Episode 567 – Happy Father’s Day!

This is Shudders Inc. with Bruce Williams and Glyn Lavender.

Hi and welcome to episode 567 of Shudders Inc.

Thank you, it's good to be here.

Thank you. It is Bruce Williams from ShuddersIncPodcast.com

and that there is Mr. Glyn Lavender from CreativePhotoWorkshops.com.au

It's been a month, Mr. Lavender.

No, it hasn't.

Apparently it has.

You're full of s**t.

I got a message from Carl last week going,

uh, when's the next podcast coming out?

And I went, ooh.

Our listener is keen for the next episode.

There you go.

I think we're down to one.

This is the only one who noticed.

Yeah.

The one who reached out.

It's gone from single digits to single.

So what have you been up to?

Maybe we could just rename it the Carl Hemmings Hour.

Well, it doesn't feel like it's been that long, so I can't think.

Nothing.

Not sure.

I've been walking.

I've been in a walking challenge with a group of friends.

I know.

I contributed.

I know.

I was about to.

I was getting there before you blew your own f**king horn.

Jesus.

And you're doing well.

Shut up, my friend.

Don't cut out.

This is the good bit.

So my initial goal, because I wasn't sure how my health would hold up,

was to walk 88 kilometers for the month.

Why?

Hang on.

Don't tell me.

Is that a Back to the Future reference?

No.

Oh, okay.

It wasn't even a Chinese good luck thing.

Right.

Okay.

Well, I figured it was three kilometers a day for every day

and one day when I couldn't do anything.

31 days in the month, you know.

It's 90.

Well, it doesn't even really add up either.

It doesn't.

It would be 90.

Anyway, I have no idea.

At the time, it seemed like a good idea.

Well, everyone else in the group were doing like 50.

Right.

So I thought that doesn't seem very much in a month.

So I haven't walked 50 kilometers in a year, let alone in a month.

Right.

But either way, you know.

So I set a challenge for 88 and we're walking for breast cancer research.

Sure.

And my wife and this group of our friends have done it every year for the last five years.

Okay.

And I've never done it.

Okay.

But this year I decided I want to get my stamina up for India.

So what a good excuse to force myself to get out and get active every day.

And it's my goal to keep walking every day up until I leave,

which is another six weeks away.

Sure.

So well beyond the challenge for the month.

But I thought it would be a good habit to get into.

And so I set myself the challenge and lo and behold, I've cracked the 88 kilometers.

Tomorrow, the last day of the challenge, I should hit 253 kilometers.

Nice work, mate.

Which is the most, I haven't walked 253 kilometers combined in my life, I think.

Yeah, right.

You know.

So you're averaging about eight kilometers a day.

Yeah, eight to 10 kilometers every day.

Yeah.

Nice work.

Yeah.

So yeah, sometimes in one big burst, sometimes in two.

Yeah.

Depending on how.

I've had one day where the heart went kaput and I couldn't walk at all.

So I've had one day where I was in atrial fibrillation where the heart's out of sequence.

And top of the heart's beating 130 beats a minute and the bottom's beating about 40.

So it's not a good.

That was like that for the entire day.

So that was not good.

So I managed 2,000 steps that day instead of the average 10 or 11,000.

So I just had to take it easy.

I couldn't take any chances.

You know, my apple just screaming at me all the time.

Do you realize?

Yeah, of course I bloody realize.

I can feel it.

But either way, even with that little hiccup, I'm not going to do it.

What did your heart doctor have to say about this little conquest?

I didn't ask him.

Right.

Why would I do that?

I'm male, for God's sake.

We don't ask for permission.

We beg for forgiveness.

I'm sorry, doctor, I didn't realize.

But here's the thing.

I haven't been going crazy.

Yeah.

I've just been steady.

You know, go on.

I think for a guy who's been pretty much bedridden for the last three years,

I think eight kilometers a day does classify as crazy.

Well, here's a good thing.

Up until yesterday, I've had no chest pains.

Well, that's great.

Yesterday I had a couple of twings, which are always, is this it?

Is this it?

Oh, no, it's not it.

Is this it?

No, it's not it.

And they're sort of pinged from one side of the chest to the other.

It was kind of bizarre.

But other than that, and hiccup with the heart going crazy,

with the heart rate, because my heart's medically reduced to 50 beats a minute

on medication to slow my heart rate down anyway.

So when it's doing 130, that's like if it also is doing like 180.

Yeah, right.

So it's a significant difference.

Because it's pumping out of sequence, it increases massively your chance of stroke

and stuff like that because blood clots go to the brain and stuff like that.

So I think it'll be a little bit.

I think it'll be a little bit more careful of.

So of course, you wouldn't ask the doctor for help or assistance or recommendations.

But I've been given mostly the all clear that, you know, get out there.

And so I did.

And so I've been feeling pretty good.

There's been days now where, like, I've already done a good walk.

And then a couple of hours later, oh, I really could go for another walk.

I want to go out and exercise.

That is so good.

Yes, that's been feeling really good.

