because these are still quite expensive. So you think they must be pretty good lenses and then. [00:20:16] Speaker A: No. [00:20:16] Speaker C: Why you're just getting the old ones. Because it's got old character and it's. [00:20:21] Speaker B: Yeah. [00:20:21] Speaker C: Classic. I don't know. I don't know. [00:20:23] Speaker A: Well, I think. I think it's because that they recreate ones that are almost impossible for the average person to access. [00:20:30] Speaker C: Sure. [00:20:31] Speaker A: Yeah. I think. I think that's what they sort of go after. It's like a, you know. Yeah. Thousand dollars lens or $100,000 lens or whatever that. That no one else would. You can't buy if you're a normal person. [00:20:42] Speaker B: Yeah. Look, the lenses. The last couple of weeks, especially lenses have been a hot topic and we are coming up to CP plus where traditionally they don't necessarily announce cameras that are coming out. They might show off ones that are already announced, but CP plus is very much a lens show. And I don't know if you remember this, Justin, but last year, this time you promised to take us to Japan for CP Plus. You've got 10 days. [00:21:06] Speaker A: I thought we'd have a hundred thousand subscribers by now and if we did. [00:21:10] Speaker B: Promises we'd be on a plane. Sounds like a you problem. [00:21:13] Speaker A: I tried. I tried. Look, next year's definitely. It's a 60 chance. Next year. [00:21:21] Speaker C: Whatever. The Definite maybe. [00:21:23] Speaker B: Definitely. Anyway, let's look at some lenses. [00:21:29] Speaker A: Yes. [00:21:30] Speaker B: Let's kick off with the. With the. The top piece, which is Tamron. Yeah. [00:21:35] Speaker A: Is that out or a rumor? [00:21:37] Speaker B: That's a rumor, but there's been some photos of the lens that have leaked. It's a 35-100 F 2.8 FE mount, but I think it's also doing a Z mount. I think they pretty much do both most of the time and. Yeah. 35 to 100 with a constant F 2.8. [00:21:57] Speaker A: Yeah. And so people will be familiar. Tamron has 35 to 150s. The 35 to 150 F 2 to 2.8 is a super popular like wedding event lens because it's, you know, almost a Prime at 35mil. And then you can go to 152.8 which is a really handy focal length for like rocking around a ceremony and just using one lens this. But it's still quite heavy. So I'm guessing this is kind of like. It looks like based on the fact that it's, it's 67 mil filter thread, whereas I think the other one's either 77 or 82. I don't think it's 95 anyway. It's, it looks like it's going to be more compact and lighter. Yeah. And that's, I mean it's an interesting pairing to a. You sort of still need a wide with the 35, whereas a lot of people can get away with the 24 to 70 as their one lens. Whereas 35 to 100 probably still a little bit long. But pairing it with a wide, you know, going to 100 instead of 70 might be enough for a lot of people to not worry about, you know, a longer lens. So it's interesting. [00:23:04] Speaker B: Yeah. [00:23:07] Speaker A: Very interesting. I'm surely priced well too. Based on, based on the fact that they've already got a premium 35 to 150 offering. I would say this will sit underneath that price wise, which would be good. [00:23:19] Speaker B: Yep. I also saw another article, I didn't include it in the news this week, but that Tamron plan to announce 10 new lenses this year for different mounts. So that's interesting. [00:23:32] Speaker A: Canon? [00:23:34] Speaker B: I doubt it. [00:23:37] Speaker A: Okay, all lenses anyway. [00:23:42] Speaker B: What else we got? Let's jump the second one. Let's go to the Sigma 35. So Sigma, this is a rumor apparently. There's an announcement coming up from Cigna very soon and again in line with CP Plus. This is actually happening on the first day of CP plus this announcement. So it will probably be live from CP Plus. They often do that sort of stuff. Sigma 35 F1.4 Mark 2 FE and a 15 mil F 1.4 will be announced on the 26th of February. 15 mil is pretty phenomenal at 1.4. [00:24:17] Speaker A: It's not, it's not as good as the Canon 14 mil 1.4 that got released last week. But it's, you know, it's, it's, it's a millimeter away, which is still pretty good. If you say so that, that 14 mil is copping a bit of flak because it does rely on. On software corrections. A lot of people are sort of saying, is it worth it? You know, like, why not just make it not a 1.4 or make it not 14 mil or whatever if you can't achieve it in this. [00:24:47] Speaker B: We've talked about this a fair bit, haven't we? I guess it depends on your viewpoint. Like if you're, you know, if you want your glass to be optically correct out of the box. And that's one side of the argument that you don't want to have to deal with in camera or software correction. But at the same time, how many people are actually aware that that's actually happening? [00:25:08] Speaker A: Yeah, yeah. Petapixel were pretty, pretty rough on the review, which they rarely do for Sony, but they often do for Canon. They were pretty. They were pretty rough and sort of said that they. Yeah, they don't think that it's good enough, which is interesting. I think it'll prove to be a really popular lens. And because it's basically. There's not many lenses like that, I think. Who makes one? I think Sigma make one. No, Sigma make. Is it the 16 1.4 they're comparing it to? Maybe. Anyway, someone makes one, but it's. It's more than double the weight and the size. So Canon have halved the weight and the size and they've obviously had to compromise a little bit. I think the compromise is pretty minimal considering what's achieved in the lens. 14mm 1.4. But I am a Canon fanboy, so there's that. [00:26:02] Speaker B: And it's not like this is the first time they've done it. Like a lot of their lenses rely on correction. So if you're in the ecosystem. [00:26:10] Speaker A: That whole series really does. It's that whole VCM hybrid series. It's hybrid photo video and it does rely on software corrections. But I've got the 50 mil and it's amazing. So I'm going to sell my next level up 50 mil because I don't use it anymore because it's double the weight. It's not needed. [00:26:29] Speaker B: That's fair. I saw that our friend Jeff Cable, who is one of San Francisco's most popular bar mitzvah bar mitzvah photographers, but every couple of years goes and photographs the Olympics for Team usa. He's been putting up some wonderful posts on the. On his socials as well as on his blog about his time there shooting the Winter Olympics. And. And I think he's got either that new 14 or the 7 to 14. I can't remember which one, but he's got one already. [00:27:01] Speaker A: I was going to say. I'm sure they try and get the latest stuff in his. In his hands to. Yeah, then promote it. Jason just brought up an interesting point. Sigma 16mm 1.4 is an APS C lens from memory. Correct. And so is the 15 that we were talking about just then because I've just reread the article here. Better. So it's completely irrelevant compared to the Canon 14 1.4 because it's a full frame lens. So yeah, let's just disregard all of that. And it basically is a, you know, what's that make it? Like a 21 mil equivalent or something like that for crop sensor. So it's probably a wonderful lens and we'll move on. [00:27:37] Speaker B: Whatever. Speaking of Canon, rumors are that the EOS R7 Mark II is already out in the wild being used by people. And I wouldn't be surprised if it was being put to test at the Olympics too. I know it's not a sports camera. [00:27:51] Speaker A: But, well, people would like it to be. So anyone that knows their canons will know that the 7D, there was always a crop sensor, like pro level crop sensor camera in the 7D and then the 7D Mark II in the Canon range. And they kind of had some of the pro level features and weather sealing and stuff like that. But they had the reach of a crop sensor and people like that because they could, you know, use their longer lenses, get extra reach and then that kind of dropped away a little bit in the switch over to mirrorless and there hasn't really been a proper successor and people keep asking for it. So it'll be interesting to see because if this is that there will be people testing it at the Olympics, probably begrudgingly because that'll be like crop sensor. But I'm sure they'll be. They'll be trying to get it into, you know, Jeff Cable's hands. So it'll be interesting to see if that is the camera that they've produced, a sort of a pro level. [00:28:50] Speaker C: Crop. [00:28:51] Speaker A: Yep, yep. [00:28:54] Speaker B: What else have we got? In other lens news, Song Raw Song Rao Song Raw S O N G R A W to Release a new 50 mil and 85 mil f 1.24 frame autofocus lenses for the Nikon Z mount. Have you ever heard of that brand? [00:29:12] Speaker A: Have you ever heard of that brand before? Okay, I'm gonna put it out there. I don't know if we can have any more new brands. I think we're done. I think. [00:29:21] Speaker C: Yeah. [00:29:21] Speaker A: I don't know. I don't know if there's. If we can fit any more in our brains and we might just have to stay with what we've currently got available. [00:29:29] Speaker B: These are pretty crazy looking looking lenses though. [00:29:34] Speaker A: I mean, I wonder if they're good. [00:29:38] Speaker B: They look plastic. It's trickery, Justin. It's trickery. [00:29:42] Speaker A: Well, it definitely looks like computer generated. The photo. Chinese company Songra release new 51.2 for Z mount. Light and affordable in China. Interesting. Okay, well, we'll see. I don't know, I just. These new lens brands, they just pop up out of nowhere and hey, look, who can guess what I've been shopping for lately? [00:30:10] Speaker C: I was gonna say I like your website. Footer in the top is where I'm at at the moment. [00:30:15] Speaker A: Yeah, yeah, this was me. I've got a shopping cart. I'm gonna ask you about it later. Actually, I got a shopping cart sitting here again. I need a little restock so I want to try some new stuff and I also want to sort of dial in my. My favorite classics, I guess. Yeah, my classics. What do I need 10 of in. In stock and what do I just need one to have a play with. Lovely. [00:30:39] Speaker C: Let's. [00:30:39] Speaker A: Yeah, let's do this. [00:30:41] Speaker B: Let's finish off the news first. As I mentioned, the Tokyo CP plus, which you know, Jim and I have just found out that we're not going to. Is on this year, 22nd, 26th of February. It's in Yokohama in Tokyo, Japan. And last year was a pretty massive showing and it's a good time to stay kind of keep your eye on the news if you like lens and camera news and to see what's happening with the brands. It's a good show to watch. It's not like a physical show to watch. Like you'll see lots of announcements and the last little bit of news that popped up was Mag Mod believes it has just reinvented the light stand and they've released these, this set of new light stands that are quick release, quick deploy systems. Should be interesting to see how they go. [00:31:27] Speaker A: I'm going to bring it up because it is actually it's on Kickstarter so it's one of those things where an existing brand is doing Kickstarter which is always weird. But magmod started on Kickstarter I think, kind of like Peak Design did. So it's one of those things that they've done it for a lot of their big launches. So like makes sense. That's the way that their brand I guess grew. It's weird when big brands do it for the first time and they're already a big brand. I just. I'm like, just pay for it, you know. [00:31:54] Speaker B: Yeah. [00:31:55] Speaker A: But when. Yeah, this is different. I. This is pretty cool. This is. It is pretty new the way that they've done this. They're big light stands. They've got push button like grips. Hang on, let me see if I can zoom in here. You basically squeeze each section so you don't have to tighten anything. There's no levers. You squeeze each section to be able to extend it. And then the sections themselves. I wonder if that would give me a better view of it. Have little indents on them to lock in. In little clicks. So that pulls out and it clicks into place so it can't slip or whatever. It's not a matter of tightening it up. It just goes click, click, click. And it sits at that point. So that's cool. I think the bass doesn't require you to fluff with it to get it to go up and down. You just squeeze and lift it up. I like how they do these videos but it like you can. And you can lock the base at any point with. Also has clicks so you can make the legs smaller and wider with one hand. You can even just pick this stand up with one hand and fold it away. And so I think they've done a lot of stuff that I think is that fast. Leg deployment I think is probably going to be a massive one for people that moving around quick. Wedding photographers, all that sort of stuff. Location photographers. It's a much bigger base than your average light stand. I think it's hard to get a feel for it from the product images. But I did a bit digging. I'm like, these are pretty big light stands. Yeah, it's. It's phone lines going off tonight. No one's called in yet though. [00:33:42] Speaker C: Yeah. [00:33:43] Speaker A: See how it's got like a big button. You squeeze the button and then it's got these drops out locking points. And it does also have a. Which we always wanted. And I got one light stand that did it when I was shooting weddings and it was shit. It has a detachable like you can detach it and use it as a boom to boom a light in as well. [00:34:04] Speaker B: Oh, okay. Yep. [00:34:05] Speaker A: So you can just pull the center column out. But yeah. See how it just. You just squeeze it and it just pulls up. Yeah, it's quite clever. [00:34:12] Speaker B: Yeah. [00:34:13] Speaker A: Well, it's good. [00:34:14] Speaker B: It's good to see someone trying Something new. [00:34:16] Speaker A: It. There hasn't been a lot of innovation in light stands. So. And I think it said in here they've been working on this for seven years. [00:34:22] Speaker B: Yeah. [00:34:23] Speaker A: Wow. Which is. [00:34:24] Speaker B: Well, I think the other thing too is because. Because so many brands are copied now. You know, we've got the Temu version of everything. And you know, I picked up a new. A stainless steel light stand that's spring loaded, so it sort of absorbs anything you put on it and it costs like, like 40 bucks. You know, there can't be a lot of margin in it for them. [00:34:46] Speaker A: No, well, these don't cost $40. [00:34:48] Speaker B: No, I know, but what I'm saying is, like, it's a bold move when you consider that, you know, they are quite affordable. Granted, pro level stuff's going to be much more affordable if your average photographer who might want a couple of light stands to do some, you know, portraits or whatever, there's not a lot of money in it. [00:35:05] Speaker A: But magmod's an interesting one because it's their light. They're light tools. You wouldn't really call them pro level. They do get used by pros, don't get me wrong. But they're sort of like. They get used a lot at weddings and stuff like that. Just like Dennis said here. Mag Mod. My favorite dust collectors until I pulled one out to shoot my daughter's wedding. Trying to be Joel. But yeah, it's, it's like, it's kind of a. It definitely would suit a wedding photographer if you carry one stand or two stands or something like that for shooting. Yeah, shooting the. Sorry, the reception. It's this kind of thing that would work and like cross on location, off location. But yeah, it, they're probably not going to get used in studio, in professional studio settings. They're going to stick with C stands and all that other big man Frodo stands and stuff like that. So. Yeah, yeah, very cool. [00:35:58] Speaker B: There is one little piece of news that I missed. Sorry. Yeah, the third one from the bottom. The 35 mil foam rolls are actually. [00:36:06] Speaker A: Yeah, I, I saw that. Have you bought one of these yet? No, I saw this. See what Joel thinks about this. [00:36:14] Speaker B: Don't anyone show Sasha because when she gets a collectible in her head all over. So these are little. These are. They look like film canisters. They come in a canister, they come in a box. But they're actually tiny digital cameras. So recently we've been showing off the. I don't have one to hand, sorry. The Kodak chimeras that they're all tiny, smaller than a matchbox sized digital camera. Oh, Justin's got one there. [00:36:40] Speaker A: Yeah, I haven't used it. Have you seen these? [00:36:43] Speaker B: No. [00:36:44] Speaker A: Oh, you haven't even seen that? Well, we sort