What's an African Wildlife Safari REALLY Like? The Random Photography Show

[00:00:00] Speaker A: Sam. [00:00:30] Speaker B: Well, g' day everybody and welcome back to the Camera Life podcast random photography show. It is Monday 10th August and we are beaming to you, your eyeballs and earballs. Live from Victoria, Australia. We do this Every Monday evening, 7.30pm Australian Eastern Standard Time. We have our random photography show where we cover everything. So stick around tonight because we've got a bumper edition for you guys. We've. What have we got, Justin? We've got latest industry news. We've got obviously to talk about your trip to Africa and back. [00:01:02] Speaker A: Yeah, I have a plan, I have a plan with that because I've, I've now I have so much experience. I have been once to Africa so I can obviously provide lots of, lots of advice from my one small trip. [00:01:13] Speaker B: You are a small one. [00:01:14] Speaker A: So one tiny, tiny part of one part of a continent. Um, but I think I have some interesting perspectives being someone that, that has only been once. Didn't plan the trip myself and sort of. So now I have a little bit better understanding of like what's a first trip? Like what can, what. I didn't know what to expect and now I know a little bit more about what to expect and what I would do if I was going back or what I would recommend to someone who was going for the first time just based on my one little trip. So I think that'll be fun. [00:01:48] Speaker B: Well look, we look forward to hearing that. Of course we're also going to look at everyone's images. That's right. We've got a. Your images section where we bring up your Images live on YouTube. Not so good for the audio listeners but great for the video watchers. So we're going to cover that. I've got a couple of lenses to, to showcase and unbox potentially. And what else we've got. [00:02:08] Speaker A: Hang on, hang on, hang on, hang on. Did you say a couple of lenses? [00:02:12] Speaker B: Yeah, I got sent a couple of lenses. [00:02:14] Speaker A: Oh, right. It's like that, is it? You're an influencer again. [00:02:18] Speaker B: It's becoming more that way lately. Yes, well, yes, it is. [00:02:22] Speaker A: Where are my lenses? They must be still in the mail. I don't know. [00:02:28] Speaker B: Last I checked, Canon RF mount don't support other lenses. So I'm sorry, you miss out. [00:02:33] Speaker A: Damn. [00:02:34] Speaker B: Yeah, damn. [00:02:35] Speaker A: You know. Well, we'll talk about that too. I will also talk about that side of it from going to Africa for a wildlife safari. What lenses did I use the most? And yeah, yeah, what would I recommend depending on what system you're on because it was, it was pretty, pretty interesting. [00:02:51] Speaker B: Yeah, I look forward to hearing about it. A lot of people are turning their eyes to the African tours at the moment. You know, Europe's in a bit of turmoil. You know, there's a bit going on up there. So. Over yonder, over yonder. So I think folks are sticking to the, you know, the safer places like South Africa. Who ever thought that would be said ever? [00:03:12] Speaker A: Well, yeah, I mean, especially if you can go. I went, I went straight from, you know, I went Melbourne, Perth, South Africa, and then South Africa, like Johannesburg, back to Sydney, back to Melbourne. So it sort of didn't have to go up, you know, up and around. [00:03:26] Speaker B: Yeah. [00:03:27] Speaker A: Which is all that stuff. [00:03:29] Speaker B: Yeah. Oh, very good. Now, of course it's good to have you back. I mean, you are the boss. You take, you do pay the bills and keep the lights running and the Internet going and all of that. Coffee warm. I think you should do an ad read. Let's see if you still got it. [00:03:44] Speaker A: Lenses. Do we have to do one for the lenses you got. You didn't promise them some sort of no ad read or something? [00:03:54] Speaker B: Maybe. [00:03:56] Speaker A: But actually before we do that, I want to say hi to the chat first. [00:03:58] Speaker B: I want to say good idea. [00:04:00] Speaker A: Before we, you know, before we do the thing. Look who was first. Dennis at 4:37pm Looking forward to hearing about the trip, mate. Grr. Roar. Yeah, yeah, there was, there was a little bit of roaring. We heard some roaring. It's freaking. Just. Yeah. Sends chills, you know, hearing it on a TV versus hearing it in person. A line roaring is. That's another thing. Philip Johnson is here. Lucinda Goodwin says. Looking forward to this chat. Richard Marl, Greetings from the car. From the car. But you're not driving. Well, that's cool. Where are you going? Who's driving? You? What's happening? [00:04:38] Speaker B: Are you living in your car? Is that why you're not driving home tonight? [00:04:44] Speaker A: Yeah. Give us some insight. Roy Bigsby. G' Day for togs Kanga. Looking forward to hearing how it went. I'll tell you all about it. John Latimer, good evening. We all had a great weekend actually. Yeah, let's have a little pause. How was your weekend, Craig? [00:05:00] Speaker B: My weekend was in, was very fruitful, eventful, busy. I ran my first street level photography workshop on Saturday morning. There it is, love. The trumpets. Yeah, I had two guests and we did a, we did a photo walk in Melbourne through the CBD and ran some exercises along the way to teach them some of the fundamentals of street photography composition. And, and yeah, it was great. We had an amazing time and I got lots of nice feedback. And another workshop happening this coming Saturday for a one on one advanced workshop with one guest. So I'm looking forward to that too. [00:05:42] Speaker A: The ball is rolling. [00:05:43] Speaker B: It is. [00:05:44] Speaker A: To a great start. That's awesome. [00:05:46] Speaker B: Yeah, I'm really, I'm really happy with it. And I just had an inquiry today. Someone wants to know if I'm going to be running a mobile phone only workshop because I. They want to do a street workshop but they only have their phone and they'll feel too intimidated with people with proper cameras. So I'm looking at introducing that next month to smartphone photography workshop for beginners and yeah, keep it simple. [00:06:08] Speaker A: That's very cool. That's very cool. What, so a smartphone photography one, you would, would you mainly just focus on just, just you know, composition, scenes and things and light or will you also try and help them with their phone settings and that kind of stuff? Like what are you thinking? [00:06:24] Speaker B: Yeah, there'll be a little bit about phone settings. I want to try and make it as simple as possible. You know, I really want it to be that whole, you've got this camera in your pocket and you know, turn your, you know, quick grabs, your quick snaps of things into something a bit more thoughtful, a bit more mindful. Using some of the similar compositional exercises that I used for the one last weekend. But just with a smartphone, you know, a lot of the core principles are exactly the same. It's just about how you approach a scene, how you look for the light and how you build your composition. So be introducing that soon, which is good. And I'm also thinking about doing a Fujifilm only. I think you recommended this one to me, Jay. You know, a street workshop for Fujifilm shooters. [00:07:05] Speaker A: It just makes, it's. I don't know how often it would get booked, but I just have think having the option especially like you know them inside and out. You've tested most of the products that they have. You own a lot of the products that they have. I just think it would make so much sense. You could even, I mean, yeah, like help people choose their next lens. [00:07:26] Speaker B: Yeah. [00:07:26] Speaker A: All sorts of different angles on it. Whether it's figuring out things in the menu they don't understand or something like that or going yeah. The other direction to like, oh, you know what, what lens should I get next? I've got these three and you can help advise them on what might work best for their camera and the type of photos. There's just, there's so many angles to that that I Think, Yeah, even if it, even if street photography is not their thing, it would be a good reason to learn more about that camera, you know? Yeah, I don't know. [00:07:55] Speaker B: Well, no, it's a fair point because the, the guest that I've got coming with me this Saturday coming, it's a three hour workshop plus a one hour mentoring session afterwards to look at edits and, you know, follow up on anything. And they're a Fujifilm shooter. They actually bought a Fujifilm camera at last year's B fob. I might have convinced them to do that. So I feel partly responsible. And so they've been using it for, you know, 10 months and they've, they've reached out and said, you know what, I think I want to go a bit deeper in understanding how this camera works, how to get the most out of it. So part of that session that I'm building for them for this coming Saturday will be about camera craft, be about how to get the most out of that camera and lens combo and, you know, sort of take, take the photography to the next level with more confidence. And that was probably one of the biggest bits of feedback I got from last weekend was just that they just felt more confident in understanding how to approach composition and there's skills that you can use in any genre. It doesn't have to be street photography centric. So so far it's all going well. Yeah, yeah, it's going very well. Thank you. [00:09:04] Speaker A: Congratulations. [00:09:06] Speaker B: Thanks, boss. Thanks. [00:09:10] Speaker A: Hang on, back to the, back to the chat and then, and then I'll. Oh, yeah, sorry, yeah, yeah, I'll finish the rest of it. Tweak Productions. Evening Camera Life groupies. Freaking freezing here in Toowoomba, Queensland. Well, I tell you what, it's probably colder down here, but maybe not. I don't know. I don't know what it's. What's. It might be snowing up there. Who knows the way the weather works. Rodney Nicholson, Nice backdrop. Raw Evening photographers. Yeah, that was a photo. The, the thumbnail for this image was a photo from the trip, which is pretty cool. Julie Powell. Good evening. David Skinner. Paul's here. Shamit Shah's here. Chris Nielsen. Evening from across the ditch. And, oh, Dennis has inquired about the location. Across the ditch. [00:09:55] Speaker B: Ditch. [00:09:55] Speaker A: And it's the mighty Waikato. Waikato. I don't know how to pronounce that. Nev Clark is here. Nick Fletcher. Good to see you. Hello. Dynamic duo Gabor. Everybody's here. Wow. Digifrog Dave's here. [00:10:12] Speaker B: So many Daves. He's here. [00:10:13] Speaker A: So Many Daves, Bill Thompson, Richard Miles. Oh, just arrived home. The wife was driving. The beautiful wife was driving. 10 year old talking non stop in the back. Ah. They weren't listening to the podcast. That's sad. [00:10:25] Speaker B: Yeah, that's rude. [00:10:28] Speaker A: Rick Nelson. Lucinda. Oh, Lucinda's keen. Well, not keen. She's thinks a phone workshop is great. I think it's great because who. Who did we have on that ran the. The commercial photography phone workshops, which I thought was an epic idea up in Queensland. What's his name? Oh, it's. That's eluding my brain. It'll come. It'll come to me. But he. Yeah, he built a business around teaching businesses how to take better photos with their phones and it's something I. Oh yeah. [00:11:01] Speaker B: That was. [00:11:01] Speaker A: If I had more time I would. I would do it. I can't remember his name. [00:11:06] Speaker B: Yeah. [00:11:06] Speaker A: Didn't he. Do I know he. The one that did workshops with Steve Parish. Was that him? Was that someone else? Gosh, everyone's blending together in my brain right now. [00:11:14] Speaker B: They are busy. [00:11:15] Speaker A: It'll come to you. [00:11:16] Speaker B: Nice name drop by the way. Thanks. That was good. Steve Parish gold. Yeah. [00:11:19] Speaker A: Wedge. Wedge it in. Oh, Nev. Clark reckons if you do do that, you should get them to put their phones in airplane mode so they're not distracted. [00:11:29] Speaker B: Yeah. That's on the top of the before we get started list. Nev. Thank you. Great minds. [00:11:34] Speaker A: I wonder if or. Or you can do them on do not disturb mode where I think I'd have to check out works. But there's a mode where you can still get phone calls, you know, like just in case. It's like you know, a kid calling to get something or something. [00:11:50] Speaker B: Yeah. [00:11:50] Speaker A: Money usually get money. Send money. [00:11:57] Speaker B: There is a mind called me now. [00:11:58] Speaker A: So, you know, Rick Nelson reckons you should help people build. Learn to build their own film simulation. Something he would recommend for you to. That's an interesting one because you can do that on Fujifilms. [00:12:10] Speaker B: You can. You can do it in camera and you can do it in Lightroom too. [00:12:13] Speaker A: Yeah. And well that's even a good point too. And edit like editing specific. So. So as a follow up to that, like you could. The mentoring if you do a mentoring session afterwards or something like that and how to edit Fujifilm files using film simulations with Lightroom and you know how that works together. Yeah, there's a lot there. [00:12:32] Speaker B: Yeah, there is lots of opportunity and I'm excited. I feel confident, which is really nice. It's a nice change. [00:12:38] Speaker A: That is awesome. Now Paul just said whoops bit late with the image. Just hit send. Well, you might, unfortunately you might have missed this week. We actually. Should we talk about, should we talk about images? Your images, what we're gonna do? Because there's, we're getting so many and we want to keep including everyone's images. So there's a couple of changes we're going to make. So listen up closely and also give us feedback on the changes because if you don't like them, we'll just change back because, you know, we're pushovers. We'll do whatever you want. We'll do whatever you want. What was I going to say? So the first important thing is I've set up a new email address that both Greg and I can access so that then I can make him, I mean, ask him. I mean, hopefully he'll do a lot of the image organization for me on Mondays, but I'll still be able to do it as well. So we can, you know, whoever's there can take care of it. So the email address is the cameralifeuckystraps.com that's the camera life. No spaces, no underscores, no nothing. The camera [email protected] we'll find somewhere to put that on a page or something soon when we get organized. So email them there the same way you've been doing. Send your image in one image please or two. If it's like a two different edits, black and white or color or this crop or that crop or you know, you've got some sort of question around the images, you know, raw versus your edit or anything like that. Or we might, we might have to only do like a sequence of images. We might only be able to squeeze one or two in a week. We're not sure how we're going to do that yet. But if you've got a sequence of images, a project you've been working on, a group of images that are all a set, then that's cool, send them through and we'll figure it out. What else? [00:14:37] Speaker B: Well, we've got some longer term ideas around, you know, maybe creating some sort of a hub online where the Camera Life viewers can upload their images and [00:14:47] Speaker A: we'll have a gallery. [00:14:49] Speaker B: Yeah, so we'd have to do anything, basically. We're so lazy. [00:14:52] Speaker A: No, no promises. That's, we'll figure. [00:14:54] Speaker B: Yeah, no promises. It's just sort of, you know, this is, this is wishful thinking but we would love to have a gallery, an online gallery for Camera life viewers to upload their images. See everyone else's work, that sort of thing. But that's obviously a fairly big undertaking. Not to mention the cost of storage. You know, I went into JB hi Fi again yesterday to look at the ssds and I just had to turn around and walk out because the price is just ridiculous. [00:15:19] Speaker A: Oh, yeah, crazy. Now's not the time. [00:15:23] Speaker B: Now's not the time. Let's hope Black Friday brings better offers. The. [00:15:27] Speaker A: The other thing we might do with your images, I don't know if we'll try it tonight or not, but we think we're gonna maybe do some like some rapid fire rounds, you know, like where we sort of do five images that have been sent in relatively quickly and then we'll, and then we'll dig deeper into some stuff that has, you know, if, if there's a question around it or if it's just a particularly interesting, you know, thing that we haven't seen that we want to chat in depth a bit more about, we might do that on a few images. We're just trying to make sure that the shows can be still a reasonable time frame for everybody. But we don't want to not show any images. We don't want to still, you know, we don't want to get to the point we have to pick, you know, to leave some people out or whatever. That'd be terrible. So. So we're thinking we'll do. What do you guys think? If you've got any ideas, let us know. But I'm thinking like a few rapid fire rounds where we do five or 10 images in a row at a reasonably sort of faster pace. And then, you know, we pick a handful that we want to talk a bit more about. If they've got more information or some sort of crazy technique they've