WEBVTT 1 00:00:00.000 --> 00:00:25.000 Sam. 2 00:00:25.000 --> 00:00:49.000 Well, g' day, everybody, and welcome back to the Camera Life podcast. It is Monday 3rd August, and it is the random photography show. We're here to talk about industry news, product drops, industry events, and of course, we're here to look at your images. But we do have a topic for tonight's conversation and we'll get to that in a little bit. But first, I'd like to introduce someone who probably needs no introduction, so, Lucinda Goodwin. How are you, kiddo? 3 00:00:49.000 --> 00:00:51.000 Good, good. How are you? 4 00:00:51.000 --> 00:00:54.000 I'm doing okay. I'm doing okay. Thanks for jumping on tonight. 5 00:00:54.000 --> 00:00:56.000 Thanks for having me. 6 00:00:56.000 --> 00:00:58.000 Yeah, always. Always make space for you. 7 00:00:58.000 --> 00:01:01.000 Always 8 00:01:01.000 --> 00:01:11.000 great to have you on. We're going to catch up with you in a little bit, find out what you're up to. And for those of you watching along, listening along, Jim will be along shortly. He likes to come in late for dramatic purposes. 9 00:01:11.000 --> 00:01:13.000 Fashionably late. 10 00:01:13.000 --> 00:01:51.000 Yeah, he likes it. He likes a grand entrance, Jim, you know, clearly he's all about the love. So. So we'll wait for him. But yeah, I hope you're all. Well, if you're watching along, this is the Camera Life podcast. We do this twice a week. Every Monday evening, 7.30pm Australian Eastern Standard Time, we have our random photography show, which is what you're watching right now. And then every Thursday morning, we have Our interview show, 9am Australian Eastern Standard Time. Every Thursday, every show is live. We interview an amazing Australian photographer. So. Such as, I don't know, Lucinda Goodwin, Steve Parish, perhaps. Do you like how I put you in the same category, the Steve Parish? 11 00:01:51.000 --> 00:01:53.000 Yeah, I appreciate that. 12 00:01:53.000 --> 00:02:19.000 And we often get international guests, so if you're new here, jump in the chat, say g', day, let us know where you're from, where you're watching from, and that'd be great. And, you know, give us a like for this episode. It helps out a lot. And don't forget to subscribe. That way you get notifications in your time zone every live episode that comes out of this podcast. But that's enough about that. Lucinda. 13 00:02:19.000 --> 00:02:20.000 Yeah? 14 00:02:20.000 --> 00:02:28.000 Got a challenge for you. Oh, before. Before we say g' day to the folks in the chat, do you want to do a Lucky Straps ad read? You reckon you can give it a shot? 15 00:02:28.000 --> 00:03:00.000 Oh, oh, I can try. I've just been. I've been prepping my. Prepping my windows here. All right. Come to let us camera straps with a modern quick release system. I do love the quick release system. It is. It is fabulous. That doesn't leave any dongles on the camera. Anti Theft Features including a safety lock and cut resistance webbing. Our camera straps will keep your gear safe and ready to capture the shot. When you don't have a second chance, you can check them out and go pick one up yourself at www.luckystraps. 16 00:03:00.000 --> 00:03:01.000 com. 17 00:03:01.000 --> 00:03:03.000 What's the code? Is it Greg? 18 00:03:03.000 --> 00:03:04.000 I need a code. 19 00:03:04.000 --> 00:03:06.000 I feel like a Lucinda code needs to happen. 20 00:03:06.000 --> 00:03:11.000 If I actually happen to make any money out of this, then I'll be sure to make sure you get your percentage. 21 00:03:11.000 --> 00:03:12.000 Okay, great. 22 00:03:12.000 --> 00:03:14.000 Minus three. 23 00:03:14.000 --> 00:03:15.000 Yeah. Okay, great. 24 00:03:15.000 --> 00:03:34.000 Yeah. Well done. Well done. That's right, folks. We today's episode is sponsored by Lucky Straps. We make amazing handcrafted leather camera straps in Bendigo, Victoria. So head to the site. We make camera straps, but if you're not after a camera strap, that's cool. They're not for everybody. I mean, they are, but then. 25 00:03:34.000 --> 00:03:35.000 They are. They really are. 26 00:03:35.000 --> 00:03:49.000 They really are. But we also make leather belts. We make hoodies, T shirts, merch. So yeah, check it out. And that code Greg will work on any Lucky Straps branded product. Not the valorant gloves. Just to make that very clear. 27 00:03:49.000 --> 00:03:53.000 I feel like I needed some gloves today. It was very cold in Victoria today. 28 00:03:53.000 --> 00:03:56.000 I know, right? No, crazy. 29 00:03:56.000 --> 00:03:59.000 Hate winter. 30 00:03:59.000 --> 00:04:02.000 I like winter. I don't like the cold morning, freezing fingers thing. As a photographer. 31 00:04:02.000 --> 00:04:04.000 Yeah. No, Yeah. 32 00:04:04.000 --> 00:04:16.000 I went out the other morning. I'll show you some photos later when we bring up our images. But I went down to Chapel street, my local hood, on Saturday morning. I think it was about 6:30. Caught the sunrise. 33 00:04:16.000 --> 00:04:17.000 Wow. 34 00:04:17.000 --> 00:04:18.000 But I think that was. 35 00:04:18.000 --> 00:04:20.000 The sunrise was epic. 36 00:04:20.000 --> 00:04:25.000 Yeah. Nice, beautiful breaking clouds and the sunset. 37 00:04:25.000 --> 00:04:38.000 I feel like on Saturday was great. I was driving home from a gig last night. It was an early gig so I was like coming home at like 10 o' clock and I almost drove off the side of the highway because I was looking at the moon the whole time. The moon has been incredible the last week. 38 00:04:38.000 --> 00:04:39.000 Yeah. Yep. 39 00:04:39.000 --> 00:04:41.000 All right. It's going off insane. 40 00:04:41.000 --> 00:04:51.000 It is, it is. Let's say good day to some people in the chat and we'll make it. We'll make a proper start. Who we got up first? 41 00:04:51.000 --> 00:04:52.000 Paul. 42 00:04:52.000 --> 00:05:00.000 Good evening, Paul. Thanks for sending in your image. Dennis Smith. I had a quick chat on the text with Dennis earlier today. He is crook as a chook. 43 00:05:00.000 --> 00:05:01.000 Oh, no. 44 00:05:01.000 --> 00:05:04.000 Massive weekend. Which we might. 45 00:05:04.000 --> 00:05:08.000 Yeah. I was seeing. Seeing some bits on Social. 46 00:05:08.000 --> 00:05:10.000 Yeah. 47 00:05:10.000 --> 00:05:14.000 And the thing with Dan is that he always throws his whole self into it, you know, no wonder. 48 00:05:14.000 --> 00:05:15.000 Yeah. 49 00:05:15.000 --> 00:05:23.000 Like it's not just like, here's my images stand up and do a talk, take his check and off he goes. Like he, he puts, puts his whole body and soul into everything he does. 50 00:05:23.000 --> 00:05:24.000 Literally. 51 00:05:24.000 --> 00:05:36.000 Literally. Because the image that he sent in for tonight, reflective of his mood. Currently it's an older image from BFOP a couple years ago, but that will show you how much Dennis throws his mind, body and soul into everything he does. Gotta love it. 52 00:05:36.000 --> 00:05:37.000 Love it. 53 00:05:37.000 --> 00:05:52.000 Philip Johnson. Greetings all. G', day, Philip. Was that you're the third in line, Philip. Normally you're first. You slipping, you slipping. Richard Mayall. G', day, Richard. Felicity Johnson's in the room. G', day, Flick. Rodney Nicholson, the old surfer boy. Evening champion. 54 00:05:52.000 --> 00:05:55.000 Hey, Rod. 55 00:05:55.000 --> 00:06:03.000 Now Rodney, you haven't seen any images for a while. I think that, that you're lacking. I think you need to send in some more work, mate. We haven't seen any photos. 56 00:06:03.000 --> 00:06:06.000 He's definitely shooting some though, yeah? 57 00:06:06.000 --> 00:06:16.000 Oh yeah, he's always busy and I love, I love Rodney's little social posts of him sitting outside a somewhere selling prints or calendars off a card table. 58 00:06:16.000 --> 00:06:22.000 It's just classic down there, down the street in front of the iga. That's normally where you find him. Or at the market. 59 00:06:22.000 --> 00:07:03.000 Love it. Good evening all from Shemit Shah. Thanks for sending in your images. We'll get to those a bit later. Rick Nelson's in the room. Good evening everybody. Lucinda in the house tonight. Awesome. Indeed. John Latimer. Evening all. Hope everyone had a great weekend. Thanks, John. Tweet Productions. Hello party people. Hope you get better soon. Dan, John Latimer again. Congrats Den on your event over the weekend looked amazing and Dennis has jumped in again. Tweak production. Thanks, mate. Just been a wild few weeks with no rest. A day in bed is good for all of us sometimes. Absolutely. I, I say go to bed every day, Nana Naps are underrated. 60 00:07:03.000 --> 00:07:32.000 Like I, I feel you, Dennis, because I was crook as last week and I was just saying to Greg before we jumped on I, I had like five shoots and like three days of social work and it was just, that was too much. I had to cancel some, some catch ups with friends. I was like, I need to rest, I need to look after my body because there's lots, lots to do. So yeah, just hot tea like Greg Scott and yeah, early to bed. 61 00:07:32.000 --> 00:07:47.000 Yep. Yeah, it's the way to do it. And you know, when you work for yourself it's, you know, it's so challenging to get crook, you know, because all of those activities is not like, you know, you just put an out of office on. And someone else picks up the slack, you know. Yeah. 62 00:07:47.000 --> 00:07:50.000 Excuse me. 63 00:07:50.000 --> 00:08:08.000 Sorry, everyone. Inside of my. Inside of my lungs there pretty much did. Huge ass photo. Good evening, all. G'. Day, Huge ass. Great to have you. Sunrise is too early, says Greg Carrick. Come on. 64 00:08:08.000 --> 00:08:09.000 I agree. 65 00:08:08.000 --> 00:08:11.000 He's a night out. He's a night owl, that's for sure. 66 00:08:11.000 --> 00:08:13.000 Sunset. Get the sunset. 67 00:08:13.000 --> 00:08:28.000 I was saying to someone today, my mum always refers to the chromie. She says, oh, the chromies are fowls, not ours. We're morning people. We don't. We don't do well at night. I can certainly attest to that. She doesn't do well at night. Rodney will send something next week. 68 00:08:28.000 --> 00:08:29.000 Amazing. 69 00:08:29.000 --> 00:08:32.000 Den's sending. Love to everyone. Phil Taylor Photography. 70 00:08:32.000 --> 00:08:33.000 G', day, Phil. 71 00:08:33.000 --> 00:09:19.000 Evening, folks. And Tweak Productions. Hey, Greg, did you get my images from last week that didn't come through? Yes, I did. Thank you for giving me the Google permissions. So, just a reminder to everyone who's watching, if you haven't sent images in before, you can send them to justinuckystraps.com include your image just as a JPEG file and make sure you name the file in your name. So if you send in one or two images, make it John Latimer 1. John Latimer 2. Give us your camera settings and a very brief description of your experience, where you were and why were you taking that photo and what was it like for you? Yeah, so let's see your photos. We'll get to those a little bit later. Where to from here? 72 00:09:19.000 --> 00:09:21.000 Where to? 73 00:09:21.000 --> 00:09:23.000 Should we do some news? 74 00:09:23.000 --> 00:09:45.000 All right. All right, let's do some news. I don't know if you've seen this on Social a bit, but obviously Christopher Nolan's the Odyssey came out. It's the talk of Hollywood, obviously. Massive, massive undertaking. All shot on 70 millimeter film and the size of the IMAX film cameras. 75 00:09:45.000 --> 00:09:47.000 Yeah, yeah. 76 00:09:47.000 --> 00:10:42.000 And they've had to develop all this additional technology and ways of. Even for the actors to work around such a big device because when they're doing like a face shot and they have someone, like someone. The camera's looking over someone's shoulder. They had to create this mirror system that allowed the actors to connect eye to eye because otherwise they were too far apart because of the size of the camera and crazy stuff going on. Anyway, so I've been seeing lots of clips about Chris because everyone's saying, oh, you have to see Christopher Nolan on imax, you know, on the proper feature. Yeah, that's that's what they're saying. But I did find. Let me just remember how to do this because, you know, it's been a week. Let me go to Share Screen. Let's go to Instagram. So this is the sort of stuff that I've been. Yeah, here it is. This is the sort of stuff I've been seeing all over social of people 77 00:10:42.000 --> 00:10:45.000 Canon, like film camera almost. 78 00:10:45.000 --> 00:10:49.000 Yeah, I think that. Yeah, that's like a really early. 79 00:10:49.000 --> 00:10:54.000 I don't know what that is. Yeah, I didn't own one of them. 80 00:10:54.000 --> 00:11:07.000 No. And then here's another one on an even smaller camera which I thought was pretty interesting. This is one of the Kodak Chimeras playing the. The Odyssey as it was meant to be on the world. 81 00:11:07.000 --> 00:11:13.000 What else could you play it on? Maybe like a Game Boy. I saw a Game Boy. Someone shooting on a Game Boy or like a Nintendo. 82 00:11:13.000 --> 00:11:14.000 Yeah. 83 00:11:14.000 --> 00:11:18.000 Console. Like at a gig once, like trying to shoot shows. 84 00:11:18.000 --> 00:11:20.000 Well, because they all had cameras onto the Nintendo. 85 00:11:20.000 --> 00:11:21.000 Yeah. 86 00:11:21.000 --> 00:11:44.000 But I have seen someone play it on a Game Boy. Like the original Game Boy. You know, the gray kind of yucky one. The one played it on that. I've seen people play it on tiny little like LED OLED screens on devices that are not for playing movies. Like just banana stuff, you know, like really, really funny. But I thought the camera ones were very fitting for what we do. 87 00:11:44.000 --> 00:11:45.000 Yeah. 88 00:11:44.000 --> 00:12:15.000 Anyway, that is enough of that. In other news today, folks, let me just take that one off the screen because people would much rather see us, I'm sure. In lens news there is a big announcement, but I'll get to that in a second. Mitacon Zongi Optics have announced a Pitura 30 mil f 2.4 for Fujifilm GFX. Yet another brand, third party brand now making lenses for GFX, which is amazing. 89 00:12:15.000 --> 00:12:19.000 Just gotta drop that Fuji Fujifilm in there early, don't you, Greg? 90 00:12:19.000 --> 00:12:30.000 I don't know what you mean, Lucinda. There's no. There's no plan here. There's no plan. I just bring the best news to the people. I give the people what they want. Lucinda. Just ask Greg Carrot. He's on my side. 91 00:12:30.000 --> 00:12:33.000 The people were, not me. 92 00:12:33.000 --> 00:13:07.000 What else? The folks at Lauer at it once again. They've just announced these two mammoth macro APO lenses. One of them is the Lauer Axon 1 to 5 times magnification and the other one is the 5 to 10 times magnification. So instead of a 1 to 1, you could have. Is it 10 to 1 or 1 to 10, whichever. It is really crazy. Levels of magnification. That's. That's the word of the night. Magnification. 93 00:13:07.000 --> 00:13:08.000 Magnification. 94 00:13:08.000 --> 00:13:22.000 Speaking of which, Canon are planning to release a new super zoom that the rumor sites believe will arrive in September. You're a Canon girl. What's your go to Lens these days? 95 00:13:22.000 --> 00:14:05.000 This week it's been 24 to 70. It's a lot of which I hate that focal length normally. But, yeah, I've been. I shot a very, very tiny show last night in something that could. I only could describe as like the size of my bedroom. There was a. Yeah, there was. Honestly, it might have been an old house, I'm not entirely sure, but there was a stair staircase and just like one little measly bar and I was standing behind. I could have fallen down the stairs. And the stairs were really narrow and really steep and I was like very conscious of it. And there was like. I think there was only like 40 or 50 people in the room, but it was very hard to navigate around. I'm just like, ah. 96 00:14:05.000 --> 00:14:08.000 But it was an official bar. It wasn't like a house thing. 97 00:14:08.000 --> 00:14:25.000 Yeah, yeah, yeah. It was in Collingwood. It's just a. Just a big pivot from like Friday night. I was shooting like at a theater and then went to this little tiny bar on Sunday, which we'll go into. But yeah, it just speaks 24 to 70. 98 00:14:25.000 --> 00:14:26.000 Yeah, yeah, good. 99 00:14:26.000 --> 00:14:29.000 Yeah. 24 to 70 is probably where I'm at at the moment. 100 00:14:29.000 --> 00:14:35.000 Nice. Very nice. I. I got to run around last week with the Tamron 150 to 500 for X mount. 101 00:14:35.000 --> 00:14:36.000 Oh, yeah. 102 00:14:36.000 --> 00:14:44.000 And that was a lot of fun. I decided to take a. Yeah, two kilos on top of a 500 gram camera. 103 00:14:44.000 --> 00:14:45.000 Yeah. 104 00:14:45.000 --> 00:14:52.000 And so I attached the lucky strap plug to the lens, not the camera because I was worried that the lens would snap my mount off. 105 00:14:52.000 --> 00:14:54.000 Yes. 106 00:14:54.000 --> 00:15:01.000 So, yeah, learned that very quickly and that was a lot of fun. I went and shot street photography with 150 to 500. 107 00:15:01.000 --> 00:15:22.000 I kind of love doing stuff like that. That's like super unconventional. Like a lot of the. Yeah, like that same show that I was talking about in Collingwood. I shot a 70 to 200 at some points just to get the compression. I didn't need the reach. But like, it was. It was cool to like. Yeah, yeah, I've kind of. Yeah. Kind of loved that. 108 00:15:22.000 --> 00:15:27.000 Yeah, it's a lot of fun and it just sort of shakes up what you're used to doing. 109 00:15:27.000 --> 00:15:28.000 Yeah. 110 00:15:27.000 --> 00:15:38.000 Because I mostly shoot with a 23 or 35 mil full frame equivalent Prime. And so I can basically pick up my camera and take a photo without even looking at the EVF or the screen because I'm just so used to using that. 111 00:15:38.000 --> 00:15:40.000 You know, where the frame is. 112 00:15:40.000 --> 00:15:45.000 Yeah, yeah. But then you put a different lens on and it just changes your whole experience. It's really, really cool. 113 00:15:45.000 --> 00:15:58.000 Yeah, yeah. It challenges your perspective really nicely. Which is. Which is sometimes what you need to sort of shake yourself up. If you're like in a bit of a rut or, you know, you haven't shot in a while, you just need something to just break out of that mould. 114 00:15:58.000 --> 00:16:03.000 Yeah, yeah, for sure. And I'm not saying you have to go buy lens. You can borrow one off a friend. You can rent one from a store. 115 00:16:03.000 --> 00:16:04.000 Yeah. 116 00:16:03.000 --> 00:16:09.000 You know, you can go for a photo, walk with someone else and swap lenses that has the same camera body, you know. 117 00:16:09.000 --> 00:16:12.000 Yeah, that's 100. 118 00:16:12.000 --> 00:17:42.000 In other lens news, folks, questions been posed. A little while ago, we announced that the rumor sites announced it wasn't our news that the Viltrox were releasing a couple of new A25 and a 35 mil f 1.7 the air lenses for micro 4/3. And since that announcement, everything's gone radio silent. And, you know, obviously someone pointed out that this brand. What was it again? Viltrox. Viltrox is not part of that alliance that creates micro Four thirds lenses. And they don't know. People are just like sort of speculating a little that, you know, maybe they kind of rushed, you know, rush to get information out without it being kind of fully, I don't know, fully fledged in some way. It's. It's kind of bizarre. Anyway, we'll keep an eye on it because I know that you're all dying to know about the new micro Four thirds lenses. That was rude of me. Sorry. I think Jim's in the room. He's still getting ready. That's it for lens news. One really interesting thing I want to bring up, which I think is actually pretty cool. Let me just pop this up on the screen. So Viltrox have launched a new monitor for people who shoot video or images with their phone. And you want to, you know, especially if you want to do selfie style with the good camera, not the shit camera with the good lens. On the. On the. 119 00:17:42.000 --> 00:17:43.000 On the back. 120 00:17:43.000 --> 00:17:54.000 On the back. Thank you. And yeah, so Viltrox have, you know, which I think is pretty ingenious, such a simple thing to do. Created a monitor for mobile content creators. 121 00:17:54.000 --> 00:18:00.000 Yeah, there's a Few of these floating around. That looks like a pretty, pretty big one though. A 5 inch one is pretty. 122 00:18:00.000 --> 00:18:15.000 Yeah, big. 5 inch external monitor weighs 112 grams, which is pretty cool. With a resolution of 1920 by 1080 and 400 nits of brightness. That's impressive. 123 00:18:15.000 --> 00:18:16.000 Yeah. 124 00:18:15.000 --> 00:18:17.000 I wonder what the battery's like. That would be the. 125 00:18:17.000 --> 00:18:19.000 Yeah, that'll be the next thing. 126 00:18:19.000 --> 00:18:28.000 That would be the hard thing. Although if you're shooting video, chances are you've also got a battery pack. Yeah. Like if you're going to go to the trouble to get an external monitor. 127 00:18:28.000 --> 00:18:37.000 Yeah. But then it's like it's plugged. I think it's plugged directly into your, like your charging port. So like how long like does it charge off the phone? 128 00:18:37.000 --> 00:18:39.000 Doesn't say. 129 00:18:39.000 --> 00:19:13.000 Yeah, it'd be interesting to. I haven't played with one of these before. A lot of people use their. Like if you're on. If you're in Apple ecosystem, a lot of people use their laptop as like a, a display when they're shooting that sort of content. So you can sort of link up your phone to your feet, to your computer. But yeah, this is a handy, handy way to sort of frame up and it's a bit reminisce of the osmo or not the osmo, the lunar camera with a little like detachable screen. 130 00:19:13.000 --> 00:19:20.000 Oh, yeah. Well, that would be the next thing, wouldn't it? Would be to make this Bluetooth and actually be able to disconnect it. 131 00:19:20.000 --> 00:19:21.000 Yeah, that's a whole. Because sometimes. 