of need to give you like a flashback of the, of the charmer first because this is like. Did this start it, Greg? Is this the first one? [00:36:54] Speaker B: Kind of, yeah, pretty much, yeah in this run. So the Chimera is a little, little collectible blind box digital camera that Kodak have put out. There's seven, I think there's seven to collect. And they're all different designs on them, different retro designs. And then there's a mystery one which is actually a translucent plastic digital camera. [00:37:15] Speaker A: And that is a viewfinder. That is a viewfinder. You can see through there. That's, it's like. Well, it's maybe 3 millimeters wide. [00:37:25] Speaker B: But it does, it does, it does take photos. It does video to a micro usb. And yeah, it's crazy. I think it has quality and the light handling. Doesn't matter what light. It's. [00:37:39] Speaker A: It has half a stop of dynamic range. The highlights are blown out in every photo. Yeah, yeah. It doesn't matter if you just focus on one like an even somehow it still blows part of it out. You shoot a gray wall, part of it will be blown out. Yeah, I don't understand what the light. [00:37:57] Speaker C: Metering is but I'd be really interesting to interested to see like photos, actual photos from that camera. I'm gonna have to look it up. [00:38:05] Speaker A: Yeah, well, we got to do something, Greg. We're gonna do a little challenge. Yeah, Charmer. A challenge camera challenge. [00:38:12] Speaker B: So this, this new film roll camera is much the same thing. It's got an LCD on the back, it's collectible, there's a number of different variants and yeah, it's just a tiny digital camera. It's pretty crazy. Yeah, hit play on that if you can. Justin, that. Oh, there it is. [00:38:29] Speaker A: Let me, I'll see if I can do this. Okay. [00:38:31] Speaker B: So I'm pretty sure I've just found. [00:38:32] Speaker A: The next thing in photography that is going to break the Internet. Okay, here it is. [00:38:37] Speaker B: This is a roll of film. It's called Neo Film 100. [00:38:40] Speaker C: I'm going to take the roll out. [00:38:41] Speaker B: Of the box, open it up, put. [00:38:43] Speaker A: The film in a little canister like this. [00:38:45] Speaker B: So here's the roll of film, except no, it's not. [00:38:47] Speaker A: It's a freaking digital camera. [00:38:51] Speaker C: How sick is that? [00:38:52] Speaker B: It's literally a little tiny camera. [00:38:54] Speaker A: I'm taking a little selfie of Myself. [00:38:55] Speaker B: On camera right now. [00:38:56] Speaker A: Ready? [00:38:58] Speaker B: So you take a photo by pressing in the little stalk on the top of it. [00:39:01] Speaker C: You can like cycle through. [00:39:02] Speaker B: There's loads of filters and stuff you can put on the photos. [00:39:05] Speaker A: You can also change the mode so. [00:39:06] Speaker C: You can record a video with it. [00:39:07] Speaker A: And then you can look at the. [00:39:08] Speaker B: Photos you've taken and you can scroll. [00:39:09] Speaker A: Through using little arrows here. [00:39:12] Speaker B: Oh my God, I absolutely love this thing. It reminds me, I, I wonder if. [00:39:18] Speaker A: I can pay that guy to do an ad for camera straps. He's so excitable. [00:39:22] Speaker B: He is. [00:39:23] Speaker A: He's like, it's like he sold it. He sold the coolest thing I've ever found. Yeah, exactly. Yeah, he did sell it. I want one. Except I've got one that's in a slightly different shape. It's rectangular instead of round, but, you know, that's cool. Lisa Leach says he sounds like Nick Fletcher does a bit. [00:39:47] Speaker B: Well, that's the end of the news, folks. [00:39:49] Speaker A: Yeah, yeah, that's it. Quick one this week. Just, just lots of random lenses. [00:39:54] Speaker B: Lots of lenses, lots of lenses. What else we got? Oh, jingle. [00:40:02] Speaker A: Yeah, well we. Moving on to. Oh, was there more news? [00:40:06] Speaker B: No, no, there was just some YouTube. Watchworthy. YouTube. [00:40:11] Speaker A: Yeah. [00:40:12] Speaker B: Let me just do a quick readout. Pete Mellows is back with yet another. He's been doing some concert photography. So he's, he's got a, A great video off about whether you do or don't use flash at concerts. Adam Edwards has got. Episode 5 of his can you Scorecard series is just up. Lee Herman. We've had them before. [00:40:33] Speaker A: Don't forget Nick Carver. I. I saw that. I'm getting. Oh, sorry, I thought you skipped over. [00:40:38] Speaker B: I'm pretty sure I had the room. [00:40:40] Speaker A: It's in order, isn't it? [00:40:42] Speaker B: I'm coming back to him. Okay, headliner. Okay. Anyway, Lee Herbert did a little review on a Thunderbolt 5 SSD enclosure. Our friends at Tamron Australia. Forget the shot Podcast. Joe Orchard recently interviewed Brett Ferguson for their episode 18 of their ongoing podcast series. Go and check that out. Not now. Later. Julie Powell continues to be the queen of YouTube. She put out three, I think three videos this week. And Brett Wood has a. A new epic Iceland cinematic video that's going on to his you channel YouTube channel right now. But you should wait until we're finished, obviously. Obviously. Uh oh. [00:41:23] Speaker A: Who do you think this is? Hang on. Hold on. Can you hear us? Nothing. You know the deal, Nick. Hang on. Why does this happen every time? Connect the phone, do the thing. Hold with us. Stay with Us call. This is what happens when you call. And you just gotta be patient and just wait for me to get you on the line. [00:41:44] Speaker B: Just while he's doing that. And one last video. Nick Carver is back. He's been out of action for a few months. He's been off the scene, off the YouTube scene. And he's just back with his first new video in quite some time. So go and check that out. Yeah. [00:41:57] Speaker A: Because he's making his printing workshop. It's almost done his online print course. And I'm definitely buying that when it comes out. Nick, can you hear us? [00:42:09] Speaker B: Oh, I can hear you, yeah. Excellent. [00:42:11] Speaker A: What's going on? [00:42:12] Speaker B: Well, firstly, Lisa Leach is clearly talking bollocks. I don't sound anything like that, Blake, but I'd be very happy to freak your camera straps for you. I think they're brilliant. [00:42:22] Speaker A: That'd be great. Maybe you can just be excitable like that guy for. [00:42:25] Speaker B: I'll be. I'm incredibly excited about your camera strap. I ran you the other day about the new one I need. [00:42:32] Speaker A: Yeah, we got to get you one or two. [00:42:35] Speaker B: Another one. [00:42:36] Speaker A: Another one. [00:42:39] Speaker B: That's all I wrong say. And amazing to find out that Joel's a climber. Never knew that. There you go. Let's go climbing. Joel in and fries. [00:42:46] Speaker C: Yes. Yes, yes. No, I need to. I'll. I'll hit you up when I'm down. For sure. When I can make it down. [00:42:54] Speaker B: Cool. [00:42:55] Speaker A: I'll come too. [00:42:56] Speaker C: Yeah. [00:42:58] Speaker A: Good, good. [00:43:00] Speaker B: All right, carry on, boys. [00:43:01] Speaker A: Okay, have a good night. [00:43:02] Speaker B: See you, Nick. [00:43:03] Speaker A: Thanks. Bye. Bye. See, it's that easy to call in now. The phone works. [00:43:15] Speaker B: All right, let's go on to our topic for tonight. [00:43:18] Speaker A: Yes. [00:43:19] Speaker B: Is film more real? [00:43:21] Speaker A: Yeah. I made this up while I was trying to make a thumbnail and I thought because I've been shooting film a bit again lately and it feels more real, but am I just tricking myself? [00:43:34] Speaker C: I want to hear about your, like, current film experience. I want to hear about why and what you. What you find. Like, the differences are, like, while you're shooting and how you're treating it differently. Like, is it different or is it the same to you? [00:43:50] Speaker A: Okay. To do this, we'll have to do show and tell. So I'll show you some of my. I'll show you some of my photos that I've taken recently that I just got back from Lumina Labs. If you need someone to process your film here in Victoria or anywhere, send to Lumina. John will look after you. [00:44:07] Speaker B: Cool. [00:44:08] Speaker A: Where is it? So I'll pull it up and I'll talk to you about it. Basically, I've been using cameras that. Autofocus and stuff, so you won't really understand that side of it, but I'm sure he's heard. [00:44:21] Speaker C: I've got one. [00:44:22] Speaker A: I've got. [00:44:22] Speaker C: I've got like a couple autofocus cameras. Not a lot, but I got a couple. [00:44:26] Speaker A: Okay. Where are we? I'm getting there. I'm getting there. I wasn't ready to pull these up yet. Okay. So I used a couple of Canon cameras. [00:44:40] Speaker B: What a surprise. [00:44:41] Speaker A: An EOS 3 and a 1N and my new 28 mil lens on the 1N and. And. And the 50L as well. And I also used the LOMO Sprocket Rocket. Cool. Which I just. I'll talk to you about after we look at the photos. But so. Oh, Jim says, hey, fam, sorry I didn't make it. That's okay, Jim. Next Monday. Next Monday. It's just. It balances the beard. It would have been weird with three beards and me. That would have been too much. Too much beard. [00:45:15] Speaker B: Well, it would have been like that movie poster for Three Men and a Baby. [00:45:20] Speaker A: Hey, that's actually a pretty good joke. Yeah, that's pretty good. Okay. Now, I was trying to get these ready for the show. I had them arranged in an order because ever since I went to Harriet Tarbuck and Chris Hopkins workshop at the Bright Festival of Photography, I can no longer show images without choosing what order they get shown in because I think it creates a better story and it mucked up. So they're not in order. And that is going to bug me. But anyway, so here are some Sprocket Rocket shots. This is the first one of the roll. Hang on. [00:45:59] Speaker B: It was such a bogan. I'll photograph my car and my boat. [00:46:05] Speaker A: There's a story to that, Greg. It's because the shots are from when we went away to the river with some friends. So this is like when we left. But I'll just update this. So, yeah, it's got like the edge there, which is very cool. I like that. And these are all like. I haven't. No crap prop, no nothing. Obviously. Just done straight back from John downloaded and that's it. So Sprocket rocket shots to kind of set the scene. This was an unintentional double exposure of Jim. If we could zoom in, that's Jim in the middle with his knee brace. It's the first time he's wakeboarded behind the boat since his surgery. His crash two and a half years ago. It was a big moment and I accidentally double exposed it. That's him and him wakeboarding. I'm like, that was. That was a happy accident. [00:46:52] Speaker C: Yeah, that's great. [00:46:54] Speaker A: Really nice, right? Yeah. Very cool mistake. I should have said it was intentional. And there's Jim being happy. [00:47:00] Speaker B: Oh, that's a great photo of him. [00:47:01] Speaker C: Great portrait. [00:47:04] Speaker A: Very hard to tell where you are in the frame with the sprocket rocket. I don't know how I meant to frame this, but it worked out really well. That's great. Great compost. [00:47:14] Speaker B: The color is gorgeous. [00:47:15] Speaker A: It's not sharp, unfortunately. I'd really love a camera that is sharp or sharper than this because it doesn't have. I don't know if. Have you ever used one of these things? No. [00:47:26] Speaker C: It kind of gives me like xpan vibes, but like it's 80 bucks much shitter. [00:47:31] Speaker A: Yeah, yeah, yeah. It's $80. And it has. Basically it's got a little thing for cloudy or sunny, which I think changes the aperture from f16 to like about f10 something. It's got a twist on the thing for close focus, which is 0.6 of a meter to 1 meter or 1 meter to infinity. And then it's got like your shutter which you just push down on the side of the lens. And that's got normal or bulb mode. And then that's it. It's got like the winders and the sort of film counter on the top. It's very basic. [00:48:07] Speaker C: It's a fun camera. [00:48:07] Speaker A: Fun. It is fun. It's fiddly and fun. I'd love it if it was. If I could manually expose and manually focus would be awesome. And maybe if it had a slightly more precise winder because you kind of just wind it until the dot lines up with the window. [00:48:27] Speaker C: Here's a question for you. Do you struggle to not have control over your outcome of your image? [00:48:36] Speaker A: I would just prefer if I could choose the exposure. Yes. Sometimes. Well, it's not even that. It's not even auto exposure though. It's like there's. You've really got to choose your film for that time of day. And then that's all you get. Like, you can't. Yeah, can't sort of work around. Anyway, I'll show you a couple more. This is a photo of us on the boat. Not taken by me, taken by my neighbor. But he. It took him two goes. Because the first time he pressed the button twice and he's like, don't worry, I took two. So he double exposed it and then it Was just a blurry boat. Right, right. And then a sunset. [00:49:18] Speaker C: That's a cool one anyway. [00:49:19] Speaker A: And all that was on gold 200. [00:49:21] Speaker B: Yeah. I love the color. The color is amazing. [00:49:25] Speaker A: And I did enjoy that film stock for that purpose. But I, I'd like it to be 400 maybe would make it the cap because a few of the images turned out pretty dark. But I, I could probably get them to push it maybe, I guess. [00:49:40] Speaker C: No, you don't want to do that with color. Not color. Yeah. But you can. What you should do if you run a gold through it again, just shoot it at the eight like the shady setting throughout the day as well. [00:49:53] Speaker A: That's what I, I, most of them were on the shady setting. Yeah. Unless it was like, unless I was shooting full with the sun like proper bright. I had it on the shady setting for I think all of these shots except for maybe the boat photo. [00:50:08] Speaker C: Right, right. [00:50:10] Speaker A: Yeah. The rest of them were, were on the shade. And then. So this is, this is to the other cameras that these are on Ekta, that's Elena cooking food hot. That's, that's Matt doing a flip. There's Jimbo. And then we had some, some black and white shots too on Delta mix of Delta 400 and Delta 100 in here, I think. [00:50:37] Speaker B: Oh, I like that. I like that a lot. [00:50:39] Speaker A: Yeah. Just friends of mine doing push ups and another friend of mine hating it. What else have we got here? Just some shots of the boat. Yelena. So the thing that I like that's different because I took my camera up, my digital camera over Christmas and New Year when my nephews and stuff were there. And what's different about these? And I never got it out firstly, which is frustrates me. I took some shots on my phone and that was it. These are the. For some reason having a film camera around and just grabbing some shots seem, they seem more like, they feel more like snapshots. And then I can just take one photo and pop it down. That's what, that's the, it's a, it's a completely different shooting experience. It's one, it's slower. Obviously. Everyone knows that it's like focus is a bit trickier and that kind of thing, but it's, it's the this kind of idea that it's just a way to capture some of the day and there's only a limited number of shots. And I don't even mind like being like I'll grab a photo. Whereas normally with my digital I would never like tell anyone I'm Taking a photo of them, I would try and get everything as candid as possible. And some of these were candid, too. But I also don't mind, like, so, you know, here being like, hey, Jim, and getting him to turn around and then taking the photo. Whereas I normally wouldn't do that with digital ever. I'm pretty documentary, only with digital. So. [00:52:17] Speaker B: So what are you finding? Sorry, Joel. Why are you doing that differently, do you think? Why are you. [00:52:26] Speaker A: I think because it's film, so it's. It's almost like it's a bit of a novelty as opposed to a. You know, like, it's. I'm not sure. Yeah. [00:52:36] Speaker C: Are you in a different. Are you in a. Because this is what I felt when I was sort of in my transitional phase. [00:52:43] Speaker A: It was that when I. [00:52:44] Speaker C: When I picked up the digital, I really felt like it was. I was searching for something where, with film, I'm not really, like, thinking about the end thing. It's just like, oh, now and then, that's. That's where it ends. Whereas, like, I think the digital is so much about, I