Latest / The Photography & Video Show Podcast / 22: Tom Oldham on capturing moments with musicians, politicians and Thierry Henry. Is OM-3 James’ perfect camera? Last-minute London show news

Transcript

22: Tom Oldham on capturing moments with musicians, politicians and Thierry Henry. Is OM-3 James’ perfect camera? Last-minute London show news · The Photography & Video Show Podcast

• 0:10
  David McClelland: Hello and welcome to the Photography and Video Show Podcast, your monthly dose of developing camera news and stories from the frontline of photography and video.
• 0:22
  David McClelland: I'm David McClelland, it's March 2025 coming up in today's show.
• 0:30
  SPEAKER_04: I did a portrait once with Thierry Henry, and oh yes, he didn't want to do it.
• 0:34
  SPEAKER_04: He kind of expressed a general air of reluctance when we started, and I was like, Why don't you want to do it?
• 0:40
  SPEAKER_04: And he said, Well, I don't know why, you know, I don't know what this is, and I don't know why.
• 0:44
  SPEAKER_04: And I was like, Well, if you don't want to do it, then I don't really want to do it.
• 0:47
  SPEAKER_04: So I'll tell you what, give me 10 frames and you can go.
• 0:52
  SPEAKER_04: And you can choose which ones we keep.
• 0:54
  SPEAKER_04: And he was like, Yeah?
• 0:55
  SPEAKER_04: I was like, yeah.
• 0:56
  SPEAKER_04: So he came in and did like all these expressions like that I would never have, if I had asked, I'd never have got them.
• 1:02
  SPEAKER_04: So he offers up these incredible 10 shots.
• 1:05
  SPEAKER_04: We look through the 10, he chooses six, which one of them later became the cover of 442 magazine.
• 1:11
  SPEAKER_04: They're beautiful, they're amazing, I love them still.
• 1:15
  SPEAKER_04: And he got to go after about three minutes.
• 1:17
  SPEAKER_04: So everyone was happy.
• 1:22
  David McClelland: With the in-person photography and video show in London just around the corner, Saturday the 8th to Tuesday the 11th of March, tickets available.
• 1:29
  David McClelland: Photography show.com.
• 1:31
  David McClelland: Use code PODTPS25 at checkout for a 20% discount on tickets.
• 1:36
  David McClelland: Today we have some last-minute updates, including news of an entirely new stage.
• 1:42
  David McClelland: And we'll be hearing from some headline brands about what they'll be bringing to London.
• 1:49
  David McClelland: And joining me for a catch-up on camera and kit news is DigitalCameraWorld.com editor-in-chief, James Arteus.
• 1:56
  SPEAKER_02: David, me old mate, me old muck and me old soup spoon.
• 1:59
  SPEAKER_02: It's great to see you.
• 2:00
  SPEAKER_02: Um I'm full of beans, as you can tell.
• 2:02
  SPEAKER_02: I'm very excited.
• 2:03
  SPEAKER_02: We're we're not far from the show now.
• 2:05
  SPEAKER_02: Um, all guns are blazing, loads of stuff is happening, really exciting things going on in the industry, and I get to talk to you good self, so couldn't be happier.
• 2:12
  David McClelland: I don't let anyone else call me an old soup spoon apart from you.
• 2:15
  David McClelland: Thank you for joining us today.
• 2:17
  David McClelland: Yes, London show, very, very close indeed.
• 2:19
  David McClelland: Looking forward to seeing you in person there as well.
• 2:22
  David McClelland: But we've got a bit of catching up to do, first of all, on some of the kit news that has been breaking ground over the last few weeks, including a camera from our friend at Cannon that you think could be the most important camera of the year.
• 2:38
  David McClelland: Tell me about the PowerShot V1.
• 2:40
  SPEAKER_02: So the PowerShot V1, and I I would suspect a large portion of the people listening to this would probably not put the words PowerShot and most important in the same sentence.
• 2:49
  SPEAKER_02: Because to us it's things like the EOS R1 and the EOS R5 Mark II and, you know, all sorts of other devices.
• 2:55
  SPEAKER_02: But in case it's escaped anyone's notice, the compact camera market that we all thought was dead and buried a few years ago is now the most buoyant, I don't know if it's the most profitable, but it's certainly the most um populated segment, the most popular segment of the camera industry, to the point where late last year, Kodak of all people, with these cheap and cheerful sort of 90 quid compact cameras, toppled Canon, Nikon, and Sony for market share.
• 3:23
  David McClelland: No way, really.
• 3:24
  SPEAKER_02: So compact cameras.
• 3:25
  SPEAKER_02: Then you throw in things like the Fuji X106, which, you know, is is a generous compact, uh, the Leica Q3.
• 3:31
  SPEAKER_02: Again, it's generous for a compact, but nonetheless, these are compact fixed lens cameras.
• 3:37
  SPEAKER_02: And they have exploded due to things like Gen Z's idea of nostalgia.
• 3:42
  SPEAKER_02: And for um you know, lots of sort of very esoteric reasons blowing up on TikTok, influencers being one of the main drivers.
• 3:49
  SPEAKER_02: So in any case, there's been a massive uptick in the uh in the in the purchase of compact cameras, and Canon is now back in the game.
• 3:57
  SPEAKER_02: They have a couple of compacts that have kind of been out of stock for the last few years, but they haven't released a compact since 2019.
• 4:04
  SPEAKER_02: The PowerShot V1 is its latest.
• 4:07
  SPEAKER_02: It's the flagship of the PowerShot V series, which kicked off officially with the PowerShot V10, which is the small rectangular cigarette packet sized vlogging camera for sort of entry-level users.
• 4:17
  SPEAKER_02: The PowerShot V1 is kind of like a uh a slightly higher spec version of that with a flippy screen.
• 4:24
  SPEAKER_02: Basically, David, I think they're going for the Sony ZV market.
• 4:28
  David McClelland: Well, well, right, okay.
• 4:29
  David McClelland: So just in terms of positioning that, and it's interesting you mentioned the sort of Gen Z TikTok generation and so on.
• 4:35
  David McClelland: Where I see a lot of Sony ZV is also in in my world at the moment, in the podcast space, a lot of content creators, uh, you know, kind of professionals who do the sort of stuff that that that you and I do in a way, particularly in in this sort of online content creation market, are rather than using a webcam, rather than using a really expensive, you know, uh camera for their visuals, they're using cameras like the those in in the Sony ZV line to get much better quality images than they would get from a webcam without going to the expense of several thousand pounds or two or three thousand pounds for I don't know what they might choose to use a Sony A7 something or like I'm using a Sony FX30.
• 5:20
  David McClelland: So this feels like it's a rich space to to dive into.
• 5:25
  David McClelland: And in terms of specs here, I mean, let's not beat about the bush.
• 5:28
  David McClelland: This is a really powerful camera.
• 5:30
  David McClelland: It might be that kind of compact range, but it's a sort of micro four-thirds.
• 5:35
  David McClelland: Tell me what that means.
• 5:36
  David McClelland: Uh 22 odd megapixel sensor, it's got integrated 16, 50 mil zoom.
• 5:41
  David McClelland: There's you know, there's there's some really good stuff in there.
• 5:44
  SPEAKER_02: There is, and the the the the sensor size is an interesting one because about two years ago um I wrote a story about a Canon patent.
• 5:50
  SPEAKER_02: People often ask me why on DCW do we write about these patent stories?
• 5:53
  SPEAKER_02: Because you know, companies can patent anything they want.
• 5:55
  SPEAKER_02: You know, a ladder that reaches the moon may not mean it ever comes to the market.
• 5:58
  SPEAKER_02: So why do we bother reporting?
• 6:00
  SPEAKER_02: For reasons like this, because it can, doesn't always, but it can give you a glimpse into the future where things are going.
• 6:04
  SPEAKER_02: So a couple of years ago, Canon patented some lens designs for a micro four-thirds-ish sensor.
• 6:11
  SPEAKER_02: And as we all know, Canon makes APSC cameras, it makes one-inch sensors, it makes full frame, but it doesn't make micro four-thirds-ish sensors.
• 6:18
  SPEAKER_02: Well, it blooming well does now.
• 6:20
  SPEAKER_02: So the the PowerShot V1 has um a 1.4-inch micro four-thirds-ish dimension sensor.
• 6:27
  SPEAKER_02: So that's the sensor size used by OM System, Panasonic, Blackmagic, some of those other folks.
• 6:32
  SPEAKER_02: So it's a larger sensor than you find in what you or I would probably think of as compact cameras with a one-inch sensor, so a sort of smaller, lower quality, lower resolution sensor.
• 6:41
  SPEAKER_02: But this guy, you know, 1.4 inches, 22.3 megapixels.
• 6:45
  SPEAKER_02: Um, it uses the Digic X family of image processors, which gives it a new, so the same but different version of dual pixel CMOS AF2.
• 6:56
  SPEAKER_02: So um, for lots of folks may not know what that is, that's Canon's proprietary AF system.
• 7:00
  SPEAKER_02: It's in the R1, it's in the R5 Mark II, it's blooming good.
• 7:03
  SPEAKER_02: But this is a version specifically for PowerShot.
• 7:07
  SPEAKER_02: So it doesn't have all the trimmings.
• 7:09
  SPEAKER_02: It still does face and eye detect for humans, cats, and dogs, but specifically not for birds, not not for some other animals, I think.
• 7:15
  SPEAKER_02: Not for birds and not for horses.
• 7:17
  SPEAKER_02: Very specifically, Canon, we're very clear on this.
• 7:18
  SPEAKER_02: It doesn't do birds and doesn't do horses.
• 7:20
  SPEAKER_02: What does Canon have against horses?