used or just a, you know, super amazing image or a question. The questions are good, you know. [00:16:34] Speaker B: Yep, definitely, you know, and it's not that. It's not that we don't appreciate what's being sent into us. We love it. It's one of the best parts of our week is, you know, having the time to go through the images. [00:16:45] Speaker A: It's really made this show. I think what was going to be like more of a new show and a random show has really become like it's centered around the images and we just want to make sure that that can keep growing and working better. [00:16:59] Speaker B: Yeah. [00:16:59] Speaker A: Oh. Dennis thinks keeping the descriptions to a word limit is a thing. Okay, well, yeah, that would be good. We don't know how to do that in an email. Other Than like the honesty system. [00:17:11] Speaker B: Yeah. [00:17:13] Speaker A: Try and keep it under a certain word limit. I don't know, what do we call it? Like a paragraph. That's reasonably. [00:17:22] Speaker B: Yeah, maybe. Yeah, yeah. I don't know. [00:17:24] Speaker A: You're the writer. [00:17:25] Speaker B: Mid sized paragraph. I don't know how many words that would be. You know, maybe 100 words, give or take. [00:17:31] Speaker A: Yeah. And obviously if it's some sort of out there special situation where you needed, you know, it needs it, it's worthy of more words. Well then, yeah, let's. Let's do it. But I don't know. Okay, great. Carrick reckons 100 words plus tech info. Sure, Dennis, of course. I sent in a bloody series this week. Pop it in the cupboard for another week. No, no, we have time. [00:17:56] Speaker B: We've just been. [00:17:56] Speaker A: We're just always, you know how we're always trying to make the show better or you know, like make plans for. For long term. So. Yeah, that's what we're thinking. All right. Consensus is 100 words. Nice round number. Lucinda says that, but Roy Bixby says he's illiterate. [00:18:14] Speaker B: Well, that's okay. You don't need to write anything. Just send photos. [00:18:17] Speaker A: Have you said, have you sent one in? Roy. [00:18:19] Speaker B: I don't know. [00:18:19] Speaker A: Is Roy sent an image in? I don't even know. Oh dear. Okay. And Greg Carrick rightfully says a picture is worth a thousand words anyway. Exactly. Yeah, yeah, I thought about this, Nev. Putting them into. So putting the images into like a slideshow which is essentially a rolling video. Yeah. We. Then we could add it to YouTube later. That's a good point. [00:18:46] Speaker B: Yeah, it's a great point, Nev. [00:18:48] Speaker A: Interesting. I'll think about that. I thought about. For a slideshow, the slideshow would be extra work for us to put together. But. And like to. The hard thing with the slideshow is also we want to be able to read out the info and stuff and talk about it. So that have to be in the exact order that we've got the stuff. Like it would all have to be quite well arranged if we were to [00:19:10] Speaker B: do it live on the show. [00:19:11] Speaker A: If we do it live with a slideshow. But the cool thing about a slideshow is say if we set it to like 60 seconds an image or whatever is like we don't have a choice. It's moving on without us. So we can't. Yeah, we're going to keep talking. Talking forever. Because that's what we do. [00:19:27] Speaker B: Yeah. [00:19:28] Speaker A: Anyway. Well, yeah, this is a good. Yeah, I like this. This is brainstorming with The. With the chat. We're working on it together. So all you really need to know right now, though, is the email address. Now is the camera [email protected]. yep. Thanks. [00:19:47] Speaker B: Yep. [00:19:47] Speaker A: Yeah, there was a comment here before. Greg, is that a portrait of you behind your mic stand? [00:19:57] Speaker B: Yes, it's me and Sash. Our daughter Juno is an artist and she painted it. So. Yeah, [00:20:08] Speaker A: might have to move it slightly higher so we can always see it. [00:20:12] Speaker B: Yeah. Okay, I'll let the. I'll let the boss know. [00:20:16] Speaker A: Just rearrange the entire wall. [00:20:18] Speaker B: Yeah, we'll just repaint it while we're at it. [00:20:20] Speaker A: Why not? [00:20:24] Speaker B: Where were we? [00:20:26] Speaker A: Oh, speaking of lucky straps, that's. That's what supports the show. So if you do want to find out who we are and what we do when we're not podcasting, we do have a brand called Lucky Straps. If you go to Luckystraps.com you can see the wonderful leather camera straps that we make. They look like this. Whoops. They look like this. They're beautiful, soft leather camera straps with a quick release system that is just unique in the world of camera straps because it doesn't leave any dangly dongles on your camera. And it's so small, so tiny. They're not huge things that sit on your hand when you're shooting and just get in the way and annoy you. [00:21:05] Speaker B: Yeah. [00:21:05] Speaker A: So if you want to check them out, go to Luckystraps.com and if you check them out and you get really excited and you want to buy one, use code Greg. And that will get you a discount when you check it out. And that way we know that you're a fan of the show, which is even better. [00:21:21] Speaker B: Yeah, that's all. Hey, just very quickly, let's talk about. We've had a couple of inquiries. I've had one and you've seen one on the groupies, the BFOP groupies page, asking about, can I attach lucky straps to telephoto lenses? [00:21:37] Speaker A: Yes. Yes, you can. There's a few different ways to do it. Do we want it to? Do we have time? Yeah. Okay. [00:21:45] Speaker B: Just quick. [00:21:45] Speaker A: So you can, you can attach these. [00:21:49] Speaker B: These. [00:21:50] Speaker A: The quick release system that we come up with is, is the same thickness essentially as like a stock camera strap from Canon Nikon Sony. Like it's, it's 10 millimeter width webbing. So it'll go through the same slots or rings that are on all those cameras. And a lot of those camera brands will put slots on the lenses. Once those lenses are heavy enough to warrant the Strap being attached to the lens rather than the camera. Because obviously if you've got a 400mil 2.8 swinging off the mount of your camera, it's better to carry it by the lens rather than carrying it by the body of the camera. And obviously if you're supporting it with your hand or a monopod it's okay. But when, when you're just sort of wandering around. That's why they put strap lugs on the lens themselves. And these are perfect to attach straight to the strap lugs on the lens. So that's totally fine. You can also do it with a, an attachment on the foot if you prefer to carry it that way. The tripod collar foot, you can, you know a lot of people will put like a screw on arca plate or something that's got strap attachments on it. You could attach it to there or, or if it's an in between size telephoto lens like my 100 to 500 that I took to Africa that I'm going to talk about. Oh, David says I should bring my mic closer. Not that close. [00:23:10] Speaker B: Not that close. [00:23:11] Speaker A: Okay, maybe we'll try here. Otherwise he hasn't yet. [00:23:16] Speaker B: David, I'm sorry, it's going to be [00:23:17] Speaker A: a while now otherwise if that's no good. But Greg's is way further away. I must be quiet. Let me turn my thing up. [00:23:25] Speaker B: Yeah, that's the problem. [00:23:26] Speaker A: Where was I going with that? You can also attach one side of the strap to your strap lug on the left side of your camera looking from the back and the other one to a tripod plate on the base. And this is for like a mid sized 7202.8 or 100 to 500 in the Canon range, 200 to whatever it is in the Nikon range, the Sony, you know, 200 to 600 and that sort of stuff where they're not super heavy telephotos to justify attaching it to the lens, but they are still pretty long, pretty heavy lenses and that allows it to just point straight down. And we've actually got a YouTube video on the Lucky Straps. YouTube about that. It's called like how to carry a heavy camera or something like that. The most comfortable way to carry a heavy camera, I think I titled it. So you can check that video out and that'll tell you how we do that. [00:24:19] Speaker B: Yeah, and I think it's important to know that especially if you're carrying long lenses. All you wildlife and birding and sports folks, I took out the. What did I have this, the Tamron 150 to 500 a couple weeks ago, and I attached my, my slim 30 to that. And that's a two kilo lens. [00:24:38] Speaker A: Sorry, direct to the lens. [00:24:41] Speaker B: Direct to the lens, yeah, to the lugs on the lens. Because it has burned into my brain what Wayne Rogers was saying about how simple it can be, how a little knock can make the plane of your sensor to the back of your lens tilt slightly. You know, if you knock your lens, if you're carrying it by the camera and the lens gets knocked, the weight of the lens can, can ruin that alignment. So, yeah, don't, don't attach your big heavy camera and lenses to the camera. Attach it to the lens, that's for sure. Yeah, very good. All right, well, that took a little longer than it needed to, but thank you for covering that. [00:25:19] Speaker A: It did. Shall we. Should we, I feel like. Should we just get Africa out of the way so that then we can look at images or do you want to, how do you want to do this? What was your plan? [00:25:31] Speaker B: Well, let's see. Why don't we cover a couple of news stories? There's a really important one that I want to cover and I think that's really worth sharing. So, Jay, do you mind bringing up the, the NZIPP 2026 awards link? [00:25:45] Speaker A: Yes, I saw some of that. There's some pretty exciting stuff there. [00:25:49] Speaker B: There was. So over the past. Oh, I'm not sure how long it's been. Week or so, at least. A bunch of folks from our community have been over in New Zealand helping to judge and celebrate the NZIPP 2026 awards. Folks like Joe Howell, which is one of our BFOP instructors. Bruce Moyle, Chris Anderson, who was a guest a few weeks ago, Matt Palmer, Mika Boynton, they all traveled to New Zealand over the past week and a bit to attend the NZIPP Awards and help judge and help give out awards. But they also won a bunch of awards themselves. Now, as Justin's got up there, this is the NZIPP International Instagram page, but a couple of notable mentions that Bruce, he got nominated for a bunch of stuff. He, he got into the shortlist for different awards, as did Joe, as did Mika, Matt and Chris Anderson, along with a bunch of other folks. But the biggest, the biggest takeaway from this is that Matt Palmer, our good mate Matt, won the Australian Professional Photographer of the Year for the nzip, which is huge. It is huge. And he also won a bunch of other awards. Mika won, I think she was the Australian landscape professional Landscape Photographer of The year. But did I see Mika's award there somewhere? Anyway, it's all on the nzipp. Where did I see it? Gosh, now I can't. I can't see anything. I'll make a boy Professional Landscape Photographer of the Year. So Matt and Amica are. They're back home now. They've returned home. They said after all that socializing and time away, they're ready to just disappear into a bit of a recluse for a while. So congratulations to both those guys and to everyone else who submitted work to be judged by nzipp and to those that were shortlisted into different categories and obviously to those who won. It's amazing. Really, really cool and great to see that the NZIPP is thriving and they're recognizing amazing work. [00:28:01] Speaker A: Isn't it fun to. And I, I get it because they've obviously taken over. Like they've had to sort of step up to cover a lot of these awards after the AIPP sort of disappeared. But isn't it fun that they do, they do their Australian Photographer of the Year in New Zealand. It's like they're like, you know what, we'll just, we'll do it. [00:28:21] Speaker B: Yeah, why not? Yeah. You guys can't do it yourselves. We'll sort it out, you know, like, it's great. But yeah, like, seriously, congratulations to everyone who participated. It's amazing to see and it's really important that, you know, people at all different levels get recognition for their hard work. So well done everyone. Let's zoom through a little bit of lens news perhaps and then we'll, then we'll talk about Africa. Hey, because it might be a good transition to talk about what lenses you chose to take. Sure. Sigma have just dropped new patents to disclose the design of two new Sigma super zoom lenses. So stay tuned for that. And of course, in between last week and this week, Sony dropped another lens, an FE100 to 400 f 5.68 optical steady shot lens. It's more in the kind of the, you know, the entry level telephoto zooms, but great to see that. [00:29:22] Speaker A: Exactly. But that's, that's it. That's a perfect. Canon's got one. And I think it was a whole, maybe in the Sony range. Canon have a one 100 to 400, a very similar design, similar sort of aperture range and quite affordable. And it's like it gets you into that pretty decent wildlife zoom focal length for not a lot of money. I think more of that is better for every camera brand. [00:29:47] Speaker B: Oh, definitely, yeah. Make it more accessible. And just out of interest, the it wasn't on the Australian site just yet, or at least not on the retail sites. But at B and H, this Lens is only 848 US dollars. [00:30:01] Speaker A: Yeah. So it'd be 1500-ish here, I'm guessing. Probably. Yeah. [00:30:05] Speaker B: So for a 100400 with image stabilization, that's a pretty decent price, I think. [00:30:11] Speaker A: Yeah. [00:30:12] Speaker B: Yep, yep. [00:30:13] Speaker A: Yeah, it's a very good one. [00:30:17] Speaker B: And Seven Artisans has also released a new lens. It's for Nikon Z mount, I think. It's also coming to Sony, but It's the Autofocus 40F 2.5 light, full frame. You know, just a very small, compact 40mm lens, which is great. 40mm is great. I've been using 40mm street a bit more lately and it's a really versatile focal range because you can use it for a bit of portraiture, environmental portraiture, you can use it for street scenes. You can use it for a whole bunch of stuff. So good to see another one coming out there. But that is it for the lens news for now. Let's talk about Africa. [00:30:54] Speaker A: Justin, before we talk about Africa. Well, I'll keep talking about Africa. I'm going to send a message to you, Lana, because. So I had a very busy weekend. I forgot today about my weekend. [00:31:05] Speaker B: Oh, you did? Sorry. [00:31:06] Speaker A: One of the reasons it was extremely busy is we got a puppy on Thursday night. So I'm just going to text you, Elena, and say, can you bring the puppy in? Because I just thought, you know, everyone might want to see the puppy. Okay, so Africa, for those that didn't hear, went to Africa last minute trip, was lucky enough to go on a photography tour with Mr. Matt Crummins. Matt Crummins, if he's been on the show a few times, quite a few times. He's a wildlife photographer, he's a commercial photographer. He's one of the masterminds behind the bright festival of photography, which unfortunately you guys will have heard about almost every episode for the last freaking 18 months or two years. Elena said he's asleep. Well, that's okay. He might, he might make an appearance sometime in the show. [00:32:04] Speaker B: All right. [00:32:06] Speaker A: Okay. So yeah, I got, I. I was very fortunate to get to sort of, with less than two weeks notice, jump on this trip to Kruger national park in South Africa, which Kruger is a. It's like. What, what was it? I had it written down here. It's 19,500 square kilometers. So it's a big park. It's. It's 300 and tweak Production says wake it up. It's. It's 350 kilometers, like north to south. If you were just going to drive through the park, it's huge. I didn't know what to expect it and it's. Oh, there's so much to talk about. And I'm going to talk about it more in future episodes because I haven't even gone through all of the images yet. I'm going to show you guys maybe a couple of things tonight and a couple of quick video clips. And speaking of video clips, that's actually what I was there for. I was there to shoot video format so that he can show because he does multiple trips there. I think he spends almost over a month there a year at the moment. So he does multiple tours there each year in a few different spots. And he's really sort of wanting to be able to show people what the experience is like of going on one of these trips, one of these safaris. Because for a lot of people it's a bucket list trip. And for me it was a bucket list trip that wasn't even in the realm of possibility anytime in the near future. It was like something I was going to do, I don't know, way off, you know, down the track when I had the money. So I wanted things. Yeah, you're like one day. So I think it's important if you're going to do a trip like this because it can cost a chunk of money to head over there. You really want to know one sort of what you're getting into and to the way to make the most of it. And yeah, this might. I've only been on one trip, so take this with a grain of salt. But if I was going over there as a photographer, I would 100% do it on a photography tour after seeing what I saw. [00:34:17] Speaker B: Yeah. [00:34:17] Speaker A: And obviously I would recommend a Matt Crummond's photography