Latest / Reframe / 11: Clyde Vaugha, Sony Advocate, Technology & niching up.

Transcript

11: Clyde Vaugha, Sony Advocate, Technology & niching up. · Reframe

• 0:01
  SPEAKER_01: Have you ever wondered what truly feels the creative mode?
• 0:04
  SPEAKER_01: What do you know as the passions?
• 0:24
  SPEAKER_01: Creativity.
• 1:25
  SPEAKER_01: Today we welcome Clyde Vaughn, a Sony advocate whose talent covers multiple disciplines such as wedding photography, portraits, landscape, videography, and much more.
• 1:36
  SPEAKER_01: Join in Conversation where we discuss Sony gear, technology, and of course, all things photography.
• 1:47
  SPEAKER_03: Nice to come on the show, Clyde.
• 1:48
  SPEAKER_03: Nice to see you.
• 1:49
  SPEAKER_03: Yeah, thanks for having me, guys.
• 1:51
  SPEAKER_00: No worries.
• 1:51
  SPEAKER_00: Before we get started, what have you been up to?
• 1:53
  SPEAKER_00: What have I been up to?
• 1:54
  SPEAKER_00: It's it's busy season.
• 1:56
  SPEAKER_00: Like it is smack bang in the middle of wedding season.
• 1:59
  SPEAKER_00: So I've I've kind of screwed myself over because I do a mixture of photo and video, not at the same weddings, but video just the timeline for delivery is just so much longer.
• 2:10
  SPEAKER_00: So I've I've kind of juggling like three to four wedding films at the moment.
• 2:14
  SPEAKER_00: And it's just I'm flat out, like in the in the in the editing room, you know, just sitting on the couch on my laptop.
• 2:20
  SPEAKER_00: Is there any AI involved in your editing for the video?
• 2:22
  SPEAKER_00: Uh sometimes for audio, definitely.
• 2:24
  SPEAKER_00: But I still I like to watch everything through, kind of so that you're across it.
• 2:28
  SPEAKER_00: Because you you need to remember like important characters on the day.
• 2:32
  SPEAKER_00: Like, is there that that that auntie that needs to be in the video or that strange uncle that the couple doesn't want in the video?
• 2:38
  SPEAKER_00: You know, that kind of thing.
• 2:39
  SPEAKER_00: So you've got to kind of watch it all through.
• 2:41
  SPEAKER_00: Like you can't just come home and start editing it like any film, I guess.
• 2:45
  SPEAKER_00: You've got to re-watch it all, get across it.
• 2:47
  SPEAKER_00: So that just takes a lot of time, right?
• 2:49
  SPEAKER_00: Yeah.
• 2:50
  SPEAKER_00: What what AI processing are you using for your audio?
• 2:52
  SPEAKER_00: Um, using a program called Adobe Podcast.
• 2:54
  SPEAKER_00: So it's still in the beta testing at the moment, but I think I'm unless you pay, the free version is um you upload anything up to a 30-minute duration and it'll just scrub through it, adjust, equalize, balance, stereo, left and right, does everything.
• 3:10
  SPEAKER_00: And it means that if I can't get a good feed on the day, I you can run it through and adjust the strength.
• 3:15
  SPEAKER_00: So it'll do like a 90% sweep or like a 50% sweep.
• 3:19
  SPEAKER_00: And so, like for what we're doing now, if you've got a great signal coming through your podcasting microphone, but you've got like an air conditioner noise or the dog's barking next door or something, it'll just clean that right out.
• 3:31
  SPEAKER_00: Yes, that's awesome.
• 3:32
  SPEAKER_01: So I looked at um Adobe, the Adobe setup, although because of the 30 30 minute was the issue.
• 3:39
  SPEAKER_01: Yeah.
• 3:39
  SPEAKER_01: So we use something similar that does the same thing, but it's called crumple pot.
• 3:44
  SPEAKER_01: It costs a fair bit of money, but but yeah, it does the same thing.
• 3:48
  SPEAKER_00: The trade-off is that yeah, you're getting along with your.
• 3:50
  SPEAKER_01: Yeah, yes.
• 3:50
  SPEAKER_01: But yeah, it's each individual.
• 3:51
  SPEAKER_01: So you've got echo remover, you've got leveling um adjustments, you've got uh, but they're all in separate.
• 3:56
  SPEAKER_00: Yeah, so the Adobe one doesn't have that.
• 3:58
  SPEAKER_00: It's just like whack it in, and what you get is what you get.
• 4:00
  SPEAKER_01: Yeah, so this one you can do manual manual adjustments, you can do the strength, you can do the tone, the dryness, and all of that.
• 4:06
  SPEAKER_01: Oh, that's might be worth it for you.
• 4:08
  SPEAKER_00: Might be worth it.
• 4:08
  SPEAKER_00: Yeah, I mean, most of the time I'm only uploading like one 15 minute speech at a time.
• 4:12
  SPEAKER_00: So I'm like, I haven't hit that hurdle yet, but you guarantee they'll start charging for it.
• 4:16
  SPEAKER_01: But but it with Adobe stuff, I mean it it's it's already integrated to what you're probably using.
• 4:20
  SPEAKER_00: So and that's why people have been kind of like asking, like, oh, when are you gonna switch to DaVinci Resolve?
• 4:25
  SPEAKER_00: Because that's kind of like the editing software now.
• 4:27
  SPEAKER_00: Everyone's switching to it, the color grading options are better.
• 4:30
  SPEAKER_00: Fantastic.
• 4:30
  SPEAKER_00: It's amazing, but I'm kind of just like, everything I have is so Adobe integrated.
• 4:34
  SPEAKER_00: I'd rather just keep I'd rather just keep it.
• 4:37
  SPEAKER_00: And I like I've already known all the keyboard shortcuts, it's nice and easy.
• 4:40
  SPEAKER_01: It's the next thing, right?
• 4:41
  SPEAKER_01: Like um Premiere Pro came out and took down uh final cut.
• 4:45
  SPEAKER_01: Yeah.
• 4:45
  SPEAKER_00: And now Da Vinci's coming out and taking down Premiere.
• 4:48
  SPEAKER_00: The only thing though is I know that Adobe is really pushing into the AI space.
• 4:52
  SPEAKER_00: Yep.
• 4:53
  SPEAKER_00: So I'm wondering how long it'll be before.
• 4:55
  SPEAKER_00: I mean, there's already like text-based editing.
• 4:57
  SPEAKER_00: You can already kind of say, hey, I want this vibe, and it will kind of cut it together.
• 5:01
  SPEAKER_00: Doesn't it work for weddings because you're, you know, you're weaving vows and speeches and stuff through it, just doesn't work.
• 5:06
  SPEAKER_00: But you know, if you want to put out a 15-second, 20-second Instagram BTS of you shooting a ski Seascape or something, and you're like, oh, poppy beat uh escape beat roll.
• 5:18
  SPEAKER_01: Yeah, or yeah, and it would be able to chop that together pretty easily.
• 5:22
  SPEAKER_01: I mean, if you if you're a content creator and you need stuff in and out, I mean AI's perfect, right?
• 5:26
  SPEAKER_01: Yeah, yeah.
• 5:27
  SPEAKER_01: You know how to do it, but it's all times money.
• 5:29
  SPEAKER_01: So yeah.
• 5:30
  SPEAKER_01: So um, what do you prefer on a wedding?
• 5:31
  SPEAKER_01: What do you prefer to shoot with?
• 5:32
  SPEAKER_01: Do you prefer to shoot um video or photo?
• 5:35
  SPEAKER_00: I actually prefer stills.
• 5:36
  SPEAKER_00: Yeah.
• 5:37
  SPEAKER_00: But right, I think Yeah, no, no, always photo.
• 5:41
  SPEAKER_00: Which is it's just when you're shooting on the day and you know, you you're looking at how many shots you've got on the card, you've got, you know, two and a half thousand.
• 5:47
  SPEAKER_00: I'm like, great, can't wait to run this through Lightroom Classic.
• 5:50
  SPEAKER_00: It's gonna take me, you know, not too long.
• 5:51
  SPEAKER_00: I'd probably just batch edit the whole thing and then go through and tweak it.
• 5:54
  SPEAKER_00: It takes me a couple of days.
• 5:56
  SPEAKER_00: Um, only because I'm not, I don't think I'm personally ready to hand over that control to like an AI editor.
• 6:02
  SPEAKER_02: Yeah.
• 6:02
  SPEAKER_00: But when you're shooting the video, you're you're scrolling through on the back of the camera and you're like, I've shot 400 clips.
• 6:07
  SPEAKER_00: Like, this is gonna be the next four weeks of my life.
• 6:09
  SPEAKER_02: Yeah.
• 6:10
  SPEAKER_00: And so, so I think I'm just kind of I still prefer steals, definitely, but I think the market at the moment, so many really well-established wedding photographers, yeah, and there's only a few people doing video.
• 6:23
  SPEAKER_00: So it's very easy to snap up work very quickly.
• 6:26
  SPEAKER_00: Yeah, you know, I I came from a full-time job straight into full-time freelancing and managed to book out my whole first year.
• 6:34
  SPEAKER_00: And now I'm already taking bookings for like 2025.
• 6:37
  SPEAKER_00: Yeah, man.
• 6:38
  SPEAKER_00: So unreal.
• 6:38
  SPEAKER_00: Yeah, unreal.
• 6:39
  SPEAKER_00: But that's because of video.
• 6:40
  SPEAKER_00: Every inquiry is oh, I heard you shoot video from this person or you shot one of my mate's weddings, or yeah.
• 6:45
  SPEAKER_03: The word of mouth seems to be spreading massive, yeah.
• 6:49
  SPEAKER_01: I'm finding that with the video because I'm just starting up a little business as well, um, shooting like commercial photo and video.
• 6:55
  SPEAKER_01: Like, oh, trying to push the photo, but I think video is definitely well people want photo, but video is king at the moment.
• 7:00
  SPEAKER_00: At the moment for sure.
• 7:01
  SPEAKER_00: But like for your business, if you could approach a client, that client doesn't want to have to shop around for two different oh no way.
• 7:07
  SPEAKER_00: Two different things.
• 7:07
  SPEAKER_03: Yeah, they want it all in one package.
• 7:09
  SPEAKER_00: Yeah, they want an all-in-one package.
• 7:10
  SPEAKER_00: Yeah, and I mean, I'm not offering that yet because I I work with a bunch of other people, but you know, every wedding photographer these days is kind of like, oh, I need to start, need to start offering both if you want to book book jobs.
• 7:24
  SPEAKER_03: They basically subcontract you out, right?
• 7:26
  SPEAKER_03: Yeah.
• 7:26
  SPEAKER_03: But they say they offer it and then they pay you for the yeah.
• 7:29
  SPEAKER_00: And that that works pretty well.
• 7:30
  SPEAKER_00: Like it's a really good setup, and that way I get plenty of work, their business benefits, I benefit.
• 7:35
  SPEAKER_00: And I personally don't have an issue with it.
• 7:37
  SPEAKER_00: Some people are like, no, I want to book it under my own brand, like kind of thing.
• 7:41
  SPEAKER_00: But you know, if it's money I didn't have in my pocket that I now do, agreed.
• 7:45
  SPEAKER_00: Like, look, I'm happy happy days.
• 7:46
  SPEAKER_00: Yeah, yeah, yeah.
• 7:47
  SPEAKER_01: Well, that's that's how I'm running it as well.
• 7:49
  SPEAKER_01: Like, I don't do video yet, but I've a good friend of mine, he does.
• 7:52
  SPEAKER_01: So it's like, I'll just you tell me how much you charge me and I'll pay you.
• 7:56
  SPEAKER_00: Yeah, exactly.
• 7:56
  SPEAKER_00: I'm like, it doesn't matter.
• 7:58
  SPEAKER_00: What goes around comes around.
• 7:58
  SPEAKER_00: That's and I think that attitude's kind of why I I booked so much work.
• 8:02
  SPEAKER_00: Like I work with probably like five or six different photographers, or they shoot video and I shoot stills, but because you know, I help them, they help me.
• 8:11
  SPEAKER_00: Like what goes around comes around.
• 8:12
  SPEAKER_00: Yeah, yeah.
• 8:13
  SPEAKER_01: So before we go into the more technical side of what gear you're using and who you're partnered with and things like that, yeah, how did you get into photography?
• 8:22
  SPEAKER_00: Um, so as a kid, my dad had this little camcorder and I used to just like film myself playing with stuff.
• 8:29
  SPEAKER_00: So if I was like playing with Lego or like Hot Wheels cars, I would just like film it because I thought that was cool.
• 8:34
  SPEAKER_00: And then I actually wanted to be a history teacher.
• 8:37
  SPEAKER_00: Oh, really?
• 8:38
  SPEAKER_00: Because both my parents are teachers.
• 8:40
  SPEAKER_00: And um I remember I did the HSC and I was like, oh, there's this course at uni that sounds really good.
• 8:47
  SPEAKER_00: Like it's film, like film and screen sound production.
• 8:50
  SPEAKER_00: I was like, oh, but it's like a bit higher than the mark I got.
• 8:52
  SPEAKER_00: I'll just apply for it anyway.
• 8:54
  SPEAKER_00: Yeah.
• 8:54
  SPEAKER_00: And so I got in, did that.
• 8:57
  SPEAKER_00: I won't say which uni because I'm about to say it was a massive waste of time.
• 9:01
  SPEAKER_00: Yeah.
• 9:02
  SPEAKER_00: Um like I don't think I could be exactly where I am now without studying, yeah.
• 9:07
  SPEAKER_00: I think.
• 9:08
  SPEAKER_00: Um but either way, like I kind of just like quickly jumped roots basically.
• 9:13
  SPEAKER_00: And I was like, oh, like I actually really enjoy this.
• 9:15
  SPEAKER_00: Got a camera, started shooting.
• 9:17
  SPEAKER_00: Within a year, I was like, this camera can't do what I needed to do.
• 9:20
  SPEAKER_00: I need to go to full frame.
• 9:21
  SPEAKER_00: I think I shot like one engagement and one wedding in those kind of like first two years of using a camera.
• 9:27
  SPEAKER_00: And then um yeah, I did a bit of a trip uh around Europe, kind of like really fell in love with it.
• 9:35
  SPEAKER_00: And that's when I picked up uh my first Sony camera.
• 9:38
  SPEAKER_02: Yep.
• 9:39
  SPEAKER_00: Um came back, got a job at JB Hi-Fi selling cameras, sold a bucket load of them, and then Sony were like, Oh, we should uh you should have come work for us.
• 9:48
  SPEAKER_00: Yeah, nice.
• 9:49
  SPEAKER_03: Yeah.
• 9:50
  SPEAKER_03: So Sony take us to there.
• 9:52
  SPEAKER_03: So how'd your relationship build from there with Sony?
• 9:55
  SPEAKER_00: Yeah, so just like working in the store, I kind of got to know my local rep.
• 9:59
  SPEAKER_00: He was awesome.
• 10:00
  SPEAKER_00: Um and then applied for a job, not really expecting to get it, but uh eventually, I don't know how, but it got it.
• 10:06
  SPEAKER_00: And yes, I worked at Sony for three years looking after it's more of a sales role.
• 10:12
  SPEAKER_00: So my job was to go around the stores and kind of like get them engaged and talking about Sony.
• 10:17
  SPEAKER_00: So that that whether that be like training them on Sony material, um, running events, putting up posters in the shop, kind of, and then just like sales support.
• 10:26
  SPEAKER_00: So, you know, if they've got problems with customers, I'd step in and be like, hey, I can sort this out for you.
• 10:30
  SPEAKER_00: Yeah, so I kind of did that for three years, loved the event side of it.
• 10:34
  SPEAKER_00: Yeah.
• 10:36
  SPEAKER_00: Love the event side of it.
• 10:38
  SPEAKER_00: Um, kind of like getting hands-on with customers and stuff.
• 10:40
  SPEAKER_00: Like I really enjoy that part.
• 10:42
  SPEAKER_00: Um, but the sales stuff I kind of hated.
• 10:44
  SPEAKER_00: Yeah, I mean, even now, like running my own business, the sales stuff is the stuff that I hate.
• 10:48
  SPEAKER_00: Sale's the hardest part.
• 10:49
  SPEAKER_00: Oh, it's the worst bit.
• 10:50
  SPEAKER_00: Yeah.
• 10:51
  SPEAKER_00: Um, yeah, I just didn't I didn't enjoy it.
• 10:53
  SPEAKER_00: And uh, no one wants to talk money, like unless you're an entrepreneur, crypto bro.
• 10:57
  SPEAKER_00: Like, but yeah, I just I always felt very uncomfortable talking money and stuff.
• 11:03
  SPEAKER_00: So I wanted to get out of sales and not luckily enough, but COVID came along.
• 11:09
  SPEAKER_00: And so say going to stores.
• 11:11
  SPEAKER_00: I mean, I used to visit five stores a day, five days a week.
• 11:14
  SPEAKER_00: It was pretty intense.
• 11:15
  SPEAKER_00: Yeah.
• 11:16
  SPEAKER_00: Um, but then COVID came along and obviously couldn't do that for like eight, eight months or something.
• 11:20
  SPEAKER_00: It was ages.
• 11:21
  SPEAKER_00: So took as much annual leave as I could, and I offered to help um one of my friends who runs the the social media for Sony Australia New Zealand.
• 11:29
  SPEAKER_00: I offered to help her.
• 11:30
  SPEAKER_00: So I was kind of like making some content at home, trialing out a whole bunch of new gear, did some stuff for some unreleased products, like it was really fun.
• 11:38
  SPEAKER_00: I was like, oh, I really enjoy kind of making content for social media.
• 11:42
  SPEAKER_00: Did that with her, it was awesome.
• 11:44
  SPEAKER_00: And then obviously COVID ended and I would have to go back to the the other role.
• 11:49
  SPEAKER_00: And I wasn't as excited to go back to it.
• 11:51
  SPEAKER_00: So I kind of tossed up my options and I was like, oh, I think I could I could do this on my own potentially.
• 11:56
  SPEAKER_00: So obviously, yeah, it was a kind of bittersweet because I love the team there.
• 12:00
  SPEAKER_00: Um but yeah, opted to to go full-time freelance.
• 12:04
  SPEAKER_00: And luckily, through the network that I built while working for Sony, I met so many other amazing photographers, filmmakers, store owners, um, just a whole bunch of people.
• 12:14
  SPEAKER_00: And they've all kind of like thrown so much work my way since then.
• 12:18
  SPEAKER_00: Yep.
• 12:19
  SPEAKER_00: Um and you know, I don't think you quitting a job and starting full-time shooting.
• 12:24
  SPEAKER_00: Like that's really daunting for a lot of people.
• 12:26
  SPEAKER_00: Yeah.
• 12:26
  SPEAKER_00: Whereas for me, I was kind of like, oh, I think I'll be okay.
• 12:30
  SPEAKER_00: Yeah.
• 12:30
  SPEAKER_00: That's good.
• 12:31
  SPEAKER_01: That's exactly what Carl's just done.
• 12:32
  SPEAKER_01: He's quitting his job.
• 12:34
  SPEAKER_01: Yeah, congratulations.
• 12:35
  SPEAKER_01: We'll go full-time, mate.
• 12:36
  SPEAKER_03: Yeah, do it.
• 12:37
  SPEAKER_03: How do you feel?
• 12:38
  SPEAKER_03: Um, it's been interesting, right so far.
• 12:41
  SPEAKER_03: It's a lot probably a bit different to your situation, right?
• 12:44
  SPEAKER_03: So I'm like going basically into like a product business.
• 12:47
  SPEAKER_03: Yeah.
• 12:47
  SPEAKER_03: Is where I'm headed.
• 12:48
  SPEAKER_03: So that was always my dream to like sell my self photos.
• 12:52
  SPEAKER_03: Yeah.
• 12:53
  SPEAKER_03: Um, as opposed to work for labor.
• 12:54
  SPEAKER_00: Yeah.
• 12:55
  SPEAKER_00: Yeah.
• 12:55
  SPEAKER_00: You're not trading time anymore, you're trading craftsmanship.
• 12:58
  SPEAKER_00: Yeah, that's that's what I'm hoping to.
• 13:00
  SPEAKER_00: No, that's that's the end goal, right?
