[00:00:00] Speaker A: Sam.
[00:00:29] Speaker B: Well good everybody and welcome back to the Camera Life podcast. It is Monday 21st September 2026 and we are coming to you live. That's right, we are live. And of course being a Monday night show we've got a lot to get through. We've got some camera news, we've got some lens news, but we're also going to have a look at your images and in case you haven't noticed we are joined by the one and only Jim. Hey mate, how are you?
[00:00:53] Speaker C: Hey, how are you? Greg?
[00:00:55] Speaker A: He's back.
[00:00:55] Speaker B: Okay, he is back. I love your little drop ins. Unannounced just shows up in the studio. It's lovely.
[00:01:03] Speaker C: We should, we should add a, you know down the bottom it says live. Should have live and late probably maybe.
[00:01:10] Speaker A: Hey we're actually, we're only late when you come on.
[00:01:13] Speaker C: Well no, we were on time when you weren't here.
[00:01:18] Speaker B: That's true also. Yeah.
[00:01:19] Speaker A: So it's interesting. I'm not sure whose fault it is.
[00:01:23] Speaker B: Interesting.
And of course obviously Justin's here. Someone has to keep the lights on. G' day boss. How are you?
[00:01:29] Speaker A: I'm good.
[00:01:30] Speaker B: Yesterday was a phenomenal, huge day.
[00:01:32] Speaker A: We podcasted for, we podcasted for what about three and a half, four hours yesterday. Yeah, quite amazing. We won't, we won't rehash it all because it's, it's sort of BFOP exclusive um, kind of material. If you're not going to beef up, you won't care really at all. But it was, it was a fun time. At one point we had 300 live listeners yesterday.
[00:01:53] Speaker B: Yeah, over. Yeah, 300 and I think because we did. So we just, just a very quick recap. We started our live booking, a Beef up booking party at 7 o' clock in the morning or we started about 6:30.
The Go Live for the bookings was meant to happen at 7am and the beef Up Australia website was impacted by a bot attack, some sort of cyber security thing.
So we postponed it. Six o' clock we got back on and it was running slow pm but yeah people were definitely making bookings and it was slowly, slowly filtering through. But yeah, huge, huge night I think
[00:02:32] Speaker A: with the evening one we did. Yeah like two and a half hours we're taking, we're taking live tech support calls on the, on the call in line. It was, we had, yeah, Matt, Nick, Dennis and Julie Powell. Yeah, it was a party. Anyway, enough about that because too many people, all of our international listeners and anyone that missed out on Ticket of Beef up, they're sick of hearing about it. So yeah, no befop talk tonight, I promise.
[00:02:57] Speaker C: What's befor?
[00:02:59] Speaker A: It doesn't matter.
[00:02:59] Speaker B: Exactly.
[00:03:00] Speaker A: It's the bright festival of photography for those of you who are overseas or new to the show. And we're going there, that's why we're excited about it. But tonight it's all about.
What is it all about? It's all about camera news. It's all about your images. Got quite a few images.
[00:03:15] Speaker B: Yeah, we got.
[00:03:15] Speaker A: What else?
[00:03:16] Speaker B: Quite a good. Well, Canon pulled a swifty.
So last week we were talking about the rumored launch and the rumored look of the new R8 Mark 2 and some of those leaked images, which you know, sometimes can be a bit dodgy, sometimes they're mock ups, they're not real.
Revealed a camera that looked a little bit like a Fujifilm XH2S.
It looked a little like a Sony A7. 5. It looked a little like a. Even like a GFX.
[00:03:46] Speaker A: It's a very different design language to any Canon full frame camera.
[00:03:53] Speaker C: Yeah.
[00:03:53] Speaker A: That's ever been out.
[00:03:55] Speaker B: And we even have a clip on. On our socials on the channel.
You and I debating it going now it must be fake. That's not right now that fake mirror box looks too small.
[00:04:05] Speaker A: I said the image looks fake. And I don't think Canon will depart from their entire design language of all of their cameras for just one model. And because it's also. It is retro inspired but it's not like full on retro like the Nikon ZF and all those ones. Yeah, it's like it's kind of just.
It's not different enough that I thought oh, it's kind of. This doesn't seem right. So I put the clip out of me being wrong. Just so everyone knows that I'm not always right.
[00:04:38] Speaker B: Yeah, you're not a bot, you're not AI. You are real.
[00:04:40] Speaker A: No, and also the rumors that we get are the same that everyone else's get. This is just random stuff from the Internet.
[00:04:48] Speaker B: It is, but I don't think it even looks retro. It just looks more like a modern mirrorless camera. Have you seen it?
[00:04:58] Speaker A: So hang on, let me try and where's my.
I'm gonna bring it up now. I should have done it next to the.
Next to the current R8. That would have been smart. Maybe I'll try and get rid of that.
[00:05:10] Speaker B: Oh, we can do that as well.
[00:05:11] Speaker A: So this is it next to the Nikon Z52 R8.2 on the left. Z52. Yeah. Z52 on the right. And you'll remember probably from my cannons, they're usually very, very smooth, that the lines are all curved. Everything's.
[00:05:28] Speaker C: Yeah.
[00:05:29] Speaker A: In comparison, Nikon looks sharper angled than Canon usually. Whereas this looks even boxier and sharper angled than Nikon.
[00:05:39] Speaker B: Yeah.
Yeah.
So this is the new EOS R8 Mark II. It is a full frame 24 megapixel CMOS sensor.
[00:05:48] Speaker C: It.
[00:05:48] Speaker B: It boasts dual pixel CMOS 8 autofocus Mark II. It has 5 axis in body image stabilization, up to 40fps in electronic shutter and can shoot in Canon log 3. There's obviously a whole bunch of other specs there, but they're the core specs. But obviously the big takeaway was that, you know, and this had been rumoured for a while and even some of the mock ups, remember some of the mock ups, they were really retro but stuck with that sort of curvy organic Canon look.
[00:06:15] Speaker D: Yeah.
[00:06:15] Speaker A: There was rumours of a full on retro version, you know, with. With dials and probably silver or something like that. Obviously that wasn't right, but there was some truth in the retro.
Here. Is it next to. So the R82 on the left and the R8 on the right. I probably should have flipped them around just because, you know, ocd.
But you can see the difference there. It's stark, like how. How different the design language is.
[00:06:43] Speaker C: Yeah, it looks kind of like a Nikon.
[00:06:46] Speaker A: That's why I had it next to the R5, the. Sorry, the Z52 because it sort of has way more of that style.
[00:06:53] Speaker B: If you bring up the camera house link, boss, just for the body only and have a look at the top down shot of it. Is there a top down?
Maybe they didn't include one.
[00:07:05] Speaker A: I can find one.
[00:07:07] Speaker C: Yeah.
[00:07:07] Speaker B: Oh yeah, there is one. It's. It's very much got a Sony feel to it.
Ah, I think.
[00:07:15] Speaker A: Anyway, see, let me see the top down.
[00:07:18] Speaker B: I don't think it's on there.
[00:07:19] Speaker A: I'll find a different one.
[00:07:21] Speaker B: Yep.
So body only sort of.
[00:07:25] Speaker C: Yeah.
[00:07:25] Speaker B: 2500 bucks, give or take.
Body Australian. The Australian. Sorry, that's from the camera friends at camera house.
The body with the 24 to 54.5 to 6.3 kit lens, it's just shy of 2860. And there is one accessory that was announced to go with this camera and it's a $170 extension grip that adds about 20 millimeters to the bottom of the camera.
[00:07:55] Speaker A: The. The extension grip. I used to own the Canon rp. The RP was the entry level Full frame when the. So basically they, they announced the OSR that was their first mirrorless full frame camera and then they did the RP and that was like the cheap version.
It was a great camera for the money but it was a fairly average camera compared to the higher spec ones in the way that it handled and performed. But it had a grip extender too and they're like, they don't do anything. They're a dumb grip extender you would call it. No battery, no nothing. But it felt amazing in your hands. It turned it into this really kind of comfortable to hold with a slightly bigger lens or anything like that. And I think this would be very similar. The grip extender looks great for this. I'll see if I can find a photo of that.
[00:08:43] Speaker B: Yeah, there's one on the, there's a camera house link on the running sheet for it.
So that's $170 at retail.
So yeah but I guess you know that that base grip also gives you a little bit more purchase to shoot vertically without sort of having your hand on the back of the screen.
[00:09:04] Speaker A: Yeah, definitely. So the other like the cool stuff. So before we get back to the design language, the. It's got ibis. So now it's, it's the lightest Canon to full frame camera to ever have inbuilt image stabilization.
It's got great video features. It's actually got a joystick for autofocus point selection on the back which is something that used to be reserved for only like mid, mid to pro level sort of bodies and up and it's just trickled further and further down into the range which is really cool.
I think it's going to be an amazing first camera, a first full frame camera for a ton of people I think. Greg, you even said you were going to switch from Fujifilm.
[00:09:43] Speaker B: Well no, that's never going to happen. But you know there's been a couple of cameras that have come out lady that lately that have given me a, a bit of a FOMO over oh maybe, maybe I need a second camera but in a different brand. And I actually looked at the pricing of the R8 Mark II and even looked at some of those smaller pancake full frame lenses like the ones you shoot with should try it would make a great street kit. It's small, it's light, it's full frame, it's fast and there's some great glass.
[00:10:11] Speaker C: But so you know a guy that's got a 50,000 50 mil lenses too you could borrow.
[00:10:17] Speaker B: I could, I could think of the
[00:10:19] Speaker C: reviews you could do but.
[00:10:21] Speaker B: Stop it. Stop. But the other one I'm looking at or keen on is the OM Systems Pen, the new pen camera with a 17 mil prime which is a 35 equivalent.
[00:10:34] Speaker A: What a funny sort of couple of cameras because you're like oh, one you're going even smaller on the sensor than your crop sensors and then the other one you're thinking oh, maybe I'll get a full frame camera.
[00:10:45] Speaker B: Yeah, I can't afford either of them at the moment. But it's just a wish list. Just a.
Always got to keep it out there because you never know when someone might just accidentally leave a $3,000 know in your letterbox.
[00:10:56] Speaker A: You know what I'd like to quickly do is quickly say hi to the chat and then I want to find out from you guys and the chat and from me is Canon gonna bring this design language through their entire full frame range over the next couple of years as they roll out new models. Is this the new Canon or is this a one off and they're only going to do it on this one model?
What do we think? So let us know in the chat. You guys hold your thoughts for a second and I'll quickly go through and see who's been here since the start of the show. Richard. Mail first. Hello everyone. Oh, it's just me. You were you. That was at 6:47. You're a little early.
Philip Johnson.
Feels like it was yesterday we were here. Yes, it was.
[00:11:38] Speaker B: It does feel that way.
[00:11:40] Speaker A: Lucinda's here, Fermi's here. We live again.
John Latimer.
Greg Carrick.
Oh great. Carrick sick. That's not good. Hope you get better.
Chris Nielsen. John Pickett. Yes, definitely. Less stressful evening tonight. Although we. I mean we were fine. We didn't have. But poor Matt and Nick were. That was dressing.
[00:12:00] Speaker B: Yeah. Yeah.
[00:12:02] Speaker A: Nev Clark says everything out west is good. I've just spent four days in Perth. It was fantastic watching the Frio Dockers win and a little bit of street photography.
[00:12:11] Speaker B: Nice.
[00:12:11] Speaker A: Was that was it? I didn't watch the football but apparently it was a controversial game and I think Was it Fremantle versus Hawthorne and apparently there was some very, very controversial calls that that got Hawthorne were the supporters were throwing stuff on the field.
[00:12:26] Speaker B: Yeah, they're throwing at the umpires. I saw a clip of that. They got all frothy.
[00:12:30] Speaker A: Yeah. I think the umpires mates are all
[00:12:32] Speaker C: I've seen this year.
Yeah.
[00:12:35] Speaker A: The word on the street from our 90 year old used to be our neighbour who we went to visit today because she turns 90 tomorrow.
She said the umpires were shit and they made some very bad calls that we could all see were wrong on the. She's like I'm 90 and it was wrong.
It's like I could see it from, from, you know, with my eyes.
[00:12:54] Speaker B: I bet she's watched a few matches in her time. She's got a good, a good backing of experience there. 90 years worth.
[00:13:02] Speaker A: Peter Coulson hey everyone, my new favorite show to edit to. Wow, what are you editing? And also you, you mentioned that you thought the R8 Mark II had a little bit of a sort of a Leica style, which I'll bring it up as a comparison to that to Leica SL's. Their mirror box has that kind of angular shape on the top as well. So. Yeah, who has Canon copied with this and why? Why are we talking about yesterday?
No, no, no.
We'll whip through the rest of the chat. Tintype Man, Rick Nelson, Tim C. Hummus, Bruce Miles here.
[00:13:36] Speaker D: John Hall.
[00:13:37] Speaker A: Three podcasts in two days and a double headed to follow on Thursday when too much camera life is barely enough. Yeah, you have to spend your whole week just watching our show.
Julie Powell.
Can we make a drinking game out of not mentioning? I'm not even going to say what we're not mentioning, but yes we can.
Tintype man sitting here watching ChatGPT, working with DaVinci Resolve, editing three hours of raw data into a 20 minute video with no input from me, giving me time. Listen, hey, if that works, please let me know.
Maybe it can make some podcast clips for us or something. Let me know if it works.
Who else is here? Who else is here? I think that's most of you guys.
Yeah, I'll quickly. I'll go back to that one in a second. Nev Clark's editing Real Estate Photography. Craig Murphy's here. Gosh, you're all. Paul's here.
[00:14:35] Speaker C: Bit late.
[00:14:35] Speaker A: Hi everyone. Now you're never too late.
Felicity Johnson. Howdy everybody.
And Tintype man says it does really work. Now who said back here what it was modeled after? Because I keep forgetting. Rick Nelson. The Canon R8 Mark II is modeled after the Canon T80 film camera. But everyone wanted an AE1 remake. Yeah, that's what everyone sort of was speculating it would be sort of look exactly like an AE1 and that Nikon ZF style body where it's a dedicated retro camera. But this is just a restyled R8 Mark 2. R8 to be a Mark II restyled and added some great Features like Ibis.
And it looks a little bit like the Sony A7 5, which I'll bring up now.
[00:15:21] Speaker B: It looks like a lot of cameras and it's made me realize just how close Fuji, the XH and the XS20 and the XH2s, the Leica SL3s, the Sony A7s and now this R8, they all look, they're all getting very, very close to looking similar. And I know there's lots of little quirky bits that are different, but just at a glance they're all starting to once again adopt this similar shape.
And there's probably a lot behind that, especially when you think about ergonomics and, you know, comfort and handling and all that sort of stuff.
[00:16:01] Speaker A: Does look very similar.
[00:16:03] Speaker C: Yeah, I think it looks modern.
[00:16:06] Speaker A: It does look modern too. So, all right, what do you think? Is Canon gonna go this way for all of their cameras?
Don't all speak at once.
[00:16:17] Speaker C: Sorry. Yeah, yeah, like if they've made a change like that, that's not a full retro kind of feel, then yeah, they're probably.
Well, maybe it's like a test, you know.
[00:16:29] Speaker B: Yeah.
[00:16:29] Speaker C: Do a little sample and on like a camera. Not the same, it doesn't matter. But it's not a big flagship change.
Test the waters on this one and, and they go, okay, that didn't, you know, people didn't want it. Let's quickly change it.
You know, maybe they do a 2.5 if it, if it sucked. But if it gets, if it l people like it, then maybe they'll do
[00:16:49] Speaker B: it across the broad.
[00:16:50] Speaker C: The board.
[00:16:52] Speaker A: What do you think, Greg?
[00:16:54] Speaker B: I, I think they'll, I think they'll stick with it.
You know, I think they'll. Because like I just said, you know, all the other brands are leaning into this kind of squarer, boxier, sleeker looking designs, you know, and one thing I always found with canons when I was shooting Canon in the early days was that the cat, the cameras just felt overly bulbous and airy, like it felt like they were making them bigger and curvier just for the sake of it, but they didn't feel like they had substance in them. They felt a bit, you know, light kind of thing. But granted, I wasn't shooting with pro level DSLRs or anything like that, but yeah, I think this is a really sensible move. It's bringing them in line with some of their competitors and. Yeah, and I think it'll give people a, you know, it'll give people a chance to sort of see Canada's evolving as well, that they're not just. They're not just sticking to the same form over and over and over, that they are actually evolving as the market involves. So, yeah, I think they'll stick with it.