tour. But anyone that's at that level, that's been there multiple times, that knows the area and knows what they're looking for, that's what I would be. I don't know. After seeing other people driving around the park in various vehicles and sort of just looking around and them asking our guide like where to go. You want, you want to be with someone experienced, that's for sure. [00:34:46] Speaker B: Because Matt also has someone who lives there who is a support for his tour groups. Is that correct? He has someone who's kind of let me local, on the ground, hands on kind of thing. [00:35:00] Speaker A: It's more than that. Let me try and explain it. Where's my. Where are my images? What have I done here today? Let me bring up a couple of photos so that, you know. There we go. All right. Share this for you. It'll make it a little easier. So this. This is our vehicle. And this is. This is Martin. This. We had the same guide every day. And these guides do a lot of training to be allowed to work in Kruger in the national park. And their. Obviously, their expertise is knowledge of animals and birds and obviously keeping people safe and getting around the park and all of that sort of stuff. Every. Every single day, we had to do paperwork when we entered, and we had to get checked when we exited and all that sort of stuff. Take everything. [00:36:09] Speaker B: Smuggling out any. [00:36:11] Speaker A: Exactly. Baby impala, baby rhino. [00:36:14] Speaker B: Rhino, yeah. [00:36:15] Speaker A: Yeah. Because they do. They do get poachers, so it's a serious thing. And also, so there's. There's evil people doing poaching and stuff, and then there's just dumb people doing stupid stuff, you know, and they gotta. They gotta account for all of that. Yeah, true. [00:36:29] Speaker B: Yeah. [00:36:30] Speaker A: So how it worked is this is on the trip that I went on. Matt runs the tour from the photography side of things. But Matt also really understands animals and this park. So he. And then we were staying at Needles Lodge. The people at Needles have a good relationship with Matt. They understand the area, obviously. They live. They. Needles Lodge is in, like, a private park that's about half an hour drive to the entrance of Kruger National Park. [00:36:59] Speaker B: Right. [00:37:00] Speaker A: But in that private park where we were, they were like giraffes walking around. Oh, wow. There was animals. Like, I think it was a kudu or something. Walked into, like, the backyard of the lodge. There was monkeys and stuff and all sorts of. Yeah, this. I'll have to find all my footage and things over the coming weeks to show you some of the crazy stuff. But anyway, so we're staying there. Lots of animals. And then Martin works for Needles, and they have a few other drivers as well. And the way they usually do it is on Matt's tours, they try and keep the same driver for the whole week. [00:37:31] Speaker B: Yeah. Okay. [00:37:33] Speaker A: So that way, Matt and Martin could really start to understand how each other worked and work together to get us to the best spots to take photos of animals. Because it's not just finding the animals, but it's finding them in nice light and with a good. A clear angle that's unobstructed and all that sort of stuff. So whereas normally, if they're just taking, you know, random people out, they Just want to see things. They don't care what light the lights like, or if there's a little bit of scrub in. In front. It's like, with your eyes, it doesn't really matter. [00:38:07] Speaker B: So, yeah, it's more just spotting the animals. Yep. [00:38:10] Speaker A: Yeah. [00:38:10] Speaker B: Yeah, absolutely. [00:38:11] Speaker A: And because. So, basically, once you. Once you enter the park. Once you. Yeah, once you enter the park, you can't exit the vehicle unless you're at a designated, like, toilet or food stop. There's, like, camps and things scattered around the place, and they could be hours apart from each other. So, yeah, once. Once you're sort of in. So what that means is we've got to put the car in the spot to take the photo on the road. So there's. Oh, hang on. Puppy incoming. [00:38:45] Speaker B: Hold the phone. [00:38:49] Speaker A: Bring it here. [00:38:50] Speaker B: Bring me the child. Oh, my God. [00:38:56] Speaker A: Closer, Closer. [00:38:59] Speaker B: Bring it into the light. [00:39:03] Speaker A: I'll hold it up. Baby like Simba. [00:39:07] Speaker B: Oh, my God. [00:39:11] Speaker A: Look. Look at Greg. [00:39:15] Speaker B: Hey, baby. So who is this? Who have we got? [00:39:18] Speaker A: The working title is Boz. But we're only. We're like, 85 to 90% on that. Boz, like short for Bosley? [00:39:26] Speaker B: Yeah, I like Bosley. That's cool. I think Yelena's upset. Shouldn't get any attention from anybody. Sorry, Elena. [00:39:35] Speaker A: Greg said, are you upset that you didn't get attention from the chat? They're all just interested in the puppy. How old is Boz? He's like, 13 weeks, I think. And he's a Labrador crossed poodle. But not a Labradoodle, because Labradoodles, I think, they. They tend to breed them more specifically to have that sort of curly hair and stuff like that. Whereas this is just a Labrador crossed with a poodle. Yeah, but I guess, technically that's still a Labradoodle. [00:40:09] Speaker B: I don't know. It's cute. That's all I know. It's very cute. [00:40:13] Speaker A: He's a very cute. Oh, Whoops. All right. I should let you go back to sleep. [00:40:18] Speaker B: Oh, see, now that you've done this, I'm gonna get hassled to get a big dog. [00:40:23] Speaker A: No, because I keep saying. [00:40:25] Speaker B: Oh, you know, Justin likes the big dog energy, but he's not ready yet. He's. He's still grieving over. Over, you know, his previous big boy. [00:40:33] Speaker A: It was time. And he's so cute. Okay. All right. [00:40:38] Speaker B: All right. [00:40:40] Speaker A: Phil Thompson. Hi, Elena. [00:40:43] Speaker B: That's it. No one else [00:40:47] Speaker A: waving? [00:40:48] Speaker B: Oh. Oh, that just. Doesn't that make you gooey? [00:40:54] Speaker A: Yep. He's a cute. There's one left. I Think there's one left from the litter. [00:40:57] Speaker B: They haven't eate stopped. [00:40:59] Speaker A: Okay, just, you know, stop. [00:41:01] Speaker B: All right, Stop. Can't. [00:41:03] Speaker A: All right, now where was I? Is the doggo a tax write off given the new business? No, I don't. I think we have to make the new business. Has to make money before I can probably do tax write offs. Very true, very true. Oh, well. All right, we'll pause for a question. Dennis has a question about gear. I'll get a question in early. Was there a piece of equipment that you would have left at home? This is a tricky one, obviously, because I've said this before. I, I was there shooting video and I wanted to take photos for myself. So I took way more gear than you would take if you were just. If, then I would take. If I was just going to take photos. So, yeah, on the, on the video. So I took a ton of lenses and things that I wouldn't take if I was just doing photos. I had to take a 20 mil prime, which I used a ton because we were leaving like we'll wake up at 4am, we're leaving at 5.15am and I was trying to shoot video in the car on the way to places just by torchlight and things like that. So I needed a fast prime, a wide angle fast prime. You wouldn't really need one of those if you were just shooting photos and you're only interested in wildlife. So there's a lot of stuff like that that you wouldn't need. But I needed it. Me personally, the one thing that I took, The one thing that I took that I didn't shoot with was actually the GoPro. I took the GoPro, but I end up using the Insta360 Go Ultra way more and never even. I stopped taking the GoPro out in the, in the van, in the safari vehicle because I wasn't using it because the Insta360 go ultra just magnets to stuff so easily. Even though the GoPro's got slightly better image quality, the speed of being able to use that Go Ultra just outweighed that. So I wouldn't have taken the GoPro. Now that I sort of know what, what, what was going to unfold and what else, what else wouldn't I have taken? I didn't use my DJI mics, but I should have. We just didn't end up using them. [00:43:20] Speaker B: Yep. How did you go for storage and power consumption and those sorts of practical things? [00:43:29] Speaker A: Again, shooting video. So I was chewing through batteries. I took six batteries for two Bodies. And I bought that Tilta portable charger that Matt Crummons recommended that I had an issue with once. But I think it wasn't getting enough power through the usb. But as long as it's got plenty of power. It did charge all four batteries overnight, no problems. And then it was actually able to top batteries up in the field by using a power bank that had power delivery that had, you know, like, a high wattage output. I charged two batteries out in the field one day just for fun. I didn't end up needing them, but it was nice to know that if I rolled through more than what I had, I could have had more topped up. [00:44:10] Speaker B: So. [00:44:10] Speaker A: Yeah. [00:44:11] Speaker B: And did you stick with your routine of dumping all your files each night onto your laptop? [00:44:18] Speaker A: Yes. Oh, yeah, absolutely. Dumped all files and backed up. Ended up with way over a terabyte of. I think it was. Yeah, well, more than a terabyte. There was almost terabyte of footage then, plus my photos. Dennis says it's pretty impressive if you used all the glass. I actually, you know, the thing that I. I think I only use once and I definitely could have gotten away with was there was. I took my 70 to 202.8, and I could have gotten away with not using it. I'm trying to remember I used it, but the one thing I used it for was like. I'll show you. I'll show you in a second. [00:45:00] Speaker B: Let me. [00:45:01] Speaker A: Let me. Let me bring up a couple of video clips. Can I do that window? Oh, yeah. So, first of all, this is what it looks like inside the. So this is what the safari vehicle looks like inside it. And as you can see, everyone's got a much bigger lens than me. Not everyone. But Matt's got. Matt's got this monstrous Sigma 300 to 600 F4, which is only new. And that thing is insane. It was epic. But. So this is what it looks like. Normally. Normally they would fill these vehicles full. Unless, obviously. Unless you booked it with less people. Like, you can book whatever you want. Obviously, they book the vehicle for the day. So the price depends how much you want to pay. But the way Matt booked the tour, see, the center row of seats is. Is free. [00:45:56] Speaker B: Yeah. [00:45:56] Speaker A: So it means everyone's got sort of vantage point out the side, and there's a center seat to sit your gear on because there's no room for camera bag. The camera bags have to go basically on the floor. [00:46:11] Speaker B: Yeah. [00:46:12] Speaker A: So most people couldn't access it. I took a very clever. After Matt told me that before I went I took my. My think tank cube thing that actually sits vertically really well down at the bottom so I could access everything that I needed. And then I tied. I tied my little Bellroy sling to the handles at the top of the seat. So I had a sling with all my batteries and my Insta360 camera. Like all the little bits and pieces that I needed, quick access to ND filters, all that stuff I had tied to those handles. So. So, yeah. Anyway, so basically lots of dust. So you want to change lenses as little as possible. And most people, if they had longer lenses that went to say they were like a 200 to 600 or Matt had a 300 to 600 or this 400 mil 2.8 over here. If you had something like that, you needed a 70 to 200. [00:47:14] Speaker B: Yeah. [00:47:15] Speaker A: Because often we were very close to the animals. But I had the 100 to 500 and most of the time zooming out to 100 was enough. So I very, like. I really didn't need that 70 to 200 until I needed it for low light because of the 2.8. [00:47:33] Speaker B: Yep. [00:47:34] Speaker A: So that's probably one thing I could have left at home. But. Yeah. So that's what it looks like in the car, cruising around. [00:47:42] Speaker B: Yeah. [00:47:42] Speaker A: Every day you're all rugged up quite a bit. [00:47:44] Speaker B: Was it cold? [00:47:45] Speaker A: It was cold. And because it's open, it's cold in the mornings and then it gets hot middle of the day and then gets cold again in the evenings. Yeah. And it was. Yeah, it was pretty cold. [00:47:57] Speaker B: Yeah. [00:47:58] Speaker A: So. And you're in this car. So we're in this car from 5:15am until between 6 and 6:30pm every day. Wow. In this vehicle. And we only got out to go to the toilet or to grab some food. [00:48:12] Speaker B: Yep. [00:48:13] Speaker A: So, like you're in there and you're just. You gotta get comfy. And we would rotate seats at each break. But yeah, it was. It was awesome. I can't wait to see the video that Matt pulls together from this. I might do a. I might do my own video and a director's cut. You know something? [00:48:30] Speaker B: Yeah. [00:48:31] Speaker A: I'm gonna. Let me. Let me find another one. So there's a question here [00:48:39] Speaker B: from. I can't remember how to say that name. I can't see it properly. Shamit Shah. Sorry. Oh, yeah. Were you worried about your gear at any time because of those conditions? [00:48:51] Speaker A: No dust, obviously. So. Which I've shot in plenty of dusty conditions before shooting, desert racing and stuff. [00:48:58] Speaker B: Yeah. [00:48:58] Speaker A: You want to change lenses as little as possible. One thing that I wasn't on top of as much that Matt was all over how much dust can accumulate on the front element when. Even. Even when you don't notice that it's dusty. So he was always encouraging us to put lens caps back on or cover our cameras up with. We had like ponchos and stuff floating around to keep us warm. Cover them up with that. And then, you know, periodically throughout the day he'd be like, all right, lens cloths, wipe them off, double check them and stuff. Because this, like fine layer builds up and it softens the image like a mist filter would. So, yeah, he was really. That. That's something that I was, you know, aware of, but nowhere near. Not to that level of checking that he was encouraging everyone to do so. He's obviously experienced before when people have, you know, had the ultimate moment and they get back and their images are just a little bit soft, you know, so it was. Because you never know what that's. This is. Oh, let me bring this video up. You never know what you're going to come across at any point. Sometimes you have an idea because Martin will be like, oh, we've gotten word that there's a sighting of this or whatever. But we did. On the last day, we did a pre sunrise. This wasn't with Martin because you can't only. Only the national park themselves can run these. We did a pre sunrise spotlighting tour. So we got up at three and we're in the car by four. [00:50:31] Speaker B: Yeah. [00:50:32] Speaker A: To go in in the dark and experience sunrise in the park. Normally you can't enter the park until sunrise. [00:50:37] Speaker B: Yep. [00:50:38] Speaker A: We're spotlighting for animals. We saw a Giraffe and within 20 minutes of the front gate, this is what we come across. And. [00:51:02] Speaker B: We can't hear that. [00:51:03] Speaker A: Oh, can't you. Anyway, he just said there's a bunch of lines on the road. So we're. We're cruising into the park. [00:51:10] Speaker B: Oh, and there's just. Oh, how beautiful. [00:51:23] Speaker A: It was crazy. [00:51:25] Speaker B: That just blow your mind, like. [00:51:27] Speaker A: Yeah, absolutely. Like there was no preparing for what. What it was like to see this sort of stuff in person. That close. Yeah, yeah, yeah. No, no preparing at all. And then. Yeah, so I quickly. So I got that shot change to the 7200. So that was on a 24 to. No, that would have been on my. Sorry. On my 20 mil 1.8. And then this is the only time that I used the 7200 because it was so dark. But like, Where are we? Like, this is like this. So it was a full Pride of lions with cubs on the road. And. Yeah, just mind blowing. Yeah, there's like Seymour. [00:52:34] Speaker B: Yeah, that's crazy. And did they ever approach the vehicle closely? [00:52:42] Speaker A: Yes. One elephant yelled at us. A line called Mr. Grumpy grouted a different car. One of these cubs, one of these cubs sort of has a, has a look at us. [00:52:59] Speaker B: Oh, little. [00:53:00] Speaker A: It just looks, they just look like a kitten, but a big kitten that could really, you know, scratch you. [00:53:06] Speaker B: Phil Thompson wanted to know, is the collar on the line some sort of monitor? [00:53:11] Speaker A: Yeah, they monitor. Obviously they don't monitor all of them, but like certain animals they, they monitor and track obviously for conservation and for research purposes and that kind of thing. So this pride had a couple of lines with, with monitors, but yeah, this, see this one got, was like, what are you guys. Yeah, didn't really. [00:53:35] Speaker B: That's so cool. [00:53:36] Speaker A: Yeah, it was, it was insane. [00:53:39] Speaker B: Yeah, absolutely. What an experience. Oh, they're just sitting there. Of course they are. [00:53:44] Speaker A: Of course they are. Yeah. And so another reason to go. And, and I don't know whether this is like, this is all