132 00:19:21.000 --> 00:19:22.000 Yeah. 133 00:19:22.000 --> 00:19:24.000 You want to be further away. 134 00:19:24.000 --> 00:19:32.000 Yeah. Let's see. Jimmy, you ready? Can you give me a nod if you're ready? Yeah, he's. Give me the thumbs up. Let's say g' day to Jim. Round of applause, everybody. It's Jim. 135 00:19:32.000 --> 00:19:42.000 Hey, I made it. Good. How are you? I made it. How are you putting kids to bed? Well, how are you? 136 00:19:42.000 --> 00:19:46.000 Yeah, good. You've got that, that porn star mode going strong. 137 00:19:46.000 --> 00:19:51.000 Yeah, yeah, I've got it ready for tonight. That's why I was late. 138 00:19:51.000 --> 00:19:55.000 Yeah. Oh, just wrapping up a shoot for sure. 139 00:19:55.000 --> 00:19:57.000 No, it's just, just working on the mustache. 140 00:19:57.000 --> 00:19:58.000 Oh, okay. 141 00:19:58.000 --> 00:19:59.000 All right. 142 00:19:59.000 --> 00:20:02.000 Yeah, Dan's happy here. Oh, everyone's happy here. 143 00:20:02.000 --> 00:20:03.000 Wow. 144 00:20:02.000 --> 00:20:05.000 Oh, look at all this love. 145 00:20:05.000 --> 00:20:09.000 Thanks. I go the right way. I think you went the wrong way. 146 00:20:09.000 --> 00:20:12.000 He does a Sony shooter. Now that's a fair call. 147 00:20:12.000 --> 00:20:14.000 Nah. 148 00:20:14.000 --> 00:20:17.000 Lots of love from everyone. Jim, how are you? 149 00:20:17.000 --> 00:20:19.000 Well, how are you? 150 00:20:19.000 --> 00:20:21.000 I'm okay. How's your week been? 151 00:20:21.000 --> 00:20:22.000 Busy. 152 00:20:22.000 --> 00:20:30.000 Busy hearing that a lot yeah. July been particularly busy for you too? 153 00:20:30.000 --> 00:20:33.000 It just seems. Just building. Yeah, sort of. 154 00:20:33.000 --> 00:20:34.000 Yeah. 155 00:20:33.000 --> 00:20:39.000 Got a bit going on, a few shoots popping up, which is nice. So. 156 00:20:39.000 --> 00:20:46.000 And it's good to see too because, you know, we often get a bit. We get a bit worried when, you know, people stop spending money on stuff. 157 00:20:46.000 --> 00:20:47.000 Yeah. 158 00:20:47.000 --> 00:20:54.000 Cost of living, everything else going on in the world. But it's good to see that people are still looking for people like us. 159 00:20:54.000 --> 00:20:56.000 Yeah, exactly. 160 00:20:56.000 --> 00:21:22.000 Indeed. That was the only camera news I had. I've got a bunch of other news, but what probably the biggest announcement of the week is that Tamron has confirmed. Let me bring up this news article. Sorry guys, where'd it go? So many windows open. Tamron have confirmed that Sony has made inquiries into acquiring them. 161 00:21:22.000 --> 00:21:25.000 Wow. 162 00:21:25.000 --> 00:21:49.000 Which is really interesting. There's a couple of sources, there was a couple of rumors going around first and then Tamron have come out and said, yep, yeah, they've come to us, they've offered us a, you know, an offer to acquire Tamron Lenses. It's interesting to see this sort of move from Sony and I'm trying to make sense of it. What do you guys think of it? 163 00:21:49.000 --> 00:21:52.000 Don't they. They make pretty good lenses, don't they? Sony like. 164 00:21:52.000 --> 00:21:54.000 But Sony make amazing lenses. 165 00:21:54.000 --> 00:21:56.000 If you afford to thought. 166 00:21:56.000 --> 00:22:02.000 Yeah. What? Yeah. Why? Why is the question. 167 00:22:02.000 --> 00:22:06.000 I wonder whether they're buying it to squash it or are they buying it to potentially. 168 00:22:06.000 --> 00:22:08.000 Yeah. 169 00:22:08.000 --> 00:22:09.000 You know. 170 00:22:09.000 --> 00:23:06.000 Let me read out their. Their company statement. So regarding the partial media reports. Partial media reports about our company. This is from Tamron. Yesterday Diamond Online published a partial report stating that there had been an acquisition proposal regarding our company. However, this was not announced by our company. It is true that we have received a non binding provision, a proposal from Sony Corporation concerning a series of transactions to make our company a wholly owned subsidiary of the Sony Group. In response, we've established a special committee and are examining various options aimed at enhancing corporate value. At present, however, there are no matters that require public disclosure. Blah blah, blah, blah blah. But they'll let us know. And then there is a public statement. But it's all in Chinese. Yeah, interesting, interesting. Wasn't there a rumor that Nikon. Didn't Nikon own a third or have interest in a third party lens manufacturer? 171 00:23:06.000 --> 00:23:07.000 Not sure. 172 00:23:06.000 --> 00:23:15.000 Am I. Am I imagining that? I feel like it might be there was something about Nikon. Maybe it wasn't. 173 00:23:15.000 --> 00:23:19.000 Dennis said in the chat that Sony already have a card of Sigma. 174 00:23:19.000 --> 00:23:33.000 Maybe that's what it is. And then Roy said, is Sony enhancing Their range or killing the competition. 175 00:23:33.000 --> 00:23:39.000 They squash it to. So that no one else can use Tamron lenses. 176 00:23:39.000 --> 00:23:44.000 Yeah. And then have third party and other. 177 00:23:44.000 --> 00:23:51.000 Yeah, yeah, maybe. Lots of comments in the chat. Back in the day, Nikon made lenses for Canon. 178 00:23:51.000 --> 00:23:52.000 Thank you. 179 00:23:51.000 --> 00:24:09.000 Crackers. There are Tamron lenses that have been rebranded as Nikon Z lenses. Thank you. That's what it was. And finally from Rick Nelson, the offer apparently is 1.2 billion, I'm not sure what. 1.2 billion yen dollars. 180 00:24:09.000 --> 00:24:13.000 Yeah, 1.2 billion. It's not that it's a lot. 181 00:24:13.000 --> 00:25:04.000 Yeah, it's a lot. It's not. Yeah, it's not a lot lot. It's interesting, you know, if it is to, to kind of acquire and then absorb that product range into their own offering, that would be one step. Obviously. You know, as I said earlier, I mean Sony do make entry level lenses. They make enthusiast level lenses and they make some pro level lenses. Their pro gear is really good, really expensive. This and Tamron, you know, Tamron make amazing lenses for a whole range of mounts. So it would be interesting to see whether they would let Tamron continue to run as Tamron, supporting all mounts and all camera systems or whether they would just make it Tamron, Sony, Sony lenses only. It'd be really interesting to see. 182 00:25:04.000 --> 00:25:05.000 That's true. 183 00:25:05.000 --> 00:26:07.000 I mean, I think, I mean Tamron's a great brand. That their lenses have come leaps and bounds, especially in the last few years. I just took out the. I'm sending it back tomorrow. The, the 150 to 500 as we talked about earlier. That's a cracking lens. Glenn. Glenn Lavender has just been promoting the new 12 to 20 full frame wide zoom with some of his work. That's a Tamron. So yeah, it's interesting to see, you know, I don't. We sometimes hear about these acquisitions and then we sometimes, you know, like I had no idea that DJI owned Hasselblad. I just didn't know. You know, often, often that sort of stuff happens and it's not really publicly available knowledge and it's just people just move on with it. But yeah, it's a, it's an interesting state of affairs to see what happens, you know, is it has Tamron, is Tamara not doing so well and they need a bailout or has this completely taken them by surprise? You know, that would be kind of my first question. 184 00:26:07.000 --> 00:26:09.000 Seems strange like what. 185 00:26:09.000 --> 00:26:10.000 It does. 186 00:26:10.000 --> 00:26:11.000 Why? 187 00:26:10.000 --> 00:26:14.000 Yeah, why? Just why? 188 00:26:14.000 --> 00:26:18.000 We'll keep you up to date 189 00:26:18.000 --> 00:26:19.000 in. 190 00:26:18.000 --> 00:27:11.000 In other news, let me just read out these couple. Nikon has Lost the patent lawsuit against Viltrox in China. This one has been going on for a couple of months now where, as it says, Nikon was. Was claiming that Viltrox breached some patents and the. They've lost their lawsuit against them. So. Which is good. What else? And this funny little thing I saw, this is for you Leica nerds who actually own Leica glass. I thought this was funny. So on the Leica rumor sites, and I'm sure these will soon populate, Leica stores little acrylic lens cases for your Leica lenses. So you can have them on display. You keep them clean like a museum exhibit. 191 00:27:11.000 --> 00:27:12.000 You can just. 192 00:27:12.000 --> 00:27:20.000 That's not a new thing. That's not a new thing. I reckon. I reckon there was some, like, in larger lenses. That's how you stored them. 193 00:27:20.000 --> 00:27:31.000 Yeah, probably. I mean, I've seen people do, like, leather cases for their lenses, especially Leica lenses, because they're quite small, a lot of them. But yeah, this is. This is next level. This is peak light, Jim. 194 00:27:31.000 --> 00:27:34.000 I reckon you're right, though. Justin. Justin will be totally on that. 195 00:27:34.000 --> 00:27:39.000 Well. Well, I said that and then I thought, isn't the Q3. It's fixed, isn't it? 196 00:27:39.000 --> 00:27:44.000 Yeah. Give him time, Jim. He'll have a liker eventually in time. A real Leica. 197 00:27:44.000 --> 00:27:45.000 A real. 198 00:27:44.000 --> 00:27:49.000 Sorry, Dan. 199 00:27:49.000 --> 00:27:55.000 So that's pretty much probably not listening because he's. He's, you know, in Africa gallivanting. 200 00:27:55.000 --> 00:28:01.000 Yeah, he is gallivanting on safari. He comes home tomorrow. 201 00:28:01.000 --> 00:28:04.000 I hope he's home soon. We've got a shoot on the weekend. 202 00:28:04.000 --> 00:28:11.000 Yeah, he'll be back for this Thursday's podcast. He gets in it about this time tomorrow night, I think. 203 00:28:11.000 --> 00:28:14.000 Yeah. I've talked him into shooting a wedding. 204 00:28:14.000 --> 00:28:15.000 Have you? 205 00:28:15.000 --> 00:28:16.000 Oh, wow. 206 00:28:16.000 --> 00:28:19.000 Yeah. So. Well, yeah, it's a funny story, I 207 00:28:19.000 --> 00:28:22.000 think, but let's hear it. 208 00:28:22.000 --> 00:28:23.000 Don't hear it. Okay. 209 00:28:23.000 --> 00:28:26.000 I was like, don't leave it. I don't know if you want to 210 00:28:26.000 --> 00:29:20.000 go into it, but I've got a wedding on the weekend and the couple told me that the venue is sending a photographer down from Sydney to shoot some photos for them. And I was like, that sounds like a terrible idea. Who is this person and why are they going to be crashing your wedding? Like, that's ridiculous. And they. They were going to reach out and get back to me. And then about a month later, the venue reached out to me, like, hey, we've got these two events we'd love photographer for. This is one date, this is the other one. I said, well, I rang Justin, I said, are you available first? And he was. And then I rang them back and said, well, I'm actually photographer for that event, the wedding, the first one. And Justin's available so he could shoot it. So I've talked them into booking Justin for the shoot. So he's going to be working at a wedding as a. Working for the venue, which will be good because. 211 00:29:20.000 --> 00:29:23.000 Yeah, but that's not normal for a venue to. 212 00:29:23.000 --> 00:29:32.000 No, it's very strong. That's why I was like, no, this is throwing some red flags. Especially when they said, oh, this person's coming from Sydney. I was like, whoa, this doesn't sound. 213 00:29:32.000 --> 00:29:48.000 Yeah. But insane in saying that. I've had a very similar experience where I've been shooting for an artist and then the venue has reached out and asked if I would shoot it for the venue and the artist was fine with it because the venue was then paying me for the shoot. 214 00:29:48.000 --> 00:29:49.000 Yeah. 215 00:29:48.000 --> 00:29:52.000 And they were going to share the images to the. The artist. 216 00:29:52.000 --> 00:29:58.000 Yeah, like most of the, the shoot shots in the brief, like half of them is what I would be shooting anyway, so. 217 00:29:58.000 --> 00:29:59.000 Anyway. 218 00:29:58.000 --> 00:30:01.000 Yeah, yeah. But we could hang out at a 219 00:30:01.000 --> 00:30:06.000 wedding, getting the band back together. Are you going to wear your matching shirts? 220 00:30:06.000 --> 00:30:10.000 Yeah, we're going to wear our photographer vests. 221 00:30:10.000 --> 00:30:11.000 Love it. 222 00:30:10.000 --> 00:30:16.000 Didn't you guys, didn't you have an award ceremony where you won an award and you both had matching shirts on? 223 00:30:16.000 --> 00:30:18.000 Yeah, yeah, we've still got the shirts. 224 00:30:18.000 --> 00:30:22.000 Yeah, you should wear those and the vests. Yeah. 225 00:30:22.000 --> 00:30:25.000 And the matching lucky strap. 226 00:30:25.000 --> 00:30:31.000 Yeah, well, maybe, maybe I, I run the harness. This, the secret harness. 227 00:30:31.000 --> 00:30:34.000 Oh, the secret harness that I'm not allowed to have yet. 228 00:30:34.000 --> 00:30:35.000 Yeah, the prototype. 229 00:30:35.000 --> 00:30:38.000 I've seen it. This is really old now. 230 00:30:38.000 --> 00:30:45.000 I am one on my doorstep. I am expecting one to show up. 231 00:30:45.000 --> 00:30:49.000 Yeah, you're on the list. 232 00:30:49.000 --> 00:30:52.000 If you move house, update your address. It might take. 233 00:30:52.000 --> 00:30:53.000 Yeah, okay. 234 00:30:53.000 --> 00:31:09.000 That's as far as it's going to go. Where are we at? We've done all the news. Oh my God. How have we done it so efficiently? It's only 8 o'. Clock. Jim, why don't you give us an update on what you've been up to professionally? 235 00:31:09.000 --> 00:31:43.000 I had a couple of boudoir shoots in the last sort of week and then a couple of meetings. So that's going well. Got a commercial shoot tomorrow, which is actually another kind of funny story. They reached out and they, they had photography done which they weren't happy with and they reached out to one of my current clients and they said, oh, who shot this for you? And they said, oh, Jim did it. So they got in touch and, yeah, I'm gonna go shoot some. Some commercial, like headshots and branding and all sorts of stuff for them tomorrow. So. And they sent me through the photos and they really did suck, unfortunately. 236 00:31:43.000 --> 00:31:50.000 Oh, yeah. So is it a Canon shooter? It was a canon shooter, wasn't it, Greg? What? 237 00:31:50.000 --> 00:32:04.000 I can't actually. Can't remember what camera brand, but they. It would look. They were using program, which is notoriously not a great setting for your camera. Yeah, there's better if you. 238 00:32:04.000 --> 00:32:09.000 Yeah, yeah, yeah, yeah. So interesting. 239 00:32:09.000 --> 00:32:14.000 Yeah. Everything was just blurry. I'm putting down to maybe camera shake. 240 00:32:14.000 --> 00:32:17.000 But was it like headshots? Did you say headshots? 241 00:32:17.000 --> 00:32:26.000 It was headshots. They did like. Like team photos down at the lake. And every. When I say every photo, like, they sent me six photos and they were all blurry. 242 00:32:26.000 --> 00:32:30.000 Maybe they have. I'm just on a tripod with image stabilization or something stupid. 243 00:32:30.000 --> 00:32:38.000 That's still not gonna. I reckon it was someone's mum. Mum's cousin's brother's sister. 244 00:32:38.000 --> 00:32:39.000 Yeah. 245 00:32:38.000 --> 00:32:43.000 I'll see if I can find the EXIF data. Because I downloaded it because I was like, I need to know. 246 00:32:43.000 --> 00:32:50.000 Yeah, yeah. But if you're shooting in the daytime, it should be. It should be sharp. 247 00:32:50.000 --> 00:32:58.000 Yeah, yeah, it's not that. Yeah, they're just. Just out. I'm not gonna show. 248 00:32:58.000 --> 00:33:05.000 I'm with you, Dennis. Yeah, I'm with you, Dennis. It's really hard to get blurry shots unless you're photographing in the dark. 249 00:33:05.000 --> 00:33:16.000 Yeah. Well, actually, to be fair, this team photo is not that bad. No, it's still blurry. I don't know how it is. Like, it genuinely is. 250 00:33:16.000 --> 00:33:19.000 Run us through the settings. Obviously you can't put it on the screen, but what are the settings? 251 00:33:19.000 --> 00:33:20.000 I won't do anything like that. 252 00:33:20.000 --> 00:33:23.000 No, don't do that. 253 00:33:23.000 --> 00:33:32.000 We are 50 mil lens, ISO 100. Oh, it's a Canon camera. EF 51.8ST. 254 00:33:32.000 --> 00:33:34.000 Oh, that's like 100 years old. 255 00:33:34.000 --> 00:33:38.000 That's a nifty 50, isn't it? That's like the little plastic. 256 00:33:38.000 --> 00:33:39.000 Yeah. 257 00:33:38.000 --> 00:33:40.000 Dinky 1.8. It's like. 258 00:33:40.000 --> 00:33:42.000 It doesn't tell me it's 100 years old. 259 00:33:42.000 --> 00:33:44.000 Yeah. 260 00:33:44.000 --> 00:33:57.000 What else is there? Oh, exposure. Auto exposure. Exposure. Program normal. Program. 1 60th of a second at F5. 261 00:33:57.000 --> 00:33:59.000 1 60th or 160? 262 00:33:59.000 --> 00:34:00.000 160th. 263 00:34:00.000 --> 00:34:01.000 Sorry. 264 00:34:00.000 --> 00:34:04.000 Yep. I was like a 60th. 265 00:34:04.000 --> 00:34:05.000 That's not slow. 266 00:34:05.000 --> 00:34:06.000 Anything else? 267 00:34:06.000 --> 00:34:07.000 That Tells me I just wouldn't photograph 268 00:34:07.000 --> 00:34:13.000 paper as a 5D Mark 3, I guess. Yes, that's a good. Good. 269 00:34:13.000 --> 00:34:14.000 That's not bad. 270 00:34:14.000 --> 00:34:15.000 No, it's not bad. 271 00:34:15.000 --> 00:34:20.000 Yeah, yeah, yeah. I used. I was shooting that professionally like five years ago. 272 00:34:20.000 --> 00:34:21.000 Yeah, yeah. 273 00:34:21.000 --> 00:34:24.000 It. Like, it's. 274 00:34:24.000 --> 00:34:27.000 How have you gone that wrong? 275 00:34:27.000 --> 00:34:34.000 I don't know. And they did some head shots just using the lights from the root. Like just down lights ambient. 276 00:34:34.000 --> 00:34:35.000 Yeah. 277 00:34:35.000 --> 00:34:42.000 And it sounds like one of those. You know, Betty from reception's kid got a camera. Got a camera. 278 00:34:42.000 --> 00:34:43.000 Yeah. 279 00:34:43.000 --> 00:34:59.000 I'll. I'll do some more investigating and find out. But. Yeah. So this shot insides again, program at a 50th of a second. 2.8. Yeah. But again, it's just blurry, like, and it shouldn't. 280 00:34:59.000 --> 00:35:05.000 Yeah, well, if you're shooting at a fiftieth of a second, then that's why. 281 00:35:05.000 --> 00:35:06.000 Yeah, but. 282 00:35:06.000 --> 00:35:07.000 Yeah, yeah. 283 00:35:07.000 --> 00:35:11.000 I wouldn't be shooting people under a hundred. 284 00:35:11.000 --> 00:35:12.000 No. 285 00:35:11.000 --> 00:35:13.000 Well, yeah, yeah. 286 00:35:13.000 --> 00:35:14.000 Yeah. 287 00:35:14.000 --> 00:35:16.000 Unless I'm intentionally blurring them. 288 00:35:16.000 --> 00:35:20.000 Yeah. I'm not very stable myself, so I try and keep my shutter speeds pretty. Pretty fast. 289 00:35:20.000 --> 00:35:28.000 Yeah, same, same. Especially after a couple of coffees, I'm not so great. 290 00:35:28.000 --> 00:35:38.000 Parabellum says this is quite a slap in the face for that photographer. I only get blurry if I'm dropping the speed to get prop rotation on a passing aircraft. Same for motorsport. 291 00:35:38.000 --> 00:35:40.000 Yeah. 292 00:35:40.000 --> 00:36:00.000 Flu City does do headshots around Bendigo, but she assures us it wasn't her. Wildlife, landscapes, everything else she can nail. But she can't take a. Can't take a portrait shot. It's okay, Flick. We all have. We all have deficits. It's okay. You don't have to be a smartest with everything you try to photograph. 293 00:36:00.000 --> 00:36:06.000 Felicity, I need you to drop a portrait. A portrait shot in next week just to prove these boys wrong. 294 00:36:06.000 --> 00:36:30.000 Yep. And Rick says you had a customer come in with an issue of each person she photographed, had two faces in the result. Turned out she was in HDR mode, which took a series of picks and combines in camera. But it is easy. We've all turned up to a shoot or gone to take a shot and like, what the hell have I done? For me, it's usually, what settings have 295 00:36:30.000 --> 00:36:31.000 I left it in? 296 00:36:31.000 --> 00:37:02.000 There's this annoying switch that I constantly knock and it's for single, continuous and manual focus on the side of the camera. And that's usually my first go to culprit. But I had a mate message me the other night saying I've been taking photos the X T5 Fujifilm. Sorry. And it takes forever for it to load to the, to the SD card. Like it makes. It stops me from taking another photo and turned out he had it on HDR mode. So it was bracketing trying to, you know, all that sort of stuff. 297 00:37:02.000 --> 00:37:04.000 Actually taking a hundred images actually. 298 00:37:04.000 --> 00:37:05.000 Yeah. 299 00:37:05.000 --> 00:37:14.000 And then it took me about 10 minutes to find the, the self timer button on my Z8s the other day because I just don't ever use that setting. 300 00:37:14.000 --> 00:37:15.000 Yeah. 301 00:37:14.000 --> 00:37:23.000 So yeah, it's funny when you like, you, you go hunting for a particular setting that you haven't used in like six months and you're like, where is that in what menu does this live in? 302 00:37:23.000 --> 00:37:25.000 Yeah, it's like a fun menu. 303 00:37:25.000 --> 00:37:37.000 I could adjust the timer but I couldn't turn it on. Yeah, because you got to turn it on like via the top of the camera, not in the menu. So I could adjust the timer but I couldn't adjust. I couldn't turn the self timer on. 304 00:37:37.000 --> 00:37:39.000 The actual timer on Y. 305 00:37:39.000 --> 00:37:40.000 Because it's a certain. 306 00:37:40.000 --> 00:37:54.000 Yeah, yeah. And Dennis has said noise reduction is another culprit for that. Worst camera setting ever invented. Yeah, that in camera noise reduction, it's terrible on Fujifilm. It just makes everything stop. 307 00:37:54.000 --> 00:37:57.000 Yeah, just like most. 308 00:37:57.000 --> 00:37:58.000 Yeah, pretty much. 309 00:37:58.000 --> 00:37:59.000 Yeah. 310 00:37:59.000 --> 00:38:00.000 Image quality. 311 00:38:00.000 --> 00:38:04.000 Yeah, it's a quick drive by there. 