• 7:22
  SPEAKER_02: That's that's what we really need to know.
• 7:24
  SPEAKER_02: There is there is an opinion in that somewhere.
• 7:25
  SPEAKER_02: There's an editorial piece, you know, that that must be done, a Woodward and Bernstein type thing.
• 7:29
  SPEAKER_02: But you know, the point is it does have you know a really sophisticated sensor, as you say, a 16 to 50 mil equivalent uh focal range, which is great wide angle for sort of vlogging, content creating.
• 7:38
  SPEAKER_02: Um there's a clever term for folks who um who are podcasters but who you know create video for that specific purpose.
• 7:44
  SPEAKER_02: Now, as you say, it's a small but increasing market where people have worked out webcams could be better.
• 7:50
  SPEAKER_02: They don't want to spend a few grand on an FX camera.
• 7:52
  SPEAKER_02: What's the sweet spot in between?
• 7:54
  SPEAKER_02: Ah, it's a ZV camera, or now it's a V1 type camera.
• 7:57
  SPEAKER_02: Um this guy has can do 4K 60p with a crop, but we're looking mostly at 4K 30, you know, full fat.
• 8:04
  SPEAKER_02: And it has C log 3s, but it does have a log mode, so you can grade and sort of tailor your footage.
• 8:09
  SPEAKER_02: Um, has things like horizon um equalizer and image stabilization, so it's a very, very powerful, nice looking bit of kit.
• 8:16
  David McClelland: Strong for videographers, but also for photographers as well.
• 8:19
  David McClelland: It's got a quite useful 30 frames per second burst mode as well for uh for those stills guys.
• 8:24
  SPEAKER_02: It does.
• 8:24
  SPEAKER_02: 30 fps bursts, again, backed up by the the really powerful AF system.
• 8:28
  SPEAKER_02: It's interesting because the the the uptake of traditional compacts, by which I mean the non-Sony ZV vlogging style compacts, so what the compacts like the Fuji X uh 100 series, like the Canon SX 70HS, which is a camera that was released in like 2018, and one of my Gen Z friends has just bought one for 600 quid.
• 8:51
  SPEAKER_02: Um, they're typically compact point and shoots thought of as stills cameras.
• 8:55
  SPEAKER_02: So it's interesting that this is more vlogging oriented, but yes, it must be remembered it's still a powerful sort of stills device.
• 9:01
  SPEAKER_02: 30 FPS is better than than almost any DSLR, um almost any mirrorless camera.
• 9:07
  David McClelland: Yeah.
• 9:08
  David McClelland: There is a but here, and this is in terms of the market release strategy that Canon's going with.
• 9:13
  David McClelland: Just clear us up on this because we're not going to be able to pick one up at least here in the UK or in Europe right away.
• 9:20
  SPEAKER_02: Indeed, yeah.
• 9:21
  SPEAKER_02: So this is a product that has thus far only been announced in the Asian territory, so that's in Japan, China, you know, the the the that that part of the world.
• 9:29
  SPEAKER_02: Um, which isn't to say that it won't be released in the West, because Canon does have a strategy in the past which released other PowerShell products, funnily enough, which have debuted in Asia first, or some of them have appeared in the US first, and then come to other regions later on.
• 9:41
  SPEAKER_02: And this might have to do with all sorts of reasons, even going down to sort of production manufacturing.
• 9:46
  SPEAKER_02: But point being, as it stands today, this is uh a Canon Asia product, but fingers crossed it'll make its way to the West because it's certainly a segment that is enormously thirsty for this kind of thing, and it would be it would be madness for it not to make its way past the Asian waters.
• 10:03
  David McClelland: Watch this space for news of announcements in the uh UK, US, EU, eventually, eventually.
• 10:11
  David McClelland: Good start though.
• 10:12
  David McClelland: Really interesting stuff.
• 10:13
  David McClelland: Let's let's move on to uh a camera that, well, I I'm gonna ask you whether you have found your Mary Poppins camera here, James, because there's something new that uh I I see you've been getting very excited about.
• 10:26
  SPEAKER_02: Very excited.
• 10:27
  SPEAKER_02: You know me terribly well, David.
• 10:28
  SPEAKER_02: Yes, this is literally an awesing, all-dancing, very James-shaped camera.
• 10:32
  SPEAKER_02: The OM System OM3.
• 10:34
  SPEAKER_02: Uh, OM System is probably fair to say has not been the trendiest brand or has not had the um sort of the most rah-rah pom-pom-shaking support since divesting from Olympus.
• 10:46
  SPEAKER_02: Um and, you know, uh a lot of that is a bias against micro four-thirds sensors.
• 10:50
  SPEAKER_02: We've just been mentioning micro four-thirds sensors.
• 10:52
  SPEAKER_02: There is an inherent bias amongst the uh photographic community that a smaller sensor isn't as good, and there are merits to that argument and demerits to it.
• 11:00
  SPEAKER_02: Um but one of the real things that OM system has just struggled, they struggle to be trendy and cool.
• 11:05
  SPEAKER_02: It's released great cameras that are very functional, but they're just not getting attention the way that Fuji film cameras do, for example.
• 11:12
  SPEAKER_02: The OM3 is basically, if you wanted to write a very sort of combustible headline, it's a Fuji film killer.
• 11:20
  SPEAKER_02: This is a uh a modern mirrorless camera designed after a classic film SLR, the old Olympus OM3 film camera, so it has that same beautiful old, you know, brushed metallic body.
• 11:31
  SPEAKER_02: It's a full metal camera with weather ceiling.
• 11:34
  SPEAKER_02: Um, and its biggest party tricks, honestly, it has the flagship technology of the OM1 Mark II, which is a very, very clever computational camera with a lot of cool tricks, but it takes a bit of DNA from possibly Olympus's most popular or at least uh most beloved camera of the last few years, which is the Olympus Pen F.
• 11:55
  David McClelland: She's still nine years ago.
• 11:56
  David McClelland: I remember when that launched, I remember getting hands-on with it at the photography show, and it I I I guess the retro styling was just starting to become a thing again back then, and it was, yeah, people loved it at the time.
• 12:10
  David McClelland: I can't believe it's nine years ago already, though.
• 12:13
  SPEAKER_02: Yeah, that's that's a real eye-opener, you know, makes makes you and I both sort of count the grey hairs on our heads.
• 12:17
  SPEAKER_02: But what is also interesting in that time is that I remember distinctly.
• 12:20
  SPEAKER_02: So for those who don't know, the Olympus Pen F was a gorgeous, again, a very retro-style, throwback-looking camera, um, sort of beautiful to look at, a piece of art to have on your shelf as much as something to pick up and take photos with.
• 12:30
  SPEAKER_02: But it's its party trick was a dial on the front called the creative dial.
• 12:34
  SPEAKER_02: Yes.
• 12:35
  SPEAKER_02: This gave you access to a number of film simulations, some art filters, arty black and white or colour modes, you could put create your own colours.
• 12:43
  SPEAKER_02: And of course, those effects create JPEGs, not RAWs.
• 12:47
  SPEAKER_02: And back then, when that camera came out in 2016, again, one of these old ridiculous biases.
• 12:52
  SPEAKER_02: People who shoot JPEGs aren't proper photographers.
• 12:54
  SPEAKER_02: And a lot of the industry sort of thumbed their nose and laughed at this camera because, oh, it's a toy camera with its toy sensor and its toy features.
• 13:02
  SPEAKER_02: Well, fast forward all these years, anyone with a Fuji camera, which now includes medium format shooters, so you know, anyone with a full frame camera who says, oh, microphone there's isn't proper, well, medium format users can say full frame cameras aren't proper cameras.
• 13:14
  SPEAKER_02: So medium format people are shooting with Fujifilm simulations, APSC shooters you're shooting with it, people are shooting, you know, proper films and vlogs and things with Fujifilm simulations.
• 13:23
  SPEAKER_02: So that this whole notion now of JPEGs not being proper is completely out of the window.
• 13:27
  SPEAKER_02: That tells you how far we've come in this time frame.
• 13:30
  SPEAKER_02: So now you've got this OM3, which is a beautiful looking camera, has the creative dial with JPEG beautiful images that now people fawn over, and it has this incredible firepower of the OM1 Mark II with all this stuff.
• 13:43
  SPEAKER_02: It's got a dedicated computational photography button that unlocks things like the live ND and live G N D filters.
• 13:50
  SPEAKER_02: So those are like replaces the physical Grad filters and neutral density filters you put on your lenses.
• 13:54
  SPEAKER_02: Um it does in-camera focus stacking and bracketing and those sorts of things.
• 13:57
  SPEAKER_02: It's got a quite a humble 20 megapixel sensor, but it can shoot high res up to 80 megapixels by using pixel shift technology.
• 14:04
  SPEAKER_02: So it's a blooming clever camera.
• 14:07
  SPEAKER_02: It does come with a slightly high price tag, does have to be said.
• 14:12
  SPEAKER_02: When people sort of build in these biases, oh it's it's a s it's a smaller sensor, it's only 20 megapixels, blah blah blah, but this is one of the few cameras that has been universally, and I mean everybody, all the other photography outlets that we don't like to talk about, everyone has been singing this camera's praises.
• 14:28
  SPEAKER_02: Even the people who don't really like Olympus or OM system cameras, no one can deny, A, that it's beautiful, B that it's inspirational when you pick it up and makes you want to go out and take pictures with it.
• 14:39
  SPEAKER_02: And also that it's just incredibly capable.
• 14:42
  SPEAKER_02: And all of your biases against it can't account for the fact that actually it's better than anyone thinks it has any right to be.
• 14:48
  SPEAKER_02: Yeah.