luck. It's, it's, it's not all luck. Obviously it's your guide and how well they work with Matt to find stuff. But this particular situation was mostly luck. But Matt. So there was two vehicles that you could go in to do these sunrise tours. One of them's like a 20 seater truck and the other one was this vehicle that was just for us that we were in. [00:54:15] Speaker B: Yeah. [00:54:15] Speaker A: And we were here for maybe 10 minutes with this pride watching them. Let me, I'll show you a couple more photos from just this moment watching them just hang out and do stuff. And then just as the other truck come to our location, they all just got up and walked off into the bush and no one on the trucks or anything. And it's just luck. It's just luck of the draw. But yeah, I was like, I'm glad, I'm glad we're in this vehicle. But yeah, these were the only photos that I could really get. So this is lit by the lights from the car. Otherwise it would have been black. And then there was just that tiny bit of light on the horizon. [00:55:07] Speaker B: Yeah. [00:55:08] Speaker A: And. And that was at 1.4 like on 1 of my primes. [00:55:13] Speaker B: Yep. [00:55:14] Speaker A: But yeah, they just, they were just hanging out just by the side of the road for ages. [00:55:19] Speaker B: Yeah. [00:55:24] Speaker A: Dennis says you should have jumped out and got a shot across the lines back towards the group. [00:55:28] Speaker B: Yeah. Or maybe some light panting. [00:55:30] Speaker A: Yeah, yeah, there was a lot of. There's a Lot of jokes about stuff like that. Oh, just, just jump out and head up. Just you know, can you go over and grab that finger from over there? There's just. Yeah, like let me show you a couple more. Like a close up encounter, you know. So this, this was the second line that we saw again just chilling on the road on day one. And like that's. Yeah. Sometimes they just. Yeah, they're just hanging out and. And then obviously when it's during the day, more and more cars will, will start to crowd around as word spreads that there's been a sighting. And it can get quite busy. There can be traffic jams and stuff like that. When there's a sighting on a. You know, in the school holidays or something like that. [00:56:14] Speaker B: Yeah. Yep. [00:56:17] Speaker A: But yeah, that's that, that's that. [00:56:19] Speaker B: Oh wow. [00:56:20] Speaker A: Yeah. And yeah, that's amazing. I've put a few shots in here that are just funny because they're like just traffic, like animal crossing shots. I've got tons of them. But like, you know, elephants crossing. [00:56:39] Speaker B: Yeah. [00:56:40] Speaker A: Pumbaa crossing in front of this I thought was such a bizarre scene. You know, like this, this fancy new BMW that the family's driving through Kruger. And then. [00:56:51] Speaker B: Pretty sure that's an ev probably. Charge, would you. [00:56:55] Speaker A: Oh, not. Not when an elephant, this one elephant looked at us and then ran at us a little even like it was by no means a close encounter and I just about pooped my pants. It is terrifying. [00:57:10] Speaker B: Yeah. [00:57:11] Speaker A: So basically how. So you can self drive through Kruger. You could just rent your own car and then, and then take yourself around there. And I'm sure that's an amazing experience because of the freedom and you're sort of discovering things yourself. But the vehicles that we're in, like you can see here their height. We're seated up much higher. See how the driver in the front is low. That's the normal height of a car. That's a Hilux. And then we're seated up much higher. So even if there's a siding, we could pull up to the side of a car and see over the top of it. And we quite often had to do that if we got there, you know, a little bit later than other people. But we could still see. And that, that's one of the big benefits I think of being in one of these guided safari vehicles rather than doing your own sort of drive. [00:58:00] Speaker B: And there's no glass in the way, you've just got open in sticky camera at any time. [00:58:05] Speaker A: Exactly. A lot more freedom to move around with your camera. You can sort of semi stand up to get a higher angle and things like that. Whereas other. Like some of these cars, the private cars had people hanging out the windows but they're not allowed to do that because it's obviously it's quite. It's quite dangerous to be hanging out the window when there's lines and. [00:58:24] Speaker B: Yeah. Well, your food. Aren't you stuff. [00:58:25] Speaker A: Yep. Oh, we're running. We're running low on time. I'll quickly run through just a warp speed of just some of the other photos that. [00:58:36] Speaker B: Yeah. Cool. [00:58:37] Speaker A: That we got just to give you a quick overview. So close up shot of a lion. It was so much fun. So giraffes are so cool because they just. They look like the dinosaurs in Jurassic park would. Yeah. Every time we saw animals we're like a drive away when it's like one of those things like the lion cubs or. The first time I saw the giraffes or whatever. I was always like doing the. The Jurassic park theme song. Just like. Because that's. It just felt so similar to that. [00:59:10] Speaker B: Yeah. [00:59:11] Speaker A: Yeah. That's what a lot of the landscape looks like. Like there's this river running through the park and so it goes from being sort of arid and dry and even rocky and hilly in some spots to. And I think way north of the park is completely different again. But then. Yeah, there's these sort of really nice green lush areas along the river with full of hippos and all sorts of stuff and. Yeah. Bird just chilling at least. Or all these buffalo come cruising across the road. Zebra. There's birds on top of every animal. [00:59:47] Speaker B: Yeah. [00:59:50] Speaker A: Elephants. That's a moon rise taken from the fence of the park before we even got in one morning. [00:59:58] Speaker B: Yep. [01:00:00] Speaker A: So that would have been. Yeah, well, pre sunrise. Pumbaa. Again, buffalo and birds. Just the. The amount of wildlife that ends up in the one shot was insane. [01:00:11] Speaker B: Yeah. [01:00:13] Speaker A: Hornbill. [01:00:14] Speaker B: Oh, wow. [01:00:15] Speaker A: I took more photos of birds than I ever have in my life. [01:00:18] Speaker B: Yeah. [01:00:19] Speaker A: I don't know if I'll end up taking photos of birds ever again. [01:00:21] Speaker B: But you know, I mean, look at the bird. Jeez. [01:00:25] Speaker A: Yeah. Yeah. We stopped for a fair few of these scenes like this were just like fairly regular like this. This giant eagle sitting in the top of a beautiful tree over a landscape. It was just. Was almost funny how often you would drive past something that looked this. [01:00:44] Speaker B: Yeah. [01:00:45] Speaker A: Spectacular of a scene. [01:00:47] Speaker B: Yep, yep. [01:00:49] Speaker A: Yeah. Really, really crazy. That's the first rhino that we saw. [01:00:55] Speaker B: Oh, wow. [01:00:56] Speaker A: Which is pretty amazing. They're obviously a lot harder to see. Quite endangered so it was pretty special to come across one of them. That was. I think that was a few days in. I can't remember. It's all a bit of a blur. Beautiful sunset. Matt got made sure we got in a spot where the, you know, the sun would go lined up with a tree on the horizon. So he was sort of on top of that as the sun was dipping. Once we were sort of done with animals, he was like, quick Martin here. And then we'd, like, gone. We'd gone around the corner and forwards. Backwards. No, go down that side road. Nope. All right, back down here. All right, Quick stop there. And then you'd have, like. It would drop past that tree in like two minutes. [01:01:37] Speaker B: Yeah. [01:01:37] Speaker A: It would go from. Yeah, from being there to gone. Yeah, it was pretty cool. There's a waterfall from our landscape day, which I won't go into, but we did have a day when we weren't in the park. We went cruising around looking at landscapes, which is pretty amazing. [01:01:53] Speaker B: That's cool. [01:01:54] Speaker A: Yeah. Vultures picking the bones. Giraffes and birds just everywhere. A lot of the landscape looked like this as well, where it was just sort of really open, sparse. Yeah, absolutely beautiful. Beautiful light, too. I don't know what it is about there, but the light at sunrise and sunset was just epic. Sorry, too many giraffe shots. I really like the giraffes. [01:02:28] Speaker B: Apologize. You're amazing. [01:02:31] Speaker A: And then. Yeah, back to the lion shots. So I've got a ton more of. We saw lines every day. It was. Yeah, there was crazy. And there's other. I saw a cheetah eating an animal in a tree. I'll bring them all up in future episodes. That was Matt spotlighting for us, trying to spot things. So we were spotlighting. Right. And we stopped to take a photo of a light post or what was it like a power line track. As the sun was just starting to brighten the sky up a little bit well before sunrise. And Matt spotted a chameleon, which would have been this like 10cm long or less on the side of, like, on a bush on the side of the road. Chameleon blended into the bush. I couldn't even see it. When he pointed it out and he spotted it. We weren't looking for it. It's the first chameleon he's ever seen in Kruger. [01:03:31] Speaker B: Wow. [01:03:32] Speaker A: And it was like. So that, like, that's what. How his eyes were working when we were driving around. Like he was spotting things well early of us most of the time. And the fact that he spotted that Chameleon when we weren't looking for chameleons and he's never seen one before. And then when he pointed to it, I was like, what, that leaf? I think the photos on his Instagram. Yeah, it was. It was nuts. [01:03:57] Speaker B: Yep. [01:03:58] Speaker A: And then he was so chuffed about that all day, kept talking about the chameleon. He's like, I want to go back and find it so I can get a shot in the daylight. Because he had to get a photo by this, like just by light from that lantern. So. [01:04:09] Speaker B: Yep. [01:04:11] Speaker A: And yeah, so it's pretty much it. [01:04:13] Speaker B: Yeah. [01:04:14] Speaker A: Yeah, that was Martin. That's what we made it like a personal mission to find all these certain animals. And we only saw. It was a leopard in a tree on the last afternoon and that was our last chance to see one. And he'd been trying to find us one all week. And this is him after we saw the leopard. He was so happy. [01:04:34] Speaker B: That's cool. [01:04:36] Speaker A: Yeah. Anyway, I've taken up too much of this show's time. [01:04:40] Speaker B: No, it's your show. Oh, that's amazing. Oh, congratulations. That's so cool. [01:04:48] Speaker A: There's so many, like, I think I took. There's a whole day of shooting that I think you'll be excited about, Greg, that I. From before we went on the tour from around Johannesburg and Soweto, which was an amazing experience. [01:05:00] Speaker B: Yeah. [01:05:01] Speaker A: I'll bring them up in a future episode. And then, yeah, there's another. The hundreds more shots that I got. But I don't know, one day I'll show some video because I was shooting video first every time. So we'd roll up, I'd shoot video on the long lens. I'd often shoot video on the wide lens of like, what. What was happening and then shoot video on the long lens of the animal and then take some photos. So my photo opportunities were a little bit less than. Than everyone else. What Greg Carrick says a thousand a day, [01:05:39] Speaker B: you reckon? [01:05:40] Speaker A: Let me tell you. I'll tell you a few stats. 1400, 2,300 on the landscape day. 1600 and then 1500. So, yeah, well over a thousand a day. And I was shooting a lot of video too. And I never put my camera. I never put my camera into. Into 30 frames a second or anything like that. I think I was shooting it most of the time was shooting at either 10 or 15 frames a second was enough for what I was doing. One of the guys in the truck had his set to 30 frames a second. It just sounded so funny. [01:06:20] Speaker B: Yeah, yeah. [01:06:24] Speaker A: And why not? Yeah. [01:06:27] Speaker B: That's what it's for. [01:06:28] Speaker A: And yeah, so, yeah, most of the shots I took on the 100 to 500, you could easily get away with that lens and maybe a 24 to 105 or something like that or a 24 to 70 and just take those two lenses and you'd be totally happy. If your system doesn't have a 100 to 500, you needed to. You might need to take a 24 to 70 as well to cover that in between range. Yeah, I know the other guys in the truck use their 24 to 70 heaps because they only could go back to 200 and. And you really needed that. 100 mil was a good focal length for the closer animals or the. The kind of scenes of giraffes and things like that. We want a bit more landscape. Yeah, 100 mil was pretty good. [01:07:12] Speaker B: And when most people carrying two bodies. [01:07:16] Speaker A: Yeah, maybe not everyone, but almost everybody. Yeah, maybe there was one person that was only running one body, but yeah, two bodies means you can have your long telephoto and something a little bit wider. Like Matt had his, yes, 7200 and his 300 to 600. And yeah, everyone sort of had a combination of that. I obviously had two bodies because I was running. So I was often. I often had my 16 to 28 on to shoot wide angle video in the, in the truck right next to everybody. So that was kind of different. But yeah, pretty much everyone had two bodies and then you don't. You rarely have to change lenses, which is good because the dust. Yeah, that's what I would recommend. [01:07:57] Speaker B: Yeah. [01:07:58] Speaker A: And you want to have a backup too, in case something goes wrong. [01:08:00] Speaker B: Yeah. [01:08:01] Speaker A: You want to go all that way and then end up with, you know, no camera, Just use your phone. [01:08:09] Speaker B: No, definitely not. Definitely not. Well, it's very cool. [01:08:13] Speaker A: It was very cool. So, yeah, I'll go right down. Go with a guide, go on a photo tour. If you're not sure who to go with, go with Matt Crummons. We did five days in the park. You could probably get away with four or even three. But anything like as you, as you eliminate days, you eliminate the chance of seeing particular animals because we had one day where we didn't see much at all. And. And so if you got a couple of days like that in a row and you only had two days, you might. You sort of need that time to get enough opportunities. Yeah, we were lucky that we got a lot of opportunities, but you could definitely be unlucky too. So if you had four or five Days, you've got a much better chance at seeing more stuff. [01:08:58] Speaker B: What else did I write that makes sense? Because it's stuff that you can't control necessarily. Yeah, yeah. [01:09:05] Speaker A: They're just living their life and the guides try their best and they all communicate. That's the other cool thing about the guides. They're on WhatsApp and they, they'll send each other messages about what they've seen and where animals are moving. And then they even pull up all day. They pull up next to each other and chat, you know, about what they've seen and where they're heading next and stuff like that. So that you sort of connected into that network. [01:09:27] Speaker B: Yeah, that's cool. [01:09:29] Speaker A: Yeah, there's lots of animals, but there's also lots of driving with no animals. There'd be plenty of times where we drove for an hour and, you know, didn't see anything. And what else? I think that's about it. [01:09:47] Speaker B: Nice. Well, I mean, I'm sure we'll unpack more, you know, as you're going through your images and be great to also know. See some video, some of the video you captured for Matt, when that's available. Yeah. That's incredible. What an amazing experience. And good on you. [01:10:04] Speaker A: Thanks. It was good on you. I'm very lucky, Very, very lucky to get that opportunity and I certainly tried to make the most of it, so [01:10:13] Speaker B: I bet you did. Well, that's great. [01:10:16] Speaker A: Wow. [01:10:17] Speaker B: Where to from there? [01:10:18] Speaker A: Blast through. You want to go through a few your images before we do? [01:10:22] Speaker B: Yeah, let's do that. Yeah, let's, let's, let's get some images happening. [01:10:26] Speaker A: Let's start off. Sending in. [01:10:29] Speaker B: We've got Julie Powell. [01:10:31] Speaker A: Oh, yeah. [01:10:31] Speaker B: Up first. Julie's been very busy. Yeah. Hi, Greg. I've been playing with some creative concepts of late. The power of black and white images and hands. No real faces, but just classic portraitures as such. Also another with a candle glow. I love the creativity and liberation from classic portraits and tack sharp focus, the pearls telling a story in being gently held in chains, taking control, losing control. Playing with split filters and simple LED lights and gels. [01:11:12] Speaker A: It's something I never would have thought of, like such a creative way to play with sort of a style of portraiture inside. [01:11:21] Speaker B: Yeah. [01:11:22] Speaker A: You know, like just full, full control over the scene but without having to have this huge set or. [01:11:28] Speaker B: Yeah. [01:11:29] Speaker A: You know, space. You could do this in a very small space. [01:11:33] Speaker B: Yeah. And it's just got this timeless look to it, you know. Very cool. [01:11:41] Speaker A: Yeah. Especially this one with the