I mean, what would you think, jay? Like an R1 or an R3? Do you think that a, you know, a bigger version of this in a flagship body would work?
[00:18:06] Speaker A: I don't think they should do that if you haven't had your hands on an R1.
The ergonomics of this camera are amazing.
Everything about it is perfect.
And is it. Making that mirror angled is just something that catches when you're putting it in and out of your bag. It just gets in the way.
[00:18:32] Speaker C: It is.
[00:18:33] Speaker A: This is the supercar of cameras.
And to. To give it some angles like it's some old bloody tarana is a bad idea.
[00:18:46] Speaker B: Hey, Tiranas were good in their day.
[00:18:48] Speaker A: This. This thing was designed in a wind tunnel.
This thing is perfect.
[00:18:54] Speaker B: Yeah, but it doesn't need to be.
[00:18:57] Speaker A: Well, you want it to be. You want it to be worse?
[00:19:00] Speaker B: No, it doesn't need to be. To be aerodynamic. You know, that's just a wanky thing that, you know. Well, okay, lonely old wedding photographers say,
[00:19:08] Speaker A: I take your point. But it also doesn't need to look like every other camera that's been designed by someone that only has a ruler and can't do curves with their pencil.
[00:19:16] Speaker B: But then why did they do this with the R8 then? If it is such a powerful shape and form, why didn't they do it?
[00:19:23] Speaker A: I'm worried that they're scared that, you know, they are getting. That they think they're getting left behind in the aesthetics department.
And I think they. Someone sort of scared them into making a change. And I think.
[00:19:37] Speaker C: I don't know.
[00:19:38] Speaker A: I think it's a bad idea. I think. I think we're merely years away from this Canon shape being so uncool that it becomes cool again.
[00:19:48] Speaker C: It does look like an old camera, though.
[00:19:51] Speaker B: It does.
It doesn't look slick, like, like.
[00:19:56] Speaker C: And the ergonomics could still be good if it was.
[00:20:00] Speaker A: I don't think they could be. I don't think they could be better than what it is now by making it squarer.
[00:20:06] Speaker D: I don't know.
[00:20:07] Speaker A: And this is funny because I really want to, like a slight.
And they're super square.
[00:20:12] Speaker B: They're super square up there.
[00:20:13] Speaker A: So I don't know. But let me give you an example of when you take a camera that should have amazing ergonomics like the R1.
Hang on. And then you Squareify parts of it and it just doesn't work. Look at that. Look at that big box on the top of this thing. Look at that huge, big, ugly big box thing.
[00:20:35] Speaker C: I'm right near it almost camera up here and it, it's fine.
[00:20:40] Speaker A: Yeah, it's just.
[00:20:41] Speaker C: And ergonomically it fits beautifully in my hand.
[00:20:44] Speaker A: It's flat and then there's this giant big thing. It's just sticking up.
I don't understand the Z9. And then. So let me just go back just to look at that.
Look at that shape now. Beautiful lines.
[00:21:01] Speaker B: No, you're losing this argument.
Bring up one of the. Bring up a Sony flagship, like an A1 mark. Whatever they're up to.
[00:21:08] Speaker A: Yeah, See, Rick Nelson said, look, it looks, this is the difference. It's like if he went Canon X Cybertruck, Collab.
Here we go. Comment from Martin Bay.
They have used years to iterate the ergonomics of the cameras. Look at the R6 up to R6 mark three small changes. R5 and up small changes.
The R8 mark one is such a nice camera.
Yeah, I don't know.
Look, I know, Tim, the Z9, Z8 and Z9 ergonomics are actually really great. They're a great camera. But I do, I do I sit my R3 next to Jim or my. Or my R5 next to Jim. Z8. My R5 Mark II particularly next to Jim said 8 and mine looks sleek. And to go back to this, let's go back to the R8 and the R8 Mark II. It doesn't. If you had to say which one looks more futuristic, sleeker, like it is a newer product. I think it's the R8.
[00:22:12] Speaker C: The R8 looks like it was made in the 90s.
That's that, that's what it looks like to me now that, now that I've seen the other.
[00:22:22] Speaker A: You're thinking about that because that shape existed in the 90s. I'm talking about from a.
[00:22:27] Speaker B: Now, now he's telling you how to think, Jim. That's. That's a warning. So that's a red flag in any relationship.
Just.
[00:22:34] Speaker A: I like if you could smooth it out. Think about it like cars. If you could smooth those lines out, it would be better.
And that's what it looks like. The R8 has is the R8 Mark II but with smoother lines.
[00:22:46] Speaker B: No, the R8 Mark is the DeLorean and that's an old car.
That's the DeLorean model.
[00:22:54] Speaker C: The R8 looks like an AU Falcon that's got smooth Lines.
[00:23:00] Speaker A: All right, let's. Let's just. Let's bring up the Leica SL3 just to show. Because angular.
If you're gonna do it, you might as well really do it.
[00:23:16] Speaker C: I feel like the straight Ed. The straight tops and stuff do give you a better.
[00:23:22] Speaker A: Better what?
[00:23:22] Speaker C: Use. Just easier to use. I don't know.
[00:23:25] Speaker B: Yeah. See, that's really.
[00:23:27] Speaker C: The angled screens.
[00:23:28] Speaker A: Yeah. This thing's. This thing's beautiful.
[00:23:31] Speaker C: Yeah.
She bought.
[00:23:36] Speaker A: I should or I shouldn't,
[00:23:41] Speaker B: actually. I was. I went into the Leica store on Saturday. So I did a workshop with Paul.
With Paul C. And we. We somehow stumbled into the Leica. The Leica shop and had a little sniff around in there, somehow. Very nice. Somehow.
[00:23:57] Speaker C: Yeah.
[00:23:57] Speaker B: And I was pointing out the. The drool marks that were still on the glass where you were looking at the cameras last time we were there.
[00:24:04] Speaker A: Face up against it.
[00:24:05] Speaker B: Yeah. It's just. I can see you in that imprint.
[00:24:07] Speaker C: Yep.
[00:24:08] Speaker A: Tin Type man says R8 Mark II is an XF Falcon. Jim, R8 is the AU.
Glenn Lavender says it's okay to be wrong. Jim, I like this chat tonight. You guys are awesome.
Craig Murphy says, Olympus EM1X, best body ever. Well, in my opinion, anyway.
Felicity Johnson says Z8 fits beautifully in my hand. They do. They do. For a larger body camera. That's what. That's the benefit of the Z8 being a larger camera is they do fit nice in the hand, but I don't
[00:24:44] Speaker C: think I give it. But it's. It's like a D850 on the, you know, a third of the way in D50. Like the grip and everything's comfortable. This just the top. That's square.
[00:24:57] Speaker A: Yeah. And that's the bit that I think they could smooth out a bit.
[00:25:01] Speaker B: But I think there's a reason why all the other brands have moved away from bulbous organic camera forms. They're all going through this. There's still curves, there's still comfort, there's still ergonomics. They're not going to put out a product with bad ergonomics necessarily. They leave that for OM Systems, but.
Sorry, Craig, but I think they've all gone to this way for a reason.
He's not even listening. He doesn't care. Look, he doesn't want to hear the opposing arguments. No. Doesn't want to hear a thing. Look at you.
[00:25:29] Speaker A: I'm getting.
[00:25:29] Speaker C: Just had a good chat and you missed it.
[00:25:31] Speaker A: Perfect. That's how I like it.
All right, so this is a Canon EOS1N. Look at the beautiful smooth lines.
And then this is a Nikon F5.
[00:25:49] Speaker C: Come on.
[00:25:49] Speaker B: So what's your point? Canon.
[00:25:50] Speaker A: Canon refuses to focus on Nikon, if that's what you're wondering. But, yeah, see, it's got that flat that. That is very like Nikon. Haven't updated their design styling since the F5.
That looks like your camera.
It looks like your camera.
[00:26:06] Speaker C: Okay, I'll give you that. That one does look a bit old.
[00:26:09] Speaker A: Do you think it looks like yours with the flat. It's got the same flat top and then that giant bulb thing.
[00:26:16] Speaker C: Yeah, it's very comfortable. Looks like this.
[00:26:19] Speaker A: This Z5 is an exceptionally comfortable camera to hold.
Is a beautiful camera to hold.
But, yeah, so is this. And this. This has the. The one end has the smooth design styling. I don't know. I do. I think they're gonna follow through with it for the entire new range and roll it out.
I can't see an R1 coming out with that shape. I just can't see it.
[00:26:45] Speaker B: But they don't need to update the R1 for a while yet.
It could be a slow feed.
[00:26:50] Speaker A: Well, I'm just talking about. I'm talking about in the next. So the R1 mark 2, I can't see it being that shape.
But I was wrong about the R8 Mark II, so.
[00:27:02] Speaker B: That's right.
[00:27:04] Speaker D: Yeah.
[00:27:05] Speaker C: Maybe they're watching this show and they're just gauging interest and they're like, oh, nah, cancel all of the new designs, guys.
[00:27:13] Speaker A: Now, I know you were just making a joke then, but I think it is possible. The R8 Mark II is a test to see and if it goes gangbusters, it's possible they would then go, all right, we're going that direction. That is definitely possible.
And because it's a sort of lower, like you said, a lower consequence model to release it in. It's not a flagship. It's not the R5 mark to biggest selling camera ever of Canons, probably.
It's. Yeah, it's sort of one they could take a little bit of a risk on. And yeah, if it sells like crazy, if it becomes a number one selling camera or something like that, they might just change, but I hope they don't.
I think it would be nice if some cameras look different to other cameras in the market. I think that'd be cool.
[00:28:03] Speaker B: Yeah, I get that. I do.
[00:28:07] Speaker D: I don't know.
[00:28:07] Speaker B: I think it's. I think it's a sensible move.
It feels like a modern update to me. That's how I see it. It's bringing it in line with the way. Because as soon as we saw those, especially the top down views, it looked very much like a Sony camera.
When we saw the leaked images that ended up being the real images. I don't know. But you know, I mean, at the end of the day it's just a look, isn't it? It's not. That doesn't describe how your pictures turn out or your shooting experience. I'm sure that this is just as comfortable to use as the original R8.
[00:28:41] Speaker A: People on the Internet that have touched it, who is not me, have all said that feels great.
Yeah, but I haven't, I haven't gone digging deep. I'm sure there's someone that's not happy with the ergonomics or whatever, but most people have said that it feels good in the hand. So it's, it's not like they've taken some sort of backward step by doing it. I just don't like the little, the little angles for putting it in and out of a camera bag.
[00:29:07] Speaker B: Craig Murphy Pearls of wisdom. Justin is sounding like a Land Cruiser. Owners who think there are no other cars or four wheel drives.
[00:29:15] Speaker A: That's not what they think. They just think that all the other ones suck.
Yeah, but also Land Cruisers are pretty boxy, especially like 79 series.
[00:29:26] Speaker D: Yeah.
[00:29:26] Speaker C: Change for decades.
[00:29:28] Speaker A: Yep.
What's this one Handy?
Handy Fritz says everybody knows about Canon's great techniques in the cameras. The whole system is so sophisticated and logical. Most people would care more about third party lenses than the look of their bodies. I would agree with that. If they just left the body the same but allowed Tamron and Sigma to make RF mountain lenses then yeah, they could have done that. But they didn't.
[00:29:54] Speaker B: Yep,
[00:29:57] Speaker C: yep.
[00:29:58] Speaker A: Interesting.
[00:29:59] Speaker B: But like I said, I think it's a, you know, it's priced well. It's got good performance, it's got some really good specs for an entry level full frame Canon camera with an RF mount. It's an attractive option, that's for sure. You know, it's even got this crusty old Fuji shooter. Thinking about it, you know, about maybe having a full frame body. Wouldn't hurt for stuff now and then. Can't believe I'm saying that. See what you guys have done to me?
[00:30:25] Speaker A: You'd love it with a little.
[00:30:27] Speaker B: So happy with my little eight.
[00:30:29] Speaker A: The little 28 mil 2.8 pancake lens.
[00:30:32] Speaker B: Yeah, you'd love that. Yeah, that would be good.
[00:30:38] Speaker A: Rick Nelson says Canon needs to do something to lure Nikon and Sony users. No, they don't. They've still got 45 market share. I think it's actually. It's the other way around. It's.
[00:30:48] Speaker C: It's.
[00:30:48] Speaker A: They're doing fine. They don't really.
[00:30:50] Speaker C: So why would they do that then, with. If they had that market share? Like, not that they.
[00:30:54] Speaker A: No, I don't have a. I do think that, yeah, Rick's probably right. They don't need to, but they. I think they are looking at the other brands thinking, are we getting left behind? Because
[00:31:05] Speaker D: who are the.
[00:31:05] Speaker A: Who are the. What Generation are on TikTok? What are that. What are those called? I forget the names of all the generations. What about the millennials, the Alphas? What is it?
[00:31:13] Speaker B: The Millennials?
[00:31:13] Speaker A: I don't know.
There's gen.
Anyway, whatever those ones are, the new ones, they don't probably don't want to buy a Canon because it doesn't look cool.
And that would be enough for them to not even look at the website. They're just like, nah, what else is there? If Fujifilm, they look cool, you know, and so I think Rick Nelson's probably right in that sense that even though Canon's not losing market share, maybe they're worried that they might start losing market share as the new generation rolls through and goes, I don't want to buy a really refined, great, ergonomic camera that shoots amazingly and is exactly what I need. I want to buy a box that looks cool in TikToks.
Glenn Lavender, creative Photo Workshop says, I don't like the look of my body and neither does anyone else.
Felicity Johnson and FJ40 was my second car. Very boxy.
What do you drive now, Felicity? Something sleeker, maybe with curves.
Rick Nelson, actually.
[00:32:17] Speaker C: What do you drive, Justin?
[00:32:19] Speaker A: It's sprinter van, the big box.
Oh, very much so, Very much so. It's got like this at the front and then it's like that for the rest of it. And that's it.
[00:32:31] Speaker B: Here's a little.
I saw this article today on Petapixel about, you know, who's buying cameras these days, and it's. This is about Fujifilm. Surprise, surprise. But over 70% of users of Fujifilm X series are in their 30s or younger, and of that, about 40% are women.
Yeah. Our main target is the discerning segment with a level of information literacy. So people that are good with tech know how to find answers to things. But yeah, 70, 30s or younger.
Whereas you look at Canon, surely that would be the other end of the spectrum.
[00:33:09] Speaker A: I was about to say that. I wonder what Canon's demographics look like. I know when it Comes to videography, cinematography, that stuff becomes less of an issue and, and people are buying cannons because they look not everyone obviously lots of people use Sony and stuff, but they are a little bit more tech spec oriented when it comes to video. Canon do have a good pedigree of video history, so that's probably less of an issue. I bet you there's tons of young kids with video.
But yeah, I think for stills only it wouldn't surprise me if and particularly female demographic if under 30 is very light on the Canon side of things. Don't know. Interesting to find out.
[00:33:56] Speaker B: Yeah, it'd be good to see a bit of a split.
But look, either way it's another new camera. It's an entry level camera which is great. Get more and more people into photography or those that are looking to upgrade from smartphone or jump across from a point and shoot maybe into something a bit more serious where they can change lenses. The Canon R8 Mark II along with many other cameras. But you know, it's yet another example where that, you know, creates that bridge either into the brand or stepping up from something simpler into, into a full frame system which I think is great.
Yeah, makes it more accessible for everyone no matter how it looks.
Even though it looks better square.
Just saying.
[00:34:38] Speaker A: Bruce Moyle, our cinematography correspondent, says Canon is used more in TV space for video, but not in cinema. I meant. Sorry, Bruce, I meant more like YouTubes, you know, like so like a kid that makes cinematic YouTube videos. Not so much, not so much real cinema.
But I know there is, there's a pretty strong, there's a pretty strong space there for them to compete sort of head to head with Sony on a lot of this stuff. I assume, you know, you've got C400 going against the FX6 I guess. And yeah, C80 gets used a lot for documentary work and that kind of thing. But yeah, it's probably more towards the YouTube end a lot. And TV, I guess, which I didn't realize.
Rick Nelson Younger gen shoppers. I see a Canon G7X3 or Fujifilm. Unless they shoot sports or cars, then they lean to Sony. Oh yeah, yeah, that's true. I could see that.