312 00:38:04.000 --> 00:38:19.000 Yeah, it was a very quick. Yeah, whatever. Lucinda, let's look at some of your images and talk to us about what you've been up to and then we'll jump into some news and then we'll start. Not new. Sorry. And then we'll start looking at some other people's images and then I'll give you an update on what I've been up to. 313 00:38:19.000 --> 00:40:38.000 Yeah, well, I, I've put in some older images. The like, they're not old old, but they're like last couple of weeks old. Because a lot of the stuff that I've shot in the last two weeks is kind of embargoed. There's a lot of stuff that I've been shooting. Yeah, well, like I shot stills on a music video for two days last week, which was fun. But yeah, I can't show you any of that work because the music video is not done yet. And yeah, so a few gigs over the weekend as well that are, yeah, up for artist approval before I send stuff out. So. Yeah, yeah, these are some, some stuff from the last couple weeks. So this was a show that I did with a friend of mine, Angus. It's his last show for a little while. He's actually stopping music. So he's been playing music for years. He released his debut ep. This was the like launch of it. But now he's not going to do music anymore because it's, it's just sort of eating away at his soul a little bit. And so he's just like I'm just gonna put it down for a little while and, and just see sort of where life takes me. So yeah, this is like a big celebration kind of of friends and family and, and yeah, just like getting to celebrate this beautiful body of work that he created and released. But also like yeah, a bit a bittersweet sort of feeling because obviously yeah, it's like the last, the last time he's going to play live for the foreseeable future. So yeah, it felt important to sort of capture and document this. And yeah, just like friends and, and everyone having a good time. It was packed. This is at the Bergey Band Room. This is a venue I shoot quite often. I love the team there but it is like a bit of a hard one to navigate. I ended up. This stage is sort of shoved in a corner with a wall on the other side. So opposite the camera there's a wall there and there's a, a walkway to an entry point that's normally locked off and then the green room. So for me to switch sides I had to go out the door through the green room and then round the steps because I couldn't get through the crowd. So yeah, it was pretty, pretty packed. 314 00:40:38.000 --> 00:40:47.000 But yeah, it's a lovely intimate shot. And, and the connection yeah between these guys is that one of your cameras just behind the drummer set up on a tripod. 315 00:40:47.000 --> 00:41:22.000 No, there is a. There was a video crew of about 7, 000 cameras on stage and in the crowd I think they had like literally like seven cameras on that railing that you can see just poking in. There was a osmo pocket like attached to it. Yeah, there's a camera there. There's a camera on the floor. There's like a cellist in the back corner there. There's a camera on the floor there. There's a camera on the floor the other side. And then I think they had one on the, in the back of the room and then two roving. It was a whole, it was a whole dodging. Dodging situation. 316 00:41:22.000 --> 00:41:23.000 Yeah. 317 00:41:22.000 --> 00:41:29.000 Greg, maybe just try if you hit view and then see if you can get full screen. 318 00:41:29.000 --> 00:41:32.000 That's not an option. 319 00:41:32.000 --> 00:41:33.000 No. 320 00:41:32.000 --> 00:41:37.000 Yeah. Sorry guys, I'm. This is my part time gig. 321 00:41:37.000 --> 00:41:39.000 All right, that's a bit Better, but 322 00:41:39.000 --> 00:41:40.000 we're chopping some of it out. 323 00:41:40.000 --> 00:41:43.000 But yeah, the. 324 00:41:43.000 --> 00:41:54.000 The artifacts in the air, like the mist or the smoke from the smoke machine. Yeah, yeah, it's just cool. It just gives it a really kind of a nostalgic, timeless vibe. 325 00:41:54.000 --> 00:42:07.000 Yeah, yeah, it felt. I haven't done a lot of black and white processing of late, but there was a few images in this set that I was like, oh, this needs to be black and white. As soon as I shot it, I kind of knew. 326 00:42:07.000 --> 00:42:10.000 Yeah, definitely felt, oh, well done. That's beautiful. 327 00:42:10.000 --> 00:42:11.000 Felt right. 328 00:42:11.000 --> 00:42:18.000 That's a keeper. Okay, let's do this old school. Let's go into this one. Oh, here's another one. 329 00:42:18.000 --> 00:42:27.000 Yeah, so a few. Few of the same show. Yeah, I kind of like this one just with Angus's. Angus's expression. 330 00:42:27.000 --> 00:42:30.000 Yeah, yeah, it's got. 331 00:42:30.000 --> 00:42:47.000 Yeah. I'm sitting on a. Sitting on a set of stairs. So you saw the railing in the last shot and then there's two guys either side there and I'm shooting in between them. 332 00:42:47.000 --> 00:42:50.000 Someone said, hit F11. Greg Parables. 333 00:42:50.000 --> 00:42:53.000 Thank you. 334 00:42:53.000 --> 00:42:54.000 Hang on. 335 00:42:54.000 --> 00:42:58.000 Function 11. No, that didn't work at all. 336 00:42:58.000 --> 00:43:02.000 No, it's okay. 337 00:43:02.000 --> 00:43:09.000 Sorry, guys. I'm doing my best. What else we got? Got a few more here. 338 00:43:09.000 --> 00:44:27.000 This is another show. Yeah, this is another show I did. I think I spoke about this one maybe, or maybe not. I can't remember. This is an artist called Candace Array. She is a First nations artist and she was doing this beautiful showcase of an upcoming body of work that she's got coming out. And the. It was in a theater in Melbourne. And the premise of the show was that her dad. I can't remember the region that she's from, but her dad sort of built these fish traps and was really, like, significant to the town. And so he would catch all this fish. And still to this day, he was at the show. It was really, really, really special. He drives around in his ute and anyone who's, like, struggling or, you know, is looking for something to eat or whatever, he will go around and just like, hand out fish out of the back of his ute. It was like such a beautiful story. And so this, the. The wire and the. The sticks and stuff in the background is a replica of that fish trap. So. And then it was actually a playable thing. So they had it all wired up and other musicians, that all the other band is behind that and then they could like touch it and it would play music. 339 00:44:27.000 --> 00:44:28.000 Wow. 340 00:44:28.000 --> 00:44:29.000 Oh, wow. 341 00:44:29.000 --> 00:45:23.000 So it was really cool. And then they had. Yeah, all this Vegetation and stuff on stage and shooting through some. Yeah, so I am. Yeah, so I'm on the ground sort of shooting through it. But yeah, it was such a beautiful show. And yeah, theater. Theater settings where everyone's seated, her family was all there. There was like this little documentary of sort of explaining the fish traps and the significance of them. Yeah. So it was really a really cool show. And same thing. There was like a video crew with like multiple cameras, two photographers, so me and another girl shooting. But yeah, it was just a really special one. It was a bit different. It's kind of like very much leans a bit theater because of the staging of it, which is kind of fun for me because it's like, oh, there's interesting things to sort of interact with and play with on stage and shoot through different things, which I don't often. 342 00:45:23.000 --> 00:45:27.000 She's got these shells hanging off her microphone stand. 343 00:45:27.000 --> 00:45:42.000 Yeah. So she was playing them like a wind chime, kind of just clanging them all together. And then she's got all these native flowers in her hair too, which was gorgeous. But yeah, such a. Such a fun show. 344 00:45:42.000 --> 00:45:50.000 And I'm sorry that we're not doing the photos justice here because it's the best way to look at them, but. Oh, okay. Yeah. So here's the band behind the. The wire cage. 345 00:45:50.000 --> 00:45:51.000 Yeah, yeah. 346 00:45:51.000 --> 00:45:53.000 Someone's hands there. Oh, they're great. 347 00:45:53.000 --> 00:45:54.000 That's a video. 348 00:45:54.000 --> 00:45:55.000 That's your question? 349 00:45:55.000 --> 00:45:56.000 Yeah. 350 00:45:56.000 --> 00:45:58.000 Which do you prefer? 351 00:45:58.000 --> 00:45:59.000 The. 352 00:45:58.000 --> 00:46:12.000 The energy and the power of a big stadium concert or these sorts of intimate storytelling kind of experiences? Like these. These two shoots that you've shown us are very intimate experiences for the artist. 353 00:46:12.000 --> 00:46:13.000 Yeah. 354 00:46:12.000 --> 00:46:15.000 And you've captured them beautifully. Which do you prefer? 355 00:46:15.000 --> 00:47:25.000 I don't know. It sort of depends on the week, I reckon. Like, I. I know I shot something at Geelong Art center on Friday which was like a stripped back version of. I don't know if everyone's aware of the Cat Empire, but I like last year and it's like a band of like 20 people and they're running around on stage and there's like just color and energy. But then they had had like this stripped back version of three of them on stage, just seated and just playing through everything, sort of a little bit more stripped back. And even though that room was huge, it was like lovely to sort of see that and sort of slow down and appreciate music in a different way. So, yeah, it depends. Like, I feel. I like, I love the slowness and the stillness of some of those sorts of shows where you can sort of take your time and just appreciate what's going on. But then in saying that then a big stadium arena show that's like high energy and high impact is always so much fun to shoot because there's so much going on. But I feel like I miss more shots in those scenarios because like sometimes there's just too much happening on stage for you to capture everything. 356 00:47:25.000 --> 00:47:26.000 Yeah, yeah. 357 00:47:26.000 --> 00:47:27.000 Cool. 358 00:47:27.000 --> 00:47:29.000 Now these are beautiful. Amazing. 359 00:47:29.000 --> 00:47:31.000 Thanks. 360 00:47:31.000 --> 00:47:49.000 Very, very cool. A couple of quick comments in the chat. It's got a couple of late arrivals. I did see back here that David Skinner showed up late. Please see me after class. Who else? We got Richard Miles here. I think we've got some of Richard's images to show a bit later. Hello. 361 00:47:49.000 --> 00:47:50.000 Hello. 362 00:47:49.000 --> 00:48:45.000 And Nev has joined and Nev's. Nev's currently teaching his son everything he knows about photography. Which, you know, probably won't take long. Nev, to be fair. I'm joking of course. But yeah, Nev's been training his son in photography and he. He's a Fuji shooter as well. So, you know, nothing but. Nothing but success ahead. Hi all watching with a new subscriber, my son, Ethan. G', day, Ethan. G', day, Nev. Good to see you mate. And thanks for recruiting us yet another member into our culture. Let's. Well, speak of the devil. I've got Nev at the top of the list. Let me just find Nev's image and would one of you like to read Neville's little story to go with these images? It's on the running sheet. Let me just find Nev's photo. Here it is. Anytime you're ready, Jim. 363 00:48:45.000 --> 00:48:50.000 Is that. Is that. Is there any one image? 364 00:48:50.000 --> 00:48:51.000 Yeah, there is only one. 365 00:48:51.000 --> 00:49:27.000 Okay. Is it canal rocks in yelling up Western Australia. The story. This is where rough meets the smooth. The ocean pounds in and comes through a very narrow gap. It's kind of like a natural waterfall. And there is a small jetty you can walk over to and take photos from. There are two images stitched together from. For a panoramic DJI Mavic 4 Pro with this circular polarizing filter. ISO 100F4 shutter 1/100 of a second altitude 120 meters max legal height. 366 00:49:27.000 --> 00:49:29.000 Thanks for specifying. 367 00:49:29.000 --> 00:49:31.000 Yeah. Is this the right. 368 00:49:31.000 --> 00:49:33.000 That's a narrow jetty. 369 00:49:33.000 --> 00:49:38.000 That's a very narrow jetty. Is that sky. 370 00:49:38.000 --> 00:49:41.000 Is that taken from 120 meters? Not sure. 371 00:49:41.000 --> 00:49:44.000 I might not have the right one. 372 00:49:44.000 --> 00:49:45.000 It looks like the right jetty. 373 00:49:45.000 --> 00:49:50.000 Yeah, no, it does. I hope I've got the right one. Nev Apologies if I haven't the descriptions. 374 00:49:50.000 --> 00:49:53.000 This description's lining up. 375 00:49:53.000 --> 00:49:56.000 It does, yeah. The narrow jetty. 376 00:49:56.000 --> 00:50:05.000 It just looks very. That's it. Dennis has said that's not 130 meters, I think. Yeah, I would agree. 377 00:50:05.000 --> 00:50:06.000 Yeah. I might have the wrong. 378 00:50:06.000 --> 00:50:12.000 Those poles are like 70 meters high or something. 379 00:50:12.000 --> 00:50:13.000 The bolty bridge. 380 00:50:13.000 --> 00:50:14.000 Yeah. 381 00:50:14.000 --> 00:50:17.000 Well, it's Western Australia. Who knows, like, what's going on? 382 00:50:17.000 --> 00:50:18.000 That's true, to be fair. 383 00:50:18.000 --> 00:50:26.000 That's true. Must be a massive jetty. Yeah. I'm sorry if I've stuffed that one up, Nev. But regardless, amazing shot. 384 00:50:26.000 --> 00:50:27.000 Yeah, great shot. 385 00:50:27.000 --> 00:50:28.000 Yeah, it's beautiful. 386 00:50:28.000 --> 00:50:35.000 It's got this incredible mood and this just pulls you into this storm in the background and that's raging overhead. 387 00:50:35.000 --> 00:50:40.000 I love the monochromatic, like, blue tone. 388 00:50:40.000 --> 00:50:50.000 Yeah, yeah. It's really powerful, isn't it? And, yeah, you know, the. The contrast between the smooth water and the. The angry sky. 389 00:50:50.000 --> 00:50:59.000 The color coming through that blue kind of coming through in the sky, but then also there's sort of tones of that same blue. Looks like it's coming through in the jetty. 390 00:50:59.000 --> 00:51:01.000 Yeah, it looks like reflected. 391 00:51:01.000 --> 00:51:02.000 Yeah. 392 00:51:01.000 --> 00:51:05.000 Oh, and there's a bird back there. 393 00:51:05.000 --> 00:51:15.000 Sneaky. Yeah. Yeah. I have a feeling this wasn't shot on. Yeah. Description a bit confusing, but the image is amazing. 394 00:51:15.000 --> 00:51:24.000 Yeah. All right, well, I'll have to talk to the work experience kid about that one. 395 00:51:24.000 --> 00:51:28.000 Maybe really good at photos. Not great at descriptions. 396 00:51:28.000 --> 00:51:29.000 Yeah, maybe. 397 00:51:28.000 --> 00:51:31.000 Maybe 398 00:51:31.000 --> 00:51:47.000 Crackers now. Crackers. This is the second photo Cracker sent in. He sent me one a couple of days ago to Justin and I and then he sent me a message Sarvo saying, can you. Can you swap it? Can we. I don't want that one. I want this one. So I've got a brand new photo from Greg's. He went to the same spot and took a better photo. He wasn't happy. 399 00:51:47.000 --> 00:51:50.000 Last minute switch out. 400 00:51:50.000 --> 00:51:55.000 Oh, hang on, here's another. Nev Clark. Did I. Oh, let me. 401 00:51:55.000 --> 00:51:56.000 Sorry, Nev. You got the right one. 402 00:51:56.000 --> 00:51:58.000 That's on me. 403 00:51:58.000 --> 00:51:59.000 Hey there. 404 00:51:59.000 --> 00:52:04.000 This is a panorama. Yep, yep. Sorry, mate. 405 00:52:04.000 --> 00:52:06.000 That makes more sense. 406 00:52:06.000 --> 00:52:08.000 It does that. Yeah. That lines up better. 407 00:52:08.000 --> 00:52:10.000 That looks about 120 meters high. 408 00:52:10.000 --> 00:52:12.000 Yeah, yeah. 409 00:52:12.000 --> 00:52:14.000 Happy with that now I got the right one. 410 00:52:14.000 --> 00:52:18.000 Hey, what a night. Yeah. 411 00:52:18.000 --> 00:52:20.000 Look at that angry water. 412 00:52:20.000 --> 00:52:22.000 Look at that detail, though. 413 00:52:22.000 --> 00:52:25.000 Angry versus the calm. 414 00:52:25.000 --> 00:52:28.000 Yeah. And how it's just pushed in under the bridge. 415 00:52:28.000 --> 00:52:33.000 Yeah, yeah. You've got this sweatless, small surge. 416 00:52:33.000 --> 00:52:34.000 I like it. 417 00:52:34.000 --> 00:52:39.000 We have confirmed with Dennis that that is 120 meters. 418 00:52:39.000 --> 00:52:46.000 Thank you, Mr. Smith. I love the complexity in the rocks. That's kind of mirrored by the complexity in the water here. 419 00:52:46.000 --> 00:52:47.000 Yeah. 420 00:52:47.000 --> 00:52:48.000 And then. 421 00:52:47.000 --> 00:52:57.000 Yeah, the right half of the frame, it just. It just stops. It just, just is all this mad energy on the left. Yeah, I love it. It's great. 422 00:52:57.000 --> 00:53:03.000 My week versus my weekend. 423 00:53:03.000 --> 00:53:13.000 But the right still got some color. Like it's not just dead and empty. Like there's still. It's nice neutral space, but with that color just. It's still quite strong and powerful. 424 00:53:13.000 --> 00:53:26.000 Yeah, yeah, yeah. It's a great shot. Nice work, Neville. And some great comments coming in from the community, which is great. Who we got next, folks? Who's next on the list? 425 00:53:26.000 --> 00:53:28.000 Greg Carrick. 426 00:53:28.000 --> 00:53:31.000 Oh, that's right. We're looking for Crackers. Sorry, Greg, back to you. 427 00:53:31.000 --> 00:53:33.000 Has said that he's fussy. 428 00:53:33.000 --> 00:53:35.000 He is fussy. 429 00:53:35.000 --> 00:54:02.000 Oh, where's my list? I've lost the image already. Greg Carrick. Sorry, folks. We are getting there. Here we go. Is this the right image? First of all, can Greg, can you please confirm I've got the right image? Am I on the right podcast? So this is the second attempt. So went back the next day determined to get a better shot. I love that. That's so cool. 430 00:54:02.000 --> 00:54:03.000 Yeah. 431 00:54:03.000 --> 00:54:15.000 He sent us a photo that was great. He wasn't happy enough with it. He wanted to give it another shot and he went back and did so. And I love that sort of determination. And it's worth it. Beautiful shot. 432 00:54:15.000 --> 00:54:17.000 Yeah. I like the movement. 433 00:54:17.000 --> 00:54:20.000 Yeah. 434 00:54:20.000 --> 00:54:25.000 Jim, do you want to read out what. What Crackers has had to say? 435 00:54:25.000 --> 00:54:27.000 Yeah. Fujifilm XE4. 436 00:54:27.000 --> 00:54:30.000 Sorry, what was that? 437 00:54:30.000 --> 00:54:44.000 It was a really average camera. Yeah. I think he's. What he meant to say. A TD Artisan 25 mil at F16. ISO 89. Is that it? Usually. Do you use ISO 89 a lot, Greg? 438 00:54:44.000 --> 00:54:48.000 Not a lot, no. Is that a 64? 439 00:54:48.000 --> 00:54:51.000 Yeah, I don't. I don't have that either. Yeah. 440 00:54:51.000 --> 00:54:52.000 It's a new thing. 441 00:54:52.000 --> 00:54:57.000 Is it. Is that because it's like three. Three, you know, micro, therefore three. 442 00:54:57.000 --> 00:55:01.000 Yeah. It's like. It's the sensors only like size of your little fingernail. Yeah. 443 00:55:01.000 --> 00:55:03.000 So you get different ISOs. 444 00:55:03.000 --> 00:55:05.000 Yeah, yeah, it's all different. 445 00:55:05.000 --> 00:55:13.000 Yeah. 50. 50 second shutter speed and 2nd filters. Nd filters stacked. 446 00:55:13.000 --> 00:55:14.000 Yeah. 447 00:55:13.000 --> 00:55:14.000 Yeah. 448 00:55:14.000 --> 00:55:16.000 I think you said ISO 80. 449 00:55:16.000 --> 00:55:19.000 Yeah. It looks like a bright blue sky. 450 00:55:19.000 --> 00:55:20.000 Yeah. 451 00:55:20.000 --> 00:55:23.000 I liked ISO 89 better though. 452 00:55:23.000 --> 00:55:24.000 It's very specific. 453 00:55:24.000 --> 00:55:27.000 Yeah, exactly this much. 454 00:55:27.000 --> 00:55:33.000 Yeah. 80 and tweaks a slow shutter for the win. 455 00:55:33.000 --> 00:55:34.000 Yeah. 456 00:55:33.000 --> 00:55:42.000 And I love the way that the PYLONS that the reflection of the pylons, you know, disappears down the bottom of the frame. Just. 457 00:55:42.000 --> 00:55:47.000 I like the way that they break the. Break. Break the horizon. 458 00:55:47.000 --> 00:55:48.000 Yeah, yeah. 459 00:55:48.000 --> 00:55:54.000 With the white tips sort of just poking up past it. It's. Yeah, yeah, yeah. Pleasing. 460 00:55:54.000 --> 00:56:18.000 Amazing. Great work, Crackers. Great shot. But the fact that, you know, I think it's really important to reemphasize that you weren't happy with the outcome. You just didn't settle for it. You wanted to try it again, you know, and I think sometimes that's. That's just as important in. In learning about your craft and mastering your craft as it is to try and get a perfect shot. The ones the first time, you know, to learn from it, which is great. 461 00:56:18.000 --> 00:56:22.000 So is the first shot similar? Is that. 462 00:56:22.000 --> 00:57:01.000 Oh, it was completely. To be honest, yeah, it was similar. It was the same space, but he wasn't happy with. It was a different. I won't bring it up because he has to swap it. But yeah, Y. And what have we got here? Phil Thompson says, love how the cloud movement matches the inward leading line of the jetty. Also the difference in the light. Yeah, yeah. The jetty and the clouds create this leading line, don't they? Bring you into the frame. That's great. Well done, sir. Who have we got next? Guys on the list. 463 00:57:01.000 --> 00:57:03.000 Tweak, Tweak Productions. 464 00:57:03.000 --> 00:57:21.000 Tweak Productions. So these were sent in. Let me just get out of here. I gotta find them. Oh, here we go. These were sent in for last week, but I didn't because he'd sent them to Justin. I didn't have permission to open them from his drive folder. So let's have a look at this. This is shot one. Do you want to read it out? Lucinda, you want to have a go? 465 00:57:21.000 --> 00:58:33.000 Yeah. Hi, Justin. Greg and camera Life groupies spent the last couple of weeks calling and editing motorcycle photos from the Big Chill, a classic motorcycle race racing event at Morgan Park Raceway, Warwick, Queensland. My favorites to shoot other sidecars. This lot definitely have a few screws loose, especially the swingers who counterbalance the bikes around corners. Here is a series from sidecar number five. The swinger is Angelica and the rider is Ray. They really push the limits of the track and play chicken with the walls. Some of the pics show the proximity but not the speed. What are everyone's thoughts on adding motion blur to a photo to depict speed? Since only my pan shot can achieve this natur. These proximity shots are shot at 1/2,000th of a second to 1/4,000th I could never and can't show the speed as they fly past me at 120 plus kilometers from less than a meter away. Would love the feedback. These are shot on a Canon R5 Mark II, the most elite camera with RF24 to. 466 00:58:33.000 --> 00:58:36.000 No, seriously, look at the detail. 