• 13:02
  SPEAKER_03: For everyone.
• 13:02
  SPEAKER_03: That's the end goal for everybody.
• 13:04
  SPEAKER_03: Uh who knows?
• 13:06
  SPEAKER_03: I'm I think I'm at the moment, I'm in the river of misery, they call it.
• 13:09
  SPEAKER_03: Um, so when you start off, you have like uh uninformed optimism, where you're like, oh, you know, you get excel rich.
• 13:17
  SPEAKER_03: You go, oh, I do this, sell this much product, I can like do this.
• 13:20
  SPEAKER_03: And then once you get so far calculated, so far you end up in like what they like the river of misery, right?
• 13:26
  SPEAKER_03: And that's like the informed pessimism, where then you find out all the problems with your niche.
• 13:31
  SPEAKER_03: Yeah.
• 13:31
  SPEAKER_03: Yeah.
• 13:31
  SPEAKER_03: So like that that's where I am right now, trying to f work out the problems in the niche.
• 13:35
  SPEAKER_00: Yeah.
• 13:36
  SPEAKER_00: Because like when you work for someone else, you don't really you're not really aware of how much money goes in to get money out, unfortunately.
• 13:41
  SPEAKER_00: Yeah.
• 13:42
  SPEAKER_00: Yeah, that's right.
• 13:43
  SPEAKER_00: Speaking of which.
• 13:44
  SPEAKER_01: Yeah, before we started um recording, you were you had a little concept about your niche, about niching down you were talking about.
• 13:51
  SPEAKER_00: Oh yeah.
• 13:52
  SPEAKER_00: Um I think don't niche down, just don't do it.
• 13:57
  SPEAKER_00: Um niche down.
• 13:58
  SPEAKER_00: Like, like you can obviously have something that you're more passionate about.
• 14:00
  SPEAKER_00: I mean, I love weddings.
• 14:02
  SPEAKER_00: Like, I love getting to know the couples.
• 14:04
  SPEAKER_00: I love that it's a really expressive way to earn money as opposed to kind of like a cubicle job.
• 14:11
  SPEAKER_00: But if someone said here's a million dollars, go take 10 years off and do whatever you want, I would be in chili shooting waterfalls in the pedigree.
• 14:22
  SPEAKER_00: Yeah, you know what I mean?
• 14:23
  SPEAKER_00: Like um so you know, there's obviously there's still a passion for a specific genre of photography.
• 14:30
  SPEAKER_00: Um but I don't think, especially for when you're beginning, like don't don't niche down because a lot of the rules that apply to specific genres, there's so much overlap between every every category.
• 14:42
  SPEAKER_00: Like in awards and online, people will say, Oh, I'm a seascape photographer or I'm an astrophotographer.
• 14:49
  SPEAKER_00: But you know, there's only three settings on a camera that really matter.
• 14:53
  SPEAKER_04: Yeah.
• 14:54
  SPEAKER_00: And it and that's what I tell my my students in workshops.
• 14:57
  SPEAKER_00: They ask me, Oh, what settings did you use for this photo?
• 15:00
  SPEAKER_00: And I'm like, You could shoot at completely different settings to me and get the exact same result.
• 15:05
  SPEAKER_00: Yeah, like perceivable to the eye.
• 15:06
  SPEAKER_00: I mean, yeah.
• 15:07
  SPEAKER_00: And I was like, So don't just ignore that stuff.
• 15:10
  SPEAKER_00: Um, but the the rules that apply to those are crossover, like so many genres.
• 15:14
  SPEAKER_00: Yeah.
• 15:14
  SPEAKER_00: So I definitely haven't niche down.
• 15:17
  SPEAKER_00: And I I think for work I will, but personally, I I and still some genres I don't shoot.
• 15:23
  SPEAKER_00: Like I'm not a big fan of street.
• 15:25
  SPEAKER_00: I kind of came and did that, yeah, come and go on.
• 15:28
  SPEAKER_00: Um but yeah, just I I think it's all about reading the light as opposed to the the composition or the genre specific.
• 15:38
  SPEAKER_00: Because we were chatting about that a little bit before, so I'll segue into that because I I think I think that's it's I was gonna give one takeaway to like any student at a workshop or anyone.
• 15:48
  SPEAKER_00: It's read the light and then find the composition.
• 15:50
  SPEAKER_00: Don't go looking for a subject first and then trying to orientate yourself to a good background or something like that.
• 15:58
  SPEAKER_00: So I think weddings specifically uh of such a it's kind of like you know, teach a kid to swim by just throwing them in the deep end.
• 16:06
  SPEAKER_00: Yeah.
• 16:07
  SPEAKER_00: Because you know, if you if you got into say like street photography, it's generally all natural light.
• 16:14
  SPEAKER_00: Yeah, um unless you're shooting indoors, but it's generally natural light.
• 16:18
  SPEAKER_00: Um the lights are not changing a lot unless you're you know shooting under like neon lights or something.
• 16:26
  SPEAKER_00: But at weddings, it's like you're going from diffused indoor light, then you're doing direct harsh sunlight, then you're doing backlit shots, you're doing shots into the sun, then you're doing flash when it gets to the dance floor.
• 16:37
  SPEAKER_00: Um yeah, there's just because you learn so quickly because it's so run and gun.
• 16:41
  SPEAKER_00: Yeah, you learn to read the light before you even start thinking about shooting.
• 16:45
  SPEAKER_00: Right.
• 16:45
  SPEAKER_00: So, you know, when you walk into a someone's house in the morning and they're getting ready, you're already like, oh, this window's got good light, this one doesn't.
• 16:51
  SPEAKER_00: You're already looking at that kind of thing and reading that.
• 16:55
  SPEAKER_00: I think for wedding is really difficult because it's so much more subtle.
• 16:58
  SPEAKER_00: So, like, you know, indoor light, it's very hard to read because you can't you don't have beautiful sun rays coming in over the top of a uh, you know, a rock formation or anything like that.
• 17:07
  SPEAKER_00: But um yeah, I think it's weddings are harder to read the light, but the compositions are very easy.
• 17:13
  SPEAKER_00: You you know what what angles people look good at and you just stick to those.
• 17:17
  SPEAKER_00: And then I find with landscape or like astro, it's the the light is easier to read, but it's so much harder to find the composition I want.
• 17:26
  SPEAKER_00: And that that's like the tricky part, I guess.
• 17:28
  SPEAKER_00: And that's where the skill comes in.
• 17:29
  SPEAKER_00: It's why some landscape photographers take good photos and some take you know next level photos, and it could be the same location.
• 17:35
  SPEAKER_01: Yeah, that's right.
• 17:36
  SPEAKER_01: But I mean, the other thing as well is a good photographer landscape photographer will find the composition and then wait for the light too.
• 17:43
  SPEAKER_03: Yeah, the other thing is that it's a bit different, yeah.
• 17:46
  SPEAKER_03: Different to the weddings where you read the light and then get the person because obviously you've got one day when you shoot a wedding, right?
• 17:53
  SPEAKER_03: Whereas like landscape, typically you find a spot and take five years to get the light.
• 17:58
  SPEAKER_00: Yeah, because you're gonna always go back, potentially.
• 18:00
  SPEAKER_03: If that's what it takes, yeah.
• 18:01
  SPEAKER_03: Yeah.
• 18:02
  SPEAKER_03: I was gonna ask you, what type of wedding photographer are you when you're there?
• 18:06
  SPEAKER_03: Are you more of a candid or do you like to set shots up as well?
• 18:10
  SPEAKER_00: Um, I think like when it comes to the couple shoot later in the day, I'll give a bit more direction and stuff.
• 18:17
  SPEAKER_00: But I think step back because the more weddings I've shot, the more I've kind of realized that if it was my own wedding, I don't want the photographer stepping in every two seconds.
• 18:27
  SPEAKER_00: Yeah.
• 18:27
  SPEAKER_00: Like especially some of these weddings I've shot where they've had so many friends and family coming from overseas.
• 18:33
  SPEAKER_00: Like I shot some ones for some couples from the UK, and you know, they've got you know great aunties and uncles and grandparents that have flown over here and that kind of thing.
• 18:41
  SPEAKER_00: And they spend about five minutes with them.
• 18:45
  SPEAKER_00: And I know that if it was my big day with my partner, we wouldn't want to be running around on a photo shoot.
• 18:52
  SPEAKER_00: We'd want to be spending time with our family.
• 18:55
  SPEAKER_00: Correct.
• 18:55
  SPEAKER_00: Yeah.
• 18:55
  SPEAKER_00: So I definitely step back unless the couple, you know, really wants it.
• 18:59
  SPEAKER_00: It's it depends.
• 19:01
  SPEAKER_00: Yeah.
• 19:02
  SPEAKER_01: You know, I've been to a couple of weddings and married myself.
• 19:04
  SPEAKER_01: So I've seen a few photographers where they'll actually maneuver them while they're having like a dance or something like that.
• 19:11
  SPEAKER_01: It's like, well, no, just let the let the scene happen in front of you and just capture and maneuver yourself around.
• 19:17
  SPEAKER_01: Yeah.
• 19:17
  SPEAKER_01: You're there to be you're there to take photos, not to be seen or heard.
• 19:20
  SPEAKER_03: I think if you've shot street like you have in the past, it makes it a lot easier to transition to some like weddings and not have to interact with the people as far as like making them pose down everything.
• 19:33
  SPEAKER_00: I think I think, yeah, it's it's very different than like a portrait photographer.
• 19:38
  SPEAKER_00: If you're used to shooting a single individual, switching to shooting groups or like two people at the same time is really tricky.
• 19:45
  SPEAKER_00: Like it's so tricky.
• 19:46
  SPEAKER_00: Even even if you come from a landscape background where you know you're you're more dealing with death.
• 19:50
  SPEAKER_00: Whereas with wedding, it's like no, there's only really one plane of focus that you need.
• 19:55
  SPEAKER_00: And you've got to orientate yourself to get most of your subjects on that plane.
• 19:59
  SPEAKER_00: Yeah, yeah, yeah.
• 20:00
  SPEAKER_00: So it is it is tricky, but I think you just have to find that balance.
• 20:07
  SPEAKER_00: Like I always you want to be like friendly and you want to you want to make the couple uh comfortable and like engaged with you, but at the same time, like you said, like yeah, candid's probably the the better option, in my opinion.
• 20:19
  SPEAKER_03: But yeah, you reckon why are you shooting wordings?
• 20:22
  SPEAKER_03: What's like with your camera, what's your optimal setting that would then dictate your the way the shot comes out?
• 20:30
  SPEAKER_03: For me, I would think it would be aperture would be like your main tool to like actually create all the moves.
• 20:35
  SPEAKER_00: I shoot all manual as well.
• 20:36
  SPEAKER_00: Like I know it some people shoot run and gun and they'll like do aperture or shut a priority or whatever you need.
• 20:42
  SPEAKER_00: Um my camera pretty much lives at 1.4 on a wedding day.
• 20:46
  SPEAKER_00: And it's generally because you don't have control over the backgrounds.
• 20:50
  SPEAKER_00: So if I'm shooting a group, obviously I'm shooting deeper because I want to get everyone's faces in focus.
• 20:56
  SPEAKER_00: But for most of the couple stuff, they're generally quite close to each other, and you know they're gonna be in such a close plane of focus that 1.4 doesn't matter.
• 21:05
  SPEAKER_00: And it gives you control over the background because you can just blow it out.
• 21:09
  SPEAKER_03: Yeah, you can blow it up.
• 21:10
  SPEAKER_00: Yeah, so you know, if you're shooting someone, if they booked, you know, a$2,000 Airbnb and the interior is beautiful, you can get more in and I'll shoot on a 35 or something.
• 21:19
  SPEAKER_00: Yeah.
• 21:20
  SPEAKER_00: Whereas, you know, if it's just if it's just like a little uh bed and breakfast or something and you've got uh, you know, you've got shutters over the windows that aren't quite as nice or something like that, you just go on a 50 and just blow that background out, so it's not a problem.
• 21:33
  SPEAKER_00: Yeah.
• 21:33
  SPEAKER_00: Yeah.
• 21:34
  SPEAKER_01: That's the art of it.
• 21:35
  SPEAKER_01: What's your go-to setup for taking photos in at a wedding in a wedding group?
• 21:39
  SPEAKER_00: Yeah, I think um because I'm a kind of more pragmatic shooter, I make sure that all of my landscape gear I can also use for weddings.
• 21:48
  SPEAKER_00: Yeah, so some photographers will have multiple kits or they'll use different systems and all that kind of thing.
• 21:54
  SPEAKER_00: So I'll start on the wide end because then I can just work my way up.
• 21:58
  SPEAKER_00: I have a 20 mil 1.8, which Which is beautiful.
• 22:00
  SPEAKER_00: It's probably my favorite astro lens because you know it's a 1.8, you get left tons of light in.
• 22:05
  SPEAKER_00: It's great for landscapes too.
• 22:06
  SPEAKER_00: It's not super wide.
• 22:07
  SPEAKER_00: I find on my super widespread, I really struggle for composition with landscapes.
• 22:12
  SPEAKER_00: So 20 is the sweet spot.
• 22:13
  SPEAKER_00: Yeah.
• 22:14
  SPEAKER_00: And then 20 just works really well on a dance floor as well.
• 22:16
  SPEAKER_00: So I basically that's like the go-to lens for dance floor.
• 22:20
  SPEAKER_00: Then just got a 24 to 70 because it's always just nice to have that standard zoom, especially when you're traveling.
• 22:25
  SPEAKER_00: You don't always want to take a bag full of primes or tellies or everything with you.
• 22:29
  SPEAKER_00: So 24105, sorry, 2470 uh f2.8.
• 22:33
  SPEAKER_00: Then I have a 35 1.4 that basically lives on one camera the whole day.
• 22:38
  SPEAKER_00: Yep.
• 22:39
  SPEAKER_00: I shot when I first bought it, I shot that wedding I had the following day.
• 22:42
  SPEAKER_00: I shot the whole thing on that 35.
• 22:44
  SPEAKER_00: Oh, really?
• 22:44
  SPEAKER_00: Yeah.
• 22:45
  SPEAKER_00: Yeah, but so that's crazy.
• 22:47
  SPEAKER_00: The reason being though is um I didn't own a 50 um at the time.
• 22:51
  SPEAKER_00: Like I've owned 50s before, but I didn't own a 50.
• 22:55
  SPEAKER_00: And luckily, my camera's high enough resolution that I have a custom button so I can just punch in from full frame to APSC mode.
• 23:02
  SPEAKER_00: And in APSC mode, I still get 21 megapixels in APSC.
• 23:06
  SPEAKER_00: So like I could deliver 35 and 50 shots and no one's gonna notice.
• 23:11
  SPEAKER_00: Like no one's gonna notice the difference between 50 meg and 21 meg.
• 23:14
  SPEAKER_00: Yeah.
• 23:15
  SPEAKER_00: I deliver all of them at 21 megapixels anyway.
• 23:17
  SPEAKER_00: Oh, dude.
• 23:18
  SPEAKER_00: Yeah, so so it's either like it's down sampling or it's just a like for like.
• 23:22
  SPEAKER_00: Um, and then the next one's a 51.4 and then um a little 40 mil pancake that just leaps on a second camera just for travels and family stuff.
• 23:32
  SPEAKER_00: And you're running an A9, is that right, Sony A1?
• 23:34
  SPEAKER_00: So I'm running a Sony A1 and an A7CR, which is like their new kind of like pocket-sized full frame.
• 23:42
  SPEAKER_00: Yeah, it's basically an A7R5, but smaller with one card slot.
• 23:47
  SPEAKER_00: That's really it's that's literally all the video on that.
• 23:50
  SPEAKER_00: They're an incredible looking little thing.
• 23:52
  SPEAKER_00: Yeah, yeah, they would look awesome, and then just because they're smaller, I'm more likely to more likely to pick it up.
• 23:57
  SPEAKER_00: And then a fx30, which is a cinema line camera.
• 24:01
  SPEAKER_01: See, I want to talk about the FX30.
• 24:03
  SPEAKER_01: Yeah, because well, in the comparison, why did you choose the FX30 over the FX3?
• 24:08
  SPEAKER_01: Oh, that's a great question.
• 24:10
  SPEAKER_01: I say price, no.
• 24:11
  SPEAKER_01: Apart from price, because they because it's always a big dick to find out.
• 24:14
  SPEAKER_01: I want an FX3.
• 24:15
  SPEAKER_01: I want an FX3.
• 24:16
  SPEAKER_01: Yes.
• 24:17
  SPEAKER_01: And they're like five and a half grand straight.
• 24:20
  SPEAKER_01: And the I know the FX30 is half the price.
• 24:22
  SPEAKER_01: Yeah, okay.
• 24:23
  SPEAKER_01: I uh the real like apart from price, like what's the main reason you went the 30 over the three?
• 24:28
  SPEAKER_00: Um one is you can pick up Super 35.
• 24:32
  SPEAKER_00: So even though it is APS C, it's technically called Super 35 because it matches the format of a lot of other cinema cameras.
• 24:39
  SPEAKER_00: Yeah.
• 24:39
  SPEAKER_00: And there's a lot of Super 35 glass floating around.
• 24:42
  SPEAKER_00: You can get some Samyang, Tekina, Zeiss, Lesnar, so much stuff for it.
• 24:47
  SPEAKER_00: And it also lets you open up the option for speed boosters.
• 24:51
  SPEAKER_00: So if you're using full frame glass on a full frame camera, you're not really getting any benefit.
• 24:56
  SPEAKER_00: It's just made for the system.
• 24:57
  SPEAKER_00: If you're using super 35 glass on a super 35 sensor, again, it's made for it.
• 25:01
  SPEAKER_00: But the really cool thing is you can start mounting full frame glass onto a super 35 sensor using a speed booster.
• 25:09
  SPEAKER_00: Yep.
• 25:09
  SPEAKER_00: So it basically corrects the crop and then gives you an extra stop of light.
• 25:13
  unknown: Yeah.
• 25:13
  SPEAKER_00: Because the full frame lens is wider, so it's gathering more light.
• 25:17
  SPEAKER_00: Yeah.
• 25:17
  SPEAKER_00: Which is awesome.
• 25:18
  SPEAKER_00: So, you know, I use a set of old vintage lenses and they're all F2.8s, but now they're F2s when I use them on the FX30.
• 25:26
  SPEAKER_00: How's it go with overheating?
• 25:27
  SPEAKER_00: So that's the other thing as well.
• 25:29
  SPEAKER_00: Um, some people opt for like an A7S3 for video.
• 25:32
  SPEAKER_00: Yeah.
• 25:33
  SPEAKER_00: And I kind of wanted to future proof myself by getting a cinema line product because one, they just don't overheat because they've got a built-in fan.
• 25:41
  SPEAKER_00: And two, they've got time code.
• 25:43
  SPEAKER_00: So yeah, good.
• 25:44
  SPEAKER_00: So I at the moment I still cut because I'm mixing A1 footage with FX30 footage.
• 25:50
  SPEAKER_00: I'm mixing a few things.
• 25:51
  SPEAKER_00: But I think even though I prefer steals, if if my wedding business for video ever did grow to the point where I was having multiple shooters on the same day, kind of thing, I I would only use FX cameras because they're not going to overheat.
• 26:06
  SPEAKER_00: You can run them all day.
• 26:08
  SPEAKER_00: And time code means that you could effectively say you're filming the speeches, line it all up.
• 26:14
  SPEAKER_00: You could drop every clip in and it would just auto-sync.
• 26:17
  SPEAKER_00: Yep.
• 26:17
  SPEAKER_00: Because it's all time code.
• 26:19
  SPEAKER_00: Like that would that would be life-changing.
• 26:21
  SPEAKER_00: That would make your life.
• 26:22
  SPEAKER_00: Yeah, it'd be amazing.
• 26:24
  SPEAKER_03: Yeah, instead of sifting through trying to figure it out.
• 26:27
  SPEAKER_00: But then back on the FX30 versus the FX3, I had an A7S3.
• 26:32
  SPEAKER_00: Absolutely loved it.
• 26:34
  SPEAKER_00: It's a much better camera than people give it credit for, especially for steel's 12 megapixels.
• 26:40
  SPEAKER_00: Everyone hates on it.