[00:35:38] Speaker B: Yeah. I do wonder though, you know, we, we've seen some recent stories and we, we've talked about it here on the random photography show from time to time that, you know, Nick, on losing a little bit of market share, they're not neck and neck, they're nowhere near neck and neck with Canon. Canon have a very extensive lead. Sony's the next competitor to Canon and I wonder if.
[00:35:59] Speaker D: Nick.
[00:35:59] Speaker B: Canon no longer sees Nikon as a threat. And so they're moving away from matching those sort of curvy forms against curvy form and now they're trying to maybe draw out some of Sony's market share.
[00:36:10] Speaker A: Sony. Yeah. I, I want to play a game. I don't know because. Jim, do you know what the numbers are?
[00:36:16] Speaker C: No, no idea.
[00:36:17] Speaker A: Have a guess. Canon, Sony, Nikon, Fujifilm. Yeah, so I gave it away with Canon at 45. Nikon, Sony, Fujifilm.
[00:36:26] Speaker C: Is Nikon like 19 or something? 20 lower.
Really?
[00:36:32] Speaker B: Yep.
[00:36:34] Speaker C: 15.
[00:36:36] Speaker B: Keep going.
[00:36:37] Speaker C: 10.
[00:36:39] Speaker B: No. Weren't they about 13%?
[00:36:41] Speaker A: 13? I think. Yeah.
[00:36:42] Speaker C: That's a massive difference.
[00:36:44] Speaker B: Yeah.
[00:36:46] Speaker A: Yes.
[00:36:47] Speaker C: Do you think that that's the slow adaption of good mirrorless cameras?
[00:36:57] Speaker A: There's probably a lot of factors. I think there's probably a lot, a lot of factors. Canon surged ahead for a while with the, with a lot of stuff. The video features of The D mark 2 and 3 and, and stuff like that.
And then yeah, it was, it was sort of a mirrorless race. Canon was super slow to mirrorless, don't forget like can. Canon weren't faster mirrorless either.
[00:37:20] Speaker D: Yeah.
[00:37:21] Speaker C: Okay, so it was a video that.
[00:37:24] Speaker A: I guess so.
[00:37:25] Speaker C: Yeah.
[00:37:25] Speaker A: And, and I think maybe it had a few people swapping from Nikon to Canon when Nikon was stuck a little bit at the like D3s was epic. And then Canon, Canon sort of had more megapixels for a little bit and was, I don't know. It'd be interesting to find out how it's changed over the years.
[00:37:46] Speaker D: Yeah.
[00:37:47] Speaker A: As a, as a market share percentage.
[00:37:49] Speaker B: But
[00:37:52] Speaker C: it's a massive difference though.
[00:37:54] Speaker A: Yeah.
[00:37:54] Speaker B: And I think Sony was like in the 30s and Fujifilm was around like 15%, something like that. Only a little bit above something like that.
[00:38:02] Speaker A: Yeah.
[00:38:02] Speaker B: But you know, it is a couple interesting points just thinking about those numbers is that even though they don't share their lens mount with third party lens manufacturers, Canon are obviously selling a shitload of glass.
You know, if they've got 45 market, 45% market share of the camera body market, well, you can only use their glass with it.
You know, they must be moving and they have been fairly relentless or consistent, I should say, in releasing lenses. You know, they've all those lenses that you, all those new 50s that you've brought just three just in the last 12 months.
[00:38:31] Speaker A: Yes, yes I have.
[00:38:33] Speaker B: You have.
Whereas Nikon have been slower to release new glass.
You know, they haven't, certainly haven't kept Pace with, with Canon when it comes to updating glass or releasing new, new options, it's frustrating.
[00:38:47] Speaker A: John Pickett raises a good point. Canon rules the entry level camera space compared to the others. The R50, R100 and then, yeah, originally those, those like Thousand, whatever they were.
I don't know what were they called?
[00:39:01] Speaker C: Thousand.
[00:39:02] Speaker A: Yeah, yeah. DSLRs and that. The. Back in the day. But yeah, the R50, R100. There's some pretty cheap crop sensor cameras in that range.
But I don't know, it'd be great to get all this data and be able to look at all the, you know, the sales data from all the brands and see what actually sells in what sort of numbers and. Yeah, it'd be crazy.
[00:39:21] Speaker B: Yep.
[00:39:22] Speaker C: Yep.
[00:39:24] Speaker A: All right. Should we push on with the show a little bit?
[00:39:26] Speaker B: Let's push on a little bit. Yeah, I think we've covered. I think we talked about Canon enough. I think we should add Canon to that bad banned word list for a little while.
So sick of hearing it. No, should talk more about Fujifilm.
[00:39:37] Speaker A: Gosh. Bringing up that R1 picture got me excited about the R1. I'm going to borrow one at BFOP. I mean, at that photography festival that we go to again, because I just liked carrying it around.
[00:39:48] Speaker B: Yeah. Yep.
[00:39:49] Speaker A: Oh, should, should I do a quick, quick shout out to our sponsor before we move?
[00:39:53] Speaker B: Let's. Let's talk about our sponsor. I think they deserve some love.
[00:39:57] Speaker A: Yep. This week's sponsor of the Camera Life podcast is Lucky Straps. If you have a camera, you probably need to carry it and it's annoying if you let go and it falls to the ground and smashes. So there is a solution for that and we have it. And that is a beautiful leather camera strap that goes across your body, not around your neck, so it's not pulling on your neck. When you got heavy lenses on, you can just lift it up from your waist and bring it straight up to your iron chute anytime you want. Beautiful, comfortable leather camera straps made in Australia. We use Dyneema webbing that we actually get made in Melbourne spun for us specifically. So it's cut resistant. That's on the ends and that goes through the little things on your camera to use our quick release clips. And our quick release clips allow you to put the camera on and off and leave no dingly dangly dongles on your camera. It's got a safety lock on it so that a thief can't just grab it and steal it. You know, when you're rocking around the Melbourne CBD. And yeah, that's it. Some even our Deluxe 45 has padding inside it and rolled leather edges. So it's just super duper comfortable.
Go Luckystraps.com check it out. You can even put your name on it and personalize it. They're all leather, they're all beautiful and if you do want to buy one, you can use Code Jim or Code Greg or Code Justin, whatever, any of our names and get 15% off. So do that.
[00:41:17] Speaker B: Yeah, cool. Indeed.
Let's move along.
Just a reminder to everyone who is watching or listening along. This is the Camera Life podcast. We do this twice a week, every Monday evening with our random photography show where we talk about industry news, big events, but more importantly, we're going to get around to looking at your images. That's right, you can send in your images and Justin will tell you the email address in a moment because I always get it wrong.
To us. And we will bring them up on a Monday evening. And then of course every Thursday morning we have Our interview show, 9am Australian Eastern Standard Time where we sit down and have a long form live chat with amazing Australian and international photography guests to learn more about their craft. So be sure to subscribe, give us a like, it helps out a lot and if you're new here, say g' day in the chat. Let us know who you are, where you're from, what you like to photograph and let's have a conversation about that.
Just speaking of a Thursday morning last week we were joined by UK born, Sydney based street photographer Phil Austin talking about his craft and also he's also an osteopath and a pain research guy. That's not the right term, pain researcher. Really interesting story. So go back and have a listen to that one. Coming up this Thursday we have Murray Livingston who is a UK based nature photographer, wildlife, landscape and nature. And in fact right now Lisa Leach, one of our, one of our favorite followers is currently on a workshop with him in Scotland but he'll be joining us on Thursday morning. So make sure you tune in for that.
But where do you want to go next, boss? Do you want to have a look at some images?
I think we should do some images, yeah.
[00:42:59] Speaker A: Quick question first. Two quick questions first. John Pickett, do you offer different colored stitching on the straps outside of what's on the website? We can kind of email us and we'll see, depending what you're thinking, it's possible, yeah, yeah, let us know. And Glenn Lavender wants to know whose code has been used the most. Who is most Popular. I don't want to say exactly, because it's still an ongoing tally that will go until the end of time. The game never ends. But if we.
If we were like. And if we were to liken it to the current camera market statistics, I would be Canon, Greg would be Fujifilm, and Jim would be Pentax.
[00:43:38] Speaker C: Okay. I don't know.
[00:43:40] Speaker A: I just checked.
I'm telling you, Greg has overtaken you.
You haven't been on the podcast much.
[00:43:49] Speaker B: You've lost. You've lost your mind.
[00:43:51] Speaker C: I actually think there's a. There's a podcast guest whose code gets used more than everyone's probably can't remember. But yeah, someone.
[00:44:00] Speaker A: All right, so we're going to do some images because you.
[00:44:02] Speaker B: The.
[00:44:03] Speaker A: The images folder isn't in the drive. Unless it is. Doc.
[00:44:07] Speaker C: Oh, Pete mellows.
[00:44:09] Speaker B: Where did I put it? Sorry. I'll get it.
[00:44:12] Speaker D: Hang on.
[00:44:13] Speaker B: My bad.
[00:44:14] Speaker C: I'll send you a photo too.
[00:44:16] Speaker A: Justin, how did you send it to the email address?
[00:44:19] Speaker C: To the email?
[00:44:21] Speaker A: Which one?
[00:44:23] Speaker C: Justin?
[00:44:24] Speaker A: No.
[00:44:24] Speaker C: Is there a new email?
[00:44:26] Speaker A: There is.
[00:44:27] Speaker C: Jim.
[00:44:27] Speaker A: If you want to submit an email to the show, Jim, or anyone that's listening ever listening back later and you're not live, you can send one in for next week. Send your picture to the camera
[email protected] that's the camera
[email protected].
okay, I found Jim.
[00:44:48] Speaker B: Dive in.
And I just dropped the. The folder in the running sheet. Jay.
[00:44:53] Speaker C: Got it.
[00:44:58] Speaker A: Who do you want to do first?
[00:45:00] Speaker B: Let's start with lovely Lucinda Goodwin.
[00:45:08] Speaker A: Done.
[00:45:09] Speaker B: Okay. An image I just finished editing from a show at Brunswick Ballroom.
The stage is probably about 10 cm tall, which means when you were standing, you get some different perspectives from when you were shooting a really tall arena stage.
Pedal steel is such a cool instrument, but it's really hard to shoot on taller stages. As often you can't see hands and loose context and lose context. Sorry.
So I was excited to be able to capture this one over the weekend.
That's all I've got. No settings.
Looking at this image, I'd say That's a Canon R5 Mark II photo. Just guessing.
[00:45:45] Speaker A: Highly likely.
What lens? Did it say what lens it was?
[00:45:49] Speaker B: No, no, nothing.
[00:45:49] Speaker A: No, nothing in it. What lens do you. What focal length do you reckon that would be if you had to take it?
[00:45:54] Speaker B: I think that was.
[00:45:54] Speaker A: Sure.
[00:45:55] Speaker B: It's Brunswick Ballroom. It's not huge, but maybe a 24 to 70 or a 70 to 200 at around 100.
[00:46:02] Speaker A: Oh, interesting. I was going to say.
I was gonna say it's close to like 35.
[00:46:10] Speaker B: Yeah. Look.
What is going.
[00:46:13] Speaker A: I could be wrong.
[00:46:14] Speaker B: Witchcraft.
It's the new 16 to 35.
[00:46:18] Speaker A: Ah, yeah, yeah, yeah. Okay.
But I wonder what, I wonder what focal length it was, but yeah, I don't know. Maybe it's wider than 35. I don't know. I got tricked.
[00:46:27] Speaker B: She must be close.
[00:46:29] Speaker A: My guess was 35.
Very nice. I love the context of the mic stand. That's nice.
[00:46:35] Speaker B: Yeah. And I love the color. The color. I mean, I know lighting does that, but just she's captured at that moment where everyone on the stage is highlighted in red and there's this beautiful bluey purple background. It's lovely.
[00:46:49] Speaker A: Very, very nice. What a great way to start off the show. Thanks, Lucinda.
[00:46:54] Speaker B: All right, up next we have Jason Rogers actually dropped four images in his recent.
[00:47:03] Speaker A: Well, he's been gone. He's been gone for a little while, I think. We haven't seen him for a little while.
[00:47:08] Speaker B: We took. I took these during our recent American trip. Taken with a D7200 and a Tamron 18 to 270.
We've got allocated alligators in New Orleans Bayou. We've got Antelope Canyon and the Brooklyn Bridge.
[00:47:24] Speaker A: Oh, Antelope Canyon.
[00:47:27] Speaker D: Yeah.
[00:47:27] Speaker B: That's amazing.
[00:47:28] Speaker A: I went there, actually. I did go to the poor. The poor man's one. What was it called?
Canyon X. Antelope Canyon X or something. There's three different ones you can go to and they're different levels of popularity because they're slightly different shapes and sizes and things like that. So I wonder which one this was. But. Yeah, that's actually a really nice shot.
[00:47:47] Speaker C: It's a beautiful shot.
[00:47:49] Speaker A: Going up with the layers.
It's actually both easier and harder than you think to get cool photos there.
Like everywhere you look is. Looks really great. And you can get those great Antelope Canyon style photos and stuff, but getting the ones you see where it's like shafts of light coming through and stuff like that is really difficult. Really, really difficult.
[00:48:15] Speaker B: Well, I imagine there's only a small window during the day.
[00:48:19] Speaker A: Exactly.
[00:48:20] Speaker C: Time it with the light. Yeah.
[00:48:22] Speaker A: And there's also. There's people everywhere. Like, you don't get to just go in by yourself, so you sort of gotta. You can't just be like, hey, I'm gonna set up a shot here. Everyone just get out of the way.
So, yeah, it's. It is tricky. This is a great shot.
And then this was the last one. The bridge.
[00:48:37] Speaker B: Yeah, I love this.
Gosh, that's a really good angle too.
[00:48:42] Speaker A: That's a color bridge.
Great work, Jason. I remember you saying you weren't sure, like, what camera gear to take and like what lens to take and all that sort of stuff, but I think you made the right call with that really versatile lens. Was it 18 to 270 or something like that?
[00:48:58] Speaker B: Ah, yes. Yeah, the Tamron.
[00:49:00] Speaker A: Yeah.
[00:49:00] Speaker B: Yep. What a great travel lens, hey.
[00:49:03] Speaker C: Yeah, Very versatile.
[00:49:05] Speaker B: Yeah, very cool.
[00:49:07] Speaker D: Awesome.
[00:49:08] Speaker B: Lovely work, Jason. Thank you.
Let's. Let's have a look at Julie Powell's small collection. Julie sent in four images and just on that, without mentioning any particular festivals, huge shout out to Julie and Dennis for their time yesterday on the Camera Life podcast, both in the morning and then they returned in the evening for part two.
So thank you once again, Julie and Den, for being such amazing team players and, and keeping the chat going. Thank you.
We've got Julie Powell up next.
Hi, guys. My Internet dropped out and I couldn't. Oh, this is from last week. Sorry.
Well, we're talking about the Black Swan with the globe. I remember how last week we couldn't work out because it was blown out
[00:49:52] Speaker A: and in that particular shot it was, it was just didn't. Wasn't immediately noticeable.
[00:49:57] Speaker B: Yeah.
[00:49:58] Speaker A: Because of the location of it as well. But then when we saw it, we're
[00:50:02] Speaker B: like, ah, yeah, but I mean, having seen the original files, seeing it through the Internet through the Internet doesn't. Certainly doesn't do it justice. No, it's much more well defined in, in the original files. Anyway, I hadn't realized you guys mentioned it, how much the globe disappeared when I saw it on the screen. We're talking about last week. It seems to be okay on my monitor. Yes, it's calibrated. Anywho, I did play with some photos and I had some others that I hoped show how it lights up the face. Justin asks why the globe? And Julie responded, Justin, because it's cool.
Aside from that, it is just.
[00:50:37] Speaker A: Good answer.
[00:50:37] Speaker B: So here is it. Here is another take on the Black Swan and the orb.
And so there is.
[00:50:47] Speaker A: Oh, yeah, yeah.
[00:50:48] Speaker B: And then there's body sculpting.
[00:50:51] Speaker A: Yeah.
[00:50:52] Speaker B: So two with the orb and two with the body sculpting.
Yeah, I love that.
[00:50:59] Speaker C: That's very cool.
[00:51:00] Speaker A: That is really cool.
[00:51:05] Speaker B: And that's got really nice motion in it. Like it's just got a nice kind of flow, you know, it's all grounding.
[00:51:11] Speaker C: Very cool.
[00:51:13] Speaker D: Yeah.
[00:51:14] Speaker A: So dark around the. The head with no face or anything like that. It's really.