467 00:58:36.000 --> 00:58:42.000 And a EF100 to 400 L2. Cheers and have a great show. 468 00:58:42.000 --> 00:58:43.000 That's amazing. 469 00:58:43.000 --> 00:58:44.000 That's really cool. 470 00:58:44.000 --> 00:58:46.000 Yeah. 471 00:58:46.000 --> 00:58:50.000 I don't know about adding, like fake motion blur. 472 00:58:50.000 --> 00:58:51.000 Yeah. 473 00:58:50.000 --> 00:58:53.000 What's is it to the. Is it. Is there three shots, Greg? 474 00:58:53.000 --> 00:58:56.000 Yeah. I'll bring up the other. Sorry. Jim goes faster. 475 00:58:56.000 --> 00:59:01.000 Maybe. I think it's to these ones that. That he means 476 00:59:01.000 --> 00:59:02.000 tell. 477 00:59:01.000 --> 00:59:05.000 The first one was shot as a pan. I think these ones are shot. 478 00:59:05.000 --> 00:59:06.000 Yeah. 479 00:59:06.000 --> 00:59:15.000 As. Yeah, as stay like static. No, they're moving it like pace. 480 00:59:15.000 --> 00:59:16.000 Yeah. 481 00:59:15.000 --> 00:59:26.000 I don't think they need it. I think the texture in the road kind of leans into that anyway. Kind of. And the lines all kind of make it look like there's motion. 482 00:59:26.000 --> 00:59:27.000 Yeah. 483 00:59:27.000 --> 00:59:28.000 Yeah. 484 00:59:27.000 --> 00:59:29.000 It's an interesting question, though. 485 00:59:29.000 --> 00:59:35.000 I like the panning shot for the fact that you can tell it's moving. 486 00:59:35.000 --> 00:59:36.000 Yeah. 487 00:59:35.000 --> 00:59:55.000 But I just feel like it would feel too fake if you add it in post. Like, they're clearly in motion because, like, you can see sort of from their, like their positioning and the way that they're focused and that sort of like. I feel like I can read that without the panning. I think they're just two different shots. 488 00:59:55.000 --> 00:59:56.000 Yeah. 489 00:59:56.000 --> 01:00:52.000 Yep. And the. The people in the chat den says that's crazy. Don't add blur, I reckon. Keep it real. As for the panning shot, David Skinner says, wonderful panning. Extremely well done. Yeah, that was really crispy. Like, I could see the tear die. His eyes were watering. It was love that second shot. Rick now says panning is beautiful, but I wouldn't add the movement unless it's for a client. Yeah. Tweet says. I just know some photographers do and. And I don't feel quite right about it, but it can add drama. Yeah, it can, but I think keeping it real is far more important. Unless someone's also, 490 01:00:52.000 --> 01:01:12.000 I think also, like when you. When you enter competitions and stuff. Like, I know from entering the AIPP is way back when I was studying, they won't let you do stuff like that. Like it has to be shot in camera. Like, I wasn't able to remove a mic stand. Not that I ever would or, like, would bother to do that. But. 491 01:01:12.000 --> 01:01:13.000 Yeah. 492 01:01:12.000 --> 01:01:30.000 Yeah. If. If there's something a little bit not quite there. In composition, you can't just like Photoshop it out. So similarly, I would imagine that if you were to enter some of these in particular competitions, they wouldn't allow you to have fake motion blur. 493 01:01:30.000 --> 01:01:31.000 Yeah. 494 01:01:31.000 --> 01:01:33.000 Yep. 495 01:01:33.000 --> 01:01:53.000 And Parabellum collectibles. Final comment. Not a fan of fake image blur. The image here is spot on. Love it. Panning is where you need to need the image blur, but should be done through the photography and through the camera. Yeah, yeah, but yeah, gorgeous shots. Really crisp. Super crisp. 496 01:01:53.000 --> 01:01:55.000 Yeah, Nice work. 497 01:01:55.000 --> 01:01:59.000 Yeah, amazing. Who's up next? 498 01:01:59.000 --> 01:02:04.000 Must be a Canon. 499 01:02:04.000 --> 01:02:10.000 It's definitely. It's definitely like a, you know, high res, like the detail is just insane. 500 01:02:10.000 --> 01:02:11.000 Yeah, yeah. 501 01:02:10.000 --> 01:02:14.000 The creases in the leather, you know, 502 01:02:14.000 --> 01:02:18.000 it's all there, which is hard to do when they're flying. 503 01:02:18.000 --> 01:02:24.000 Yeah. Yep. Who's up next? 504 01:02:24.000 --> 01:02:26.000 Simon England. 505 01:02:26.000 --> 01:02:31.000 Simon, let's find those images. Simon England. Just the one. 506 01:02:31.000 --> 01:02:33.000 Yeah. 507 01:02:33.000 --> 01:02:36.000 All right, let me just. 508 01:02:36.000 --> 01:02:37.000 You want to read this one, Jim? 509 01:02:37.000 --> 01:03:35.000 Yeah, I can read this one. Heil. Mr. Chromie has been a bad influence and has infected me with the Fujifilm bug. I now have a Fujifilm with 23.2.8 and a 16 to 52.8 to 4.8 and it feels good. Oh, the color and the portability. These photos were captured during a walk around the Warner's Bay foreshore after a rather tough day. Being outside and capturing some dark yet colorful silhouettes made it easy to face the next day. Fujifilm XE5 with 23mm lens, ISO 320 at f4 for 1/40 of a second. Unfortunately for me, work issues delayed me getting tickets to BEFOP this year and I missed out. It hurts. So don't be offended as I fast forward through any sections where BEFOP is mentioned in the next few months. Sad face. Keep up the good work. Simon England. 510 01:03:35.000 --> 01:03:50.000 This is a beautiful shot and I'm sorry to say, Simon, you're going to hear the. The beef up word. A lot going to pop up in the coming months. We'll do our best to be mindful of your pain and your suffering. And your signature might have to do 511 01:03:50.000 --> 01:03:52.000 it like trigger warning. 512 01:03:52.000 --> 01:03:56.000 Yeah, maybe. Yeah, just have something flesh up. 513 01:03:56.000 --> 01:03:57.000 Yep. 514 01:03:56.000 --> 01:04:16.000 I don't know about you guys here, but I kind of. With the two chairs, I kind of see a big difference. I feel like on the chair on the left of the two people that are hugging, I feel like the tree is also hugging them. Yeah, it's kind of wrapping on the right. He's kind of distanced from the tree. The Tree is nowhere near hugging them and they're just in solitude and I don't know, maybe that's just me. 515 01:04:16.000 --> 01:04:18.000 Yeah, no, no, no, that tree on 516 01:04:18.000 --> 01:04:20.000 the left is hugging them. 517 01:04:20.000 --> 01:04:21.000 Yeah, yeah, I see it. 518 01:04:21.000 --> 01:05:29.000 I would love to see a crop where we crop. I feel like it's a statue or something. Like the blocky thing on the right hand side if we crop there onwards. So go the other way. Yeah, go the other direction and just have the like two people. Yeah, yeah, yeah, that's what you're saying. I would wonder. Yeah. And like portrait maybe because maybe that orientation works better. But like I don't want you to do it now, Greg. But I was just, just a suggestion because yeah, it is that like I wonder what's, what's happening. Like this person might be feeling a bit like Simon who's had a rough day and like this is them unwinding and they're by themselves and. And there's this like couple and they might, you know, they might be on a date, they might be on a first date. They might, you know what is going on, what is happening. I just feel like it's like such a. And the tree obviously being like very symbolic of life and that sort of thing. Like it's just. Yeah, I like the, I like the theming going on here. And again I might be being a bit woo woo. But. 519 01:05:29.000 --> 01:05:31.000 Oh, you have been known for it, Lucinda. 520 01:05:31.000 --> 01:05:33.000 I have been known to be a bit woo woo. 521 01:05:33.000 --> 01:05:34.000 That's okay. 522 01:05:34.000 --> 01:05:40.000 But yeah, I'd like to see, I'd like to see the crop and see what if that like consolidates. 523 01:05:40.000 --> 01:05:54.000 Yep. And I don't think you would lose much of the color because you've still got. No, you've still got the purple through to the oranges and the color is just gorgeous. It's just transition from the, from this sort of, you know, blue up here. 524 01:05:54.000 --> 01:06:05.000 Can you zoom in a little bit, Greg? Even like the color on that left again, sort of symbolizing the couple and the people. The person on the right's kind of got less color. 525 01:06:05.000 --> 01:06:06.000 It's a different. 526 01:06:06.000 --> 01:06:08.000 Yeah, yeah, yeah. They're seeing something different. 527 01:06:08.000 --> 01:06:12.000 Yeah, their color auras are different. 528 01:06:12.000 --> 01:06:18.000 That's what it is. Very cool. 529 01:06:18.000 --> 01:06:20.000 Something. 530 01:06:20.000 --> 01:06:23.000 Let's have a quick look at this comment. 531 01:06:23.000 --> 01:07:25.000 This is from Rick Nelson, second shot. Oh no, that's regarding the panning. Sorry everyone. What have we got here? We've got Den. Love the silhouette tweak. Love the silhouettes. Rick has said both branches show two stories happening in the one shot. Yeah, it's very true. Greg Carrick says good catch to Rick Nelson. I'm just commenting on what people are commenting to each other about. Gorgeous gradient here from tweak. Felicity says, I agree, Lucinda. Such a beautiful image, but just cropping off the right a little bit might change that dynamic. The right hand third is a bit noisy. As in busy, I think he means. Yeah, as opposed to the photography term noisy. Oh, I read noisy. Oh, I'm sorry, that's my bad linking glasses. 532 01:07:25.000 --> 01:07:27.000 I think that's definitely what he means. 533 01:07:27.000 --> 01:07:37.000 Yeah, sorry. Yeah, I think you're right, Jim. I think you're right. Anyway, let's move on. Would you guys be excited? 534 01:07:37.000 --> 01:07:39.000 Paul C. Oh yeah. You want to jump in, Greg? Let's go. 535 01:07:39.000 --> 01:07:42.000 Yeah, I wouldn't mind showing some of my images. Let's just turn that. 536 01:07:42.000 --> 01:07:44.000 What have you been working on? 537 01:07:44.000 --> 01:07:50.000 Well, I've been playing around with some different stuff. I can't remember what these images are of. Let me just have a look. 538 01:07:50.000 --> 01:07:52.000 You've been painting, Greg. 539 01:07:52.000 --> 01:07:53.000 What? 540 01:07:53.000 --> 01:07:55.000 Your room. 541 01:07:55.000 --> 01:07:58.000 Yeah. You've been away for a while, Jim. It's gone blue. 542 01:07:58.000 --> 01:08:01.000 Yeah. Apparently 543 01:08:01.000 --> 01:08:13.000 Sasha's pastor, a relationship law that we are to refer to this room as the bluedio Moving forward studio. Not the blue room, not the office. The bluedio. 544 01:08:13.000 --> 01:08:14.000 Okay. 545 01:08:13.000 --> 01:08:14.000 It looks. 546 01:08:14.000 --> 01:08:15.000 Looks really cool. 547 01:08:15.000 --> 01:08:16.000 Yeah. We're really happy. 548 01:08:16.000 --> 01:08:17.000 You look like a real podcaster now. 549 01:08:17.000 --> 01:08:24.000 I know, right? I don't have to pack all this up at the end of the day. Just getting out the door. Yeah. 550 01:08:24.000 --> 01:08:29.000 We just need to get you some lights like Jim and then you'd be maybe I need good to go and 551 01:08:29.000 --> 01:08:32.000 I need a nice lighting, a sharp camera, whatever. 552 01:08:32.000 --> 01:09:05.000 This one's fine. It's fine. Let me show you my stuff. So I went out for a walk. This was the cold, cold morning that I went out. Every now and then I like just take a stroll. I went out about 6:30 and I'm always drawn to this building just down the road from us. It's called Prahran Central. It's P R A N, not the traditional spelling of Prahran. And it's. And I've talked about this before. I kind of consider it a bit. Let me bring up the photo so you know what I'm bloody talking about. Hang on, where is it? 553 01:09:05.000 --> 01:09:06.000 Yeah, we are visual people. 554 01:09:06.000 --> 01:10:40.000 We are visual people. This building with this, this dome on the roof is Pran Central. And you know, I've lived in this area now for over 30 years. 32 years coming up very soon. I've raised my kids here. You know, I fell in love on this street. I lost my wife only a couple hundred meters from this street. And, you know, it's. It's just. It's just the anchor point in my life, this building. You know, I can walk into my street and look down the road and it's there a couple of hundred meters away. Coming home from journeys or trips or even just, you know, after a long day doing something away from home. And you see this building. I see this building. It kind of just makes me feel a bit safe and that I'm already home kind of thing. And so I often just head out to photograph it at different times of the day. And this. These shots were taken about, I think, seven in the morning. The sun, obviously was just peaking above the horizon. We've got some gold highlights across the very top. And, yeah, I just spent, I don't know, maybe an hour, 45 minutes, an hour just focusing on this particular part of Chapel street and just documenting it. And I like this photo because of the layers of buildings and the colors in the buildings. You know, you've got this white, this sort of pinky, kind of creamy color. Then you've got the yellow of Pran Central. But then over in the background on the left, you've got this old department store that's sort of getting the full morning sun and it's gone, you know, almost bright red. The sun is. Is so golden. So. Yeah, and it's interesting, the dome. Sorry? 555 01:10:40.000 --> 01:10:45.000 Everything kind of brings me into the dome. Like the lines, the sort of. The light. 556 01:10:45.000 --> 01:10:46.000 Yeah, yeah. 557 01:10:45.000 --> 01:10:47.000 The weight of the frame. 558 01:10:47.000 --> 01:10:50.000 Yeah, yep. 559 01:10:50.000 --> 01:11:00.000 And I love leaving that. Like, I've had people say, oh, maybe you should remove the power lines. Well, no, they're there. That's part of it. That's what you see. 560 01:11:00.000 --> 01:11:03.000 Yeah. Without power lines, it would be kind of bland. 561 01:11:03.000 --> 01:11:06.000 And now. Are they tram lines? I think that's. That's what they are. 562 01:11:06.000 --> 01:11:15.000 Yeah, they're for the trams, the ones in the middle of trans and the ones on the. This sort of cluster over here. If it's for the. Just for power and stuff, this is 563 01:11:15.000 --> 01:11:17.000 just a different angle. That's gorgeous. 564 01:11:17.000 --> 01:11:18.000 It's just bigger. 565 01:11:18.000 --> 01:11:20.000 So then the little sign on the 566 01:11:20.000 --> 01:11:23.000 bottom right, and the three birds. 567 01:11:23.000 --> 01:11:25.000 Yeah, yeah, yeah, yeah. 568 01:11:25.000 --> 01:11:31.000 And they're perfectly on that side of the line. They're paid actors, Greg. You paid? 569 01:11:31.000 --> 01:11:32.000 Yeah. 570 01:11:31.000 --> 01:11:54.000 No, that's all Photoshop. That's. They're not real. That's AI. And, yeah, just sort of step back a bit. So I just. I would wander off and down the street in different directions and just See where the light was hitting as. As the street woke up? Well, the people were pouring out of the Circus nightclub. Yeah, that was a. That was a messy site. That's just sort of around the corner. 571 01:11:54.000 --> 01:11:56.000 Straight photos. 572 01:11:56.000 --> 01:11:57.000 No, I just, I don't. 573 01:11:57.000 --> 01:11:59.000 Yeah, stay clear of that one. 574 01:11:59.000 --> 01:12:01.000 Yeah, stick with that. 575 01:12:01.000 --> 01:12:05.000 You know, nothing good happens at that time of the morning out of a 576 01:12:05.000 --> 01:12:08.000 nightclub, not on Chapel Street. 577 01:12:08.000 --> 01:12:10.000 Interesting shots, though. 578 01:12:10.000 --> 01:12:12.000 You do. Interesting. 579 01:12:12.000 --> 01:12:14.000 Yeah, yeah. People become a bit erratic. 580 01:12:14.000 --> 01:12:18.000 Yeah. 581 01:12:18.000 --> 01:12:20.000 I'm a lover. 582 01:12:20.000 --> 01:12:29.000 Greg was in a peaceful, like, sunrise. Go for a walk. Not. I've been to the nightclub until six in the morning. 583 01:12:29.000 --> 01:12:35.000 Yeah, yeah. Let's brawl. Let's throw hands, as the kids say. Really happy with this shot. 584 01:12:35.000 --> 01:12:38.000 Obviously getting that paid actor again. 585 01:12:38.000 --> 01:12:47.000 Another paid actor. More AI being introduced here. But, you know, he's fairly. He's fairly sharp. He starts to get a bit. Bit crusty. 586 01:12:47.000 --> 01:12:49.000 I don't need him sharp, though. 587 01:12:49.000 --> 01:12:52.000 No, no, I know, I know. But I'm just really happy with the outcome. 588 01:12:52.000 --> 01:12:58.000 Yeah, yeah. No, and it's like the perfect, like, pose and the perfect, like, positioning of the frame. 589 01:12:58.000 --> 01:13:06.000 Yeah. And it just. It just adds a bit of softness to an otherwise angular scene. You know, it's just this little bit of organics. 590 01:13:06.000 --> 01:13:09.000 Organic. Yeah, yeah. 591 01:13:09.000 --> 01:13:10.000 Life. 592 01:13:10.000 --> 01:13:11.000 Yeah. 593 01:13:11.000 --> 01:13:32.000 Yep. Yeah. Someone asked if these were shot with the borrowed Tamron from John. No, this. This is all with a 23mm F1.4. My favorite. My favorite. My favorite favorite lens. And there's a little bit of crop involved here, but for the most part, I try to get it right in camera. 594 01:13:32.000 --> 01:13:33.000 That's right. 595 01:13:33.000 --> 01:13:37.000 Is that it? Oh, this? Yeah, yeah. 596 01:13:37.000 --> 01:13:38.000 More birds. 597 01:13:38.000 --> 01:13:39.000 Greg, Eric, the early bird. 598 01:13:39.000 --> 01:13:42.000 More paid. More paid actors. 599 01:13:42.000 --> 01:13:56.000 More paid actors. Oh, and this robot painted on the wall. That's not real. I added that myself. But yeah, but, yeah, like, you know, just beautiful light and I love black. 600 01:13:56.000 --> 01:13:58.000 Yeah. Lots of beautiful tone. 601 01:13:58.000 --> 01:14:04.000 Yeah. And the detail and the color doesn't distract, you know, you just get to see. 602 01:14:04.000 --> 01:14:05.000 Yeah. 603 01:14:05.000 --> 01:14:11.000 The way dogs see, basically. And I think that's it, folks. I think that's the last one. 604 01:14:11.000 --> 01:14:12.000 Yeah, it is. 605 01:14:11.000 --> 01:14:15.000 How's your street walks? How's your street walks going, Greg? How's it? 606 01:14:15.000 --> 01:14:16.000 You're awesome. 607 01:14:15.000 --> 01:14:17.000 How's your teaching go? 608 01:14:17.000 --> 01:14:40.000 Thanks for asking. Let me just try and get us all back together. Here we go. Yeah, it's all going well. So I did a practice street walk last weekend, which I think I spoke about briefly on last Monday show with a friend. Got some great feedback, so. And then I got this lovely call. So I've been doing all these interviews for bfop. Sorry, I've said. I've said the word. 609 01:14:40.000 --> 01:14:42.000 The trigger. Warning. 610 01:14:42.000 --> 01:15:31.000 Trigger, warning. And, you know, I. What have I been doing? I think I've done like 37, 38 interviews of all the beef up instructors over the past few weeks. And why did I bring up beef up? Gosh, I've lost my train of thought. Got a phone call from Nick Fletcher, who, along with Matt Crummons, you know, organizes and runs the BFLOP Festival every year, always has. I got a lovely call from him to say thanks for the work with the interviews and of course, I celebrated the team. So CJ has been coordinating with the workshop instructors directly. Yelena from Lucky Straps and the Camera Life, she's been amazing at taking care of all the admin back end of stuff. Justin, haven't seen him. Not a word. What a bastard. 611 01:15:31.000 --> 01:15:33.000 It's ridiculous. 612 01:15:33.000 --> 01:15:36.000 Chasing elephants, working with him for years. 613 01:15:36.000 --> 01:15:37.000 You must be over it, surely. 614 01:15:37.000 --> 01:15:43.000 He said, all I've heard from him is he sent one photo of a lion. No words, just a line. 615 01:15:43.000 --> 01:15:44.000 Just a lion. 616 01:15:44.000 --> 01:15:45.000 We got the video. 617 01:15:45.000 --> 01:15:47.000 It was really cool. 618 01:15:47.000 --> 01:15:53.000 Should we all go to Werribee Zoo and just, like, take the same photo and send it in next week? 619 01:15:53.000 --> 01:15:59.000 It was pretty good. I can't show you, but, yeah, I'm sure. 620 01:15:59.000 --> 01:16:03.000 Didn't you get the video of the pigeon falling in the pool? What did you say? 621 01:16:03.000 --> 01:16:05.000 That Justin falling in the pool? 622 01:16:05.000 --> 01:16:18.000 No, not Justin. A pigeon. He sent a photo. I think when he got to his hotel, he sent this little weird. Not a photo, a video of this. He goes, oh, here's the local wildlife in Africa. And it was a pigeon walking on the edge of the pool. And then the pigeon just fell into the pool. 623 01:16:18.000 --> 01:16:19.000 Oh, no. 624 01:16:19.000 --> 01:16:23.000 And that was it. So I don't think he went to Africa. Yeah. 625 01:16:23.000 --> 01:16:24.000 No, not sure. 626 01:16:23.000 --> 01:16:40.000 Yeah. Or is it like the Broad Meadows Aquatic center this whole time? I just didn't know it. Anyway, the street. The street walks. I'm getting to the point is, hey, 627 01:16:40.000 --> 01:16:41.000 nice of you to show up. 628 01:16:41.000 --> 01:16:44.000 Yeah, now he shows up. Now that he heard his name. 629 01:16:44.000 --> 01:16:47.000 Heard his name. He's like, right, I'm here. 630 01:16:47.000 --> 01:17:11.000 Yeah, he is listening. He is listening. Felicity. So, yeah, Nick Fletcher gave me a call to say thanks, which is great. And I sang the praises of the whole team. Not Jim, though. He's done nothing. Um, and then he said, oh, you know, congratulations on launching workshops. And he said, why don't you promote them in the beef up groupies Facebook group? Which I hadn't done until that point. And I did And I got a booking almost straight away which was amazing. 631 01:17:11.000 --> 01:17:13.000 Power of social media, I know. 632 01:17:13.000 --> 01:17:23.000 Oh, we're going to talk about that too, haven't we? I forgot we've got a topic, so. Lovely segue, Lucinda. Let's talk about the power of social media. 633 01:17:23.000 --> 01:17:25.000 Do you want to finish your story first? 