• 14:49
  David McClelland: It it does have that uh pentaprism bulge on the top, doesn't it, which the Pen F didn't have.
• 14:55
  David McClelland: But I I I like that.
• 14:56
  David McClelland: Um you mentioned about how, you know, it has been very positively reviewed and it's just got a good feel about it.
• 15:04
  David McClelland: A line I pulled out from your review on digitalcameraworld.com the OM System OM3 is a creative tool as potent as Salvador DALLE dabbing like a lunatic.
• 15:15
  David McClelland: And I loved your writing in that review.
• 15:17
  David McClelland: It's like the camera was inspiring your words as well as your pictures.
• 15:23
  David McClelland: It feels as though there's a lot of feels in this camera that that you take away with you.
• 15:28
  David McClelland: It's just got a lot of warmth towards it.
• 15:30
  SPEAKER_02: Definitely it it and it it is, you know, there's there's a lot to be said, and I use all sorts, I use Hasselblad kit, I use Canon Kit, I use, you know, every system that's out there I I use and enjoy using.
• 15:39
  SPEAKER_02: At a certain point they are black boxes with an image sensor inside, and they're not, you know, they don't have any soul to them.
• 15:45
  SPEAKER_02: They take great photographs, but yeah, they don't make you want to get up on a rainy day and go out and find a picture to take.
• 15:51
  SPEAKER_02: This camera really does, and it that's such a hard thing to articulate or to convey to somebody who do who just doesn't get that notion, but it's something beautiful enough to put on your shelf, and also beautiful enough to go, I I just want to go and create today.
• 16:04
  SPEAKER_02: I want to go and take a picture, I want to drive 20 miles to that that beautiful mountain, or I want to go into the urban, you know, look at some street photography.
• 16:11
  SPEAKER_02: It just makes you want to go and create, and yes, it's all the all those the Salvador Dali notions, that's really what it makes me want to do is go out and just do something a bit mad, a bit chaotic, take a great photograph, and you know, just just just cherish it.
• 16:23
  SPEAKER_02: It's a beautiful camera.
• 16:25
  David McClelland: Beautiful camera, beautiful, beautiful review.
• 16:28
  David McClelland: And some of your images that you've taken.
• 16:30
  David McClelland: I'm looking at them right now in their beautiful images.
• 16:33
  David McClelland: To uh, what can you tell me about availability of this?
• 16:38
  SPEAKER_02: So this will be, I believe it goes on was on sale now, um, as as people are listening to this.
• 16:45
  SPEAKER_02: Um and it has been a very popular, again, OM System hasn't traditionally been the most trendy brand, but the good word of mouth has really done this camera a lot of favours, and there are a lot of people who are like, day one purchase, pre-order from the moment it was announced.
• 17:01
  SPEAKER_02: And uh I think if this is a camera that interests you, you should go and find one quite as soon as possible, because I've got a feeling it's gonna be on back order relatively quickly, much like the Pen F was, in fairness.
• 17:12
  SPEAKER_02: You know, the people who want this camera, they're gonna go and get it.
• 17:15
  David McClelland: Right, let's uh let's move on to take a look at the Leica SL3S.
• 17:21
  David McClelland: And in your review of this, you called it uh officially the fastest Leica system camera ever built.
• 17:27
  David McClelland: And more than that, though, it might just be the best mirrorless camera that Leica has ever made.
• 17:32
  David McClelland: Some tall claims there, James, and you're you're throwing around your thumbs up quite a lot to cameras this first bit of the year.
• 17:39
  David McClelland: Substantiation of those claims, please.
• 17:42
  David McClelland: The best mirrorless camera that Leica's ever built.
• 17:44
  David McClelland: Tell me more.
• 17:46
  SPEAKER_02: When I toss out superlatives, I really do love throwing them out.
• 17:49
  SPEAKER_02: I'm a hyperbolic man.
• 17:50
  SPEAKER_02: But I'd I I try to reserve this sort of um praise for when it's deserved.
• 17:54
  SPEAKER_02: And the Leica SL3S, there are some caveats to this, which I'll come to in a moment.
• 18:00
  SPEAKER_02: But yes, it is the fastest um system that Leica's ever released.
• 18:04
  SPEAKER_02: It's 30 frames a second, which in the broader scheme may not seem I don't think we should ever sniff at 30 fps.
• 18:11
  SPEAKER_02: I mean it's it's it's blooming fast for photographs.
• 18:13
  SPEAKER_02: But of course you've got Sony doing 120 frames a second.
• 18:16
  SPEAKER_02: But still, 30 FPS, great burst speed, it's 24 brand new 24 megapixel sensor that's backside illuminated.
• 18:23
  SPEAKER_02: Um so the the caveat that we should mention is this is largely one of those Leicers that is a rebodied Panasonic in a lot of respects.
• 18:32
  SPEAKER_02: And that's not a dirty industry secret because if you ask any of those those um uh participants, Panasonic and Leica have had a long-standing technology partnership.
• 18:42
  SPEAKER_02: Neither of them would be able to release the cameras they do without the input of the other, cameras and lenses alike.
• 18:46
  SPEAKER_02: And Leica also has a similar relationship with Fujifilm for their instant cameras.
• 18:50
  SPEAKER_02: So whereas the SL3 came out, and that was not a camera that took anything from Panasonic, it was completely its own thing.
• 18:58
  SPEAKER_02: It was an 8K camera, um, 60 megapixel sensor, and so on and so on.
• 19:03
  SPEAKER_02: This one does fit the old mode, the old mold of being um a slightly upcycled Panasonic.
• 19:08
  SPEAKER_02: So this should be.
• 19:09
  David McClelland: Well, this is a baby brother to the SL3, isn't it, in theory?
• 19:12
  SPEAKER_02: Exactly, yes.
• 19:13
  SPEAKER_02: So um it's it's a curious one because some people say it's the budget version of the SL3.
• 19:18
  SPEAKER_02: I don't think a Leica person is really someone who's shopping on a budget necessarily.
• 19:22
  SPEAKER_02: Um but the SL3S, I I like to think it stands for speed or for sport.
• 19:26
  SPEAKER_02: So um the basic Leica SL3 is quite a quite a I wouldn't say a slow camera, but certainly a more meditative camera, a little bit more thoughtful.
• 19:34
  David McClelland: So it's the Panasonic Lumix S52X, which is the uh kind of crossover here.
• 19:41
  David McClelland: And we see this in other industries as well, you know.
• 19:43
  David McClelland: You look at vehicle manufacturers, many v many vehicle brands share the same platform.
• 19:48
  David McClelland: You know, if you're if you've got a golf, it might be the same as a say at a Tecker or whatever.
• 19:54
  David McClelland: Uh they've got the same platform.
• 19:56
  David McClelland: Similar sort of thing with cameras here.
• 19:58
  David McClelland: What apart from the little red lycadot, which we love, which we love, what is the difference?
• 20:04
  David McClelland: If you are looking at getting either a£4,000 camera or a I don't know how much the S52X is, but maybe two or three thousand pounds less.
• 20:12
  David McClelland: Yeah, right.
• 20:13
  David McClelland: So what is the difference then, apart from that little red dot between the two cameras for you?
• 20:20
  SPEAKER_02: So the differences are small but important.
• 20:23
  SPEAKER_02: Um first of all, it's important to remember that the S52X is an incredible camera.
• 20:27
  SPEAKER_02: And for the last few years, you know, it's it's widely regarded as one of the best cameras for video, one of the best hybrid cameras.
• 20:32
  SPEAKER_02: So if you're going to use something as a template, the S52X is a great one to use.
• 20:36
  SPEAKER_02: As far as the real differences, um, it's got IP54 weather ceilings, it's slightly more robust.
• 20:42
  SPEAKER_02: Um the new sensor being backside illuminated also means it has much better ISO performance.
• 20:46
  SPEAKER_02: So this has um superior dual-based ISOs, has two native ISOs, um, which is great for video shooters, especially.
• 20:53
  SPEAKER_02: Um it also has um a higher resolution EVF and rear screen.
• 20:59
  SPEAKER_02: So a lot of these are sort of quality of life developments, really, rather than sort of being sort of brand new, all singing, all dancing features.
• 21:05
  SPEAKER_02: Um but the other thing you get is the Leica feel, which sounds like a terribly sort of well, the sort of thing that Leica would like you to sort of uh espouse about.
• 21:15
  SPEAKER_02: But things like the menus, the way the menus are structured, the handling of the camera, the experience of shooting with it.
• 21:20
  SPEAKER_02: Um it is very unique.
• 21:21
  SPEAKER_02: I've said this on this podcast before.
• 21:23
  SPEAKER_02: Leica and Hasselblad both do incredible UI for their products.
• 21:26
  SPEAKER_02: It's like using an Apple product in terms of sleekness and usability.
• 21:30
  SPEAKER_02: So you're getting those things, you're getting sort of better ISO performance, you're getting better screens, better viewfinder, better weather ceiling, and this lovely to use, really wonderful, um friction-free shooting experience.
• 21:43
  SPEAKER_02: I love Lumix cameras, but they're they are quite menu sticky, lots of menus to go in and out of.
• 21:48
  SPEAKER_02: Um Leica tries to make the process as straightforward as possible.
• 21:51
  SPEAKER_02: It wants you to pick up the camera, press video, press sh uh photography, and just start shooting.
• 21:56
  SPEAKER_02: So it's uh it's a friction free streamlined system.
• 22:00
  David McClelland: We've got to push on in sixty seconds, if possible.
• 22:05
  David McClelland: Our final uh real news in brief here.
• 22:08
  David McClelland: Panasonic has got something new for this quarter as well.