[00:51:19] Speaker B: Yeah, well, it makes you stop a moment and try to Place it. You know, it makes you try to sort of untangle it all and see where the. Where is the head. And yeah, there's another little comment here from Julia says I ran some fine art workshops on the weekend and we were looking at creative lighting for body sculpting. Most probably can't be shown without getting you in trouble, but I did like this one. We used two strip boxes on constant light and left most of the subjects in shadow. These really are moving into a different direction that I normally shoot. Well, good on you.
But like I said last week, moving into more paired back photos. And all of the above were captured on the Sony A7R V and the Tamron 28 to 75F 2.8.
Nice combo.
[00:52:04] Speaker A: Gotta love a 28 to 70 or 28 to 75. What a great lens.
[00:52:07] Speaker B: Yeah. You do like that, don't you?
[00:52:09] Speaker A: I love it.
[00:52:10] Speaker B: You do.
[00:52:11] Speaker A: Big fan.
[00:52:12] Speaker B: Let's jump into one more image and then we'll. We'll have a look at a little bit of news.
Craig Murphy's up next.
[00:52:20] Speaker A: Craig Murphy.
[00:52:22] Speaker B: Hey, Greg and Justin. Another one from the archives took this a few years ago at Parramatta Speedway, which is no longer with us as a punter. Through the fence.
The cars were 4 to 5 wide coming down the front straight. I was. It was always an epic place to visit. And this was taken with my trusty Olympus E M1 Mark II with a 40-150 Pro lens. ISO 200 shot at 150mm f4, 1/800 of a second
[00:52:51] Speaker A: work through the fence.
[00:52:52] Speaker C: Yeah. And very difficult to shoot.
[00:52:55] Speaker A: Yeah.
[00:52:56] Speaker C: Yeah, they're fast.
[00:53:00] Speaker A: I've never shot.
[00:53:00] Speaker B: The background goes all sort of. Not misty. It's obviously dust and dirt.
It just creates. That helps to. That subject separation between the foreground.
[00:53:10] Speaker C: It's also like exhaust and fuel vapor and. Yeah, they're pretty crazy, those things. Yeah, the.
[00:53:16] Speaker A: The black and white makes it look like a rodeo, but instead of animals, it's. It's race cars.
[00:53:23] Speaker B: Yep.
[00:53:24] Speaker A: Yeah. I've never. I've never shot sprint cars, but that would be fun.
We all. We did one at a wedding. We should have shot one at a wedding. But it was very slow.
Didn't move. No. The bride. And guess who raced it? The bride.
[00:53:39] Speaker B: Oh, wow.
[00:53:40] Speaker A: It was her sprint car. They brought it to the wedding as her wedding car and she drove it down the.
[00:53:45] Speaker C: Like down the driveway, didn't she?
[00:53:47] Speaker A: Yeah. And got it out. So she had to get in. In a dress and everything. It was crazy. We've done some cool weddings.
[00:53:53] Speaker C: Yeah.
[00:53:53] Speaker B: That sounds pretty cool indeed.
Thank you so much for sending that one through, Craig. Well done and looking forward to catching up with you at the aforementioned festival.
Let's jump into some more. Let's jump into some camera news and at the moment what we're going to do is we're going to split it between big news and little news. So a couple of the big news items that came out last week and we'd already mentioned these pre in last week's episode because they'd been rum.
Looked like it was definitely going to happen. But Sony have obviously released the FE 600 mil f 6.3 OSS super telephoto lens and also the 400 mm f 4.5 super telephoto lens. The 400 mil is going to cost you four grand.
So yeah, ouch to that.
And the 600 mil is going to cost you almost six grand.
5,600 without filters. So yeah, that's, that's a big chunk of cash. But it's a, it's a brilliant lens.
There's a lot of reviews out there for it already from the usual mob and you know, it's Sony G Master glass. It's. It's going to be sharp, it's going to be fast.
[00:55:03] Speaker A: How, how big is the guy holding this camera?
Does that look in proportion at all? No, it looks like a lens.
[00:55:12] Speaker B: It looks like he's got a giant head.
[00:55:14] Speaker A: That's the biggest head I've ever seen. Yeah, that's smart from their point of view, it getting a giant to model this lens to try and make it look small.
[00:55:23] Speaker B: That doesn't.
[00:55:24] Speaker A: Something is not computing right with this, with this picture with me.
[00:55:28] Speaker B: Something looks right, doesn't it?
[00:55:31] Speaker A: But I was trying to find it because these are really light and compact for what they are. Like this is the 600.
[00:55:38] Speaker B: So the 600 just. Just shy of a kilo. It's 995 grams. It takes a 95 millimeter filter thread.
I don't have the dimensions on this site, but.
And then 400 is also a 95 mil filter thread and it weighs pretty much the same. 994 grams. Yeah, so.
[00:56:01] Speaker A: So it's 263 millimeters long.
For those of you listening from the States. Sorry, that's. That's the metric system. It's very accurate.
We don't have to do like tenths.
Yeah, it's. Where's my ruler? It's very small.
So that's a 600 mil f 6.3. And you can use it with a telephone With a Teleconverter to get 1200 mil.
[00:56:28] Speaker B: 1200?
[00:56:29] Speaker C: Yeah.
[00:56:30] Speaker A: That's insane.
[00:56:31] Speaker B: Yep.
[00:56:32] Speaker A: Wow. And so 5599.
Well done.
[00:56:36] Speaker B: 600. Yeah, yeah.
[00:56:38] Speaker A: For the, for the, yeah, for the, for the. For this one.
[00:56:41] Speaker B: Yeah.
[00:56:41] Speaker C: It doesn't look right though.
[00:56:42] Speaker B: It doesn't look right.
[00:56:44] Speaker A: He's got. His hands are not.
[00:56:46] Speaker B: His face is so big because the
[00:56:49] Speaker C: front of that's still like. It's 100 mil the front, like so.
[00:56:54] Speaker D: Yeah.
[00:56:54] Speaker C: I even.95 mil, but you know what I mean,
[00:57:01] Speaker D: don't know.
[00:57:03] Speaker C: It looks more even that doesn't look more realistic.
[00:57:07] Speaker A: But it is a very compact lens for the size. I think it's just maybe because we're expecting it to be bigger than it is, but even the body looks small like.
[00:57:16] Speaker B: Yeah.
[00:57:17] Speaker C: And then go back to the work where he's holding it. And then that first bit of that lens looks really long with the green background.
[00:57:24] Speaker A: Sorry, that's got teleconverter on it. They're showing the 2 tons teleconverter.
[00:57:31] Speaker B: But you know, comparing it with their flagship 600 mil, which is an f4 constant f4, which is a GM G master lens, that, that's just shy of 20 grand Australian dollars at the moment.
So this is a significant, significant alternative option for people working on a budget.
Granted it's still a lot of money, but it's, you know, it's a quarter of what the.
But the other one costs.
[00:57:57] Speaker A: Yeah. It's a re. It's reasonable for us normies who are gonna say do some sports or go on a wildlife safari to Africa, for example.
Obviously it's still an expensive lens, don't get me wrong. But there was always.
There was this jump where it's like, hey, I'm gonna spend like three or four grand or I have to spend 20.
Now this is obviously five and a bit, but it's, it's getting you way closer to that. What you're getting really high end optics.
[00:58:25] Speaker B: That 600 with the constant F4. The, the flagship 600, that weighs just over three kilos.
[00:58:32] Speaker A: Yeah.
[00:58:32] Speaker B: So this one's a third of the weight. A quarter, like, you know, almost a quarter of the price. It's. Yeah. Such a good option. Well done. Like you said, well done. Sony. I think it's a clever move.
[00:58:41] Speaker C: Yep.
[00:58:43] Speaker A: To play catch up.
[00:58:45] Speaker B: Yeah. Probably they'll make the lenses square just to you, Jay.
[00:58:50] Speaker A: They'll do a retro 600, weighs 8 kilos and made out of just metal
[00:58:57] Speaker B: and it comes with a wooden handle. Not a, not a Foot.
[00:59:00] Speaker D: Yeah.
[00:59:02] Speaker B: In other news, other Canon news, Canon have also announced that they are releasing their EL5 speed light as a version 2.
New update coming was it now? I think it was announced the same time as as the R8 Mark 2 was launched. This one's going to be a $640 Canon speed light. First party speed light.
So for those of you that like first party products,
[00:59:32] Speaker A: not. Not many now that are using first party speed lights. I don't know, I'll be interested to know who does buy new first party speed light now. Like what sort of buyer that is.
[00:59:42] Speaker B: Well, not normies like you call them. I don't think. I think normies will go like us will go for, you know, other brands, third party brands like especially Godox.
[00:59:51] Speaker A: Jim and I would always have a first party speed light in our kits. Even when we went Godox and had full setups for weddings because they couldn't be beaten for reliability of exposure when shit was changing fast as an on camera ETTL flash, the others just did not perform.
[01:00:11] Speaker C: Would you agree with that?
[01:00:13] Speaker A: Yeah, back then, yep. We always had the SB910s in the bag but it seems to be better now and so without that advantage.
Yeah, when you could just get something that's got a Godox V100 roundhead flash that's got more power, really great magnetic modifier system that are very cheap for what they are and it can trigger other lights or you can pull it off and use it as a light with a trigger. It just anyway, yeah, it's hard.
A first party system.
[01:00:48] Speaker B: Yeah, let us know in the chat. For any of you that do buy speed lights or on camera flash units, do you go first party or do you look for a third party option and if so what brand do you go with? I know Lucinda's already dropped in with.
She uses Godox over first party products. So yeah, let us know in the chat. Interested to find out.
Another the final little bit of Canon news is that Canon have showed off patents yet again. Last week they showed off a couple of patents. This time the patents are for an art both RF mount. One is a 75 to 135 with a constant f 2 and the other one is a 80 to 600 mil f 6 constant f 6.3 is USM lens.
[01:01:33] Speaker A: Interesting.
[01:01:33] Speaker B: The first one, the 75 to 135 is an L series.
What are your thoughts guys on that? On those particular focal distances,
[01:01:43] Speaker A: the 75-135 F2 would have been an amazing prospect prior to Sony releasing the one, the 50 to 150 F2.
[01:01:54] Speaker C: Yeah.
[01:01:56] Speaker A: Now it would be, it would seem not as good obviously because everyone would say, well I'd much rather the 50 to 150 over a 75.
[01:02:04] Speaker C: Bit more. 85.
[01:02:06] Speaker A: But if this thing is significantly lighter and cheaper than that 50 to 150 because that thing is heavy and expensive, this then becomes a really good prospect because it covers you down from that, you know, 85 mil portrait up to 135. It's a really useful range that people often cover with prime lenses.
I think it would be perfect if it mean it has to be though if it's the same weight and the same price as Sony's 50 to 150 then it's, it's just going to look stupid in the market. So who knows?
[01:02:41] Speaker B: Yeah. So the Sony 51501340 gram lens, in terms of weight, it's a $5500.
[01:02:51] Speaker A: Yeah. So. So if this thing was like 4, 4 grand and 900 grams or something or even, or even like just over a kilo instead of being 1.3. Like if it was just 1.05 or 1. Yeah.
[01:03:03] Speaker C: I don't know.
[01:03:04] Speaker B: Yeah.
[01:03:04] Speaker A: Then maybe it's a prospect that people would be like, oh yeah, that's cool. But if it's. Yeah, it really depends. Not that people are going to jump from one system to another because of this lens, but it's, it's like death by a thousand cuts. It's things like that that over time will make someone change systems. If there's like, oh, this lens is better and this camera body's got a thing that I want and this is better and that's better. And then eventually or either they change or someone says what should I buy? And they say, well if I had my time again I would get this stuff.
And that's the risk you take if you release a lens that's already behind the market.
[01:03:44] Speaker B: Yeah.
Interesting though, the 75 to 135 is, you know, it's an appealing option, that's for sure.
[01:03:51] Speaker A: For wedding photography. Awesome.
[01:03:53] Speaker B: And especially with a constant F2, like that's just crazy.
[01:03:57] Speaker A: Yeah. But also, I mean it, that's, I mean constant F2 is, is something special. But you know, you. Jim's got that. What's your Tamron lens?
[01:04:06] Speaker C: 35 to 150.
[01:04:08] Speaker A: Yeah. But it's, it's f2 but closes down to 2.82 to 2.8.
[01:04:14] Speaker B: That's still.
[01:04:15] Speaker A: It's what?
[01:04:17] Speaker C: No, I don't like it.
[01:04:18] Speaker A: Oh, shots Fire. Tell us why.
[01:04:21] Speaker C: Yeah, it's low contrast. I know I talked it up a lot when I got it, but I find it to be low contrast, especially when shooting backlit subjects, which is unfortunately what isn't required on for me on a wedding day for time and.
[01:04:39] Speaker A: Yeah,
[01:04:41] Speaker C: yeah. To make the most of what. What I've got. So.
[01:04:45] Speaker B: Yeah. And it's a look that you. Well, you both have mastered.
[01:04:49] Speaker A: That's right.
Yeah.
[01:04:51] Speaker B: You know.
Yeah.
[01:04:55] Speaker C: Yeah. Well, yeah. Where we live and where we shoot. Yeah.
[01:04:58] Speaker A: And I. I guess the hard thing is, is with the Nikon stuff that we used, even primes wide open like that, you know the. They just handle flare and backlighting so well with the coatings. I think it. A lot of it's to do with coatings and also obviously just the design of the lens itself but.
And then also I found the same with Canon just handles flaring and stuff really well. And then. Yeah, I do remember Jim telling me and I think you had the same issue with the Sigma 135.
[01:05:30] Speaker C: I did.
[01:05:30] Speaker A: 1.8. You went from. I was using the 105.
Well, you were using. I can't remember.
[01:05:36] Speaker C: You were using it.
[01:05:37] Speaker A: I was using the 105.1.4. And then you decided to go for the 135 1.8 from Sigma and like side by side the difference in contrast and sort of micro contrast with backlit subjects was significant.
[01:05:53] Speaker B: Yeah.
[01:05:53] Speaker A: So.
[01:05:54] Speaker B: Yep, fair enough.
One last little bit of news before we move on to some more images.
There's more news to come, but let's just cover this off. So there's been more rumors around the Nikon Z5 Mark 2C camera.
So the Nikon Z5 Mark 2 is an existing fairly square body camera to stick to that theme.
[01:06:18] Speaker A: Kind of looks very similar to an R8 mark too.
[01:06:21] Speaker B: It looks just like an R8.
But the rumor is that Nikon are working on a C version which will be without an evf.
So it'll be more along the lines of a cine, another compact entry level cine camera, so to speak, I believe.
[01:06:40] Speaker D: Interesting.
[01:06:41] Speaker C: Does that mean it'll be flat on top?
[01:06:44] Speaker A: Yeah, they just cut that thing off, that hump.
[01:06:48] Speaker B: If you look at the linked page on Nick on rumors, they've taken a samurai sword to it with some. Some AI trickery.
Oh no, it's not full frame. Is it? The. The five?
It's not, is it?
[01:07:04] Speaker C: No, it is.
[01:07:05] Speaker B: No, it is full frame. Sorry. It is.
So yeah, that's the latest rumor from Nikon that they're Playing around with this, with another Nikon. Nikon branded semi body, which would be interesting to see, you know, and I wonder what they'll borrow from the, you know, from the zr, whether they'll go with the bigger monitor, the bigger rear LCD in lieu of a evf.
[01:07:32] Speaker C: Yeah. It's funny though, that photo isn't a full frame Nikon that they've chopped.
[01:07:36] Speaker B: No, it's not. Yeah, it's a crop. Yeah. Which is why I second guessed. I went, oh, hang on, maybe it's not full frame. That's a tiny sensor. That's. That's a Fuji sensor.
So, yeah, that's what we're up to with the news. Let's jump into some more images.
[01:07:53] Speaker A: Should we do Jim's image? Just one image?
[01:07:55] Speaker B: Yeah, let's do Jim's.
[01:07:56] Speaker C: Just go, where is it?
[01:07:57] Speaker A: I'm just gonna bring it.
[01:07:58] Speaker B: I got a couple to show as well.
[01:08:00] Speaker A: Yeah, me too.
Been sitting on mine for a few weeks.
How does that work? There we go.
[01:08:06] Speaker C: No,
[01:08:10] Speaker A: why can't I do that?
And that.
There we go, Jim, tell us about it.
[01:08:21] Speaker C: Very good there.
It's a. Well, it's trying to be looked better
[01:08:25] Speaker A: before I brought it up on the screen.