634 01:17:25.000 --> 01:17:27.000 Do we want to finish the images that we've got? 635 01:17:27.000 --> 01:17:30.000 No, we can, we can park, we can park for a moment, just chat. 636 01:17:30.000 --> 01:17:33.000 Jim, you might have missed the format but we like jump around now. 637 01:17:33.000 --> 01:17:34.000 Okay, all right. 638 01:17:34.000 --> 01:18:24.000 Yeah, we do, yeah, we like to mix it up. But yeah, so it was great. And so I, I published it, I put out some info on the befop groupies, gave them a special discount code and yeah, got my, my second booking and this time it was for not a small group workshop but for a one on one workshop. And it turns out it was a, it was a beef upper who I met last year at BFOP and I gave her my Fujifilm XC5 for a little bit and she fell in love with it and she went and bought one at BFOP right there and then. And so she's reached out to me and said, love the camera, love the images, just need a little bit more help to understand how to make the most of it. So yeah, we're going to do a street walk and focus a little bit on her particular camera which happens to be the same camera as mine, which is lucky. So yeah, it's going well, I'm happy. 639 01:18:24.000 --> 01:18:25.000 Nice. 640 01:18:25.000 --> 01:18:49.000 But I, I do have more plans and slowly ticking off some boxes. But one of those boxes that I'm ticking off is to get better at social media and how to use social media for advertising. And for that I have offered some money, you know, to a bright young spark in the industry, someone who is a master of social media management. And that would be Lucinda. 641 01:18:49.000 --> 01:18:50.000 Who's that? 642 01:18:50.000 --> 01:19:02.000 You, you dork. So yeah, I've made many promises of cash and jewels and you know, she'll get paid afterwards. Fame, fame, all of it. 643 01:19:02.000 --> 01:19:06.000 Exposure, exposure, dollars. 644 01:19:06.000 --> 01:19:10.000 That'll buy me another five, an R5. 645 01:19:10.000 --> 01:20:24.000 But it is interesting and Lucinda and I have had a couple of online chats and you know, it's sort of said, you know, it's, it's an interviewing all these photographers has really made this even more evident that we often just suck at promoting our own work. You know, we don't take the time to update our websites, we don't take the time to update our socials. You know, and I went through a stage where I just didn't think people wanted to see my work. And so I just stopped posting them on Instagram. I'd put some on Facebook every now and then, but I'd pretty much abandoned Instagram. And then until I decided that I was going to run these workshops, I thought, well, I need to put my money where my mouth is. So if I'm going to promote that I can teach people how to do street photography, that I need to show that I can do street photography. And so I've been dumping lots of photos onto my Instagram and that's flowing through to Facebook, obviously. But, yeah, I. I guess I just sort of identified that I needed some help. And the thing that triggered me to that was a post that you put on socials, Lucinda, about. Yeah, I found it on your Instagram and it was a video where you were saying, tell me, where do you guys feel pain points when it comes to social media? Tell us a little bit about why you. Why you put that out there. 646 01:20:24.000 --> 01:22:15.000 Well, it's because I do a lot of work with musicians and, like, the further I sort of go along with it, especially, like, a lot of my friends are emerging musicians. I kind of just naturally help them with these sorts of things. They ask me for advice about release cycles and how to. How to sort of maximize it, but obviously they're not like, they're not even like, comfortable with a camera, let alone becoming content creators. We're kind of like, maybe got our toe in the water because we understand sort of how a camera works and, you know, how to set up lighting and that sort of thing. But yeah, it's. It's more and more that I get asked sort of like, how. How do you. I do what you do? Like, I literally, in the last three weeks, I reckon every single show I have shot, someone has come up to me and said, oh, your content has really helped me, like, identify, you know, what I might be able to do or that it's not as scary as I think it is, or that it is achievable to just like, make content or put stuff out there. But it's also that why I pose the question is because of, like, a lot of the time we feel like, seen and heard if, like, someone else has that same pain point as you. Like, oh, I struggle with editing. I struggle with being consistent. I struggle with, like, just sitting down in front of the camera and actually doing the thing. Like, so seeing those similarities in other people, I think is really important. It's also a little bit of me just, like, putting it out there. Because I want to make more content around it. And so knowing what the audience wants then positions me in a better place to be, like, cool. I'm going to prioritize this type of content to help more people do what it is that they want to do. 647 01:22:15.000 --> 01:22:16.000 Yeah, it's a great idea. 648 01:22:16.000 --> 01:23:26.000 Yeah. And, you know, it's interesting just from that one, that one post that you put out, that one question that you posed made me question what I was doing with my social media and, you know, maybe analyze that and see that it wasn't enough, you know, I, I wasn't going to attract viewers, potential clients, any of that sort of stuff with the way I was doing things. And so that's when I messaged you directly and said, hey, this, this question's just opened my mind to a whole bunch of stuff that I need to fix. Can you, can you help me fix it? Let's, you know, yeah, let's, let's work through that. So, you know, and that's just part of me reinvesting back into my business is there's things that, you know, I go out and take the photos and that's, that's, that's where my expertise is. And, you know, I, I can write about my work and I can, you know, edit images, but when it comes to promoting it, you know, I, I need help. And so there's nothing wrong with asking for help in those situations. You know, we have a community for a reason. And, you know, you're the best at this side of the business. And so I think, well, why wouldn't you ask someone who's obviously doing so well with it, you know, to give you a hand? Jim, what about you? 649 01:23:26.000 --> 01:24:27.000 It's really, I think it's really important though, to also, to also just be like, fearless about sharing your work as well. Especially because, like, I know musicians as well. I work with a lot of musicians. But yeah, any sort of art practice, we all feel like we're being judged or like our work isn't good enough or that someone's doing better than us or, you know, like all of those, like, fears. And it's like, I've got to a point in my career where I'm like, music photography is so competitive because you might be in the same photo pit as 20 other people having the exact same opportunity to photograph the exact same thing. And someone else might get an opportunity over you. But it's not about that. Like, you just have to, like, you just have to put it out there. Like, it's, who cares? Who cares if it only gets two likes. Who, who cares if your high school friend that you no longer speak to from 40 years ago goes, oh, what the hell do they think they're doing? Like, I don't really care about their opinion. 650 01:24:27.000 --> 01:24:28.000 Yeah. 651 01:24:28.000 --> 01:24:37.000 Like, no, what are they? Yeah. What is, what are they achieving? Like, that's pretty sad that that's what they're fixating on, you know, like they're 652 01:24:37.000 --> 01:24:38.000 probably not even like. 653 01:24:38.000 --> 01:24:40.000 No, exactly, exactly. 654 01:24:40.000 --> 01:24:42.000 Everyone's got their own past going on. 655 01:24:42.000 --> 01:25:05.000 Yeah. So I think it's just that, that fearlessness of just like, I am good enough and I am going to share my work and it's gonna, you know, get me to the next step. It's gonna. And whatever that next step is for you, whether it is monetary or whether it is just like connecting with other people that photograph the same thing as you or, you know, putting yourself in front of audiences, you want to be seen. 656 01:25:05.000 --> 01:25:26.000 Yeah. Jim, what about you? With your experience in, you know, in using social media to. Obviously Justin and Jim, you know, had reach, but when it came to starting up your boudoir business, how was that for you? Kind of having to re engineer that whole social media side of things again, 657 01:25:26.000 --> 01:26:28.000 it's been difficult just to, I guess, know what the right content is. I feel like at the moment I've got my works good. It's not perfect, but it's good and it's improving and I can, I can keep pushing that side myself. But the, the social side is what I need to put out more and probably into more behind the scenes stuff. More about me sort of having a chat with a client the other day who's quite active on her socials for her own like, business, completely separate but. And she was just saying like, you know, you need to put more about you on there because that's what's gonna make people at ease and sort of show a bit of who you are. So I've probably gotta be, you know, I guess from my point of view I've got to be a bit more vulnerable and put myself out there and as you say, like, no one cares actually. Like people that either watch it and they'll be interested or they'll just click on and it doesn't matter. 658 01:26:28.000 --> 01:26:29.000 Y. 659 01:26:29.000 --> 01:26:36.000 So that's sort of something that I'm currently working on to put a bit more of me out there. 660 01:26:36.000 --> 01:26:43.000 Yeah. Where do you get most of your inquiries from, Jim? Like where, like what direction do you know? 661 01:26:43.000 --> 01:27:18.000 It's sort of like. So I recently just ran an ad that was. Got a lot of Inquiries. But it was sort of, I think people. Yeah. Like around Justin. I sort of set up an ad. It was really good. We got a lot of inquiries but just had to tweak the. The offer to sort of turn it into. Because obviously so the inquiries worked and the ad worked but maybe we just got to polish the. The details a little bit to get it to convert better. 662 01:27:18.000 --> 01:27:35.000 Yeah. So but do you find like socials is like something that like I. When I get emails about like hey I want to book you for XYZ. It. It is almost 99.9 of the time. Hey, I found you on Instagram. 663 01:27:35.000 --> 01:27:54.000 Yeah. So for the boudoir. It is. It's for the weddings. It seems to be. I'm not like I'm not active on my wedding account at the moment being very slack so I need to start back on that. But that's sort of the work that's compounded from the last decade of venues and other couples. 664 01:27:54.000 --> 01:27:55.000 Referral. 665 01:27:55.000 --> 01:27:59.000 Yeah. So sort of more referrals and it's sort of ticking along nicely. 666 01:27:59.000 --> 01:28:00.000 Yeah. 667 01:28:00.000 --> 01:28:13.000 I feel like weddings, weddings always kind of naturally go that way where it is like that word of mouth referrals. You were at so and so's wedding. I liked what they had. So you're an obvious choice and. 668 01:28:13.000 --> 01:28:16.000 Yeah, yeah. Bridesmaid or they saw you there and. 669 01:28:16.000 --> 01:28:23.000 Yeah, yeah. And having the venue kind of say oh we knew that you know this guy that you know shoots weddings here. 670 01:28:23.000 --> 01:28:25.000 Yeah. Here's our recommended. 671 01:28:25.000 --> 01:28:27.000 Yeah, that always helps, doesn't it? Yeah, yeah. 672 01:28:27.000 --> 01:28:35.000 So like I've got a wedding that's close to home and I don't know how many was I've shot there but it would be I think over 50. 673 01:28:35.000 --> 01:28:36.000 Yeah, yeah. 674 01:28:36.000 --> 01:28:40.000 You know and I always find something new there. It's. It's a nice. 675 01:28:40.000 --> 01:28:43.000 Yeah, 676 01:28:43.000 --> 01:28:44.000 yeah. 677 01:28:44.000 --> 01:29:08.000 A couple of quick comments from the chat. Phil Thompson, see if I can read this one correctly. I totally agree with you Lucinda about the fear of am I good enough. The old days of Redbubble community helped me with that and also help me help motivate me and then following on from that also as artists we often tend to be very critical of our own work and talents. It's very true. 678 01:29:08.000 --> 01:29:09.000 Yeah. 679 01:29:08.000 --> 01:29:18.000 Comment from the super coach here from Justin. True. But people also are really looking for something that speaks to them so content about you but in a way that benefits them. 680 01:29:18.000 --> 01:29:48.000 Yeah, yeah. It has to be like less self fulfilling and more. Yeah. Although I don't. Yeah. I don't think that's a bad thing. Especially Jim because obviously, like, boudoir could be very vulnerable in terms of, like, being in front of a camera. And so, like, I feel like that's almost like a perfect example of, like, if someone's gonna book in for that type of photography, they want to be super comfortable with the person behind the camera. 681 01:29:48.000 --> 01:29:49.000 Yeah. 682 01:29:49.000 --> 01:30:04.000 And so if they can read that from a video or from, you know, a swipe carousel of you introducing yourself, then I think that, like, pays dividends. Same with, like, weddings because, like, obviously you have to. You have to work with these people for, like, very long days. Like. 683 01:30:04.000 --> 01:30:07.000 Yeah, you have to be a good hang partner. 684 01:30:07.000 --> 01:30:22.000 Yeah, you have to be a good hang. You have to be a good person and the right person for them. So. Yeah, I think, yeah, in those regards. Like, it. Yeah, it's really helpful to sort of just, like, show your personality and like. Yeah. Who you are. 685 01:30:22.000 --> 01:30:23.000 Yeah. Yeah. 686 01:30:23.000 --> 01:30:27.000 Just a very quick question here from Dan. What's your boudoir account? 687 01:30:27.000 --> 01:30:32.000 Jim by James Boudoir, or one word. There you go. 688 01:30:32.000 --> 01:30:36.000 Check it out, folks. Not safe for work necessarily. That's okay. 689 01:30:36.000 --> 01:30:38.000 It's fairly safe. It's on Instagram. 690 01:30:38.000 --> 01:30:43.000 Yeah, it has to be safe for work because it's on Instagram. 691 01:30:43.000 --> 01:31:04.000 So, Lucinda, in your, you know, in your experience, regardless of the business, like photography, band, you know, performer, whatever it may be, what's the biggest. What's the biggest issue that people face? What's the biggest barrier that people face in making their socials effective for their business? 692 01:31:04.000 --> 01:31:29.000 I don't know. It's like, it really ranges. Like, some people really struggle to, like, be on camera like this. Like. Like we're doing at the moment, which you don't have to do that. Like, I've. I don't feel super comfortable doing it. Like, I feel comfortable doing this and talking to you guys, but when I'm in my, you know, in my room doing this by myself talking to a camera, I feel very awkward. 693 01:31:29.000 --> 01:31:30.000 Yeah. 694 01:31:29.000 --> 01:31:35.000 Because I feel like I'm not talking to anyone. I'm just talking to a camera. But. Yeah. 695 01:31:35.000 --> 01:31:40.000 Quick question with that. When you're talking to your camera, can you see yourself? 696 01:31:40.000 --> 01:31:43.000 Yes. I try not to look at myself, though, because that puts me off. 697 01:31:43.000 --> 01:31:55.000 So I was doing just a little story the other day, and I'd filmed the first one with my back camera of my phone, and I couldn't see myself. And it was so I, like, I watched. I was like, oh, this is terrible. 698 01:31:55.000 --> 01:31:58.000 And Greg, he needs that thing. 699 01:31:58.000 --> 01:32:00.000 He needs that little monitor. 700 01:32:00.000 --> 01:32:02.000 Yeah, yeah. 701 01:32:02.000 --> 01:32:03.000 And then. 702 01:32:02.000 --> 01:32:11.000 And then I just turned it around. And I could see, like, use the front camera. I could see myself and it was way easier because then you can kind of pick up that you look like you're bored or something. I don't know. 703 01:32:11.000 --> 01:32:23.000 Yeah, yeah, you don't look. So I film everything on my osmo, which is what I got going on at the moment. So it's got the screen. But I was saying. Do you have an iPhone, Jim? 704 01:32:23.000 --> 01:32:24.000 Yes. 705 01:32:24.000 --> 01:32:41.000 Yeah. So I was saying before you can mirror your screen to your computer, if you have a Mac and you can use that as a monitor. So if you set you. Yeah, if you set your. And then that way you can still film on your back camera but have a monitor. 706 01:32:41.000 --> 01:32:42.000 Good plan. 707 01:32:42.000 --> 01:33:42.000 Yeah, yeah, but I find that too. Yeah, yeah, you could use that. Yeah. But, yeah. Greg, I don't know, it just depends. Like, I think consistency is the biggest. The biggest thing that people fall down on. So, like going dark for months on end and then all of a sudden musicians are pretty notorious. Yeah. Jim's apparently notorious for this too. But again, because I work with musicians a lot, musicians, often, not always, but often will push that they've got a gig and then you hear nothing about them for months, or that they've got an album coming out or they've got an EP coming out and then they go quiet after it's been released. So that consistency, like the algorithm rewards consistency, so it rewards you posting often. And it doesn't mean that you have to post every day. It's just like, okay, I'm gonna intentionally try and post three times a week. 708 01:33:42.000 --> 01:33:43.000 Yeah. 709 01:33:43.000 --> 01:33:59.000 Like, and just you have to pick somewhere where it's sustainable. And that depends on sort of what industry and what, you know, where you sit. Like, for me, as I said before, I've shot so much work over the last two weeks, I can't share any of it. 710 01:33:59.000 --> 01:34:00.000 Yeah. 711 01:34:00.000 --> 01:34:50.000 So I'm relying on grabbing from archive. And then even then, like, some of those shows haven't been shared by the artist, so I don't feel like it's my place to share them first. So then I. I sit on them. Jim, you would be the same with sort of weddings. You've got to sit on them until. Until the bride and groom share them before you get on there and. And share what you want to share. So sometimes you're sort of bound to the client or who you've worked with, which is hard. But yeah, it's like having that forethought of like planning things out. And like, I have a batch of stuff. Like, it looks like last week I wasn't sick at all. I was crook in bed. Like couldn't, couldn't get out of bed because I was so sick. But I was still posting as if I was fine because I had a back catalog of stuff sitting there to post. 712 01:34:50.000 --> 01:35:04.000 Yep. And maybe just for, you know, the folks that are, that are watching with us today or watch this later, you know, what are some other quick wins that people can do to optimize their social media presence, do you think, from either of you? 713 01:35:04.000 --> 01:35:05.000 Have you got any ideas? Jim? 714 01:35:05.000 --> 01:35:13.000 Don't ask me. That's probably the first thing. Don't do what I do. 715 01:35:13.000 --> 01:37:20.000 I think like going through archiving anything that isn't related. Like if you've turned your personal account into a photography page or insert other arts practice here so you could archive things so it doesn't delete it, but it just like archives it so that it, it flows better. Instagram also has a feature now where you can drag photos around so that the first nine photos or things that you post are at the top and you can rate, you can reorder it. Yeah. So if you click and hold on the image, it'll pop up with a little thing and you can go reorder and then you can just shuffle all the, all the squares around so that you've got your most impressive stuff at the top. The other thing I would do is to pin important things. So like on my Instagram there's like an offer. So there's like my mentoring is pinned, there's an about. So there's like a little. It's just a photo of me in my studio and just like about me and what I do and, and how I work, which I want to update at some point. And then it's a photo from when I won the Almas, because that's an important sort of like milestone. Impressive when you get to a social media page and it's like here, I won an award. So working out what those pin posts are for you, I think an about is helpful. And it doesn't have to be a like biography, but it can just be like a photo of you in the field or you know, you just working and then just a bit about what it is that you do and how you work and maybe even your like favorite images at the very top or your most impressive images just to sort of show that off. And I think links, links are important as well. Having up to date links in your, in your bio, making sure that they link to like, Greg, for instance. I think you have your like Streetwalk, booking in info in yours. Yeah. Websites, those sorts of things. Things that you want people to go out to. 716 01:37:20.000 --> 01:37:54.000 Yep. When it comes to all the different social media platforms, you know, looking at, you know, looking at your accounts, for example, Lucinda, you know, there's this lovely level of consistency across all of them that it's not like, oh, well, I put all my effort into Instagram and TikTok suffers for it. You know, there's this consistent approach. Putting aside Instagram, are the other platforms as effective for you as getting, you know, potentially converting into referrals and work? 717 01:37:54.000 --> 01:40:55.000 I don't think so. I think TikTok for me is like an. A discovery sort of space for me. It also has slightly different trends, so most of the time I can get away with Instagram related content on my TikTok. I was talking to an artist last night about it and I was like, how do you find, like, what do you post? Do you post different things? And he's like, yeah, I can. I feel like in TikTok is not as like, important as Instagram because, like, more important people follow me on Instagram and I've heard this a lot from different people that they, they will post like very ad hoc on TikTok. They'll just, like, they'll just film something in their car and post it, but they won't post that same thing to Instagram because they might have influential people on their Instagram and people that might book them for certain jobs and stuff, which I, I post mostly across the board. Like, I post everything on the same, like the same thing on all the platforms. But yeah, I feel like Instagram has become like our portfolio for a lot of people. Whether it is a musician or an artist or a photographer that. That's kind of overtaken a portfolio. People go looking on Instagram for my services and most of the time the people that are the people to book me, whether it is an artist directly or whether that's management, a venue, those people are on Instagram and they're looking on Instagram because it's visual. I don't pick up a lot of things on Facebook. I have it, but I don't. I wouldn't say that there's a lot of work coming from that. It's mainly. Yeah. And I get often a lot of messages saying, hey, I found you on Instagram, as I said. But similar to you, Greg, like, I posted on a community business page. It's a Geelong business network that I've, I've been on that page on Facebook for years. But I've never actually posted about it. And I was, I was investigating, like, you know, doing some more social media work for other businesses. And I just asked a question last week. I was like, hey, you know, I would love to know, like, how do you manage your social media and do you have someone in house or do you, you know, outsource it? How does it work? And I literally got an email that night from someone asking. And I, like, my name is different on Facebook. Like, my name is not my actual name. So there was no, like, correlation between, like, me as a photographer and me as my personal Facebook group page. But she had done enough stalking to work out that I was a photographer, has an event coming up, had emailed me and asked me for a quote and I just said to her, I was like, hey, just like out of curiosity, where did you find me? She's like, I saw your post on the, on the business page and I looked at, you know, what you did and then I found out that you're a photographer and I emailed you. 718 01:40:55.000 --> 01:40:59.000 Wow. Yeah, that's really awesome. 