• 22:12
  David McClelland: What can you tell us?
• 22:13
  SPEAKER_02: It has indeed.
• 22:13
  SPEAKER_02: So the Panasonic S1R2, or the Panasonic Sur 2, as I've been calling it, the world's most polite camera, which Panasonic calls its best hybrid mirrorless camera ever.
• 22:23
  SPEAKER_02: The headline features this guy.
• 22:25
  SPEAKER_02: It's an 8K 30p uh machine with a 44 megapixel sensor, but the big one, it does 8.1k open gate.
• 22:34
  David McClelland: Open gate, there's that phrase which the liker has as well.
• 22:38
  David McClelland: Uh just tell me a bit about very quickly what open gate actually means if it's a new term for people.
• 22:42
  SPEAKER_02: Yeah, so open gate is a real buzzword amongst um videography at the moment.
• 22:46
  SPEAKER_02: Um essentially, when you usually shoot with an image sensor, it will typically shoot video with a 16 by 9 aspect ratio.
• 22:52
  SPEAKER_02: So, you know, uh the the letterbox format as old school um cinema files might call it.
• 22:57
  SPEAKER_02: Um OpenGate records using the entire image sensor.
• 23:01
  SPEAKER_02: It doesn't crop to 16 by 9 horizontally, doesn't crop by 16 by 9 vertically, doesn't make it a square, it records the whole sensor, which means when you come to output your footage, you can put the crop on it that you want.
• 23:11
  SPEAKER_02: So you can shoot it uh in widescreen if you like, and then crop it to vertical for using Instagram stories or on TikTok.
• 23:17
  SPEAKER_02: Um you can shoot wide and cut it down to a square for, you know, any other other social media purposes.
• 23:23
  SPEAKER_02: So it's uh it's a really, really big thing that's becoming more and more a buzzword.
• 23:26
  SPEAKER_02: I expect a lot of other manufacturers to jump on this bandwagon.
• 23:29
  David McClelland: And that's been enabled obviously by because there's a lot of processing power that's needed to drive the full capture across an 8k sensor, 8.1k sensor in that case.
• 23:38
  David McClelland: So uh the fact that processing power within cameras is just getting better and better and better is what's enabling a lot of that.
• 23:46
  David McClelland: Um so that is the Lumix Panasonic Lumix Lumix, whatever Panasonic would like us to call it, the uh S1R2 Surtu.
• 23:55
  David McClelland: I like it.
• 23:56
  David McClelland: I like it.
• 23:57
  David McClelland: Uh listen, James, I'm gonna have to leave it there for today, but thank you so much for bringing us up to speed on what's been happening over the last few weeks.
• 24:07
  David McClelland: Uh, thank you for continuing to share your wonderful words over on digitalcameraworld.com and looking forward to catching up in person in London very, very soon indeed.
• 24:18
  David McClelland: Thank you, David.
• 24:19
  SPEAKER_02: See you with Excel.
• 24:26
  David McClelland: I promised some new news ahead of the London show, and that is the announcement of the all-new kit stage making its debut at this year's show.
• 24:35
  David McClelland: And that's going to have a range of kit from various brands, demos from a host of experts, and it's a full programme too.
• 24:43
  David McClelland: Cameras, drones, lenses, editing tablets, even LTO tapes.
• 24:48
  David McClelland: I know that gets me excited.
• 24:49
  David McClelland: I think it probably will do Friend of the Show Tom Barnes as well.
• 24:52
  David McClelland: Full programme, full details available on the photography show.com website, where you will also find details of the various photo walks and book signings and meetups.
• 25:03
  David McClelland: So, fancier photo walk with Dan Rubin and his Pentac17, that's on Monday.
• 25:09
  David McClelland: Mr.
• 25:09
  David McClelland: Whisper is exploring the London waterfront on the Saturday.
• 25:13
  David McClelland: Scott Kelby, he's doing a walk on black and white architectural photography on the Sunday, and there are many, many more besides.
• 25:20
  David McClelland: You do need to book on to those though.
• 25:22
  David McClelland: So, once again, head on over to photography show.com.
• 25:30
  David McClelland: We caught up with some of the big name exhibitors who'll be at the London show and ask them what they'll be sharing.
• 25:37
  David McClelland: Chineice Meddings from Fujifilm, what are you bringing with you on the Fujifilm stand?
• 25:43
  David McClelland: What can you tell us?
• 25:43
  SPEAKER_01: Well, we have lots of exciting things to show all the visitors to the show and our usual future film fans, talks, demos, some new merch as well, which I'll go into detail on.
• 25:55
  SPEAKER_01: So we have an array of speakers at the photography show this year.
• 26:00
  SPEAKER_01: Um, we have a specific International Women's Day lineup as well for the Saturday, as that obviously kick starts the photography show.
• 26:09
  SPEAKER_01: So that that's really great to see and kind of giving giving women in photography uh that platform, um, as well as inspiring obviously the the next generation of female photographers.
• 26:18
  SPEAKER_01: But that's not the only thing.
• 26:20
  SPEAKER_01: We also have some of some of our new names to future film.
• 26:23
  SPEAKER_01: I've got our new ambassadors for this year, so we've got Ollie, Josh, and Luke who will be showcasing at the show and doing their first talks for us, which is really exciting, as well as some of the names that have been around for a little while with future film.
• 26:36
  SPEAKER_01: So we've got Kevin Mullins joining us, as well as Alan Hewitt too.
• 26:40
  SPEAKER_01: So, you know, we've we've got we've got an array of genres for people to come and learn from.
• 26:46
  David McClelland: And in terms of inspiring speakers and International Women's Day, I did take a look at your programme that you've put out on some of the social media platforms already.
• 26:54
  David McClelland: And I see Friend of the Show, I think I can call her Friend of the Show, Emily Endine is one of your amazing speakers on the standards.
• 27:01
  David McClelland: But it's a very busy programme you've got in terms of speakers and ambassadors and in terms of inspiration, in terms of the kind of experiential stuff around the booth.
• 27:12
  David McClelland: You've usually got a few bits and bobs going on there.
• 27:14
  David McClelland: What can you tell us about this year?
• 27:16
  SPEAKER_01: You know, it wouldn't be a photography show without, you know, the equipment there.
• 27:20
  SPEAKER_01: We've got the latest X and GFX uh X Service R and GFX products.
• 27:25
  SPEAKER_01: We've got the GFX 102 for people to see and get hands-on with and experience that detail and quality based hand.
• 27:32
  SPEAKER_01: But we've also got uh the latest XF and GF500ml lenses.
• 27:37
  SPEAKER_01: So this might be the first time that people have had a chance to handle them and see them in person.
• 27:42
  SPEAKER_01: So we'll we'll have a raised platform for people to properly test them out um across the show.
• 27:47
  SPEAKER_01: But then we also have our newest additions from the Instax lineup.
• 27:51
  SPEAKER_01: So we'll have a selection of Instax products, but the newest one being the Instax uh wide Evo for people to, you know, kind of get that hands-on print in what is such a digital age, and you know, combine the two on our on our stand.
• 28:03
  David McClelland: What do you most look forward to when the photography show rolls around?
• 28:07
  SPEAKER_01: It's lovely to see everybody in the industry in one place at the same time every year and you know, collaborating and networking is it's the best place for it.
• 28:16
  SPEAKER_01: The the photography show is a great opportunity not just to speak uh directly to our long-standing customers, but to also discover new photographers.
• 28:25
  SPEAKER_01: It's it's a great place for us as a brand to you know see who is using our equipment, put a face to a name, for them to put a face to our names as well and speak directly to the brands.
• 28:36
  David McClelland: Finally, Shanice, is there any surprise there?
• 28:39
  David McClelland: Is there anything that perhaps people wouldn't have seen on the Fujifilm stand in previous years that they might be able to see this year for the first time?
• 28:47
  SPEAKER_01: Definitely.
• 28:48
  SPEAKER_01: And it's uh not just product related.
• 28:50
  SPEAKER_01: So if anybody is a true Fujifilm fan, you definitely want to make your way to our stand for this one because it's the first time ever you'll see official Fujifilm merchandise at the photography show.
• 29:01
  SPEAKER_01: If you're if you're a hardcore fan and you want to, you know, share your love for future film, come and buy and there's a lot lots of different types of merch for you.
• 29:08
  David McClelland: What can you tell us about what kind of merch there?
• 29:10
  David McClelland: Are we talking about pin badges or t-shirts or strap camera straps?
• 29:15
  David McClelland: What sort of stuff?
• 29:16
  SPEAKER_01: We've um we've got an array of things, but I can say there will there will definitely be things like t-shirts, hoodies, trait bags, and potentially a few little extras too.
• 29:25
  David McClelland: Shanice, thank you for teasing us with what's going to be on your stand.
• 29:29
  SPEAKER_01: Thank you.
• 29:33
  David McClelland: Tom Oldham is a two-time Sony World Photography Award winner, best known for his portraits of well-loved musicians and sports stars.
• 29:42
  David McClelland: Away from the likes of GQ, Mojo magazine, and some high-profile commercial work, Tom's various personal, creative and collaborative projects have seen him travel the world and travel the UK, most recently, popping portraits for a project on politicians.
• 30:01
  SPEAKER_04: If I was going to describe my work, it's strictly portraiture, I would say, based around my core practice, which is mainly sports people and musicians, let's say, but it expands far beyond that.
• 30:12
  SPEAKER_04: So that'll be commercially.
• 30:14
  SPEAKER_04: I'll do that for advertising.
• 30:16
  SPEAKER_04: It may be editorial.
• 30:18
  SPEAKER_04: I work with quite a lot of charities and NGOs and kind of voluntary projects like that, and projects of my own instigation, uh, foolishly or otherwise.