[01:08:28] Speaker C: Yeah.
I had a wedding the other day last weekend and the couple wanted a night sky photo which in a venue with a bucket load of light was difficult.
Took a lot of shots because I've done some shots there before.
I took a lot of test shots just without them in all around the venue and there's a big paddock and stuff and the Milky Way wasn't supposed to be there, but it wasn't popping at all. So there's a lot of. I decided to go for a backup shot. Yeah. With the building. So I actually got that. Venue owner is hiding behind the wine barrels and I'm yelling at her to turn the lights on. The festoon lights on. On and then off. And then I'm firing my. I've got some off camera flash as well. So it was a bit of just guessing to make it kind of work because if I had have left the outdoor lights on, they just would have blown out too much.
[01:09:24] Speaker B: So. Yeah.
[01:09:25] Speaker C: Right.
[01:09:26] Speaker A: So let's, let's break this down for people that may not understand. So you're doing a, an exposure, five second exposure that you've designed to get the first and foremost the night sky, the stars, and, and you can't see them very well on YouTube. I'm going to go in. But they are there on my screen. They're way more visible. Than they are coming through the stream now. Yeah.
So, yeah, there's plenty of stars there. Obviously it's not like you say, it's not an epic.
[01:09:57] Speaker B: There's a faint cloud of the Milky Way there.
[01:10:02] Speaker D: Yeah.
[01:10:03] Speaker C: Look, it's, it's. It wasn't achieve what we needed to achieve.
[01:10:08] Speaker A: Yeah, exactly.
[01:10:09] Speaker C: It's not the perfect night sky photo.
[01:10:11] Speaker A: A beautiful starry shot. But so you've basically, you've. You've exposed for the background being the night sky, essentially. And there would have been a little bit of stuff there, but the venue inside is happening. So the windows would have been bright because there's people inside having a wedding.
[01:10:24] Speaker C: Yeah. And I can't control the doors and the windows.
[01:10:27] Speaker A: No.
[01:10:27] Speaker C: But I can control my light on the couple. Like I've got two flashes on the couple and then the, the. The festoon lights on the building. We turned some other festoon lights off that we couldn't turn on and off in the same spot. It would have been too. Too many people.
[01:10:44] Speaker B: Yeah.
[01:10:45] Speaker A: How long. How long do you reckon the festoons were on for?
[01:10:49] Speaker C: About a second or two.
[01:10:51] Speaker A: Okay.
[01:10:52] Speaker C: And you know, and long enough that it's on and then I say off and then they get turned off sometime after. You know, it's not perfect.
[01:10:59] Speaker B: Yeah, yeah.
[01:11:00] Speaker A: And then when did you fire your flash?
[01:11:03] Speaker C: Just before the end of the exposure. So I counted about four seconds. And then fire the flash. So if you zoom in on his head.
[01:11:11] Speaker A: Hold on, Hang on in hand.
[01:11:14] Speaker C: You'll see that he's. He's slightly moved.
It's more noticeable in him than it is on her. You can sort of see his foreheads.
Yeah, he's just moved a little bit.
[01:11:23] Speaker A: I wonder if I can get in closer. Enhance.
Got a double chin there, Jim.
[01:11:33] Speaker C: That's what was there.
[01:11:35] Speaker A: That's his chin.
People think I'm being me. I'm not being mean to the guy at all. That was a attempt to rile gym up, but it didn't work.
Or maybe it did. Have a look at his face.
I can't see. There's. It's pretty sharp, considering.
[01:11:54] Speaker C: Yeah, it's pretty sharp.
[01:11:55] Speaker A: Yeah. So I don't think there's much movement
[01:11:57] Speaker C: and there was how much light there was around.
[01:11:59] Speaker A: That's right. Because. Yeah, with the more ambient light, the more risk you've got of getting some motion blur on the subjects if they move a little bit. But they'll probably be nice and still for you.
[01:12:10] Speaker C: Yeah, that went pretty good.
I think I only took like maybe five frames and like only a few Test frames. Like it was just a. I think that this is going to work and just hoping for the best, you know with. I've obviously done this enough times, I guess that it was probably going to work.
Get something that was legible.
[01:12:32] Speaker A: Legible.
[01:12:33] Speaker C: Well, you know what I mean? Like it's not the perfect night sky photo but it's.
[01:12:37] Speaker B: No but for what it's for. It works really well.
[01:12:39] Speaker C: Yeah, it's pretty cool. Yeah.
[01:12:41] Speaker A: Yeah, yeah. But also like how, how many times it's like if it's cloudy, you can't even do one at all or.
But yeah, the, the light pollution at venues is. Is generally if, if we have a chance at night sky that was always the biggest issue. They'd usually have some giant floodlight somewhere across the car park that you can't turn off and is just mega strong. And yeah, it was always a drama. So the fact that even wrangles a car lights.
[01:13:09] Speaker C: There's a car like the red on the bottom lane lights. Yeah, I'm assuming. I'm guessing that was a car. Like I don't remember like because we turned the front. We turned the front floodlight off.
So it must be something. Some other light that's out there. I'm guessing it's a car.
[01:13:24] Speaker A: Yeah.
You could get rid of that probably if you really.
[01:13:28] Speaker C: Yeah, probably could have. And I was like I was there.
[01:13:31] Speaker B: There's a comment here from Phil Thompson. Looks good. Jim. What a great idea. And it's. It's come out rather well. That movement on the guy could also be passed off as the ambulance ambient light from the festoons.
[01:13:45] Speaker C: Yeah, I agree.
[01:13:47] Speaker B: Yep. I think it's a great shot.
[01:13:49] Speaker C: Thank you.
[01:13:49] Speaker B: Well done.
[01:13:50] Speaker C: Thanks.
[01:13:52] Speaker B: Very cool.
[01:13:53] Speaker D: Cool.
[01:13:53] Speaker B: Have we got more? Jay from.
[01:13:57] Speaker C: There's other ones but that's the only condo.
[01:14:00] Speaker A: It's the only one you're excited about at the moment.
[01:14:04] Speaker D: Fair enough.
[01:14:04] Speaker C: I got some other stuff to share. Another time.
[01:14:06] Speaker B: Excellent. Cool.
Let's jump into Chris Nielsen's. He's got four images if you want to bring those up, boss.
Hi everyone from the archives. This is a tree in Lake Taupo, New Zealand that is popular with photographers. Sadly, it blew over in a storm two weeks ago. So here are four images from visits I made a few years ago in memory of this wonderful tree. Rest in peace, tree. These were all shot with my dirty old D500.
The image one was shot with a 35 mil F 1.8 10 second exposure at F8.
Image two was also at the 35, but this was a 242 second exposure at F8.
Image three was shot with a 1993 vintage, 70 to 210 at 70 mil for 267 seconds.
Wow, that's amazing. And then the fourth one. The fourth one's the Pano.
This was with an 18 to 55 at 35 mil, 170 seconds at F16.
I wasn't sure I'd send number four. There's something a bit off about it, but I can't put my finger on it. I've tried lots of compositions, black and white conversion, but just can't crack it. Would appreciate any insight. Thanks, Chris. Thank you. Chris.
[01:15:32] Speaker A: Which one was that was. Which one was the question on? Sorry, which one?
[01:15:35] Speaker B: I think the foot. That one.
[01:15:36] Speaker C: Number four.
[01:15:37] Speaker A: The fourth one.
[01:15:38] Speaker C: Yeah. Yeah.
[01:15:40] Speaker A: I do really like the composition. Yeah. I don't know what you could do with the. With the edit, with the treatment.
I guess sometimes, obviously black and white would be. Would be well worth an attempt, but. And then sometimes, yeah, the conditions are just not as favorable. Like this number. Number one. Like, isn't that just beautiful?
[01:15:59] Speaker C: Yeah, yeah. And.
[01:16:01] Speaker A: And yeah, beautiful color.
Great composition. And the trees just popping. But yeah, there's definitely. There's definitely something there in that pano.
[01:16:11] Speaker C: Yeah.
[01:16:12] Speaker A: I love the frame.
[01:16:12] Speaker B: If anything, I would frame it with the tree a little bit more to the right just to get a bit. Just to change the balance a little bit.
And I know we're looking at like a rule of thirds kind of placement, but because the. The base of the tree is the darkest point on the image, it draws your eye in straight away.
So if you move that to the right just a little bit, it might feel a little bit more balanced.
[01:16:34] Speaker C: Maybe.
[01:16:35] Speaker B: That's. That's how I see it.
[01:16:37] Speaker A: Yeah, I don't.
[01:16:37] Speaker B: I see.
[01:16:38] Speaker A: I. I don't mind it where it is. I don't know. I.
I'm not sure.
[01:16:42] Speaker C: You cropped the center of the. The image halfway between the edge of that land mass and the edge of the tree.
I don't know.
Like, would that help with.
[01:16:55] Speaker B: Yeah,
[01:16:58] Speaker C: that's a hard one. It's definitely difficult.
[01:17:03] Speaker A: Yeah. I definitely try some pretty advanced black and white sort of editing to try and bring out.
Bring out the contrast of light and dark in the sky to create a bit more interest through the sky
[01:17:23] Speaker C: and.
[01:17:23] Speaker A: And try and. Yeah, hopefully have a different.
A different level of gray between the water and the sky, that cloud in the sky, so that it's not all quite as similar as it is. I think maybe it's just too much of the same kind of Tone.
[01:17:40] Speaker C: Yeah, like.
[01:17:42] Speaker A: Yeah, potentially even. Bring your white point up a little bit in this edit, but I don't know how far up you could come before it looks unnatural, but you could try that.
[01:17:49] Speaker C: Yeah.
Is the first one for a second, Greg.
[01:17:55] Speaker A: I'm doing the driving.
[01:17:57] Speaker C: Oh, so you're doing the driving. I wonder if. If that's what makes the difference in this one, that the sky is a significantly, like, different tone tonal range to the. To this ocean or the lake. Sorry.
[01:18:09] Speaker A: Yeah, yeah, definitely.
[01:18:11] Speaker B: Great characters. Bring them all.
[01:18:13] Speaker C: Yeah, yeah.
[01:18:14] Speaker A: Just having that light on the tree and on the scene, it's a very different look. I think it could still. And even this one, like you say, this one's got a closer sort of tonal range to the last one, but because the sky doesn't have the dark clouds in it.
[01:18:27] Speaker C: That's what it is.
[01:18:28] Speaker A: A nice split.
[01:18:32] Speaker C: Yeah. But maybe the black and white, you could be on to that. That could.
[01:18:35] Speaker A: I think it'd be worth a shot.
[01:18:37] Speaker C: Yep.
It's a great shot.
[01:18:42] Speaker B: Yeah, it is a great shot.
[01:18:44] Speaker D: Yeah.
[01:18:44] Speaker B: Lovely collection. And see, this is why we do what we do. We photograph what is before it becomes what was. This tree's gone now. No one's ever going to be able to photograph that again. And you've got a great collection, so well done.
[01:18:56] Speaker C: Yep.
[01:18:56] Speaker A: Glenn Lavender says that tree is reportedly a thousand years old.
Was sadly rip.
But, yeah, nice sort of images.
And Phil Thompson says, nice shot. So glad the world has us photographers to record these things before either nature or vandals get to them.
The first one is my choice with that light. Yeah, the first one's just beautiful conditions. Great photo. Well done. But the others are all great, too. And it's awesome that you've got a set of them to memorialize that tree. Chris Nielsen says, thanks, chaps. I'll try black and white.
Oh, no. And Glen Lavender also says, oops, my bad. Different tree. So it's not a thousand years old. We don't know how old this tree is. It's some. Some years.
[01:19:40] Speaker C: Yeah. Or was.
[01:19:42] Speaker A: Okay. All right, who's up next? Let's move along.
[01:19:45] Speaker B: We've got Paul.
He's got three images.
G', day, Greg. Doesn't mention either of you. Here's a couple from Saturday Morning. Thought I'd select the one that met the criteria of my favorite color. The other ones are some dodgy character. I ran into Cheers Paul.
So he's called this blue shot with a 28 millimeter prime on a Canon R5. ISO 1600. 11,000th of a second shutter speed and shot at f8.
So this was during our.
So Paul joined me for a street level photography workshop, which is one of the workshops I run.
And we spent three amazing hours in the city on the weekend on Saturday morning, just. Yeah. Chasing light and looking for different elements that. That create appealing street photography images.
[01:20:36] Speaker C: Some cool kind of lines.
[01:20:38] Speaker A: Yeah.
[01:20:39] Speaker C: Pushing your eye around the image in this one.
[01:20:41] Speaker A: Well, the fact that she looks like she's standing ready to walk across that line like a tightrope.
And then the other lady has the line, the black one, going directly along her eyeline. It's. I think that's the. The element that really sort of makes it more than just the blue theme. Yeah, those lines and stuff.
Yeah, definitely creates more interest.
Yeah, very cool.
[01:21:09] Speaker B: So you've got cool and warm tones in there. You know, like the, the little awning above the. Above that archway is a warmer tone. The characters in blue. The wall at the back that that lady's standing against, the bottom half is sort of a warmer tone.
So there's that nice sort of contrast there, which is what we were looking for.
[01:21:28] Speaker A: Even the, the fact that the lady in the back and the lady in the front, despite being completely different scales, are cropped with that black line at almost exactly the same point on their body. At a bust. At a. Well, a well cropped bust, which is like, you know, chest up, headshot kind of crop.
It's.
[01:21:50] Speaker C: It's. Yeah, it's funny though as well. Like the, the ladies are the very different.
Like, but they're both like. They've both got blue jackets, both got bags, but although the bags are very different, you know, very different hair, but they both got like dark pants, white shoes.
There's like so many similarities with the people, but also such huge differences and
[01:22:12] Speaker B: just the direction they're both facing, you know, they really emphasize. It really makes those lines more powerful, those leading lines.
[01:22:19] Speaker C: Yeah.
[01:22:19] Speaker B: Well done, Paul.
[01:22:20] Speaker C: I think if. I think if the lady in the foreground wasn't looking over her like that far to the right of the back of her head. It's kind of wooden.
[01:22:28] Speaker A: Good.
[01:22:29] Speaker C: No, but I mean it might, it
[01:22:30] Speaker A: might work for different reasons, but yeah, I think that really makes it. That really makes it.
Now, should we have a look at his. What else did he send through? A couple of a dodgy character, he said.
[01:22:39] Speaker B: Oh yeah, some dodgy guy.
[01:22:42] Speaker A: Wow.
[01:22:43] Speaker B: Yeah, look, there's me in my flight suit.
[01:22:45] Speaker C: Mr. Fuji.
[01:22:47] Speaker B: I know that's my. That's part of my default outfit for the dress up night.
[01:22:54] Speaker A: Very Cool. I love the. The one, you know, you've dropped a suspender. You know one.
[01:23:00] Speaker B: You got one showing a bit of boob.
[01:23:03] Speaker C: Yeah.
[01:23:03] Speaker A: You know, very cool. A chromie in the wild.
[01:23:07] Speaker B: It was a good day. It was a really good morning. We had a lot of fun.
[01:23:11] Speaker A: That's fun.
[01:23:13] Speaker C: Yeah.
[01:23:13] Speaker B: Yeah, it was very cool. We had some good chats. We had some great coffee.
It's just a really great morning. Hanging out, hunting light. So, yeah, a lot of fun.
[01:23:22] Speaker A: Awesome. Yeah, very cool. Thanks for sending those in, Paul. Yeah, ones, but also great shot.
[01:23:29] Speaker B: Yeah. Yep.
Well, speaking of Saturday morning, should we bring up some of mine? My few from the same. The same outing?
[01:23:39] Speaker A: Yeah, just give me another folder up.
Go for it.
[01:23:49] Speaker B: Okay. This wasn't the same morning this was the day before. But anyway, this is from my local skate park.
Starting to get, you know, with warmer weather, it gets busier. We get more people showing up. So I'm sort of picking up where I left off before winter and starting to spend more time out there.
Yeah. Just documenting what these guys are doing, which is pretty crazy stuff.
[01:24:12] Speaker C: I really hate to say this, Greg. What.
[01:24:15] Speaker B: What do I do?
[01:24:17] Speaker C: There's some really nice colors there.
[01:24:19] Speaker B: Okay. Yeah, that's my. That's my Tokyo Chrome preset.
[01:24:25] Speaker C: Reminds me of like a skateboard game.