And in the next probably in two weeks' time, I'll keep going for another two weeks.

Beyond the end of this challenge, which I might add, really.

And again, thank you for your incredibly generous donation, except for the smart ass comment.

So as long as you're not walking in my direction.

But I've raised $620 for breast cancer research.

That's awesome.

Yeah, I mean, I had a $100 goal.

And so not only have I walked significantly more, I've raised significantly more.

So, yeah, I'm delighted with the people who've got behind me and very appreciative.

Yeah.

And.

So I'm going to for the next two or three weeks, I'll keep keep the same sort of effort up.

And then I'm going to start wearing my backpack and cameras.

Yeah.

And start building up.

Try to do the same stuff, but loaded with an extra 10 or 15 kilos.

Because I was on my walk this morning.

I was doing my morning walk.

I dropped the kid at school.

I'm going for this walk.

It's been bloody windy down here, mate.

Bloody windy.

Up to 150 kilometer an hour winds.

I saw that today.

Just all week.

It's just been insane all week.

And I've come around the corner.

I'm walking on this creek and I've come along this corner and this house is on one side,

the little valley with this creek and lovely gum trees and stuff, lovely area.

And you see kangaroos and stuff like that.

It's lovely.

And I come around the corner and there's this lady on her nature strip.

She's got three massive tree branches down, you know, 20, 20 footers come down.

Not, you know, not very thick, but long, you know, it's a story of my life.

No.

And so I said, oh, I hope that she was trying to get them off her, off her.

The driveway and, and she's trying to put them on a nature strip.

But I said, let me carry him down to the creek for you.

So I grabbed the first one.

It probably weighs, I don't know, 40 kilos and I'm dragged, I'm dragged it down, down

the valley and dumped it.

And my heart's gone.

What are you doing?

Can't breathe.

And to walk back up the hill to the, to the road again.

So I grabbed the next one and dump it over the edge again.

And my heart's going, stop this.

What the hell are you thinking?

I don't want to do the last one.

And then I had to turn back and walk back to the car.

I couldn't get any further because I couldn't breathe.

My heart's doing like 140.

So under, under load still has some work to do.

I think it's probably though.

Well, in, in all seriousness, I would say when you do start, you know, carrying a load, maybe cut the distance back a touch, just, just ease into it.

Well, I think I said just this, the, the, the, the difference that, that you,

carrying those branches, just how quickly, how quickly it destroyed me, which is very funny.

So not funny, you know, I didn't fall over dead at least, but, but yeah, so that was, that was very obvious that I've still got a ways to go, but all things considered, I think I'm, I'm thinking I'm doing pretty darn good.

That's an awesome effort for the month, you know, given where you've been in the last few years.

So, yeah, I think so too.

And I'm pretty proud and, uh, and said, uh, I think I've lost, I didn't weigh myself before I started, which is a bit disappointing, but, uh, so I don't, I feel like I've lost some weight, but I can't, I can't be sure, you know, but either way, I'm feeling healthier, um, slightly, not a lot, but you know, it's like, it's, it's, it's got 59 years of sloth to, to wear off.

Yeah.

So four weeks of walking is probably not going to just knock that off completely.

Absolutely.

It might take five weeks to fix it all.

I probably still got another week's worth to do carrying those logs, but yeah, so it's, it's good.

And I've said, I'll, I'll, I'll build up my stamina.

So I'm, I'm good for India and relieve my poor wife's stress.

But yeah, so that's, anyway, that's enough of our health talk for men's health talk.

So have you had any more photo workshops in the last month?

No, not since we last, I think, I think we recorded the couple of days after my last one.

Oh, okay.

My next one's not until, well, I did, I did do a talk.

For the Australian Photographic Judges Association.

Right.

And you know how much I love judging and competitive photography.

Yeah.

So it was a bit, it was the, my photos are, I don't know why I bother talk.

And it was for, it was for the annual general meeting of all the judges in Australia.

It's like part of this association.

Well, yeah, maybe I'm not probably the person to be talking to because your entire method of operating is, goes against everything I believe in.

Yeah.

But you pay me how much?

I can't, I can do that.

And I can squeeze you in.

So I did a talk and they went down pretty well.

They, they, and I actually put in, I took out, because I was doing it by Zoom.

And so it's hard to do a 330 page presentation by Zoom.

I was a bit worried that it might, you know, glitch a bit or, you know, people's screens wouldn't refresh as fast.

So I knocked it to 260 in the hour.

Knocked it up to full 70.

And I actually knocked down about, knocked down about 90 slides and added about another 30.

Right.

Yeah.

Because I, some specifically having a go at judging.

Right.

Because that's the problem.

And how the biggest complaint I hear at every camera club I ever talk to is the judges.

As I said, you know, the, the, the biggest problem is a judge goes to a camera club, judges competition, says blah, blah, blah, blah, blah, blah, blah, blah.

You should be doing blah, blah, blah, blah, blah.

So all the impressionable ones go out and do blah, blah, blah, blah.

Yeah.

And the next competition, a new judge comes in and they go, why did you do blah, blah, blah, blah, blah?