• 26:41
  SPEAKER_00: It's amazing.
• 26:42
  SPEAKER_00: I loved it.
• 26:43
  SPEAKER_00: It was a great camera.
• 26:44
  SPEAKER_00: But um I did want to opt for a true FX camera.
• 26:49
  SPEAKER_00: Also, being a Sony advocate, we should probably circle back to that.
• 26:52
  SPEAKER_00: But um, but being a Sony advocate, I wanted at least a product across a few of the lines rather than just going for walpha.
• 26:59
  SPEAKER_00: Yeah, yeah, yeah.
• 27:00
  SPEAKER_00: Um and the the FX30 specifically, it has dual base ISO.
• 27:06
  SPEAKER_00: So one at 800 and one at 2500 when you're shooting log.
• 27:11
  SPEAKER_00: Um, whereas the FX3 and the A7S3, their dual native is 640 at 12,800.
• 27:17
  SPEAKER_00: Yeah.
• 27:18
  SPEAKER_00: Well, and I was finding that I was shooting f7.1 at night.
• 27:23
  SPEAKER_02: Yeah.
• 27:23
  SPEAKER_00: And I was kind of just thinking, like, this is crazy.
• 27:26
  SPEAKER_00: Um, I shouldn't be using NDs at night, or I shouldn't be having to stop down this much.
• 27:31
  SPEAKER_00: Yeah.
• 27:31
  SPEAKER_00: Especially for weddings.
• 27:32
  SPEAKER_00: Like, I want really shallow depth of field.
• 27:34
  SPEAKER_00: Yeah, exactly.
• 27:35
  SPEAKER_00: Especially for like the couple stuff if they're doing, you know, fairy lights.
• 27:38
  SPEAKER_00: And I found that 12,800 is amazing because you have so much latitude to then pull it down in post, but it's too high.
• 27:47
  SPEAKER_00: It was so high for me.
• 27:49
  SPEAKER_00: There's no grain or anything, is there?
• 27:51
  SPEAKER_00: It's something like stills, you get the grain.
• 27:52
  SPEAKER_00: Yeah, so the log format behaves a little differently.
• 27:56
  SPEAKER_00: Um, and it just means that 12,800 on an FX3 is equivalent in terms of noise and dynamic range to 800 or 640.
• 28:08
  SPEAKER_00: No.
• 28:08
  SPEAKER_00: So you imagine it's kind of like two scales on a piano.
• 28:12
  SPEAKER_00: It's you're not doing the scale from the low end of the piano all the way to the top as the you know the noise increases or the and the signal kind of decrease.
• 28:19
  SPEAKER_00: It's like you've got two scales that can move up simultaneously.
• 28:23
  SPEAKER_00: So you just switch the one that's a little bit higher when you need more light.
• 28:26
  SPEAKER_02: Yeah, yeah.
• 28:26
  SPEAKER_00: Yeah.
• 28:27
  SPEAKER_00: Yeah.
• 28:27
  SPEAKER_00: That's like the best way of describing it.
• 28:29
  SPEAKER_00: It's like playing a piano.
• 28:31
  SPEAKER_00: Yeah.
• 28:31
  SPEAKER_00: And the price.
• 28:32
  SPEAKER_00: And the price.
• 28:33
  SPEAKER_00: Yeah.
• 28:33
  SPEAKER_00: And the price.
• 28:34
  SPEAKER_00: And the price.
• 28:34
  SPEAKER_00: But but 2500's a real sweet spot.
• 28:37
  SPEAKER_00: That's a good, it's a good price.
• 28:38
  SPEAKER_01: Okay, and for a quality camera, like um, I've held them and they're actually a nice little it's the same body as an FX3.
• 28:45
  SPEAKER_01: It's identical.
• 28:46
  SPEAKER_01: Like it looks identical to it.
• 28:47
  SPEAKER_01: How do you go adding a speed booster and then a lens on top of that on a gimbal?
• 28:52
  SPEAKER_01: I don't use gimbals.
• 28:52
  SPEAKER_00: You don't use gimbal.
• 28:54
  SPEAKER_00: Still hands?
• 28:55
  SPEAKER_00: Or really still hands.
• 28:56
  SPEAKER_00: I should have been a surgeon.
• 28:57
  SPEAKER_00: Yeah.
• 28:58
  SPEAKER_00: No, really still hands.
• 29:00
  SPEAKER_00: And all the new cameras have this active stabilization and it applies a 10% crop to the footage.
• 29:07
  SPEAKER_02: Yeah.
• 29:07
  SPEAKER_00: But the trade-off is that like it's pretty good.
• 29:10
  SPEAKER_02: Yeah.
• 29:11
  SPEAKER_00: And I don't walk with it much.
• 29:12
  SPEAKER_00: Like, I'm not running with a camera in my hands.
• 29:14
  SPEAKER_02: Yeah.
• 29:15
  SPEAKER_00: But also, I've watched a lot of wedding films that are all gimbal stuff.
• 29:19
  SPEAKER_00: And it looks like a real estate video.
• 29:21
  SPEAKER_00: Uh right.
• 29:22
  SPEAKER_00: The whole video is like 16 millimeters, and then they're doing low shots up the dress, and then they're like panning around doing like orbits and stuff.
• 29:31
  SPEAKER_00: And and everyone's so far away because they're all shooting 16 or 24 millimeters, and everyone's faces are just like little specks in the distance.
• 29:39
  SPEAKER_00: It misses the vibe of the wedding.
• 29:41
  SPEAKER_00: This is the vibe of the wedding emotion, right?
• 29:43
  SPEAKER_01: It ends up a case.
• 29:45
  SPEAKER_01: I'm looking at a gimbal because I am going to do that real estate stuff.
• 29:48
  SPEAKER_01: So and more commercial landscaping.
• 29:50
  SPEAKER_01: So a gimbal, yeah.
• 29:52
  SPEAKER_01: I guess you can just adjust the weight, right?
• 29:54
  SPEAKER_00: Yeah.
• 29:55
  SPEAKER_00: Well, I think most of the gimbals, like an FX30 plus a speed booster, plus a little vintage lens, like you're not running much.
• 30:01
  SPEAKER_00: But yeah, I just found that the the the gimbal stuff, like if someone's like, oh, let's go shoot a automotive ad, I'd be like, all right, sweet, we're rigging it up, we're getting a Ronin two, we're putting it on the back of a car, like we're doing it the proper way.
• 30:13
  SPEAKER_00: Yeah.
• 30:13
  SPEAKER_00: But um, yeah, I guess it just depends on the genre.
• 30:16
  SPEAKER_00: I I think a little bit of movement in the camera is nice.
• 30:19
  SPEAKER_00: Yeah.
• 30:20
  SPEAKER_00: It also means that you can play with the speed and the music a bit more.
• 30:24
  SPEAKER_00: Because, you know, if you're locked into a once it's on the gimbal and you're walking, you're locked into a very specific speed that the camera's gonna move.
• 30:32
  SPEAKER_00: Yeah.
• 30:32
  SPEAKER_00: Whereas once you're shooting handheld, you've got the option to whip and pan.
• 30:36
  SPEAKER_00: You've got the option to, you know, if something's happened, happening over on the far side of the, you know, it's cocktail hour or something, and you're with the couple and one of their grandparents is playing with a kid, rather than you going, oh, I've got to zoom back out on the gimbal, I've got to walk over there.
• 30:50
  SPEAKER_00: You just punch in, whip over there, done.
• 30:52
  SPEAKER_00: Like you miss less stuff.
• 30:55
  SPEAKER_01: Yeah, man.
• 30:56
  SPEAKER_01: Outside of Sony lenses, do you have a favorite for the for the FX30?
• 31:00
  SPEAKER_00: Um so I'm not really supposed to promote other lenses, but um, I you have a vintage set of Nikon all manual focus AIS lenses.
• 31:08
  SPEAKER_00: So I've got a 24, 28, and an 85 F2.
• 31:12
  SPEAKER_00: Okay.
• 31:13
  SPEAKER_00: And they're beautiful.
• 31:13
  SPEAKER_00: Yeah.
• 31:14
  SPEAKER_00: So inherited them from my um my partner's dad and my mum.
• 31:17
  SPEAKER_00: Yeah, cool.
• 31:18
  SPEAKER_00: So yeah, and I and I use that as well when I shoot stills at weddings.
• 31:21
  SPEAKER_00: So um, if the couple wants it, I'll bring a couple of rolls along, usually like just Portra 160 or Portra 400, and I'll just wait, have kind of have it on the harness.
• 31:30
  SPEAKER_00: I'll have digital one, film on the other.
• 31:32
  SPEAKER_00: Yeah, it's just nice because people people love that kind of thing.
• 31:35
  SPEAKER_03: I just want to touch on it's a totally different subject.
• 31:38
  SPEAKER_03: Yeah, yeah.
• 31:38
  SPEAKER_03: I want to touch on your style.
• 31:40
  SPEAKER_03: Okay, what I did notice from day one when I've discovered you was that your work has a specific style that you've must you've developed, right?
• 31:49
  SPEAKER_03: Yeah, yeah.
• 31:49
  SPEAKER_03: And I think I'd like to know how you came about, how you develop your photos and your video to come to that style.
• 31:56
  SPEAKER_03: Because I think that's probably your draw card for most of your um customers.
• 32:00
  SPEAKER_00: I think, yeah, my photo and video looks almost identical.
• 32:03
  SPEAKER_00: Not quite, because obviously video looks, even though photo technically has more dynamic range, video always looks less contrasty just by nature.
• 32:11
  SPEAKER_00: Yeah.
• 32:12
  SPEAKER_00: Um I don't know.
• 32:14
  SPEAKER_00: I think in the beginning I over-edited everything like everyone does.
• 32:18
  SPEAKER_00: Clarity 100%.
• 32:19
  SPEAKER_00: Let's go.
• 32:20
  SPEAKER_00: I remember those days.
• 32:22
  SPEAKER_00: Yeah, I think I did that for a long time.
• 32:24
  SPEAKER_00: And then, you know, bought probably bought a bunch of presets back in the day and kind of was like, oh, I like this look, I like this look.
• 32:32
  SPEAKER_00: Um and then kind of just tweaked it until I was happy.
• 32:35
  SPEAKER_00: But I find particularly it's I want my colours to look natural.
• 32:41
  SPEAKER_00: Like, or at least like if that was what the landscape looked like, I want to make it better than it looked, but not alter it from how it looked.
• 32:49
  SPEAKER_00: Or on a wedding day, I want it to look as you know as vibrant as or it's got it's got as much pop as I want it to have, but I don't want people's skin to be like super oriented.
• 32:58
  SPEAKER_01: You're in here, you're enhancing, you're not changing.
• 33:00
  SPEAKER_00: Yeah, enhancing, not changing.
• 33:02
  SPEAKER_00: That's a really good I like that.
• 33:04
  SPEAKER_00: I think there's a big trend, especially in wedding photography, is just like make things a little bit too warm.
• 33:09
  SPEAKER_00: And it makes the images very monochromatic, which isn't bad.
• 33:12
  SPEAKER_00: I mean, if you're doing prints, sometimes monochromatic, you know, it's people like to put up that kind of work in their house because it it's easier to fit with your furniture, it's easier to kind of like mesh with other photos.
• 33:24
  SPEAKER_00: But uh yeah, it's just it doesn't I think I think when I teach photography specifically, uh the main thing I I focus on is contrast.
• 33:34
  SPEAKER_00: It's like what makes a great uh astro shot, it's good contrast.
• 33:39
  SPEAKER_00: You don't want the stars to be too flat.
• 33:41
  SPEAKER_00: What makes a good landscape image is you want to have contrast in the light, you want to have contrast between the shadows and the highlights.
• 33:48
  SPEAKER_00: And by making an image monochromatic, you're also reducing contrast in the sense of the contrast of colours.
• 33:55
  SPEAKER_00: If it's all monochromatic, not black and white, I mean, but like all CP almost.
• 33:59
  SPEAKER_00: Yeah, yeah.
• 34:00
  SPEAKER_00: It's you your eye can't detect as much depth to the image, you don't know where to look because everything's a similar colour.
• 34:08
  SPEAKER_00: Yeah, and hence not not uh not alter.
• 34:11
  SPEAKER_00: Yeah.
• 34:12
  SPEAKER_03: So how do you deal with your skin tones?
• 34:14
  SPEAKER_03: Because I think that's probably gotta be one of the hardest things when you're wedding book.
• 34:18
  SPEAKER_00: Um I don't do much to the skin tones.
• 34:23
  SPEAKER_00: I should all auto-white balance too.
• 34:25
  SPEAKER_00: Like, who has time to white balance unless you're Astro?
• 34:28
  SPEAKER_00: Yeah, I obviously I set it for Astro, but I should all auto-white balance and then I just all sync sync the gallery later in Lightroom.
• 34:34
  SPEAKER_00: Yeah, yeah.
• 34:35
  SPEAKER_00: But I think I just pull down the reds a little bit, push the oranges maybe a fraction up, and then just drag down the yellow, just because um obviously, like on a Bayer sensor, you've got your one red and blue uh filters and your two green.
• 34:51
  SPEAKER_00: And a lot of people, because they don't understand the technical side of photography, like the actual how the camera works, they don't understand that your camera is so much more sensitive to green and yellow than any other colour.
• 35:03
  SPEAKER_00: Any other color?
• 35:03
  SPEAKER_00: Any other colour.
• 35:04
  SPEAKER_00: Correct.
• 35:05
  SPEAKER_00: Yeah.
• 35:06
  SPEAKER_00: So even if you're shooting next to a window and to our eye, we're like, oh, it's daylight, it's white light coming in.
• 35:13
  SPEAKER_00: But if they've got a green garden out there, you're gonna get so much reflected greens on their face and so much of this yellowy, greeny hue.
• 35:20
  SPEAKER_00: And so I obviously pull that down a little bit because sometimes it can be overpowering.
• 35:26
  SPEAKER_00: Or, you know, if you're shooting a couple and they're underneath like a big canopy of green leaves, and then you've over-edited the image to make the skin look orange, it can go both ways.
• 35:36
  SPEAKER_00: So you can push it too far, but then also if you don't change it enough, they're just this if you yeah, it's like anything.
• 35:43
  SPEAKER_00: You put a blue piece of paper right next to my face right now, I'm gonna get some reflection off it.
• 35:48
  SPEAKER_00: Yeah.
• 35:48
  SPEAKER_00: And it's the same when when shooting weddings, and that's why I think um you do see a lot of over-editing in the wedding sphere.
• 35:55
  SPEAKER_00: Yeah.
• 35:56
  SPEAKER_00: Yeah.
• 35:56
  SPEAKER_00: Because people are trying to like get their skin tones to look perfect.
• 35:59
  SPEAKER_03: Wedding forever, retouching and things like that.
• 36:02
  SPEAKER_03: Yeah, yeah.
• 36:02
  SPEAKER_03: I don't retouch stuff.
• 36:04
  SPEAKER_03: Yeah, retouch.
• 36:04
  SPEAKER_03: That's uh that's the way it should be, though.
• 36:06
  SPEAKER_03: Because then like people then I think look like they look.
• 36:09
  SPEAKER_03: I think the retouching thing was like maybe 10 years ago where everyone was just like smoothing skin and doing crazy layers and stuff.
• 36:16
  SPEAKER_03: I think there is a place for that though.
• 36:18
  SPEAKER_01: I mean, if you're commercial work, yeah.
• 36:20
  SPEAKER_01: Commercial work and that like close-up portrait.
• 36:22
  SPEAKER_01: But if you're also a wedding photographer that prides themselves, that is that sort of style, and that's why someone books you, I think it's fine.
• 36:28
  SPEAKER_01: But as an everyday wedding photographer, then, or not every I don't say everyday as in like derogatory or anything like that.
• 36:35
  SPEAKER_01: As in you're just a wedding photographer, I think brick touching, yeah, just leave it.
• 36:41
  SPEAKER_01: Don't make it unnatural.
• 36:43
  SPEAKER_03: Well, I reckon you charge extra for it, right?
• 36:45
  SPEAKER_03: Yeah, it becomes a fine art.
• 36:47
  SPEAKER_03: It's so much extra time invested.
• 36:49
  SPEAKER_03: So like you, I don't know, you'd have to give like a mood board to say, you know, you pick which ones you want to have this sort of ending.
• 36:55
  SPEAKER_03: Yeah, and then you charge them per image, I think.
• 36:57
  SPEAKER_00: Yeah, it comes into like digital art then too.
• 36:59
  SPEAKER_00: It's not necessarily the same skill set that a photographer would have.
• 37:03
  SPEAKER_00: Yeah, yeah, yeah.
• 37:04
  SPEAKER_01: Yeah.
• 37:04
  SPEAKER_01: On that, on the technical, yeah.
• 37:06
  SPEAKER_01: How do you find this new announcement from Sony?
• 37:11
  SPEAKER_00: Well, the new three, the global shutter.
• 37:15
  SPEAKER_00: Um, so at first, obviously, I can't, I can't bad, I can't shit talk it.
• 37:21
  SPEAKER_00: I can't obviously um on Sony's payroll.
• 37:25
  SPEAKER_00: But um, I was a little hesitant at first about dynamic range.
• 37:28
  SPEAKER_00: There are global sent global shutter sensors that are already in market, but for you know, military use, uh medical imagery.
• 37:35
  SPEAKER_01: No, it's not for um your public.
• 37:37
  SPEAKER_00: Yeah, or it's been cinema cameras.
• 37:39
  SPEAKER_00: Yeah.
• 37:39
  SPEAKER_00: And the the biggest trade-off up until this point has been dynamic range.
• 37:43
  SPEAKER_00: Yeah.
• 37:43
  SPEAKER_00: And I think at the end of the day, photographers globally value dynamic range over every other feature in camera.
• 37:52
  SPEAKER_02: Yeah.
• 37:52
  SPEAKER_00: Yeah, exactly.
• 37:53
  SPEAKER_00: It's the number one thing.
• 37:54
  SPEAKER_00: It's the number one thing.
• 37:55
  SPEAKER_00: Well, it saves you, saves your day.
• 37:57
  SPEAKER_00: And I think obviously Sony pride themselves on trying to lead the market with development.
• 38:03
  SPEAKER_00: And I think they wouldn't have released it if it wasn't ready.
• 38:05
  SPEAKER_00: Correct.
• 38:06
  SPEAKER_00: Um, so I have full faith that it's gonna do what it needs to do.
• 38:08
  SPEAKER_00: But I'm really excited for it mainly because um I'm shooting a lot of video next to people that use strobes or flash, and so I won't get that annoying half-frame banding anymore.
• 38:21
  SPEAKER_00: And then obviously shooting indoor to outdoor, um, I shoot stills and video.
• 38:25
  SPEAKER_00: So the benefits of the global shutter, like I'll be buying one 100%.
• 38:29
  SPEAKER_00: Like come February.
• 38:31
  SPEAKER_00: I'll be I'll straight straight into the store.
• 38:33
  SPEAKER_00: Yeah, will you get your hands on one first?
• 38:34
  SPEAKER_00: Hope so.
• 38:36
  SPEAKER_00: Um, I know there's a couple floating around I've seen in Australia.
• 38:39
  SPEAKER_00: So there's not many of them.
• 38:41
  SPEAKER_00: Not many, I mean, I'd love to.
• 38:44
  SPEAKER_00: Um, but obviously, like, you know, there's other influencers and educators and ambassadors that probably get that first.
• 38:51
  SPEAKER_00: Yeah.
• 38:51
  SPEAKER_00: Um, but yeah, I'm really excited for it just because there's a few features in there that if you're like wildlife, especially, like pre-capture, being able to, you know, once you're half pressed and you're tracking something, you can record up to a second of buffer time.
• 39:05
  SPEAKER_00: So, you know, if you want that that bird taking flight, as long as you're focusing on it, it's still capturing images.
• 39:11
  SPEAKER_00: Yeah.
• 39:12
  SPEAKER_00: And it just keeps keeps it in the camera's internal memory and then just bins it when you don't want it.
• 39:17
  SPEAKER_00: I think that's pretty cool.
• 39:18
  SPEAKER_00: Um clever.
• 39:20
  SPEAKER_00: That is cool.
• 39:21
  SPEAKER_00: So then if you like, you see something, you go, oh, quick, I need it quick.