• 30:28
  David McClelland: How did you fall into the music photography piece?
• 30:31
  David McClelland: Because obviously it's a very aspirational line of work, and people dream of having one-to-one time with these musicians that you know maybe people have got pinned up on posters in their bedrooms.
• 30:42
  David McClelland: Was that something that you aimed for as you were working your way up the ranks, or is it something you sort of fell into?
• 30:48
  SPEAKER_04: I think uh every photographer starts from a place of passion, and the most obvious and sort of linear progression you can make, I think, is to photograph things you know about and you care about.
• 31:00
  SPEAKER_04: And I was really into music, I still am, ri really into dance and kind of rave culture, which was exploding just as I was getting into music.
• 31:10
  SPEAKER_04: So it was really logical that I should pursue that, and also a desperate desire to be on the guest list, I think.
• 31:18
  SPEAKER_04: And I was never gonna be backstage ligging unless I had a camera with me, I think.
• 31:22
  SPEAKER_04: So that that that kind of uh was my green light.
• 31:25
  SPEAKER_04: Um, and mu music has just been integral to everything I do, and I was uh nightclub photographer in magazines for a long time, really and and and then kind of expanded beyond that into event photography, and then but kept music and kind of transitioned through uh live music photography into portraiture through a project called On Off that I did, um, which was photographing bands the second before they went onto stage and the very second they came off.
• 31:54
  SPEAKER_04: So that really kind of informed my practice and pushed it forward into portraiture.
• 31:58
  SPEAKER_04: So it's always been music, yeah.
• 32:00
  David McClelland: And we've certainly seen some of your music portraiture work in large on the London Underground and billboards around uh Liam Gallagher, John Squire from the Stone Roses uh for a big that that was an album launch of theirs last year or so, wasn't it?
• 32:15
  David McClelland: How was that to work on?
• 32:16
  SPEAKER_04: Really, really exciting.
• 32:18
  SPEAKER_04: Uh incredible to be photographing your heroes and just to be seeing them up close.
• 32:23
  SPEAKER_04: And the grand privilege of being a portrait photographer is having your own opinions about these people and being in the room with these people, and so that you can say what they were like on that day, anyway, in that experience.
• 32:36
  SPEAKER_04: And I'm really proud of that.
• 32:38
  SPEAKER_04: And the shots were beautiful as well.
• 32:40
  SPEAKER_04: So it just they they they came ready to work, and uh you do have that, like you're looking through your camera again.
• 32:46
  SPEAKER_04: Look, there's Liam Gallagher and John Squire from the Stone Roses looking straight back at me, and uh that's an exciting thing.
• 32:53
  SPEAKER_04: Still, I've been doing this forever, as you might sense, and uh it's still very exciting.
• 32:59
  David McClelland: Repeat businesses, good business.
• 33:01
  David McClelland: You'd worked with Liam in the past.
• 33:02
  David McClelland: Is that how this job came around?
• 33:04
  David McClelland: And do you find that continuation when you are fortunate to have you know repeat gigs with clients?
• 33:10
  David McClelland: It helps the experience because you know it's about a connection often between the camera and the subject, and if you're behind that camera, then you are part of that connection.
• 33:20
  SPEAKER_04: It is exactly about, but also got uh that and confidence as well.
• 33:25
  SPEAKER_04: So I um first shot Liam for the cover of Mojo magazine, and then they were also uh a year later, I think, doing the John Squire and Mojo uh and Liam cover for Mojo, and they got me back in for that, and then it went really well, everyone felt good, and a month later they needed press shots for the album, so they they they got me back in.
• 33:45
  SPEAKER_04: So I saw them both twice within a kind of month, really, and just a genuine again privilege to be asked in into the space because of repeat business.
• 33:54
  SPEAKER_04: Because I think with all photographers, I don't want loads and loads of clients, I just want a few good ones, and and just people that know the process are aware of what I do and how I do it, and and want to go again.
• 34:05
  SPEAKER_04: It saves so much aggravation and stress continually.
• 34:08
  David McClelland: Speaking of repeat clients, there obviously there's the musicians.
• 34:12
  David McClelland: I was gonna say magicians.
• 34:13
  David McClelland: I don't know if you've done any magicians or not.
• 34:15
  David McClelland: A couple, yeah.
• 34:16
  David McClelland: Oh, okay.
• 34:16
  David McClelland: Uh, but the musicians themselves, also Mojo magazine's been a uh a strong part of your CV over the years as well.
• 34:25
  David McClelland: That that's that's confidence bringing, surely.
• 34:28
  SPEAKER_04: I really admire their working practice at Mojo.
• 34:32
  SPEAKER_04: There's real trust in place in place between the writers, the photographers, and the team there.
• 34:37
  SPEAKER_04: So they have a very dedicated fan base, they know exactly what they want, and there isn't a musician in the world, I don't think, who says no to Mojo magazine because it's seriously done, very respectful, and I'm really, really proud to consider myself one of their people.
• 34:54
  David McClelland: And of course, as well as the music stuff, there is the sports stuff.
• 34:58
  David McClelland: Uh, you you sp you spoke about how music came about because of a a passion of yours.
• 35:03
  David McClelland: Just looking through your portfolio, there's a few um Arsenal and Man United shots in there.
• 35:08
  David McClelland: Are you a sports fan or did that work come in through a different route?
• 35:12
  SPEAKER_04: It came via the music music aesthetic, which was really, really nice, and we applied up applied a sort of rock and roll tone to what we were doing in with lighting and and the sort of polish we were putting on it, and that really escalated to some great relationships and just an ongoing body of work.
• 35:28
  SPEAKER_04: You know, I've had some really incredible moments with people like Ronaldo and Messi and Usain Bolt.
• 35:34
  SPEAKER_04: I've probably photographed Usain Bolt more than more than anybody else.
• 35:38
  SPEAKER_04: Um and you know, we did a massive personal campaign last year that was everywhere with Usain, and we shot that in Jamaica.
• 35:45
  David McClelland: So, yes, you know, lucky me.
• 35:48
  David McClelland: Lucky you, and uh well, it wasn't luck, I'm sure, that got you two Sony World photography awards as well.
• 35:54
  David McClelland: The most recent of which was in the in the open category.
• 35:57
  David McClelland: Just touch on the on the first one, and then the second one, Black Francis, with that i incredible.
• 36:05
  David McClelland: David, take us back to the first one, which was what 2018, 2016.
• 36:10
  SPEAKER_04: It was 2018.
• 36:11
  SPEAKER_04: I had photographed a project of crooners, so old school jazz singers, in my local pub in Myland, not far from here, where I am now in East London.
• 36:21
  SPEAKER_04: It was like the deadline, you get that email, 24 hours left to enter the Sony World Photography Awards, and I was like, Am I really gonna do this again?
• 36:30
  SPEAKER_04: You know, and and have my hopes dashed at the doorstep.
• 36:33
  SPEAKER_04: And I literally dragged and drop a few frames into this thing and into the you know their uploader, and you get this email like a couple of months later saying, you know, congratulations, and it's like, Yeah, uh-huh.
• 36:47
  SPEAKER_04: And um, and then you're you're in this incredible machine with the Sony Awards, it's absolutely amazing what happens after that, and the full team that are there to make you look good, make you celebrate your work.
• 36:59
  SPEAKER_04: And that was 2018, and I won the professional cat professional portrait category that year, and won a Sony camera and an amazing lens, and that's what got me onto the Sony system.
• 37:12
  SPEAKER_04: Then in 2020, I entered the open category, which isn't a body of work, it's singular images, which was really I never ever thought in my life I'd taken one picture that was good enough to get anywhere in that, honestly.
• 37:27
  David McClelland: So, so what what inspired you to enter that?
• 37:30
  David McClelland: Because you'd already run won one award uh at the at the Sony World Photography Awards.
• 37:36
  David McClelland: Um, what was it that inspired you to enter the open category of all of them if it is that that competitive?
• 37:42
  SPEAKER_04: It was just the challenge of of seeing if what I did could cut through 300,000 pictures that are entered.
• 37:49
  SPEAKER_04: You know, it it it went forward and won the um portrait category, which I was blown away by.
• 37:55
  SPEAKER_04: And it's a really, really simple image of a singer, an all uh uh called Black Francis who uh sings in a band called the Pixies, and it was on a mojo shoot, and I asked him, How would you express your exasperation at just having to talk about yourself all day?
• 38:11
  SPEAKER_04: Because really, a lot of musicians just want to stand on stage and play, but they have to rehearse and they have to travel, they have to tour, they have to do promo, and he just like went, Oh, but he did this comedic thing with his sunglasses outside his hands.
• 38:24
  SPEAKER_04: And why I think that picture cut through is that it could have been taken at any point, probably in the last hundred years.
• 38:32
  SPEAKER_04: There's not there's nothing techniquey about it.
• 38:35
  SPEAKER_04: The lighting by my lighting guy James Hole absolutely aced it, but it's very simple and straightforward, and you know, it's non-complicated, really, and I think it's very relatable, everyone could feel the feeling that it it it expresses, but also it's slightly comedic as well.
• 38:52
  SPEAKER_04: So it's got a good spirit about it, and that it should have won and be selected as the make to make me open photographer of the year was utterly mind-blowing for me, and and and that happened during lockdown, which couldn't have cut couldn't have come up a better time psychologically, let's say.
• 39:11
  SPEAKER_04: So, yeah, lucky me again.
• 39:13
  SPEAKER_04: Luck is the theme of this conversation.
• 39:15
  SPEAKER_04: You make your own luck, Tom.
• 39:16
  David McClelland: That's what I believe.