hands. [01:11:44] Speaker B: Yeah. The contrast Beautiful. [01:11:46] Speaker A: Yeah. And then just the beads of pearls just hanging down. [01:11:51] Speaker B: Yep. [01:11:53] Speaker A: Yeah. Greg Carrick says, fashion noir. [01:11:56] Speaker B: It is lovely. [01:12:00] Speaker A: Impressive, Julie. Very cool and great idea. Great sort of way to spark some creativity for people that are, you know. You could sort it. Yeah. As I said, you could do it anywhere. You don't need a lot of lighting equipment to do this. You could do it with constant lights or flash. [01:12:15] Speaker B: Yeah, yeah. [01:12:16] Speaker A: Small lights. You don't need huge softboxes or anything for this style that, you know, harder is better, kind of. Yeah. Great work. [01:12:25] Speaker B: Yeah, it's lovely. Up next, we have Phil Thompson. [01:12:35] Speaker A: Thompson. Are they in an order? [01:12:40] Speaker B: They're by person's name, usually. [01:12:43] Speaker A: Got it. Oh, no, no, I meant his three images. Sorry. [01:12:46] Speaker B: Oh, I'm not sure. [01:12:48] Speaker A: Let's start with this one. [01:12:49] Speaker B: All right, so he's titled this shot in this one. [01:12:51] Speaker A: No, sorry. [01:12:53] Speaker B: Let me know when you're ready. [01:12:54] Speaker A: I'm getting there. [01:12:55] Speaker B: I've titled it Shot in the Fog. And they were taken between 8:20 and 8:30pm in the car park and surrounds of my local Armstrong Creek shopping centre. A couple of weeks ago, after bidding farewell to David Skinner, after an afternoon of photography together locally, I decided to make the most of the thick fog that had settled and went to the shopping center. All were shot on the Pentax K1 Mark II with the Pentax 15 to 30 shutter speeds a quarter and an eighth. Apertures ranging between F8 and 11 and ISO. Sorry, here comes the yawn. Sorry, folks. ISO all at 6400. Continue the great work and fostering this community of photographers. Cheers, Phil. [01:13:39] Speaker A: Wow. I love the symmetry of this. [01:13:43] Speaker B: Yeah. But also the blowout around the. Around the lighting. [01:13:46] Speaker A: Yeah. [01:13:47] Speaker B: Just with that. You just see that kind of. That misty. [01:13:51] Speaker A: It's nature's mist filter. [01:13:54] Speaker B: It is. [01:13:55] Speaker A: That's been applied. [01:13:56] Speaker B: Only Nissi could harness that. [01:13:59] Speaker A: Just a can of fog to carry around. [01:14:02] Speaker B: Yep. Yeah. I really love that. It's got like a Jeffrey Smart vibe to it, this one. [01:14:08] Speaker A: Yeah, the. That's like. It's so symmetrical, but then, because the shadows are, you know, going to the left and then you've got the Australia Post writing on. Just on one side. [01:14:18] Speaker B: Yeah. [01:14:18] Speaker A: And then the trees kind of balance it out on the other side. The trees above the. [01:14:22] Speaker B: Yeah, it does have good balance. [01:14:25] Speaker A: Yeah. Digging it. Really digging it. And sort of like a bit of a. Almost like a creepy humanoid robot vibe with whatever that thing in the middle is. [01:14:36] Speaker B: That's a flock camera. [01:14:39] Speaker A: I don't know. [01:14:40] Speaker B: In America, they're all getting crazy about flock Cameras. They're setting up in all these different places. They're just cameras that observe people and track people's whereabouts. Yeah. [01:14:49] Speaker A: Oh, cool. That sounds awesome. Just what we need in our modern society. [01:14:54] Speaker B: More cameras. [01:14:55] Speaker A: More cameras, more cameras. [01:14:57] Speaker B: Amazing work, Phil, as always. Thank you so much for sending those through. [01:15:02] Speaker A: Yeah, great work with the. I love the shopping trolley one. Great character. Shopping Trolleys in the Wild is my favorite. It does look to like. They're like, how did you get here and why are there two of you? [01:15:13] Speaker B: Yep. [01:15:16] Speaker A: Yeah, a little dystopian. Okay, very cool, John. [01:15:21] Speaker B: Speaking of Greg. No, Greg Carrick first. [01:15:24] Speaker A: Oh, sorry, almost missed Greg. [01:15:26] Speaker B: Just one image. Covering events for the local paper could get repetitive real quick. So I was always looking for a new angle. This one was for a horse racing day at Hillsville, which has a small town track with no real attractions, unlike Yarra Glen, which attracts the big money. So there were no fashion in the fields or historical displays on offer. So I concentrate on the horses being horses while not being beaten to run fast. That's a fair call. It was mid afternoon and the scene was backlit by the sun, which gave me some really nice lighting. Yeah, that's very cool. This was shot on a Nikon D5200 with a Tamron 18 to 270 at 250mil, 1 1000F 6.3, ISO 450 and black and white in post. [01:16:09] Speaker A: Nice. [01:16:10] Speaker B: Yeah, it's really lovely. Yep. [01:16:12] Speaker A: And just more proof that an all in one zoom can get great images. You know, like they're often criticized for not being as technically perfect as a dedicated, you know, something. Whether it's a wide or a standard or a telephoto, you know, 2.8 or whatever, but when the subject is good, that stuff disappears. [01:16:36] Speaker B: Yeah. [01:16:36] Speaker A: You know, he didn't tell anyone. Yeah. And the framing is good, lighting is good, all that stuff. It's like the. Whether it was a, you know, an all in one zoom on a. A crop Nikon or whether it's a Fujifilm with a prime lens becomes an. It doesn't matter so much. [01:16:51] Speaker B: Yep, yep. [01:16:52] Speaker A: Yeah. [01:16:53] Speaker B: It's how you tell the story. [01:16:55] Speaker A: Yep. [01:16:57] Speaker B: Lovely. Very lovely. Let's just jump quickly to a couple of other news headlines. We'll get these out of the way and then we can forget about the news. What have we got? [01:17:09] Speaker A: Oh, no. I've been waiting for you to catch me up because I sort of lost track while I was away. [01:17:13] Speaker B: Did you? [01:17:13] Speaker A: Of the news. [01:17:14] Speaker B: Poor you. Jesus. Let's in Nikon news. I don't know whether this is a typo or an intentional leak. A Nikon Z70 camera was added to the Apple Prores and Prores RAW authorized Products list and I think it was since been taken down. But yeah, that appeared and so that's created speculation over another Z mount camera, the Z50. [01:17:39] Speaker A: I've lost track of my Nikons too. But the Z5 is full frame. Z50 is crop, I believe. I believe it is, yeah. I could be wrong, but the Z50 and Z52 is crop, I'm pretty sure. So if the Z7 is full frame, is it possible that this is a higher specced crop APS C version of something? [01:18:04] Speaker B: I don't know, what do they call it? DX format Nikon? Yeah, yeah, that's what the Z50 is. That's a crop. [01:18:12] Speaker A: Yeah. And it's a popular camera. So I wonder if this is going to be marketed as like a step up. Is it going to have, you know, faster or more video features or something, but still in that crop range, sort of their flagship crop, essentially? Yeah, we'll see. [01:18:29] Speaker B: Yeah, we'll see. In other camera news, Nikon has actually just also released firmware Updates for the D6 and the D7 780, which are both DSLR cameras that are quite old. But yeah, they put out a firmware update for those two, which is always positive to see what else we got. This one will tickle your fancy and. And Dennis's Leica Q343 monochrome is in the works. It's coming this. What is Fall in America? Our spring. [01:19:00] Speaker A: Makes sense. Makes sense that they would. So they did, yeah, Q3 and then they did Q3.43 and then they did Q3 monochrome and then. Yeah, that would make sense that, that they'll do this one and then at some point they'll probably do a. A reporter edition, which I'll be like, oh, I want that. But then I won't buy it because I won't because it's expensive. And then they'll do the Lenny Kravitz version and then they'll do the Pope version and then they'll bring out the Q4 and then there'll be a new [01:19:26] Speaker B: James Bond one and it'll happen again. Yeah, it is interesting though. The Q3 is doing incredibly well. It's actually the top selling Leica camera. It sells better. Yeah, Than the. Twice as much. What did they say? Twice as many camera cells with the Q series than they do with the M's at the moment. [01:19:48] Speaker A: Makes sense. Makes sense. The M'S are a lot more expensive to get into. [01:19:53] Speaker B: Yeah. [01:19:54] Speaker A: And then with the M's you've got lenses to play with. So, you know, people probably tend to sort of hang on to their M10 or something and play with different lenses, you know, rather than constantly jumping to the latest body. I don't know, I could be wrong, but it also. Yeah, just puts people. It's a completely different. [01:20:13] Speaker B: It makes it accessible for one. You know, you don't have to buy a $10,000 camera or a $12,000 camera and a $12,000 lens. You're just getting it all in one for 12 grand. You're getting amazing image quality. 60 megapixel sensor and auto focus. [01:20:29] Speaker A: That's it. [01:20:29] Speaker B: Yeah. [01:20:30] Speaker A: So like usability, it's a, it's a, it is a point and shoot possible camera, whereas an M requires some skill. [01:20:38] Speaker B: Yeah. [01:20:38] Speaker A: And I think that it's that lower barrier to entry skill wise and price wise. And it takes great photos. So. [01:20:45] Speaker B: Yeah. [01:20:47] Speaker A: A flash trigger for mine. [01:20:49] Speaker B: Oh, did you. [01:20:50] Speaker A: Yeah, I bought a Godox flash trigger. I'm really actually excited to try it for some dog photography. [01:20:56] Speaker B: Yeah. Okay. [01:20:58] Speaker A: And also I want to try it with some sports because it's got the leaf shutter. So I think I can sync it with full power at a higher shutter speed. [01:21:07] Speaker B: You should be able to. [01:21:08] Speaker A: That's what I'm thinking. I might be able to do a little bit of sports with the off camera flash just for fun. [01:21:12] Speaker B: That'd be cool. [01:21:13] Speaker A: Mountain biking or something just to play with. But it was mainly to try some pet photography, some high res. Because I noticed in the files I was shooting a lot at 28 mil. Anyway, when I was using my 24 to 105 on the Canon, I was hovering around that 28 mil. It's a really sort of. Yeah. So I was like, well, I can just use this for that and then Maybe use a 50 mil on the Canon for the more portrait style stuff. Anyway. Yeah, I digress. [01:21:41] Speaker B: No, I think it's good. And look, you know, and we have spoken at length on these Monday night shows, especially about, you know, the rise of compacts and point and shoots and fixed lens cameras. Um, and it always makes me wonder, you know, and I can't remember who I was talking to about this the other day. Maybe it was Dennis that, you know, it really puts the pressure on Fujifilm to step up their game with the X100. [01:22:05] Speaker A: Well, yes and no, because that X100 is still a pretty impressive camera for what it does for the money. Even though it has gotten way more expensive than it used to be. When you compare it to a Q3, it's a bargain. [01:22:21] Speaker B: So of course, but if, if Fujifilm are looking at what Ricoh GR are doing and what Leica are doing, they're each bringing out multiple variations of the same camera to fit different market niche segments. And I wonder whether Fujifilm will actually respond to that. And you know, bring out a monochrome camera or change, you know, bring out an X100 with a different lens, put a 35 on it. [01:22:44] Speaker A: An X100 monochrome would sell like crazy. [01:22:49] Speaker B: Yeah. [01:22:49] Speaker A: If it wasn't five grand, as long [01:22:52] Speaker B: as it's under the four grand mark, [01:22:53] Speaker A: it would do well, three something. [01:22:55] Speaker B: Yeah, it would have a three at the start. Yeah. [01:22:58] Speaker A: And by like crazy, I mean a good amount. Not obviously nothing compared to their color version, but people would buy it for sure. Especially if it looked slightly different too. Like if it had some sort of finish that was just slightly. [01:23:12] Speaker B: Yeah. [01:23:12] Speaker A: Distinctive that you've got a monochrome and that you're, you know, you're cooler. [01:23:17] Speaker B: Yeah, yeah, definitely. [01:23:20] Speaker A: No more. No more x pro4 rumors. Greg Carrick's no, no. [01:23:24] Speaker B: The only other rumor I saw a Fujifilm was that the XT6 would be delayed. But there's nothing to suggest that in reality. Yeah, you know, so we'll see, we'll see. And finally, just a couple of other quick bits of news. I'll just get out of the way. Just announced There's a new DJI Mic Mini 2S product that's dropped. [01:23:44] Speaker A: I watched a review on that. That's, that's pretty insane. Spec level for the price and, and yeah, it doesn't have the little touch screen and stuff on the, the, the unit that sits on your camera. But all the other specs look pretty good. It's like a 32 bit float internal recording and stuff. And I'm like these are mostly just getting clipped onto people to talk. Do you know, TikToks and stuff. And it's got, it's got some pretty high level features. You could definitely do very decent video stuff with that setup that I think I know what they retail for. Like two or 300 bucks for a set. [01:24:22] Speaker B: Yeah, well, the DJI, the DJI store. Is this Australia? Yes, it is. 280 bucks for a kit. [01:24:31] Speaker A: Oh wow. For the, for like the two mic and the receiver in the charging case. Kit. [01:24:38] Speaker B: Yeah. [01:24:39] Speaker A: Wow. Yeah, that's so. [01:24:42] Speaker B: Yeah, yeah. Two in the receiver, two transmitters, one receiver charging case. 280 bucks. [01:24:48] Speaker A: And I could be wrong, but like their higher level, the Mic three or whatever you, I'm pretty sure you can connect four mics to the one receiver, too. And obviously then you're still going stereo into the camera, so you're not going to be able to adjust all the levels in post production. It's just going to put them all through stereo. But if you quickly want to have four people miked up, you can do it. [01:25:14] Speaker B: Great. [01:25:15] Speaker A: For way under $500, which is insane compared to, like, the mucking around. You would have had to do even just five years ago to do that. Like, with no extra equipment, you just buy two extra transmitters and pair them up and off you go. And as Dennis said. Oh, sorry. [01:25:33] Speaker B: I was just going to say that, you know, you can get one transmitter and one receiver for 150 bucks. [01:25:39] Speaker A: Yeah. [01:25:40] Speaker B: You can buy extra receivers for an extra 99 bucks. [01:25:43] Speaker A: Yep. [01:25:44] Speaker B: Crazy, you know. [01:25:46] Speaker A: Yeah. And they'll pair up with, with any other. Like my DJI. [01:25:50] Speaker B: Yeah. [01:25:51] Speaker A: Osmo 3 thing. [01:25:52] Speaker B: Um, yep. [01:25:53] Speaker A: Yeah. So it's, it's pretty nuts. And yeah, as Dennis says, no lav. So you can't plug a lavalier mic into them. But they're not really for that because they're so tiny. They're not for hiding a mic in a professional or, you know, production there [01:26:08] Speaker B: for YouTubers who like to attach their mic to weird shit like a pair of kitchen tongs or, or, you know, something they found in the park. [01:26:15] Speaker A: The cool people just put them on the hat, you know. Yeah, on the brim of the hat. But they're. Lucinda loves her dji. Yeah. I, I, my, I've still got the Mic two, which is a wonderful set. And the only thing, there's two things that I wish it had differently that they have fixed in the newer models. I wish the wind muffs could stay on when the case was closed. I have to take my wind muffs off and then I lose them, which is just dumb. [01:26:41] Speaker B: Just say wind muffs again. I love hearing you say that. [01:26:44] Speaker A: Muffs. And then I wish they were smaller because they do. They do kind of pull your T shirt down and stuff like that. So if I was buying now, I'd be pretty, pretty sure I would just go to the lower spec, that new DJI Mic Mini, to whatever it's called. [01:27:04] Speaker B: 2S. Yep, the 2S. [01:27:06] Speaker A: Gosh, the stuff. Yeah, the DJI Mic Mini 2S. Rather than getting their Mic 3, which is their sort of more professional level one. [01:27:15] Speaker B: Yeah. [01:27:16] Speaker A: Lucinda's cat died anyway. Oh. [01:27:19] Speaker B: What? [01:27:19] Speaker A: No. Which is the wind. Wind muff. Yeah. I hope it's all right. [01:27:26] Speaker B: Yeah. I didn't even know she had a cat. I do have a couple of lenses I want to show people. I might just talk about them very, very quickly. I won't unbox them now. [01:27:35] Speaker A: Oh, yeah, your. Your lenses. Have you unboxed them already? What do you got? Tell us what happened. [01:27:39] Speaker B: All right, so I got this. This is the Laura. This is for Fuji X mount. It is the Lauer 4.5 to 10 mil F 2.8 CF zoom fisheye. So that's 4.5. So it's about 7 to 15 mil. [01:27:59] Speaker A: Is it? [01:28:00] Speaker B: Yep. [01:28:01] Speaker A: You won't be able to take a photo of that without getting yourself in it. [01:28:04] Speaker B: I know. I'm going to take that street photography with it. [01:28:06] Speaker A: In the top of the frame there'll be beard. And in the bottom of the frame it'll be the Fuj shoes. Yeah. [01:28:12] Speaker