You should have done blah, blah, blah, blah, blah.

Yeah.

And so they have no idea.

That's the consistency.

And it's an individual perception, which is, which is why you should, people shouldn't take what a judge says with any great heart.

Yeah.

Think of it as a suggestion.

Think of it as an alternate way of looking at things.

But feel free to go, even with your lack of knowledge, if you've only ever taken one photo in your life, feel free to completely reject everything that judge just said.

If it doesn't fit your narrative and what you thought and what you like about it.

I did a little bit on the, try and put yourself in the position of the shooter and the story they're trying to tell, rather than the technical and the fixed narrative that you guys seem to have.

Think about, you know, was this story told successfully?

And if not, why not?

As opposed to rules and, you know, you do this, you must do that.

All the other technical stuff they worry about.

Yeah.

And that seemed to go down quite, quite well, which is good.

Yeah.

I accepted that reasonably so.

So that was pretty good.

Yeah.

And then I got approached by Horsham Camera Club a couple of days ago if I would do another Zoom for them next week.

Well, it might be the week after.

But I said, no, I'm going to drive up and do it in person because I hate the Zoom ones.

Yeah.

You know, it's only a three-hour drive.

I get to do a lovely three-hour drive in the country.

Yeah.

Which is nice.

Yeah.

And then turn around, drive three hours back to Kangaroo Laden Road.

Yeah.

Which is somewhat of a good idea.

I'm concerned.

But, yeah, so I'm doing another tour.

And then what we'll do is some judging of some photos.

It'll go down well.

It'll go down well, terrifically.

And I've been, so I have been doing something else photographically.

Oh, yeah.

And I don't know if I mentioned this before.

Maybe I didn't.

Maybe I have done a workshop since we last saw.

I don't know.

I've started using Sony.

Oh, okay.

But you've been using Sony on and off, like, for your lens releases.

Yeah, but actually.

I've been working on using them for my India trip, for the entire trip.

Wow.

Shooting Sony rather than Canon.

What prompted that?

And trying out three new lenses.

Well, mostly because Tamron has stopped making lenses for traditional SLR cameras.

Right.

So my usefulness to them going forward, I've already had to say no a few times to Tamron America.

They're wanting images shot with lenses that are on current cameras.

And, of course, I can't because I haven't got.

A current camera.

Yeah.

Well, I don't use those lenses.

I use their older lenses.

So that's a fair thing.

And whilst I think about Tamron America, I must say, I've just said yes to doing judging

for their annual photo competition as well.

Oh, I hate judging.

Oh, okay.

You pay how much?

Okay.

I could be available for that.

I did it last year for Tamron Americas.

And it was actually kind of a cool process because it was done with a whole bunch of

other Tamron Pro members from America.

Yeah.

And just to see how much similarity we all had to what we thought and like was kind of

interesting.

There was a lot of – we all basically came to the same conclusion on which photos we

liked the most and which ones we didn't out of the hundreds submitted.

Yeah.

We all came up with roughly the same six or eight photos.

Wow.

Which is out of hundreds, which is quite amazing.

So – and it wasn't just based on, as I said, image quality or technical.

It was on feel and vibe.

Yeah.

All the good stuff, you know.

So, that was kind of interesting.

Yeah.

Nice.

Yeah.

So, I started shooting with three new Tamron lenses.

Okay.

The 17-28mm f2.8.

Nice.

The 35-150mm f2-2.8.

Nice.

And the 50-400mm something to something.

Right.

Gee, that'd be a good travel lens.

Well, I'm thinking, yeah, 35-150mm on one camera and 50-400mm on the other.

It's pretty – when you're shooting stuff with a certain distance, like when we go to

Farinassi, when we're on the boats shooting the pilgrims coming down to bathe, or the pilgrims

on the opposite, on the sandbanks with the camels and the horses and stuff, sometimes

you've got quite a bit of distance between you and them.

So, the 50-400mm is going to be pretty darn good.

Or if you want to kind of isolate just a couple of people rather than the masses, it's

going to give a lot of versatility to – at 50 to get quite a big group and then zoom

in on just a couple of the really interesting ones.

Yeah.

So, I'm looking forward to just experimenting.

I'm experimenting a bit with that.

My normal shooting stuff, I have one camera would have my 15-30mm on.

Yeah.

So, that's going to have the 17-28mm.

So, it's fairly similar, not quite as wide, but about a quarter the weight.

Yeah, right.

It doesn't have this massive curved front element that the 15-30mm has.

Yeah.

That's a significant weight difference on one side of the body.

And then the 35-150mm 2.8mm probably feels like my 70-200mm, which is what I'd normally

carry around.

Yeah.

And I think the biggest thing I'm going to miss.

It's the 200-2.8mm.

Right.

Whilst I've got 200mm on the 50-400mm, it's not going to be 2.8mm.

Yeah.

And it's not going to have quite the same feel.

Yeah.

Then having to change.

I know if I'm shooting portraits, I'm going to get frustrated at 150mm and have to go

up to the bigger lens.