• 39:24
  SPEAKER_03: Yeah.
• 39:24
  SPEAKER_03: And it captures it.
• 39:25
  SPEAKER_01: Maybe if you just missed it.
• 39:26
  SPEAKER_01: The same when you when you're as a surf photographer, if you ever shot waves, then you've always had that your finger on the trigger like to keep your focus for that right moment.
• 39:34
  SPEAKER_01: So if you already have that half pressed, you're already capturing that line.
• 39:37
  SPEAKER_01: Yeah.
• 39:37
  SPEAKER_01: And then something pops in before you hit the trigger.
• 39:40
  SPEAKER_01: Oh, God, I miss that.
• 39:41
  SPEAKER_01: But if you're not going to miss it, that's fantastic.
• 39:43
  SPEAKER_00: Yeah.
• 39:43
  SPEAKER_00: I I there's a big culture, especially in the photography community, about always buying the latest and greatest.
• 39:49
  SPEAKER_00: And oh, it's a oh, it's massive.
• 39:51
  SPEAKER_00: And now, and so many, like I I ran a workshop yesterday and was getting a dozen questions.
• 39:56
  SPEAKER_00: You know, that these are people using that have maybe just upgraded from APSC to full frame.
• 40:00
  SPEAKER_00: And they're going, oh, an A9 Mark III, like I want it so bad.
• 40:04
  SPEAKER_00: I'm like, why?
• 40:05
  SPEAKER_00: What do you need?
• 40:06
  SPEAKER_00: What do you need it for?
• 40:07
  SPEAKER_00: What do you need it for?
• 40:08
  SPEAKER_00: Well, when when I look at like what the benefits of the global shutter are, it's designed for sports and wildlife.
• 40:14
  SPEAKER_02: Yep.
• 40:14
  SPEAKER_00: Like that, that is and journalists.
• 40:16
  SPEAKER_00: I mean, journalists don't even shoot raw.
• 40:18
  SPEAKER_00: Like a lot of a lot of them have to shoot JPEG because you're not meant to alter the image in any way.
• 40:22
  SPEAKER_00: And they want speed, accuracy, good autofocus, great weather ceiling, and they don't want banding with electronic backgrounds.
• 40:29
  SPEAKER_00: So, you know, Olympic photographers that are shooting, like, say, the soccer or something, or FIFA World Cup.
• 40:34
  SPEAKER_02: Yeah.
• 40:34
  SPEAKER_00: And you've got all those advertisements, like advertisements in the background running on those LED panels.
• 40:39
  SPEAKER_00: Yep.
• 40:40
  SPEAKER_00: Global Shutter, you're going to be able to see that image now.
• 40:43
  SPEAKER_00: And one, that's valuable to the photographer because you're not going to get banding.
• 40:46
  SPEAKER_00: And then two, the news agencies and publications, and also the people that pay for those advertising are going to love it because now their ads can be seen.
• 40:55
  SPEAKER_00: Yeah.
• 40:55
  SPEAKER_00: And so that's really what it's designed for.
• 40:59
  SPEAKER_00: And I I'm very excited for it as a wedding photographer because I'm like, great, no banding indoors.
• 41:04
  SPEAKER_00: I can use silent shutter all day, which I already use.
• 41:07
  SPEAKER_00: Um, but obviously now it's even more like foolproof and lower resolution.
• 41:14
  SPEAKER_00: I love my A1, but 50 megapixels.
• 41:18
  SPEAKER_00: It's not enough.
• 41:19
  SPEAKER_00: Not enough.
• 41:20
  SPEAKER_00: It's too much.
• 41:21
  SPEAKER_03: It's different, different when you're right.
• 41:24
  SPEAKER_03: I'm joking.
• 41:24
  SPEAKER_03: Yeah.
• 41:25
  SPEAKER_03: Take it, take us through that.
• 41:26
  SPEAKER_03: Like for anyone listening who maybe wants to get in the video or isn't aware, like, where where's your good points between your stills and your and your videos for like megapixels?
• 41:36
  SPEAKER_03: All right.
• 41:36
  SPEAKER_00: So 4K video is eight megapixels.
• 41:40
  SPEAKER_00: It's only eight megapixels, but most cameras do 12 and then downsample.
• 41:46
  SPEAKER_00: That's obviously so you get a slightly sharper image.
• 41:48
  SPEAKER_00: So any, this is what I tell people.
• 41:50
  SPEAKER_00: If they're buying, you know, the the latest and greatest high-resolution camera, I'm like, cool, your photos are going to be great.
• 41:57
  SPEAKER_00: But if you're getting 50 megapixels, 61 megapixels, or 100 megapixels in the case of some medium format, and you're trying to squish that down to eight, what's the camera doing to get there?
• 42:08
  SPEAKER_00: It's either clumping some pixels together or it's skipping every second line.
• 42:13
  SPEAKER_00: And so, again, with like, say, like the A7 IV, people ask me, oh, why has it got a crop in 4K 60?
• 42:19
  SPEAKER_00: Like, that's so bad.
• 42:20
  SPEAKER_00: Like, surely they could have just done 4K60 full frame.
• 42:24
  SPEAKER_00: I'm like, yeah, but then it would have binned every second line of pixels to get you there.
• 42:28
  SPEAKER_01: Plus, the thing is that A7R4, that's what I'm running.
• 42:31
  SPEAKER_01: But but that camera is a photographic camera at heart.
• 42:36
  SPEAKER_01: Yeah.
• 42:36
  SPEAKER_00: With video in it.
• 42:38
  SPEAKER_00: Nearly all of the alphas are photographic cameras that either happen to be really good at video or they deliver good video.
• 42:45
  SPEAKER_01: The only one that ri for me that really does it really well is A7S.
• 42:49
  SPEAKER_01: Yeah.
• 42:50
  SPEAKER_01: You're buying that's for video.
• 42:52
  SPEAKER_00: Yeah, because it's doing 4.2k down to 4K.
• 42:55
  SPEAKER_00: So it's only squishing it a little bit, and that's why it doesn't have overheating issues.
• 42:59
  SPEAKER_00: Yeah.
• 42:59
  SPEAKER_00: Because, you know, if you're swishing 50 megapixels down to eight, the camera's working really hard to make that happen.
• 43:06
  SPEAKER_00: Yeah.
• 43:06
  SPEAKER_00: And you know, you're you're not buying an A1 to film an hour-long documentary.
• 43:10
  SPEAKER_00: No.
• 43:11
  SPEAKER_00: And you're not doing hour-long interviews on that camera.
• 43:13
  SPEAKER_00: Like I've had people complain, oh, it overheated.
• 43:15
  SPEAKER_00: I'm like, well, yeah, like you're you're trying to do production quality work with a non-production camera.
• 43:21
  SPEAKER_00: Yes.
• 43:21
  SPEAKER_00: Like buy an FX camera for a third of the price.
• 43:24
  SPEAKER_01: Yeah.
• 43:25
  SPEAKER_01: Because um, we we'll probably eventually do our podcast with video.
• 43:29
  SPEAKER_01: And I've been looking at the FXs for that to do that as well.
• 43:32
  SPEAKER_01: Yeah, that'd be awesome.
• 43:33
  SPEAKER_01: I'd love to see you guys do that.
• 43:34
  SPEAKER_01: Um, but uh for the for my the business as well, I'm looking at the FX30 and the FX3.
• 43:44
  SPEAKER_01: But the um that 30 does look like very nice, Cap.
• 43:47
  SPEAKER_01: You won't be sorry to get back to the code.
• 43:48
  SPEAKER_01: No, you you you you you won't be bothered by the crop.
• 43:51
  SPEAKER_01: You honestly can't bother.
• 43:52
  SPEAKER_01: I don't really care anymore.
• 43:53
  SPEAKER_01: I mean, I think that full frame thing's gone out the window for me for a little a while back because I've always like you were saying about cropping and I've always Been like Carl and I have had this discussion a fair bit that you're better off buying a 50 megapixel full frame versus a 60 megapixel APSC because they're all jamming into a smaller sensor and you expand it, you get better detail and you get more.
• 44:14
  SPEAKER_03: I think it's like changing, right?
• 44:16
  SPEAKER_03: Because video is such a massive thing now.
• 44:18
  SPEAKER_03: And you you physically don't need that many megapixels, like you said.
• 44:23
  SPEAKER_03: And the megapixel war came about because people wanted to print better quality huge, right?
• 44:30
  SPEAKER_03: And that's where megapixels are beneficial, but you go to the video, yeah, you don't need it.
• 44:34
  SPEAKER_00: It's the opposite, completely opposite.
• 44:37
  SPEAKER_00: Um it also it because it impacts your dynamic range.
• 44:40
  SPEAKER_00: Yeah.
• 44:40
  SPEAKER_00: And the way I was taught by um a guy called Dan who works for Sony, he's like the product specialist.
• 44:45
  SPEAKER_00: He's like the the he knows everything about everything.
• 44:48
  SPEAKER_00: And he basically explained it as imagine you've got, say, we'll say we'll use buckets instead of like pixels, but you've got 27 buckets, so 27 megapixels, or you've got nine buckets, and they're all laid out into, you know, the sh the shape of your sensor.
• 45:04
  SPEAKER_00: So you've got 27 or nine.
• 45:06
  SPEAKER_00: The nine buckets, even if there's the same amount of water spread evenly amongst them, those nine buckets have more in each bucket as opposed to the 27.
• 45:16
  SPEAKER_00: Because you've got a finite amount of light coming in based on your settings.
• 45:20
  SPEAKER_00: Yeah, they're just spreading.
• 45:21
  SPEAKER_00: And you're spreading that that light over 27 buckets, or you're spreading, or you're spreading that water over 27 buckets, or you're spreading it over nine buckets.
• 45:29
  SPEAKER_00: So those nine buckets are actually technically getting a little bit more information per bucket.
• 45:34
  SPEAKER_00: Yeah.
• 45:34
  SPEAKER_00: And that's a good way of describing it.
• 45:36
  SPEAKER_01: But obviously, when it comes to that's that's awesome.
• 45:39
  SPEAKER_00: Yeah, but but as opposed to like when it comes to photo, where you have so much more control, you're not going to notice that difference as much.
• 45:46
  SPEAKER_00: Whereas with video, if it has to skip every second line of buckets to try and get it down, yeah, it's you're losing all that information.
• 45:54
  SPEAKER_00: So what's the point?
• 45:55
  SPEAKER_03: Yeah, yeah.
• 45:55
  SPEAKER_03: All the high ISO cameras, there's always, you know, less megapixels, more performance with ISO, right?
• 46:01
  SPEAKER_00: And that's why I think 24 is the sweet spot.
• 46:04
  SPEAKER_00: I would love it if that 20, that same 9 Mark III sensor, if it finds its way into a few other cameras, I'd be pretty happy.
• 46:12
  SPEAKER_00: Like um, if it found its way into an FX3 Mark II or something, I'd be pretty happy.
• 46:16
  SPEAKER_00: Just because that 24 megapixels is exactly 6K.
• 46:20
  SPEAKER_00: Yeah.
• 46:20
  SPEAKER_00: Like it is exactly 6K.
• 46:22
  SPEAKER_00: And so you either do a 6K down sample to 4K.
• 46:27
  SPEAKER_00: So you're getting that slightly oversharpened uh digital look, but you you have got the option to crop because it's even if the footage is 4K in your timeline, but it was 6k in camera, you can still crop a little bit more.
• 46:40
  SPEAKER_00: Whereas like on an S3, when it's already 4K, and then you're putting it in your timeline at 4K, and then you're cropping it a bit more, like you are losing a bit.
• 46:48
  SPEAKER_02: Yeah.
• 46:49
  SPEAKER_00: Whereas I think that 24 is that sweet spot.
• 46:51
  SPEAKER_00: I mean, that's why the A7 III was so popular.
• 46:54
  SPEAKER_00: Like that thing's all game busted.
• 46:56
  SPEAKER_01: That's a great little camera for what it is.
• 46:57
  SPEAKER_01: Like that's that's awesome.
• 46:58
  SPEAKER_01: I know a couple of guys that shoot photo and video on there for commercial work because it's just handy.
• 47:02
  SPEAKER_01: They can switch between the two.
• 47:04
  SPEAKER_00: Yeah.
• 47:04
  SPEAKER_00: And I think 24 is the sweet spot for I would say, because you know, you're not you're not filling up your your storage at home.
• 47:11
  SPEAKER_00: And no, I'm honest.
• 47:13
  SPEAKER_00: I'm on it.
• 47:14
  SPEAKER_00: That's specifically why I bought an A1.
• 47:16
  SPEAKER_00: It wasn't to do with the autofocus because all the Sony autofocus can keep up with what I do.
• 47:21
  SPEAKER_00: And it's not to do with the flash sync, it's not to do with the um the like the 4K 120.
• 47:29
  SPEAKER_00: I don't I don't really use that much, that much.
• 47:30
  SPEAKER_00: Like 4K 60 is fine.
• 47:32
  SPEAKER_00: It was specifically because you can use electronic shutter all day long with no wear and tear on the camera.
• 47:38
  SPEAKER_00: Because it's not firing a curtain over the sensor because the sensor readouts so fast.
• 47:43
  SPEAKER_00: And again, that's the benefit of that 9 Mark III, because if I was just shooting landscapes, if I was doing time lapse, it's a bit different.
• 47:51
  SPEAKER_00: But if you're a landscape photographer and you're shooting, you know, 30, 40 frames a day for 10 years, awesome.
• 47:58
  SPEAKER_00: You're you're a wedding photographer.
• 47:59
  SPEAKER_00: I shoot 300,000, 400,000 photos a year.
• 48:02
  SPEAKER_02: Yeah.
• 48:02
  SPEAKER_00: You know, and the life cycle of a mechanical shutter is about 350,000.
• 48:07
  unknown: Yeah.
• 48:07
  SPEAKER_00: So they're rated like that.
• 48:08
  SPEAKER_00: Some last longer, some last less.
• 48:10
  SPEAKER_00: Depends on how you treat your camera.
• 48:12
  SPEAKER_00: But that's almost replacing a camera every year or one every two years.
• 48:16
  SPEAKER_00: Yeah, yeah.
• 48:16
  SPEAKER_00: So it's it's kind of like, or I could just spend an extra couple of thousand and get an alpha one.
• 48:22
  SPEAKER_00: And theoretically, I could use it for 10 years with no wear and tear.
• 48:25
  SPEAKER_00: Yeah.
• 48:26
  SPEAKER_00: Which is awesome.
• 48:26
  SPEAKER_00: Yeah.
• 48:27
  SPEAKER_00: Yeah.
• 48:27
  SPEAKER_00: So you use silent shutter all the time?
• 48:29
  SPEAKER_00: All the time.
• 48:30
  SPEAKER_00: Yeah.
• 48:30
  SPEAKER_00: Um, depends.
• 48:31
  SPEAKER_00: Like you can get flash sync on the A1 up to one four hundredth of a second.
• 48:35
  SPEAKER_00: It's the only camera that can do it.
• 48:38
  SPEAKER_00: Yeah.
• 48:38
  SPEAKER_00: The nine three you can do flash sync at one over eighty thousandth of a second.
• 48:43
  SPEAKER_03: Wow.
• 48:43
  SPEAKER_03: Man.
• 48:44
  SPEAKER_00: Yeah.
• 48:44
  SPEAKER_00: That's like gone with the days of the 250th.
• 48:47
  SPEAKER_00: Yeah.
• 48:48
  SPEAKER_00: So the A1 specifically can do one over 400 in mechanical.
• 48:52
  SPEAKER_00: So if I need it, I'll switch to mechanical.
• 48:53
  SPEAKER_00: Yeah.
• 48:54
  SPEAKER_00: Or if I'm getting banding.
• 48:55
  SPEAKER_00: So like if I'm at a venue and they've got down lights and they've got like a neon sign in the background, and for whatever reason I'm getting banding, I'll just switch back to mechanical.
• 49:05
  SPEAKER_00: But I that's pretty rare.
• 49:07
  SPEAKER_00: But then that's why I'm so excited for the nine month three.
• 49:10
  SPEAKER_00: It's like that problem is just gone.
• 49:12
  SPEAKER_00: Yeah.
• 49:12
  unknown: Yeah.
• 49:13
  SPEAKER_01: What about silent shutter versus um mechanical for landscape photographers?
• 49:18
  SPEAKER_00: It doesn't make a difference, really.
• 49:19
  SPEAKER_00: So um I think silent on some other brands or like some lower spec cameras, there is a massive trade-off with going silent because it's not firing the curtain to basically follow the rolling shutter and block the light below and above the line that's being read.
• 49:38
  SPEAKER_00: Um it's just doing that same sample down the sensor as fast as it can, which unfortunately actually isn't that fast.
• 49:44
  SPEAKER_00: So you'll end up with um what we call shutter distortion.
• 49:48
  SPEAKER_00: So say you have someone who's swinging a golf club really fast.
• 49:53
  SPEAKER_00: You click to take the shot at the top of the swing, you click to take the shot at the top of the swing, but by the time the camera's read to the bottom of the sensor, the golf club is now at the golfer's foot.
• 50:04
  SPEAKER_00: So in your photo, the golf club will curve based on where it's traveled.
• 50:08
  SPEAKER_03: I actually have a photo with exactly that problem in it.
• 50:12
  SPEAKER_03: Yeah.
• 50:12
  SPEAKER_03: It was like real 70 kilometer of winds.
• 50:14
  SPEAKER_03: I'll shoot you with a 250 uh mil.
• 50:17
  SPEAKER_03: Yeah.
• 50:17
  SPEAKER_03: And it so and still subject, and all the light poles are bent.
• 50:21
  SPEAKER_00: Really?
• 50:21
  SPEAKER_00: Yeah, yeah.
• 50:22
  SPEAKER_00: Just because of the vibration from the window.
• 50:23
  SPEAKER_00: Just got the vibration from the wind.
• 50:24
  SPEAKER_00: Yeah.
• 50:25
  SPEAKER_00: Yeah, obviously you're at 250 mil.
• 50:26
  SPEAKER_00: Like that's going to amplify any movement at that point.
• 50:30
  SPEAKER_00: That's like shooting, yeah.
• 50:31
  SPEAKER_00: Yeah.
• 50:31
  SPEAKER_03: 1250th of a second.
• 50:32
  SPEAKER_03: Yeah.
• 50:33
  SPEAKER_00: So there's still the rolling, yeah.
• 50:35
  SPEAKER_00: The rolling shutter is like especially for bird photography.
• 50:38
  SPEAKER_00: Like if you're using silent on a non no on a camera that's not designed for silent, like if you're using any ordinary camera, like yeah, you've got a bird in flight and you're in silent mode, that thing's gonna stretch.
• 50:50
  SPEAKER_00: Yeah.
• 50:51
  SPEAKER_00: Yeah, yeah, yeah.
• 50:53
  SPEAKER_00: Yeah.
• 50:53
  SPEAKER_00: But I think if you're doing like seascape or something, where you're gonna have movement in the water anyway, you probably wouldn't notice.
• 51:00
  SPEAKER_00: I don't think you know.
• 51:02
  SPEAKER_00: That's you, yeah, you wouldn't notice.
• 51:04
  SPEAKER_01: You probably wouldn't.
• 51:05
  SPEAKER_01: Yeah.
• 51:05
  SPEAKER_01: Not when you're exposure for 15.
• 51:06
  SPEAKER_01: Do you use silent?
• 51:07
  SPEAKER_01: Me, nah.
• 51:08
  SPEAKER_01: Yeah.
• 51:09
  SPEAKER_01: No need to.
• 51:10
  SPEAKER_01: No need to.
• 51:11
  SPEAKER_01: Yeah.
• 51:11
  SPEAKER_01: I don't use it.
• 51:12
  SPEAKER_01: Let's um circle back to your relationship with Sony.
• 51:16
  SPEAKER_01: Oh, yeah.
• 51:17
  SPEAKER_00: Um so yeah, I was fortunate enough that when I left Sony, having some friends there, and then also just um working in and around the Sony sphere for so long.
• 51:28
  SPEAKER_00: Um, I was added to the Sony Advocate program.
• 51:31
  SPEAKER_00: Yeah.
• 51:32
  SPEAKER_00: So that that program's a collection of photographers all around Australia.