see something, I want it to look like this. I'm going to make it look like that later, you know, and, like, do this thing to it. [00:53:10] Speaker A: Yeah. I think it is knowing. Knowing that you have to do something to the digital, like the digital files. But I've shot a lot of JPEG as well, and I don't mind doing that, so that's. That shouldn't be a thing. Um, but there is that. That is part of it, I think, for me is, like, knowing. It's just nice to be like, well, that's done. Like, you take the photo, that's done. It may or may not turn out, and that's it. [00:53:30] Speaker B: Nothing I can do about it. Yeah. [00:53:32] Speaker A: It also might be the newness of not knowing how the photo is going to turn out and hoping it turns out okay. Whereas I guess once you've shot film for long enough that. That probably goes away too, to a certain extent, where, you know, you no longer excited to get the roll back. I don't know. Whereas I'm like, I can't wait to open it up and be like, how'd these turn out? Yeah. What are they going to look like? [00:53:52] Speaker B: Why do. [00:53:53] Speaker C: Why can you not shoot the same way with digital? And why are you choosing film to do it? [00:53:58] Speaker B: It's a great question. [00:54:00] Speaker A: Especially when there's so many digitals coming out with sort of this kind of vibe and feel and, you know, like, I could just pop an X100 just have that kicking around. I'm sure that's what lots of people do. [00:54:12] Speaker C: That's what I did for so long until I decided I wanted to be broke instead. [00:54:16] Speaker A: Yeah, and that's the thing. Like it cost, you know, it cost $120 to get these developed, plus whatever the four rolls of film cost. There's more shots too. I've only some of them. Obviously. I did four rolls of film and there's a few out of focus ones, unfortunately. Still. Still figuring out how much I can rely on the older cannons, like. But yeah, I don't know. I don't know what's stopping me from just shooting like that on digital or do I even want that? I'm kind of enjoying the film thing. I really, really, really would like an X pen. And then I Google them and everyone's like, they're all dying and they're six grand. And do you really want to buy one and have it be unrepairable and just lose $6,000 or whatever? Yeah. [00:55:06] Speaker C: But I think it's interesting. I know that when I first started shooting film was when I was shooting a lot of digital in my life. And I really like recognized the process of just taking the image and just having it just didn't exist with digital. It was like I got to shoot it, I got to import it, I got to put into this folder and then I got to maybe re export it. A smaller jpeg so I can export it to my phone, you know, and it's like there's like all these steps that just come from having taken a photo to actually getting the photo. Whereas there's definitely much more when it comes to shooting film. But the reality is most people don't do their own developing and scanning. So I was like, I just want to shoot like a role in a couple of months and then I'll send that off and I'll get it back and I'll get the files sent to me and prints if I want. And then they're just there and I haven't done anything. You know, there's like a convenience in having someone else do all the heavy work. And you just go like, accept the fact that you. There's nothing you can do about it. And it's kind of. It's kind of nice to like relinquish that power. But it's funny because you're like, I wish this was sharper and I wish I could do this more. It's like there's so much of film that you just have to like just go. I've done everything I could when I pressed the button and unless I really want to do heaps more like with my own scanning and like color corrections and whatever, so much of it is like quite outsourced, you know. [00:56:30] Speaker A: And so that's a deal. [00:56:31] Speaker C: I think. [00:56:32] Speaker A: I. It's not. So it's not a sharpness issue. Like, I love the files that I got with the Canon cameras. They're sweet. They look great. That's sharp enough, enough resolution for me. It's like, it's this camp. Like it's not the weird one, the sprocket rocket. I would like to be sharper, but I'm not. You just want an X pen. I want an X pen. [00:56:54] Speaker C: You just don't want to spend six grand. [00:56:56] Speaker A: I would spend six grand if, if, if they, if everyone wasn't complaining about how if they brought break that there's no like maybe no way to fix them. That, that concerns me. If it was like, that's why. [00:57:06] Speaker C: Yeah, that's why I sold mine. I was like, I heard stories about that. I was like, had it for like three months and then sold it. I just had my time and then moved it on. [00:57:15] Speaker A: Yeah. Yeah. And. And it's just, it's so crazy that. So this is, this is $80 or whatever it is. And then there's six grand and it's like, was anything going to come in the middle of that? Is someone gonna make like, can someone for a thousand dollars make one of these that has like a proper winder and, and a manual focusable lens that has even a handful of apertures? [00:57:42] Speaker C: Like, you know, I've seen videos of some people 3D printing Xpan bodies. [00:57:48] Speaker B: Yeah. [00:57:49] Speaker C: And just making like lens mounts for. If you have the. Then you can just buy the glass. Like the 45 mil Xpan lens is still like 4 grand or something by itself. But still it's like when you realize that the body is just a box really. It's just a box to put the sensor in. It doesn't really matter. As long as it's light sealed and has shutter speeds, it's fine. So it's, that's a good way to get around it. [00:58:14] Speaker A: There's a few 3D printing projects that I've. That I've come across. I think a new one actually was on Petapixel yesterday or something or Newish is up to its version 5, but it's like they've released a new version, but they're all 3D. Print your own, you know, find your own lens That I think the lens has its own shutter in it. Like a leaf shutter, like from a Monica lens or something like that. So it's like, it's all pretty. It'd be a project. I don't really want a project. I want to take photos. Yeah, yeah, yeah. And that's where it's hard. But maybe these are the, these are the seeds of someone being like, hang on a minute, why don't we just get those made somewhere and it's. And charge a thousand dollars for them or whatever. I don't know. Yeah, sorry, what were you gonna say? [00:58:59] Speaker C: I was just gonna say the tintype man mentioned a medium format camera if you want that high quality. But I have seen a hack done with a medium format to have the sprocket locket, sprocket rocket look. So you can get these like. Because medium formats have the two spools on each side, you can get backs where they like block it out. And you can put a 35 mil roll in there. [00:59:21] Speaker A: I saw that. [00:59:23] Speaker B: Oh wow. [00:59:23] Speaker C: Shooting it to the edges and it gives that X pen look. But I think it's probably not the thing that makes the X pen so amazing is it's an anamorphic lens. So it's like it's. Everything's so flat and it looks like a cinema still, you know. So that's why the XPAN is so good, is because it's that lens that makes everything. All the lines are straight, there's no distortion. It just looks like a frame out of a Tarantino film, you know, and all these other options, like the wide lux, everything else, you're not going to have that look. So there's just that look that only belongs to that, that camera. That's why it's so expensive. [00:59:56] Speaker A: That's why the XPAN is so expensive. Yeah, but it's. [00:59:59] Speaker C: If you don't care about that. [01:00:01] Speaker A: Oh, the Mamiya 7 has a 35 mil kit for Panos. Interesting. I saw that you could get a 220 back for a. What would that be for a six by seven. What are those big box things? [01:00:20] Speaker C: Four by five? Like box box or like not like the hassle blade, like I've got. [01:00:25] Speaker A: No, well, more like a hassle bag, but the heavier one. What's that other brand or RB. [01:00:31] Speaker C: RB. [01:00:32] Speaker A: RB67. Sorry. Yeah, I think you can get a 220 back for that which, which can take the 35 mil but you've got to unload it in a dark bag. Yeah, that's. That's like another thing where I'M like, I just, I, you know, like I could do that, but would I? The issue is I don't know if I would or if it would just sit there unused because I want to take it when I'm doing fun things. [01:00:55] Speaker C: Yeah. Oh no, that's so, I think that's the whole thing with film too, with all the cameras. Like, there's no such thing as a bad film camera. It's just the one that works for your process because they're all so finicky and like all have their own quirks. And, you know, doesn't mean like, is it the best? Like Pentax can be the best or Nikon can be the best, depending on what you're looking for in a camera. And you just don't know sometimes until you grab it and use it. So, you know, if it's, and if it's slightly inconvenient and pisses you off just that little bit, like it can just sit on the shelf because you can just grab a digital or this rocket. Rocket and just like shoot snaps, you know. [01:01:32] Speaker A: Yeah. [01:01:33] Speaker B: And maybe that's part of what brings us back to our, our topic for the, for tonight, which is, you know, is film, Film photography more real? You know, it's, it, it's less easy, isn't it? Because digital, you know, the cameras are so amazing now, you know, whereas film, you've got to slow down, you've got to consider the quirks, you know, you've got to consider that, oh, I've got a 100 year old camera or 50 year old camera and you know, this little corner is a little bit wobbly, but I've just got to make sure I hold it down when I do this, you know, and that kind of makes it a bit more, I guess, intimate, maybe more so than digital cameras can be, you know, where you've got a relationship with the camera before you even approach a subject. You've got to understand this camera, you've got to know how it works. You've got to know what happens when you put different speed films in it, you know, all those sorts of things. It just adds a little bit more effort to the process and then you get to sort of outsource the back end of it, whereas now we all take care of the back end of it ourselves. I did have a question for you, Joel. You said that you've set up a dark room at home, so you're doing your own processing. Have you looked at the economics of that just yet? You know, is it how much better off Are you doing it yourself versus sending it off to a lab? [01:02:53] Speaker C: It actually works out to be quite good. I remember when I set my dark room up, I print. I set it up to develop black and white film as well as print. Like doing my own enlarging prints. Got more chemicals than I needed. Like all the, you know, when you're setting this sort of stuff up, it's like you think you have everything and then you still got to get like pegs and like seal bags and containers and like just like that, you know. So by the time I did all of that, it was like about, only about a thousand bucks. That includes buying an enlarger with all the paper chemicals. Like a thousand bucks. And yeah, because there's heaps of people selling stuff on Marketplace and I got stuff off Marketplace like really good durst big enlarges that would have been 14, $1500 when they came out. I got for like 200 bucks because it's just sitting in a garage. And then you just need a good lens. Just like anything, just a good lens for a couple hundred bucks. And then you've just got a world class in larger. So it's really not that expensive. And then by the time you start buying film, especially if you buy bulk and there's all these ways that you can cut down, you can bulk buy bulk rolls of black and white and preload your own film. That works out to be like $6 a roll. Really like once you've done the role at $6 and then you, if you've got all your chemicals and stuff, you're just developing like that with your chemicals. So I have had the darkroom for like almost a year and I've only had the biochemicals once, like for each thing since then and they're about 20 or $30 each. So it really does when you consider, you know, if you doing standard scanning, not really high resolution stuff, you probably on average going to spend between 20 to 30 dollars for develop and scanning for color and black and white, probably. So that's per roll plus buying the roll which is about $20 for $25 for color. So that's $50 for 36 exposures for color. But with black and white it's like if I bulk roll my own stuff, it's $6 per roll plus developing. So there is a huge change. And I do my own scanning too. I've got a macro and a XT5. So it's got big enough sensor for me and more than enough, more than you do. [01:05:12] Speaker A: You use the Fujifilm simulations to double double film your films. [01:05:17] Speaker C: No, I'm not going to double double handle. No way. That would be, that would be crazy actually. But I only scan my personal stuff really, and my own black and whites. But I, because I don't develop my own color so I can only do all my own black and white stuff. I still got to outsource color. But if you just want to shoot film and just keep it for yourself and live it, have it live in black and white, which is quite like. And it's quite a romantic way for film to exist in your life. Especially if it's like the family stuff because all that stuff just looks really beautiful in black and white, then it's really cheap. It's really cheap to do actually. And then being able to print your own stuff is like, like it's the, it's the part that I'm most passionate about now is, is like I have, I think maybe the reason why I'm not going out to shoot so much is because I have so many negatives that I like want to print and like see it happen, you know. And it's pretty cool process to think that like from shooting to printing, it hasn't touched any screens at all. It's no influence by digital. It's full chemical and paper and it's just like I did it with my hands. It's the closest way I feel to like actually being an artist as a photographer. [01:06:31] Speaker B: Well, because you're not only, you're not only using your eye and your mind to frame and compose a shot, but you, you know, like you said, you're using your hands to physically make an image at the end of the day. [01:06:41] Speaker C: And you re expose it and you're doing dodging and burning. So you're like editing with your hands. So it's like, it's, it's a very like cool experience to actually have these things where you go, I, I created this. Not like you get the sense that you do it with digital and you do, you still have all that control to do it. But I didn't look to a screen. I just like used my hands and my. I know what I thought looked good instead of what the histogram told me, you know, so that feels kind of nice to have that like freedom instead of being told that it's sharp. You know, there's all these softwares where it'll give you a recommendation of which image is sharpest or which one's best. And it's like, I don't want to be told anything Just let me, like, work out what I want to work out. And I think film, the way that I have it now is it exists like that. So it's really cool to not be told how I should do my shit, you know? [01:07:32] Speaker B: Yeah. You know, and as we move down that path where more and more features in the editing software we use for digital photography, adding AI or automated components to it. Where do you draw the line between what you created and what an algorithm thought you needed? [01:07:52] Speaker A: Exactly. [01:07:54] Speaker B: It's interesting. Very interesting. [01:07:55] Speaker A: Sounds like Patrick J. Photography. Good to have you here. Develops and scans all his own black and white. More of a control freak. Where are we? Jason says, I personally think part of the film reality is connected to the final product being tactile. So maybe a little bit of a gap could be narrowed if we printed more of our digital shots. That's true. You could definitely narrow it that way. I do. I do love the idea of having a. It's obviously very romantic, the idea of having a dark room with an enlarger to go straight from negative to a print. Like, say no digit, not scanned and printed, you know, just like magic onto the paper is. Is pretty cool. That sounds. Yeah, really. [01:08:43] Speaker B: And like, he knows better than anyone. Says the same. Yeah, sorry, Joel, what were you gonna say? [01:08:50] Speaker C: Oh, no, I was just gonna say, like, there's nothing better than, like, a day where you can go out and shoot a roll, come back and develop it, let it dry, cut it up, do like a contact sheet, and then look at it under a little magnifier glass and go, that one looks cool. I'll print that one, you know, and then do all your test strips and then have a. It's like a whole day process for one image. But I think that's why it feels so much more special, because it's like, you're not doing that. I'm not going copy paste to, like, all the photos that I've done. It's like, if I actually like a photo, it's. It's a lot of effort for me to do it and, like, time and, like, you know, you only do that if you love it. You don't do that if you, you know, just because it's convenient. So, yeah, I don't know. It's really special. [01:09:39] Speaker A: Patrick also says I've got an old. Is that a Canis scan FS4000 scanner? 