I can feel it now.

I can feel it in my bones.

It's unfortunate there's so much overlap.

Between 50 and – yeah.

Well, I'm thinking most people wouldn't normally have that as their range.

They'd probably go the 35-150mm, 150-500mm.

Yeah.

Would be.

That would be a logical thing.

But because travel, you kind of want to have as much flexibility as possible.

50-400mm kind of gives you a lot more to work with quickly.

Yeah.

So, therefore, it's a little bit more useful for me than a 150-500mm.

See, with those, if I wanted to knock it down to two lenses, I'd leave the middle one out.

I'd go the 17-35mm.

The 17-28mm.

Oh, sorry.

17-28mm.

Yeah.

And then the –

And the 50, yeah.

And absolutely, that would kind of make sense.

But there's a lot of stuff with low-light shooting.

So, the F2 to 2.8 is going to be a big plus.

So, yeah.

So, I completely get your thinking.

And if I wasn't doing a lot of that sort of stuff – let's say I was doing an Africa trip maybe, yeah, that would replace the –

Yeah.

I'd leave the 35-150mm at home.

Yeah.

But, yeah, I just think that's going to be – but it's very interesting, yeah?

It's a very different feel shooting with this stuff, and the vibe is quite different.

But I am loving the eye focus, the eye-locking focus.

It's great, isn't it?

That's something I do struggle with a bit lately as I age.

So, I've done one – I did a workshop a couple of weeks ago with a natural-light portrait, used them for the first time.

As with most workshops, I've got to do like six photos or something for the day.

So, I didn't really get a lot of practice with it.

But –

Which body are you shooting with?

A7III's is what they gave me.

Ah, that's what I've got.

At the moment.

So, what you've got, yeah.

So, I think they've given me a 4 and a 3 to take away.

I'm not sure.

I'll see what arrives.

I love the 3.

I really do.

Yeah, I mean, my only concern – it's what, 7 years old or something now, you know?

Yeah, no, 5.

It came out in 19, I think.

I don't know.

Or was it 18?

It might have been 18.

It might be 6 years old.

6 or 7, which is getting on.

Yeah.

But, you know, it does everything you need it to do.

Exactly.

It's not a problem.

It's still pretty expensive for – look, amazing that it's still available, I guess.

Because, I mean, remember at one stage, Sony were changing models, like, every time you

change your underwear, just about.

Yeah.

I mean, when the A7 came out, then there was another A7, and there was another, and another,

and another.

It felt like in the first couple of years, there were, like, 7 versions of the A7 came

out.

It was fairly full-on and a bit confusing.

There are rumours now that there will be an A7 V in the first quarter of next year.

Really?

So, yeah.

I mean, they've got the A7Rs, haven't they?

They've got the A7Cs.

And then you've got the S-series as well.

So, the S-series tend to have a smaller sensor.

Yeah.

Still 35 mil, but with fewer megapixels, so you get better noise at low – or high

ISOs.

Yeah, yeah.

And your R-series is your resolution, so they have the more compact, you know, condensed

sensor in them.

So, generally –

Because they've got more megapixels, yeah.

42, yeah, instead of the 24 that the 3 has.

And then the A7 IV is a 33 megapixel, and I think the R version of that is –

A 50 or something, isn't it?

I was going to say it's up around 50.

Crazy.

Yeah.

So, anyway.

I'd love an A9.

Oh, yeah.

I mean, the 6 on a stick, those things, yeah.

Yeah, yeah.

But my mate Lisa in Alaska shoots with a couple of A9s.

A9s and just seem quite amazing.

I mean, I say that, but I don't get mine out enough as it is, you know.

That's irrelevant, yeah.

We're not talking about stuff you're paying for yourself, Bruce.

That's it.

You're talking about the hopeful that someone's going to throw a couple your way, you know.

That way, it doesn't matter if you're only taking them out once a year, you know.

Yeah.

But I don't know.

But look, I think they still shoot like 8 frames a second, the A7 III's or something,

don't they?

Some crazy amount like that.

Yeah.

So, and I've been kind of liking it.

And the silent shutter, I must admit, too.

Oh, okay.

I've never used that feature.

Yeah, I mean, you can understand when shooting travel stuff and you're trying to be a little

bit more circumspect, not having the click-clack is a good feature, you know.

They don't know when you're shooting, and that can be a good disarming feature.

Right.

Yeah.

So, you're shooting more unguarded moments because they don't know you're actually taking

photos.

Yeah.

If that makes sense.

Yeah.

Whereas when they hear the clack-clack, they know they've got to put their photo face on

or be, you know, I'm being photographed now, and it does change things.

It really does.

Right.

Okay.

So, I think that's a big benefit.

I can't remember what it is, but I know that there is some feature on the camera that doesn't

work when you have the silent shutter.

Is it rear curtain sync?

Yeah, definitely, because the curtain on the electronic shutter is electric.

It's not, but there's quite a few features, I think, actually, that don't work when the

silent shutter's on.

Okay.

I think it's also frame rate changes.