B: My cond. Fairly small. This is brand new. They've only just added these to the with X mount. I think they've been available for Nikon Z and all the other mob. [01:28:23] Speaker A: But yeah, like, wow, it's tiny too. Look at that. [01:28:29] Speaker B: Yeah, it's really little. And it's got this great. It's got this great lens cap. [01:28:37] Speaker A: Oh, yeah. [01:28:37] Speaker B: Like a bulbous lens cap. Sits on really nice. Yeah, it's tiny. It's beautifully built. Anyway, the other one I got was the new 180 millimeter F 4.5 CA dreamer macro, 1.5 times magnification. With autofocus. [01:28:55] Speaker A: Oh, is it. So what's the previous focal length you were doing? Macro at? [01:29:00] Speaker B: 30. [01:29:01] Speaker A: Oh, you're gonna have so much fun with that thing. Although trying to keep something in focus might be. Because obviously that's manual focus, isn't it? [01:29:09] Speaker B: This one, it has manual focus for macro. But then there's. I haven't worked this out yet. So Adam from Lauer, Adam Cop, who handles all of Lauer in Australia, he shot these through to me and I haven't worked this out yet. Oh, Jesus. That's nice. But this, this macro lens, this macro lens is sweet. Like, it's. [01:29:33] Speaker A: What's the button for on the side there? [01:29:36] Speaker B: I think it's a. He told me this. So basically what it is, it's manual focus to a point and then you click into a different mode and you can just use it like a portrait lens or a long lens and it changes the minimum focal distance. I think, like, it's weird I haven't worked it out yet. [01:29:54] Speaker A: So, like, I think we were talking about this on another show. Like this Mode on my Q3, where it goes from. And it goes from macro. And in the macro mode, it's only got a limited focal range. And then the other mode, it's got a more normal. So it'll be like that. [01:30:06] Speaker B: Just like that. [01:30:07] Speaker A: That's cool. [01:30:08] Speaker B: Yeah, much. [01:30:08] Speaker A: That's really cool. [01:30:10] Speaker B: So, yeah, so, I mean, I've got, I've got macro stuff, so I'm going to do some macro photography with it. What's happening to my audio. But yeah, I'll take it out and do some street with it as well. Both of them. Because. Why not? [01:30:24] Speaker A: I, I, I mean, you might get some complaints when you start shooting macro. Street. [01:30:29] Speaker B: Yeah. [01:30:29] Speaker A: Kept people's face, eyes like nostrils. Don't mind me. This is speaking that, that wide, that fisheyes. Skate content, here we come. Yeah, you'll have to get very close, super close. You need to go and have a chat to the, A few of the best skaters so you don't end up with a pair of skateboard trucks in your brain and then get. You'll just have to go and lay underneath something and just let them try not to kill you. [01:30:58] Speaker B: It's a great little lens that's got, it's like, it's got like the Leica, like these little lugs that sort of. Your finger fits right in. Yeah, well, it's got an aperture ring as well. [01:31:08] Speaker A: Oh, nice. [01:31:09] Speaker B: So it's a 2.8, is that right? Yeah, it's a 2.8. That's very cool. [01:31:14] Speaker A: Richard said brings new meaning to Robert Capper's famous quote, if your photos aren't good enough, you're not close enough. I wonder if he was talking about the fisheye or the. Maybe short. Maybe. [01:31:25] Speaker B: Yeah. 4.5. That's like toes and toes and nose kind of material, isn't it? [01:31:32] Speaker A: Yeah. I can't wait to see what you. Yeah, yeah. [01:31:34] Speaker B: So that'll be fun. Anyway, so I'll go out and I'll take some shots with it over the next week or two and yeah, we'll talk about them on the show in the coming episodes. [01:31:44] Speaker A: Excellent. [01:31:46] Speaker B: Some more photos. [01:31:48] Speaker A: Yes. Back to John Latimer. Apparently, David. David Skinner thought we'd frozen, but it was him. That's lucky. Imagine if we're just here just thinking the show's going on and they can't. Nothing's happening, no one's watching, we're just frozen. That's the sort of thing that would happen on our podcast. [01:32:04] Speaker B: It is. And we would just take it in our stride. John Latimer hey everyone. Hope all is well. Small. Sorry. Small series of photos this week I spotted a pair of wedge tailed eagles. So happy to see in the wild and encountered it reasonably close. As I left, I realized that they were following me. Thought it was my charm. But them following me slowly turned into swooping and them standing their ground very aggressively on the ground, ready to defend their territory. Wow. Turns out the way I left them was more towards their nest. With two newborns in the nest, Mum and dad settled down. I quickly got a few shots and moved on quick. I'm okay with getting swooped by a magpie, but when it's the size of a small child with talons, not as much. [01:32:48] Speaker A: That's terrifying. [01:32:49] Speaker B: Yeah, that is very terrifying. These were shot with a Sony A7R III with a 200-600 shot at around 500mm, ISO 1250 and shutter 1 500. [01:33:03] Speaker A: That would be a great setup to take to Africa there, John. Perfect little Africa setup. Wow, look at that. Yeah, that's no wonder they were angry. [01:33:16] Speaker B: Yeah. [01:33:17] Speaker A: Get away from our baby. [01:33:18] Speaker B: Look at that. That's amazing. [01:33:20] Speaker A: That's so cool. So to complete the. It's so cool that you got a shot of the nest to complete the story because otherwise, you know, if you were just sort of like, yeah, this bird was swooping me. But to have this. Yeah, that's so good. [01:33:33] Speaker B: It makes it a good series. It makes it a complete story. [01:33:36] Speaker A: Yeah. [01:33:37] Speaker B: You know, and it completes John's experience, you know, of seeing this behavior. [01:33:43] Speaker A: Yes. My only suggestion would be, and I'm sure you did it, which is why. And then you've only sent three photos in because we probably say all the time, like, make sure you don't send too many photos in. But my suggestion would be based on this set rather than two images that are a similar size framing of the eagle. The third image, if it showed us a little bit more context of what the scene was like, like a little bit more tree, a wider shot of the situation maybe. I don't know whether like either a wider shot of where the nest was. If. Ideally, if you could. If there was a shot where the nest and the eagles were in the same frame, that might have been. Not possible. But if that was possible. Yeah, that would have been a really cool third shot to kind of complete the. In my mind. So I had a better idea of like what you were looking at. [01:34:38] Speaker B: Yeah. [01:34:39] Speaker A: In this moment. [01:34:40] Speaker B: That's good advice. [01:34:42] Speaker A: Epic photos. [01:34:43] Speaker B: But I also love how you've gone on one safari and all of a sudden you're A fricking expert. [01:34:48] Speaker A: Well, in my opinion, John, what can I say? As an experienced wildlife photographer that spent a couple of days shooting a handful of birds one time and most of them were out of focus, here's what I would have done. [01:35:01] Speaker B: Nice, nice, nice. [01:35:03] Speaker A: No, no, I just. Because I think it's probably. It's really in my head at the moment because I was paranoid about shooting the video for Matt, about making sure that he had, if for anything that he wanted to kind of pull together, that he had options to show people. [01:35:21] Speaker B: Yeah. [01:35:21] Speaker A: The broader scene, a mid scene and then a tight shot of the animal and then you can piece together what it felt like to be there a little bit more than if you just have that close up shot of the animal. So it's probably just like drummed into my head. So. [01:35:36] Speaker B: Yeah, yeah. [01:35:38] Speaker A: But, yeah, I'm wildlife expert. Yeah. I don't even know what sort of bird that is, but I think you should have done this. Yeah, [01:35:47] Speaker B: yeah. [01:35:48] Speaker A: Oh, dear. Oh, yes. [01:35:52] Speaker B: John's going. [01:35:53] Speaker A: That's a simpler way of saying that. Wide, mid, tight, rinse, repeat. Yep, that's. Yep, do that. [01:36:01] Speaker B: It's a good way to remember it. It is very cool. Speaking of Dennis, he's. He's just sold out his workshops for the weekend before befop in Melbourne at Jason Laos Fabric Studio and I, I [01:36:14] Speaker A: have you going, aren't you? [01:36:16] Speaker B: Yeah, I am. [01:36:17] Speaker A: I was so keen and then I saw a post that said that he'd reshuffled things so there was one spot for each of them. But I just know what it was like in the lead up to BFOP last year and I, I don't think I should. I think I need that weekend to prepare. So, yeah, I decided against it, but I was, I was very tempted, but it's mainly because, you know, it's in Melbourne, so it would probably be like it's a full day, potentially a night, at least a full day. And I was like, I should, I shouldn't, I won't. You're going. So you'll be able to tell me what happened? [01:36:53] Speaker B: Yeah, I might. Oh, but the, the. I've actually got a ticket if everyone wants my ticket to Sony scene. That's on the same Sunday, the 3rd of. Yeah, 3rd of October. If anyone wants my ticket, just let me know because I won't be using it because I've got a much better ticket. Some light painting with Dennis in a studio with Jason Lau and an amazing motorbike. He's already sourced a cool bike. That'll make things easier for you, Rij. [01:37:19] Speaker A: Mit. I'll just. Maybe. Can you just live stream it so I can watch? Yeah, from Bendigo. [01:37:25] Speaker B: Of course. [01:37:27] Speaker A: Take your podcast set up there and just don't tell Dennis, but just turn the live stream on. [01:37:31] Speaker B: Yeah. [01:37:34] Speaker A: Why is that red light flashing? Oh, no reason. No, no, no, no, no, Never mind. Don't worry about that [01:37:40] Speaker B: Fujifilm thing. All right, let's move on to David Skinner. He's got six images. [01:37:48] Speaker A: Where are we here? Hopefully. Do you really. Are you okay? Oh, you really did. [01:37:58] Speaker B: Are you all right? [01:38:01] Speaker A: Hang on. He's down. Greg, come in. Are you there? There he is. Are you okay? You can't hear us. Oh, dear. Are you all right? Put your headphones on. Are you okay? I'm okay. [01:38:20] Speaker B: I leaned over to pick up the Lauer lens box that I dropped and the chair rolled out from under because it's not my normal chair. [01:38:27] Speaker A: I missed that. I was getting the image ready. I'm gonna have to go back and watch that. I'll probably have to go back. Shall I clip it? Made a clip for a while. [01:38:38] Speaker B: I can't believe. [01:38:39] Speaker A: I'm glad. Are you okay? [01:38:40] Speaker B: Yeah, I'm okay. [01:38:41] Speaker A: Did you land on. [01:38:43] Speaker B: No, I was more worried I was gonna drop the lens. [01:38:46] Speaker A: They're durable. We're good. [01:38:48] Speaker B: We're good. What a day. [01:38:51] Speaker A: What a day. That was crazy. I thought you were joking and then. [01:38:55] Speaker B: No, I really fell off my chair. [01:38:56] Speaker A: It rolled out. The wheels rolled out. [01:38:58] Speaker B: Me. [01:39:00] Speaker A: Yeah, we need a tweak once, an instant replay. I don't think that I'll work on that. [01:39:07] Speaker B: All right, that'll be the first thing. They'll go up first thing in the morning. [01:39:10] Speaker A: Oh, gosh. Slow mo. [01:39:13] Speaker B: All right, I'm back. I'm sorry. David Skinner. Good evening, team. A recent trip to Phillip island with the East Gippsland Camera Club for the Gippsland Camera Clubs Exhibition. All taken with the Nikon Z7 II and the Nikkor 24, 120. Or a Tamron 70 to 300 various vocal lengths. Cheers, David. Oh, I like the Pano. [01:39:39] Speaker A: I like this one. Stupid seagulls. [01:39:43] Speaker B: Yeah, it's cool. [01:39:44] Speaker A: It's actually. It's great because. See the wave on the cup? [01:39:48] Speaker B: Oh, yeah. [01:39:49] Speaker A: So it's like. Like, what are the chances that the cup would have a beach image on it? Yeah, that's very cool. That's it. Yeah. [01:40:01] Speaker B: Yeah. That's fun. [01:40:06] Speaker A: What a great set. [01:40:07] Speaker B: Yeah. Nice spot, too. What did you say it was? East Gippsland, Phillip Island. Yeah. [01:40:13] Speaker A: Philip Island. [01:40:14] Speaker B: I've been there for ages. [01:40:15] Speaker A: So so like a bit of a. Bit of a seascape. [01:40:20] Speaker B: Yeah. [01:40:21] Speaker A: Closer up of the rocks. And this. Yeah, I really did. I really dig that. [01:40:26] Speaker B: That's a fun series for sure. And then. But this, I love this. [01:40:31] Speaker A: Yeah. So calm. [01:40:33] Speaker B: Yep. [01:40:38] Speaker A: And then a little bit of human. Kind of human looking like a bird. [01:40:42] Speaker B: Yeah, yeah. [01:40:43] Speaker A: Like a ibis or something. [01:40:47] Speaker B: Yeah. [01:40:49] Speaker A: And then a macro, a little bit of a detail. [01:40:52] Speaker B: That's really cool. That's a great series, you know, Nice afternoon by the beach. [01:40:59] Speaker A: Wide, mid tight, rinse, repeat. Good job. [01:41:01] Speaker B: Yep. [01:41:01] Speaker A: Well done. Immediately. [01:41:05] Speaker B: Chris Nielsen's up next. I'll start reading. Evening, Greg. Justin and co. I found a place with a nice view of Auckland city this weekend and shot this. My first ever attempt at exposure panorama. It's five 30 second shots stitched in lightroom and I'm really happy that it stitched it without any errors, even though it was a long exposure. This was shot with my trusty D 516 to 80 and my high tech tripod stabilizer, which was a bag of rocks. I promise I'm upgrading my camera soon so you won't have to hear about my D500 all the time. Cheers, Chris. No, no, no, don't. [01:41:43] Speaker A: Yeah, I was going to say, don't worry about your D500. You could have told me this was taken on the Fujifilm GFX 100 and I would have gone, oh, I need one of those. This looks great, doesn't it? I'm just gonna. I'm just gonna make it way bigger on my screen. Wow. [01:42:00] Speaker B: Can we zoom in on a detail here for us? [01:42:03] Speaker A: I don't know how big he sent it through, but let's have a look. Pretty big. [01:42:09] Speaker B: Yeah. That's really cool. Lots of sharp lines. Yeah. Oh, that's beautiful. [01:42:22] Speaker A: What a nice. What a nice frame. Like the framing, the just having that tower offset on one side and then just the way that it kind of builds to a hump in the middle and then back down again. It's really nice shot. I love it. Whoops. And then my computer plays up and we're back to the. Oh, there we go. Back to the misty. I wish it had gone to the troll. The two trolleys. [01:42:51] Speaker B: Yeah. [01:42:51] Speaker A: Yeah. That's a beautiful shot. Great work. Don't. Yeah, don't you worry about your D500 at all. [01:42:56] Speaker B: Yeah, no, don't. Don't apologize for it ever. [01:42:59] Speaker A: Dennis grew up about 5 degrees to the right of that frame. [01:43:03] Speaker B: Oh, wow. [01:43:03] Speaker A: Very oddly specific. [01:43:07] Speaker B: Nice. [01:43:07] Speaker A: If only you'd taken one more shot to stitch in the Pano. You might have got Dennis's place of residence. Yeah, yeah, Great shot. [01:43:16] Speaker B: That's it. [01:43:17] Speaker A: Rick Nelson says almost looks like a histogram. [01:43:20] Speaker B: Yeah, it does a bit. I was thinking like a sound wave. You know how sound waves have. [01:43:23] Speaker A: Yeah, yeah, yeah. And then it's got that one spike there. Yeah. And yeah, love the black and white crescendo. [01:43:33] Speaker B: Wide, mid tight, rinse, repeat. That's a T shirt. [01:43:36] Speaker A: Yeah, we should get that made. Dennis says about a 10 minute walk to the marina at the bottom right. That's a huge smile on my face. Thanks, mate. [01:43:47] Speaker B: Nice work. [01:43:48] Speaker A: Very cool. [01:43:49] Speaker B: Good job, Chris. Up next, David Leporati, the one and only three images. Hi, Justin, Greg and everyone. This week's images are a shift to the opposite end of the color spectrum from my normal infrared work into the ultraviolet or uv, also known as black light. These images are ultraviolet fluorescence photography, UV, IVF shot at 365 nm. Image 1 is visible light and UV at 365 nm of a small spider on a lavender flower. [01:44:25] Speaker A: Oh, it's the. So using both, a blend of both. That's cool. I was trying to work out. I hadn't actually read what he's written. I was just trying to look at it and work it out. Yeah, that's very cool. [01:44:39] Speaker B: Oh, wow. [01:44:40] Speaker A: This is image. Image 2. [01:44:42] Speaker B: Image 2 is close up of the small spider on a lavender flower in ultraviolet. That looks crazy. [01:44:49] Speaker A: It is Disco spider. It's disco spider. Wow. [01:44:59] Speaker B: Yeah, that's a. That's very cool. [01:45:00] Speaker A: Otherworldly. Yeah, it looks. It looks like we're in Avatar or something. [01:45:04] Speaker B: Yeah, it does. It's. Yep. Otherworldly is the right word for it. And number three is a cropped image and a full image capture of image two. [01:45:15] Speaker A: Ah, I see. [01:45:18] Speaker B: Of course it is. All images were taken with a Fujifilm XT5 and a 16-80 f4 lens set at 60 millimeters. Exposures were visible light, LED chalk, visible light, LED