719 01:40:59.000 --> 01:41:00.000 Yeah. 720 01:40:59.000 --> 01:41:04.000 Yeah. A couple of quick comments here 721 01:41:04.000 --> 01:41:05.000 from. 722 01:41:05.000 --> 01:41:21.000 From Justin again, I wonder if the algorithm rewards consistency or if it's actually rewarding interesting content. Lots of content equals trying different things and improving your content, which equates to more interest. 723 01:41:21.000 --> 01:42:26.000 Yeah, there's some of that. I think. It's also, I think a lot of social media going and you'll see it on my socials. I'm kind of leaning into this. People are thinking in series because there's a, there's an Instagram update that's coming that you can actually make little series of, of reels. And so it goes. And it will auto play so you can binge watch, like Netflix. We don't have the update currently in, in Australia, but it's, it's rolling out like as we speak. But yeah, a lot of people are creating like collections of content that are about the same thing and then you can stack them all together and they just auto play and that will obviously bring up your views across the board. So, yeah, a lot of people are sort of targeting that. But yeah, like, I think, like, naturally that's going to happen. If you're making more content, then the content's getting better and then it's more interesting and so therefore you're being rewarded. I think it's all sort of part and parcel of making content. 724 01:42:26.000 --> 01:42:36.000 Yeah, that's very true. And one more comment from the boss. I need to reorder and pin. Thanks, Lucinda. I do too. That's an amazing tip. 725 01:42:36.000 --> 01:42:37.000 Yeah. 726 01:42:37.000 --> 01:42:39.000 Easy fixes. 727 01:42:39.000 --> 01:43:05.000 Yeah. Yeah. Quick win. And then Yelena. I love testing out people's links in bio to see where, if anywhere, I end up. Yeah, that's really interesting because when I. When I research guests or look for guests for the podcast, often I'll just be given a name or someone will refer it, or Justin will give me a list of people he wants to, you know, to one day have on the show. And the first place I go is Instagram. 728 01:43:05.000 --> 01:43:06.000 Yeah. 729 01:43:06.000 --> 01:43:47.000 You know, to look for them. And the amount of artists that I've come across, photographers who have this beautiful body of work in Instagram but have no links to anything. So then I've got to go do the digging for their website or their, you know, whatever it. Whatever else is, I want to find out about them. Yeah. It stands out a lot. And. And it just blocks that flow of finding someone. Yes. You can reach out to them through Instagram, but, you know, if you're looking for a professional, I think that if you're looking for someone like a professional photographer or videographer, you really want to check out their website, you know, you want to see that they're legit. Actually have a business or. Yeah. Or what. What appears to be a business. 730 01:43:47.000 --> 01:44:04.000 Yeah, yeah. It's like that starting point is Instagram. And then I want to look deeper. I want to see your accolades, I want to see your about. I want to find your email address. Like. Yeah, yeah. It has a little bit more legitimacy of, like, I. I've made more than an Instagram account. 731 01:44:04.000 --> 01:44:07.000 Yeah, yeah, yeah. 732 01:44:07.000 --> 01:44:09.000 It can be done, though, without it. I've. I've seen it. 733 01:44:09.000 --> 01:44:11.000 It can. Yeah. 734 01:44:11.000 --> 01:44:28.000 Photographer I follow, it's got a couple of different accounts for a couple of different sort of purposes. And he's busy. He doesn't have a website. He posts a lot. Posts a lot of reels. A lot about, like, a lot of him in the reels and, you know, and get it. Get to work. 735 01:44:28.000 --> 01:44:29.000 It works. 736 01:44:29.000 --> 01:44:30.000 Yeah. And. 737 01:44:30.000 --> 01:44:32.000 And he's obviously, he's very talented. 738 01:44:32.000 --> 01:45:28.000 He's good at it. Yeah, yeah. And I think, like, however you can get there. You know what I mean? If your goal is to make money off your art, like, however least resistant that is, that's the way you should go. So if you are like, I don't want to sit in front of a camera and make educational content for other photographers or other people in my niche, then don't do it, like, because you're just going to be miserable doing it. And that's not fun. Go out and make content elsewhere. Go and make images and give me a, a description of the feeling you had of making that content. Or, you know, talk to a P. Like, if you don't want to make educational content but you are feeling good in front of a camera, bring up an image on a green screen and explain to me what this image is, how it's, how it was created, what camera you used, where it was. You know, there's so many ways to sort of make it work for you. 739 01:45:28.000 --> 01:45:29.000 Yep. 740 01:45:29.000 --> 01:45:38.000 But I think, yeah, the, the key message there was, you know, find what makes you happy, what you feel confident and comfortable doing. Don't feel like you have to follow everyone else's trend. 741 01:45:38.000 --> 01:45:39.000 Exactly. 742 01:45:39.000 --> 01:46:02.000 Yep. Thanks. Great advice. A question here from Phil Taylor. Interested in Whether you use LinkedIn at all? I'm in scientific camera manufacturing. Wow. We need to talk to you. That sounds so interesting. I know. Let's get you on the podcast. So it makes sense here, but I don't see much in the way of pro photographers. 743 01:46:02.000 --> 01:46:23.000 Yeah. I don't use my LinkedIn as much as I should. I've got friends that are very good at LinkedIn, very good at LinkedIn, and they've got a lot of work from LinkedIn. I definitely think it's a market that you could be making a lot of money because obviously a lot of business people are there. 744 01:46:23.000 --> 01:46:25.000 Yep. But yeah, the camera just died, kiddo. 745 01:46:25.000 --> 01:46:28.000 I know. I'm like, what's going on? 746 01:46:28.000 --> 01:46:29.000 We can still hear you. 747 01:46:29.000 --> 01:46:33.000 Weird. I will, I will sort that out while you guys are talking. 748 01:46:33.000 --> 01:46:38.000 All right, well, you talk and we'll mime. 749 01:46:38.000 --> 01:46:41.000 Where's my therapy puppet? Hang on, I'll get her out. 750 01:46:41.000 --> 01:46:42.000 Oh, my God. 751 01:46:42.000 --> 01:46:43.000 Yeah. 752 01:46:42.000 --> 01:47:12.000 No, we won't. We won't get her out. Matilda will stay in the cupboard. Another comment here from the boss. Gosh, he's on fire tonight. He must be sitting in an airport board. If I was going mainly commercial photography for medium to large businesses, I would for sure be trying LinkedIn. Yeah, I agree. That's where it's at. And Den says LinkedIn is icky. I have a presence there for my counseling, but not photography. Video art. Yeah. And that makes complete sense. 753 01:47:12.000 --> 01:47:27.000 I. I got one and got my name on there and then that was it. Yep. I didn't go any further with it. So, yeah, definitely, I guess, untapped potential. 754 01:47:27.000 --> 01:47:28.000 Yeah. 755 01:47:27.000 --> 01:47:28.000 And work. 756 01:47:28.000 --> 01:48:03.000 It's interesting. When I was in my corporate life years ago, LinkedIn was sort of only just sort of coming into its own. Like it was only just Becoming like, this is what you have to do if you, you know, working corporate and you want to connect and, you know, network and organize latte dates and all that sort of stuff. And then as I left that, I just. I just ditched it. Like, it just. It just made no sense to me, you know, with not being in that industry anymore. But it's. I still get messages from people through LinkedIn. Mostly scammers, but, yeah, I still get them from time to time. 757 01:48:03.000 --> 01:48:12.000 Yeah. Oh, Justin's editing photos of lions. And speaking of photos, should we go back to some viewer? 758 01:48:12.000 --> 01:48:14.000 I think we should, because we probably 759 01:48:14.000 --> 01:48:16.000 need to put a. Put a bow on this. 760 01:48:16.000 --> 01:48:20.000 Okay. All right, I see who's in charge now. Yeah, good point, Jim. 761 01:48:20.000 --> 01:48:22.000 I'm just mindful of people's bedtimes, Greg. 762 01:48:22.000 --> 01:48:24.000 Oh, whatever. You're just mindful of your own bedtime. 763 01:48:24.000 --> 01:48:27.000 Yeah, I am. 764 01:48:27.000 --> 01:48:31.000 Where were we up to, folks? Who was the last person we looked at? Simon England. 765 01:48:31.000 --> 01:48:33.000 Paul. 766 01:48:33.000 --> 01:48:35.000 I think it was Simon, Ingrid, wasn't it? 767 01:48:35.000 --> 01:48:37.000 Not a computer screen. 768 01:48:37.000 --> 01:48:39.000 I'm back. Yeah. Not my computer screen. Sorry. 769 01:48:39.000 --> 01:48:40.000 Yeah. 770 01:48:40.000 --> 01:48:44.000 I don't know what happened there. It just decided that it wanted to go to bed, apparently, like Jim. 771 01:48:44.000 --> 01:48:50.000 Slowly getting clearer, too. Resolution's getting better. 772 01:48:50.000 --> 01:48:54.000 Oh, God. Paul C was Where? 773 01:48:54.000 --> 01:48:57.000 We're up to Paul C. All right, let me find Paul C's image. 774 01:48:57.000 --> 01:49:01.000 He's still here. Because we had no idea. 775 01:49:01.000 --> 01:49:05.000 Well, you know, this is why we have a girl on the pod. 776 01:49:05.000 --> 01:49:06.000 Yep. 777 01:49:06.000 --> 01:49:09.000 The brains, the talent. 778 01:49:09.000 --> 01:49:10.000 All of it. 779 01:49:10.000 --> 01:49:11.000 All the above. 780 01:49:11.000 --> 01:49:14.000 Let's bring up this photo. Here we go. 781 01:49:14.000 --> 01:49:16.000 All right. Shall I start reading? 782 01:49:16.000 --> 01:49:18.000 Yeah, go for it. Yeah. 783 01:49:18.000 --> 01:49:19.000 All right. 784 01:49:19.000 --> 01:49:20.000 So. 785 01:49:19.000 --> 01:49:23.000 Hi, Greg. I don't know what we are, Jim. Chop liver. Apparently. 786 01:49:23.000 --> 01:49:24.000 Yeah. 787 01:49:24.000 --> 01:50:08.000 Here's an image from the light in the landscape workshop I did with Adam and Dennis at Lake Mungo back in May. This was a dawn photo shoot in the dunes. And while focused on sunrise, I looked behind me and saw that the sunlight was just starting to hit the top of the rock. I watched and waited and took this image in the short window of time when only the rock was illuminated. It was shot on a Canon R5. Again, Elite. Elite, status here. Someone knew that I was going to be on the pod because it's like a lot of Cannon gear tonight. RF100 to 500 at 151 millimeters. Handheld F8 and 1, 300. 20th of a second. 788 01:50:08.000 --> 01:50:09.000 Nice. 789 01:50:09.000 --> 01:50:11.000 Nice. 790 01:50:11.000 --> 01:50:14.000 It's, like, perfectly illuminated. 791 01:50:14.000 --> 01:50:34.000 Yeah, isn't it? It's just. It's like the top of the tower in my photo Just that band, that small amount of light, it just. It just punches an image, you know, at you. And then you look at this beautiful soft background and these, these kind of layered lines of. Is it mist, mostly mist, or is that the lake? 792 01:50:34.000 --> 01:50:35.000 Yeah. 793 01:50:35.000 --> 01:50:39.000 So Dennis has jumped in and he said the fog on the lake was wild. 794 01:50:39.000 --> 01:50:40.000 Okay, okay. 795 01:50:40.000 --> 01:50:47.000 He goes, oh my God. That was a wild morning. Very wild. Love it. Very wild. 796 01:50:47.000 --> 01:50:48.000 Lots of wild. 797 01:50:48.000 --> 01:50:50.000 Yeah, that's. 798 01:50:50.000 --> 01:50:55.000 That's a cracking shot, Paul. Love it. Very cool. 799 01:50:55.000 --> 01:50:56.000 Really great. 800 01:50:55.000 --> 01:50:58.000 Very pleasing. 801 01:50:58.000 --> 01:51:05.000 We have. David Moscaro is next. I don't think David's joined us today. Let me just find David's image. 802 01:51:05.000 --> 01:51:10.000 This was a good example of why you should always look behind you when shooting landscapes. 803 01:51:10.000 --> 01:51:11.000 Look around. 804 01:51:11.000 --> 01:51:15.000 Yeah, yeah, yeah, yeah. 805 01:51:15.000 --> 01:51:17.000 You got this one. David. 806 01:51:17.000 --> 01:51:18.000 David Mascara's photo. 807 01:51:18.000 --> 01:52:12.000 Yeah, I can. So, Dave Mascara, this is Sam. I saw him sit alone in the L in this alley. So I did what I do and bought him a sandwich and just chatted a bit. Most of the unhoused I speak with are usually from a state and come. Come from out of state and come here for better weather and services provided to the homeless. He was a Bay Area native. He said what most other people say on the streets, that he's fine being out here. I'll never understand that. But this is what I mean by people just checking out photos taken with a Nikon SP rangefinder and a 35 mil and triax. Side note, I've been using the Triax a lot more lately. Cause with the Taurus HP5 is $2 more than the Tri. Then Triax right now. Take care. Have a great show. 808 01:52:12.000 --> 01:52:18.000 He just captures people so beautifully, doesn't he? 809 01:52:18.000 --> 01:52:28.000 That eye, that eye that's popping out. Even. Even Dennis called out. Yeah, that eye. Yep. Beautiful shot. 810 01:52:28.000 --> 01:52:35.000 Felicity's ass. Maybe Justin can suggest how to enlighten the photo. 811 01:52:35.000 --> 01:52:45.000 Felicity. Yeah, it's a gorgeous photo and I'm sorry, Felicity, the photos aren't the way that Justin does them. 812 01:52:45.000 --> 01:52:47.000 It's all right. The boss will be back next week. 813 01:52:47.000 --> 01:52:58.000 Yeah, whatever. We've got Dennis Smith up next. The solo image. Let me just find it. This is maybe read out the. 814 01:52:58.000 --> 01:53:28.000 It's an oldie. Yeah. So I am. I am in bed today. Wrecked after an exhibition opening weekend. Went to find a pic that represented how I feel today. This is part of a series I created exploring identity. I recreated this at BFOP Workshop two years ago. Sorry. Trigger warning again on the befop thing. Q3, single exposure, lots of light shaping, but a key light above me As I moved during the 2 second exposure. 815 01:53:28.000 --> 01:53:33.000 Sorry, guys. Justin's sending me instructions while I do this. 816 01:53:33.000 --> 01:53:35.000 All right. 817 01:53:35.000 --> 01:53:36.000 Is that better? 818 01:53:35.000 --> 01:53:36.000 There we go. 819 01:53:36.000 --> 01:54:36.000 Yeah, that is better. Thanks, boss. Sorry, I had no training. No training. This is an example of. Dennis throwing his whole self into his work, you know, and I've seen Den work live. Justin and I saw him at BFOP 2024. Trigger warning. Sorry. And watching Dennis, he was working with Kim, one of the other Beefhop instructors. And they're just sort of mucking around in between workshops. And we were just sitting there just absorbing everything that he was doing because it was quite phenomenal to watch. And you know, Dennis throws everything into what he does. And it's no wonder that he's crooked this this week because he's just come off the back of these huge projects and he's still got other projects on the burner. But I think this is a wonderful shot of him as a model as well. And then for anyone that wanted to see Dennis shirtless, it's not quite clear, but you know, there. 820 01:54:36.000 --> 01:54:37.000 There is. 821 01:54:37.000 --> 01:54:40.000 There is chestage. 822 01:54:40.000 --> 01:54:48.000 Richard. I reckon there should be a drinking game for every time we hear beef up. But it is Monday night after all. 823 01:54:48.000 --> 01:54:50.000 Yeah, perfect night. 824 01:54:50.000 --> 01:54:51.000 The school night. 825 01:54:51.000 --> 01:54:55.000 Yep. That's a crack. 826 01:54:55.000 --> 01:54:58.000 That's what I'm trying to get there. You know, keep the show on the road. 827 01:54:58.000 --> 01:54:59.000 Yeah, okay. 828 01:54:59.000 --> 01:55:01.000 I got this school drop off in the morning. 829 01:55:01.000 --> 01:55:02.000 Oh, gosh. 830 01:55:02.000 --> 01:55:03.000 Whatever. 831 01:55:03.000 --> 01:55:05.000 Yeah. Beautiful, beautiful image, Dan. 832 01:55:05.000 --> 01:55:07.000 Yeah. So powerful. 833 01:55:07.000 --> 01:55:31.000 It's just such a skill to just like paint. Paint the like, elements in as well. Like the top of that, like, suitcasey trunk thing and then like the arch of the fireplace, like all of those little, like, details. It's like the. Do you guys remember the I Spy books with all of the little. Okay, well, I'm showing my age clearly. 834 01:55:31.000 --> 01:55:42.000 Must be after my time. Hey, listen, I learned. I learned to write letters on a. On a tiny little. On a tiny little chalkboard in a wooden frame that. That's how old I am. 835 01:55:42.000 --> 01:55:44.000 Like in Sovereign Hill? 836 01:55:44.000 --> 01:55:49.000 Yeah, just like in Sovereign Hill. 837 01:55:49.000 --> 01:56:17.000 It was like a book that, like, it was all photographs. I need you to go look at it. Like, just go look. There is a YouTube video of how they used to make them. And they would be like photographs of like all of these little hidden treasures. And you would have to try and find like, particular items. And they were just like so detailed and there was like little tiny, like hidden things that you had to go looking for. And this sort of reminds me of that. 838 01:56:17.000 --> 01:56:22.000 Yeah, there is a lot of that in it. I get it. 839 01:56:22.000 --> 01:56:23.000 The. 840 01:56:23.000 --> 01:56:31.000 The thing that I keep being drawn to is. Is Dennis's posture for sure, but he's actually looking at him. At the. 841 01:56:31.000 --> 01:56:32.000 Himself. 842 01:56:31.000 --> 01:56:34.000 He's looking at himself. 843 01:56:34.000 --> 01:56:35.000 Yeah. 844 01:56:34.000 --> 01:56:38.000 Back and forth. Yeah. 845 01:56:38.000 --> 01:56:48.000 Phil Thompson. Yeah, you're right. Incredible shot. Just like a scene out of an old horror movie with all those other things in the room as well. Yeah. It's kind of giving an eerie kind of. 846 01:56:48.000 --> 01:56:57.000 Now that you're zoomed in, it's almost like the left side is sort of sucking the right. Like a. Yeah. 847 01:56:57.000 --> 01:56:58.000 What's the thing in Harry Potter? 848 01:56:58.000 --> 01:56:59.000 Yeah, yeah, with the. 849 01:56:59.000 --> 01:57:00.000 The. 850 01:57:00.000 --> 01:57:04.000 What were they called? Dementors. Yeah, yeah, yeah. 851 01:57:04.000 --> 01:57:08.000 It's like it's sucking the life out of the. Right. 852 01:57:08.000 --> 01:57:09.000 Yeah. 853 01:57:09.000 --> 01:57:13.000 Yep. Yeah. Amazing. Amazing. 854 01:57:13.000 --> 01:57:14.000 Wow. 855 01:57:14.000 --> 01:57:18.000 Dennis, you should be in bed right now. You should be resting. 856 01:57:18.000 --> 01:57:19.000 School night. 857 01:57:19.000 --> 01:57:22.000 School night. 858 01:57:22.000 --> 01:57:31.000 Let's move along. John Latimer has sent in an image. 859 01:57:31.000 --> 01:57:32.000 Beautiful. Jim. You got this one. 860 01:57:32.000 --> 01:57:33.000 Got this one. 861 01:57:33.000 --> 01:58:23.000 Jimbo. Evening all. Over the past few weeks I've been exploring my local area and walking along Plenty Gorge. Along to river. To the river. I head out really early, more just to just enjoy the hike. Slash have some fun. Freedom before I should do some work. Came across this powerful owl. He was sitting deep in this tree watching all these little birds. Most likely picking breakfast. But they are just amazing to see and don't very off and don't find very often. Classed as at risk in Vic. This was his best angle I could get into. Deep. Too deep in the tree and a lot of overgrowth and didn't want to disturb him. A7 R3 with 200 to 600 run through Topaz to clean up what I could. 