Oh, bit depth changes on some of the...

Oh, okay.

Like, if you're doing continuous burst shooting, it changes from, I think it's a 14 bit down

to 12 or 12 down to 10, something like that, when you're using the electronic shutter rather

than the traditional shutter, which is interesting.

Yeah.

I'm sure there's technical reasons why it happens, but it still seems a bit quirky.

Right.

Yeah.

But at the end of the day, you know, you don't need, I don't need 12 or 14 bits when shooting

a person, you know.

I don't, you know, bit depth is not a factor.

I think I've ever really concerned myself about.

Yeah.

I've never looked at a photo and gone, oh, that could have done it with a bit more bit

depth.

That's a general rule.

Yeah.

It's landscapes and architecture where the bit depth really comes to your aid.

Yeah, absolutely.

Yeah.

And neither of the things am I going to do unless there's someone standing in front of

it.

Yeah.

You know?

So, yeah, so that's been something different for me with the photos of the last couple

of weeks.

And so I've been watching, you know, YouTube videos on how to use.

The camera.

Nice.

But, and it's not about, obviously it's not about how to use the camera, but it's about,

you know, where, where are all the bloody buttons on this thing?

I want to assign this button to do this thing for me, which, how do I do that kind of stuff?

Yeah.

And I've got to say the interesting with the 35 to 150 Tamron, it's got programmable buttons

on the lens as well.

Right.

So you could assign features to the lens or you can assign, let's say you want to do a

pull, pull focus between point A and point B.

Yeah.

You can preset that up.

Nice.

And lock it, lock it into that button and just the tap of that button and it does all

the work for you.

Yes.

So really interesting stuff if you're doing video.

Yeah.

I was going to say they're becoming really handy for video work.

Yeah.

So it's just interesting how maybe lenses are going to, as more and more people use

these for both, I know it's been, people have been using them for years for both video and

still, I get that.

But the lenses are sort of starting to accommodate more of the video feature side of things.

Not just traditional photo side of things.

So, and we see that with the type of motors they put in, the focus motors and the, for

silence.

Getting quieter.

Yeah, exactly.

Yeah.

And smoothness and quietness is, is, is a factor that no still photographers ever cared

about.

Yeah.

But it has a big factor for video guys.

So interesting how lens manufacturers have adapted their gear to suit the changing needs.

Yeah.

Since 2005, Shutter's Inc.

has been a labor of love.

Yeah.

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Now, back to the podcast.

Yeah, that's right, yeah.

That's me.

What have you done the last month?

Have you done anything photographic?

Yeah.

I got the camera out with the 150 to 500 on for the full moon on the 20th of August.

Oh, right.

Because bizarre.

Was it one of those just a moon in the sky by itself and that's all that's in the photo?

Or did you do something interesting?

Absolutely.

That was exactly it.

Oh, okay.

Because I've never had, you know, that sort of pull before, you know, 500 million.

It's great.

Oh, of course.

And it was probably the first time I've seen a full moon and not had clouds in the sky.

Watch if you've had a camera hand.

Yeah.

Exactly.

So I was pretty happy with the image I got out of that.

And then today I did another ABC podcast.

Yeah.

How'd that go?

Yeah, really good.

And I was pretty happy with myself.

I set the tripod up with one flash to light the wall behind her and set that to just overexpose

the wall and then set the other light stand up with the soft box on it, went and grabbed

her, got her in place and looked at the controller on the top of my hand.

my camera yeah because i've got the young new controller now and i went oh an eighth on the

main light oh i reckon we'd probably cook you i might just back that down to a 16th took the first

shot absolutely perfect exposure and great you know just a great look from her and um we ended

up shooting two more images and both of us just went yeah the first one was it

pretty happy with that it's great when you start to dial in a place you just know it

and the thing is you can go now do that absolutely anywhere in any office with a white wall and just

go bang and you know you know you're set up there's no nothing hard i'm interested i'm looking

at you i'm assuming these are your behind the scenes or this is what you shot and then you

the ones that so so the one that's got oh one in the file name is the touched up version of

that first image the other three are straight out of the camera so is that you is that you're

framing with the with the walls and all the other stuff in the shot yes why because i know i'm going

to crop it to a square but why because i know i am yeah but why bruce why what why aren't you

shooting it properly to start with oh as in you're saying why why don't i shoot it in a portrait

orientation and why the walls and windows and other in the photo just because and no hands

well it didn't need hands because it's only i know but it's only head and shoulder shot

i i always prefer to have a little more than i need in the frame it's a little more

it's easier to crop in than it is to you could have you could have had 10 people in this shot

probably six let's say okay let's say four

two at least my reason for asking my reason for asking is multifold right the lens you

what lenses

shot with 28 75 to 8 okay at 75 okay i just think her face would look better

about 100 120 and a bit tighter right her face shape would be a little more pleasing

okay so your focal length has a difference it makes an impact on face depth and face size

wide angle stuff does but no no oh absolutely a thousand percent

okay

and shooting 75 that far away versus 75 close would be very different too

okay if you filled the frame with her at 75 i think you'd see a a a noticeably different shot

