3x2 Photocast - Episode 05

Welcome back.

Yeah, it's been. Has it been a month? It's just each month. It's not monthly necessarily. It's.

I don't know, it's more that it comes out once during any given month versus being every month on the, like, 30 day mark. So don't expect it on the first or the 15th or the 30th. It's just gonna be at some point in between the bookends of a month in there. That's how we're doing it. And so far we've done it.

I like the balance of that because I don't know about you, but with hemispheric views, which we do with our lovely co host, Andrew. For people who listen to this but might not have, you know, listened to that, I love doing that. But we are very strict about the fortnightly thing, aren't we? And you go, oh, wow, I have things in my life that I have to do, that have to work around this. So, yeah, this is kind of like there's a schedule, but there isn't really a schedule.

Yeah, it's very strict that it's very loose.

Let's go with that. Yes, strictly loose.

Yes. That's what we like.

Sounds like some sort of weird adult novel you pick up at Kmart, at least in Australia, in the book section.

Perfect.

I used to pick things up. I used to follow Natasha around and, like, pick up books like that and just start reading from them aloud. Now that I think about it, that's such an obnoxious man thing to do. I'm sorry to all the women out there who deal with rubbish like that. Anyway, we have photos to get to. I'll stop by carrying. We do, yeah.

And I think, did I have the idea? I think you did. I think, no, no. I think this was your idea. A little bit of a theme this time.

Yes. This time I thought, you know what, we've spoken about a whole heap of different photos from different people using different camera bodies and lenses. But I think it was in a discussion between you and me on imessage that I thought, hmm, we really have defined tastes. You love the three x two format, hence the name of this podcast. I tend to like four by three, not that it excludes me from this podcast. I still like three x two. And you've shot with things like Leica and Sigma and Fuji and Sony. You can. You can explain all that. Whereas I came pretty much from canon and switched to micro four thirds a couple of years ago and love it. And I thought, why don't we actually talk about photos that we find on glass or elsewhere. Although I can see from the list it is quite glass heavy because it's easy to find photos using camera bodies. Let's talk about photos that we like taken with the same camera body that we have and see how it's maybe different or what we like about it.

Yeah, I. Absolutely, as soon as you said this idea, I was fully on board. I love this idea. I did clarify. Does it have to be a lens and body combination? It does not. It is just the body can be any lens, doesn't matter. But it's a, it's a really interesting way to kind of see what other people are doing. When you take the tools out of the equation, you know, there is no, like, oh, well, if I had a different camera or a better can or like, whatever, oh, I could do so much like, no, that, that's completely taken out. This is just down to the, let's just see what people are making. So, yeah, I'm super excited about this. I think it's awesome. Also, you did mention the glass thing, and it is pretty glass heavy because they, they do a really good job of letting you kind of drill down through. You could pick any number of camera bodies, um, any, all the different lenses by manufacturer. It's, it's just a really cool way to kind of see, like, especially if you're looking for like, a certain lens, you can't always go and try it yourself, but it's kind of a cool approximation to be like, okay, show me everything on glass with this particular lens and you can kind of get an idea and a feel for, for what its characteristics are. So that is why we are very glass heavy this week, because it's very easy to just click maker body go. So here we are.

Great explanation. Now, before we jump into each of our three photos as per the usual format, maybe we should just speak briefly about what each of our cameras are, what defines them, what do we like about them, and hopefully that will give everyone listening a bit of context for maybe why we choose these photos.

Do you want to start off?

Yeah, I will. So the camera that I am holding right now is, this is my, I have a couple of other little ones, but this is my main camera. And this is the Olympus Omd em ten mark four. All right. It's like letter number Alphabet soup, right? And despite the kind of long name, it's actually quite a lovely. It's not a compact camera, but it feels very compact. So we'll include photos in the show notes, the link linked there if you want to see them. But what I love about this camera is that as part of the OMD line now, Olympus has, since that camera brand is now OM system, under OM digital solutions, they were spun off and now a separate company. You can read the history of that if you want to. But the thing about the OM D line is that especially with this EM ten mark iv, it basically looks like a miniature DSLR. It's a mirrorless camera. But what struck me about it when it was first recommended and I went shopping for it, because I was going to go down a totally different path, but this fantastic salesperson said, based on what you've said about family photography and walking around kind of street style and just carrying it with you everywhere, this is the ultimate little carry around, pretty much affordable camera. And that's what I love about it. It has this kind of retro design, kind of like the older Om one models from, I suppose, like the seventies and eighties. I've got the all black design and it came with this beautiful 14 to 42 millimeter kit lens. It's a little pancake lens and it just feels really nice in the hand. It's quite small, so it's not quite as small as the pen line, but it has that kind of DSLR effect. And I just want to clarify that with it being a micro four thirds camera, whenever I talk about focal lengths or zoom ranges in these photo examples, you need to double it. Cause it's a two times crop factor with the sensor. So if I say 25 mm, really, it's like a standard 50. But yeah, I love this camera.

You just held it up now. And it is kind of funny that if you don't realize what's happening, it kind of makes your hand look gigantic because it looks like a full size kind of SLR style. But it is. It's like a little baby one. It's kind of. It's pretty cool. Yeah.

Thank you. And what I love about it is that when you do attach it to, you know, bigger lenses, like I have a 100 to 400 telephoto lens, it does look like this tiny baby DSlr on the end of this gigantic tube.

And it is funny too, when you tell me about your 100 to 400. Cause that is 200 to 800.

Yes.