It's like the game's just started and it's about to, you know, like, the video is about to keep moving. Like, it's. It's that.
[01:24:34] Speaker A: Well, yeah, because that. That is the exact angle that you like Tony Hawk's Pro Skater.
[01:24:38] Speaker B: Yeah.
[01:24:38] Speaker A: You would be playing on. Yeah, that's. That is exactly right.
[01:24:41] Speaker C: And like, the colors are kind of. Yeah, no, I like it. Yeah.
[01:24:46] Speaker B: So this was shot with a 23 1.4, so a 35 full frame equivalent. So I was in pretty close.
[01:24:54] Speaker A: I love that you're in close because a lot of your shots aren't as close as this because obviously it's a skate park. You can't just, like, stand in everyone's way. You know what I mean? So it is hard to do.
But I like. I think that's a, you know, pushing into a new realm. This angle, particularly the fact that you can see both feet is very important, I think, for this shot. And you can see the board that could easily get blocked by if on a slightly different angle. You can only see one leg and no board going through the front foot makes a very big difference. You can see both arms. Really important. A little bit of the face if. And then I'm going to give you My one constructive criticism piece.
And Jim already knows what it is. Jim's going to tell you now you've
[01:25:37] Speaker C: cut his fingers off.
Is that it?
[01:25:40] Speaker D: Yeah.
[01:25:40] Speaker A: Yes. That's the nature of the game.
[01:25:43] Speaker B: It is, yeah.
[01:25:43] Speaker A: So this wasn't when he moved.
[01:25:45] Speaker C: He's.
[01:25:45] Speaker B: Yeah, it's his fault.
[01:25:46] Speaker C: He.
[01:25:46] Speaker B: He moved out of there.
[01:25:52] Speaker A: But.
[01:25:53] Speaker B: And that. Yeah. And that's the one thing that bothered me. You know, I've got some other shots of this. Basically the same angle with people doing tricks. It's a really nice spot because. Especially because the background's so interesting. It's such a diverse mix of architecture and shapes and forms and colors.
But I'm just fascinated with what they do with their hands while they're.
While they're mid, you know, tricks and jumps and.
Well, I call it flight because they spend more time off the ground than on the ground.
And I just love what they do with their hands. I love capturing the hands in motion.
Yeah, it's pretty cool.
[01:26:27] Speaker A: Very cool.
[01:26:27] Speaker B: So, yeah, and then just. These are from the Saturday Morning with Paul. Just walking around Melbourne CBD doing our workshop.
Just some interesting characters and scenes around Melbourne.
[01:26:43] Speaker C: So.
[01:26:43] Speaker A: Yeah, I like that one.
[01:26:45] Speaker C: I like that she's cut off in the.
[01:26:47] Speaker A: Yeah, but full on the other side.
[01:26:49] Speaker C: Full length in the reflection, but not in the.
Like, actual. Not reflect. Yeah. Yeah.
[01:26:56] Speaker A: And either would work well for a shot. But the fact that the two of them in the one shot is really cool.
[01:27:02] Speaker C: Yeah.
[01:27:02] Speaker B: And I've got one that was taken a few seconds before that I've done in color, but it's not twisted. So every now and then I'll twist the camera or twist the crop when I'm editing, just to add a little bit of sort of dynamic interest to the frame.
[01:27:15] Speaker C: Normally we would tell you off for not having a straight horizon, but I like it.
[01:27:20] Speaker A: No, not. Not on this angle. This is. This is like. Once you go past, like, a little bit off, then it's like, now we're into cool level, you know.
Yeah, exactly. It's far enough that it's intentional, and I think it works really, really well.
[01:27:34] Speaker B: Thanks, guys.
[01:27:37] Speaker A: Yeah, a little bit of walking action.
[01:27:39] Speaker B: Yeah, a little bit of walking action.
[01:27:41] Speaker C: He's doing the same walk.
He's got the same legs as the.
Like the left leg forward, right leg back.
Yeah.
[01:27:53] Speaker A: Felicity Johnson likes the reflection shot, and she's eager to do one of your workshops, too.
[01:27:58] Speaker B: She is, yeah.
And these are just a couple of lads strolling along. They said, oh, they saw that we're taking photos. Can you take our photo.
And so I took a few shots of them. I don't normally do, like, portraits like this. My stuff is more candid.
Yeah, but, yeah, but they were great, good sports. And I gave them that, you know, my business card and said, hey, I'll be on social media soon enough.
You can check them out, like.
[01:28:23] Speaker A: And subscribe.
[01:28:25] Speaker B: Yeah, I mean, the first half of the morning was a little overcast, which was good.
But then, you know, the second half the sun came out and it was just. It was warm. It was actually quite hot.
Just gorgeous golden light in Melbourne. So, yeah, it was a good morning, a lot of fun.
[01:28:46] Speaker A: Excellent.
[01:28:47] Speaker B: Thank you for sharing those.
[01:28:48] Speaker A: If someone wants to book a workshop with you, where do they go?
[01:28:52] Speaker B: All they need to do is they go to gregchromy Blog, which is my website.
There's two links up in the top menu. One is to go and have a look at all the information about my workshops. And then the second one is to go to a booking page and then that will link you to a tried booking site that I've set up where. And they'll handle all the, you know, the banking and the payments and it's all safe and protected through their system. So, yeah, you can just head to my website and check it out or if anyone's got any questions, they can hit me up on socials or give me a buzz or shoot me an email.
[01:29:27] Speaker A: Awesome.
[01:29:28] Speaker B: Indeed. Thanks.
[01:29:31] Speaker C: Okay.
[01:29:32] Speaker D: All right.
[01:29:34] Speaker B: Who were we up to? We were up to. John Latimer has a single image to share.
I'll start reading. Hey, guys. Hope all is well.
Sorry. Don't worry about that. I fixed that. Last week while away in Sydney, I got to explore more of the mangroves around Olympic Park. So many of you may remember last week there was the. The mangrove shot of the was. It was a little crab crawling across the ground. The crab just had that beautiful little golden light falling on it in between, waiting for tiny crabs to move into the light. It was a bunch of curious fairy wrens between trying not to move quickly to scare off the crabs. So they had to start their slow walk all over again. The wren also jumped between pockets of light. Had such a wonderful evening. Great photos and perfect way to unwind. Thanks again, guys. Have a great week. This was shot with. This was shot with the Sony A7R3 with the 200 to 600 f 6.3 shutter speed. One two thousand.
[01:30:30] Speaker C: Great shot.
[01:30:31] Speaker A: Yeah. I try to work out what's going on with the background. It looks magical.
I don't even understand what it is like The.
That sort of lighter color. Yeah. The foggy texture kind of really soft through the foliage, the trees. It's. Yeah, it looks beautiful. The light's epic on the. On the wren as well. Yeah.
[01:30:54] Speaker B: Great. Can we zoom in on the wren just a little bit?
Sure, we can hang on in.
[01:30:59] Speaker A: Heads.
Is it gonna.
[01:31:03] Speaker C: Yep.
[01:31:03] Speaker A: There we go.
[01:31:05] Speaker B: Yeah. Well done, Cracker.
[01:31:08] Speaker A: Very, very sharp.
[01:31:12] Speaker C: Nice colors too.
Enhanced.
[01:31:14] Speaker B: Yeah. It's gorgeous.
And he's caught it in a good pose too. You know, it's got. It's at a really nice angle. It complements the framing.
[01:31:24] Speaker A: It looks like it's about to go on.
[01:31:26] Speaker C: Yeah.
[01:31:28] Speaker A: It's just a hungry bird.
Yeah. As Felicity Johnston Beautiful colors in the background.
[01:31:35] Speaker C: Yeah.
[01:31:36] Speaker A: Great choice of edit. Well done.
[01:31:40] Speaker B: Up next, we have John Hall.
Evening, all. It was an exciting weekend at our place on Friday. Two new Nikon 50 mil F1.8s lenses turned up. Not one, but two for the Halls.
Then we had the Thrill of the beef. Sorry. The festival booking twice.
The festival booking took us two and a half hours. Two gin and tonics and a couple of glasses of wine. But we got there in the end and we got all our first choices.
[01:32:09] Speaker C: Yeah.
[01:32:09] Speaker B: So you've got to be happy with that. Well done, guys. Well played. Patience was the key.
Unfortunately, though, I was too crook on the weekend to get out and try the new lens.
So here's one I prepared earlier. This one was taken somewhere in the Opera House. Shot with the Nikon Z6 Mark III. The 40 mil F2 at F8.
Is that 2/5 of a second?
One fifth of a second now I say 100. Cheers, John.
I love how abstract.
[01:32:43] Speaker C: What are these?
[01:32:44] Speaker A: Yeah, I can't work out what it is either, but I really like it. It's very, very symmetrical. Very well composed.
[01:32:51] Speaker B: When I first saw this, it reminded me of an X ray. Of like someone's. Yeah, you know, it's got that almost. You know how some X rays you can see through the teeth a little bit. It kind of reminded me of that
[01:33:04] Speaker A: someone's got teeth like this, they. You don't get bit.
[01:33:07] Speaker C: Yeah, no, no. I'm just trying to work out what it is. That's.
[01:33:10] Speaker A: Yeah, architecture.
[01:33:12] Speaker C: Beautiful.
[01:33:13] Speaker A: Yeah, yeah, Great shot. Very abstract.
[01:33:16] Speaker C: Light fall off is. Yeah, very cool.
[01:33:18] Speaker B: Yeah, it's gorgeous.
[01:33:19] Speaker A: Love the black and white.
[01:33:22] Speaker C: More black and whites give him a
[01:33:25] Speaker A: bit of a theme. Wasn't it one of John Hall's images last week? They had the really sort of dark top to the image.
Yeah, that was last week.
[01:33:31] Speaker B: I think it was.
[01:33:32] Speaker A: Yeah.
[01:33:33] Speaker B: Same.
[01:33:33] Speaker A: Same kind of thing. Maybe it's a bit of your style, John.
[01:33:40] Speaker D: Okay.
[01:33:41] Speaker B: All right, let's do one more, then we'll wrap up the news. We've only got a few little bits of news to. To finish up on and then we can finalize the night with the. The remainder of your images. Up next, we've got Greg Carrick with a single image. Hi, boys, girls, cats and dogs. Here's a photo from back in my newspaper days.
And for those of you that don't know.
[01:34:02] Speaker C: Yeah.
[01:34:02] Speaker B: Greg was a photojournalist for many, many a year.
Not all sport is action. Sometimes it's getting the moments that happen throughout the game. I was able to get the reaction of the player while the ump held up the yellow card.
This was shot with a Nikon D5200 with that Tamron 18 to 270. There's another one at 100 mil, 1.500th of a second. F6 and 1100 ISO.
[01:34:31] Speaker A: Yeah, that's, that's so, so good because you could unfortunately have, you know, missed the moment because the cards behind the head or whatever, it's not like you can move quickly in it from the sideline to get a different angle. It's like you get what you get. That's awesome.
[01:34:45] Speaker B: Especially at a distance.
[01:34:47] Speaker A: Yeah.
[01:34:48] Speaker B: But lovely layering with the, you know, like there's one right in the very back, right corner back there. Like there's just. Yeah, there's lots looking to take in here.
[01:34:56] Speaker A: And the hands, because the hands are such a big part of that gesture that's happening because there's a facial expression, but the hands and that you can really clearly see the hand and position like you can.
[01:35:07] Speaker C: And tells the story.
[01:35:08] Speaker A: Oh, yeah, the pub later that would have been. Yeah, the stories at the pub would have been wonderful.
[01:35:14] Speaker C: Yeah.
Yeah.
[01:35:16] Speaker B: That's a great shot, Greg. Thank you for sending it in.
[01:35:18] Speaker C: That's right.
[01:35:19] Speaker A: That's what photography is all about.
[01:35:21] Speaker B: Indeed. Let's finish off the news. A couple of little bits left over here.
I'll run through these very quickly. These are small news items. So Venus Optics have launched yet another lens that this time it's a 35 mil F2.8 one times macro.
So, yeah, yet another quirky little macro lens from the people at Laowa. Fujifilm have dropped another Instax camera. This time it's the pal mark 2.
And this one looks like they've kind of taken a cartoon version of a Fujifilm X100 and turned it into a little pocket Instax camera. So this camera doesn't actually print. It's purely for taking simple shots that you can then send to a Fujifilm Instax printer. Did you want to bring up an image of this one, Jay? Just quickly this one here on the running sheet.
Lapel two.
Yep.
[01:36:19] Speaker C: Huh, interesting.
[01:36:21] Speaker B: So it's got a top, a top lcd.
It's got a whole, whole range of different filters. It's also got some of those eras looks. You remember how they brought out that cine version of the Instax and you could choose a decade different sort of film simulation look. It's got some of the same sort of tech in this one, but this is purely a camera.
It doesn't print. So you've got to also have a Fuji Instax printer. It also comes with its own companion app.
What was that, Jim?
[01:36:52] Speaker C: Oh, the top down. Strange.
[01:36:55] Speaker B: Yeah, it's got these massive dials.
[01:36:57] Speaker A: With this form factor it's.
[01:36:59] Speaker C: Yeah, yeah. And like with. Who's going to use it too?
[01:37:04] Speaker A: Who's going to use.
[01:37:06] Speaker B: Marketed at what, you know, like younger people, 20 year olds.
[01:37:10] Speaker A: Yeah.
[01:37:10] Speaker B: Trying to get people off their phone cameras
[01:37:14] Speaker C: and for people that are used to looking at the back of a screen to be looking and, and for most people that would, I'm guessing that would be this. This is aimed at like to shoot down.
It's hard to do that when you can't see.
[01:37:30] Speaker A: Like I don't know, maybe they're hoping that people will just enjoy a novel shooting experience. Like it feels so different to a phone.
So it's fun. So it's, you know, it's, it's as in because. Yeah, otherwise they might as well just use their phone. So this gives them a completely different feel where they're like, they feel like they're a photographer from the 60s holding their, you know, their waist level viewfinder and being like you're a tiger girl. You know, work it baby.
And it's just a different, you know, it's, it's more, you feel more like a photographer. Even though like Lucinda said, you're a hipster.
Yeah. I don't even think hipsters are even a thing anymore. I don't even know.
[01:38:11] Speaker B: Yeah, I don't know.
[01:38:12] Speaker C: I don't know.
[01:38:13] Speaker B: No one shows up to the meetings anymore, that's for sure.
So these are retailing for 250 bucks. There's a silver and black.
Hey, yeah, my overalls. 250 bucks in the black and silver. Or there's a all white version.
You know, when I first saw this, all I thought of was the X half because it's got the film winder on top.
It just felt very gimmicky.
[01:38:36] Speaker A: But at least this for me. Well, this is priced. It is still. If you compare this to like a Kodak charmer, it's very expensive. But if you compare it to an X half, this is a bargain. So it's, it's at least towards the right end of the market for being gimmicky. You know, it's like, it's probably a little bit on the expensive side for someone to be real gimmicky. But if it's, if it actually takes half reasonable photos, not. Not like the camera doesn't take half reasonable photos.
Yeah. Then I don't know, people have fun with it, hopefully.
[01:39:08] Speaker B: Yeah.
One of the little interesting things they've added to this little camera is that it's got a little put on the bottom, there's a little lever that pushes out a USB C port that you then plug into the bottom of your smartphone. And with the Fuji Instax PAL app, it then instantly downloads the images to your smartphone where you can get them further. And so it just makes it really simple to transfer. Or you can use Bluetooth.
[01:39:33] Speaker A: It's cool that it's built in. It's also cool that it's, it's like a mechanical lever kind of feel. I think that's fun. If it's like, you know, it pushes the little thing out, it's very nice, you know, tactile experience rather than like trying to get Bluetooth to connect. Didn't connect, failed to connect. Trying to connect it again then takes forever for the images to load.
[01:39:52] Speaker B: Yeah, this way you just plug it and off you go.
[01:39:55] Speaker A: Plug and play.
[01:39:56] Speaker B: Yeah.
So that's the Instaxpel 2.
Interesting little article here you might want to bring up just very quickly.
Nikkei, which is a Japanese news outlet, shared data on the state of the sensor business and showed sort of the market share of who's making senses camera sensors at the moment.
So Sony, obviously the biggest by far and their market share continues to increase.
Their. They're pushing out 53%.
Almost 54% of all sensors are being made by Sony. That's a big chunk. The next largest is actually the Hawaii Omnivision Group, which is down to 13.4%. So Sony's lead in sensor technology is absolutely massive compared to the rest of the industry.