okay feel wise i don't know i guess it's only for web anyway it's okay but it just i don't know

i think you're also asking a lot of i guess you're zooming in the preview before you show her

you're not showing her that shot yeah i zoom in and yeah because i mean you can't expect you can't

expect her to visualize the shot without the wall and the windows and i don't know it just

it's fine this is killing me bruce it's fine it does my head in

that it's just you just didn't frame it yeah i i very rarely shoot in a portrait orientation

even when i'm shooting a portrait well you can still shoot that as a as a horizontal

right just freaking closer okay i could can i make another suggestion yeah i'm sure next

time of course yeah even if you say no put her uh let's say eight inches that's that's eight actual

inches not eight man inches eight inches further camera right whoa and consequently bring the

lights eight inches further right why okay because then you'll be getting a little bit more kickback

from that reflector yeah that projector screen yeah it'll give you a little bit nicer fill on

the opposite side of a cheek oh okay it'll give a little bit more of a highlight it's a little bit

more of a kick okay and that

kick will give a little bit more shape a face a little bit more shape right so it'll it'll carve

out her her jaw line and her cheek line a little bit more with light you can see it on your shot

yeah where that where that kiss of light is it's almost like a a bracket yeah it's got this little

little curved crescent moon let's call it that would have been emphasized just a little bit more

yep and it would just kicked a little bit more depth a little bit more vibrance to the shot

just by having a little bit more bounce back off the wall okay the the challenge

here is that in between where i'm standing and where she's standing there's a doorway and and that

big gray slab you see on the right hand side is the door i don't see a big gray slab on the right

hand side i see a projector screen or something the projector screen is the the thin white strip

that you can see no not a thin white strip it's huge it's like i can see like four foot of

projector screen okay okay so no you you are looking at the reflection photos you said it's

yeah yeah but are you looking at the first image at 6500 i can't see the numbers i can just see

you've sent me through okay oh i said the last one but there's some gray thing yes okay yeah okay let

me look at the other ones oh i see what you're saying see i've got four foot of projector screen

i'm saying i see what you're saying right so if you could move first if you look at the very first

one i don't know what it's got no number this is what i was saying about the way

handles attachments they don't come through in order but the first one where she's got well she

hasn't got a hasn't got a mouth open smile she's got a mouth closed that's right yeah that was the

second frame we shot so if she could if you move her yep eight inches to her right to our right i

get it yep you can move in bring the light see that kick would come in you go oh my god this

elevates a few percentage points but you'll you it'll it'll give you that extra kick yeah becomes

a two light studio shot instead of a one light studio shot

and for her face shape i think it would have added just a little bit more dimension but look

as i said first shot bang job done brilliant stuff yeah yeah but we always want to improve

and how can we improve well frame the thing properly move the closer move the closer to the

wall yeah but what that's what i was trying to get at was that doorway limits my ability to move to

the right yeah but it looks like there's plenty of space and if you actually i don't know frame

it properly yeah yeah there's plenty of space to move to the right yeah but it looks like there's

for her but there's not for me because i'd end up shooting into the door frame that's what i'm

saying like i can't step so far back you're so far back and you're framing if you shot vertically

right and moved in you'd be fine oh i see what you're saying the reason why the door's in the

way is because you're 400 feet away from her there's a bus going past in between there's a

street in between that's okay so so that that door is in the way of the door frame

is hinged on the right hand side right so the only way to get it out of the way is to close it

that means i've got to be in the room with her yeah and that then puts me

only a meter away from her yeah perfect then with a 75 mil i don't think yeah because then

you're framing it then you're framing it properly lovely i'll get three quarters of a head in the

shot get back that 65 if you had to

i will bear that in mind for the next time just try it just try it just try it you're gonna be

the other thing whilst we're thinking about it she's a how can we apply she's a busty girl yeah

i would have considered as a test shot of having her body facing away from the light and the face

looking back a bit that would have minimized her chest right so so just get her to turn

yeah so instead of her body is facing the light that your softbox basically if you had it facing

away it would be a little bit more shade a little bit a little bit darker gotcha would have darkened

down the top it would minimize you know black is slimming as they say the darker the darker tone

would have minimized her bust yep and again good she's wearing a fairly dark top but if that had

been a lighter top it would kind of dominate the face because there's a large expanse of light

yep lighter area yeah but i think yeah just you see look at her her uh her left shoulders

it's quite a little bit darker on that side yeah i just think i don't know i think if they're

slightly

larger people maybe you don't want to light them quite as much right all i'm saying yeah but you

know what's the most important well she's happy yeah she was that's all that matters yeah but

we're critical of ourselves so we want to we want to be better but i'm wrapped you know you know

you know i'm a bastard with this stuff but i'm wrapped with how well you're doing with it thank

you yeah i think you should be bloody pleased with yourself just be better i love having an

excuse to get the camera out you know it's great isn't it it's great you know i i will confess that

sometimes i a bit lazy with getting out and going and shooting something because i can't think of