4000 dpi and printing on fiber papers. [01:09:49] Speaker C: Yeah. [01:09:50] Speaker B: 4000 dpi on 35 mil only. [01:09:54] Speaker A: That's crazy. Yeah. I don't know. It's just. I Can't put my finger on what it is that makes me feel differently, but I think. Oh, hang on. Unknown caller, unknown caller, caller, can you hear us? Hey, Justin. Yeah, gotcha. What's up? [01:10:23] Speaker B: Well, I've got a question for Joel. I'm so. I'm just a home. Put some. [01:10:30] Speaker A: Hold on, hold on, hold on, hold on. I think he. Is he cutting in now for you guys? [01:10:34] Speaker B: Yeah, he's cutting. [01:10:35] Speaker A: Yeah. Hang on one second. I know I can fix this because unfortunately the rodecaster is a pain. We fix it. Turn Bluetooth off. Turn Bluetooth on. Reconnect to the rodecaster every time. Come on, road. I love you so much, but this is. Have you got us? Are we back? Paul, are you there? Hang on. Paul, can you hear us? Kohler, can you hear us? [01:11:15] Speaker B: Yeah, I got you now. [01:11:16] Speaker A: Oh, hang on. Okay, that's not good. Can you hear us now? Now? Oh, my gosh. [01:11:26] Speaker C: Just hold him next to the thing. [01:11:28] Speaker A: I could hear him. Yeah, then you won't be able to talk back to him. It's a whole thing. It's a whole thing. Hang on, I'll put you on speaker so you can answer your phone. I'll figure this out while we're going. Can you hear us now? [01:11:46] Speaker B: Yeah, got you now. [01:11:47] Speaker A: Okay, go for it. Ask your question. [01:11:50] Speaker B: Oh, Joel, it's Paul here. Hey, mate, I've just got a. I'm sitting on a, like a home starter pack for just film negative developing. So just very much starting from scratch there with some Ilford HP5 and FP4. Can you recommend a resource to go to to find the right processing times and temperatures? There is so much out there. Lots of websites. Is there like one go to place you could recommend for us? [01:12:17] Speaker A: All right, hold on one second. I'm going to just try and reconnect you so Joel can talk back to you. But he got your question loud and clear. Come on, road cast. [01:12:38] Speaker C: Just let me know when I'm ready. [01:12:39] Speaker A: Yeah, well, apparently now it doesn't even want to reconnect. [01:12:45] Speaker B: And I'll just catch it on the. On the chat. [01:12:47] Speaker A: Okay, perfect. Thank you. [01:12:49] Speaker B: Thank you, Paul. [01:12:52] Speaker A: Thanks, Paul. [01:12:55] Speaker B: Do you want to just repeat the question, abbreviate the question for anyone that didn't quite hear it? [01:13:00] Speaker C: You sort of asked. He's got a black and white home developing kit and is looking for somewhere to go to get information on temperatures and developing times. And yeah, that. Patrick's already answered it in the chat. I was going to say it's massive depths dev. Massive dev chart. It's an App where you can like open it up and essentially, oh, this is going to be fun. I've already got my favorites saved, but there's Justin. Yeah, Say hi Justin. And then if you click Massive Dad View on the bottom, you choose the film stock that you want and then your developing agent and then what film speed you shot at and then it will pop up with developing time temperature your stock and it will run you through a timers through develop it developing stop, fix, wash and you know, final rinse. So you can actually just have that on hit start. And once you pour, your first chemical is in you just like agitate as it's ticking and then stop it and then it will count three ticks until your next agitation and you just keep doing that and then it will. Alarm will ring and then you pull the chemical out, pull the next one in. Hit start. It's a great app. Like there's heaps out there where like every time I've taken temperatures of water, I've been looking up at the back of the film box or like looking up on my chart and I'm like, I just want something that can like start and stop me, you know, instead of looking at a timer the whole time. So massive dev chart is like the only option. There is more options, but that's the only option that actually is good. [01:14:32] Speaker A: There's more options, but that's it. [01:14:34] Speaker C: That's the only one you use? [01:14:35] Speaker A: Yeah, yeah, yeah. Awesome. Okay, should we where to from here? Should we look at some of Joel's images or should we. I think we should the your images section. What order should we do this in? [01:14:50] Speaker B: No, we'll leave it for your images. Just. Just a quick comment that dropped into the chat from David Dare Parker. G', day, David. Hope you're well after using the dark room. I'm just getting my sense of taste back now. [01:15:00] Speaker A: We're not supposed to drink the chemicals, supposed to put film in them. I get it. Another comment tracked from David. Track down an extraordinary book called Creative Elements by Master Printer and old friend Eddie F. Roms. [01:15:21] Speaker C: Cool. [01:15:21] Speaker A: Okay, Interesting. [01:15:23] Speaker B: I have to look that one up, Joel. [01:15:24] Speaker A: Yeah, we'll have to track it down. Yep. [01:15:27] Speaker C: Why don't you guys do a like a segment on like film gear, like film lenses and like pretend that you're in the 70s and then go through the dates and as stuff releases, you can release old gear again. [01:15:38] Speaker A: What, what do do the old. The news from the 70s. [01:15:41] Speaker B: Yeah. [01:15:41] Speaker A: Basically like on this day in 1972. Yeah. Okay, interesting. It's not a bad idea. We can put old. [01:15:50] Speaker C: I got so much cool gear over here that does like amazing photos, but it's not autofocus and all these fancy layouts. [01:15:57] Speaker A: Well, that's. I mean there's the new. But we do, we do want to do the film gear stuff because that is like there needs to be more out there because there's. It seems really hard to find. The other thing I was looking for was like a point and shoot film camera that any of my friends can pick up and shoot with. Yeah, that's still decent quality. [01:16:18] Speaker C: How much money do you want to spend? [01:16:21] Speaker A: I would. Anything that you know, I would be. I wouldn't cry too much if it got dropped. So like let's say ideally sub 500. But if it. But if it was a thousand, if it was something that I really enjoyed shoot with, maybe. [01:16:40] Speaker C: Okay, Can I show you. Can I show you my two that I have and you have both. Both pri. Are we going off topic? Are we happy with this? [01:16:48] Speaker A: No. No. [01:16:48] Speaker B: Let's go. [01:16:48] Speaker A: I'm gonna make you bigger. Let's do show and tell. [01:16:51] Speaker C: I. I've got. I love showing off my camera gear. I don't really care about new stuff, but I love all the old shit. But this is my fancy one. So this is the Nikon 35 Ti. It's so pretty. [01:17:05] Speaker A: Oh, it's got those things on it. Yeah. [01:17:07] Speaker C: Got the dials on the top. I wish my camera was better. I'm so sorry. But really, really pretty. And use this for a lot of like just static stuff because there's like a slight lag in the shutter. So it's not super great for a lot of my wedding stuff because when I press the button there's like a. A second delay. [01:17:29] Speaker A: Yep. [01:17:33] Speaker C: Static or like traveling around having it in your pocket because it's quite small. I don't know how I'm supposed to show you how small that is, but 35 mil lens, 2.8. Like amazing. Autofocus, auto winding does all the stuff for you. But you can also aperture priority too. So you can up the exposure or down the exposure as well. [01:17:54] Speaker B: Okay. [01:17:54] Speaker C: But that's about twelve hundred dollars. Okay, so it's twelve hundred. But this is the one that I use like all the, all the time. It's the Ricoh GR1 which is a 28 mil 2.8 lens. And it's just like a on and press and leave situation. [01:18:10] Speaker A: Okay. [01:18:11] Speaker C: Don't have to do anything. [01:18:13] Speaker A: And how hard are they to get? [01:18:16] Speaker C: This was kind of hard. I found it like a retro camera market In Sydney for about 6, 600 bucks. [01:18:22] Speaker B: But you know what? If we were in Japan right now, I could take you to some pretty cool cheap camera shops. But no, we're not in Japan right now, are we? [01:18:31] Speaker A: He's not moving on, Greg. I'm sorry. If we had a hundred thousand subscribers we would be there. Yeah, yeah, told you whatever. 98,000 away. [01:18:44] Speaker C: But that's, that's a good one. That is, is a good one. 28 mil lens too. I think they do it. There is a 35 version as well. But everyone, what everyone goes to with point shoots if you want to spend a lot of money is the contacts T2 and that's like pretty, pretty goaded is like the point and shoot. But it is, I think there's a lot of like fancy money on it because what was it, Kylie Jenner or something had one on the Tonight show and showed it and it went off. So then prices like essentially doubled online when that happened. [01:19:19] Speaker A: Right. [01:19:19] Speaker C: So cameras get old, cameras become trendy and not trendy. So sometimes you find really good point and shoots in like not trendy eras or really good cameras and not trendy eras and they become big and you make a lot of money. It's quite nice. [01:19:32] Speaker A: Well that's right. You're buying for 30 bucks and then five years later they're 1500. [01:19:37] Speaker C: Yeah, yeah, yeah. If you get the right one obviously. But there's heaps here. People have mentioned heaps. [01:19:41] Speaker A: Yeah. Lucinda says the Canon AF35 autoboy, I've seen that record recommended quite a bit. It's got, it's got a bit of an like a. Is it an 80s kind of retro vibe? Like an 80s, yeah. [01:19:50] Speaker C: Sort of like red and black with this. [01:19:52] Speaker A: Yeah. [01:19:52] Speaker C: Little pop up plastic flash. It's really cool. [01:19:55] Speaker A: Yeah. [01:19:56] Speaker B: Never die in Melbourne. Have a 35 mil. [01:19:59] Speaker A: Just point and shoot the new one. Like. Yeah, it's like Nana. Yeah, yeah. I think it's, I think it's like f or I'd have to double check. I have a feeling it's fairly high f stop. Like it's, it's quite a point. It's a, like a high quality reusable camera as opposed to a. Yeah, like a traditional. It is like the Auto Boy or whatever where it's where they've got a lot of tech in them inspired by the context. [01:20:26] Speaker B: T2. It's got a close up lens. [01:20:31] Speaker A: Doesn't say the aperture is, but yeah, obviously. Yeah. Jason says Olympus trip 35. Yeah, I've seen a ton of those around. I'd probably Want something maybe slightly more automatic for. [01:20:42] Speaker C: Yeah, you gotta, you gotta have a little bit more input into that. If you just want to give it to someone who has no idea. They. [01:20:48] Speaker A: That's. That's what I'd like it for. Like, like basically taking instead of getting a disposable camera. Getting a. Yeah, like a proper point and shoot film camera. Yeah. David de Parker says, I once had dinner with the guy that designed that and the 28 ti. He was so proud of it. I'm guessing that's the. That Nikon. Yeah, that's pretty cool. [01:21:07] Speaker C: Yeah, it is really cool. It's a good one. I do love it, but that slight lag kills me. But there's like a lack of mini. Lux is also a really good one. There's Minolta TC ones. There's all these really cool, like. And they're all quirky. And I think that's what I like about old film cameras is that they're not good at doing everything. They're good at doing their thing. So you just gotta like look into what that thing. Thing is that they do and work out if that's the thing that you want to do. So that's what I love about it. Yeah. [01:21:40] Speaker A: Yeah. Interesting. [01:21:41] Speaker C: And it means you can just keep buying more gear because it's like, oh, well, if I can't, I can't do that. Look with this camera, darling. I need to get this one. [01:21:49] Speaker A: It doesn't work for that. I'm sorry. It just doesn't. [01:21:50] Speaker C: Yeah, so it just doesn't work. [01:21:52] Speaker A: There's one that I should take a chance on. It's. It's in Bendigo. It's $30. It's a Canon. [01:22:02] Speaker B: Big risk. [01:22:03] Speaker A: Canon Prima. Prima BF800. But it's got. Instead of the, Instead of the. I think one of them had. I can't really show you because this is too bright. Could turn it down. That'd be less dumb, wouldn't it? It's like gold. Oh, cool. Come on, lens. Come on. There. It's like gold. And it's just an automatic camera. And I googled it and there's one that has a zoom lens and then this one's just got a fixed 28. And I was like, oh, that could be interesting. And otherwise it's just a fully automatic weirdo point and shoot camera. But I messaged the person that's selling it for $30 and they said they don't know if it turns on. And I was like, wow, 30? $30 is a little rich then. Yeah. Yeah, it's definitely got corrosion. [01:22:53] Speaker C: Dude, don't touch that thing. [01:22:55] Speaker A: Okay. Yeah, yeah. There's a lot of chatter in the chat. We might have to do a regular segment of just like buying film cameras. That'd be cool. Yeah. [01:23:09] Speaker C: I think there's other options you can get that aren't necessarily like 100 point and shoot, but you could still give to someone and they have on all auto and still take a good photo. [01:23:20] Speaker A: I thought about that. Like, the Canons that I'm using, like, the one in, like, it has a full program mode. I'm sure it works fine. It just seems too hard to use for some. You know what I mean? Like, it just. It's not as easy as just handing someone a. There's only one button on it. Little thing. Press the main button. Don't touch anything else kind of thing. I don't know. Oh, this is the. [01:23:41] Speaker C: I'll send you a full. I'll send you a full list. Oh, yeah, the Mew one is great. I actually wanted to buy the Mew 3 at that camera market, but I saw this instead, and there was no MEW threes. But they're really great little cameras and they fit in that, like, 80s. The other canon one that we talked about with the pop up lens, like, it has that 80s aesthetic where the flash is like quite gnarly and it's kind of dark, but like, cool. It's. Yeah, they're cool. Cool cameras. [01:24:13] Speaker A: Yeah. I'm gonna go shopping. No, I'm not. All right. We should quickly. The show's getting away from us. We should quickly, if you want, see if I can pull up my film shopping basket. Or you can just tell me film stocks that I should try. [01:24:27] Speaker C: I want to see what you've got. And then I'll recommend other things. [01:24:31] Speaker A: Okay. [01:24:33] Speaker C: If needed. I think you've got good taste, though. I trust you. [01:24:39] Speaker A: Let's try and pull this up. So I found out that I think I really like Delta. For my black and whites, I think, I assume. Hang on, let me go to the card that might show up better. Am I right in thinking that Delta has a decent amount of contrast compared to other film stocks, or am I imagining that the Delta. [01:25:03] Speaker C: Right, right, right, right, right, right. [01:25:04] Speaker A: Like this one. So Delta 100 and Delta 400. I liked the look of those. [01:25:12] Speaker C: Yeah. [01:25:14] Speaker A: Where should we go? Well, I thought about buying 3200 just because I've never shot 3200 film before, and I want to see what it looks like. And so I've got two events coming up. I'm Trying to shoot. I'm going to get film developed once a month, so I've done that with my January roles. I want to do a minimum of one roll per month this year. But I've got a friend's wedding coming up in March. I'll definitely shoot a fair bit there. And then I've also got Yelena's birthday, which is going to be a Mexican fiesta dress up night. So I really want. I need to know what film stock do I get? Like color film for a Mexican fiesta dress up night. Okay. [01:25:56] Speaker B: All right. [01:25:57] Speaker C: So should we talk about that or do you want to go through your cartoon? [01:26:00] Speaker A: Let's go through my cut first. So portrait 400, I thought I'll need that for the wedding that's coming up. This. Because I don't know what it is and I thought it sounded fun. It's a black and white pan. Chromatic. [01:26:13] Speaker C: Yeah. [01:26:14] Speaker A: Film Delta 100 because I liked it. Delta 3200 because I've never shot 3200 film. Cinestill 800T because I want to shoot some service stations at nighttime and then go viral. Yeah, that's all it does, man. That's all it does. Cine's still 400D because it's. I. Maybe it's gonna also make me go viral. I don't know what that is. And then a three pack of 36 exposure gold because it seems to be. Even though it's not a look I like at all with my digital, I really like it for that sort of summary, hanging out with friends, photos kind of thing, which I guess is what it is. Childhood memories. [01:26:59] Speaker C: Cool. [01:27:00] Speaker A: Yep. Yep. Nice. [01:27:02] Speaker C: Well, let's. [01:27:03] Speaker A: Let's go to the top. [01:27:03] Speaker C: Let's go to the top. [01:27:05] Speaker A: Delete. No, no, no, no. [01:27:07] Speaker C: Kaydac portrait 400. Like there's no other better color film. Like there's all these really quirky ones that are great, but if you just want to create classics that just look nice and have true color, I just think portrait 400 or 800. 