• 51:36
  SPEAKER_00: And our kind of relationship with Sony is that we support them and they support us by running events.
• 51:41
  SPEAKER_00: Yep.
• 51:42
  SPEAKER_00: So there's ambassadors that kind of do a bit more to do like brand representation and influencing.
• 51:46
  SPEAKER_00: But then I'm kind of like the tier below that where we're kind of like, you know, boots in the trenches.
• 51:52
  SPEAKER_00: And I think Sony does a really good job of that.
• 51:54
  SPEAKER_00: Um uh engaging photographers, especially because you know, any brand, the sooner you get someone into your system, the longer you're gonna lock them in for.
• 52:02
  SPEAKER_00: I guess that's the sales side of my brain talking because doing it for so long.
• 52:06
  SPEAKER_00: So it is it is obviously about selling Sony at the end of the day.
• 52:11
  SPEAKER_00: Yeah.
• 52:11
  SPEAKER_00: But um, you know, I think they do a really good job of supporting the community and running a lot of events.
• 52:17
  SPEAKER_00: Like so they have this platform called Sony Scene.
• 52:20
  SPEAKER_00: I think there's 30 odd of us advocates across the whole country in New Zealand as well, actually.
• 52:25
  SPEAKER_00: And yeah, we run, you know, some free events, online workshops, shooting experiences.
• 52:31
  SPEAKER_00: It's kind of whatever we want to do.
• 52:32
  SPEAKER_00: Like whatever we want to run, we can run.
• 52:33
  SPEAKER_01: That's a great program, too.
• 52:35
  SPEAKER_01: I think I've signed up to that before as well.
• 52:38
  SPEAKER_01: Being a Sony shooter myself.
• 52:40
  SPEAKER_01: Yeah.
• 52:40
  unknown: Yeah.
• 52:41
  SPEAKER_03: Something I've never looked at.
• 52:42
  SPEAKER_03: I've never looked at I've I've never I've shot Sony once for a very short period.
• 52:46
  SPEAKER_03: Yeah.
• 52:46
  SPEAKER_03: That was like the the first Sony that came out, you know.
• 52:49
  SPEAKER_03: Yeah, okay.
• 52:50
  SPEAKER_03: A very long time ago.
• 52:51
  SPEAKER_00: Yeah, I think it's good just because like I remember when I first started shooting, you know, that like that was back like peak Instagram days, like when like Instagram was big for photographers and everyone was running photo walks, and then that just died.
• 53:05
  SPEAKER_00: Like, and then I've obviously learned a lot by second shooting or kind of you know, like shadowing other photographers, and I'm very lucky that I've had that opportunity.
• 53:14
  SPEAKER_00: Yeah, yeah.
• 53:15
  SPEAKER_00: Whereas a lot of photographers don't have the opportunity to like even you guys, like for what you shoot.
• 53:21
  SPEAKER_00: If I was starting again, I would be latching onto someone like you and like, oh, I want to come to a shoot.
• 53:26
  SPEAKER_00: Oh, you're gonna go hike here.
• 53:28
  SPEAKER_00: I'd love to come and I'd love to just shoot near you because the the kind of stuff that you learn from that is more than you'll ever learn on YouTube or anything.
• 53:37
  SPEAKER_00: Because you can learn how to you can learn specs, you can learn the technical side, you can learn all that kind of thing, but you you can't learn to re read the light.
• 53:46
  SPEAKER_00: Yep.
• 53:46
  SPEAKER_00: And that's something that you only get from shooting in person.
• 53:49
  SPEAKER_00: Yeah.
• 53:49
  SPEAKER_01: So like in the it's in the moment.
• 53:52
  SPEAKER_01: Yeah.
• 53:53
  SPEAKER_01: Yeah.
• 53:53
  SPEAKER_01: I'd also like to add to that is that people should also not be afraid to ask.
• 53:57
  SPEAKER_01: Yeah.
• 53:58
  SPEAKER_01: Because I think that's a big thing is that people will watch from the outside and then and then learn.
• 54:04
  SPEAKER_01: And then that actually pisses photographers off more because then you you're copying.
• 54:10
  SPEAKER_01: Yeah.
• 54:10
  SPEAKER_01: You're not, you know.
• 54:11
  SPEAKER_01: So I reckon if if you if you find somebody that you want to, just ask them.
• 54:15
  SPEAKER_01: Just say, hey man, I'd really love your work, and I'd come out.
• 54:18
  SPEAKER_01: Or hey, like if it's a female photographer or artist or whoever you are, just just ask them.
• 54:24
  SPEAKER_01: Yeah.
• 54:24
  SPEAKER_01: Most most people, if you gen, if you're genuinely asking and you're a genuine person, they won't have a problem with it.
• 54:30
  unknown: Yeah.
• 54:31
  SPEAKER_01: It's all about community at the end of the day.
• 54:32
  SPEAKER_01: So community, not competition.
• 54:34
  SPEAKER_01: Correct.
• 54:34
  SPEAKER_00: I love that.
• 54:35
  SPEAKER_00: More collaboration, right?
• 54:36
  SPEAKER_00: Yeah.
• 54:36
  SPEAKER_00: Better enemies.
• 54:37
  SPEAKER_00: Yeah.
• 54:38
  SPEAKER_01: Better way to go with the community.
• 54:39
  SPEAKER_01: And that's the reason why we started the podcast is for more uh community-based, because there's too much competition out there.
• 54:45
  SPEAKER_00: I think that's the problem, is like at the moment, obviously, everyone's trying to get ahead.
• 54:52
  SPEAKER_00: Everyone's trying to make money.
• 54:54
  SPEAKER_00: Like, that's you've got to just survive, especially with this cost of living.
• 54:58
  SPEAKER_00: And I don't know.
• 54:59
  SPEAKER_00: The cost of living.
• 55:00
  SPEAKER_03: That's a touchy subject.
• 55:01
  SPEAKER_00: Yeah, I know.
• 55:02
  SPEAKER_00: But everyone's very caught up in trying to do that.
• 55:06
  SPEAKER_00: That, you know, the you get a lot of gatekeeping.
• 55:09
  SPEAKER_00: People will be like, oh, well, you know, you can't learn to edit yourself by my presets or come to my workshop and they'll charge like a thousand dollars a workshop.
• 55:18
  SPEAKER_00: But it depends on who you who you run it with.
• 55:21
  SPEAKER_00: Yeah.
• 55:21
  SPEAKER_00: Um, but like, especially with workshops, like I'll put everything I know on the table because because at the end of the day, I'm not gonna be doing this forever.
• 55:31
  SPEAKER_00: Like I'd love to shoot forever, but I'm probably not gonna be doing weddings till the day I die.
• 55:34
  SPEAKER_02: Yeah.
• 55:34
  SPEAKER_00: You know what I mean?
• 55:35
  SPEAKER_00: And if you gatekeep all of that knowledge, there's not gonna be someone that's gonna come along and help you one day.
• 55:41
  SPEAKER_00: There's not gonna be someone that's that's gonna want to shoot with you.
• 55:44
  SPEAKER_00: And yeah, everything I know, I'm happy to just lay it all out there because um there's more than enough work to go around.
• 55:51
  SPEAKER_00: Like every business needs photos taken.
• 55:54
  SPEAKER_00: Every business needs social media content, every business needs marketing material.
• 55:59
  SPEAKER_00: It's like there's more than enough to go around.
• 56:01
  SPEAKER_00: Yeah, you just have to play your cards right.
• 56:03
  SPEAKER_02: Yeah.
• 56:04
  SPEAKER_01: And the bigger community you have, the more leads you're gonna get as well.
• 56:08
  SPEAKER_00: The amount of referrals I get from other photographers is insane.
• 56:11
  SPEAKER_00: Yep.
• 56:11
  SPEAKER_00: And the amount of work I pass on, I hope, is also equally to what they pass to me.
• 56:16
  SPEAKER_00: Yeah.
• 56:16
  SPEAKER_00: But if it's something that I'm not interested in or it's something that I'm not um probably the best, the best kind of vendor for, I'm more than happy to pass it on because yeah, again, what goes around comes around.
• 56:26
  SPEAKER_03: I've also done that in the past where like I've referred other photographers when someone said, Oh, I need a print of this location.
• 56:34
  SPEAKER_03: And I was like, look, I can go take it for you, but it's gonna cost this X amount of dollars.
• 56:38
  SPEAKER_03: Or you can see this photographer who already has that shot and you can purchase it.
• 56:43
  SPEAKER_03: Yeah, and I've done that several times for work I don't have.
• 56:47
  SPEAKER_03: I've passed on to like other photographers to like get a sale.
• 56:50
  SPEAKER_03: So I'm 100%.
• 56:52
  SPEAKER_00: How do you go with prints?
• 56:53
  SPEAKER_00: Because prints is the part of my business that doesn't really work.
• 56:58
  SPEAKER_00: Have a good relationship with a printer.
• 57:00
  SPEAKER_00: Yeah, okay.
• 57:01
  SPEAKER_00: So I I just use pick time and they they obviously just ship direct.
• 57:04
  SPEAKER_00: I don't have to touch the print.
• 57:05
  SPEAKER_00: Yeah, but the quality is amazing.
• 57:07
  SPEAKER_00: I think they use Atkins printing.
• 57:08
  SPEAKER_02: Okay.
• 57:09
  SPEAKER_00: But again, yeah, like um, I haven't really looked into it too much.
• 57:12
  SPEAKER_00: I know you guys have a really good relationship.
• 57:15
  SPEAKER_00: I'd love to know more.
• 57:16
  SPEAKER_01: Yeah, so we we have a great relationship, and it just so happens that they're a sponsor of our show.
• 57:21
  SPEAKER_01: But yeah, Creative for Life printing, they're um they're fantastic.
• 57:25
  SPEAKER_01: Glenn McKimmen runs that, it's one of his businesses, and he's a Lance.
• 57:30
  SPEAKER_01: Um so he's a friend of ours um as well.
• 57:32
  SPEAKER_01: We've had him on the show.
• 57:34
  SPEAKER_01: Yep.
• 57:34
  SPEAKER_01: And so he has that business, he sponsors us, but their quality is second to none.
• 57:42
  SPEAKER_01: Yeah.
• 57:42
  SPEAKER_01: Okay.
• 57:42
  SPEAKER_01: Like, I mean, if if you send something to them and you say uh uh they'll help you out.
• 57:46
  SPEAKER_01: If there's an issue there, they'll help you out.
• 57:48
  SPEAKER_01: They'll ship it from wherever you are, they'll ship it to you.
• 57:51
  SPEAKER_01: They've got a range of papers, range of yeah.
• 57:53
  SPEAKER_01: So that's why I say have a great relationship with a printer and a framer, because then they also get to know your work.
• 58:00
  SPEAKER_01: Yeah.
• 58:00
  SPEAKER_01: So that if you send something as a mistake in that, if they're that, yeah, exactly.
• 58:03
  SPEAKER_01: If they there's a mistake in that work, they'll know.
• 58:06
  SPEAKER_01: Yeah, okay.
• 58:06
  SPEAKER_03: And they'll call you.
• 58:07
  SPEAKER_03: They give you like custom printing sizes and you can basically submit like a portfolio of what you sell, and they can white label sell that for you as opposed to just having the one-stop shop, like that's what it comes at.
• 58:21
  SPEAKER_03: No cooking.
• 58:22
  SPEAKER_03: So you get this, you get a professional portfolio and you can get sharper pricing once you have volume, obviously.
• 58:29
  SPEAKER_03: And then it's like the best people in the Australian print business use Creative Lot.
• 58:35
  SPEAKER_03: So when you think of people like Ken Duncan, yeah, and he uses that shop, there's a reason to use a shop.
• 58:43
  SPEAKER_03: Yeah, exactly.
• 58:43
  SPEAKER_03: You know, he's probably one of the biggest print sales in Australia full stock.
• 58:48
  SPEAKER_00: Yeah, yeah.
• 58:49
  SPEAKER_00: Pretty much every Airbnb at least one.
• 58:51
  SPEAKER_01: Yeah, at least one Ken Duncan, right?
• 58:53
  SPEAKER_01: And a lot of people our age came up coming and seeing his work, like whether it be a poster or something like that.
• 58:58
  SPEAKER_01: But but yeah, and I mean it's not just a plug for CFL at all.
• 59:02
  SPEAKER_01: Like they're they are generally a great print and frame company.
• 59:06
  SPEAKER_01: And if you call them up and ask for information, they're more than helping to help you out as well.
• 59:10
  SPEAKER_01: Yeah.
• 59:10
  SPEAKER_01: Like if you don't know about sizing, um, what DPIs to use, what frames to use, all that sort of stuff, but they'll help you out as soon as you, you know, if you're genuine enough.
• 59:22
  SPEAKER_03: I'd say the main thing to learn with printing is to make sure you know how to calibrate your monitor properly.
• 59:28
  SPEAKER_03: So like 80 C D max, right?
• 59:31
  SPEAKER_03: If you like that's the brightness luminous, um, and check your gamut warnings.
• 59:37
  SPEAKER_03: So ultimately the gamut warnings and like ICC profiling.
• 59:41
  SPEAKER_03: So that's like the profile that dictates what how you know bright and how much gamut comes into the each paper.
• 59:48
  SPEAKER_03: Yeah.
• 59:49
  SPEAKER_03: So if you know how to like operate that and you can download every single paper website has their own profiles, right?
• 59:55
  SPEAKER_03: Yeah.
• 59:56
  SPEAKER_03: So you can go straight to the website and download it, install it in the Photoshop and save it, and you can go through your print settings and adjust it.
• 1:00:04
  SPEAKER_03: That's definitely something I need to learn.
• 1:00:05
  SPEAKER_03: Yeah.
• 1:00:05
  SPEAKER_03: If you have like He's the man, he's something like an ESO.
• 1:00:10
  SPEAKER_03: I don't know if Ben Q does this, but I know Ben Q is a very good monitor as well.
• 1:00:13
  SPEAKER_03: Fantastic.
• 1:00:14
  SPEAKER_03: That's what I run.
• 1:00:14
  SPEAKER_01: Yeah.
• 1:00:14
  SPEAKER_03: Yeah.
• 1:00:15
  SPEAKER_03: If you use an ESO, you can pick the paper white as well.
• 1:00:18
  SPEAKER_03: So you can you can um make it look like the actual paper white on the screen, and it'll show you how the colors contrast to that paper white.
• 1:00:27
  SPEAKER_03: And you can set up a custom profile that'll readjust the brightness and the saturation compared to that paper.
• 1:00:33
  SPEAKER_03: So you can it depends how long you want to spend setting it up.
• 1:00:36
  SPEAKER_03: It's like your technicality with your video, right?
• 1:00:38
  SPEAKER_03: Yeah, yeah.
• 1:00:38
  SPEAKER_03: Printing's another like science.
• 1:00:40
  SPEAKER_03: It's like a LUT.
• 1:00:41
  SPEAKER_01: Yeah.
• 1:00:42
  SPEAKER_01: Figure it, like, look at it as a LUT bring your LUT into SLO or whatever it is.
• 1:00:46
  SPEAKER_01: Yeah.
• 1:00:46
  SPEAKER_01: You changed it great.
• 1:00:48
  SPEAKER_01: But on the other hand, like that's a great way.
• 1:00:49
  SPEAKER_01: Like what you do is fantastic.
• 1:00:51
  SPEAKER_01: Or the other thing is that what I do is because I don't have the time having three kids and doing all these things.
• 1:00:58
  SPEAKER_01: I'll calibrate my monitor, send a print to CFL, get it print um test printed, and if it comes back and it looks like my monitor, I'm good.
• 1:01:04
  SPEAKER_01: If not, I'm calibrating my monitor again.
• 1:01:06
  SPEAKER_01: Yeah.
• 1:01:07
  SPEAKER_01: And then you can do it that way.
• 1:01:08
  SPEAKER_01: Yeah.
• 1:01:09
  SPEAKER_01: If you if you don't want it, if you don't have the time to go and download and do the research and things like that, as long as your monitor's calibrated, and when you send it off and it looks like that, I think you're pretty good.
• 1:01:17
  SPEAKER_01: But the key is calibration.
• 1:01:19
  SPEAKER_01: I'll say one thing about the calibration part is yeah, don't trust the retina screen.
• 1:01:23
  SPEAKER_03: Don't whatever Apple says, don't trust your retina screen because it it doesn't look, it sharpens pictures and it enhances them so it looks best to your eye.
• 1:01:33
  SPEAKER_02: Yeah.
• 1:01:33
  SPEAKER_03: And that's where I think a lot of photographers who come it up, they buy a Mac because they're really good for video, because that's basically how you're gonna see it.
• 1:01:40
  SPEAKER_03: You're not gonna watch it on paper, right?
• 1:01:42
  SPEAKER_03: You're not gonna watch video on paper.
• 1:01:43
  SPEAKER_03: Whereas once you take that back luminosity out of the screen, you're dealing with something that's now flat and has no luminance.
• 1:01:51
  SPEAKER_03: So unless your print can pop there, it won't work.
• 1:01:54
  SPEAKER_01: And then like you were talking about contrast being such a heavy key with the back with those retina screens, if you they're already over somewhat contrasty as it is, where if you're using an Easer or a Ben Q or any other professional grading monitor, then that contrast is completely different.
• 1:02:12
  SPEAKER_01: Yeah.
• 1:02:12
  SPEAKER_03: To what it almost, if you drag it from like if you have two screens, you drag it from your regular monitor over onto that and you're like, wow, it looks so bad.
• 1:02:21
  SPEAKER_01: And then you're like so, but you gotta get used to looking at that, right?
• 1:02:24
  SPEAKER_01: Can I can I ask one more tip about when you're doing when you're editing for your photographs?
• 1:02:29
  SPEAKER_01: Yeah, size your image to the biggest size that you're gonna print.
• 1:02:33
  SPEAKER_01: Yeah, okay.
• 1:02:34
  SPEAKER_01: Right.
• 1:02:34
  SPEAKER_01: So if you're got uh so your biggest on your website's 40 inch.
• 1:02:39
  SPEAKER_01: Yeah.
• 1:02:39
  SPEAKER_01: So like size that picture up and then edit on that as a percent.
• 1:02:43
  SPEAKER_01: Okay.
• 1:02:43
  SPEAKER_01: Because then then you know your sharpness is right, you know your colours, everything's gonna be right when you print to the biggest.
• 1:02:48
  SPEAKER_01: It's easier to bring it down than take it up.
• 1:02:50
  SPEAKER_03: Yeah, uh it's always print like sharpened for print, right?
• 1:02:53
  SPEAKER_03: So yeah.
• 1:02:54
  SPEAKER_03: The way the way I would I do it personally is you always uh enlarge the print and then you visualize it in the viewpoint as actual.
• 1:03:04
  SPEAKER_03: Yes.
• 1:03:04
  SPEAKER_03: Yeah, okay.
• 1:03:05
  SPEAKER_03: And then actual in Photoshop is the actual size, especially if you put the the measurements on, you'll see, and you can measure with the tape major, the centimeters are exact.
• 1:03:14
  SPEAKER_03: Yeah, you know that if you make that, you know, 80 inches and then you sharpen it 80 inches at uh at actual, you know that's how it's gonna print.
• 1:03:21
  SPEAKER_03: Yeah, exactly.
• 1:03:22
  SPEAKER_03: Yeah, and I would usually knock the edge off the sharpening a little bit before I send it.
• 1:03:26
  SPEAKER_03: Yeah, because sometimes it'll come out.
• 1:03:29
  SPEAKER_03: It's too sharp.
• 1:03:29
  SPEAKER_03: It looks, it's a it's too much in the print.
• 1:03:32
  SPEAKER_03: You'll see it and go, oh, I don't take it off at all.
• 1:03:35
  SPEAKER_00: No, I I I drop the clarity like negative 15.
• 1:03:38
  SPEAKER_00: Yeah.
• 1:03:38
  SPEAKER_00: Yeah, and it's just smoother, much smoother.
• 1:03:41
  SPEAKER_00: Especially for skin tones.
• 1:03:42
  SPEAKER_00: I think that's the the difference there is like you want contrast in the image, but not all you almost want to get rid of pixel to pixel contrast.
• 1:03:52
  SPEAKER_00: Yeah, yeah.