what to go and shoot of course so then when something like this comes along where there's

an actual need someone needs an image shot it's like yeah i'm happy to do that you know of course

no it's it's it's it's great as you said it's the the having to try and think of something to do

yeah is yeah debilitating sometimes yeah

i did take my camera out for with the 35 to 150 out for a walk the other day yeah i mean the truck

me and the trouble stripe going for a walk i was trying out a new strap so i wanted to see what

that was like and so i took that out and then i i found yeah you know how much i love photographing

nothing but people yeah yeah but i'm photographing yeah all sorts of weirds i'm photographing geese

i'm photographing yeah the little ball things hanging off a tree i'm photographing a bit of

light on a lot of light on a bit of bark you know it's amazing how when you're photographing you're

when you have your camera and you're walking around amazing the stuff you just start

start taking photos of randomly absolutely of course all garbage and all good for nothing but

it's all kind of funny all right what else have you got to talk about on anything i found a video

the other day and i sent it to you you did i didn't expect didn't watch it i didn't expect

that you would get into the technical aspects of a lot i didn't watch it at all uh i really

enjoyed it the guy made the claim at the beginning of this no surprise to anyone who's ever listened

to this podcast made the claim at the beginning of the video that this is the only youtube video

yeah that's not that straight away he's lying to you bruce yeah there's millions of videos

on youtube i'm telling you right now i've watched a lot i've watched most of it and it's not he made

the claim that this was more than likely the only oh this is the only video more than likely he's

back and he's backpedaling pretty quickly

more than likely the only content ever shot for youtube yeah on film like so it was specifically

shot to be put on youtube and no romaine x caesar did an entire film clip for youtube

shot with exposed with out of date uh 16 millimeter film okay he did then clarify

that there were short films and things like that that people have

shot on film and then released to youtube but he was saying like you know the idea of

content specifically for youtube that wasn't going to be published somewhere else that was

shot on film anyway it was that romaine was only for youtube because there's no other platform to

show right anyway anyway anyway it was really good and there was some very clever stuff in what

he was doing in the video because he compared 35 million 16

mil by doing a split screen he had both cameras set up side by side on two tripods so one shooting

35 mil film one shooting 16 mil film and then in post they've married them up so you've got this

split screen down the middle and oh my god the difference between 35 mil and 16 mil it was like

huge huge yeah it made the 16 mil look like it was filmed on a potato it was just

just terrible in comparison the i remember going to see the film joker yep remember joker uh

with walkin phoenix uh yeah whack him whack him whack him uh at a theater that was showing it on

35 millimeter film nice and stunningly rich and beautiful yeah i can imagine then watching the

same thing digitally beautiful yep not stunningly rich yeah there's a palpable difference between

the two yeah

there was a visceral feeling difference between the two i was so disappointed when oppenheimer came

out i really wanted to go to sydney and watch a 70 mil print and kath wouldn't be in it and it's

like when are we ever gonna get another chance to watch 70 mil film you know it would have been

amazing there's a uh a video here called the first youtuber apology made with eight millimeter film

right there's a lot of just looking at you

film film stuff on youtube there's a lot there bruce he hasn't done his research

so problem is i would have watched the first minute of that video

gone to check realize that he's full of it not watched anymore because he's lost me already

yeah i do i do i do get what he's saying that's pretty funny

something that i didn't realize later on in the in the film he's talking about

then you go up to 65 mil film and he's got all these cardboard cutouts that show the aspect

ratio and he's talking about what they call two perf and three perf and it's all about

two perf aspect ratio means that it covers two perforation holes on the film yeah and three perf

covers three perforation holes and then he said but then you got 70 mil and he goes i don't know

what you're thinking how do you get 70 mil and i'm like i don't know i don't know i don't know

on 65 mil film and he said well imax doesn't roll the film vertically it rolls it horizontally

which i didn't i didn't realize that i thought it used film stock that was 70 mil but it's not

at 65 mil film stock and it's shot with the yeah the frame there yeah well that's it how do you

squeeze and what do you squeeze onto a frame you know this is yeah is it no different than how

panorama cameras shot even the disposable panorama cameras remember those use disposable

35 mil cameras yeah we used to be able to have disposable panorama ones oh okay and and they'd

shoot like a twice the width of a normal 35 mil onto the front of the film and have this long

this long panorama you know gotcha but yeah then that's when you have half frame that shoot

two frames into the space of this there's lots of different ways of doing it yeah it's um that was

very interesting i really enjoyed it it was very informative video oh good on you i'm glad you

watched the only ever content film

anyway we've got a couple of quick messages to uh to read out one from carl ah who said for the

carl hemmings hour hello and special hello to mr g who i caught up with his presentation of my

photos and why i bother we did we did catch up a few weeks ago so was that at the judging

talk no that was it no that was a zoom one that was at cold stream uh this is a place in country

slightly just outside of urban victoria urban melbourne

right that's called cold stream and he came up to say g'day which is lovely of him is that in the

yarra valley it is yeah i thought so because it's one it's the gate it's the gateway the gateway to