800 is amazing, but it's just so much more expensive. Like 38.50 roll, I think. [01:27:29] Speaker A: Yeah. [01:27:30] Speaker B: Per. [01:27:30] Speaker C: Per roll. And then developing and scanning on top so it adds up quick. So no notes. Kodak portrait 400. Add 20 to cart. [01:27:38] Speaker A: Move on. I think I've got one, but I'll. Yeah, yeah, yeah. [01:27:43] Speaker C: Dude, my orders are huge. It's ridiculous. They look more like my phone number. I haven't shot anything. I haven't shot any black and white film under 400. If I've ever wanted to shoot under that. I've always pulled the film instead of buying low film because I just find that like I'm. I. I love shooting quite low apertures. Like F8 is my 8 to 11 is my sweet spot. And if I'm doing 50 or 100 most of the time you're shooting quite shallow and it's really hard to be fast to like as you docoing stuff with that low speed stuff. So I'd say 50. Would you treat it more as like a landscape black and white film and Delta? [01:28:29] Speaker A: Yeah, yeah. [01:28:30] Speaker C: And then Delta like just a nice 100 speed I guess if you just like shooting 100 speed film. But Dell, all the Ilford stuff's really good and Delta 400 is awesome. But I mostly shoot HP5 because it's a bit cheaper and you can push it. I think you can push HP5 higher and I love pushing to 1600 sometimes but mostly 800. [01:28:53] Speaker A: Okay. [01:28:54] Speaker C: So I think HPF5 is, is great. I think it's the. It's my favorite black and white. I have no notes. I think it's like the right amount of like muddy but also contrasty because I think some films either have like Triax I've shot a few times and it's just whites are white and blacks are black and it's really cool at 400. But if you shoot it at 800, which I mostly shoot at 800, it's just the contrast is too high and you lose details and shadows and blacks and I don't like black and whites that are just too, too contrasty. I want to see a bit of dynamic range I think which Deltas and these lower speed films will give you that 3200. It's the wild times time. It's a grainy time. You'll have a great time but it's not something you'll go back to often I think the scenarios where that works the best is when the lighting scenario is quite high contrast. So when you see gig photos where it's like stage lights and like really high contrast stuff, that's where it looks quite good. If you're doing it in like a. Like a whole area with like festoon lights and it's. And it's all quite even lighting it can still turn out but you're going to notice the grain. It's just gonna. You're just gonna be like whoa, that's grainy, you know. But if you underexpose it it's going to be a time. So overexpose it by stop Just give it a lot of light and that's when you'll get probably the best result out of it. Okay, so you must have light, lots of light. And you. So you're kind of shooting at almost like a 1600, you know, like you kind of. Okay, losing a stop and exposing it for 1600, just so it gets a lot of light because it. That dark looks. Unless it's a high contrast area and then it looks nice. That's my experience with it. But it's only been a film that I've shot once and I probably won't shoot again. Like, I'll just be like. Like even at weddings when it's too dark for film, like I should. I should have a roll of that. But I just go, I'm just going to shoot the dark stuff on digi, like speeches and stuff, so you've got it covered. But then I'll always just black. I'll just flash. Weddings, I'm always flash. Like when it's dark. I don't care. I just think film with flash is great. So I would consider putting in a HP5 roll and pushing it one stop, like, okay, HP5 at 800 and like, you'll have it. That's like, I think, a really good result. There's a big cult following out there of people that think HP5 at 1600 is like the best black and white results. So if you want to shoot two rolls, which I think they're only 12 a roll or something, they're quite cheap. So if you shoot two, shoot one at 800, one at 1600 and just see what you like. Because they're both really cool, like unique results and the film is quite cheap. So. And it's 400, you know, so you have that range to shoot a higher stock. So I've just never really veered much from HP5. It just really works. It's quite versatile and has like a good look all around, I think. Okay, so that's the black and white world, I think. And yeah, ever since doing most of my own printing, like, I'm seeing like, you know, all the, like the grain and the texture come out in the print for real. And it's quite good. Like, I don't ever look at it and go, oh, there's not enough dynamic range in areas. I think it holds up quite well. [01:32:09] Speaker A: Yeah, yeah. [01:32:10] Speaker C: So what, what's funny about that? [01:32:12] Speaker A: Just not enough dynamic. Right. It's just like, it's such a. Yeah. Like a common digital thing these days now, where it's like, is it got 14.3 stops of dynamic range. [01:32:22] Speaker B: Or. [01:32:22] Speaker A: Oh, the new one's got 14.6 stops of dynamic film. Has two stops. [01:32:28] Speaker C: Sick 800T, that's real like. So there's something cool that you can do with this. Yes. Everyone shoots service stations at night. Neon lights, go, go do your Tumblr phase. Go for. [01:32:42] Speaker B: For it. [01:32:42] Speaker C: But where I actually think that works quite well is I've seen results where I haven't done this before, but people shoot it in the day but at 400, so they like treat it as. So they pull the film. So even at 400 speed, if you want to shoot that shot overexposed, then shoot it like it's 200. You know, shoot it as if it's a 400 speed roll and that you can actually get some really weird results for that. [01:33:09] Speaker B: Like. [01:33:10] Speaker C: Like where it kind of looks like not as shit as tungsten in the day as it usually does. Like, it kind of works in its own weird way. So I've seen people have quite good results with shooting 800T at 400 speed and shooting it bright and in the middle of the day. It's kind of weird. So you'll get that. [01:33:29] Speaker A: What's it called? [01:33:29] Speaker C: Not flaring where the red will pop up where the highlights are. [01:33:35] Speaker A: Halation. No. [01:33:36] Speaker C: There you go. [01:33:37] Speaker A: Halations. [01:33:37] Speaker C: Thank you. You'll get halations in daylight and highlight peaking. But it looks quite cool, actually. So I think that's a good way to experiment with 800 t is do 400 in the day. Everyone shoots stuff at night and it looks cool. And you can push that to 1600 and get a quite a cool result at nighttime as well. So, yeah, that's a. That's a cool one. Definitely. If you want to add two of those and do the 400 and 800, go for it. But that's cool. Cool film. Again, probably not one you're going to get heaps of unless you shoot that stuff all the time. But it's fun to play with. [01:34:09] Speaker A: Yeah. [01:34:10] Speaker C: And then cinestill 400D, I've shot that once. I love that. Like, I've wanted more of that. It just sells out quite quickly. Again, it does like a bit of a. It's not like it's supernatural color palette to skin tones or anything. So it's. But it has like a. I don't know if it's green and when I say green and it makes it sound like, bad, but it has like a weird green skin hue with like really cool halations in the sky too. So it's Got a. Just a different tone which I think is actually quite cool. I thought it would be like sometimes when I think of films like this, I think of Lomo where like they just have this really quirky look that you either you just do for a play every now and then, but 400D I think is like there could be a place for it in your like common shooting if you like that look. And it is cheaper than Portra, but it's just depending on availability since sometimes cine still just like is not great with keeping up with stock. But that's just the reality. And dude, go. That gold just sounds like sentimental to you, so don't change anything. I love that for you. [01:35:17] Speaker B: It's. [01:35:17] Speaker C: It's not what I choose, but it's what you choose and that's more important. [01:35:21] Speaker A: It's terrible. It's terrible. But you like it. So to get it. Yeah, it is. It's really just for snapshots and stuff. I just. I don't know. I don't know why, but I just like. I like the look. So that was that role of probably mainly for this camera actually for the Sprocket rocket because it's already got so much going on anyway. And I think just having stuff look that way. I don't know, maybe it'll just be a summer thing, winter. I might want something else. [01:35:45] Speaker C: Another film you can put in that box just real quick is Kodak Ultramax, which is like the cheaper 400 than Portra. Yeah, there you go. That's like. Okay, that's a really good option if you want that extra like fast, that faster speed. And I think it, if you expose it right, like it's not too dissimilar to Kodak. [01:36:06] Speaker A: It just really doesn't have a good. [01:36:08] Speaker C: Dynamic range in the shadows and highlights. Can't keep all the detail, but it's quite like good. I. I put Ultra Max in my point and shoot cameras for weddings and I love it. Like it looks really cool. So Ultra Max is good if you want a faster speed than gold. [01:36:23] Speaker A: Awesome. Yeah. Cool. Thanks to Mega. Just a met just. We'll just go through like an online film store. Just start to finish. Just talk about every. Every brand, every role. [01:36:39] Speaker B: Yeah. [01:36:40] Speaker A: Perfect. Should we play. Should we play this game? [01:36:45] Speaker B: Yeah, let's play a game. [01:36:46] Speaker A: You want to try it? I'm a bit scared we can't find it here somewhere. Where is it? I know this hasn't turned out good. Oh, there it is. Okay, Let me stop sharing this. Okay. Get Myself Together. Was a double hit. Okay. So this game's called Camera who Am I? You might have been able to guess, but it's kind of like that game who Am I? But for cameras. So I'm going to read a thing, and at any point, you may jump in with a guess of who the camera is, what camera it is. [01:37:45] Speaker B: Can we ask questions? [01:37:46] Speaker A: No, it's not like, who am I? [01:37:49] Speaker B: Is it. [01:37:50] Speaker A: Can you ask questions in who am I? [01:37:52] Speaker B: Yeah, it's the whole point of the game. You've got to ask clever questions. Does the person have brown hair? Are they wearing glasses? [01:37:59] Speaker A: Isn't that 20 questions? [01:38:01] Speaker B: No. Oh, my God. [01:38:03] Speaker A: Okay, so I let you ask questions, all right? You may ask questions, but I think that they only. They have to be yes or no questions. Is that right? You can't be. You can't be like, tell me what it is. Yeah, yeah, yeah. [01:38:18] Speaker C: Let's. Let's. Yes or no? Let's go. Or is it. Is it digital? [01:38:24] Speaker A: No, no, no, no. I'm telling you, that's. This is. So that's. That's 20 questions. That's 20 questions. You'll get this once I start. All right? Trust me. So the idea is to guess the camera. [01:38:35] Speaker B: Okay? [01:38:36] Speaker A: Okay. If you jump in and guess, you won't be able to have another guess until I reset the guesses. So you can't just constantly fire things at me. So think careful about your guesses. [01:38:52] Speaker B: Right. [01:38:53] Speaker A: All right. You guess along, too, in the chat. Oh, dear. They're coming up. We'll see what happens. Okay, here we go. I arrived in the mid-1970s, when photography was evolving rapidly and technology was racing toward automation. I chose not to participate in that race. [01:39:19] Speaker C: Is it lacquer? [01:39:21] Speaker A: M6? No. While others experimented with electronics and convenience, I remained committed to a simpler philosophy. If the human presses the button, the human makes the decisions. I have been the cause of many furrowed brows, careful light readings, and the occasional whispered plea to the exposure gods. I don't require electricity to make photographs, though I will accept a small battery if you'd like a second opinion. My construction was once proudly metal, built to survive decades of use, travel, and the occasional regrettable drop. No guesses yet, Greg. [01:40:23] Speaker B: No. There's a couple of people in the chat that have said it, too. Polaroid. Is it a Polaroid? [01:40:27] Speaker A: It is not a Polaroid. [01:40:30] Speaker C: Does this mean we can guess again? If both of us has guessed our first guess. [01:40:34] Speaker A: You may guess again, Joel. Okay. [01:40:36] Speaker C: Is it a Nikon F3? [01:40:38] Speaker A: It is not. You may now not guess until Greg guesses again. Over time, I quietly Relocated my manufacturing across borders. Yet my reputation for reliability followed me wherever I was assembled. I remained in production for more than 20 years, a lifespan that would outlast most modern digital cameras. Several times over. I watched entire product lineages rise and fall while I stayed exactly the same. [01:41:13] Speaker B: I can't. [01:41:14] Speaker A: I've been in the hands of countless beginners, hobbyists and purists alike. [01:41:20] Speaker B: Oh, Pentax K1000. [01:41:23] Speaker A: Yes, that's the one. [01:41:28] Speaker B: As soon as you said hobbyists and beginners, I went, oh, everyone starts with the Pentax K1000. [01:41:33] Speaker A: Yeah, I got to say, who. Yeah, LTK had it back here. I should have told you you couldn't look at the chat either. But, you know, it's the first time we played this game. I think I can make it better. Oh, I'm sure you can get better. The. Yeah, the guesses were you almost made it to the end. You know what the last clue was? What? I'm the. I'm the most mentioned first camera I owned on the Camera Life podcast. Yeah. Yeah, it's very true. Dennis says go again. I'll go again for a better one. I wanted to. So I might do this a few times and we'll do digitals and everything. It could get fun with digitals. But I was like, we better. We need something classic if Joel's on here. Yeah. And I was like, and it's not going to be a Leica. [01:42:19] Speaker C: No, no. That was good, though. You gave some good hints. [01:42:23] Speaker A: Yeah. You know, it's a work in progress. What do you think, Chat? Do we do it again, or is that horrendous? Let's go on to look at some images, I guess. [01:42:34] Speaker B: Yeah. Let's do your image review. [01:42:36] Speaker A: Let's do your image review now. If I can find them. We should start with some of Joel's images before we forget. Where are they? I had them here. Pull up your gallery. [01:43:01] Speaker C: I just rounded these together this afternoon for you. [01:43:05] Speaker A: Thank you. We appreciate it. Now, how does your gallery work best? Should I. [01:43:11] Speaker C: If you click. Click down and just click on the first image and you can sort of flick through it if you like. [01:43:16] Speaker A: There we go. Effecto. Can I make that be that? Yes. All right, tell us