862 01:58:23.000 --> 01:58:26.000 Those eyes. Yeah. 863 01:58:26.000 --> 01:58:27.000 So piercing, aren't they? 864 01:58:27.000 --> 01:58:30.000 It's such a good pose too. With this one. 865 01:58:30.000 --> 01:58:31.000 Yeah. 866 01:58:31.000 --> 01:58:45.000 This one. Oh, no, they're both there, I think. Oh, yeah. No, they are both there. Yeah, yeah. It's just. Just that pop of yellow and then there's a little bit of yellow throughout the feathers. And then you get these eyes and 867 01:58:45.000 --> 01:58:59.000 the tree is like such perfect, like, background. Like it's not too, like stark. Like if he was in a different tree, maybe there was like big open spaces, but it's kind of like really, like crowded and. 868 01:58:59.000 --> 01:59:00.000 Yeah. 869 01:59:00.000 --> 01:59:02.000 Sort of framing. It's the bird. 870 01:59:02.000 --> 01:59:04.000 Yeah, yeah. 871 01:59:04.000 --> 01:59:07.000 Yep. 872 01:59:07.000 --> 01:59:15.000 That's amazing. Amazing. Amazing, John. But those eyes, look how sharp they are. 873 01:59:15.000 --> 01:59:17.000 What are you looking at? 874 01:59:17.000 --> 01:59:19.000 Yeah, yeah, that's cool. 875 01:59:19.000 --> 01:59:21.000 Yeah, that's very cool. 876 01:59:21.000 --> 01:59:23.000 Sony makes good lenses. 877 01:59:23.000 --> 01:59:24.000 Apparently. 878 01:59:24.000 --> 01:59:26.000 Sony make good lenses. 879 01:59:26.000 --> 01:59:28.000 It was a 200 to 600. 880 01:59:28.000 --> 01:59:29.000 Yeah. 881 01:59:28.000 --> 01:59:29.000 Yeah. 882 01:59:29.000 --> 01:59:32.000 What are they doing with Tamarind? Yeah. What's the. 883 01:59:32.000 --> 01:59:35.000 What's. What's the deal? Sony. 884 01:59:35.000 --> 01:59:36.000 That's. 885 01:59:36.000 --> 01:59:44.000 We'll write him a letter. Who we got next? Here's her first image. 886 01:59:44.000 --> 02:00:28.000 Hi, Greg. Here are a few photos from last week when we had days and days of thick fog around home. I headed off to the camp. Kamspur River. There we go. I'm clearly not cultured. At Rocky. Rocky crossing. Five minutes from home. And photograph these three scenes I shot on a Nikon Z8. We won't hold that against you. 24 to 72.8. Thanks to both of you for the trigger warning. Be presenters interview. So much work and they are fantastic. I hope Africa is treating you well, Justin. 887 02:00:28.000 --> 02:00:30.000 Thanks, Flick. 888 02:00:30.000 --> 02:00:32.000 Oh, I like the silos. 889 02:00:32.000 --> 02:00:33.000 I love the silos. 890 02:00:33.000 --> 02:00:39.000 I like the uniformity. I like everything in its place. 891 02:00:39.000 --> 02:00:59.000 Yeah. But there's so many questions that it create you normally when you see a silo. Typical solo shots we see these days are covered in beautiful murals and things like that. Or they're, you know. But this is just a whole nother level of mystery to it. Why are they all there? Why are there so many? But also the balance and the way that she's right. Yeah. 892 02:00:59.000 --> 02:01:04.000 Everything. Everything in its place. It just like scratches my brain. The right way. 893 02:01:04.000 --> 02:01:05.000 Yeah. 894 02:01:04.000 --> 02:01:06.000 I love it. 895 02:01:06.000 --> 02:01:09.000 Very compelling about it. Beautiful. 896 02:01:09.000 --> 02:01:10.000 And the. 897 02:01:10.000 --> 02:01:17.000 And the framing is gorgeous. The way that she's dropped the horizon line right down the green is needed. Yeah. 898 02:01:17.000 --> 02:01:25.000 Otherwise I feel like it would be a very boring shot of just very muddy nothingness. But the green kind of draws your eye up. 899 02:01:25.000 --> 02:01:27.000 Yep. 900 02:01:27.000 --> 02:01:34.000 Felicity said we have a company in Gornon that makes silos being stored in the paddock. Ah. 901 02:01:34.000 --> 02:01:37.000 Wow. Nice. 902 02:01:37.000 --> 02:01:42.000 I thought it was a really. A farmer that just liked everything really straight. 903 02:01:42.000 --> 02:01:44.000 Yeah, yeah, yeah, yeah. 904 02:01:44.000 --> 02:01:45.000 Look. 905 02:01:44.000 --> 02:01:47.000 They might exist OCV farmers. 906 02:01:47.000 --> 02:01:49.000 You reckon? 907 02:01:49.000 --> 02:01:50.000 Yeah, I reckon. 908 02:01:50.000 --> 02:01:51.000 Yeah. 909 02:01:51.000 --> 02:01:52.000 Yeah. 910 02:01:51.000 --> 02:01:55.000 I reckon it would be easier to do their job when they're all lined up like that. 911 02:01:55.000 --> 02:02:05.000 This is Philip's second image, which is just magic. 912 02:02:05.000 --> 02:02:11.000 Yeah. Draws my eye in that, like mossy. 913 02:02:11.000 --> 02:02:32.000 Yeah. And the. Just how pronounced the cracks are in the rock, like these segments of rock, it just. It turns it from being a solid rock into a. Almost an organic object because it's covered in the moss and it's got these weird. That look quite deep and almost like there's, like. It's almost like there's a crust on top, you know? 914 02:02:32.000 --> 02:02:34.000 Yeah. 915 02:02:34.000 --> 02:02:49.000 I reckon if you like. If you had just photographed that rock, Felicity, I wouldn't know if that was, like, in a forest or if it was underwater. Like, if I didn't have the context of the trees, I'd be like, where is that? Where are we? 916 02:02:49.000 --> 02:02:50.000 Yeah. 917 02:02:50.000 --> 02:02:56.000 What's the beach are we at? Yeah, yeah, yeah. 918 02:02:56.000 --> 02:02:57.000 And just. 919 02:02:56.000 --> 02:02:59.000 It does look like a brain, Dennis. 920 02:02:59.000 --> 02:03:05.000 Oh, it does too. But also the hint of a path kind of between those two trees in the middle leading to the. 921 02:03:05.000 --> 02:03:06.000 The. 922 02:03:05.000 --> 02:03:10.000 The. The stand of trees in the background. That's just beautiful framing. 923 02:03:10.000 --> 02:03:11.000 Yeah. 924 02:03:11.000 --> 02:03:12.000 Amazing. 925 02:03:12.000 --> 02:03:13.000 Vegan muffin. 926 02:03:13.000 --> 02:03:17.000 Greg said it's a vegan muffin. 927 02:03:17.000 --> 02:03:20.000 Well, it's moss. It's vegan. 928 02:03:20.000 --> 02:03:25.000 Yeah, true. And then this was the third image. 929 02:03:25.000 --> 02:03:33.000 Yeah. I love the path. I wonder what this would look like in black and white, Felicity. 930 02:03:33.000 --> 02:03:35.000 Yeah. 931 02:03:35.000 --> 02:03:36.000 Yep. 932 02:03:36.000 --> 02:03:38.000 I think so. I think it would look good. 933 02:03:38.000 --> 02:03:39.000 Yeah. 934 02:03:39.000 --> 02:03:40.000 Yeah. 935 02:03:40.000 --> 02:03:44.000 Contrasty again. I'm contrasty black and white, girly. 936 02:03:44.000 --> 02:03:45.000 But yeah. 937 02:03:45.000 --> 02:03:47.000 Yeah. 938 02:03:47.000 --> 02:03:48.000 Yep. 939 02:03:48.000 --> 02:03:50.000 Be interesting to see how that looks. 940 02:03:50.000 --> 02:03:56.000 Yeah, it might be worth having a play with that one, Felicity. But regardless, beautiful composition, you know? 941 02:03:56.000 --> 02:03:57.000 Yeah. 942 02:03:56.000 --> 02:04:14.000 And we've talked often about the difficulty of photographing trees and landscapes where we always feel that compulsion to capture the whole tree in the frame. But, yeah, being selective about what you crop out in camera can be just as compelling to tell that story. 943 02:04:14.000 --> 02:04:25.000 And they're like the. The perfect gum trees that kind of just lean in the right ways. It's like the silhouette shot that we were talking about earlier with the tree. Like, the trees are just perfectly framing that path. 944 02:04:25.000 --> 02:04:27.000 Yeah. 945 02:04:27.000 --> 02:04:30.000 At the foreground and in the background, it seems. 946 02:04:30.000 --> 02:04:33.000 Yeah. It's like it mirrored. 947 02:04:33.000 --> 02:04:35.000 Yep. 948 02:04:35.000 --> 02:04:38.000 Yeah. Amazing. Very cool. 949 02:04:38.000 --> 02:04:39.000 Very good. 950 02:04:39.000 --> 02:04:46.000 Oh, great. Felicity did a few of these in black and white, and they looked beautiful. Yeah. I would imagine that the beautiful texture in the bark and stuff would look great. 951 02:04:46.000 --> 02:04:47.000 Yeah. 952 02:04:46.000 --> 02:04:48.000 Yep. 953 02:04:48.000 --> 02:04:51.000 All right, good work. 954 02:04:51.000 --> 02:04:52.000 Now we've done nerves. 955 02:04:52.000 --> 02:04:55.000 Oh, we've done nerves. Ah. 956 02:04:55.000 --> 02:05:01.000 That's why I had two images. Remember? We did. I got the. I thought I had. 957 02:05:01.000 --> 02:05:04.000 Oh, yes. Yeah. First cab off the rank. 958 02:05:04.000 --> 02:05:07.000 Let's. Let's talk to this image again. 959 02:05:07.000 --> 02:05:09.000 Cool. You got this one, Jim. 960 02:05:09.000 --> 02:05:14.000 Yeah. All right. The story of this photo, which is great because it's not a drone. 961 02:05:14.000 --> 02:05:15.000 We're all confused. 962 02:05:15.000 --> 02:05:20.000 Yeah, no drones in this one, guys. 963 02:05:20.000 --> 02:06:11.000 I sat in my car waiting for the weather to break, watching YouTube on my phone with a bag of chips. Probably the Camera Life podcast. You didn't say that. It rained for three hours straight. And I'm talking forest gump sideways rain, upside down rain. About 4:45pm the rain stopped for about 10 minutes, and a tiny bit of light appeared out of the clouds. I jumped out of the car and got this long exposure. Five minutes later the rain came back and I drove home with three beautiful, amazing photos. And sometimes that what. That's what you have to do as a landscape photographer. Fuji XT5.8 to 16.2.83 stop nd so 64F9 2 seconds. Chips tangy barbecue with the diet cake. 964 02:06:11.000 --> 02:06:14.000 Nice Elite choice. 965 02:06:14.000 --> 02:06:17.000 Yeah, yeah. If you're going to go Coke. 966 02:06:17.000 --> 02:06:19.000 Yeah. The diet. No. Yeah, yeah. 967 02:06:19.000 --> 02:06:20.000 I'm. 968 02:06:19.000 --> 02:06:23.000 I'm a. I'm a full sugar Coke girly. 969 02:06:23.000 --> 02:06:47.000 Same. I'm not a girly, but I am a full sugar coke kind of person. The thing I love with this image is that there's so many fascinating little elements that, you know that like we saw earlier, the bird, obviously we've had a look at this photo before, but there's the bird at the very end of the pier. Right at the very end of the pier. But also these, these dots, holes or whatever. 970 02:06:47.000 --> 02:06:48.000 Yeah. 971 02:06:48.000 --> 02:07:08.000 And the way that this one is this circular pattern with the cross between it, like it's just. There's just all these little geometric elements here that, that play against this, this soft, broody, dark background. And so the contrast between the sharp and the. And the soft elements is just really powerful. 972 02:07:08.000 --> 02:07:10.000 Yeah. 973 02:07:10.000 --> 02:07:15.000 Really great frame, Nev. Still like it still like. 974 02:07:15.000 --> 02:07:16.000 Yeah. 975 02:07:16.000 --> 02:07:17.000 Second time around still. 976 02:07:17.000 --> 02:07:22.000 Yeah, still like it's even better when we get the, when we get the right description. 977 02:07:22.000 --> 02:07:25.000 I know, right? We know what camera it's. Yeah. It's on a drone. 978 02:07:25.000 --> 02:07:28.000 Definitely not. And we need 20 meters high. 979 02:07:28.000 --> 02:07:32.000 And I was really. I really needed to know what sort of chips you were eating, you know. 980 02:07:32.000 --> 02:07:42.000 Yeah, yeah. You found out it was important. Should we make that. Should we make that compulsory for all future images? That if you are eating snacks at the time of taking the photo, we need to list them. 981 02:07:42.000 --> 02:07:48.000 Yeah. Maybe even just in the chat. What the. What the favorite snack of editing processing is. 982 02:07:48.000 --> 02:08:08.000 Yeah, yeah. A couple of cool comments here from Rick Nelson. I love the horizon is high in the. In the image with the wood leading you through. Felicity says this is magnificent image. Nev. And David Skinner, my favorite term. Print it, put it up, make it large. 983 02:08:08.000 --> 02:08:13.000 Big. It needs to be big. 984 02:08:13.000 --> 02:08:15.000 Cool. Who we got next? 985 02:08:15.000 --> 02:08:20.000 Speaking of Rick Nelson, 986 02:08:20.000 --> 02:08:22.000 how many? Just the one, I think. 987 02:08:22.000 --> 02:08:33.000 Just the one. Yeah. So. Hi, Greg, Lucinda, Jim and Justin. If he is still logged on out there. I don't know if he's still there. Whether he's got. Yeah, I know. 988 02:08:33.000 --> 02:08:34.000 Right. 989 02:08:33.000 --> 02:10:03.000 We're doing well. We're doing well, Jim. I have here a photo I took last night using icm or intentional camera movement. It was a nice evening photo walk at sunset in Cleveland, Queensland. I normally photograph the lighthouse, but wanted something different, so began playing with ICM using my Lumix S5 II and the Sigma 100 to 400. Shooting at 100 mil, 1/10 second F22 could never and ISO 100. I enjoy this experiment and only stopped down due to how bright it was. Unfortunately, what you don't see is the hundreds of dots from a dirty sensor that. That's what F22 will do to you. That was exposed in this shot. Nothing editing can be. Can't be gotten rid of. But I am cleaning the sensor tonight as I watch the show. Good idea. This taught me two things. Firstly, it's fun to try things you don't normally do in photography. And secondly, the benefits of cleaning your camera sensor to save the headache and editing. Thank you all for a great show and a wonderful community for showing up and sharing each week. Good job, Rick. If you're a Lightroom user, just a little helpful PSA while you're doing this. If you take a photo of a white piece of paper or a blank wall, you take it into Lightroom and you go into the spot remover and you go visualize spots. It'll show you where the spots are. 990 02:10:03.000 --> 02:10:04.000 Oh, did not know that. 991 02:10:04.000 --> 02:10:15.000 It'll help you. Yeah, it'll help you. I used to teach the students how to do that so that they could see it. So shoot it at F22 and take a photo of just something blank so that you can see it. 992 02:10:15.000 --> 02:10:16.000 Yeah. 993 02:10:15.000 --> 02:10:29.000 Like harsh. And then. Yeah, there's a little tiny tick box. I think it's down the bottom corner. Visualize dots and it'll like bring it up in a really like rasterized sort of version and you can see it. So they'll give you a bit more of an idea of where things are. 994 02:10:29.000 --> 02:10:30.000 Wow. 995 02:10:29.000 --> 02:10:33.000 Yeah. Well, epic photo though. I really like it. 996 02:10:33.000 --> 02:10:37.000 Epic. Yeah. And you did a good job of cleaning it. 997 02:10:37.000 --> 02:10:40.000 Yeah, you can have that on your wall. 998 02:10:40.000 --> 02:10:45.000 Yeah, that's a pretty print too. That's a beautiful piece of art. 999 02:10:45.000 --> 02:10:47.000 Yeah, it makes me feel calm. 1000 02:10:47.000 --> 02:11:04.000 It does. And the colors and that. And the fact that that line in the darker line one third up or halfway between across the water, it just keeps drawing in and then there's a slightly softer one behind it. Yeah, I just keep drawing, getting drawn back into the. Into the frame. 1001 02:11:04.000 --> 02:11:05.000 Yeah. 1002 02:11:05.000 --> 02:11:06.000 Yeah. 1003 02:11:06.000 --> 02:11:10.000 That's like how the horizon's kind of not straight. 1004 02:11:10.000 --> 02:11:19.000 Like it's a way and it's also not. And it's not clear. Like it's. It's sort of a little bit blurry and so it's like. Yeah. Merging. 1005 02:11:19.000 --> 02:11:26.000 Yep. Yeah, that's great. Yeah, keep at it, Rick. 1006 02:11:26.000 --> 02:11:27.000 Bravo. 1007 02:11:27.000 --> 02:11:42.000 I say the boss man is a bit worried about his data bill, so if you could just go and buy some lucky straps. Use Code Greg. I don't have a Code Jim, so. 1008 02:11:42.000 --> 02:11:43.000 I do. 1009 02:11:43.000 --> 02:11:55.000 Okay, well, use Code Greg or Jim, whoever's your favorite. Don't use mine because I don't have one and you guys can fight it out later. There we go. 1010 02:11:55.000 --> 02:11:58.000 That would be a fight. 1011 02:11:58.000 --> 02:12:01.000 The best camera on the planet. 1012 02:12:01.000 --> 02:12:03.000 On the planet. They'll live longer than you. 1013 02:12:03.000 --> 02:12:06.000 Yeah, help Justin pays down a bill. 1014 02:12:06.000 --> 02:12:09.000 Yeah, Help Justin pay his data bill. 1015 02:12:09.000 --> 02:12:13.000 Yeah. Let's feel sorry for the man that just went to Africa for 10 days. Sure. 1016 02:12:13.000 --> 02:12:14.000 That's all we're gonna hear next week. 1017 02:12:14.000 --> 02:12:16.000 I know. Oh, Africa, Africa. 1018 02:12:16.000 --> 02:12:22.000 Look, here's this amazing photo of a lion. Here's another one. Here's another one. 1019 02:12:22.000 --> 02:12:27.000 Yep. Oh, a zebra. There's a line in the background. 1020 02:12:27.000 --> 02:12:34.000 The lion's eating the zebra. That's too graphic to put on YouTube, isn't it? 1021 02:12:34.000 --> 02:12:35.000 Nah, we'll work it out. 1022 02:12:35.000 --> 02:12:43.000 Okay. Phil Johnson. 1023 02:12:43.000 --> 02:12:47.000 Always a busy man, Phil Johnson. 1024 02:12:47.000 --> 02:12:50.000 And we've got six images here, apparently. 1025 02:12:50.000 --> 02:13:03.000 Why aren't they? Oh, here they are. Yes, Images. And then I think. No, that's the camera settings. Let's go to image 1. 1026 02:13:03.000 --> 02:13:59.000 G', Day, Greg and Justin. A series of images. Use one or all if you can fit it in. I've recently purchased a Tamron 150-500 for landscape photography in the Blue Mountains we have grand landscapes or intimate ones. And with mobility issues, I aren't up for bushwalks. Lol. So the lens range allows for capturing distant objects. The images were a test in distance ranging from 150 to 300 to 500. All images are from the Gross gross Grossy Valley which is part of the Blue Mountains World Heritage area. Camera Sony A7.4 Lens Tamron or A74? Sorry, yeah. Lens Tamron 15500 processed in Photoshop 2026 and Topaz photo. Further details attached P.S. the lens is a beast and weighs 1027 02:13:59.000 --> 02:14:02.000 a ton of two kilos. 1028 02:14:02.000 --> 02:14:04.000 Is it? 1029 02:14:04.000 --> 02:14:06.000 Yep, yep. 1030 02:14:06.000 --> 02:14:08.000 Well, don't have to go to the gym. 1031 02:14:08.000 --> 02:14:09.000 Yeah. Buff. 1032 02:14:09.000 --> 02:14:15.000 Yeah, yeah, yeah. But that's a beautiful. Look at that landscape. 1033 02:14:15.000 --> 02:14:16.000 The light's gorgeous. 1034 02:14:16.000 --> 02:14:36.000 Yeah. And really, really nice decision making around what's in the frame and what's not, you know, the way that you've got this, you know, you need to. It's a. It's a panorama, so you need to fit in as much story as you can. But I think the decision to where to stop, the green of the trees and where the horizon sits is really, really powerful in this. 1035 02:14:36.000 --> 02:14:40.000 Yeah. 1036 02:14:40.000 --> 02:14:52.000 Image two, that's Marty Strecker. Here we go, image two. So that's. Oh, the detail pushing in texture. 1037 02:14:52.000 --> 02:14:59.000 Yeah, I love some texture. 1038 02:14:59.000 --> 02:15:02.000 Yeah, that's wonderful. 1039 02:15:02.000 --> 02:15:05.000 I like it. 1040 02:15:05.000 --> 02:15:14.000 Yeah, the contrast is lovely. It's almost like someone's just ripped, you know, like. Like it's paper and they've just ripped a section off it, peeled it back. 1041 02:15:14.000 --> 02:15:22.000 Yeah, yeah, yeah. Beautiful sidelight, which highlights the. That texture. 1042 02:15:22.000 --> 02:15:25.000 Yeah. 1043 02:15:25.000 --> 02:16:05.000 And one more from Phil. Oh, I like that. Yeah, I like that a lot. Yeah, it's the. The Tamron 150 to 500. Amazing lens. I mean, granted, I'm not a wildlife or landscape or birding photographer, but it was quick, it was responsive. You know, the glass is sharp, renders really nicely. So, yeah, well done, Philip. That's beautiful. That needs a print, that one there especially, I think. 1044 02:16:05.000 --> 02:16:06.000 Print it. 1045 02:16:06.000 --> 02:16:07.000 Print it. 1046 02:16:07.000 --> 02:16:08.000 Yeah. 1047 02:16:08.000 --> 02:16:11.000 Big. 1048 02:16:11.000 --> 02:17:17.000 Let's have a quick look at some comments. Rick Nelson's just cleaned his sensor. He's ready to go. Oh, that was about. Was that for Rick's. Yeah, it was for Rick's ocean shot. Love the blue lines giving that feeling of gentle waves. This is a terrible joke. Where do we draw the lion in the sand then? Indeed. And yeah, lots of comments for Phillips images. This one feels powerful and like patterns on the cliff. Love the third one, Phil, which is this one we're looking at right now on the screen. I agree. I think this is my favorite shot and I think that's worthy of some sort of print and tweet. Production says love the color change in the cliff. Yep. Very cool. Thank you, Philip, as always. 1049 02:17:17.000 --> 02:17:19.000 We got Marty Strecker. 1050 02:17:19.000 --> 02:17:20.000 Yep. 1051 02:17:20.000 --> 02:17:34.000 But I reckon, Greg, we've got a double up of feedback here, like written stuff. So it's just Phillips duplicated. So we're gonna have to use our imagination a little bit. 1052 02:17:34.000 --> 02:17:36.000 What have you done, Greg? Oh, it is too. 1053 02:17:36.000 --> 02:17:38.000 You might have to read this one out, Greg. 1054 02:17:38.000 --> 02:17:45.000 Oh, no, hang on, I'll find it. I've got it here. Bear with talk amongst yourselves. 1055 02:17:45.000 --> 02:17:47.000 It's incredible. 1056 02:17:47.000 --> 02:17:48.000 Marty Strecker. 1057 02:17:48.000 --> 02:17:53.000 All right. Oh, here we go. I've got the info here. 1058 02:17:53.000 --> 02:17:55.000 Why am I left out? 1059 02:17:55.000 --> 02:18:00.000 Well, I'm in the lucky email. You can you can come and say I'm not lucky stuff? 1060 02:18:00.000 --> 02:18:02.000 No, I'm not part of the team. 1061 02:18:02.000 --> 02:18:07.000 Well, I don't have access to it either. I. I haven't achieved that merit badge just yet. 1062 02:18:07.000 --> 02:18:08.000 I just got invited. 1063 02:18:08.000 --> 02:18:18.000 So, you know, Jim has a credit card and he has access. I don't have any of that. So you know 1064 02:18:18.000 --> 02:18:25.000 a code. First let's, you know, one step at a time. Code, double harness, then access to the credit card. 1065 02:18:25.000 --> 02:18:30.000 Wow, your list is bigger than mine. I just want to go straight to Japan. That's all I want. 1066 02:18:30.000 --> 02:18:34.000 That's why I don't have a credit card. 1067 02:18:34.000 --> 02:18:36.000 On the credit card. 1068 02:18:36.000 --> 02:18:45.000 Yeah, that's a very good call, Marty. When I saw this image, I just. My floor hit the. Hit the. 1069 02:18:45.000 --> 02:18:46.000 Hit the. 1070 02:18:46.000 --> 02:18:56.000 My floor. My jaw hit the floor. The floor came up and hit my jaw as well. I've just added the. The correct comments in the. In the doc. Guys, who's going to read this one out? 1071 02:18:56.000 --> 02:19:10.000 I will. Hi, Greg, Justin and Jim again. I'm Chop liver. Okay, I put Justin. 