• 1:03:52
  SPEAKER_00: For especially for skin.
• 1:03:53
  SPEAKER_00: Yeah.
• 1:03:54
  SPEAKER_00: Whereas like for landscape, obviously that that rich, fine detail is really important.
• 1:03:57
  SPEAKER_03: Yeah.
• 1:03:58
  SPEAKER_03: Yeah.
• 1:03:58
  SPEAKER_03: I think that anti, like like minus clarity, like you're saying, I think that brings back a little better that um the soft focus feel.
• 1:04:05
  SPEAKER_03: Where it's it brings the skin tones down.
• 1:04:07
  SPEAKER_03: Yeah.
• 1:04:08
  SPEAKER_01: But it makes it a little bit normal natural with the wedding stuff as well.
• 1:04:11
  SPEAKER_01: Like if you it's like sharpening, over sharpening your TV.
• 1:04:15
  SPEAKER_01: You put so much sharpening, you're gonna go, oh, that doesn't matter.
• 1:04:17
  SPEAKER_00: It looks like you're watching the NRL.
• 1:04:19
  SPEAKER_01: It looks like oversharpened.
• 1:04:21
  SPEAKER_01: Hey, hey, I'll work on the NRL.
• 1:04:24
  SPEAKER_01: But no, we do actually add sharpening on the NRL as well.
• 1:04:27
  SPEAKER_01: Yeah.
• 1:04:27
  SPEAKER_01: On all our sport, we run, yeah.
• 1:04:29
  SPEAKER_01: We run um 10 units extra.
• 1:04:31
  unknown: Okay.
• 1:04:31
  SPEAKER_00: But they're on our broadcast zonings.
• 1:04:33
  SPEAKER_00: Yeah, but that's because you're trying to see finer detail in the movement.
• 1:04:36
  SPEAKER_00: That's important.
• 1:04:36
  SPEAKER_00: That's great.
• 1:04:37
  SPEAKER_00: Yeah.
• 1:04:38
  SPEAKER_01: So that's why they look a little bit sharper.
• 1:04:41
  SPEAKER_01: Yeah.
• 1:04:42
  SPEAKER_01: And we've only got like two colours we can adjust.
• 1:04:46
  SPEAKER_00: Yeah.
• 1:04:46
  SPEAKER_00: Um, but I think as well, like just touching on the clarity thing with landscape.
• 1:04:51
  SPEAKER_00: Um, yeah, I don't even bracket anymore.
• 1:04:54
  SPEAKER_00: The dynamic range is high enough that I'm happy enough that I just don't really bracket.
• 1:04:59
  SPEAKER_00: I mean I used to, and then I was like, man, this is so much work.
• 1:05:02
  SPEAKER_00: Yeah.
• 1:05:03
  SPEAKER_00: Um whereas now it's like depends what I'm shooting, but like anywhere from, you know, f6.3 to f eight.
• 1:05:09
  SPEAKER_00: And then as long as I don't have, I'm not as long as I'm not shooting like 20 mil with like a fern in the front of the frame.
• 1:05:15
  SPEAKER_00: But for most of what I shoot, yeah, like F8, little bit of dig, like take the clarity down a little bit.
• 1:05:21
  SPEAKER_00: Everything's nice and smooth, colors are natural.
• 1:05:25
  SPEAKER_01: But F8, F8 to what F11 or something's got the sharpest point on those lenses.
• 1:05:29
  SPEAKER_01: So yeah.
• 1:05:30
  SPEAKER_01: So mine's always stuck on F11.
• 1:05:32
  SPEAKER_01: Yeah.
• 1:05:32
  SPEAKER_01: Yeah.
• 1:05:33
  SPEAKER_01: Never comes off.
• 1:05:33
  SPEAKER_01: I think it's frozen there.
• 1:05:34
  SPEAKER_01: Yeah.
• 1:05:36
  SPEAKER_01: So just tape it there.
• 1:05:37
  SPEAKER_01: Yeah, yeah, yeah.
• 1:05:37
  SPEAKER_01: That's one aperture, a fixed aperture, but that's why I'm actually really liking the new Sony lenses because they're going back to that um clickable aperturing.
• 1:05:46
  SPEAKER_01: That's right.
• 1:05:46
  SPEAKER_01: I love it.
• 1:05:47
  SPEAKER_01: It's old school, it looks mad.
• 1:05:48
  SPEAKER_01: And I'm just thinking going, I can then free up another button for something else.
• 1:05:52
  SPEAKER_01: Yeah, exactly.
• 1:05:52
  SPEAKER_01: And then customize it.
• 1:05:54
  SPEAKER_01: You got an ISO wheel now.
• 1:05:56
  SPEAKER_01: Yeah, exactly.
• 1:05:56
  SPEAKER_01: Yeah.
• 1:05:56
  SPEAKER_01: Well, I actually use it on the back thumb the disparput that.
• 1:06:00
  SPEAKER_01: My ISO there, but yeah, it'd be great to take it off there because you do sometimes bump it.
• 1:06:04
  SPEAKER_00: But yeah, because then you could have the shutter at the front, aperture at the back, you get rid of the aperture at the back, you'd have to shut it at the front ISO on the wheel, but have something else for your deep.
• 1:06:12
  SPEAKER_01: That's what I love about the Sony, and that's oh that's what I love is about customizable buttons.
• 1:06:16
  SPEAKER_03: Yeah, having all three settings fully adjustable straight away without having to like click an extra button.
• 1:06:21
  SPEAKER_03: Oh, it's like improves your ergonomics like next level where you can your speed is so much quicker.
• 1:06:27
  SPEAKER_01: Yeah.
• 1:06:28
  SPEAKER_01: You know what feature I use that butcher priority then?
• 1:06:30
  SPEAKER_01: Is he a setter on the list?
• 1:06:31
  SPEAKER_01: They're not even the most I use, it's the uh the aspect ratio.
• 1:06:35
  SPEAKER_01: Oh yeah.
• 1:06:36
  SPEAKER_01: That I've got that as a button going, okay, cool.
• 1:06:38
  SPEAKER_01: Bang, one to one.
• 1:06:39
  SPEAKER_03: Yeah.
• 1:06:40
  SPEAKER_03: Actually, I find when I see Dean Sony, the the grid system as well, the amount of different grid systems you can do.
• 1:06:46
  SPEAKER_00: Yeah, you can do a center.
• 1:06:49
  SPEAKER_00: Yeah, it's awesome.
• 1:06:50
  SPEAKER_00: Yeah, that's probably one of my things.
• 1:06:51
  SPEAKER_01: I've put the grid up.
• 1:06:52
  SPEAKER_01: Well, especially being like minimalists, you know, I use the the rule of thirds.
• 1:06:56
  SPEAKER_01: Oh, yeah.
• 1:06:56
  SPEAKER_01: Because you have to be, if you're like one little millimeter off, it's off.
• 1:07:01
  SPEAKER_00: Yeah, and your eye picks it straight away.
• 1:07:03
  SPEAKER_00: Yeah, because there's nothing else to look at except for that.
• 1:07:05
  SPEAKER_00: The other the other thing that got me onto Sony initially was that was back before I really did portraits, is the focus peaking.
• 1:07:12
  SPEAKER_00: Yeah.
• 1:07:12
  SPEAKER_00: Because I'd come from a DSLR where you're like, you're literally just like throwing darts blind.
• 1:07:17
  SPEAKER_00: Yeah.
• 1:07:17
  SPEAKER_00: Especially when trying to shoot Astro, you're like, yeah, I could co uh I could calculate the hyperfocal distance, you could do it all properly, you could focus to infinity.
• 1:07:24
  SPEAKER_00: And then half the time on those old manual focus lenses, it would just be off.
• 1:07:28
  SPEAKER_00: Like the dial would say infinity, and it's not like it's it's like 20 meters short.
• 1:07:33
  SPEAKER_00: Yeah.
• 1:07:34
  SPEAKER_00: But having the focus peaking, like now, I know every mirrorless has has it.
• 1:07:38
  SPEAKER_00: It's not just a Sony thing, but like that shift, focus peaking is amazing.
• 1:07:42
  SPEAKER_01: Especially if you're for weddings as well.
• 1:07:44
  SPEAKER_01: You need to you need to be on point with the sharpness.
• 1:07:46
  SPEAKER_01: Otherwise, you can take a photograph of say like the when they're doing their vows.
• 1:07:50
  SPEAKER_01: Like one of the I just use the eye tracking, so I don't really care.
• 1:07:53
  SPEAKER_01: I don't use it.
• 1:07:54
  SPEAKER_01: Oh yeah, but before that came in, the peaking would have been like key.
• 1:07:58
  SPEAKER_01: Yeah.
• 1:07:58
  SPEAKER_01: Otherwise, you would have you could have picked that that slight little bit off and you you've ruined that photo.
• 1:08:03
  SPEAKER_03: How do you find that in the viewfinder when you're like looking and everything's got the focus peaking?
• 1:08:07
  SPEAKER_00: Oh, you can turn it down.
• 1:08:08
  SPEAKER_00: Yes, so you just said you could turn it down.
• 1:08:11
  SPEAKER_00: I only use it for astro in Seascape.
• 1:08:13
  SPEAKER_00: Yeah.
• 1:08:14
  SPEAKER_00: Um you can turn it down, you can change the colour.
• 1:08:16
  SPEAKER_00: I do like that you can change the colour as well because you're shooting like blue sky and your focus peaking is blue and you just can't see it.
• 1:08:22
  SPEAKER_00: Yeah.
• 1:08:22
  SPEAKER_00: But yeah, you can do like white, yellow, red.
• 1:08:24
  SPEAKER_00: Um, yeah, I like that you can change it.
• 1:08:27
  SPEAKER_00: I generally, yeah, mainly astro, because you can use the punch-in method where it does like a 10 times or a five times magnification or whatever, but and then you can do it by eye, but the focus peaking is just like you swack it on.
• 1:08:38
  SPEAKER_01: But the good thing is though, with um, I'm I'm not sure about the other cameras, but Sony, when you flick it out of manual into auto, it automatically turns it off.
• 1:08:45
  SPEAKER_01: So you won't see it.
• 1:08:47
  SPEAKER_01: Yeah, it's awesome.
• 1:08:48
  SPEAKER_01: Yeah.
• 1:08:48
  SPEAKER_01: So yeah.
• 1:08:49
  SPEAKER_01: Um, yeah.
• 1:08:50
  SPEAKER_01: So if I'm shooting, say surf it or I've got a tracking on, it it's automatic, so it will turn the peaking off.
• 1:08:55
  SPEAKER_01: If it's only on manual without the peaking will pop.
• 1:08:57
  SPEAKER_03: I like the complete opposite of you guys because you guys love the focus peaking.
• 1:09:01
  SPEAKER_03: And I actually miss having the measurements on the lens.
• 1:09:04
  SPEAKER_03: Oh, I I miss it too.
• 1:09:05
  SPEAKER_03: I'm I used to just literally like because of my like predominantly just landscape, right?
• 1:09:10
  SPEAKER_03: Yeah.
• 1:09:10
  SPEAKER_03: I'll just dump the camera down and look at the number and go, that's how far it is, and turn the lens to that, and I'm like, that's it.
• 1:09:16
  SPEAKER_00: It's because all the new, all the new lenses, because they have such fast focus motors, they all have to be focused by wire.
• 1:09:21
  SPEAKER_00: They can't use a linear method.
• 1:09:23
  SPEAKER_00: I mean, the the really cheap, like the cheaper lenses in the Sony lineup, they use stepping motors, and that's why you can hear the when they focus.
• 1:09:32
  SPEAKER_00: But all of the new ones use this thing called like an XD linear motor.
• 1:09:36
  SPEAKER_00: It's basically like a monorail.
• 1:09:37
  SPEAKER_00: It's the the focusing element or elements plural.
• 1:09:40
  SPEAKER_00: They're on two rails at the bottom of the lens, and it just uses an electromagnet to just move them around.
• 1:09:45
  SPEAKER_00: And means you can focus from, you know, minimum to infinity like in like half a second so fast.
• 1:09:52
  SPEAKER_00: But the the downside to that is you cannot use a system like that with a linear focus throw.
• 1:09:57
  SPEAKER_00: And that's why so many DOPs that even if they still shoot, you know, Sony Branano, Sony Venice, FX9, FX6, if they're using cinema lenses, they're still using all manual because you have that level of control.
• 1:10:10
  SPEAKER_00: Yeah, the Sony autofocus lenses are getting really close to it in terms of performance.
• 1:10:15
  SPEAKER_00: Um, but there's a very big difference between you moving a focus ring on like a G Master, you move it two millimeters and it moves three meters in the real world.
• 1:10:24
  SPEAKER_00: Yes.
• 1:10:25
  SPEAKER_00: And there's a big difference between that and a cinema lens where you turn it 270 degrees and it moves the same three meters.
• 1:10:32
  SPEAKER_00: Yeah.
• 1:10:33
  SPEAKER_00: So when you're pull if you were pulling focus on like a production level, you've got a wheel, you've got the wheel in and and you've just got so much more control over it.
• 1:10:41
  SPEAKER_02: Yeah.
• 1:10:41
  SPEAKER_00: And you know, if you're pulling manual focus on like an old vintage lens, it's the same problem because their dials are set up for photography.
• 1:10:48
  SPEAKER_00: So, you know, it's five degrees of difference between three meters and infinity.
• 1:10:52
  SPEAKER_00: Whereas on a whereas on a cinema lens, three meters to infinity is like a whole 270 degrees.
• 1:10:58
  SPEAKER_01: Yeah, you're not really doing pull focus, too many pool focuses with a with like an SLR style lens.
• 1:11:04
  SPEAKER_01: No.
• 1:11:04
  SPEAKER_01: So that's why they're built that way.
• 1:11:06
  SPEAKER_01: It's like you're setting your focus and that's it.
• 1:11:09
  SPEAKER_01: Yeah.
• 1:11:09
  SPEAKER_01: It's like set and forget.
• 1:11:11
  SPEAKER_01: But with the Cine, that's why you have it because you're sitting there, you control the pace.
• 1:11:14
  SPEAKER_01: So you can do a slow like pull focus or pull zoom or whatever, and then bang, you're fucking winding it like there's no tomorrow to get it.
• 1:11:20
  SPEAKER_03: Admittedly, though.
• 1:11:21
  SPEAKER_01: It's all right if you've got the wheel though, because if ye say somebody who's got a few, but mechanical wheels now, so you you've got a thumb trigger where you go left and right.
• 1:11:28
  SPEAKER_01: That's just so you're not you're not actually doing it manually.
• 1:11:31
  SPEAKER_00: Because I was gonna say, if if you don't have the wheel set up and you're doing it by hand, that's a nightmare.
• 1:11:35
  SPEAKER_00: But this is this I shoot all manual focus for weddings.
• 1:11:37
  SPEAKER_00: Yeah.
• 1:11:37
  SPEAKER_00: Sorry, all autofocus for weddings.
• 1:11:40
  SPEAKER_00: I the a lot of people use the dials on top to set up different shooting scenarios.
• 1:11:44
  SPEAKER_00: So, you know, you have one for Astro, one for Cscape, one for landscape, one for Portra, whatever.
• 1:11:48
  SPEAKER_00: On my one, two, and three, what I've done is one is 4K25, two is 4K 60, three is 4K 100, and I've already matched all their corresponding shutter speeds to be the 180 degree rule.
• 1:12:01
  SPEAKER_00: And then I've already gone into the menu and adjusted the focus pull and focus sensitivity to match the frame rate once I've slowed it down.
• 1:12:09
  SPEAKER_00: Yeah.
• 1:12:09
  SPEAKER_00: So I want long spot smooth pulls on 4K25, then I want moderately quick pulls at 4K 50, and then I want really fast focus pulls in 4K 100 so that when I foot when I slow that footage down, now it's all the same speed.
• 1:12:23
  SPEAKER_00: Yep.
• 1:12:23
  SPEAKER_00: It's awesome.
• 1:12:24
  SPEAKER_00: Yeah.
• 1:12:24
  SPEAKER_03: Man, that's so customizable.
• 1:12:26
  SPEAKER_03: Yeah, yeah.
• 1:12:27
  SPEAKER_01: It's the best.
• 1:12:27
  SPEAKER_01: And that's and that's one of the reasons why I have gone to Sony and have it moved back.
• 1:12:31
  SPEAKER_01: Because I use every single one of those keys for different things.
• 1:12:35
  SPEAKER_01: Like whether I'm changing between black and white or colour.
• 1:12:38
  SPEAKER_01: Yeah.
• 1:12:39
  SPEAKER_01: Um, which I don't do too much for.
• 1:12:41
  SPEAKER_01: Do you shoot black and white in camera sometimes?
• 1:12:43
  SPEAKER_01: I used to, yeah.
• 1:12:44
  SPEAKER_01: Okay.
• 1:12:44
  SPEAKER_01: Just it really depends on the colour.
• 1:12:46
  SPEAKER_01: It helps the composition so much.
• 1:12:48
  SPEAKER_01: I don't need it all for the composition.
• 1:12:50
  SPEAKER_01: No, it's not even that.
• 1:12:51
  SPEAKER_01: It's it's not like I'm not being cocky or anything, but I use sometimes I use it for if it's super contrasty.
• 1:12:58
  SPEAKER_02: Okay.
• 1:12:58
  SPEAKER_01: Like, because I now shoot middle of the day, full sun.
• 1:13:02
  SPEAKER_01: Love it.
• 1:13:02
  SPEAKER_01: It's it's so hard.
• 1:13:04
  SPEAKER_01: No, no more early mornings.
• 1:13:06
  SPEAKER_01: Well, you got kids, you can't.
• 1:13:07
  SPEAKER_01: Yeah.
• 1:13:08
  SPEAKER_01: So I drop them off at school at like eight o'clock and then I'm down and I'm off.
• 1:13:11
  SPEAKER_01: You know, that's awesome.
• 1:13:13
  SPEAKER_01: But um, if it's super contrasty and I just go, okay, am I you kind of need it to switch to black and white.
• 1:13:18
  SPEAKER_01: I mean, you get to a point, like if you're beginning, when I when I first started, I uh when I move to a camera brand, um I'll use it a lot just to get a handle on how to expose and how it's all working for black and white.
• 1:13:30
  SPEAKER_01: But now it's just I shoot everything the same.
• 1:13:32
  SPEAKER_01: But yeah, if it's full sun, I'll use it because you can see whether or not you've got your exposure right for the subject.
• 1:13:38
  SPEAKER_01: Yeah.
• 1:13:38
  SPEAKER_01: Because yeah, my model, my model is don't play around too much with the subject.
• 1:13:43
  SPEAKER_01: Everything else is is game, is fair is is fair game.
• 1:13:47
  SPEAKER_01: Yeah.
• 1:13:48
  SPEAKER_01: But the subject has to be right.
• 1:13:49
  SPEAKER_01: Yeah.
• 1:13:50
  SPEAKER_01: I mean, I'll maybe I touch the attack the colour a little bit, but yeah, if the light's not right on it, I'm not touching it.
• 1:13:56
  SPEAKER_01: So if if I'm gonna go black and white, I just want to make sure I've got it right for both.
• 1:14:00
  SPEAKER_01: So that's why I use the lice of tracks in raw now too, so that's what I really like.
• 1:14:05
  SPEAKER_01: Yeah.
• 1:14:06
  SPEAKER_01: I never used to use it because it would just end up saving it in colour anyway.
• 1:14:10
  SPEAKER_01: Exactly.
• 1:14:10
  SPEAKER_01: So now that whatever adjustment I make in camera with a black and white raw, I know it's gonna turn out that way because it it follows.
• 1:14:17
  SPEAKER_03: Are they saving the crop in the raw as well now?
• 1:14:19
  SPEAKER_01: Yeah, is that it's good now.
• 1:14:20
  SPEAKER_01: They move to that where like it's what I what I love is yeah, well, I used to shoot Canon at a one-to-one crop and it would put up the border so you could use it with Sony.
• 1:14:29
  SPEAKER_01: If I go and take the camera um to take the raw file into Photoshop, I can go so it says as shot, or I just go to crop and then change it and it will and it will go.
• 1:14:39
  SPEAKER_01: So that's reads it reads every bit of the metadata exactly any bit of information on that.