stories. [01:43:24] Speaker C: These are, like, I think from my. When I spoke to you guys last time, just talking about building my, like, street photography portfolio, I guess. And I've just been. Here's just some photos that I've taken, like, some decent shots that I've gotten over the last couple of months, I guess, over summer that I've just quite liked. [01:43:46] Speaker A: I like that one. [01:43:47] Speaker B: I love this one. [01:43:47] Speaker A: Yeah, it's. It's. I don't know what it is. There's so much vibe going on. Whoops. Yeah. Yeah, he's. [01:43:56] Speaker C: There's. This is my favorite place to shoot. Newcastle is the baths. Like you. There's a lot of my photos taken at this area because people are just great here. Yeah, it's really great. [01:44:12] Speaker A: Yeah. These are awesome. [01:44:13] Speaker B: Yep. [01:44:15] Speaker C: This one I find really funny because, I don't know. [01:44:19] Speaker A: Slap him. [01:44:20] Speaker C: Like, me and my partner talk about these types of kids all the time. It's just really funny, like, seeing high school, like, boys out as an adult and just, like, looking at them as an adult thinking, like, oh, I was probably like that when I was a kid. But they're like. They're so. Like, there's got. They've got so much testosterone and there's so much, like, male energy going around. But it's actually quite like. Like they're quite intimate with each other in like a. Like a way that you wouldn't expect. Like, they, like, grab each other a lot and slap each other's asses and, like, you know, it's just. It's quite playful. But it's just funny how, like, contrasting it is to, like, the Persona that they put onto the world versus how they act with each other. I think it's like, you know, I don't know. It's just very funny. [01:45:03] Speaker A: Yeah. See the. The real people behind there, not the front they're putting on. [01:45:08] Speaker B: Yeah. [01:45:08] Speaker A: The world. The. Yeah. How they are when they're with people that they trust. [01:45:12] Speaker C: Yeah, yeah, yeah, yeah, yeah. And these black and white ones I developed and scanned myself. You can see the frame lines. I don't crop them. I like having the frame lines in it. [01:45:22] Speaker A: Yeah, I like the frame lines too. I noticed that. I think. Yeah. This one as well. Yeah, yeah. [01:45:27] Speaker C: That. [01:45:27] Speaker A: I wasn't sure if that was going to be a consistent thing yet. [01:45:35] Speaker C: I flooded my ler to get that one. That was not great. [01:45:39] Speaker A: Really hot water. [01:45:41] Speaker C: I shot it and looking through the viewfinder, you got the squares that line up. And as I was after, I was out in pissing rain getting this, I went to look back through the viewfinder and I couldn't see the cross. And I saw in the little mirror, it's just like, full of water. So I started absolutely freaking out and got home and got in touch with my mate from Lacquer who works down in Vic. And I was like, what do I do? And he, like, just put in A box of rice and cover it in this and do this and left it overnight, and it was fine. But. Yeah, I have since then bought a waterproof film camera because I don't want to be put in this position again. [01:46:19] Speaker B: Yeah, that's fair. I love this one. [01:46:28] Speaker C: I love just old people and my. [01:46:31] Speaker A: Favorite old people at the beach, it's just. [01:46:33] Speaker C: Oh, my bear. My favorite. [01:46:35] Speaker A: And classic beach stuff, too, you know, like this. Someone come up with that idea, like, we'll build four tables, and we'll just separate them by these bricks, and it'll be so dumb. [01:46:48] Speaker C: It's perfect, though. [01:46:50] Speaker A: Yeah, exactly. It's perfect. That's cool. Yeah. [01:47:00] Speaker C: And I want to do this project, actually. I've started banking ideas for it is, like, trying to approach old people to photograph their skin. I know that sounds really strange, but there's, like, something in, like, the texture and the stories that, like, a body can tell that. That have lived a full life and colors and the textures and, like, the weird things on it. I just find it really, like, beautiful. Like, so I've. I think that's my obsession with, like, just photographing old people. And they just have this, like, Persona where they just don't care. They don't give a shit. They're just doing their own thing. There's no ego, and they just, like, exist. And I think so much of people is quite performative, and they just don't give a. You know, and they just sit back and do their thing, and I love them for that. I think I photograph a lot of old people because, I don't know, just. They have this, like. They wear the weirdest. Because they don't care. They just do their own thing, and they're just, like. They're just purely themselves, and I love that. You know, I love that. And kids are the same. [01:48:03] Speaker B: And there's also this whole thing when I look at this image, I. I feel of, you know, there's this challenge to the beauty myth, you know, that there's these, you know, perfect skin and, you know, airbrushed ads in magazines and. And all that sort of stuff. And this is just real people, you know, it's. It really kind of smashes all of that, that fakeness, I think, for me, anyway. Yep. [01:48:27] Speaker C: Yep. [01:48:28] Speaker A: Yeah, I really like that one as well. Center frame. [01:48:36] Speaker C: That was during that storm. [01:48:38] Speaker B: Yeah. [01:48:39] Speaker A: Worth. Worth destroying the camera. Definitely. [01:48:41] Speaker C: I think it was actually. [01:48:48] Speaker A: Amazing. [01:48:48] Speaker C: I think it's. [01:48:49] Speaker B: It's. [01:48:49] Speaker C: I find it really interesting looking through my street stuff as I like when I just shoot it within the last couple of months. And I really think an important, like, ingredient to like a good street photo is time. Like, time really impacts, like, how something can like, age and how it's perceived. So, like, things like looking at something like this and looking at the girl's Crocs with Gibbitz on it, like, you know, like, we don't, like, we don't flinch at that now, but like, it's going to be interesting in like 10 to 20 years time what people are wearing and they're going to look back and go, oh my God, those Crocs were gross. Or are they still cool? Like, you know, I find it really interesting. Like a lot of the stuff that I sort of document, I like to think my composition's like, decent. That's kind of the way I like to do it. It's either interesting people or good composition. But stuff in the good composition ones, they're like nothing really that special a lot of the time. But I'm really curious to see the life that it lives like, as it. As time goes on. Like, I think another one is electric bikes everywhere. You know, it's. You don't see analog bikes anymore. You know, it's just like it's all electric bikes. But I wonder how that will age. You know, it's interesting. [01:50:00] Speaker A: I tell you, the phones is going to age. Looking down at your phone on at every point, everywhere within public, like, phone line, train always walking across the road. Like that is at some point when we have our smart glasses, they're coming. That won't be a thing anymore. You won't see everyone looking down like this. So photos of that now, it's all photos now. But, but that will become a thing that when you look back in 50 years, that will be a time stamp of right now or the last decade. [01:50:36] Speaker C: You know, I find that really interesting. But it's all also same sort of thing to same sort of approach was like cigarettes, like cigarettes when they came out, everyone was sort of. It was a good form for you and it was marketed and it was like kind of cool. And there was so many photos in old street photography books, like from Fred Herzog and Stephen Shaw, where they're photographing like these huge billboards for like cigarette ads. And it's like cool if you use this one, or it's like sexy if you use this one, you know, and it's like, now we've grown to understand, like, the impact of cigarettes in our life. And they exist very differently now in the world than what they did back then. And I think Phones will have the same thing because like they're useful and they're a tool. But there's so much like mental health implications that have come through with like short form video. And I think I'm very curious as to see in 20 years time, like I don't know, phones might not even exist. There might be something that's like more crazy like implants or we might fully just ditch the whole thing because we realize it's the worst thing for us and we need to go back to just like phone calling each other. Who knows what's going to happen. But I find it really in this is what I think of when I'm shooting film is like, is it interesting now or will it be interesting later? And what's it telling about our like our society and our culture and what's happening in the world? Especially in Newcastle when I'm out shooting and just thinking about how things age and how it will be perceived in time is like really interesting. So I find it really like anticlimactic when I look through shots that I've taken recently and there's like a few where they're like cool, weird moments like the dude jumping in the water. But besides that like a lot of them feel quite like vanilla. But I hope to think that they'll age in a way that's like. No, I get that there's something there, you know, I don't know, something to think about. [01:52:24] Speaker A: Do you? Oh, we should. I mean we should. Now I'm gonna say it. Do you. So you think phones are going to be as dangerous as smoking? Do you think there'll be a point where you have to go outside to use your phone and you'll be out. Like you go outside and somebody be like, oh man, I didn't know you scroll. Yeah, I know. I mean you gotta die something, right? [01:52:47] Speaker C: You never know. Like, I don't know if you've seen Black Mirror episodes, but there's so many of those that feel surprisingly like real to like what's happening in the world and the outcomes are so like out outrageous but like I know Trump, you know, there's crazy happening. So who knows, like, who really knows what's going to happen? Like you say that as a joke, but it like actually could be the outcome. But I think it's just like, let's like phones, they've only exist in our lives for what a couple of not, not that long. Not enough to like really determine the long lasting impacts, especially with mental health where like our society now is quite woke with that culture. So I think it. [01:53:30] Speaker B: Well, I mean, you know, we're. And we're only just now deciding that, well, actually it isn't good for teens. And it's been. [01:53:35] Speaker C: That's right. [01:53:36] Speaker A: Yeah. [01:53:36] Speaker C: You know, exactly. So who knows? [01:53:39] Speaker B: And now Spain just announced they're doing the same thing. Or somewhere else. A couple of countries are saying, yeah, we're going to follow Australia's lead. We're going to ban front of 16s. [01:53:49] Speaker C: Yeah. So there's a reason for that. And I think you're right. I did a photo project in Sydney for a while where I was photographing people on their phones in Sydney and I was doing it Bruce Gilden style. And the reason I was doing that is because I was like, I want to see how close I can get to someone before they actually know that I'm there. Like, I did it with my Fuji XT5 at the time in an 8 mil lens, which was like, works out to be like a 14. And I could get like so close to people because they're walking head down with headphones in, like, not even looking where they're going. They're not noticing there's people everywhere. So, like, what's another person that's like a meter away from you? So I was able to get so close to people and that was to highlight that. It was like, look how close you can get to someone and them not notice while they're just lost in this little world. So I think you're right, Justin. [01:54:38] Speaker A: I think it'll be. [01:54:39] Speaker C: That'll be a really crazy thing for photographers. I don't know. In 20 years time, there might be like full phone album, photo books, you know, and it's like about. It's about, here's what people missed. You know, I remember taking photos of people that like that, beautiful lookouts just sitting on their phone. I'm like, what are you doing? [01:54:59] Speaker A: Like, it's gonna. It's gonna look crazy. It's gonna look crazy in 50 years, I think. [01:55:04] Speaker B: Crazy. [01:55:05] Speaker A: Yeah. Anyway, we should. This show's gone for two hours. We should. We should get through these images. No, no. I've been on this mission to try and get the shows down to an hour and a half. [01:55:17] Speaker C: I keep rambling. Rambling. [01:55:19] Speaker A: No, no. It's been an amazing show. First image tonight from Lisa Leach. She says thank you for showing my images on the podcast last week. I thought I might try sending those that didn't make it this week again, probably due to my lacking in IT skills. No, I actually realized that you sent Them with like, an icloud download link, and it didn't make sense. [01:55:43] Speaker B: Oh, it shrunk them, didn't it? [01:55:45] Speaker A: It shrunk them. And that's my fault. Not your fault. But thanks for resending them through. Please. She says, please see the haunting beauty and Mother Nature's tenacity following the recent bushfires. And this is the first one. This. I love this one. Out of the three, I think it's been crazy. Cropped a tiny bit by our strange window. Why is it doing that? Let's move us over here anyway. Yeah, the awesome composition and the light. It's just. [01:56:19] Speaker C: Great comp. [01:56:20] Speaker A: Yeah, that one is beautiful. And then we also have. Oh, that's better. [01:56:29] Speaker B: That's cool. [01:56:30] Speaker A: Oh, you like it better? [01:56:31] Speaker C: Yeah, I like that one better. [01:56:32] Speaker A: I like the other one better. I don't know why. It's just. I think it's just that. That I'm a. I'm a sucker for a lonely tree, I think. But, yeah. [01:56:45] Speaker B: I really love that. Just go back to that previous one with the trees. I love the. The. The complexity of this because it's almost like a double exposure. You've got a horizon line and then you've got the ridge line at the back or the tree line in the background, and then the foreground, and that's all horizontal kind of lines, and then the foreground is all vertical lines. And it really draws you back and forward through the frame because of that. That. What is it called? A juxtaposition of elements. [01:57:14] Speaker C: Yeah, it's a great one. [01:57:16] Speaker A: Yeah. [01:57:16] Speaker B: I love it. [01:57:19] Speaker C: Feels like you're in it, too. [01:57:21] Speaker B: Yeah. Oh, wow. [01:57:28] Speaker A: Yeah, this one's great, too. I think that. Because it sort of drifts off in, like a. Sort of drifts off up to the tree in the center of the. Of the ridgeline. There's kind of a bit of a patch of lighter ground in front of it, and it just kind of draws me in from the front all the way up to the back there. Yeah, yeah. [01:57:48] Speaker C: The light leads you up there, too. It's pretty. [01:57:52] Speaker A: Yeah. I wrote down, Lisa, that I was going to be ruthless on everyone's images tonight, but I've got nothing. Sorry. See? We'll see who's next. Oh, it was Bruce that inspired me. You'll see when he wrote his images. But, yeah, I've got no notes, as Joel would say. Yeah, no notes, no notes. Great work. Coming up next, the film photographer himself, David Mascaro. Just more street portraits with the Nikon F2As and HP5. Been without my beloved SP rangefinder for a few weeks. That's getting a CLA. Have it. I'll have it back on Tuesday. It's my favorite street camera and you talk about being romantic. Quick story on the bald headed guy. I think that that is this one. Yes. Quick story on the bald headed guy with the tat on his face. I saw him as I pulled up to a bar to meet a friend and he had one leg up on a fire hydrant. Light perfectly on him, as intimidating as he looked. I asked if I could take his portrait. Super nice guy with a history of being part of a white supremacy group turned out to be the bartender. And he told me his story in a nutshell. He said you can never really leave these groups. But he doesn't feel the same way anymore. He's been following my work now for a couple of years. Moral of the story, don't judge a book by its cover and just say hi. Have a great show, guys. [01:59:28] Speaker B: Very cool. [01:59:30] Speaker C: The balls