[01:40:49] Speaker A: Crazy.
[01:40:49] Speaker B: You know, they, they're really dominating their.
And then the Samsung, there's a couple of other brands, but they're all sort of pushing between 13 and, you know, A few percent compared to Sony. So I just thought that was interesting because we often talk about who's making what sensors and how does that work.
[01:41:07] Speaker A: And Sony's making them all stuff?
[01:41:10] Speaker B: Pretty much, yeah.
In other news. Oh, Panasonic have announced a new Lumix S20 millimeter F 2.5. It's a compact little prime for Leica L mount.
So if you were looking for a, you know, a small little full frame wide or street photography, you know, suitable lens, then this is what you're kind of looking at. It's lightweight, it's tiny and. Yeah.
And finally, Insta360 sells its 10 millionth camera ahead of its opening of its first flagship store in the United States.
[01:41:49] Speaker C: Wow.
[01:41:49] Speaker B: Which would be interesting to see how that does. But yeah, 10 millionth camera. I wonder how many Canon have have made in their time. Or Nikon or Fuji or any of them for that matter.
[01:41:59] Speaker A: I remember when they celebrated a big milestone for their lenses they'd made and I can't remember how many that was, but it was a lot.
[01:42:06] Speaker B: Yeah, but I'm not.
[01:42:07] Speaker A: Yeah, I don't know. It'd be interesting.
Insta360, obviously their price point is lower than a lot of cannons, but they haven't been around very long, so.
Yeah, yeah, that's a lot of cameras.
[01:42:22] Speaker B: Yeah. And I think it's a smart move for them to open a store in the US given that DJI are pretty much disappearing from U S markets because their affiliation with China.
Yeah, very smart move. The one last little bit of news, just a little social media post that someone sent me during the week and it is the.
It's called massive macro on the running sheet. Jay, do you want to bring that up? It's quite funny.
It's a little short video.
[01:42:54] Speaker A: Sorry, it's just trying to log in.
[01:43:01] Speaker D: Done.
[01:43:04] Speaker A: How many extension tubes is that?
[01:43:07] Speaker B: Yes, they're all like macro extension tubes. And he's photographing a. A grain of sand and a grain of rice with this kit.
[01:43:19] Speaker D: It's.
[01:43:19] Speaker A: So he's got extenders as well. So it's 100 mil lens and then extension tube, a 2 by extender, a 1.4 extender. Oh gosh.
And then, and then like 1, 2, 3, 4, 5, 6. I don't know, like 10 macro extension tubes.
[01:43:43] Speaker B: Why not?
[01:43:44] Speaker A: That's nuts.
[01:43:44] Speaker B: Good on him.
[01:43:45] Speaker C: Yep.
[01:43:46] Speaker B: Bit of fun.
And that is the end of the news. The only other thing that I came across, and you guys can find it on Petapixel, is there's a. They've re Released a short documentary called the Eye of Science and it's a Nikon documentary about when they were making lenses. I think back in the 60s or the 70s is when it was filmed. And it's just an interesting look back at that very hands on process they employed back then to manufacture and test camera bodies and lenses and things like that. So worth a look.
I can't remember how long it goes for, but certainly worth something checking out when you've got some time.
But that's the end of the news.
[01:44:29] Speaker A: Shall I do my images now that I've been procrastinating on for the last few weeks?
[01:44:32] Speaker B: Yeah, go on, do it.
[01:44:34] Speaker A: Do you want to see them? It's a big set.
[01:44:37] Speaker B: Yeah, go on.
[01:44:39] Speaker A: Okay, let's do it.
[01:44:40] Speaker B: I want to see your big set like everyone does.
[01:44:43] Speaker A: So you remember a little while ago I showed the images from Johannesburg in South Africa. So I went, got the amazing opportunity to go on trip with Matt Crummons to go see some animals. Wildlife safari. Amazing. If you're going to go to Africa, highly recommend booking a tour with Matt Crummins because we saw more animals than I could have ever imagined. But before the tour started, there was sort of an unofficial rest day.
We were staying near the airport in Johannesburg. So Matt booked a tour for us that wasn't part of the tour.
And it was to take us to, around Johannesburg to have a look and then out to a town called Soweto. And Soweto is a. An acronym, an apartheid era acronym that stuck around for southwestern townships. And I won't go deep into the whole, the history of that area, but basically there was a whole lot of stuff that happened there, including a big uprising. And it was also the home for a long time of Nelson Mandela and also Desmond Tutu.
And it's the only street in the world to have housed two Nobel Peace Laureates. So it's quite a. It now gets a lot of tourism in that Soweto township. But we went there and we'd driven through this little village on the way there and on the way back Matt asked our driver if we could stop there and we did and they took us on a little tour around and I took this set of images.
So these are the houses, these are the sheds, tin houses that people living in. Each one might have like four to eight people living in it. But it's sort of the size of maybe a large bedroom or, or something like that might be divided into two rooms.
This is from the inside of one of them. We got to go and have A look around with a family and check out the way they lived in this village.
And that was the view outside the window to the shed next door.
[01:46:46] Speaker B: Lovely light.
[01:46:49] Speaker A: This is a view from the hill of the township. So down there you can see fires burning from rubbish and stuff like that. But you can see all the. The tin sheds and the big power lines that sort of seem to dominate this township. And then the six blue portaloos on the right hand side are the only six toilets for the village.
There's no toilets in any of the houses.
It was a Sunday, so people were coming back from church. There's lots of people having a good time and singing and doing washing and things like that because it was the weekend.
But the textures and the tones and colors of everything and the light that was coming through there. We could have stayed there for days at this place.
It was. It was really quite an experience. This is one of my favorite images from there.
[01:47:45] Speaker B: Oh, I love that, Joe. That's so cool.
Yeah.
[01:47:52] Speaker C: Wow.
[01:47:54] Speaker A: And then we got.
We got mobbed by kids. And they just seem to keep coming from everywhere. And they were so. They were having so much fun. So happy.
It was just. It was pretty crazy. I've had some videos and things still I'll have to bring up on a show one day.
And so this is heading back up past these power lines. There was a soccer field.
And so after we had a look around the town, Matt said, oh, can we go up and have a look at the soccer field? They're playing up on the pitch up past this power line you sort of had to go through. And then this kid was sort of following me the whole way along and he was just having a ball up on these power lines.
[01:48:40] Speaker B: That's a cool shit.
[01:48:42] Speaker A: And there was a.
An actual soccer game happening.
Being a Sunday between a couple of teams. But everyone. There was quite a few people watching around the outside. But there's a dog that kept.
Kept getting on the field. But the backlit dust and stuff from this.
The dirt pitch.
And the kids are just trying to copy the older boys playing soccer, but they didn't have a ball.
Cheer squad for the soccer team.
[01:49:19] Speaker C: Great job.
[01:49:21] Speaker A: The.
The commitment these guys were playing with on a dirt pitch. No grass.
[01:49:28] Speaker C: Yeah.
[01:49:29] Speaker A: Was awesome.
That's another view of the village. And so there's different. There was different villages. Like not. Not everywhere was like this. And it would go straight. There was. There was some.
Yeah. The housing changed dramatically between different areas.
And that's the end.
That's the end of our little set. But Then I've got some behind the scenes stuff so you can see what was happening from the photographer's point of view through all of this. I do love this shot as well.
[01:50:03] Speaker C: I.
[01:50:04] Speaker A: Even though it seems. It's like it's out of balance. But not.
Nah, it's not.
[01:50:08] Speaker C: No.
[01:50:09] Speaker A: But, yeah, the kid that's on the left at the back doing the sort of.
[01:50:14] Speaker C: The bat kid.
[01:50:16] Speaker A: The Batman. Yeah. Bat kid flying with the jumper really made it for me. So I had to leave this one in, but yeah. So this is when we first got mobbed by the kids. That's Matt.
And all the kids just wanted to have a turn of the camera and they did. They had a turn of all of our cameras taking photos of some of the other people on the tour. So I think every. Every kid had a turn of about $20,000 worth of cameras.
[01:50:44] Speaker B: Yeah.
[01:50:45] Speaker A: Wow.
Trying to figure out the Sony menu system, which doesn't make sense.
She's like, I don't. What is the orange menu? I don't understand.
[01:50:57] Speaker B: That's a great shot.
[01:50:58] Speaker A: This was obviously taken. I'm not sure. I don't know the name of the child that took this, but I thought I better leave this in.
Beautiful portrait of me.
[01:51:11] Speaker D: And then.
[01:51:11] Speaker A: Yeah, this was.
This is on the way up. Graham had a fair fan squad coming up. But the light. The light's just something else. I don't know what it is. Obviously probably a bit of dust and maybe a little bit of pollution and just layers and stuff. It was just the colors are so different, but also the way of life was so different.
But everyone was so friendly.
Matt was having a ball. He would have stayed there all day if we could. Whereas it was our four hour. It was a four hour tour.
It was nine hours before we got back.
[01:51:59] Speaker B: Oh, wow.
[01:52:00] Speaker A: Our tour guide was awesome. And he didn't charge any extra.
Yeah. He hung out with us at this village. This is one of the other soccer teams. They wanted to get a.
A group photo taken.
Matt was getting selfies as our tour guide.
Kids. The kids are one to hold hands the whole time.
And then they sang us a song.
[01:52:31] Speaker B: That's an amazing collection.
And with the behind the scenes shots in it, I think they're just as important and powerful.
[01:52:40] Speaker A: It shows what it was. It was a very powerful experience.
[01:52:44] Speaker D: Yeah.
[01:52:46] Speaker C: Yeah.
[01:52:46] Speaker A: We couldn't stop talking about it for days.
[01:52:49] Speaker B: Yeah, yeah.
[01:52:52] Speaker A: Matt with this, with his team,
[01:53:01] Speaker D: Like,
[01:53:02] Speaker A: hang on, can I zoom in on this?
[01:53:07] Speaker C: Oh, wow.
[01:53:13] Speaker A: They were singing the whole way. It was awesome.
I think that's it. Yeah, that's all of them. That's the set.
[01:53:21] Speaker C: Nice. Good job.
[01:53:23] Speaker B: Yeah, amazing.
[01:53:24] Speaker D: Really good.
[01:53:25] Speaker B: And have you thought about printing? Have you. Have you sort of earmarked a couple or some that you want to print?
[01:53:31] Speaker A: I've printed a ton of these, testing different types of paper, but I'm not ready yet.
[01:53:36] Speaker C: Okay.
[01:53:37] Speaker A: Just trying to find the right paper.
But yeah. And I also don't know. This is what's really hard is these seem to only make sense to me as a set. So as a single image. I don't know if any of them work as a single image.
[01:53:53] Speaker B: I think if any. The one with the lady on the right in the foreground with the bottle and the two kids between the pair of jeans or pants, that.
[01:54:00] Speaker A: That's the one. That's probably the one, but I don't know why. But yeah, that's the only one.
[01:54:06] Speaker B: Yeah, yeah.
[01:54:07] Speaker A: But yeah, Bruce is right. I think I am going to make a photo book with these in it just so I've got something to look at and remember easily without having to go back through folders on a computer or whatever.
[01:54:19] Speaker C: Yeah. I'm not sure if one image would make sense as a print because then you're kind of like, well, why is it this image exactly like you know the story but then it's sort of.
[01:54:29] Speaker A: Exactly.
[01:54:30] Speaker C: Doesn't make sense as like an artistic.
Like. Yeah. Whereas, yeah, the book is a cohesive kind of story.
[01:54:39] Speaker B: Yeah, yeah, I think so.
[01:54:41] Speaker A: Also that set, so the original set that not including all the behind the scenes ones, I think was 11 or 12 images or something like that.
But I trimmed that down from, I don't know, 50.
[01:54:53] Speaker C: 6 million.
[01:54:54] Speaker A: Yeah, well from 6 million originally, but there was 50 that I'm like these could be in the set.
But then I wasn't going to put you guys through that.
[01:55:01] Speaker B: No, it's a great set of images.
[01:55:03] Speaker D: Well done.
[01:55:04] Speaker B: Really, really cool. Thanks.
[01:55:05] Speaker A: Yeah, it was an experience.
I think that Matt had talked to the guy about whether maybe when he does. Because he does quite a few tours each year, if he could make it some sort of regular thing that involved being able to get. Because they. I think they're always looking for school supplies and that kind of thing.
So maybe if there's a way that he can tie that in and. And have a bit of a connection with one specific community when he. When he visits.
[01:55:31] Speaker C: So it's a great idea. That'd be cool.
[01:55:33] Speaker B: Yeah, that is a good idea. Good to give back. Yeah, amazing. We still got a handful of images to get through, so let's Press on.
Up next is Felicity Johnson two images. Hi, Justin and Greg, thank you so much for organizing a panel of wonderful people to keep us entertained yesterday. Of course, while we waited.
My places of happiness are the 20,000 hectares of forest which is called Wellsford Forest across the road and Cameroca Malley 15 minutes away. I prefer going out by myself, immersing myself in nature. Fliss in Bliss.
I think you need to put that on a T shirt. Felicity. Here are a couple of macros. One of poo fungi and the other of a Daddy Long Legs orchard. A Daddy Long legged orchids. I can't say that. Daddy Long Legs orchids.
Both taken on a Nikon Z8 with the Nikon 105 mil Macro and a Cygnus Tech diffuser on my flash. Cheers. Flick. Fliss in Bliss.
[01:56:38] Speaker A: The poo fungi. I didn't realize that's what it was until she said what it was called. That's awesome.
Nature.
Yeah. What a great way to describe the forest. To me it's just Wellsford Forest. I don't even get out there much.
I haven't really explored it. Have you explored it, Jim?
[01:57:02] Speaker C: Only on my bike. Which is so. Not really looking at anything else.
[01:57:06] Speaker A: Don't see none.
[01:57:07] Speaker C: No.
[01:57:09] Speaker B: These are great. I love the way Felicity's macros always have these phenomenal backgrounds.
[01:57:15] Speaker A: Yeah.
[01:57:16] Speaker B: That are just obliterated, but they're always interesting. You know, there's always.
There's always an element there to discover. It's not like you have to ignore the background for the. The sake of the subject.
[01:57:24] Speaker C: The.
[01:57:25] Speaker B: The background just complements it and I love the way that she does that.
It's inspiring.
[01:57:33] Speaker A: Yeah.
[01:57:34] Speaker C: Good job.
[01:57:35] Speaker B: So well done. Thank you, Felicity.
Up next, we have the other half of the. The whole dynamic duo. We have Maya Hall. Maya Hall. Sorry.
Up next. Hi, Greg and Justin. Thank you for all your hard work yesterday. Well done for being up another session tonight. I'm really looking forward to the festival and meeting the Camera life crew and viewers in real life. This is my image for the photo swap. Ah, nice work.
We'll talk about the print swap in the. In a moment because Bruce has an update.
We'll make that very quick. John hall has agreed to do a swap with me, so at least one person will. That's cheating. I've got to say that. I'm sure there's rules.
This photo was taken last year at Newcastle Baths. I grew up in Newcastle and left home as soon as I was old enough to, but spent a lot of time there last year as both My parents died within six months of one another. And we're so sorry for your loss.
It was really hard on so many levels. But finding the light at the end of a draining day did wonders my mental health and reignited my love of Newcastle. Amongst this stuff, we found lots of cameras Mum and Dad had used to record their 70 years of life together.
John and I bought our new Nikons at BFOP last. Sorry. the festival last year and as a memento to use for astro and night photography. Mum and dad would have approved. This image is very, very heavily cropped. Shot on my Nikon D7500 with an 18 to 300 at 95 mil 11 60th F14, ISO 720. It's very grainy, but that is part of the charm for me and suits the walls of the bath. Like my solo boy on the ride at Luna park, which was a couple of weeks ago. I think this capture was a fluke, but. Kind regards, Maya Hall.
I don't believe in fluke shots.
[01:59:23] Speaker A: I was going to say, I think there's only so many flukes you can have before. It's what you're intentionally doing and I think you're intentionally taking the images that you're looking for. And this is a great one.
So heavily cropped. I think the crop you have chosen is perfect.
It's really well framed with the starting blocks where the guy is with his shadow and how the change in light there. I think you've picked the perfect. So who. I'd love to know what you cropped it from originally just to see. But you've picked a really well, like you've got three layers. It goes the brighter sky, the beautiful green steps and then the layer of water that's divided the frame up really well.
And then. Yeah, there's a beautiful interest across the frame with the guy and the starting box and stuff. I think you've, you've. You've intentionally chosen a crop that works really well.