torch, f11 at 0.4 of a second. ISO 200 at UV 365 nanometer lighting, LED 30 watt torch, f11 at 8.8 of a second. ISO 200. Oh, it's so technical. [01:45:52] Speaker A: Yeah, well, as Dennis said, this dude is a mad scientist. And I know Fujifilm dedicate all their budget to, to either like tips to street photographers like Greg or sending Matt Crummons to the Daintree to film a, like a wildlife video with the gfx. But you know, this could be a new angle for them. [01:46:17] Speaker B: This could be Sponsored. Yeah. Or just. [01:46:20] Speaker A: Just getting it. Getting. Thinking different, you know? [01:46:24] Speaker B: Yeah, absolutely. Well, it says here that he goes on to say the 365 nanometer UV light is not visible to the human eye or a normal camera, but the UV light reflects fluorescences, fluoresces off subjects, which is what we can see and capture. The UV LED torch has a black filter in front which only passes the light at that 365 nanometers. There's a note here, a safety warning. UV block safety glasses must be always worn when using these UV light sources as the eye damage can be caused. They produce high levels of UV compared to normal daylight exposure. Cheers. Cheers. David Liparati, don't burn your eyes out. Cheers. Yeah, Mad scientists for sure. Like, I'm thinking of like Robin Williams in Flubber kind of vibe. [01:47:13] Speaker A: I was thinking, what were the. What's the Australian one? [01:47:18] Speaker B: Young Einstein. [01:47:20] Speaker A: Yes, yes. With Yahoo. Serious. [01:47:23] Speaker B: Gosh, that was a good movie. I bet if we watched it. [01:47:26] Speaker A: Yeah. [01:47:27] Speaker B: But anyway, probably. [01:47:28] Speaker A: Yeah. I don't know if I want to ruin it, but I have fond memories [01:47:31] Speaker B: from when I listen to the soundtrack. I still listen to the soundtrack. It's Huda Guru is like. [01:47:36] Speaker A: Yeah. Oh, yeah. Greg Carrick's called it. He'd be wearing steampunk glasses, like round, like. Yeah. [01:47:42] Speaker B: With smoke coming out of it. All right, well done as always, David. Thank you for continuing our education. Yes, that's inspiring. It really is. Up next, we've got Jamie Vanderbrink, Tweet Productions, Justin, Greg and the Camera Life Group. We've got groupies. Here are a couple of landscapes from my trip to Lauriton in New South Wales. This is Charles Rider Point at Camden Head. Landscape is not my go to genre, but love giving everything a crack. Pretty happy with how these turned out. Yeah, you should be. That looks stunning. Photo 1, looking south to north. Brother Mountain over Dunbogen Beach. Photo 2 is looking north to the cliffs. Literally took these photos a few meters from each other. It was pretty windy, but it made for awesome waves. Any critique and feedback from the talented landscapers in the chat would be more than welcome. Always want to improve in terms of settings. This was shot with a Canon R5 Mark II with a 24-105 L lens, f4 with a hider h, a I d, a CPL variable nd. The cliff shot was at 0.8 f18 and ISO 2. Sorry, 0.8 of a second f18, ISO 250. The beach was 2 second shutter speed, f18, ISO 100 thanks again for a safe space to share our passion. Kind regards, Jamie. Thanks, Jamie. These are gorgeous. I love the strength of colors and the contrast in the rocks in the water. [01:49:24] Speaker A: Yeah, yeah. Good work with the, the CPL and the ND to be able to slow, slow everything down. [01:49:31] Speaker B: I'm not boost contrast a bit. [01:49:33] Speaker A: Yeah. I'm not, I'm not a landscape photographer so I don't, I don't, I can't provide good feedback on the. [01:49:43] Speaker B: That. [01:49:44] Speaker A: I mainly think about the length. The shuttle length is probably a variable here that could have been played with. I'd be interested to know if you experimented with different lengths to see because you could obviously smooth this out further if possible if your ND was able to go any stronger so you could bring it down further and see if you could smooth the water out more or go the other way, particularly on this shot and see what it looks like because you've got some waves crashing back there. Like what did that look like with a faster shutter? Probably not as good, but I just, I don't know. I always experiment with it because I don't do a lot of landscape. So I kind of, when I do try it, I just try different stuff to see what it looks like. Whereas I think experienced land landscape photographers can probably pre. Visualize what they're trying to do before they even. [01:50:33] Speaker B: Yeah. [01:50:34] Speaker A: You know, start shooting. Whereas I just kind of just try a whole heap of different links and see. See what works. [01:50:40] Speaker B: Yeah. [01:50:41] Speaker A: But yeah, great, great work. I love that like trying a vertical here as well because of the way that you've got the cliffs and the rocks in the foreground and stuff. A vertical works really well. [01:50:54] Speaker B: Yeah. And some really nice comments in the chat. Rodney said, neat composition. David Skinner, very good, Jamie. And then Rodney again. I like what he's thinking. [01:51:08] Speaker A: Yeah. [01:51:08] Speaker B: And then. Yeah, followed up with. Yep, took a bunch of different shutters and these were my favorites. [01:51:13] Speaker A: Nice work. That's. That's exactly how I usually do it. Yeah, just keep trying. They're like, Yep, I like that one. [01:51:21] Speaker B: Great work indeed. All right, Better up. Nev Clark, He sent me this one the other day. That's. Yeah, that is a dang shot. Sometimes in life you just happen to be in the right place at the right time. This was not a planned shoot. I was driving to Perth, which is a five hour drive in Western Australia and I stopped for a coffee and I happened to have my Q3 in the front seat. Good man. Always do. Which is where it lives when I Travel. This is Mount Barker in Western Australia. Shot on the Leica Q3. 43 ISO 100F9, 1,500th of a second. [01:52:01] Speaker A: Nice. Very nice. Good use of that 43. [01:52:06] Speaker B: Yeah. Nice. Interesting compression. [01:52:09] Speaker A: Did you also have the. The regular Q3 on the. On the front seat? Like, do you have them both ready to go? I know you've got both, or do you just. Do you prefer the 43 as your, like, you know, passenger seat ready to go? Camera. It's very interesting. Dennis Smith leans into the screen. Great exposure control. Yeah, that's what I was looking at, too. I think I went forward too, because you just sort of want to see, like, how the highlights have been handled in such a strong scene like that. Anytime you're pointing towards the sun, it's really, really tough to not just have everything just get blasted and it's been really well done. [01:52:52] Speaker B: Yeah, it's a great shot. [01:52:56] Speaker A: Yep. Yeah. Very, very cool. [01:53:03] Speaker B: Nice work, Neville. [01:53:05] Speaker A: Oh, tweak. Production says I'm a chick. By the way, Jim messed that up last week, too. Don't worry, I'm used to it. I can't. Was it me or Craig? I don't even know. [01:53:16] Speaker B: I don't know. Sorry. [01:53:19] Speaker A: Sorry. We're. I don't know. [01:53:21] Speaker B: Yeah. This is why we need to have a gender reveal party for every person that watches the podcast. I want to see pink and blue balloons and everything else blowing up all over the place. [01:53:29] Speaker A: Let's just do a full episode with balloons. [01:53:32] Speaker B: Yeah, more balloons. David. Mascara is up next. One image. Hi, guys. This is Mickey Jay. Okay, there's Mickey. I met him years ago in a town called Paso Robles, about three and a half hours south of San Francisco. He was a homeless veteran that lived behind a liquor store my aunt has owned since 1998. He came with the store, as my aunt put it. Someone working for Veteran affairs approached her one day asking if she knew of any veterans on the streets. She introduced him to Mickey. He eventually got living assistance from the va, but sadly died of throat cancer shortly after. Apparently he was well liked by everyone in the community. And my aunt even has this portrait and a small tribute to him in her store. This was taken back in my D810 days. Once again, like the photo of Preacher. I'm glad I took this photo. Take care, guys. A lovely story. [01:54:29] Speaker A: Cracking. Beautiful photo. [01:54:31] Speaker B: Yeah, just. [01:54:35] Speaker A: Yeah, really well framed with that, like, just clipping into the top of the hairline because the hair frames a face. That awesome beard. [01:54:44] Speaker B: And yeah, just the look in the eyes and the. The weather beaten face. Like just there's so much going on there. [01:54:51] Speaker A: Yeah, Epic. Epic hair and facial hair. Yeah, that man's. Yeah. What a, what a character and what a shot. David, great work taking the image, you know, like doing it. [01:55:06] Speaker B: Yeah, yeah. And choosing that, that moment. Yeah, that look. Yeah. Really powerful. Timeless, Beautiful. Up next is the prolific Mr. Smith. [01:55:26] Speaker A: Dennis, hold on one second, let me just cue him up. Yeah, lots of nice comments there too, about David's image. Everyone's keen. All right, Dennis. Dennis Smith. [01:55:42] Speaker B: Dennis Smith. Hi. Legends. Here is a cool thing. I'm going to use very few words, please. If the images numbers are high, you can pass. No, we're not going to pass. We're going to look at them. We did last minute shoot at the track on this trip. Made lots of portraits to get used to the light at the track. Wide shot for context. We had two high res cameras up on the picker. So like a cherry picker. And there's a behind the scenes shot included. We had a large screen on set so that the client and visitors could see. These shots were a single exposure. It was stupidly hot every night. Oh, this would have been in Dubai. [01:56:20] Speaker A: I think I remember seeing like when this. Was this only a couple of years ago? [01:56:26] Speaker B: Yeah, I think it was in Dubai. Was this in Dubai, Dan, 18 months ago? [01:56:30] Speaker A: Yeah. [01:56:31] Speaker B: Yeah, it was stupidly hot every night. And we started when the sun went down and stopped when the sun came up. It was wild process. Light the entire car by hand, light the person by hand and then add the blade, which is the color swirly bits. Jeddah. It was in Jeddah, he said. And there's also a behind the scenes video, but I don't think he included it with this batch. We'll have to have a look at that another day. Or you can go to. [01:57:00] Speaker A: Yeah, go to School of light on YouTube. It'll be there for sure. What it's called. I don't know, I would guess maybe wild F1 light painting in Jeddah. Try Googling that. Or Dennis Smith F1 light painting. Or I don't know, surely it'll be there. But it'll be on School of Light. I'm positive. [01:57:24] Speaker B: Yeah. Wow, that's gorgeous. Yeah, it's on his YouTube channel, School of Light. [01:57:34] Speaker A: Look at, look at what a good. You can like, you can tell how dark it is by the. Just that. Yeah, just that screen grab graininess, digital noise. That's awesome. Can't believe you had a cherry picker. [01:57:53] Speaker B: No, I can. [01:57:54] Speaker A: Yeah. Well, that's true. [01:57:56] Speaker B: Julie Powell's off to bed, everyone. No, no, Julie Yeah, thanks for jumping on. [01:58:00] Speaker A: We're close to it. [01:58:01] Speaker B: This. [01:58:02] Speaker A: This puppy's been waking me up at 4am so it was 3:50 this morning. [01:58:08] Speaker B: Poor you with a puppy in your face. [01:58:12] Speaker A: All right. [01:58:13] Speaker B: Up next is Maya Hall. Hey, Justin, Greg and Camera Life viewers. Welcome back, Justin. We are looking forward to hearing about and seeing evidence. Oh, they want evidence, Jay, of your adventures. I haven't been on safari. I haven't been on safari in Africa. But John and I did visit Luna park recently. [01:58:31] Speaker A: That's close. [01:58:32] Speaker B: What time of day you go? I find trying to capture the rides a good test of reflexes. Thinking quickly, looking as inconspicuous as possible so people don't get the wrong idea. I struggle with editing, but this didn't need much. Look at that. [01:58:48] Speaker A: The fact that there's only one, like there's one person is what makes me love this shot. [01:58:55] Speaker B: Hang on. Is that John Hall? Did she send John up there so she could get this photo? This was shot on Nikon Z6 Mark III with 120 mil. At 120 mil with the Nikon Z24 to 120 F8 1 4000th just to freeze it perfectly. And ISO 6400 kind of guards Maya Hall. [01:59:17] Speaker A: Yeah, just cracking shot. One. One person there. It's just. I don't know, it's a little in my mind because it's been framed the way it is. This is like an empty ride. The whole ride's empty and he's just on there by himself. Like either he's been led into the. The park alone or something or like, you know, to end of the world. And he's fired this machine up himself because he wanted to go on a ride. You know, like there's all these stories that you can make up about why he's on this thing just alone by himself. [01:59:49] Speaker B: And I love the cropping. The square crop in time really accentuates the curves. And it also helps you to see the V in his legs as well as the V in the structure behind. [02:00:00] Speaker A: Yeah. Yeah. Really cool. Really cool choice of everything in that shot. [02:00:08] Speaker B: Maya said that there were a few groups, but I missed the feat. It was not empty. Yeah. Well done. [02:00:15] Speaker A: I think this is. Yeah, this is a great. A great shot. A great choice. Yeah. Really, really cool. [02:00:27] Speaker B: Nice. And then I bet we had John Hall. [02:00:30] Speaker A: John Hall. Before we do, Jim just sent me a photo. So I actually, I forgot to tell you on the. I had a busy weekend. I had a shoot with Jim on the weekend. [02:00:40] Speaker B: Was that for the wedding? [02:00:41] Speaker A: Yeah. So he was shooting a wedding and I was shooting for the wedding venue, doing marketing images for the wedding venue. And so we. Yeah, he. Hang on. Will this focus? It's not gonna. It's too bright. Why did it do that? It's because the light. You turn the brightness down because the light's pointing on it. It thinks it's really bright outside. But yeah, we got in the photo booth. [02:01:07] Speaker B: Oh, nice. [02:01:09] Speaker A: It's auto making it brighter. Cause the stupid. Anyway, yeah, so he just sent that through. He must be editing the photos. That's cool. He said he's threatening to put it on social media and be like, we're back. Justin's doing weddings again. [02:01:27] Speaker B: Back into it. [02:01:28] Speaker A: Wrote me back into it. All right. Sorry. Johnson. [02:01:32] Speaker B: No Philip Johnson next. Sorry, not John. John's last. Let's do Philip single image. Greetings, Greg and Justin living in the Blue Mountains on the edge of the World Heritage area. Why don't you rub it in, Philip? Honestly. Our location is subject to all weather conditions, including snow and fog. Philip has been posting his local weather forecast every morning and I've been taking great delight at seeing how cold it actually gets up there. It's amazing. This image was captured at Govett's Leap Lookout for trivia. The leap is Scottish for waterfall. The lookout has a view to die for. Looking down on the Gross Valley. I can sit at this view for ages as the light travels through the valley. In this image, there was a wonderful fog in the valley and climbing the cliffs. Almost alive. Oh, yeah. Like it's sweeping up. Shot with an A7 4 with Sony. There's that shopping trolley. [02:02:28] Speaker A: Yeah. So it keeps going back to the shopping trolley. [02:02:32] Speaker B: Sony 70 to 202.8. Mach 2 process in Photoshop and Topaz. [02:02:41] Speaker A: You get to see some beautiful, beautiful stuff. And I'm glad that you photograph it to show us. [02:02:48] Speaker B: Yeah. [02:02:49] Speaker A: Because that's just. I need to get up to that area and explore. This is beautiful. [02:02:56] Speaker B: Yep. Yeah, it's amazing. [02:03:03] Speaker A: Yeah. Thank you for constantly sending in different captures from your area that all have different feels and some of them are tree bark and then some of the most widest grand vistas and stitched panos and things. [02:03:21] Speaker B: Yeah, yeah. And it's nice seeing it from a local's eye. [02:03:26] Speaker A: Exactly. [02:03:27] Speaker B: You know, I think that's. That says a lot about an image, about your knowledge of it and your. Your connection with that place. I think it's really important. [02:03:35] Speaker A: Yeah. [02:03:37] Speaker B: But, yeah. Beautiful, beautiful photo, mate. [02:03:41] Speaker A: Epic. [02:03:42] Speaker B: Lucky last. [02:03:44] Speaker A: Lucky last. [02:03:45] Speaker B: It's John Hall. [02:03:49] Speaker A: Where is John Hall? [02:03:50] Speaker B: There Bunny, Mitchell. Hi, Justin, Greg and everyone. Welcome back, Justin. Nothing as exotic as African safaris happening here, but we did go for a walk around Luna park and Milson's Point after work a couple of Fridays ago. Luna park is an interesting place to photograph once the sun goes down, especially in winter as there aren't as many people around. An added bonus is most of the children have left, so an old bloke wandering around with the camera doesn't look as creepy. I thought. This image of a lone figure standing outside the cafe and the Helter Skelter sitting empty with half its lights not