• 39:17
  David McClelland: Did you get another Sony camera?
• 39:19
  SPEAKER_04: Oh, yeah, I did, yeah.
• 39:20
  SPEAKER_04: And a cash price, which as you can imagine, five thousand dollars in lockdown was uh like heavenly.
• 39:29
  SPEAKER_04: It reminded me that I'm still a photographer.
• 39:31
  SPEAKER_04: Yeah, basically because we none of us were sure whether we still were photographers or not during that period, you know.
• 39:37
  David McClelland: If if not, then at least it was a fantastic last hurrah and a great story to go out on, right?
• 39:43
  David McClelland: Yeah, thanks.
• 39:44
  David McClelland: Just coming back to that Black Francis image though, and the story you tell about how it was him exasperated after a long day or you know, a long week or whatever it was, and just it's it's head in hands, sunglasses over the hands, so even though you can't see the eyes, you feel as though you can see the eyes.
• 40:02
  David McClelland: But that there it's it's something I just want to ask about because as a portrait photographer, particularly when it's not the commercial shoot stuff where you are controlling as much as you can, but when it is those shots of musicians, of uh of sports people or whatever, I'm curious about how sometimes it's the off-the-cuff remarks or off-the-cuff suggestions.
• 40:25
  David McClelland: You can plan as much as you like, but sometimes it's a oh, I've got two minutes, I've I've got to go, and you go right, just you know, just just jump in the air or just pull a funny face.
• 40:34
  David McClelland: And it's often those unguarded moments that are the ones that yield the most insightful, unguarded, yet uh I guess truthful images.
• 40:45
  SPEAKER_04: It really, really is.
• 40:46
  SPEAKER_04: And those are the circumstances under which we might reach deeper into the locker than we would normally when we're under that bit of pressure.
• 40:53
  SPEAKER_04: Of course, you know, I there was an it was an hour with Black Francis, but the photo shoot element, because we had the interview to do, of course, the interview overran, and we the and our our time gets shorter and shorter.
• 41:04
  SPEAKER_04: We know we're the last in the day, and he's got a flight to catch, so it's like, okay, let's run at it.
• 41:08
  SPEAKER_04: I did a portrait once with um Thierry Henri and he he uh a cover shoot and he didn't want to do it.
• 41:16
  SPEAKER_04: Uh he kind of expressed a um general air of reluctance when we started, and and I was like, Why don't why don't don't you don't you want to do it?
• 41:24
  SPEAKER_04: And and and he said, Well, I'd like I don't know why, you know, I don't know what this is and I don't know why.
• 41:29
  SPEAKER_04: And I was like, Well, if if you don't want to do it, then I don't really want to do it.
• 41:32
  SPEAKER_04: So I'll tell you what, why don't we just give me ten frames?
• 41:36
  SPEAKER_04: Give me ten frames and you can go.
• 41:38
  SPEAKER_04: And you can choose which ones we keep.
• 41:41
  SPEAKER_04: And he was like, Yeah?
• 41:42
  SPEAKER_04: I was like, yeah, yeah, I like there's no point if you you know, it's fine.
• 41:46
  SPEAKER_04: And he was really like, Oh, okay.
• 41:48
  SPEAKER_04: So he came in and did like all these expressions, like ten, like that I would never if I had asked, I'd never have got them, right?
• 41:56
  SPEAKER_04: So he offers up these incredible ten sho ten shots, he blinks in a one or two of them, he and we look through the ten, he chooses six, of which which one of them later became the cover of 442 magazine.
• 42:09
  SPEAKER_04: They're beautiful, they're amazing, I love them still, and he got to go after about three minutes.
• 42:15
  SPEAKER_04: So everyone was happy, you know, really, and and and the portraits, uh the portrait photographers Arsenal is one of these little mechanisms uh that we have just to kind of just get a quick response and a quick action, and indeed it was the same with Black Francis.
• 42:32
  SPEAKER_04: Please express your exasperation at having to talk about yourself all day.
• 42:36
  SPEAKER_04: And he just went, Oh.
• 42:38
  SPEAKER_04: And and and that there you go, thanks.
• 42:40
  SPEAKER_04: Great.
• 42:40
  SPEAKER_04: And I knew that everything after that shot was a waste of time, because you you you know you've got it.
• 42:45
  David McClelland: It's interesting.
• 42:45
  David McClelland: I've spoken with a number of portrait photographers, particularly of celebrity sports people, portrait photographers, and each of them have got different ways to kind of unlock, I suppose, the connection between them and their subject.
• 42:59
  David McClelland: And sometimes you just don't have a chance, you know.
• 43:01
  David McClelland: Sometimes they're just so much in their own mind and they've got so much in their world going on that it is, you know, it is down to luck, or at least the luck that you make for yourself if you get those shots.
• 43:12
  David McClelland: Whereas whereas others, I think we spoke, well, we spoke with Andy Gotz uh a few weeks ago.
• 43:17
  David McClelland: He's there with a glass of champagne and he's trying to play the almost trying to meet them where they're at almost.
• 43:22
  David McClelland: But I'm fascinated by those different strategies you have to try and get your subject where they are in a place for you to get a successful shot.
• 43:31
  SPEAKER_04: Absolutely right.
• 43:32
  SPEAKER_04: You go toe to toe.
• 43:33
  SPEAKER_04: You're as professional at your job as they are at theirs, and you don't go there with a load of stuff to get it signed, you know, and unless you know them really well, because that that that isn't what this opportunity is.
• 43:44
  SPEAKER_04: You know, they need to see you as an equal, and that's what Andy Gots will be doing, I'm sure, because you cut you're not there as a fan because that sets you up as being an amateur, I think.
• 43:54
  David McClelland: For a project last year, twenty twenty four, you went toe to toe with a Number a number of politicians, uh hopeful politicians, and the project was called The Hopefuls.
• 44:07
  David McClelland: Tell us about that and how it came about.
• 44:10
  SPEAKER_04: Well, um I've spoken about privilege a little bit, and I I think the grandest privilege of owning a camera is that it's such a sort of doorway into other people's worlds, right?
• 44:21
  SPEAKER_04: And I am absolutely fascinated by politics, annoyingly, which I f it you know, anyway, won't cover that.
• 44:29
  SPEAKER_04: Um, that's a whole different podcast.
• 44:32
  SPEAKER_04: And um I am fascinated by people that have the wherewithal and the confidence to just stand there and spout their beliefs and just put themselves through the process.
• 44:46
  SPEAKER_04: Genuinely, I find it astonishing that anybody would do that.
• 44:49
  SPEAKER_04: And I thought, why don't we go meet the people that are doing it?
• 44:52
  SPEAKER_04: And we knew there was an election coming, so I started the project and very on the of shooting on still was on an A7R5, and I was shooting some video as well.
• 45:02
  SPEAKER_04: We were interviewing them, and the entire thing was entirely democratic.
• 45:05
  SPEAKER_04: Uh, everyone had the same questions, they were framed in the same way in locations that they had chosen, and uh we put the edits together, uh, all in exactly the same without prejudice of anyone, because the intent with the project was to show that people voters have options, and there's a huge we did a survey, and there's a huge amount of disaffection in the political process process in first-time voters and young voters, and um I just really wanted to use it as a way to encourage people to go and find out who their candidates are, and also if you don't vote, if you don't like if you do like these candidates, then vote.
• 45:47
  SPEAKER_04: If you don't like these candidates, then vote.
• 45:49
  SPEAKER_04: And um it was really, really interesting to um go and meet some people who obviously I don't necessarily appreciate what they stand for, but great to know who they are, and there was a lot of findings.
• 46:02
  David McClelland: So you took photos and videos of candidates of hopefuls from all the way across the spectrum from all the way from the left to all the way to the right, and I guess if you're gonna turn it into a a a triangle to those who it if it's not their political leaning, that's what they're drawing attention to, it's it's their own character and just trying to engage people with politics.
• 46:25
  David McClelland: I'm speaking of the bin faces of this world and so on.
• 46:28
  David McClelland: So that was a deliberate ploy.
• 46:29
  David McClelland: Make sure that you've got pretty the whole spectrum there covered.
• 46:34
  David McClelland: You started that in what late 2023, and then we found out in early 2024 that this election was going to be happening a whole lot sooner than I think anybody, including the majority of the Conservative Party who were in power at the time, uh earlier than anyone imagined.
• 46:51
  David McClelland: Uh did did that put some panickers on your project, Tom?
• 46:55
  SPEAKER_04: Yeah, it really did, thank you uh very much indeed.
• 46:58
  SPEAKER_04: Um I had shot about eleven people, I think, by the time they announced the election, and I was a bit head in hands for a minute, but one thing you can guarantee that if you do nothing, you'll get nothing.
• 47:12
  SPEAKER_04: And I just spoke to the producer, the amazing Ruth Newton, who had been finding these candidates, and I had some I'd engaged them some PR people as well, and we just said, shall we go for it and just see who we can get?
• 47:25
  SPEAKER_04: And well, I just cleared out the diary, and we actually managed to get 43 in the end.
• 47:30
  SPEAKER_04: I would have liked more, but wow, I'd I'd like to go on a lot further afield.
• 47:33
  SPEAKER_04: But um, we went on this amazing tour of the country and found just incredible people in incredible places, and just really, really found out who they are, and just that amazingness that they obviously a lot of people know they're not gonna win, but they believe in their right to stand.
• 47:51
  SPEAKER_04: And I thought there's a lovely eccentricity to that and a robustness of our process as well that uh is to be respected, I think.
• 48:00
  SPEAKER_04: And yeah, it was very, very ironing.