to approach someone like that is great. [01:59:35] Speaker A: Yeah. [01:59:35] Speaker C: He's not your traditional character and most. [01:59:37] Speaker A: People wouldn't ask, so no, it's easy to be like, yeah, yeah. Have you ever seen. Have you ever seen David shots before on any of the shows? [01:59:47] Speaker C: These are fantastic. [01:59:49] Speaker A: Yeah. He shoots street photography in San Francisco, mainly on film, but a little bit of digital as well. He said Nikon, Nikon, man. And these are fantastic. We would have seen. How many street portraits do you reckon we would have seen, Greg? Like from David? [02:00:07] Speaker B: Probably 100. Close to 100. [02:00:08] Speaker A: 150. Like this in color, in black and white? [02:00:11] Speaker B: Yeah. [02:00:11] Speaker C: Does he always ask? [02:00:14] Speaker B: Yeah, he always has a conversation. [02:00:15] Speaker A: He says yeah. Yes. Yeah. He doesn't. He's shot. I think he sent him one week. He sent some more candid ones, but he said even the candid seal often talked to them afterwards. [02:00:24] Speaker B: Right. [02:00:25] Speaker A: I think what he said. Yeah. But yeah, so. Oh, he actually. Sorry, there was one more note on the email. Just a quick comment. If anytime you see someone who looks familiar from a previous week, it's because I sometimes take one digital, but usually more than one digital, but usually only two film clicks digital. So I can send them something that day and then no more than two clicks on film. You don't want them to feel like they've agreed to a photo session. Okay, bye. [02:00:55] Speaker B: Yeah, that's good point. [02:00:57] Speaker C: Yeah, very fair point. Great images. [02:01:02] Speaker A: Yes, great images. Tweak Productions. Jamie, Here are some of my macro shots from a natural beehive in Queens park in Toowoomba's Botanical Gardens. I have tons of Photos of bees as they're easy macro fodder and easy to find. I did a small hole in the wall. Small hole in the wall gallery of my macro photos in Toowoomba and joked with the curator that one day I'm going to do a gallery of just bee photos and call it not another fucking B Photo and launch it on International B Day. Haven't done it yet, but maybe in the future. [02:01:43] Speaker B: Yeah, why not? [02:01:46] Speaker A: Also had to invest in a telephoto lens, EF100 to 400L Mark 2 to get some of these shots. I was using my cat. Yeah. Had to? Well, I was using my Canon 100 mil macro and I had to get too close to the bees. [02:02:01] Speaker B: Oh, fair. [02:02:02] Speaker A: And I would hit my back, hit the back of my head getting into the hive. But I've never been stung, luckily. So, yeah, very cool. Very cool. [02:02:12] Speaker B: Fun, aren't they? They're amazing. [02:02:15] Speaker A: Yeah, it's interesting. I never thought of shooting a hive. Sounds dangerous, but yeah. Easy way to get a ton of different bee shots. [02:02:27] Speaker C: Very unique. [02:02:29] Speaker A: Yeah, the color is cool, too. Like the bees on the wood. That sort of orangey. Yeah. [02:02:39] Speaker B: Cool. [02:02:40] Speaker A: Okay, cool. Let's see. Let's see what Greg Carrick's got for us. What do we got? Greg says, here's two Astro images taken with my Fujifilm XT2 and Tokina 11-16mil lens, Nikon mount with adapter. Of course, you couldn't have anything that's just made to go on the camera. It adapts everything to everything. 20 mil F 20 seconds. Sorry. F 3.5, ISO 800 and 2000 Mount Burnett Observatory over. Emerald. Yeah, they're great. [02:03:18] Speaker B: Are they? [02:03:19] Speaker C: I love the satellite lines. [02:03:22] Speaker A: You like the lines? I don't like the lines. They bug me. But they're always there. Now it's hard to get one without them. I know, either. Oh, yeah, this one's got one, too. Down near the cattle grid. [02:03:38] Speaker C: Down the bottom. [02:03:38] Speaker A: Yeah. Yeah. I thought he might have snuck one without one on this one, but. Yeah, they're just so. You can't, like. It's so hard now to get a sky without a satellite. Yeah, very, very tricky. You know, we found out the other day, how many satellites do you think are currently active orbiting the Earth and how many of them belong to Starlink? [02:04:07] Speaker B: I'm going to hazard a guess at 10,000 with 70% being Starlink. [02:04:14] Speaker A: Joel? [02:04:16] Speaker C: I was going to say much lower than that. So either I'm going to be humiliated or Greg has grossly overestimated. But, like, I'd say like 600 and say 400 of them. [02:04:32] Speaker A: Greg was very, very close. Brute Bruce has actually got it here, 15,000 ish. [02:04:37] Speaker C: Wow. [02:04:38] Speaker A: But Greg was very, very close also on the fact that yeah, 60 to 70% of them are Starlink, which blew me away. What's interesting about the Starlink ones is their low Earth orbit. So as they decommission, they actually just burn up into nothing so they don't become space junk. Whereas I was under the impression there was this big issue with Starlink about there's just going to end up being just space junk everywhere. But it's only the further outer orbit ones that don't that need to be like moved off course or something. Someone smarter than me could explain. But apparently the low Earth orbit ones aren't as much of an issue because eventually they just fall and burn up. Yeah. [02:05:21] Speaker B: Because I think they just celebrated their 600th launch of. For Elon Musk's. I don't know, what's his company called, the rocket company. [02:05:32] Speaker A: SpaceX. [02:05:33] Speaker B: SpaceX. They've just had their 600 launch, which is crazy when you think about it, NASA, you know, decades to get to that. [02:05:42] Speaker A: Yeah. And I think, yeah, I think, yeah, I think They've currently got 9,000 roughly SpaceX satellites up there, which is insane. Yeah. Paul says the big ones need to be parked in junkyard orbits. Yeah, that's what I read. Or graveyard orbit. Something like that. Yeah. Okay, moving along because the show's going fast. Andrew Connor, like many a middle aged, possibly generous male. I don't know if it's generous. What does that mean? Anyway, you're middle aged. I think birding has taken over my main goal, photography wise. I've included a few taken with both the Sony bridge camera, the RX10 Mark 4 and my OM5 with the 100 to 400. I don't know what these. The hobby posed nicely and the goshawk was just a lucky shot. And the galar at sunrise. Kind of like me just sitting there enjoying the light. The cormorant like the cooker. I just love the way the light dappled through and lit all the feathers up. [02:06:46] Speaker B: Yeah. [02:06:47] Speaker A: Oh, and I did get a lucky strap for Christmas. Very happy. Used on the om. Hoping she gets me another for my birthday. Well, we can help with that. That's actually a good point. We haven't really done an ad. Buy lucky straps. Go to Luckystraps.com if you want to leave the camera strap for your camera. We make the best camera straps on the planet. They're quick release, really comfortable. Made from leather, cut resistant. What else? [02:07:12] Speaker B: Quick release system. [02:07:14] Speaker A: Yep. [02:07:15] Speaker B: And we can customize them. You can? [02:07:18] Speaker A: Oh, yeah. [02:07:18] Speaker B: You can put your name leather with a whole bunch of different stuff. Make it your own, connect to your day. Yeah. [02:07:25] Speaker A: Anyway, back to the show. You're getting your bird on. Oh, there's the cookabout. That's a good one. I think if I had to pick. I like that. I like this. Yeah. Is that another bird down the bottom? I think it is. [02:07:48] Speaker C: Yeah. On the trunk. [02:07:50] Speaker A: On the trunk, Yeah, I think so. Jason says the OM 100 to 400 is great value for burning. Yeah. That is the benefit of the OM system. Lightweight, lots of reach getting on those birds. [02:08:07] Speaker B: Okay. [02:08:07] Speaker A: It's not something I just. When I'm up the river, the birds are interesting, but it's just. It's not something that's really got me yet. Now maybe there is an age where. Where it turns and you go, you're. [02:08:20] Speaker C: Not quite there yet, you know, And. [02:08:22] Speaker A: I don't have a beard, so. [02:08:23] Speaker B: You can't even grow a beard yet. [02:08:26] Speaker A: A bird without a beard. [02:08:28] Speaker C: That's right. [02:08:30] Speaker A: All right, we better keep this. We better keep this rolling now. Here we go. These are from Phil Thompson. If you are still reviewing viewers shots during Monday night shows and it's not too late, I'd like to submit these two from this morning's sunrise at Torquay Surf beach. These were captured at 6, 34 and 7:03am Pentax K1 Mark II. Pentax 15 to 30. Wide angle shutter speeds are 2.5 seconds and a 15th of a second. Apertures F18, F14, ISO 100 for both shots. I also have a wonder panner 0.9 gradual ND filter on the front of the lens for both shots, which I'll usually use for my landscape and weather shots. Oh, look, these are like explosions. Explosions of cloud with reflections top and bottom. [02:09:26] Speaker C: Yeah, Nice work on. Must have been stoked to see those clouds in the morning. [02:09:32] Speaker A: Yeah, yeah, you gotta be out there to get it. [02:09:35] Speaker C: You walk down and you see the clouds and go, yes, today's day. [02:09:39] Speaker A: Yeah, they're just beautiful. It's like this. Yeah, it's just been turned on for you. Point the camera and just enjoy. [02:09:48] Speaker C: Yeah, have fun. [02:09:49] Speaker B: They're amazing. [02:09:50] Speaker A: Well done. Yeah, these are epic. I think I. Yeah, I think I prefer this one with the. The beautiful pinky purpley hues and that. And it changes to blue. I love that. Yeah, me too. Phil Thompson. Frame it, print it, frame it. Phil Thompson also Goes on to say, also I have my lucky straps wrist strap attracts that camera. This is like. I didn't tell anyone to say this, by the way. These are just emails that come in. I have my lucky straps wrist strap attached to the camera so when the camera is not on the tripod for the longer shot, the strap was around my wrist for the other shots this morning. Once again, thanks, Justin, for both the wrist strap and the standard 53 as that one is on the other camera for the long lenses. Well, you're welcome, Phil. You are welcome. And thanks for that plug. We really appreciate it because I always forget to promote this stuff on our podcast. Okay. John Pickett took these at the Bathurst 12 hour this weekend. First photo. I tried to stylize this one a bit to suit the anime theme shot on R3.7202.8 mark II at a 50th of a second. Second photo was 1 25th of a second with the same gear. Great weekend away. Tried to use this event to experiment. Still have heaps of photos to go through. I bet you do. Yeah. Crisp at 1 25th. Yeah, that one is sharp. Yeah, that is. That's some good, good tracking. I wonder if you had a monopod or if you're just doing the handheld. [02:11:28] Speaker C: Either way, it's. It's hard to get. [02:11:31] Speaker A: It's hard to get 20. Yeah, 25th. I mean, yeah, it's even compared to like this one has a little bit of movement on some parts of the car that I can see, which isn't bad because it. No, yeah, exactly. So the front and the back, which is. Yeah, it's not a big deal because I sort of go with. I mean, I don't really do car stuff, but with bikes it's like as long as a core focus of the image is sharp enough or if it's fully blurry, that's a different thing. And that might work too. But like if I'm trying to get something sharp, as long as core of it is sharp, I'm happy with some movement. But you can tell the difference. I don't know if you can tell the difference through this screen, but like this one, it's just crisp everywhere. [02:12:16] Speaker C: I guess further away from the subject too, you're not getting as much like change of view from the front to the back of the car, whereas the other one's much closer in that time, like you've actually changed views a lot. [02:12:27] Speaker A: The angle of the. Yeah, that's true. Was handheld for both. Nice work. [02:12:35] Speaker B: Real good. Really cool. [02:12:37] Speaker A: Be interested to See some more. Did you do is the tilt? Maybe I just don't know enough about Bathurst. Who depends on what part of the track it is. Like whether it's an artistic choice or is it a. Is that one of the hills? No idea. Yeah. All right. We better keep it rolling. We better keep it rolling. This is a fun one. I'm going to read a little bit of it out first. Ah, tilted it in post. [02:13:08] Speaker B: Cool. [02:13:14] Speaker A: Bruce Moyle. I'll bring it up while I read it. Oh, do I do the before or the after first? I just don't know before, you reckon? Go there before first? [02:13:26] Speaker B: Yeah. [02:13:27] Speaker A: Okay. [02:13:27] Speaker C: Oh, is this a Bruce? [02:13:28] Speaker B: Is this Bruce? [02:13:29] Speaker A: This is Bruce. Yeah. I'm going to read a little bit out first. Here's something I don't usually do. A before and after shot using the A7R4 monster with a 50mil 1.4 GM single light Godox AD 600 and I think a beauty dish. I change mods a lot so I could be wrong. The finished image is a mix of my brain finding a story as I edit, playing with the man machine. Current turmoil that we have with the status quo. Right. So do I do the. Do I do the. Which one first? [02:13:59] Speaker C: I think give the final first. [02:14:02] Speaker A: Okay. [02:14:03] Speaker C: I think that's what we. He wants us to see and then we can see how far he came. [02:14:07] Speaker A: Okay. Done. Whoa. [02:14:13] Speaker B: Oh. What? [02:14:15] Speaker A: The text on the Instagram post is from form versus function upgrade versus replacement. Divesting humanity's soul for digital compliance. Individuality scrubbed and culture blanked. The grift of the so called advanced age of mankind is so, so vanilla that the rise of other multi cell organism organisms with a new strategy might be welcome. How can we seize the gears when they no longer exist? And then he goes on to say, feel free to rip at a new one. I'm not precious. Yep. All right. Who wants to rip at a new one? [02:14:57] Speaker B: No, I want to see the before. I want to see the before. [02:14:59] Speaker A: Okay. Yeah. Whoa. [02:15:02] Speaker B: Oh, wow. [02:15:07] Speaker C: He's amazing at this stuff. [02:15:10] Speaker A: Yep. Yeah. [02:15:13] Speaker C: I have no notes ever for anything. [02:15:16] Speaker A: Yeah. I was like, I saw the photos. I read his email that I saw the first. I'm like, what am I gonna do? Be like, oh, I don't like the tealy blue. [02:15:24] Speaker C: I don't like the message that you're saying about that. Like our population right now. [02:15:33] Speaker A: Perfect. Yeah, it's actually. It's what. What's really hard for you guys to see. And I don't know if I'll be able to do this. Oh, yeah. Oh, it does zoom in quite a lot. Like the texture on the background and stuff. It all. See. See the texture? Yeah, It's. It makes the image so interesting and gives it another dimension. And it's just all of that, you know, it's not. That texture isn't there in this shot. So that's been, you know, but it put in. It hasn't. Hasn't replaced the whole background, but it's just he's. He's like, layered it in there somehow as part of it, and it's just. Yeah, it's so interesting. I'd love to learn more about that workflow and how he chooses to. Like. I think I'll try putting a texture to see if that adds to the image, because it definitely does. [02:16:21] Speaker C: That's the thing, I think, with him is that, like, with. When you get into the sort of way that you create work, like Bruce, so much of it is like, you making it, like, sitting down and actually doing it. And I think he is so, like, photographers either capture something or they create something. And I think Bruce is very much in the create, like, world, you know, and everything is intentional and just from his mind and executed, like, with a message, you know, I just think it's very intentional what he does. And he creates pieces, you know, not like, here's a photo of, like, 20 shots from this day. It's like, here's a thing that says a thing, and I think it's really cool. [02:17:00] Speaker A: Yeah. Yes. We love you, Bruce. He says nothing added from other images. Texture from the original image, Just manipulation. Yeah, I don't know. I don't know how you've done it, but it looks. Yeah, it looks very, very cool. Now, you said rip it a new one. And you know what? I'm going to. This is probably an artistic choice from you, I'm sure, but my personal opinion, I think if you're going to remove and edit some of it, I might have