working nicely, summed up the air of faded grandeur. The place has definitely seen better days. This was shot with the Nikon Z63. A 24-120 F4s at 30mil F5, 1/50 of a second. ISO 218 black mist filter. Well done. Nicely used. This is when you use a blackness filter, you get those nice light blooms. [02:04:50] Speaker A: Yes. I've never really. I've never tried one. I am. I am gonna buy a Nissi kit, mainly for the variable nds and cpls. I use my circular polarizer a lot in Africa, actually, so I need to get. I need to get a proper, like, one that's faster to attach and detach. And they do have, like, the black mist and all that sort of stuff for those, but I've never really used one. [02:05:17] Speaker B: So I've got a Nissi black mist for one of my Fuji primes. I think it's for the 23. It's only like. It's tiny. It's like either a 39 or a 49 mil filter thread. Not like what you'd be using. [02:05:32] Speaker A: Well, that's the thing. I need one for my 67s and then one for my 77s, but luckily, even though my kit is quite substantial now compared to what it used to be, they're all consistent. I've got two. Two sizes I need, really. So. [02:05:49] Speaker B: Yeah. [02:05:49] Speaker A: But, yeah, this is a great shot. [02:05:51] Speaker B: Yeah, it's amazing. I love it. [02:05:53] Speaker A: Yeah. And it is. It's very, like. Yeah. Seen better dreamscapes. [02:05:58] Speaker B: Yeah. But it's also the dreamscape. Like, it's. It's almost like this derelict park is suddenly lit up, you know? [02:06:07] Speaker A: Yeah. Like you wandered in there and then the lights turned on. [02:06:09] Speaker B: Yeah. And the carny music plays and the. Yeah, all of that starts happening. It's like there's a surrealism to it. [02:06:16] Speaker A: Yeah. [02:06:20] Speaker B: Yeah. Lucinda loves a good black mist. [02:06:23] Speaker A: Yeah. I need to. But I need Two of those, I need two of those NISSI kits. It is a bit California, Rodney. You're right. It's got a bit of that vibe. I went to the, what's the one? The Venice beach one or whatever and those boardwalks, there's, there's smaller boardwalks. I went to the Santa Cruz boardwalk which is much smaller than like Venice beach. But it's got this same exact same vibe. Most of the lights worked though, so there's that. [02:06:54] Speaker B: Yeah, [02:06:58] Speaker A: Yeah. I need to get some of those NISI filter sets but they're so expensive. [02:07:04] Speaker B: How much is, is like a. Do you mean like the Jet Mag? [02:07:07] Speaker A: Yeah, the Jet Mag ones but they're like 5.99 and that just gets you basically a VND and CPL and, and, and the attachment stuff for one for the like I'll need two sizes of them as well. So I'm like spend over a thousand dollars on filters. I don't know if I could handle that, especially not at the moment. [02:07:32] Speaker B: Well, it depends what you're using them for and what you're going to use them for. [02:07:35] Speaker A: Well, I would use them a lot for video. So they will get used for. [02:07:38] Speaker B: Oh that's true. [02:07:39] Speaker A: Commercial paying jobs. They're not just for like funsies. Yeah, but it's a lot, it's a lot of money. Maybe if, maybe Nissi could, you know. [02:07:49] Speaker B: Yeah. Sponsor. Yeah, we can, we can say some nice words about Nissi if they send you some. [02:07:55] Speaker A: We get a handful of viewers on most shows and we promise we'll only forget to mention you as a sponsor every now and then. Yeah, we won't forget every episode. [02:08:06] Speaker B: Yeah, no, not every episode. No. Although you know, it's beef up in two months. You can just hold your horses. They might have a good deal. [02:08:14] Speaker A: I might win. I might win one. [02:08:16] Speaker B: You might win one. [02:08:16] Speaker A: They give away so much stuff there. [02:08:18] Speaker B: They do. Yeah, yeah, yeah, yeah. [02:08:22] Speaker A: Oh hey. Hey Tristan. What's up? Good to see you. [02:08:27] Speaker B: Welcome to the party everyone. [02:08:29] Speaker A: Is that pretty much the show? Are we done? [02:08:32] Speaker B: Yeah, we've covered all the news. Oh yours, yours. Oh mine. We didn't. [02:08:39] Speaker A: Do you want to have a quick look? [02:08:41] Speaker B: Yeah, let's, let's bring up, let's bring up a few slides. So two things happened for me on the weekend which both were amazing. The first one was on the Friday morning I joined Craig W. For his photography walks for well being great turnout. You know, I'm just amazingly interesting photographers. And Craig set this crazy challenge. He sets a challenge every time he does this once a month and it's the first Friday of every month. First Friday, would it be. Yeah, it would have been the first Friday of August. And he'll set a challenge. He'll just give you a theme. But this time the theme was the five senses. You had to somehow photograph the five senses. [02:09:21] Speaker A: Oh, that's a tricky one, isn't it? [02:09:24] Speaker B: Yeah, but it's clever, right? [02:09:25] Speaker A: It is clever, but tricky. [02:09:29] Speaker B: And I. I got four of the five. I didn't get Smell. I got the others. And I haven't put them all in this series. This is just some of the images that I really liked. But then afterwards, and I was leaving, this beautiful light fell on Southern Cross, because that's where we all met. The light there was just gorgeous all morning. And this was shot with my X70. But, yeah, really happy with this shot. [02:09:54] Speaker A: Yeah. [02:09:54] Speaker B: And. [02:09:54] Speaker A: Yeah, just awesome. [02:09:56] Speaker B: Just a. Just a bunch of. [02:09:58] Speaker A: And this still x70. [02:10:00] Speaker B: No, the rest of these are the X. What did I take? XE5 with the. I think I have the 27. 2.8. I don't think I put the 1.4 on. So you're just a 40 mil equivalent. But just the light was just phenomenal. [02:10:30] Speaker A: Yeah. [02:10:31] Speaker B: This is one of my favorite shots. [02:10:33] Speaker A: I like that one. There's. So there's no. Is there no one else in it? [02:10:37] Speaker B: That's just him. [02:10:38] Speaker A: Just him. Like, the whole way back is empty. [02:10:41] Speaker B: Yeah. But I just love all the lines that lead into that center point. All the shadow lines, the framework of the building, the frames of the window, shadows across the floor. They all kind of spider in, like a web into that middle bit. That guy's just sitting there sucking on a. On a yogurt thing. [02:11:00] Speaker A: On a yogurt thing. [02:11:02] Speaker B: Yeah. Like a little bit like a protein pouch or something. [02:11:04] Speaker A: I don't know. It's funny because I didn't zoom in, and the size that I've got on the screen is about the same size that's coming up on YouTube. I usually do that. So I have a better idea of what I'm like, what you guys are seeing. [02:11:15] Speaker B: Yeah. [02:11:16] Speaker A: But I just assumed, because it was Melbourne, that it was a coffee. He would obviously be drinking some sort of really nice coffee if he's in Melbourne. [02:11:25] Speaker B: Well, he should be, but he's probably from out of town, so. And then this was one that I took on my photo workshop. I was showing the guys, you know, how to use light traps. So this was in the laneway that runs from Bourke Street Mall down beside the New Mecca, or the renovated Mecca Building. And they've created this new laneway that's absolutely gorgeous, and it's got beautiful light that falls in it, and it's a really nice thoroughfare. And so you get people that kind of come out of the shadow into these light traps. And I was showing the guys how to predict where the hero of your shot's going to be by working out where the light is. And you want them to fall into the light. And sometimes they do and sometimes they don't. [02:12:08] Speaker A: Are these the same sort of light traps that Rey and Egon used in Ghostbusters? [02:12:16] Speaker B: Similar in theory, I guess. Yeah. But maybe not in practice. [02:12:22] Speaker A: No. I like that. It's good terminology to. In your mind, to. Because we. We know how to see that. Once you've learned how to see it, you know it. But giving it a name makes it very descriptive about you're looking for this point location in the frame that's going to be like, the spot. And calling it a light trap is almost. Yeah, it sort of gives it this, like, all right, we've got to try and get them into the light trap. We've got to get them as they pass through it. And there's. There's this moment when it's going to work, and then before and after it probably won't work. This is the. [02:12:56] Speaker B: It's a fraction. Fraction of a second that. That slither of light was quite fine, but. But yeah, you know, and like, probably 70, at least 75% of my street photography is about finding the light, building the composition, waiting for the hero to show up. You know, I don't go chasing the subject. I. I look for the light first and then let the rest fall into it. So. Yeah, just some. [02:13:28] Speaker A: I like that last one, too. [02:13:30] Speaker B: Yeah, I was happy with that one. [02:13:31] Speaker A: Oh, the phones and stuff. I don't know. Most of the time I would really try and avoid, like, having people on their phone, but in this particular one, because of the subject in the background, it really, I think, kind of works. [02:13:44] Speaker B: Yeah. [02:13:45] Speaker A: You know what I mean? You must find that all the time that, like, you're looking for a hero and you don't really want them to be on their phone. [02:13:53] Speaker B: Yeah. [02:13:53] Speaker A: I mean, unless it works. [02:13:55] Speaker B: Yeah. It just depends. Like, you know, sometimes you'll. You'll walk into a scene and everybody is standing still and they're on their phone, particularly at train platforms and things like that. Bus stops, tram stops. [02:14:06] Speaker A: Of course. Yeah. [02:14:07] Speaker B: Everyone's just parked. They've just locked themselves into their phone and they lose complete track of what's going on around them. And that can work for street photography in that they're not. They're not at all interested in you and what you're doing. But yeah, it can be frustrating, but sometimes it can work and be a really nice narrative. You've got a bunch of people facing one direction, all staring at their phones, and you've got someone walking from the other direction with headphones on, head held high and a smile on their face. Like that can be a really powerful story. [02:14:36] Speaker A: And that's why this one works, because of the bike. The guy with the bike in the background, head up, smiling, looking straightforward in the light. Like it. And this one, you know. Yeah, it's got a good juxtaposition to be nice, to use a large word. [02:14:50] Speaker B: It's a large. [02:14:52] Speaker A: We do have one more, Paul. I forgot. So Paul emailed last minute, slid in Indiana Jones and I've got it here. So then we'll cap the show off with this. Paul says, hi, Justin and Greg. Whoops. A bit late. Sorry. This is from a photo workshop run by Darren harbor on behalf of the Imperial War Museum at duxford in the UK. Epic place with real working World War II aircraft. And in this case, we had reenactors dressed up in 1940s gear back during the Battle of Britain. The air crew are flying many times a day under immense stress and danger and are absolutely exhausted. Perhaps this portrait captures some of that R5 24 to 105 at f 7.1 39mil1 160/0 of a second. Cheers, Paul. [02:15:50] Speaker B: Yeah, that's amazing. [02:15:51] Speaker A: Very classic. Very like. I can't believe they do that with like dressing everyone up and. [02:15:56] Speaker B: Yeah, that's cool. [02:15:57] Speaker A: That's awesome. How fun. But yeah. Oh, gosh, it's done again. [02:16:04] Speaker B: Where is it? [02:16:05] Speaker A: No. Oh, wait a ruin a moment. I'm gonna have to go back away from Phoenix slides. I said it was so great, but it. It's just been doing weird stuff. Anyway, here we go. We're back. Yeah, I love it. I love that they organize this as a thing that people can attend and take photos and have a dressed up reenactor there. That's so cool. [02:16:29] Speaker B: Yeah, that's very cool. [02:16:31] Speaker A: Yeah, it's like with the grain and. [02:16:33] Speaker B: The ultimate cosplay. [02:16:35] Speaker A: Yeah. Yeah, It's a kind of full plane. Like, here's my costume. Yeah. Epic, epic work. Thanks for sending it in. [02:16:47] Speaker B: Love it. [02:16:50] Speaker A: Very cool. [02:16:51] Speaker B: Yeah. [02:16:52] Speaker A: Tweak. Thought it was a vintage portrait. Legit. [02:16:54] Speaker B: Yeah. It's timeless. It really is. I mean, it's it's obviously setting the time but it, you know, you can't tell when it was taken. Yeah, yeah. Nice work, Paul, as always. It's a very nice. It is a banger, lots of bangers tonight. So just for the folks that are watching and listening along, let's just recap the expectations. Moving or not the expectations, but what we're going to try moving forward with the images. [02:17:22] Speaker A: This is what I. [02:17:24] Speaker B: Yes, everyone take note please. Jay, do you want to just recap the highlights of the. Of what we're going to try moving forward the. [02:17:31] Speaker A: Your images. Yes. If you'd like to send in images, please. [02:17:35] Speaker B: I think I hit my head when I fell over. Sorry I cut you off. Go on. [02:17:41] Speaker A: Email your images to the [email protected] that's the camera [email protected] Send them in. Give us 100 words or less about your photo. Send in one image. We will allow you to have two images. If they're some sort of thing, some sort of question, black and white or color, this crop or that crop. Should I choose this angle or that angle? Something like that. If you have a set of images, a good concise like thing that you've worked on from a series or something, try and cull them down to the best of the best that you've got and send them in as a set. But we can probably only bring up one or two sets a week, we think. So maybe Greg and I'll have to trim down what we've been showing. I don't know. I like showing sets though. I'm more of a set person. I just have to go faster. Anyway, that's what we're thinking because we want to be able to make sure that this show can grow and that more and more people can send in their images, new viewers have can send in their images and then we don't run out of time. Yeah, so that's the plan. But if you have any ideas for us, let us know. Email us the camera [email protected] Speaking of Lucky straps, few need a camera strap. Check ours [email protected] they're beautiful, leather, comfortable, quick release, anti theft, cut resistant, load tested to over 50 kilos, which is much heavier than a 605.6 lens. Yeah, I think that's about it. Anything else? [02:19:16] Speaker B: Yeah, yeah. Don't forget guys, that we do this twice a week. Every Thursday morning at 9am we have a special live show where we interview amazing photographers from Australia and around the world. Last week we had A career photographer in action sports and especially snow sports. John Norris, he joined us for a great chat. That was super fascinating, the sort of work he was doing, especially on film [02:19:42] Speaker A: shooting in such experience on film, [02:19:45] Speaker B: you know, everything is blown out. Yeah. Crazy. And just the way he went about it, the way he made his career work, it was a really interesting story. So you can go back and watch that in its entirety. And then of course, this week at 9am Australian Eastern Standard Time, on the Thursday, we are joined by Aaron Walker. Now, Aaron Walker's he's a beef op instructor, but his creative journey began by literally running away and joining a circus. And these days he is a prominent photographer for artists and he does commercial photography for art, sort of centered brands and businesses. And yeah, he does a lot of performance and event photography for creative folk that like to swing around on. That's all I got. [02:20:29] Speaker A: Running out of words. [02:20:31] Speaker B: But yeah, we got Aaron coming up on Thursday, so make sure you stick around for that. [02:20:36] Speaker A: Yeah. And with that, good night. I gotta go and take my puppy outside and make sure it wees before we go to bed. Tweet Productions. Good night, party people. Always enjoy. Thank you. Thank you for joining us and sending in your photo. Dennis Smith. Lovely night. Thanks heaps. Mid, wide, tight. That's right. Mid wide. No, wide. Mid tide. I was backwards. Wide, mid tight. Every time. Let's repeat, we'll get a T shirt. Shamit Shah. Thank you all. Great show. Thank you. [02:21:04] Speaker B: Thanks. [02:21:04] Speaker A: David Skinner, Philip Johnson. Phil Thompson was here. Paul Sutton was here. Rodney Nicholson. Who else was here? [02:21:14] Speaker B: Dropped in. [02:21:14] Speaker A: Lisa Leach was here. [02:21:16] Speaker B: Billy Power's gone to bed, but Greg [02:21:17] Speaker A: Carrick says smash that like button. Please do give it us a like and a subscribe. Richard Mile, Nev, Clark, Tristan, Lucinda, you're all awesome. We really appreciate it. Hey, if you've got a photography friend, send them the shows, see if they want to join. Tell them to send a photo in at least. [02:21:37] Speaker B: Yeah. [02:21:37] Speaker A: Shabit Shah, John Latimer, Maya Hall. John hall, of course. Who else? Everybody. You're all amazing. If I've missed anyone, I'm sorry. We'll catch you guys next week. Good night, guys.