• 48:03
  David McClelland: There's a real spectrum of candidates standing, not not only their uh political leanings, but I guess in terms of the characters and in terms of what's behind them, and I imagine when you're going from an independent candidate in Beaconsfield, I've no idea if that's an actual constituency, probably not anymore, I don't know.
• 48:22
  David McClelland: Um all the way up to a uh you know, someone who's been with the Conservative Party or the Labour Party for a long time and has got a team of volunteers behind them.
• 48:31
  David McClelland: So how was your engagement on that on that spectrum from the individual who maybe's never stood before, or you know, the opportunity for any kind of exposure is going to be really important to them to a you know someone else who does have the big team behind them?
• 48:46
  David McClelland: How did you find that part of the spectrum?
• 48:48
  SPEAKER_04: Honestly and genuinely, most people came on their own.
• 48:52
  SPEAKER_04: They don't have teams.
• 48:53
  SPEAKER_04: There isn't this like really only with the very familiar names, the big names, would they have people and I wanted to I hate saying this, but I really wanted to photograph, you know, Farage or Tice, say.
• 49:08
  SPEAKER_04: But we we couldn't get through to them, and I think they declined.
• 49:10
  SPEAKER_04: But there were other there were other candidates of a similar standing who were just like, yeah, great, I'll do it, I'll do it.
• 49:17
  SPEAKER_04: Everyone was up for it, really.
• 49:19
  SPEAKER_04: And Ruth made an incredible job of sort of selling who I was to them, saying, instead of saying, and this is interesting for all photographers working on projects, you know, not saying, like, please can you be part of our project, it was saying, Congratulations, you've been selected for our project.
• 49:35
  SPEAKER_04: And they were like, Oh, it's a good tip, it's a good strategy.
• 49:38
  SPEAKER_04: It really is, it was a great strategy, and she nailed it, honestly.
• 49:41
  SPEAKER_04: That the the what what a really interesting finding that we learned from this was about community, and I'm standing on the street talking to a sort of far-right extremists, not extremists, but very far right leaning people who actually, you know, uh I wouldn't normally find myself doing that.
• 49:59
  SPEAKER_04: Yet we're sort of chatting and talking about stuff, and you sort of think, okay, I understand why you say that.
• 50:05
  SPEAKER_04: And that was a really interesting element of this project that all of these people, whoever they are, Green candidates, Labour, whatever they might be, are just trying to look after their community, whoever their community is.
• 50:18
  SPEAKER_04: One of them in uh South End was the leader of the future psychedelics party, you know, and he's looking after his people.
• 50:26
  SPEAKER_04: And I'm very, very I came away very respectful, even more respectful, you know, and and of our process also, as well as the people involved.
• 50:34
  David McClelland: And you mentioned how your images were democratic, all framed the same sort of way, so that's I guess matching the democratic process, you your images weren't looking up, looking down, any of that stuff going on.
• 50:49
  David McClelland: Um how did you choose the locations?
• 50:51
  David McClelland: Because the the setting the backdrop.
• 50:54
  SPEAKER_04: Yeah, they chose their location, so there was no kind of stitching anybody up with um a sort of hidden significance of anything like that.
• 51:02
  SPEAKER_04: It was really important that it was it was where in your community is most representative of you and your politics.
• 51:09
  SPEAKER_04: You know, community libraries, uh amazing.
• 51:12
  SPEAKER_04: There's the the the the Labour candidate um just n north of London, she chose a view of like the entire countryside from this high point, but you could also see HS2 being built in the background, you know.
• 51:24
  SPEAKER_04: So there was a lot of things like that that um that was over to them to decide because you know, you know, exactly through lighting, through camera angle and location, you could stitch people up.
• 51:37
  SPEAKER_04: And and and that and and it needed to be non-judgmental, that was really key.
• 51:41
  SPEAKER_04: That everyone that all the information, like we asked all of them in their interviews, the um same questions, you know.
• 51:47
  David McClelland: One candidate that I do want to ask about though, uh, and again I I I appreciate that like some other artists, uh I'm not sure if they describe themselves as an artist, but there's certainly an element in art or of art in what they do, is uh is binface.
• 52:01
  David McClelland: Uh and if if I remember that shot, you were in an arc uh in a video games arcade.
• 52:07
  SPEAKER_04: Yeah, that's right.
• 52:07
  David McClelland: And it's what did you make of binface?
• 52:10
  SPEAKER_04: I th he was, I would say, no disrespect to everybody else, I think he was the most intelligent candidate of all of them.
• 52:16
  SPEAKER_04: I think he understands the process so incredibly, and you know, he set himself up to mock the whole process in a serious way.
• 52:26
  SPEAKER_04: And he's he knows exactly what he's doing, he's no joke, even though he's funny.
• 52:31
  SPEAKER_04: And again, I had a deep admiration for putting yourself out there continually in that way, the bravery it takes to to do that, and you know, the time and the expense.
• 52:41
  SPEAKER_04: So he's like an ongoing art project, if you ask me.
• 52:45
  David McClelland: I agree, there's that there's an element of art in that.
• 52:48
  David McClelland: And and coming back to the art and and your side of the camera, Tom, you've mentioned a few times how much you admire these these candidates for putting themselves out there, and let's face it, any time in the harsh light of being a politician, it is it's fraught, it's not a pleasant lifestyle.
• 53:11
  David McClelland: You were drawn to this.
• 53:12
  David McClelland: You were drawn to this project.
• 53:14
  David McClelland: So I I wonder what you learn about yourself by coming face to face with these people who have who are overcoming the fear, who are overcoming certain barriers and are themselves standing up for what they believe in.
• 53:27
  SPEAKER_04: I think it's putting yourself and your practice out there in this way.
• 53:32
  SPEAKER_04: So I had a pr uh like a press team, I suppose, that that were that I'd engage, who were amazing to to push the work out.
• 53:40
  SPEAKER_04: And it encourages your own bravery in your practice, and it's really easy not to do any of this stuff, and it cost me loads of money, this did, you know, but I don't care about that at all because I love the work.
• 53:53
  SPEAKER_04: I wanted to have a great big exhibition and have lots of like poll booths that people would go in to view the work and pull back a curtain and look at the work and hear them.
• 54:02
  SPEAKER_04: And I really wanted to go for it because I I don't like things just as exist online.
• 54:07
  SPEAKER_04: I really like a sort of physical um manifestation quite often, be it a newspaper or whatever it might be.
• 54:13
  SPEAKER_04: But um we didn't have time to sort that out, unfortunately.
• 54:16
  SPEAKER_04: But it's muscle memory putting yourself out there in this way, and the more you do it, the more used to it you get, and the braver you can become because everything is a series of small steps rather than these enormous leaps.
• 54:28
  SPEAKER_04: And I'd advise anyone listening to this who loves what they do to try and put it out there.
• 54:34
  SPEAKER_04: You can have an exhibition on that garage door at the end of your road, it doesn't have to be this fancy pants, white wall gallery space.
• 54:41
  SPEAKER_04: Just be brave with what you're doing and put yourself out there because you don't know what the benefits might be.
• 54:47
  SPEAKER_04: But one of the loveliest things, honestly, um, about the Hopefuls was I was on a school trip where I was like my taking my son and the other kids with the school to go and have a work day thing, and we were getting the bus through Hackney, and I picked up an old copy, not an old copy, that day's copy of Metro that had just been left on the bus.
• 55:10
  SPEAKER_04: And I was like, Oh yeah.
• 55:11
  SPEAKER_04: And I looked through it and they'd done a little write-up about my project with a photo of Cal Bim Face in there, right?
• 55:19
  SPEAKER_04: And I said to my son, I was like, Look at this, look at this.
• 55:22
  SPEAKER_04: And his friends came over and went, Look, I'm in the paper.
• 55:24
  SPEAKER_04: And they all went, Oh man, that's amazing.
• 55:26
  SPEAKER_04: And and and and it's like that is a lovely, lovely benefit.
• 55:30
  SPEAKER_04: I wouldn't have enjoyed or experienced if I hadn't done this.
• 55:33
  SPEAKER_04: And everything about the your psyche sometimes of physically is telling you, don't take risks, don't put yourself out there, you know, just stay within your lane and keep doing what you're doing.
• 55:45
  SPEAKER_04: And I do everything I can not to acknowledge that voice and just to think something good might happen.
• 55:52
  SPEAKER_04: And genuinely, sometimes that little thing that happened on the bus with my kids, with my kid and his friends, that's almost payment for the whole thing.
• 56:00
  SPEAKER_04: You know, really, that that you get these moments and you think that was worth it.
• 56:05
  SPEAKER_04: We had like several thousand people register to vote because a big the the website was a big driver to get people to register to vote.
• 56:13
  SPEAKER_04: And I like to think that people's lives not very many, I'm sure, but some people's lives were changed because they're now in the process of doing it.
• 56:22
  SPEAKER_04: And I love that.
• 56:23
  SPEAKER_04: And that was that was a key element to this whole thing.
• 56:26
  David McClelland: You speak that with such passion, Tom.
• 56:28
  David McClelland: It's fantastic to hear.
• 56:29
  David McClelland: So a kind of artistic success, but also in terms of the purpose, the purpose of the project.
• 56:34
  David McClelland: Yeah.
• 56:34
  David McClelland: And a purpose that I think with how you've just spoken for the last three minutes, a purpose that you have has also been fulfilled and also saw some success as well.
• 56:44
  David McClelland: That's that's great to hear.
• 56:46
  David McClelland: Thank you, Tom.
• 56:47
  David McClelland: Um we'll have to leave it there for now, Tom.
• 56:50
  David McClelland: But thank you, thank you so much for chatting us through a bit about your work, about working with with musicians and and about about this project, the hopefuls, as well.