• 1:14:46
  SPEAKER_03: Started doing that.
• 1:14:47
  SPEAKER_03: So I've it's really cool.
• 1:14:49
  SPEAKER_03: You can crop and frame, and then you take it into Photoshop, and then you can move your frame.
• 1:14:53
  SPEAKER_00: Yeah, and then you might not have it exactly how you saw it once you shot it.
• 1:14:56
  SPEAKER_03: Yeah, and you might well you might see a little bit different when you get home.
• 1:14:58
  SPEAKER_03: Oh, actually, I like it better here.
• 1:15:00
  SPEAKER_03: Yeah, you can slide it up, that's right.
• 1:15:02
  SPEAKER_01: Yep, and and funny enough, I've done the opposite.
• 1:15:05
  SPEAKER_01: Where because I know I'm gonna attack the top and the bottom, like there, that's fair game.
• 1:15:10
  SPEAKER_01: What I've actually done is I've gone, I don't I prefer the landscape, but what I know I can do is I can just grab the top and drag it into a square.
• 1:15:20
  SPEAKER_02: Yeah.
• 1:15:20
  SPEAKER_01: So you can stuff around with it that way.
• 1:15:22
  SPEAKER_01: That's like that's like ultra-tricking you, like uh didn't get it right.
• 1:15:27
  SPEAKER_01: It's no well, the for instance, one of the shots that I have is um, I think it's called Laps, and it's from Merriweather where it's just the blocks.
• 1:15:36
  SPEAKER_01: I actually originally shot that purely to be in landscape mode.
• 1:15:38
  SPEAKER_01: I'm like, well, this will look mad as a square.
• 1:15:41
  SPEAKER_01: And then and then I'm just gone, how am I gonna do that?
• 1:15:44
  SPEAKER_01: Because I if I crop it, I'm gonna lose the one to ten numbers because it was one to ten.
• 1:15:48
  SPEAKER_01: I'm like, I want to keep ten numbers there.
• 1:15:51
  SPEAKER_01: So what I did is because I've done it for um long exposure, everything on the below is blurred out anyway.
• 1:15:57
  SPEAKER_01: So it's a sky.
• 1:15:58
  SPEAKER_01: So all I did is one to one crop in in Photoshop and just extended the top bottom and just dragged it.
• 1:16:04
  SPEAKER_00: So it's that's really good for some of the portrait work I've done before because you're in a studio and say you've you're shooting one like I did one a while ago for a friend.
• 1:16:11
  SPEAKER_00: I was shooting some like fashion stuff for her, like uh like end of uni like final project or something.
• 1:16:18
  SPEAKER_00: And I'm shooting one 14 millimeters, so I've got like the whole studio in the shot.
• 1:16:23
  SPEAKER_00: And obviously, there's this pink background behind the talent.
• 1:16:26
  SPEAKER_00: Yeah, you can just extend it and just fill it up.
• 1:16:29
  SPEAKER_01: Yeah, yeah, yeah.
• 1:16:30
  SPEAKER_01: It's awesome.
• 1:16:30
  SPEAKER_01: Yeah, all the behind the scenes tricks, yeah.
• 1:16:33
  SPEAKER_01: Just use a yeah, just a rectangle mark e tool, and then you just control shift and you yeah, you're off you go.
• 1:16:38
  SPEAKER_01: And you make sure you hold shift though when you're dragging it, so it all it does is a jump.
• 1:16:42
  SPEAKER_01: It just extends, yeah.
• 1:16:43
  SPEAKER_01: That's true.
• 1:16:44
  SPEAKER_03: That's pretty cool hearing it from a portraiture point of view as well, you know.
• 1:16:47
  SPEAKER_03: Yeah, uh that's something where people go, oh, you crop it down to the size of your background.
• 1:16:50
  SPEAKER_03: Yeah, because that's what it would have done.
• 1:16:52
  SPEAKER_01: Yeah, yeah.
• 1:16:53
  SPEAKER_01: Now you just go and you just sample it.
• 1:16:55
  SPEAKER_01: But you can do that with um AI now too, like generative fill.
• 1:16:58
  SPEAKER_01: You can just go select this and go fill that.
• 1:17:00
  SPEAKER_01: Yeah, you know, and then it'll work.
• 1:17:01
  SPEAKER_01: It's just effectively the same thing, but I find the marquee tools clean.
• 1:17:05
  SPEAKER_01: Yeah, yeah, no.
• 1:17:06
  SPEAKER_00: Anyway, anyway, what's covered up next year?
• 1:17:09
  SPEAKER_00: Oh, what's next?
• 1:17:11
  SPEAKER_00: Um trying to I I probably will shoot just as many weddings next year, but I want to try and scale back the ones that I'm doing for video and just kind of go more into the stills because it's less work and I want to do more of this kind of thing.
• 1:17:26
  SPEAKER_00: Like, I want to run more events with Sony, want to kind of like I admittedly, I do want to kind of improve my social presence and try and build that a bit, try and diverse, you know.
• 1:17:36
  SPEAKER_00: I I'm not I'm not a money hungry kind of guy.
• 1:17:39
  SPEAKER_00: Yeah.
• 1:17:39
  SPEAKER_00: Like I just want time to shoot what I want to shoot.
• 1:17:41
  SPEAKER_00: Yeah, that's all I care about.
• 1:17:43
  SPEAKER_00: Yeah.
• 1:17:43
  SPEAKER_00: So I think diversifying your income is never a bad thing.
• 1:17:46
  SPEAKER_00: No.
• 1:17:47
  SPEAKER_00: So I I do want to do that.
• 1:17:49
  SPEAKER_00: Um, but then I've got a another really good opportunity coming up through Sony.
• 1:17:54
  SPEAKER_00: They've partnered with Intrepid Cruisers.
• 1:17:56
  SPEAKER_00: Oh, wow.
• 1:17:57
  SPEAKER_00: So in February, end of February, I'm flying to uh Antarctica for five weeks.
• 1:18:04
  SPEAKER_00: Yeah.
• 1:18:05
  SPEAKER_00: We get all expenses paid trip on a boat down there for five weeks.
• 1:18:09
  SPEAKER_00: So yeah, going in like off in the zodiacs, yeah, wildlife.
• 1:18:13
  SPEAKER_00: I had to do like a I had to do an online course to be allowed to go.
• 1:18:16
  SPEAKER_00: It's like 400 questions.
• 1:18:18
  SPEAKER_00: It took me four hours to do.
• 1:18:19
  SPEAKER_00: Wow.
• 1:18:20
  SPEAKER_00: Is that on the wildlife and all the questions are like, oh, you know, when you're landing at this really specific site, so they're like, you know, you're approaching this research station, you can only walk 15 meters to the left of this pole because that's where there's this Arctic turn nest or whatever.
• 1:18:35
  SPEAKER_00: So like there's like a bird's nest here, like it's so specific.
• 1:18:39
  SPEAKER_00: Yeah.
• 1:18:39
  SPEAKER_00: Um, but yeah, that'll be amazing.
• 1:18:41
  SPEAKER_00: Like, I've never done anything like that before.
• 1:18:43
  SPEAKER_00: Yeah.
• 1:18:43
  SPEAKER_00: A few of the other guys on the team have, but we're basically going down there and running photography tours.
• 1:18:49
  SPEAKER_01: Fantastic.
• 1:18:49
  SPEAKER_00: So not through our own brand, it's done through Intrepid.
• 1:18:52
  SPEAKER_01: Yeah.
• 1:18:53
  SPEAKER_00: But the cool, the cool part is that, you know, Sony's supporting us, sending us down with some gear, and then we have the with the ability to kind of like one, get the experience for ourselves, but then also kind of teach a little bit while we're there.
• 1:19:04
  SPEAKER_00: Yeah.
• 1:19:04
  SPEAKER_00: Yeah.
• 1:19:04
  SPEAKER_00: It's gonna be awesome.
• 1:19:05
  SPEAKER_00: That's awesome.
• 1:19:06
  SPEAKER_00: Like that, that's something I never thought, like, you know, working at nine to five when I was 18 or something.
• 1:19:11
  SPEAKER_00: Yeah.
• 1:19:11
  SPEAKER_00: You know, you never you never kind of think, like, oh yeah, I'm gonna get to go to Antarctica one day.
• 1:19:15
  SPEAKER_00: Because like I know how much it costs.
• 1:19:16
  SPEAKER_00: Yeah, yeah.
• 1:19:17
  SPEAKER_00: You live in a dream, mate.
• 1:19:18
  SPEAKER_00: It's like it's like 30 grand to go.
• 1:19:20
  SPEAKER_00: Yeah, it's not just like I don't think I'd ever be able to afford that.
• 1:19:24
  SPEAKER_00: Yeah, like ever.
• 1:19:25
  SPEAKER_01: So but even if you can, sometimes it's like, do I really want to do that for 30 grand?
• 1:19:29
  SPEAKER_01: What can else can I do with that money?
• 1:19:30
  SPEAKER_00: Without your house, maybe so I'm like very excited for that.
• 1:19:34
  SPEAKER_00: And I obviously I understand that that's a kind of like a once-in-a-lifetime opportunity.
• 1:19:38
  SPEAKER_00: Yeah, yeah.
• 1:19:38
  SPEAKER_00: Very fortunate and in a very unique position to get that opportunity because that's not afforded to like the vast majority of photographers out there.
• 1:19:45
  SPEAKER_01: Yeah, you have to be selected, special.
• 1:19:48
  SPEAKER_00: Yeah, but that's the thing, I don't have any experience doing it.
• 1:19:50
  SPEAKER_00: So I'm like, hey, am I the best person?
• 1:19:53
  SPEAKER_00: But no, I think it's it's obviously a background in like as I said, I wanted to be a history teacher, so I really enjoy teaching photography, specifically the technical side.
• 1:20:02
  SPEAKER_00: Yeah, yeah.
• 1:20:02
  SPEAKER_00: And the technical side isn't dependent as much on experience.
• 1:20:05
  SPEAKER_00: It's more like, do you understand how it works?
• 1:20:08
  SPEAKER_00: And if you do, you can adapt that to any subject, to any subject.
• 1:20:11
  SPEAKER_00: Yeah, yeah.
• 1:20:12
  SPEAKER_01: Yeah, it doesn't matter how like how experienced you are, take photographs at all.
• 1:20:15
  SPEAKER_01: Like any anyone, if you stop learning, might as well just give up.
• 1:20:19
  SPEAKER_00: Yeah.
• 1:20:20
  SPEAKER_03: I mean, everything's a learning curve.
• 1:20:21
  SPEAKER_03: Like, yeah.
• 1:20:23
  SPEAKER_03: Where can people find your work and book you?
• 1:20:26
  SPEAKER_03: And book me and book you um for a wedding just through Instagram.
• 1:20:29
  SPEAKER_00: So my handles at CV Explores.
• 1:20:32
  SPEAKER_00: Um everything's there, you know, link in bio, all of that stuff, right?
• 1:20:36
  SPEAKER_00: Um, but yeah, like I love working with couples.
• 1:20:40
  SPEAKER_00: Um again, booking out 2024 slash 2025 now, which is crazy.
• 1:20:45
  SPEAKER_00: Um, but yeah, I'm just loving the journey so far.
• 1:20:48
  SPEAKER_00: It's also like so stoked to be on a podcast.
• 1:20:51
  SPEAKER_00: Like, this is pretty cool, right?
• 1:20:52
  SPEAKER_00: Like never never been in invited to be interviewed or anything.
• 1:20:56
  SPEAKER_00: Yeah, neither.
• 1:20:56
  SPEAKER_00: That's why we created one.
• 1:20:57
  SPEAKER_03: Yeah, honestly, it's awesome.
• 1:20:59
  SPEAKER_03: It's so cool.
• 1:21:00
  SPEAKER_00: I remember we I think I saw you down at the uh bomb, and then I was like, Yeah, I have to get you on one day.
• 1:21:06
  SPEAKER_00: Because I think I ran into you at George's ages ago.
• 1:21:08
  SPEAKER_00: Yeah, yeah, that was a long time ago.
• 1:21:10
  SPEAKER_00: That was eight, that was back when I worked for Sony.
• 1:21:12
  SPEAKER_03: Yeah, yeah, yeah.
• 1:21:13
  SPEAKER_00: Georgia's eh.
• 1:21:14
  SPEAKER_03: How good.
• 1:21:15
  SPEAKER_03: Georgia's the meeting place of photographers and video.
• 1:21:18
  SPEAKER_01: Honestly, so like I bought my first camera from George's 16 years ago, yeah, but not on George Street.
• 1:21:25
  SPEAKER_01: Oh, we were from the old.
• 1:21:26
  SPEAKER_01: Oh, from the old shop.
• 1:21:27
  SPEAKER_01: Not many people know about the old shop.
• 1:21:29
  SPEAKER_01: I didn't know there was an old shop.
• 1:21:30
  SPEAKER_01: Yeah, there you go.
• 1:21:32
  SPEAKER_01: Elliot, I bought my first camera from Elliot.
• 1:21:34
  SPEAKER_01: Oh yeah.
• 1:21:35
  SPEAKER_01: Yeah, he was working there, young face, and now he's all old and I hope he hears that.
• 1:21:41
  SPEAKER_01: Okay, Elliot.
• 1:21:42
  SPEAKER_01: Yeah, yeah.
• 1:21:44
  SPEAKER_01: Well, what's a relationship if you can't give him shit, right?
• 1:21:47
  SPEAKER_01: Oh, yeah.
• 1:21:47
  SPEAKER_01: For sure.
• 1:21:48
  SPEAKER_00: For sure.
• 1:21:49
  SPEAKER_00: But yeah, well, like the industry is so small, everyone knows each other.
• 1:21:52
  SPEAKER_00: Yeah, like, yeah, yeah.
• 1:21:54
  SPEAKER_00: I love it.
• 1:21:55
  SPEAKER_01: Uh George's the best.
• 1:21:56
  SPEAKER_01: And this one is not, I don't care about this one.
• 1:21:59
  SPEAKER_01: It might be a shameful plug.
• 1:22:00
  SPEAKER_01: I don't care, but George's George's head down there for your camera gear.
• 1:22:05
  SPEAKER_01: They're great.
• 1:22:05
  SPEAKER_01: And another thing, go buy a Sony.
• 1:22:07
  SPEAKER_01: They're good.
• 1:22:08
  SPEAKER_03: You're doing my job for me.
• 1:22:10
  SPEAKER_03: This is a Sony.
• 1:22:10
  SPEAKER_03: This is a big Sony episode.
• 1:22:12
  SPEAKER_03: It's fine.
• 1:22:13
  SPEAKER_01: Like I said, like I said, when we'll teeing up this um this chat, I was like, I hope you're prepared.
• 1:22:19
  SPEAKER_01: Yeah.
• 1:22:19
  SPEAKER_01: I love my Sony.
• 1:22:21
  SPEAKER_00: Like, like obviously, I work very closely with Sony.
• 1:22:24
  SPEAKER_00: Yeah.
• 1:22:25
  SPEAKER_00: And when push comes to shove, it's like if you were talking to someone who's just buying their first camera, everything on the market will do something that will do, will be able to do what you're doing.
• 1:22:34
  SPEAKER_00: Exactly, yeah.
• 1:22:34
  SPEAKER_00: 100%.
• 1:22:35
  SPEAKER_00: The thing that really drew me in initially was um the video, because they were the only brand that was really doing 4K at the time.
• 1:22:43
  SPEAKER_00: And I was like, that's that's the direction I need to go to foot future proof what I want to make.
• 1:22:47
  SPEAKER_00: But anyway, after that, it's like I've had people turn on a Sony camera and look at the menu and go, oh my God.
• 1:22:53
  SPEAKER_00: But if I spent like four grand on a camera and I turn it on and there's like three things in the menu, I'm gonna be like, oh, it doesn't do a lot.
• 1:23:01
  SPEAKER_02: Yeah.
• 1:23:01
  SPEAKER_00: But you when you turn on a Sony camera and you see like 22 pages in the first tab and there's six tabs, you're kind of like, oh no.
• 1:23:09
  SPEAKER_00: It just shows how customizable the camera is.
• 1:23:11
  SPEAKER_00: It shows how much the camera's capable of.
• 1:23:13
  SPEAKER_00: Yeah.
• 1:23:13
  SPEAKER_00: But then also, yeah, like how customizable it is.
• 1:23:15
  SPEAKER_00: I used to get, uh I used to get people saying, Oh, you know, like I hate the Sony menu, the Sony menu sucks.
• 1:23:20
  SPEAKER_00: Immediately they changed it because they they took on that feedback.
• 1:23:23
  SPEAKER_01: Yeah, they're very good at companies.
• 1:23:25
  SPEAKER_01: Yeah, they're doing very good at um yeah, taking customer feedback.
• 1:23:28
  SPEAKER_00: Well, yeah, anything that people don't like, they change.
• 1:23:30
  SPEAKER_00: Like the battery life is terrible, they fixed it, the autofocus was terrible, they fixed it, the menu is bad, they fixed it.
• 1:23:36
  SPEAKER_00: Yeah.
• 1:23:36
  SPEAKER_00: Um, but the the main thing was like every button on the outside of the camera is customizable.
• 1:23:42
  SPEAKER_00: So people would go, oh, I hate the menus.
• 1:23:44
  SPEAKER_00: I'm like, you can change it.
• 1:23:45
  SPEAKER_00: Tell me that because on any of the alpha bodies, there's 14 buttons on the outside.
• 1:23:50
  SPEAKER_00: And I say, Can you tell me 14 options that you change every shoot?
• 1:23:55
  SPEAKER_00: And they they name about the first three.
• 1:23:56
  SPEAKER_00: They go, you know, white balance, autofocus area, and you know, other than your three exposure tools.
• 1:24:03
  SPEAKER_00: But like they'll go white balance, autofocus area, focus mode.
• 1:24:07
  SPEAKER_00: And I'm like, cool.
• 1:24:08
  SPEAKER_00: Out of the box, that's C one, C2, and C three.
• 1:24:11
  SPEAKER_00: Congratulations.
• 1:24:12
  SPEAKER_00: You don't have to touch the menu again.
• 1:24:13
  SPEAKER_00: Yeah, exactly.
• 1:24:14
  SPEAKER_01: Everything's so customizable.
• 1:24:16
  SPEAKER_01: Yeah, that's right.
• 1:24:17
  SPEAKER_01: I think the hardest part is yeah, just finding what you want to customize it.
• 1:24:21
  SPEAKER_01: But that's that's like once you go through, but that's the whole thing.
• 1:24:24
  SPEAKER_01: Learn your camera before you take it out.
• 1:24:26
  SPEAKER_01: Yeah, for sure.
• 1:24:27
  SPEAKER_01: It's not hard.
• 1:24:28
  SPEAKER_01: I mean I remember when like I've shot most brands in like within the um consumer sort of grade.
• 1:24:36
  SPEAKER_01: So moving from Nikon to Canon was difficult.
• 1:24:39
  SPEAKER_01: Then moving from Canon back to Nikon was difficult again because you've already gotten used to using it.
• 1:24:45
  SPEAKER_01: And then going to Sony was was hard, but it's just a matter of picking up the camera and working it out.
• 1:24:52
  SPEAKER_00: Are you guys up to the EVF kind of shooters or are you rear screen kind of guys?
• 1:24:56
  SPEAKER_00: Depends.
• 1:24:57
  SPEAKER_00: I like the EVF.
• 1:24:58
  SPEAKER_00: Actually, it's really nice because you can like see without glare.
• 1:25:02
  SPEAKER_00: Yeah.
• 1:25:02
  SPEAKER_00: Because the glare, like you were talking about like printing having the actual as it is as opposed to your perspective of a screen.
• 1:25:09
  SPEAKER_00: Yeah.
• 1:25:10
  SPEAKER_01: Yeah, that's a massive difference.
• 1:25:11
  SPEAKER_01: I do find the EVF is better.
• 1:25:16
  SPEAKER_00: Um and the colours, the the shadows aren't as dim.
• 1:25:19
  SPEAKER_00: I find that if I look at the rear screen, I go, oh, that looks a little, it looks a little dark.
• 1:25:24
  SPEAKER_00: And but the meter says I'm doing like I'm right where I want to be.
• 1:25:26
  SPEAKER_00: Well, you follow the histogram, right?