[02:00:17] Speaker B: Yep.
And John Pickett has said, definitely want to swap with that one.
[02:00:23] Speaker A: Oh, nice.
[02:00:25] Speaker B: Well done. Well done indeed. Just very quickly. I. I won't spend too much time on this, but with regards to the print swap for the upcoming photography festival, which.
[02:00:33] Speaker A: Hold on, Greg. I think Bruce said he's. He'll call in with an update if we want.
[02:00:37] Speaker B: We can do that. I was just conscious of time, that's all. Because, you know, Bruce tends to go on and on and on and talk so much about. I'm joking, Bruce. I'm joking.
[02:00:44] Speaker A: You want me to turn the phone off. I'll take it. No, no, it's okay.
[02:00:48] Speaker B: We'll make it very quick.
So we're just shy of. I think we've sold. We had 99. Ah, there it is.
[02:00:54] Speaker C: Yeah, he doesn't want to listen to you, Greg.
[02:00:59] Speaker B: Hold on.
[02:01:00] Speaker A: Caller, can you hear us?
Hold on, hold on.
It's always the first caller of the night, which is at the end of the show. So just, just hold the line there, Bruce.
Hold the line, we're coming.
Hold on, I'm holding. Oh, we gotcha.
[02:01:21] Speaker B: There he is, holding.
[02:01:23] Speaker C: Hey, Bruce.
[02:01:24] Speaker A: All right, talk to us. You're on the air. Bruce, call her. You're live.
[02:01:28] Speaker D: All right, cool, it's working. Yeah, I just want to, I just want to steal Greg's thunder.
We are literally 99 print swappers.
I'm wondering who's going to be LRP 100.
[02:01:43] Speaker C: Yeah, I think Lucinda said she was going to jump onto it.
[02:01:48] Speaker A: Oh yeah, well, hey, she's going to be up there.
[02:01:50] Speaker D: Yeah, yeah, Lucinda needs to send me a message on Insta or
[email protected] because she doesn't have access to the portal.
[02:01:59] Speaker A: That's right.
[02:02:01] Speaker D: So I can sort that out. There's still a few instructors that I've talked to going to submit, so we've got a few more to come in as well.
Yeah, looking pretty, pretty awesome, guys. That's like 1/6 of the participants and coming.
[02:02:17] Speaker B: So that's crazy.
[02:02:18] Speaker D: That's crazy.
The big thing is that we've also sold out of album, so I may have to do a bulk order from somewhere if we need more.
[02:02:29] Speaker C: So
[02:02:32] Speaker D: it's, it's a bit crazy, but with the album sold, we're sort of sitting around the 400 ish dollars mark depending on the poster costs for charity.
[02:02:45] Speaker A: It's a good bonus.
[02:02:46] Speaker B: Yep, yeah, yep, Very good.
[02:02:49] Speaker A: It's going to be crazy. 100 potential photos to, to swap for, like, you know, like to choose and you're gonna end up with a set of 20. I think that's, that's gonna be so much fun to see there. I thought there was maybe going to be 20 or 30, 40 if things went really well. 100 is epic.
[02:03:08] Speaker D: Yeah, I'm really surprised to be honest. So, yeah, yeah, so that's the update. I just stuck something in the bebop groupies for everybody else to give them an update. And yeah, we've still got, oh, 1112 days to go before we close doors, so let's see if we can get
[02:03:26] Speaker B: the 200 to the second.
Yeah. Imagine that. That'd be crazy.
[02:03:30] Speaker A: Oh, gosh, that. That would be crazy. You're gonna need so many posters to show the photos.
[02:03:36] Speaker D: I. I actually did a layout for. For an AI poster and I can get like 38 on it, so it's definitely going to be multiples of.
[02:03:43] Speaker A: Oh, my gosh.
[02:03:45] Speaker B: Well, that's awesome. That's very cool.
Amazing.
Thanks, Brucey.
[02:03:52] Speaker C: Thanks, Bruce.
[02:03:53] Speaker A: Thanks, Bruce.
[02:03:54] Speaker B: And just to confirm. Yeah, you've got until the 2nd of October to participate or at least submit your image and then you've only got about a week to get them printed if you haven't already got them printed. And don't forget the camera house, Croydon has a special offer of $8.80 for 26 by four prints delivered for $8.80, which is pretty cool.
[02:04:14] Speaker A: Super cheap. That is super cheap.
And, and unfortunately, sorry, if you're listening from somewhere else and you're not coming to the bright festival photography, you can't join in on the print swap. But maybe we'll figure out how to do something pretty through the podcast one day. I don't know what we'll do, but yeah, we want to encourage.
What's that?
[02:04:33] Speaker B: Yeah, we'll add it, Add it to
[02:04:34] Speaker C: the list of things.
[02:04:36] Speaker A: Of all the stuff.
Well done, Greg, because you've been working on that with bruise on this.
[02:04:43] Speaker B: I have, yeah. Bruce and I've been working on it together. It's. And it's been a lot of fun. Yeah, it's great to work with Bruce on a project and. But, you know, we're both really excited to see this come to fruition because, you know, we're often talking on here about the, you know, we're saying, hey, that's an amazing image. Make sure you print it, you know, have a look at it in print. And this just gives people a really accessible way to print their own work and share that with other people and see what other people are doing with their printed images. Let's just get that conversation going. Let's get a bit of excitement around actually seeing our images off a digital screen and take a bit of pride in what we're doing. So, yeah, it's going to be a lot of fun. Looking forward to it.
Awesome handful of images left to go. Let's get these done. Conscious of the time. Who do we just spoke to? My. Spoke to Myers.
Philip Johnson's up next. Thanks. Do you want to read this one, Jim? Sorry.
[02:05:35] Speaker C: No, that's. Sorry I jumped in. I was just.
[02:05:37] Speaker B: No, no, you go ahead, please.
[02:05:40] Speaker C: G' day all.
Just a Quick image of the Blue Mountain sunrise. Great time of day, light color and a great view.
Sony A7.4 with a 7202.8 M2 using Photoshop. Topaz Photo F5. 1/30 of a second at 100 ISO.
[02:06:04] Speaker A: Look at the clouds. It's like a river running through the mountains.
[02:06:09] Speaker C: Yeah. But then the clouds up top. It's beautiful.
[02:06:14] Speaker B: Yeah. Just that vantage point, like it's. It's up quite high, you know.
[02:06:18] Speaker A: Yeah. Super high.
Tough.
Tough amount of like super high. Contrast scene with that, that. That sky's on fire. Like trying to control that but still have the detail in the.
In the mountains and stuff. Well done. I don't. I wonder whether obviously this is what, you know, like a graduated ND or something people would use to try and tame the sky a little bit or whatever. But then they can be so fiddly, especially shooting on a, like a longer lens. I don't know.
But yeah, yeah, you've done a great job to try and capture that all in one, one image, one scene.
[02:06:57] Speaker C: And I wonder, are you, Philip, are you going up and like scouting these spots first or you just sort of going up and not hoping for the best, but you sort of got like a shot in mind?
[02:07:08] Speaker A: Well, he knows the area very well. Like he's shot at a ton, so I wonder whether. Yeah, I wonder whether it's just he keeps an eye on the weather and if it's looking like a.
A great day, knows where the good spots are.
I don't know if we've seen. Have we seen this angle before, Craig?
[02:07:24] Speaker B: I don't reckon I haven't seen this one, Philip. No.
[02:07:27] Speaker A: Maybe closer up shots of that wall, you know.
[02:07:31] Speaker D: Yeah.
[02:07:32] Speaker B: With cloud in the foreground.
[02:07:33] Speaker A: Yeah.
[02:07:34] Speaker B: But not familiar.
[02:07:36] Speaker A: I don't remember seeing anything like this from him before.
[02:07:39] Speaker B: Yeah, well, often. More often than not, Philip sends us his landscape shots where he's used like a 70 to 200 and he's really focused on a particular part of a. Of a bigger scene to bring out that detail.
[02:07:52] Speaker C: This is still 7200, but it's.
[02:07:55] Speaker B: Yeah, 70, but it's also a very vast, you know, vast area of that, of the Blue Mountains. So.
Yeah, well done. It's great.
[02:08:08] Speaker A: Awesome.
[02:08:08] Speaker C: Yep.
[02:08:10] Speaker B: Up next is Marty Strecker. Marty Strecker has three images.
Is it? And Marty is actually the last, last cat in off the Rank High Team. Can you get these in? Yes, we can.
I submitted these just when you did the. The festival special, so I think they were missed. When did we do That.
[02:08:33] Speaker A: I don't know.
[02:08:34] Speaker B: That's weird. Anyway.
[02:08:35] Speaker A: Oh, but we had the guys on Monday night. It was a few weeks ago. We must have missed.
[02:08:40] Speaker B: Okay.
[02:08:40] Speaker D: Yeah.
[02:08:40] Speaker A: And then we pushed them to the next week. Maybe we lost this one. So sorry.
[02:08:44] Speaker B: Yeah, maybe. And that interview with Doug Porter from a couple of weeks ago reinforced that what I'm doing is not crazy. I love his work and the chat. Thanks for all you guys do. This is top of the beach. High tide leaves a trapped area of seawater, which only happens one to two times a month. I color graded the image taken after the sun was well and truly down. And then I flipped it as I saw something, and I wonder who else sees what it is. That day I had my Olympus EM1 Mark III with a 12 to 40 Pro 2.8 at 1.3 seconds at 22 mil handheld.
How long?
Oh, 1.3. Well, that's pretty good handheld.
[02:09:28] Speaker C: Yeah.
[02:09:28] Speaker A: Is this the one?
[02:09:29] Speaker C: Oh, no.
[02:09:29] Speaker A: I was like, hang on, Is it. Which hang.
[02:09:38] Speaker B: So I think that's the original. And then he flipped it on its side 90 degrees and then he merged it like a double exposure with the shot.
[02:09:51] Speaker A: What did he. So when he said what I think can you see?
[02:09:55] Speaker C: I think he means the trees. The way that the trees fall is kind of how the hair's falling, like sculpting a face.
And that's. That's why the double. Like the. The final shot, I think is.
And sort of a face in the. The trees. The sort of eyes. Like a skull eyes. The nose. Yeah.
[02:10:17] Speaker B: Yep.
[02:10:18] Speaker C: Is my interpretation of that.
[02:10:21] Speaker A: Yeah. Interesting.
[02:10:24] Speaker C: Yeah.
[02:10:25] Speaker A: The final images complete. I still don't know how people do this. That where, you know, the final. Where you go from.
[02:10:31] Speaker B: From.
[02:10:32] Speaker A: I don't. That's not how my brain works. I. I don't. My brain can't go from this scene to that final image.
[02:10:40] Speaker B: Yeah.
[02:10:40] Speaker A: It doesn't have. That doesn't fill those gaps in, you know. Yeah.
[02:10:44] Speaker B: Some people can just see it.
[02:10:45] Speaker A: They can just see it.
[02:10:46] Speaker B: Yeah, yeah, yeah.
[02:10:49] Speaker A: Really cool.
[02:10:49] Speaker C: Much more.
[02:10:52] Speaker A: Yeah. Great work. The way that you've got, like one half of the face is clear.
[02:10:59] Speaker B: Yeah.
[02:10:59] Speaker A: Because. Because it obviously, if you had let it go through the whole face, it might have looked a bit too sort of chaotic and messy. So keeping one half of the face clear and then also the eye on the right hand side of the. Her right eye. Sorry.
[02:11:14] Speaker C: Yeah. I think that's also how the. That shot's lit, though. That sort of. That lighting's coming in from.
[02:11:21] Speaker B: Yeah.
[02:11:22] Speaker C: From the girls, like, left hand side kind of thing. So that, that side is the shadow side anyway.
[02:11:30] Speaker A: It is. But I, I think you'd find that.
I think you'd find that's been masked out though, otherwise there'd be more.
[02:11:38] Speaker B: Yeah.
[02:11:38] Speaker A: Like he's intentionally kept a lot of that clean. I think I could be wrong.
[02:11:42] Speaker C: Yeah, yeah, no, I, Sorry, I. Yeah, I definitely agree with that.
[02:11:45] Speaker A: Yeah. But it, Matt, what you're saying is it matches the light.
[02:11:48] Speaker C: Matches the lighting, yeah.
[02:11:50] Speaker B: Lighting, yeah, yeah, yeah.
[02:11:52] Speaker C: Especially how it's sort of like around the forehead where it is a bit brighter, it's sort of a bit duller and then it comes back in with shadow sort of through that eye.
Yeah, it's really cool.
[02:12:04] Speaker A: Awesome.
And what a way to finish the show.
[02:12:08] Speaker B: Indeed.
[02:12:09] Speaker C: Yeah.
[02:12:09] Speaker B: It's a really compelling image, isn't it? I can't stop looking at it.
[02:12:15] Speaker A: Yeah, very cool. I should have.
[02:12:16] Speaker D: Yeah.
[02:12:17] Speaker B: And I keep thinking, oh, I need to try some double exposures in camera and I just, I never think to do it.
[02:12:24] Speaker C: So.
[02:12:24] Speaker A: Yeah, me neither.
[02:12:28] Speaker B: It's great. Well done. Thank you so much for sending those through. Thank you to everybody for sending in your images tonight.
We do this every week. Every Monday evening, 7.30pm Australian Eastern Standard Time.
And where can people send their images?
[02:12:41] Speaker A: Justin the camera
[email protected]. that's the
[email protected].
try your best. Just send one image or if you've got, you know, edit in black and white or color, which one do you think's better? Or two different crops or something like that.
Only send in multiples if you've got a set of something. We can only really fit a couple of those in each week. Especially when I fit one in. That's 30 images. It's madness.
Don't be me and give us a little quick write up in your settings and if you've got any questions or you want any particular thoughts on anything. We're not experts but we'll give you, we'll give you what we've got and otherwise we'll just say, hey, awesome work.
[02:13:23] Speaker C: Yeah.
[02:13:23] Speaker B: So thank you everybody. Keep them coming. We love it.
[02:13:26] Speaker A: Yeah, please do.
[02:13:27] Speaker D: Absolutely.
[02:13:28] Speaker A: Tell a friend.
[02:13:30] Speaker B: Speaking of which, if you are new here, this is the Camera Life podcast. We do this twice a week, as I said, every Monday evening and every Thursday morning where we'll interview a guest. This coming Thursday we have UK based nature photographer, workshop educator. We have Murray Livingston joining us who's actually just finishing up a tour in Scotland with our very own Lisa Leach who's over there at the moment. With him, which is phenomenal. How small a world it is when things come together like that. So we'll see you on Thursday morning at 9am Australian Eastern Standard Time for that live long form interview. And thank you, Jim, for showing up.
[02:14:05] Speaker A: Yeah, the return it is.
[02:14:08] Speaker C: You can try and try and jump on every, every second Monday.
[02:14:12] Speaker B: Love a goal.
[02:14:16] Speaker A: I'm excited.
[02:14:17] Speaker C: There we go.
[02:14:18] Speaker B: Yes. Yep.
[02:14:20] Speaker D: All right.
[02:14:21] Speaker B: Well, I think on that note, we'll thank everybody who's joined us tonight in the chat live, sent in your images, but contributed to what we do here every week. Thank you so much, everybody. Want to say goodbye to some peeps, Jay?
[02:14:32] Speaker A: Yeah, thanks. John Pickett, Richard Mail. Another fun Monday night actually. Helps me get stuff done while I listen. Well, that's awesome. Thanks. John Latimer, Philip Johnson. Mayor Hall. Felicity Johnson. Who else? Philip Thompson. Phil Thompson. There's too many similar names.
John Pickett, everybody. Brucie, of course, Lucinda, everybody that was here earlier, who, I can't even scroll back that fast because there was so many people in the chat. Fermi and Glenn Lavender, don't forget, this show is brought to you by the Camera Life. No, it's brought to we are the Camera Life. It's brought to you by Lucky straps. Go to Luckystraps.com use code Greg or Jim to try and bolster them back up to the sort of numbers that code Justin's on. And Grant, please Go Grant. Of course, Grant is true.
[02:15:19] Speaker C: Percentage off.
[02:15:20] Speaker A: He's got 1% higher discount than us. So use code Grant if you want a slightly higher discount than any of us. And other than that, we'll catch you guys in the next one.
[02:15:30] Speaker B: Stay safe, everyone.
[02:15:31] Speaker C: Thank you.