• 56:59
  David McClelland: Tell me, are those images still available to see online?
• 57:03
  David McClelland: They are, and the videos, yeah.
• 57:04
  SPEAKER_04: Uh why on earth you'd why on earth you'd want to go and look at them now, I don't know.
• 57:08
  SPEAKER_04: But you could it's in terms of a photographic project is worth worth a look, maybe.
• 57:11
  SPEAKER_04: Uh, the hopefuls.co.uk.
• 57:14
  David McClelland: Brilliant.
• 57:14
  David McClelland: Tom, thanks for chatting to us.
• 57:16
  David McClelland: Uh look forward to seeing you in London very, very shortly indeed at the photography and video show.
• 57:21
  David McClelland: Thank you, David.
• 57:22
  David McClelland: Cheers.
• 57:28
  David McClelland: Time now to hear from another of the brands coming along to the photography and video show.
• 57:35
  David McClelland: Tom, tell me what Sony is bringing to the photography and video show in London this year.
• 57:42
  SPEAKER_04: Well, it's delightful though for me, I think, anyway, and hopefully lots of other people that haven't been to the TPS before because it's in London and should have a really broad appeal, I hope.
• 57:52
  SPEAKER_04: And on the Sony stand, there's going to be something for everyone.
• 57:55
  SPEAKER_04: Um, professionals, enthusiasts, content creators, and students alike.
• 58:00
  SPEAKER_04: There's people, experts, ambassadors and creators, and kit, I think, that is definitely applicable to all of those categories.
• 58:08
  David McClelland: What are you going to be doing on the stand?
• 58:09
  David McClelland: Are you going to be uh talking about your work in some way?
• 58:12
  SPEAKER_04: Yeah, I'm really looking forward to that actually.
• 58:14
  SPEAKER_04: And it'll be lovely to see everyone there.
• 58:16
  SPEAKER_04: Monday and Tuesday, around lunchtime, 11 and 2 pm, I think.
• 58:20
  SPEAKER_04: I'm going to be speaking about the uh Sony Awards, which I very proudly have won twice.
• 58:28
  SPEAKER_04: And also in that'll be with Liam Mann and another conversation with Ron Temayan, which is really exciting too.
• 58:33
  SPEAKER_04: Just talking about portraiture and our professional practice.
• 58:36
  David McClelland: And also there's an opportunity to get hands-on with kit as well.
• 58:40
  David McClelland: I know you are a Sony shooter, and very often I find that the show is an opportunity for people to maybe get their mitts on a camera and get their eye into the viewfinder for cameras that they don't have an opportunity.
• 58:52
  David McClelland: You know, literally to compare an A7 something with an A9 something with uh a ZV1, whatever.
• 58:58
  David McClelland: It's a real opportunity for that.
• 59:00
  SPEAKER_04: Love that it's a bit more informal.
• 59:02
  SPEAKER_04: You're surrounded by experts, you haven't got a sales pressure right there and then.
• 59:07
  SPEAKER_04: So, you know, the oh man, A9 Mark III, the A1 Mark II, which I I I I launched.
• 59:14
  SPEAKER_04: I shot some of the uh campaign images for that.
• 59:16
  SPEAKER_04: Yeah, which was so exciting.
• 59:18
  SPEAKER_04: We properly road tested it, and it's an amazing kit.
• 59:20
  SPEAKER_04: The new 28 to 70 F2 landmark lens for Sony, incredible kit, come and feel the weight of that and give it a play.
• 59:29
  SPEAKER_04: It's just for fun, isn't it?
• 59:30
  SPEAKER_04: All of this stuff, but it can have really serious impact on the output and quality of our imagery.
• 59:34
  SPEAKER_04: So, you know, get to grips with this stuff in a slightly different environment, I think, is to be encouraged and admired.
• 59:42
  David McClelland: And just to wrap up, Tom, what do you particularly enjoy about coming to events like this?
• 59:49
  SPEAKER_04: Well, it's a quite a solitary existence, isn't it, that of the photographer, to be honest.
• 59:53
  SPEAKER_04: And anything that encourages community and meeting people and IRL, you know, having real life experiences with actual flesh and blood, I think is an important thing.
• 1:00:04
  SPEAKER_04: And that we are photographers, we're supposed to be social, or certainly portrait photographers.
• 1:00:08
  SPEAKER_04: So I really look forward to just meeting people, seeing who's on the stand, the other ambassadors and creators as well from Sony.
• 1:00:16
  SPEAKER_04: There's some incredible experts that make beautiful, impactful imagery, and us getting together and seeing them is too rare a thing.
• 1:00:24
  SPEAKER_04: So seeing all the people that uh outside of Instagram is definitely got to be a good thing.
• 1:00:30
  SPEAKER_04: Tom, look forward to seeing you on the Sony stand.
• 1:00:33
  SPEAKER_04: Thank you so much.
• 1:00:34
  SPEAKER_04: See you soon.
• 1:00:38
  David McClelland: And here to share with us what SiWe is bringing to the photography and video show this year is the MD, Petra Felgen.
• 1:00:46
  David McClelland: Hello, Petra.
• 1:00:47
  SPEAKER_00: Thank you for having me.
• 1:00:49
  SPEAKER_00: We're very much looking forward to the photography show this year.
• 1:00:52
  SPEAKER_00: Um we have been there for a couple of years already and are very excited about um various things which we bring to the show.
• 1:01:01
  SPEAKER_00: Um, first, um, we are going to introduce talks, daily talks actually, at our stand around the various subjects.
• 1:01:09
  SPEAKER_00: Whether you're more interested in creating a CV photo book, for example, or if you ever wanted to know more about the daily life of a quality manager.
• 1:01:18
  SPEAKER_00: Um, so it will be lots of different talks.
• 1:01:21
  SPEAKER_00: They will be happening every single day in various orders.
• 1:01:24
  SPEAKER_00: You'll be able to see that on our stand.
• 1:01:27
  David McClelland: And and speaking of your photo books, this year you're showcasing what uh I think sounds really, really exciting and a new kind of feature, a new offering there.
• 1:01:37
  David McClelland: Tell us more about that.
• 1:01:38
  SPEAKER_00: Yes, David, we are really excited about uh a new feature which we will be offering for our square format um CV photo book, which we'll call the panoramic pages.
• 1:01:49
  SPEAKER_00: And I think it's super exciting, especially for those who love their landscape photography, because it will offer you the unfold of a double spread, which means that you will have a one-meter width um paper in the middle of the CV photo book.
• 1:02:06
  SPEAKER_00: And I think that's a super platform to really um showcase a beautiful panorama, for example.
• 1:02:13
  David McClelland: That sounds fantastic, and I really look forward to seeing that in person.
• 1:02:16
  David McClelland: And that is a feature that you will be launching into the UK market very shortly after the photography and video show, isn't it?
• 1:02:23
  SPEAKER_00: Yes, absolutely.
• 1:02:24
  SPEAKER_00: As of April, that feature will be available with us, um, and we are really excited about that to be able to offer that to the UK consumers.
• 1:02:33
  David McClelland: And finally, of course, you have you see you have so many beautiful photographs uh that you are able to print out as part of your products there.
• 1:02:43
  David McClelland: And this year you are also showcasing, celebrating some of the best of those images as well, aren't you?
• 1:02:50
  SPEAKER_00: Yes, we are, David.
• 1:02:51
  SPEAKER_00: Um we have our CV Photo Award uh running currently.
• 1:02:55
  SPEAKER_00: It's still available till the end of May for anyone who would like to um enter their photos.
• 1:03:00
  SPEAKER_00: Uh, we are really excited that Chrissy Goodwin is um this year our president of the jury, and she will be on the stand on Tuesday because for the first time we have introduced as well a student photography award um which ended at the end of January in the UK, and we will be um awarding the prizes to the winning students on Tuesday together with Christy.
• 1:03:24
  SPEAKER_00: Um she'll be there, she will be answering questions, of course.
• 1:03:27
  SPEAKER_00: And yeah, I think it's really exciting.
• 1:03:30
  SPEAKER_00: Um, and it's lovely to see that as well, young people are really fond of photography and um taking up all the opportunities.
• 1:03:38
  SPEAKER_00: And we have seen, David, an amazing quality of photography, really.
• 1:03:43
  David McClelland: Well, I look forward to seeing some of those uh finalists uh on your stand, particularly on the Tuesday, which is student day, of course.
• 1:03:50
  David McClelland: Petra, thank you for sharing what CWE will be bringing to the photography and video show in London this year.
• 1:03:56
  David McClelland: Look forward to seeing you there.
• 1:03:57
  SPEAKER_00: Thank you very much, David.
• 1:04:04
  David McClelland: That is almost all for today.
• 1:04:06
  David McClelland: Remember, more than 250 brands, more than 350 speakers across four days in London, 9th to the 11th of March.
• 1:04:14
  David McClelland: If you haven't got your tickets yet, then it's not too late, and you can bag a 20% discount with the code POD TPS25.
• 1:04:24
  David McClelland: Just visit photographyshow.com.
• 1:04:29
  David McClelland: We will be back with a special episode of the podcast that we'll be recording at the show in London.
• 1:04:36
  David McClelland: So if you're coming along to the show, then come along to us and say hi.
• 1:04:40
  David McClelland: I'm at David McClelland TV on Instagram.
• 1:04:43
  David McClelland: The official show Insta account is at the photography show.
• 1:04:48
  David McClelland: Stay tuned too to the photography show Facebook, YouTube, and even TikTok for exclusive videos, clips, and highlights.
• 1:04:56
  David McClelland: But for now, from me, bye bye.
• 1:04:59
  David McClelland: See you in London.