the yarra valley any place that's called the gateway to something doesn't have anything of

its own to hold on to there you go because there's no redeeming value of its own it's simply the last

place you go through before the good stuff starts he said we've only met in real life twice over

years the other time was at camera house elizabeth street which is no longer that's

feels like we're old pals it was michael's camera michael's in elizabeth streets it was close okay

but no cita glenn was in fine form that night i enjoyed it after the presentation it could have

been ted's no it was michael's we've moved on glenn after the presentation we all gathered in

the little kitchen for tea and biscuits where most of the women huddled together i had to break my

chat with him so the ladies of the camera club could at least have a conversation with him

some notes on last week's podcast about just having a simple menu on the camera body for

settings you use the most all my old nikons from d40 d300s and d700 had a my menu where you added

your most used menu items to it surely canon and sony have similar well the a73 certainly does

i would imagine the a74 does i don't want a my menu i don't want to delete everything off the

other menus right i want the other menus to be the way i want them to be the way i want them to be

the way i want them i don't want my own menu on a separate tab and still know all those ones exist

yeah it does my cdo in bruce i know they're there they still bother me the my menu feature that is

found in select nikon dslr cameras allows you to quickly jump to your frequently used settings you

can select up to 20 items for inclusion in your my menu list including shooting playback setup

custom settings and retouch menu items in the custom settings you can set up the camera so

that when you press the function button you're brought straight to the

menu for faster access so there you go still i still know they're there yeah yeah yeah i have

to delete them i want to delete them all off these sony cameras there's one tab alone it's got 14

screens yeah yeah i want to delete nine or ten just knowing they're there bruce does my heading

and that is why i have customized all of the buttons to be the things that i want to use

all the time and and what i do like about

the sony's is i assume other manufacturers do this is that they allow you to put different

functions on the same button depending on whether you're shooting stills or shooting

video so some buttons i have the same things assigned regardless of whether it's photo or

video but then there are other things where if it's still i want this button to do this but if

it's video i want it to do that so yeah oh which i um yeah i use this button to do that

i still want them all gone

and then finally we had uh an email from philip johnson uh who gave us a link to

a camera that was used at the democratic national convention and it's at the dnc yeah it's a 110

year old panoramic camera we were just talking about those and everyone at the dnc had to stand

really still because it was a camera that was used at the democratic national convention

it was apparently obviously shot very slow shutter speed oh i don't think you'd be able to tell the

guy in the back row if he was moving or not is that the photo the one that's in the it's not

even a panorama they needed 22 seconds to complete the exposure just play just play the national

anthem they all stand still to hold their heart for that jose can you see and you do that for 22

seconds you got you got them yeah yeah that's pretty cool though isn't it yeah that is but

you know why he did it no because he could okay

oh that's it there is another good bit though ella emhoff the stepdaughter of democratic

presidential candidate kamala harris yeah snapped the convention on a disposable kodak camera

right so she was going around with a disposable which you're also just talking about it's all

come the whole podcast has come together seamlessly full circle oh god we love it

we might not show you

an old

anyway i will put the link in the description of this video and i'll see you next time

the show notes if anyone would like to check that out so check it out check it out check it i think

that's us done oh thank goodness for that says every every listener

so you got anything planned for the weekend no okay we're having it friends over dinner

tomorrow afternoon but um they're called in sick oh there goes the entire i've been going out cd

shopping with my eldest lately going to op shops he's he's hunting he's got a into an obsession

with cds so we might go hunt up some cds in op shop shops okay a dollar a piece for

crud right everything nothing he hasn't got on his streaming platforms already we're now not only

spending money for him to be streaming we're going to spend money for him to buy stuff that

he can get for nothing oh he's all fun and going and yourself anything planned anything exciting

no nothing planned for this weekend bit of housework but that's about it i saw young max

was in town he was in town he was in town he was in town he was in town he was in town he was in town

he was he was home last weekend he just had lovely for you mate yeah it was so good to see him he

flew down on the thursday kath and i worked the thursday but then we both took friday and monday

off so we could have four days or three and a half days with him because he flew back on monday

morning yeah but yeah it was so good to have him home it was great and he's doing well he is he is

and he's found himself a girlfriend up there and they're quite serious and in darwin yeah

is she a darwin girl yeah yeah her parents live out at a place called berry springs which is uh

south of darwin yeah about a thousand kilometers

nearest neighbors are 300 miles away yeah it's that kind of thing but no they're lovely lovely

people met met mom haven't met dad but uh salt of the is would you call them salt of the earth

yeah yeah enough said enough said

yeah he's he's enjoying life and yeah having a great trump supporters i'm assuming why

well that's salt of the earth no no i don't think so

all good oh good on him he's happy that's the most important thing isn't it yeah absolutely

all we want happy and healthy that's all we want our kids to be that's it rich rich should be nice

yes if they could feed it back to us totally two and three eight bad that's it all good okay mate

look after yourself i'll talk to you in another indeterminate period of time absolutely yeah

bye everyone you've been listening to shutters inc