• 1:25:28
  SPEAKER_00: Yeah, yeah.
• 1:25:28
  SPEAKER_00: Or not for weddings, like I'm I'm meter, just multimeter.
• 1:25:31
  SPEAKER_00: Yeah, go for it.
• 1:25:32
  SPEAKER_00: Yeah.
• 1:25:32
  SPEAKER_00: Um also because it having more on the screen blocks your view if you are shooting to your eye or even just looking at the screen.
• 1:25:39
  SPEAKER_00: It blocks your view so that you know you can't see what's on the corner of frame.
• 1:25:42
  SPEAKER_01: Yeah, see, I'm I'm a heavy histogram.
• 1:25:45
  SPEAKER_01: Heavy histogram because mine's always to the right, yeah, all the way to peaking, just under.
• 1:25:49
  SPEAKER_03: I think that's a landscape thing, having a histogram all the time.
• 1:25:52
  SPEAKER_03: Yeah.
• 1:25:52
  SPEAKER_03: Yeah.
• 1:25:53
  SPEAKER_01: But for for minimal, I need it there because it's like I've got a look that I'm trying to go for, and it means less editing I need to do.
• 1:26:00
  SPEAKER_00: Well, I I've started thinking about this recently.
• 1:26:02
  SPEAKER_00: Like some people try to get the perfect exposure, but theoretically, if you can go as far to the right without clipping as possible, you're actually just letting more information in that you can then pull down.
• 1:26:13
  SPEAKER_01: Yeah, and the camera technology is fantastic now that you can bring down the the the range in the highlights.
• 1:26:19
  SPEAKER_01: Yeah.
• 1:26:19
  SPEAKER_01: Like dynamic range has been around that 14 to 15 stops for a very long time now.
• 1:26:24
  SPEAKER_01: Yeah.
• 1:26:24
  SPEAKER_01: But the the pivotal point is bringing those highlights down.
• 1:26:28
  SPEAKER_01: That's the best.
• 1:26:29
  SPEAKER_01: Yeah.
• 1:26:30
  SPEAKER_00: And it's funny because every brand sits in a different end of the spectrum.
• 1:26:33
  SPEAKER_00: It does, yes.
• 1:26:33
  SPEAKER_00: Yeah.
• 1:26:34
  SPEAKER_00: So like I I've shot with a few other brands and they expose better on the high end.
• 1:26:38
  SPEAKER_00: Yep.
• 1:26:38
  SPEAKER_00: And then Sony sits like kind of in the middle.
• 1:26:41
  SPEAKER_00: And then I've shot some that expose really well in the shadows, but they lose so much in the highlights.
• 1:26:45
  SPEAKER_00: And that's a big learning curve when you do switch.
• 1:26:47
  SPEAKER_01: Yeah.
• 1:26:48
  SPEAKER_01: 100%.
• 1:26:48
  SPEAKER_01: Yeah, the menu's nothing.
• 1:26:50
  SPEAKER_01: Like they can get over that.
• 1:26:51
  SPEAKER_01: But yeah, it's the the way that the your apertures work, the way your shutters, all that sort of stuff works.
• 1:26:56
  SPEAKER_03: It's how each individual sensor works, right?
• 1:26:58
  SPEAKER_03: Once you figure out how your sensor works, you can you almost like can nearly like you said, you have to throw out the exact exposure and you shoot for what your sensor can do.
• 1:27:08
  SPEAKER_00: Yeah.
• 1:27:08
  SPEAKER_00: And I think that's the difference between like landscape and wedding, which is funny because I juggle both so much.
• 1:27:13
  SPEAKER_00: Yeah.
• 1:27:14
  SPEAKER_00: It's with landscape, I'm trying to expose the overall scene to the best of my ability.
• 1:27:21
  SPEAKER_00: Whereas with wedding, I'm trying to expose my subject, like purely the subject to the best of my ability.
• 1:27:27
  SPEAKER_00: Because if you're exposing for the highlights on a wedding day and it's 3 p.m.
• 1:27:31
  SPEAKER_00: and harsh sun, your the the couple or the family member or whatever's happening is going to be pitch black.
• 1:27:37
  SPEAKER_00: They're going to be just so dark.
• 1:27:38
  SPEAKER_00: And you're shooting spot metering, right?
• 1:27:40
  SPEAKER_00: In that sort of light.
• 1:27:42
  SPEAKER_00: Just multi, multi.
• 1:27:43
  SPEAKER_00: Yeah, right.
• 1:27:43
  SPEAKER_00: I found that if I shoot multi, even if I do clip a little bit, it's usually hidden in the very top of frame or it's hidden behind a tree, in which case it doesn't matter because it just becomes a specular highlight at that point.
• 1:27:55
  SPEAKER_00: So that way I'm getting as much latitude in the area where I need it.
• 1:28:00
  SPEAKER_00: as opposed to as much latitude in the areas at either end of the spectrum where I potentially won't need it.
• 1:28:05
  SPEAKER_00: Like if someone's wearing a black suit, it can stay black.
• 1:28:07
  SPEAKER_00: I don't need it to be lifted enough that it turns gray.
• 1:28:10
  SPEAKER_00: I can just leave it.
• 1:28:11
  SPEAKER_00: And then the highlights are hidden in the corner of a frame or up in a tree or something like that.
• 1:28:15
  SPEAKER_00: I don't again, I don't, I'm not trying to touch them.
• 1:28:17
  SPEAKER_00: I'm just trying to light the couple as best as possible.
• 1:28:20
  SPEAKER_03: Yeah, yeah.
• 1:28:20
  SPEAKER_03: Yeah.
• 1:28:21
  SPEAKER_03: Oh, very good.
• 1:28:22
  SPEAKER_01: Cool.
• 1:28:23
  SPEAKER_01: Yes.
• 1:28:24
  SPEAKER_01: And uh before we go, anyone that wants to jump over to Sony.
• 1:28:29
  SPEAKER_00: I mean you're selling it so hard.
• 1:28:31
  SPEAKER_01: I love Sony.
• 1:28:33
  SPEAKER_01: I warned you.
• 1:28:34
  SPEAKER_01: I warned you.
• 1:28:34
  SPEAKER_01: He's on the Sony bandwagon.
• 1:28:36
  SPEAKER_01: Oh mate, I love it.
• 1:28:36
  SPEAKER_01: I've I've been with all of them and they're just perfect.
• 1:28:39
  SPEAKER_01: But yeah anyone who wanted to jump over to Sony, where would you point them?
• 1:28:44
  SPEAKER_00: It depends on genre but I think for just say photography as a whole.
• 1:28:48
  SPEAKER_00: A74.
• 1:28:48
  SPEAKER_00: Yeah.
• 1:28:49
  SPEAKER_00: Smack bang down the middle 33 megapixels it has 4K60 with a crop.
• 1:28:53
  SPEAKER_00: You're getting really good dynamic range, all the new autofocus kind of trendy tools that you need um flip out screen which I do love because on my A1 it just has a tilting screen and once I'm shooting vertically for Astro I'm you know doing deep squats again.
• 1:29:08
  SPEAKER_00: Yeah.
• 1:29:08
  SPEAKER_00: Whereas um I'm just waiting for that new four-way tilting screen that's on the 93 and the A7R5.
• 1:29:14
  SPEAKER_00: I'm waiting for that to make its way inside I want the A7R5.
• 1:29:17
  SPEAKER_01: Just for that screen?
• 1:29:18
  SPEAKER_01: Exactly yeah just for commercial work.
• 1:29:21
  SPEAKER_00: Yeah the the resolution alone is great but that screen specifically it's just it stops camera sutra right where you're like trying to do the you're trying to do the bend and maneuver and yeah turn your neck inside out.
• 1:29:33
  SPEAKER_01: I can tell you now once I get that five I'll be getting the four into infrared.
• 1:29:36
  SPEAKER_00: Yeah I was about to ask I was going to ask about that earlier because with the high contrast black and whites that you do would you convert to infrared I've been we actually spoke about this on a recent podcast.
• 1:29:46
  SPEAKER_01: Yeah um and yes absolutely I've been waiting for for for two things is that of one I've been waiting for the right camera.
• 1:29:54
  SPEAKER_01: Yep and two I've been waiting to buy a second camera.
• 1:29:56
  SPEAKER_01: Yeah okay so it's always so it's like um cameras so good.
• 1:30:00
  SPEAKER_00: You need I mean well if you do like for what I want to do or I'm doing behind the scenes of shoots that I'm already working on or I'm filming myself talking about cameras or I'm I want to get into YouTube.
• 1:30:11
  SPEAKER_00: Like I'm on three cameras already and I'm looking at the fourth.
• 1:30:14
  SPEAKER_01: Yeah yeah yeah no yeah my next cameras will probably be a five or if a six comes out which probably will be another couple of years or so I reckon it'll be but the five and uh FX30 I'd say yeah they're the two and then if that if I get the five then I can either convert the four that would be awesome.
• 1:30:33
  SPEAKER_01: Because then I've got 60 61 megapixel of infrared goodness.
• 1:30:38
  SPEAKER_00: What are you shooting one again Carl?
• 1:30:39
  SPEAKER_03: GFX one they did a lovely job the Fuji team yeah they um the tripod mount broke out of the bottom of the camera I think uh I over tightened it in the snow because it felt oh and well and then the metal contracted yeah I I I did it a bit tighter it was probably minus 10 or something and then I didn't undo the L bracket off the camera when I put it in the bag to come home.
• 1:31:07
  SPEAKER_03: Yeah by the time I got home the screw it expanded right and I actually pulled the thread out the bottom of the camera and Fuji fixed it.
• 1:31:15
  SPEAKER_03: It was a they did a really good job and I got it back and I'm shooting again.
• 1:31:19
  SPEAKER_03: So yeah it's um yeah shooting the camera's funscapes it's yeah I don't know if I want to use it for video because uh like you said storing up all your stuff on your on your hard drive you know when you you go out for a shoot and it's you know video at the ball game yeah video is just so different.
• 1:31:38
  SPEAKER_01: And you need to update your computer too.
• 1:31:39
  SPEAKER_01: Yeah that's why I haven't shot it yet because I need to update my computer yeah yeah because it just it wipes it out.
• 1:31:44
  SPEAKER_00: Yeah you need something pretty powerful.
• 1:31:46
  SPEAKER_01: Mate I struggle my photos struggle with Photoshop alone on my computer.
• 1:31:49
  SPEAKER_00: Oh really too bites well that's that that's the last thing I bought I bought all the camera gear and I was using this old desktop or this old laptop and it was just so slow.
• 1:31:58
  SPEAKER_00: Yeah and then I bought one of the I got my tax back after my first year and I was like whoa that's a that's a good amount yeah so um bought one of those new M2 MacBook Pros.
• 1:32:08
  SPEAKER_01: Yeah yeah so good like I was about to buy a new computer then they released the M3.
• 1:32:13
  SPEAKER_01: Yeah but I'm thinking I'm gonna just go the M2 it's no point.
• 1:32:16
  SPEAKER_01: Yeah I mean I mean it's great but what's the RAM like in those?
• 1:32:20
  SPEAKER_00: So I only got the 16 gig and everyone was like if you're editing 4K25 and above you basically need 32 gig RAM.
• 1:32:28
  SPEAKER_00: Yeah but because the whole Apple system the whole ecosystem is up the unified RAM is just incredible.
• 1:32:34
  SPEAKER_01: It's just not like generic RAM.
• 1:32:35
  SPEAKER_01: It's hard to explain I I if you want to know you can you better look it up you need to keep the laptop free though so you have to work off SSDs.
• 1:32:41
  SPEAKER_01: Yeah which you should anyway if you're running a a laptop system.
• 1:32:45
  SPEAKER_01: That's what I do personally I run a laptop system so I'm portable the internal will be faster but it's just safer I think to keep everything like just stick software and apps just keep on the computer everything else keep it off unless it's stuck working.
• 1:32:57
  SPEAKER_00: Yeah like 64 gig of DDR4 and it still slows down sometimes when I'm gonna try to process I'm gonna put 100 the one where I'm building I put 128 yeah that's nuts I'd like that just to future proof it the other thing I discovered recently is I don't know if it'll apply to photo editing for you guys as much but specifically for video certain graphics cards just work and don't work with certain formats.
• 1:33:24
  SPEAKER_00: So I was using an AMD graphics card that just came with the desktop I bought secondhand pinch see that can be temperamental.
• 1:33:31
  SPEAKER_00: And the yeah the AMD just and I did some research and they were like oh yeah premiere AMD like they just don't like each other.
• 1:33:37
  SPEAKER_00: Yeah whereas if you switch to Intel or um yeah or NVIDIA like those will just run smoother and I was like oh well you know because that that desktop I have is a 32 gig but my app will run smoother.
• 1:33:48
  SPEAKER_03: Yeah yeah yeah it's funny I'll still go like an old GDX 980 which isn't even fast anymore.
• 1:33:53
  SPEAKER_00: If I need to update my graphics card so I'll 100 megapixel images yeah 100% yeah yeah oh you know when you your phone would probably have more processing power than that.
• 1:34:04
  SPEAKER_03: Yeah to a degree you do stitching and when your image is you know 20 gigabytes yeah one image is 20 gigs once one image is 20 gig yeah yeah cheats okay yeah and here I am thinking my five my five gig files after it would my Nikon ones are like I'd push you know they most my Nikon files if they're a panel you know nine nine gigabytes.
• 1:34:29
  SPEAKER_01: Yeah okay yeah so you're doing panos mine are five gigs.
• 1:34:32
  SPEAKER_00: I actually have a question about that.
• 1:34:33
  SPEAKER_00: So once you guys have exported those kind of works especially because I've started submitting to like you know um National Landscape the like photography awards submitted to a couple of other ones recently last year and then looking at submitting more all the file sizes that you can upload are so small.
• 1:34:48
  SPEAKER_00: How do you how do you guys deal with your workflow to get those in terms of competition yeah I was your man I don't really enter comps.
• 1:34:54
  SPEAKER_00: Because yeah like obviously my my final export from I just use Lightroom but my final from Lightroom and then I'll use Photoshop if I want to print but my Lightroom exports when I'm submitting for like online things I'm just like outputting it how I would normally but then I am obviously downsizing to get it under that five meg or whatever it needs to be.
• 1:35:14
  SPEAKER_03: Oh right yeah it look it's up to you just resize it and just I just I usually duplicate the file and then resize it I always use Photoshop to resize it.
• 1:35:22
  SPEAKER_03: Yeah.
• 1:35:23
  SPEAKER_03: So I'll resize it down then do like a save as copy.
• 1:35:26
  SPEAKER_03: Yeah.
• 1:35:26
  SPEAKER_03: Right as opposed to using an export function.
• 1:35:28
  SPEAKER_03: Yeah okay um just because it's more customizable.
• 1:35:31
  SPEAKER_03: Yeah.
• 1:35:32
  SPEAKER_03: Uh and if you've re what I find if you submit into a competition that wants to print your file later okay you're better off to downsize without the restrictions on it.
• 1:35:43
  SPEAKER_03: So when it downsized it increases the pixel rate the DPI.
• 1:35:48
  SPEAKER_03: So say you go down in size and it might increase it to 600 dpi.
• 1:35:52
  SPEAKER_03: Yeah you just want to keep right and then if they want it they can change it back up the other side to increase the file size.
• 1:35:58
  SPEAKER_03: Yeah okay and that that shrinks it right down but also keeps the info so you end up having to change it down to like an like a level eight JPEG or something instead of like a level 10.
• 1:36:07
  SPEAKER_03: Especially level 12 you'll never get it under.
• 1:36:09
  SPEAKER_03: But most of the comps you can usually say between 10 and 8.
• 1:36:13
  SPEAKER_03: Yeah right at at the size they specify like heaps of comps say maximum height 1080 you know yeah which is tiny that's maximum 920.
• 1:36:23
  SPEAKER_03: Yeah and that's particularly if they're not a print competition if they're more like a magazine company.
• 1:36:28
  SPEAKER_03: If they're a a digital production judging process they'll they'll tell you it has to be exactly that because that's the size of their screen.
• 1:36:36
  SPEAKER_03: Yeah okay so that's that's the reason and obviously it keeps it down.
• 1:36:40
  SPEAKER_03: Some of them are ridiculous though they're like one meg.
• 1:36:43
  SPEAKER_03: Yeah you outload one meg and I'm like how can I get my file under one meg but still look good and they're the ones where they don't tell you to give you like a DPI rating right that's where you go you'll go down to 72 dpi but make it that big yeah and then you can guarantee that it'll look awesome on that screen even at that dpi.
• 1:37:01
  SPEAKER_03: Yeah okay yeah it's good to know I'm not a competition person.
• 1:37:06
  SPEAKER_00: Yeah that's no I think I'm not in it to win it I'm just I want to know like because obviously sometimes they give you constructive feedback.
• 1:37:14
  SPEAKER_00: Yeah I also want to know I just want to know like roughly where the quality of my work sits yeah without you know you can't you can't survey everyone and I'm not selling a lot of prints.
• 1:37:24
  SPEAKER_00: Whereas like I would love to just be like oh this worked well this didn't work well.
• 1:37:27
  SPEAKER_03: It depends on the judges too like if you get one image right and enter it you could get like gold right or win the competition outright.
• 1:37:36
  SPEAKER_03: Yeah and you enter that in the next comp last and you get last yeah right so interesting it it it and you you I've tried and done it right so I've got certain images so if you enter like I think of Fiat right a Federation International Association of Photography right um that's like a global standard for competitions right so you can enter in any of those there's about 2000 competitions a year and they'll have like a judging course which you know all the judges have to go to that level but they have rules to like reach your certain honors right so you have they have a whole set of rules like you have to do this this this and this so you might have to have five images I haven't looked up they change rules all the time you might have to have five images which have won an award in a in a minimum of at least three countries.
• 1:38:28
  SPEAKER_03: So that means that and it has to be like so that means that image is globally recognized as a talent right yeah as opposed to saying oh it's really good in Australia but over in like Switzerland no one likes it.
• 1:38:41
  SPEAKER_03: Yeah so and that's where that comes into the point where they say that your skill level's so high that it's internationally recognized that it will win an award.
• 1:38:51
  SPEAKER_00: And that's yeah you're trying to equate a subjective yeah format and put it into something that you can get a metric from.
• 1:38:58
  SPEAKER_03: Yeah yeah so basically you end up like you know and they're like goals that you need if you want to get the next level of honors in photography.
• 1:39:04
  SPEAKER_03: Yeah so you like in competition photography anyway it's look it's a style and I don't think it's something that is most of it's not sellable.
• 1:39:12
  SPEAKER_03: Maybe the portraiture stuff is but when it comes to landscape stuff I found that the competition style does doesn't equate to sales.
• 1:39:21
  SPEAKER_03: Yeah it equates to like kudos right from I've noticed from your peers.
• 1:39:26
  SPEAKER_00: All of my prints that I actually like when I've seen them printed are all my minimal stuff.
• 1:39:31
  SPEAKER_00: Yeah and then those sweeping vistas and bright poppy colours no no one wants to put up a like yeah especially my black and whites like they've definitely performed better because you know a seascape of some surfers with some really dark deep shadows beautiful to hang above your couch or in the lounge room uh you know a shot from Cradle Mountain with all the green forests and it's really popping out.
• 1:39:52
  SPEAKER_03: No one wants to put that up anymore unfortunately I think it was I think it's a certain type of person that wants to hang that in their house.
• 1:39:59
  SPEAKER_03: Yeah and then there's like the people who want the minimal and match the furniture more stylish yeah artwork you know yeah like me.
• 1:40:08
  SPEAKER_01: Yeah but um we're kind of running out of time here we've got another episode I'm sorry it's not trying to get the door or anything but um again mate thank you no that's all right for coming in and chatting Sony with me.
• 1:40:21
  SPEAKER_03: Carl's over there just sitting I learned it was good and your technicality is like next level at some point it was like really impressive so that that part I think everyone will learn a stack of your information which is you know the I learned something that's one reason I wanted to get he's learned that he wants to buy an FX30.
• 1:40:41
  SPEAKER_01: No that that was generally funny everyone play with but um yeah thank you and um we really enjoyed the conversation and and thanks everybody for listening and we'll catch you on our next episode.