gotten rid of the. I might have gotten rid of the handle in the Apple box. [02:17:39] Speaker B: Just. [02:17:40] Speaker A: I know it is. [02:17:41] Speaker B: It's. [02:17:41] Speaker A: It's got, like a studio look about it, but I just think it. I don't know. I looked at it and then I was like, I don't know if I would want that there. That's my attempt at giving you some sort of feedback because I pushed myself to do that. What's on the foot? Which. [02:17:58] Speaker C: Yeah, what's that? [02:18:01] Speaker A: This. Ah, I don't. I don't know. [02:18:05] Speaker C: Veins, I guess, from the leg. [02:18:07] Speaker A: Like, oh, it must be part of the leg. Yeah, yeah, yeah. That was. That was. I pushed myself, Bruce. I was like, I need to find something, some. Some feedback that I can attempt to give you. And that's the best I could come up with. But it is something that I would have looked at and gone, does this add or. Or would it be simpler if I got rid of, says cables from the legs? Yeah. So they're part of that. Part of the legs. Anyway. Amazing. Thank you very much for sending it before and after, because that is pretty cool. Especially, like, from your work. And I. It actually made me think, do I want to do this one week where you send your images in and we all send in before and afters of edited images, even if it's just how you process your RAW or whatever. Maybe we'll do that. You can only send in one image, but you also have to send in the RAW or, you know, Joel can send in his negative, whatever. And we'll show our before and afters. Yeah. Okay. Have I. I think we've got LTK 1967 Mustang. The gentleman I met was a machinist who worked for Ford who bought this Mustang new just before his wedding in 1967. [02:19:22] Speaker B: Oh, wow. [02:19:23] Speaker A: Yeah. [02:19:25] Speaker B: My God. [02:19:27] Speaker A: That's. I just want the car. Were you allowed to touch it? [02:19:34] Speaker B: Yeah. [02:19:36] Speaker A: Yeah. Beautiful. You can see the light coming through. I'd love to see here. Slightly more light would have been interesting. Sort of like slightly down angle just to get a little bit of that light maybe heading towards the lens because you can tell it's got, like, this warm, warm light. [02:19:56] Speaker C: I love, like, car shots, like car T Dell stuff. I love. But I love when you can incorporate using windscreens or windows as frames to other things. So, like lowering that angle and getting the steering wheel and all the detail, but like, maybe shooting through the front windscreen if there was something interesting there, you know, or framing something in the background with that. A frame within a frame is cool. I like that. [02:20:20] Speaker A: Yeah. Even. Well, it probably depends on how exposed because maybe the bonnet was really, really hot. But if. Yeah, seeing a little bit of shape in the bonnet might have added a little bit more context as well to the. The car and the era. But, yeah. Yeah, I like the treatment. I like the color. Awesome. I think that just leaves you, Greg. I'm pretty sure. I just want to make sure because I kind of. Did everyone really? Have I forgotten everyone? [02:20:47] Speaker B: Yeah, that was everyone on the doc. [02:20:49] Speaker A: Yeah, I think that's everyone. And I'm just double checking if I've forgotten you. I'm sorry. Or if you come in slightly after we got going. I'm sorry. All right. Greg. Greg Chromie. [02:21:02] Speaker B: That's me. [02:21:02] Speaker A: Yeah, it's you. [02:21:04] Speaker B: So I, I, I picked up a new lens last week. We did a bit of a live unboxing quickly last week. On Monday, I got the new, the new version of the Fujifilm XF23 1.4. I took it out for a walk the other night. Golden hour. It was beautiful. It was warm and lots of people were out and about, and the light was just absolutely stunning. And I walked past the local skate park, which is like 300 meters from my front door, and there were some kids going on the half pipe. I don't know what the terminology is. I don't skate anymore. But clearly, but, and I just, I just worked with what I had. I didn't have a, you know, I didn't have a zoom. I didn't have a telephoto lens. I just had to walk up really close to the half pipe and, and start framing some compositions. So this one here is actually, we're talking about before and after. This is kind of like the before. This is straight out of camera. I think if you just quickly jump to the next one. Justin. Yeah, Go back one for me. This is straight out of camera. This isn't cropped. There's no editing. This is a Fujifilm raw. And then I apply my own Lightroom presets based off Fujifilm film simulations later in Lightroom. But this lens has just blown me away. The quality of the images and the sharpness and the detail, combined with my new camera and Fijifilm's color science, I'm, you know, more than happy with. [02:22:35] Speaker A: He needs to replace some of his grip tape. It's starting to tear along the side. That's how sharp this, how much detail in this lens, like this kid needs to, needs to get on that. It's probably holding him back. Yeah, that's, that's, that's great. [02:22:49] Speaker B: Yeah, I'm really happy. And, and so I just made it work. I just worked with what I had. And some of the other shots I cropped because I wanted to get in closer. And just the amount of real estate that I have in those RAW files Now with the 40.2 megapixel sensor, to crop and not even notice a loss in detail is quite amazing. So this one here is one that I have edited. Again, no crop, maybe just a slight straighten. And I've dropped my own film simulation over it. But my editing process is very minor, if anything, on this series of Images, I applied a film sim and a linear gradient mask, often at the bottom of the frame, just to sort of add some depth to the. [02:23:35] Speaker A: To the half pipe just darkened off the bottom a little. [02:23:39] Speaker B: Just darkened a bit. Both to create a bit of a sense of depth but also as a bit of storytelling element. Like there's a darker sort of underside going on here. You know, he's up in the light where it's bright. You can see the dappled sun on the top of the. Of the ramp. But given the time of day, the sun was dropping and the lower side was falling into deeper and deeper shadow. And so I just wanted to exacerbate that a bit. [02:24:03] Speaker A: Yeah. [02:24:03] Speaker B: So. Yeah. [02:24:06] Speaker A: Cool. [02:24:07] Speaker B: It was just so much fun. Just. And again, remember how Justin, when we're at BFOP and we did the. And Joel, you were there. We did the. What was the night where the. With all the lights, the light up and we went into that sort of sub underneath the stage floor photograph. And I said that was the first time I'd ever felt really confident shooting in ultra low light with that new camera. And again here with the, with that camera, same camera, the X E5 and this new lens, I just, I felt so incredibly confident and capable and I know that gear isn't everything and obviously I've invested years and years and years in refining my craft where I'm at a point where gear does help, you know. So. Yeah, so I really, I really enjoyed this session and like I said, the lighting was beautiful and it's such a great area, such a great community vibe and yeah, I just strolled around taking some shots. [02:25:05] Speaker A: Very cool. Yeah, this, this, this scene setter is great. [02:25:07] Speaker C: This. [02:25:08] Speaker A: Love it, love it. I don't know, I'm trying to work out what trick he was doing, but other than that, the arm up in the air, combined with these guys just chilling over there, it's. [02:25:17] Speaker B: Yeah, yeah. And the layers of buildings in the background really caught my eye and how. [02:25:22] Speaker C: Different the style is. Like you got the like very skate park suitable old spray paint. Then right behind it you've got where we're headed, heading, you know, like. [02:25:30] Speaker A: Yeah, no character, vanilla little boxes. Yeah, yeah, yeah, yeah. [02:25:34] Speaker C: Which is what Bruce has touched on in his earlier photo. But, but yeah, I love that composition. It's a great scene. Setter. [02:25:41] Speaker B: Yeah, yeah. Thanks man. [02:25:43] Speaker A: And I think out of all of them, I think this is this. I mean in terms of when it comes to skateboarding, like there's two shots, there's that one and this one that have the most Motion. And I think, personally, I prefer the clean, like, this cleaner shot than this one that's got the different layers and stuff. But either could be. It's more of a personal preference thing. [02:26:07] Speaker B: Yeah. But I'm pretty stoked. The black and white one, too. [02:26:10] Speaker A: Yeah, I think that one. That there's so much movement. You can see every limb separated. Like there's. Yeah, it's at the peak of the trick. Yeah. [02:26:19] Speaker B: And these key. These kids are just fearless, you know, this is a metal half pipe, and they're climbing up a staircase and then a smaller staircase on top of. On the top deck to get up onto the launch ramp, which gives them more velocity because it's. It starts higher. It's just in that one corner. And these kids. Like, there was one kid there, he would have been maybe 11, 10. And he would just. And he would stack and, you know, and he'd look at his dad and he'd say, go, you're all right. Go again. And pick up his board and go back up the stairs. And off he'd go again, you know. [02:26:50] Speaker A: Like, just arms folded over. You're right. [02:26:52] Speaker B: Yeah. Like, you know. Ah, it's just a flesh wound. But, you know, when I look at the photo like this, the thing. The other thing I love about these compositions is that you just see these kids are just twisting in midair, yet they somehow managed to land on wheels and, you know, perform a little trick on the way down. Like, it's just phenomenal. [02:27:09] Speaker A: I love it. One final thing before we put a bow on this episode. Rick Nelson says it says recover to perform, and it has people chilling and performing. That's. I like that. I like that little message in there. Nice one. [02:27:28] Speaker B: Nice one. Thanks, Wayne. [02:27:29] Speaker A: Awesome work. Great. That new lens suits you. [02:27:33] Speaker C: Yeah, I like it very much so. [02:27:34] Speaker B: Makes me very happy. Now I want more. [02:27:38] Speaker A: No, no, no, no. No more. You need a film camera. [02:27:42] Speaker C: Yeah, film camera. [02:27:44] Speaker A: Yeah. We gotta find you one, Greg. Gotta find you a little point and shoot. [02:27:48] Speaker C: Greg, you beat. Your stuff would look so good on film. You just have that look. You have that composition. Come on. [02:27:54] Speaker A: Yeah. What are you doing? [02:27:56] Speaker C: I know. [02:27:56] Speaker B: It's. It's the money. It's the money, Joel. Granted, I just spent a shitload of money on a new lens, but. Yeah. [02:28:04] Speaker A: Yeah, yeah, yeah. All right, before we. Before we wrap the shop. So if this is your first time listening and you want to send us an image, email it to justinuckystraps.com before next Monday's show. Otherwise, we go live on Mondays and Thursdays. This Thursday we have Richard Grenfell, photography business extraordinaire. Deep believer in the fact that you can make money with photography. Still now in 2026, he runs a very. I'm led to believe he'll. He'll hopefully tell us on Thursday, very profitable boudoir photography studio. And we'll be digging into all of that with him and talking about his photography and that sort of stuff as well, how he got into it and everything. What else, Greg, what am I forgetting? Buy a camera strap. Lucky shadows.com only buy one if you need one. They're leather. They last forever. Don't just get it on a whim. Only get it if you really want. It's like getting a turtle as a pet. Don't. Don't do it unless you know you really want it, because otherwise you're going to be in 50 years. You like this camera strap's just still hanging around. [02:29:08] Speaker B: Yeah, it will outlast the camera. At least. [02:29:10] Speaker A: It will, it will outlast your camera. All right, what else? Anything else. Anything, Joel, Anything we need to know about you, what you're coming up, Anything. [02:29:18] Speaker C: Exciting, mate, I'm going to keep doing what I do. I'm going to keep being broke and shoot film and I'm going to love every second of it. And if anyone has any film questions too, like, I. Oh, my website, barefootandbeard.com is where I have my wedding stuff. But I've just sort of recently done like a personal website called Joel Austin, au. But Barefoot and bearded is like. Barefoot and bearded is the best place to go to see my work. But if anyone has any questions about film, like, wants to get into it, wants to talk developing, wants to talk cameras or film stocks or anything, like, hit me up because I like, I love talking about this and I can. [02:29:57] Speaker A: Do it all night. [02:29:58] Speaker C: So keep film alive, please, guys. Keep it alive. Don't let it die. [02:30:02] Speaker A: Yeah. If you, if you want to drop some money on cameras, just message Joel and, and he'll. He'll send a list back. It's a problem. [02:30:09] Speaker C: They're not even that bad. They're not even that expensive. They're really good. [02:30:13] Speaker A: Find me a panoramic camera that is under five grand. You've got one. That's not this. It's a toy toy. It is a fun toy, though. I can highly recommend anyone, like, if you're going to blow 80 bucks or whatever this was on, on a camera and have fun with it, it is fun. It's, you know. Yeah. [02:30:35] Speaker C: Fills a nice gap. [02:30:37] Speaker A: Exactly. Yeah. [02:30:40] Speaker C: Thanks for Having me on. I appreciate it. [02:30:41] Speaker A: No, thank you for coming on anytime. And, yeah, we might. We might schedule in at some point a. Yeah, like a. I don't know, a film deep dive or a camera deep dive or something like that. [02:30:53] Speaker B: I think we should. [02:30:54] Speaker A: For sure. [02:30:54] Speaker C: That would be fun. That'd be fun. [02:30:56] Speaker B: Yeah. [02:30:57] Speaker A: Cool. [02:30:57] Speaker C: Thanks. [02:30:58] Speaker B: All right, well, we're gonna play some music, we're gonna say goodbye to some people. But just before we do, just a reminder. This is the Camera Life podcast, proudly brought to you by Lucky straps. Head to Luckystraps.com use code Greg at the checkout, and you'll get yourself a healthy little discount on any Lucky Straps branded products. Products, be it a camera strap, wrist, shoulder, neck strap, a T shirt, a hoodie, whatever, or a belt to hold your pants up. Not enough people are holding their pants up these days. It's a real problem. Yeah, it is a problem. I might do an episode just about that. But anyway, if you're new here. Thank you. Greg Carrick. Give us a. Like. It helps out a lot. It helps other people know that we're here as well. And think about subscribing. Subscribe. Tickle the bell icon. [02:31:45] Speaker A: Think of it. Don't think it's free. [02:31:49] Speaker B: I was trying to be nice. [02:31:51] Speaker A: If you made it and you're not subscribed, I have no. I have no words for you. I don't understand. [02:31:58] Speaker B: Yeah, sure, but look on that. No. We will say goodbye. Thank you once again, Joel. Always a pleasure to hang out with you and spend time with you. Thank you. Cannot come around fast enough to actually get to spend some time face to face. But, yeah, we'd love to get you back in the future. Maybe we'll do another film episode whenever. [02:32:16] Speaker A: Whenever. You got me. Yeah. [02:32:19] Speaker C: Thanks, guys. [02:32:20] Speaker B: All right, well, be safe, everybody. [02:32:22] Speaker A: And thanks again, John Pickett. Thank you, Tweak Productions. Thank you. Bruce Moyle. Thanks. Thanks for the before and after again. It was awesome. Jason. Thanks. Lisa Leach. Good to see you. Rick Nelson. Greg needs the Fujifilm Panorama G617. That sounds like what I need. [02:32:41] Speaker B: Okay. [02:32:42] Speaker A: Yeah, I will. Okay. G617. Philip Johnson, Rodney Nicholson. He says your street photography is first class. Greg. [02:32:51] Speaker B: Oh, thanks, old man. [02:32:53] Speaker A: Who else we got? Who else was here? Dennis was here. He said, gotta fly, guys. Great night. You make it all real. Thank you. Yeah, film's real. You thank. Digital's real. It's all real when you're with us, because we're here live with you. Thanks, everyone. I don't know. There was tons of you here. Phil Thompson. Tweak everybody. We'll catch you guys in the next one. [02:33:12] Speaker B: See everyone. Be safe.