1072 02:19:10.000 --> 02:19:12.000 Did we lose Lucinda? 1073 02:19:12.000 --> 02:19:16.000 We might have. Oh, no, she's back. 1074 02:19:16.000 --> 02:19:17.000 Froze for a second. 1075 02:19:17.000 --> 02:19:18.000 No, I'm back. 1076 02:19:18.000 --> 02:19:25.000 Yeah, you did. Yeah, yeah, yeah. We took a screenshot of it. We'll send it to you later. 1077 02:19:25.000 --> 02:19:31.000 We thought we were just struggling to read the word. Oh, no. She's gone again. 1078 02:19:31.000 --> 02:19:33.000 Oh, no, 1079 02:19:33.000 --> 02:19:34.000 no. 1080 02:19:34.000 --> 02:19:35.000 You keep disappearing, kiddo. 1081 02:19:35.000 --> 02:19:38.000 I've got you there. 1082 02:19:38.000 --> 02:19:41.000 Oh, no. Are you good? Okay, I'm gonna try. 1083 02:19:41.000 --> 02:19:43.000 Yeah, Jim, go for it. 1084 02:19:43.000 --> 02:19:45.000 All right. I might jump in. 1085 02:19:45.000 --> 02:19:46.000 Jim, you jump in. 1086 02:19:46.000 --> 02:19:50.000 Justin on the podcast now you've lost your chance. 1087 02:19:50.000 --> 02:19:53.000 Linda, you had three shots. It's over. 1088 02:19:53.000 --> 02:21:15.000 I put Justin second there because he's no longer the main guy since he left Crying face. Awesome work as always on the podcast and the guests have been insightful. Much more than I thought or expected. Often I'll tell myself I need to submit an image every week. Then I don't usual reasons. My gear is not one of the big four. Putting your work out there, which you mentioned as a first as a thing for many people recently, etc. Etc. Attach single image. It is a multiple exposure in camera. So I am actually sending two first image 6:10am of the moon at 35mil equivalent 1002 millimeters handheld 11611600 of a second 5.6 ISO 400 second image 625 35mil equivalent at 337mil 1 160th of a second 5.6 ISO 200. I bumped clarity and dehaze extra black white highlights and shadows up. That's it. My camera is om1 mark 2. The lens on both images 150 to 400. I have a bunch of YouTube apps to watch to check guest images. I usually just listen to the podcast version. Good work, everyone. Cheers, Marty. 1089 02:21:15.000 --> 02:21:20.000 Thanks, Marty. Good job sending an image in. Yeah, it's a cracker. 1090 02:21:20.000 --> 02:21:21.000 Epic, epic image as well. 1091 02:21:21.000 --> 02:21:49.000 Jesus. So I just want to zoom in for some folks who can't may not be able to see the level of detail, but the Moon is absolutely like. This is nice. Fall off on the right up here where you can the craters. It's just like a slight shadow on the edge of the moon and you can see some of the craters in it. Just incredible. That in itself looks gorgeous, but then you see what's actually crossing the Moon and it's a Qantas commercial jet. 1092 02:21:49.000 --> 02:21:51.000 That's insane. 1093 02:21:51.000 --> 02:21:53.000 Insane. 1094 02:21:53.000 --> 02:21:55.000 How do you do that? 1095 02:21:55.000 --> 02:21:56.000 How do you do that? 1096 02:21:56.000 --> 02:21:59.000 Yeah, 1097 02:21:59.000 --> 02:22:00.000 that's beautiful. 1098 02:22:00.000 --> 02:22:03.000 Yeah. Rick Nelson. Print it. 1099 02:22:03.000 --> 02:22:04.000 Yeah. 1100 02:22:04.000 --> 02:22:05.000 Send us a national geo. 1101 02:22:05.000 --> 02:22:09.000 God, honestly. Yeah, yeah. 1102 02:22:09.000 --> 02:22:13.000 Tweak Productions. Send in more. Marty. This is. 1103 02:22:13.000 --> 02:22:25.000 Yeah, yeah. This is amazing, Marty. But, you know, and it's a really thoughtful composition. It wasn't like I looked up and saw this and I just took a shot. You've planned it. You've done a double exposure in camera. 1104 02:22:25.000 --> 02:22:26.000 Yeah. 1105 02:22:25.000 --> 02:22:34.000 It's amazing. What an ingenious composition from two separate images. 1106 02:22:34.000 --> 02:22:35.000 It's epic. 1107 02:22:35.000 --> 02:22:53.000 Amazing. Yep, yep. Lots of folks. Yep. Print it says Phil Thompson, Greg Carrick. Fly me to the moon, Rodney. Holy smoke. And Dan has said that's nuts. 1108 02:22:53.000 --> 02:22:55.000 Yeah. 1109 02:22:55.000 --> 02:23:05.000 Yeah. It was a gorgeous shot. Well done. Well done indeed. We've only got one more person. 1110 02:23:05.000 --> 02:23:08.000 I think we do. 1111 02:23:08.000 --> 02:23:14.000 Where are we at? Shamit Shah has sent in two images. 1112 02:23:14.000 --> 02:23:16.000 Should I try again? Am I rating skills? 1113 02:23:16.000 --> 02:23:22.000 Yeah, I think you might be back. Well, it's not the reading, it's the Internet. I think your rating's going okay. 1114 02:23:22.000 --> 02:23:23.000 Yeah. 1115 02:23:22.000 --> 02:23:23.000 Okay. Thanks, Jim. 1116 02:23:23.000 --> 02:23:26.000 All right. Charm it. Image one. 1117 02:23:26.000 --> 02:24:00.000 All right. Hi, Justin and Greg. Please see Attach two photos I took over the weekend on my walk at a local park. I wanted to use a wider focal length to capture the environment and see how they turned out in black and white. I used aperture priority and set it to 3.8. The first photo had an ISO of 1600 and the second one at ISO 280. Both had a shutter speed of 1 125th of a second. The day was quite bright, which I thought would be perfect to capture some dark shadows in the pictures. Any feedback is much Appreciated. Thank you again. 1118 02:24:00.000 --> 02:24:03.000 So this is the first image. 1119 02:24:03.000 --> 02:24:04.000 Fabulous. 1120 02:24:04.000 --> 02:24:08.000 Second one. The second one here. 1121 02:24:08.000 --> 02:24:26.000 Yeah. Great. Again, like, thoughtful choice of what's included and what's not. Could have very easily, like, included a whole lot of sky. That wasn't really, like, comp. Yeah. It wasn't really, like, adding much value to the photo. 1122 02:24:26.000 --> 02:24:41.000 Yeah. Yeah. Well, well spotted. And I love. Because the sky, you know, because it is a super bright day, the sky is going to be blown out, but in this shot especially, the trees are making up for that. They're kind of filling in that space really nicely. 1123 02:24:41.000 --> 02:24:43.000 Yeah. 1124 02:24:43.000 --> 02:24:53.000 And I love the panorama. It's. Yeah, it works. It just works because you're getting all that beautiful. The. The shadows on the ground that are intertwining from the tree branches. 1125 02:24:53.000 --> 02:25:01.000 Yeah. And the people on bikes are, like, perfectly framed within the trees. That seems to be a theme tonight. Framing between trees. 1126 02:25:01.000 --> 02:25:43.000 Oh, yeah. Just with this other image, if anything, I would probably have taken either crop this in a little bit. You could keep the grade in there because it adds character and it was there. It's what you saw. That's fine. But I think it's the way it's framed. Is that the edge of this? The edge. The bottom edge of this. Great. That's on the ground is really distracting. Let me just go in a little bit. Because you can see, like, there. I don't think I can go in that much further. It's just that hard, dark edge of the grate. If anything, I would have, like, either cropped it in a tiny bit or taken a step over it. 1127 02:25:43.000 --> 02:26:10.000 I wonder if you came in and came low, so came in really close to the grate because you were saying that you wanted to experiment with wide angle. So coming in closer, using it as more of an element to draw you in up towards the person that's on the bike and almost use that as sort of like the leading lines to then. Yeah. Draw your eye out. I wonder how that would. Would work. 1128 02:26:10.000 --> 02:26:13.000 Yeah, I think that's great feedback. 1129 02:26:13.000 --> 02:26:21.000 And using a D60 with an 18 mil. So that's good. 1130 02:26:21.000 --> 02:26:31.000 Yeah. No, but there's a really lovely composition and the choice of pano is spot on. 1131 02:26:31.000 --> 02:26:40.000 Yeah. And I like the black and white as well. Yeah, the black and white's a good choice because the. These scenes can get really messy really 1132 02:26:40.000 --> 02:26:45.000 quickly, especially parks with just 1133 02:26:45.000 --> 02:26:48.000 green and. Yeah, yep. 1134 02:26:48.000 --> 02:26:51.000 Yeah. Because the shadows here are so important as well. 1135 02:26:51.000 --> 02:26:55.000 Yeah, 1136 02:26:55.000 --> 02:27:05.000 no, it's very good. Very good indeed. And I love. Yeah. In both images, the placement of the cyclists. Oops. That's Phillips. 1137 02:27:05.000 --> 02:27:06.000 Yeah. 1138 02:27:06.000 --> 02:27:10.000 Just works really. It just adds that little bit of storytelling. 1139 02:27:10.000 --> 02:27:17.000 Yeah. You needed a subject. If this didn't have a subject, it probably would have. Yeah, you would be missing something. 1140 02:27:17.000 --> 02:27:19.000 Yeah. Less impactful, for sure. 1141 02:27:19.000 --> 02:27:20.000 Yeah. 1142 02:27:20.000 --> 02:27:23.000 Wonderful work, though. Keep at it. 1143 02:27:23.000 --> 02:27:24.000 Yeah. 1144 02:27:24.000 --> 02:27:45.000 It is interesting that you raise that point about, you know, maybe getting down lower. And there's something I've been trying to do with, with the workshops I'm running is, you know, about changing your view of the world and almost putting your camera on the, on the, on the footpath to take a shot, you know, just to get that different perspective to what we see, which is always up here. 1145 02:27:45.000 --> 02:28:09.000 Yeah, it's just our natural state. Like we just. That's what we do. We take our camera and put it to our eye and we always just look at that angle. So it's. Yeah, it really is like an exercise of just like breaking your thought patterns. Like the same thing, Greg, with like taking a completely different lens out, changing your perspective, moving around and. And just. Yeah. Seeing the world from a different point of view. Yep. 1146 02:28:09.000 --> 02:28:11.000 Indeed. Indeed. Well said. 1147 02:28:11.000 --> 02:28:50.000 Another, like, little point as well. They'll shot on aperture priority, which, like, I actually used aperture priority a hell of a lot when I was first working in a newspaper because it sort of took part of the thought process out. I could set my aperture, I could control my shutter speed with my ISO, but then I didn't have to make minute adjustments every two seconds. So then it allowed me to focus on more what was in front of me and the people and whatever I was doing rather than. So it's. It is, I think, a really important piece of the camera to learn and to use. So I think well done using that too. 1148 02:28:50.000 --> 02:28:52.000 Yeah, you don't have to shoot in 1149 02:28:52.000 --> 02:29:02.000 manual like you can manually shoot with aperture priority, but it just takes some of the. Yeah. Minute changes out. 1150 02:29:02.000 --> 02:29:04.000 Yeah, yeah. 1151 02:29:04.000 --> 02:29:10.000 But then it's also equally as important to then, you know, review those images later in post and see what did the camera do? 1152 02:29:10.000 --> 02:29:11.000 What. 1153 02:29:11.000 --> 02:29:13.000 Yeah, it's about reviewing it and why. 1154 02:29:13.000 --> 02:30:31.000 Yeah. Yep, yep, yep. Incredible. Well, that pretty much. That's all the images, folks. So just speaking to that, thank you, everyone for sending in your images again tonight. Keep them coming, please. It's. It's humbling and it's a privilege to, you know, get these images coming in with your stories and your journeys and your experiences and being able to share them with others. And so we value that. It's what makes our Monday night show so important and a lot of fun. We get to see what everyone's up to. We get to see everyone's progress in the craft. We get to see people that are developing new skills, trying new things. And hopefully through this process, you're all encouraging each other to get out there and to continue shooting. So just to recap, we do this every Monday night, so please send in your images to justinuckystraps.com include just a JPEG file. Please rename the files to your name, image 1 and 2 and 3, etc. If you've got multiple images, try to keep it to sort of two or three images. Unless you've got a really powerful series you want to showcase, and that is a short series, that is fine. Also, camera settings, a little bit about your story, a bit about your journey and, and what you learned through that experience. 1155 02:30:31.000 --> 02:30:32.000 Yeah. 1156 02:30:31.000 --> 02:30:32.000 What chips? Oh, yeah, the snack. 1157 02:30:32.000 --> 02:30:38.000 What chips? Snack, yeah, Required next week, everyone's editing snack. 1158 02:30:38.000 --> 02:30:56.000 All right, you've heard it here. Lucinda has said it. It will happen. So make sure you include your snack and what variant of Coke you prefer. Yes, that will say a lot about. What you mean, Jim. What do you mean at all? 1159 02:30:56.000 --> 02:30:58.000 The drinking variety only. 1160 02:30:58.000 --> 02:31:02.000 Yes, yes. 1161 02:31:02.000 --> 02:31:04.000 But before we close Thursday, who's. 1162 02:31:04.000 --> 02:32:27.000 Who's on first is the question. Thursday. Last Thursday we had. Who do we have? Last week we did have Matt Hudson. Matt Hudson. And you were there. Thank you, Jim. And I'm actually going to reach out to Matt's sister, Lise Hudson, who is a photographer for wheelchair sports, heavily involved in that industry and just going through her images, actually this morning when I was going through my to do list and I thought, yeah, I need to check that out. So I'm going to reach out to Alyssa at least. Sorry. I think it is amazing body of work and a story worth sharing. I think really important story this coming week. Who have we got? Who have we got? We've got John Norris, who is a professional photographer, he's a writer, he's got a huge passion for action sports. He's a friend of Jason Lau's who we've had on the show a few times now. And they both, they both love photographing motorcycles in all different states and places. So, yeah, stay tuned for that on Thursday. And then of course, we'll be back next Monday night. 7:30. The boss will be back. He should be back for Thursday's podcast. You know, unless he's too busy editing photos of lions. Who knows? I don't know how many he took. How many, you know, you know, Justin the best. How many photos you reckon he Took on this trip. 1163 02:32:27.000 --> 02:32:30.000 Well, he was doing video, wasn't he? He was actually working. 1164 02:32:30.000 --> 02:32:35.000 Yeah, it was working a lot still, I would say. 1165 02:32:35.000 --> 02:32:37.000 I want to say 4,000. 1166 02:32:37.000 --> 02:32:43.000 Yeah. I was gonna say I thought five, but that was okay. But the video throws it out. 1167 02:32:43.000 --> 02:32:44.000 Yeah, yeah. 1168 02:32:44.000 --> 02:32:46.000 I'm not counting video. Yeah, I know. 1169 02:32:46.000 --> 02:32:48.000 Yeah. Yep. 1170 02:32:48.000 --> 02:32:49.000 All right, well, we'll find out. 1171 02:32:49.000 --> 02:32:56.000 He might be busy the following Monday, Greg, because he's getting too busy editing the wedding photos. Yes. Yesterday. 1172 02:32:56.000 --> 02:33:00.000 Maybe we could have a head to head on who shot the wedding. Better. 1173 02:33:00.000 --> 02:33:07.000 Yeah, it'll be Justin because he won't. He'll be like, just shooting interesting stuff, not having to do. 1174 02:33:07.000 --> 02:33:08.000 Yeah, yeah. 1175 02:33:08.000 --> 02:33:09.000 Have to do with actual work. 1176 02:33:09.000 --> 02:33:15.000 He's just there for shits and giggles, isn't he? Yeah, that's fair enough. Fair enough. 1177 02:33:15.000 --> 02:33:19.000 No, no, he's working. He's working for. Commercially. 1178 02:33:19.000 --> 02:33:35.000 Yeah, yeah, yeah, yep, fair enough. Couple of thank yous. Jim, thank you for showing up again. Always good to have you on. I really appreciate you covering for the boss lately. Someone had to. You know, he's just left us. Leftist, Jim. 1179 02:33:35.000 --> 02:33:36.000 Yeah. 1180 02:33:36.000 --> 02:34:04.000 I mean, you're, you're okay. You've got a credit card and God knows what else is getting you. But Jim, thank you so much. Always good to catch up with you. Don't be a stranger. I know that things get busy, but you're always, always love to have you on. And of course, Lucinda, thank you so much for your insight, for your images and for the chat about social media. I look forward to you and I working together to create my empire online. 1181 02:34:04.000 --> 02:34:06.000 Thanks for having me. It's always fun. 1182 02:34:06.000 --> 02:34:10.000 Yeah. We always love having you here. And you're free. 1183 02:34:10.000 --> 02:34:15.000 Once you, once you've made some changes. We need a breakdown what you did, what worked. 1184 02:34:15.000 --> 02:34:17.000 Yeah, yeah, yeah, yep. 1185 02:34:17.000 --> 02:34:20.000 Definitely revisit in a few months. 1186 02:34:20.000 --> 02:34:34.000 Yes. Conversation we'll keep having because I think it's important because, you know, like I said, it's that question, that simple question that Lucinda asked in one of her, one of her posts that really made me stop and go, oh, hang on. Actually, she's got a point. I am struggling with. 1187 02:34:34.000 --> 02:34:36.000 Have lots of those. 1188 02:34:36.000 --> 02:34:50.000 Yeah, yeah. So and so. But yes, thank you once again, Lucinda. Always great to have you. Look forward to seeing what you've got coming up in the, in the near future. We'll get you back on at some stage to have a chat, catch up on things. 1189 02:34:50.000 --> 02:34:52.000 I'd love to. 1190 02:34:52.000 --> 02:34:57.000 Let me see if I can play some music. Last week I just couldn't play music. I don't know What I did wrong. 1191 02:34:57.000 --> 02:34:58.000 We believe in you, Greg. 1192 02:34:58.000 --> 02:34:59.000 Do you? 1193 02:34:59.000 --> 02:35:02.000 What sort of music do you want? 1194 02:35:02.000 --> 02:35:08.000 Just the outro music. Reckon you can handle that, Jim? 1195 02:35:08.000 --> 02:35:10.000 Nothing copyrighted? 1196 02:35:10.000 --> 02:35:11.000 Yeah. 1197 02:35:11.000 --> 02:35:16.000 No, I've got the intro. Yeah. 1198 02:35:16.000 --> 02:35:19.000 I couldn't see the outro. I don't know what I've done. 1199 02:35:19.000 --> 02:35:23.000 I can play gong and all I can. 1200 02:35:23.000 --> 02:35:25.000 All I can feel is Justin watching and judging. 1201 02:35:25.000 --> 02:35:30.000 Yeah. He didn't give us the Rodecaster. 1202 02:35:30.000 --> 02:35:32.000 No. I'm surprised. 1203 02:35:32.000 --> 02:35:33.000 With the road caster. 1204 02:35:33.000 --> 02:35:37.000 Yeah. Yeah. 1205 02:35:37.000 --> 02:35:40.000 You could have bought the Rodecaster. Could have bought another one. 1206 02:35:40.000 --> 02:35:41.000 I don't know. 1207 02:35:41.000 --> 02:35:43.000 Missed opportunity. 1208 02:35:43.000 --> 02:35:52.000 Let me say goodbye to some peeps. It's just after 10:00 o'clock here. John Latimer. Thanks again, everyone. Use code, Lucinda. No, don't use code, Lucinda. Use code. 1209 02:35:52.000 --> 02:35:53.000 No, it won't get you anywhere. 1210 02:35:53.000 --> 02:36:35.000 Won't get you anywhere. Who we got? Shamit Shah. Thank you, everyone. Rick Nelson. Thank you for a great show and awesome images, everyone. Indeed, David Skinner. Thank you everybody for your images. Love to see and learn. Good night. What we've got here, Tweak Productions. Thanks for sending in your photos too. Awesome photos, everybody. Always inspiring me to try new things and techniques. Great feedback and thanks for the great start to the week. Sleepy time now. Indeed. Rick Nelson is suggesting 8,000 pics from the boss line. 8,000 line photos. Crackers. Good to see you again, mate. Thanks to Lucinda for bringing some smarts to the show. 1211 02:36:35.000 --> 02:36:36.000 Good. You're welcome. 1212 02:36:36.000 --> 02:36:39.000 Cool. 1213 02:36:39.000 --> 02:36:46.000 Oh, this is interesting. Shamit Shah says at least a thousand shots per day. He does like a how many days, doesn't he? 1214 02:36:46.000 --> 02:36:49.000 I feel like you have to burst mode with a lion. 1215 02:36:49.000 --> 02:36:51.000 Do you? 1216 02:36:51.000 --> 02:36:55.000 I don't know. We're gonna get the number next week. 1217 02:36:55.000 --> 02:37:06.000 Do we get to hold up scorecards like red faces? Oh, that's a blast from the past. Thanks, team. From the old sea dog 9 out of 10 night. Wonder what we needed to do to make it better. 1218 02:37:06.000 --> 02:37:08.000 Yeah, can we have the feedback, please? 1219 02:37:08.000 --> 02:37:09.000 Yeah. 1220 02:37:09.000 --> 02:37:10.000 You can't believe it's hanging. 1221 02:37:10.000 --> 02:37:11.000 Rodney. 1222 02:37:10.000 --> 02:37:12.000 More snacks. 1223 02:37:12.000 --> 02:37:24.000 Yeah, more snacks. Another great show, everyone. See you again soon, Felicity. Thanks, Greg, Jim and Lucinda. Another great night. And finally, from the camera light, this is you, Jim. 1224 02:37:24.000 --> 02:37:26.000 I need access. 1225 02:37:26.000 --> 02:37:46.000 Oh, Jim. @luckystraps.com if you're looking for a premium handmade leather camera strap that will outlive your camera and probably outlive you, head to Luckystraps.com just. Tom. Oh, God, I've run out of words. Dot com. Yeah, we make great. Does that work too? 1226 02:37:46.000 --> 02:37:48.000 Are we not that. Is that not a website? 1227 02:37:48.000 --> 02:37:50.000 I thought it was just dot com. You should know, you've got Justin. 1228 02:37:50.000 --> 02:37:51.000 Where's Justin? 1229 02:37:51.000 --> 02:37:56.000 That's. It's in the banner. Yeah, don't go to dot com. It's in the banner, down the bottom. 1230 02:37:56.000 --> 02:37:59.000 Don't use code, Jim. He doesn't know the. 1231 02:37:59.000 --> 02:38:03.000 He doesn't deserve it now, guys, that's 1232 02:38:03.000 --> 02:38:21.000 why it is late. We'll let everyone get to bed. Folks, thank you so much. And, yeah, be safe. And we'll see you on Thursday morning for 9am Australian Eastern Standard Time for our interview. And, yeah, be safe. Get out and shoot. All right, thanks, guys. Take care. 1233 02:38:21.000 --> 02:38:27.000 See you later. Yeah, test that. See if it works.