If you two exit, which is just insane thinking about it, 800.

And then I chuck a two times teleconverter on that.

So now you're 1600. It's just like, there's the moon. That's cool. I'm looking at, you know, all of the various craters on the moon. Yeah, that's, that's super cool.

How about yours?

I am. I've gone through different phases throughout my photographic journey, and I've kind of come back to pretty recently back to just kind of basics. And so the body I'm using is the Leica M eleven with just a 50 millimeter sumicron lens. And I think the thing I like the most about it is the simplicity and the manualness of it. I've always actually kind of been afraid of manual photography throughout time because autofocus is so good and all of the just auto, everything is so good on all these cameras that I've always just been afraid to kind of dive into the manual stuff. And I don't have a choice with this. That's what it is like. There is no auto focus. It doesn't exist. It's 100% manual. But I also just love that because it is all just manual. Everything's very small and compact. So the body is, it's, it's heavy, it feels like a brick. Like it's solid as heck. But all the lenses are super tiny. And I can use lenses back to when I, the company first was founded. Basically, like, the lenses all work exactly the same because they're mechanical. You know, whether it's a film body or a digital body, they all just work together. And there's something about that which, it doesn't change the way that the pictures are or anything. It's just kind of a cool feature. I guess you could call it that things can be so old and yet still functional with something today, which is so often just never the case where something new from 2024 can be just plugged right into something from, you know, 1930. That's just not in our everyday world anymore, with material objects that we have. So I really enjoy the fact that it is a very brand new modern thing. Yet if you hold it side by side with a film comparison from, again, 19, 30, 40, whatever, I, they're basically the same. And there's just something about that that I find really intriguing and just neat. So, yeah, that is my, um, that's my new thing. And that is, that is where I'm at.

That's fantastic. And it does sound like it's more sustainable and responsible. And since moving to micro four thirds, micro four thirds hasn't been around anywhere near as long as what you just said with, you know, the Leica lens mount. But I do appreciate that fact that they've had that agreement with Panasonic. So you can kind of have those interchangeable lenses. And it makes a huge difference when you're not cornered into just using one set of relatively new things that you've got that kind of flexibility with other brands or at least a history of third party stuff. So, yeah, it's good that camera manufacturers do that. So with all of this in mind, should we move to the first photo?

Yeah, let's do it. I think you are up first this week.

Yep. My turn this time. Okay, so first one using my EM ten mark four camera body is a photo by Clive M. Now, I like this one very much and I'm going to try to keep it brief. This was taken with not only the same camera body, but the 25 mm f 1.8 in the M Zweco range. That's what they call them. And what I like about this as a kind of starting point is it is that very standard kind of 50 mm equivalent shot. You know, you've got to have one in your bag. Right. And this is a shot that's been taken just on the street of some, uh, flowers. Or at least there's one flower and the rest of them look like maybe. Maybe it's the wrong time of the season. Maybe they haven't quite bloomed yet. Things are looking a bit, um, deciduous and spindly, but everything's kind of framed by this, uh, kind of like razor wire on the. On this wooden fence. And what kind of struck me about it was that Clive's done a really nice job of layering with the Em ten mark iv. And one of the things that you tend to hear a lot about micro four thirds is, ah, well, with, you know, with a sensor of that size, you're not gonna get any pleasing bokeh or you can't get any sufficient background blur. It's just not gonna work. And right here we see this lovely example. If you've got a bit of that blurred fence in the foreground, you've got some of that focused flora or, you know, the flower in that middle ground there past the razor wire. And then you've got this blurred brick wall behind it and it kind of feels like this nature slash human parallel. You know, the way that there's this sharp razor wire in these sharp, like, thorny pieces of plant, like these spindly branches or twigs. It just feels thematically very interesting. And a good example of how a small camera like this can be taken out on the street to shoot something interesting.

Yeah, the layering, I think layering, framing and the kind of overlay of man made kind of barbed wire kind of guarding you or keeping you away from the plant that also sort of has its own built in. Barbed wire, to an extent, is really cool. And then, like, there's the framing of the entire photo. Then there's the cropped in framing of the fence. And then there's the further cropped in framing of the fence and the wire, creating the three horizontal lines, which is kind of your. Almost your rules of thirds, if you will. But, like, physically there in the form of razor wire. And then just, like, the super cool brick background that, like you said, is blurred out but still defined enough to where I know it's a. It's a brick wall that's painted. It looks like. And so that layering of brick wall with sharp, thorny plants with sharp, thorny wire on a fence just gives this, like, there's just so many layers trying to keep you away almost. I just think that's really cool. You know, there's the. With wall, with sharp. With fence, there's just one obstacle after another that you're trying to get through, and it is a really neat shot. And the fact that there's kind of only the one little speck of color from the one flower that's there. There is one little bud trying to come out there as well. But everything else is very dark colored. I mean, the wall is white, but it's more dark tones. And then that one little poof of yellow coming through is really cool. Yeah.

And I don't know if Clive intended this, but what I've inferred from the image is the way that this flower, this one bit of resistance, I suppose, from nature or that little bud, like you said, it's sandwiched between the fence and the wire and the wall. It's almost like it's a comment on how nature's been cornered in a way we keep pushing into nature. So I think there's a really good kind of social or environmental comment on this photo, even if Clive didn't mean it that way. Maybe it was just pure observation, but I think there's a really good kind of message in this photo.

And of course, I would be, you know, I would let everyone down if I didn't mention the branch going up through the center of the frame. Out of the frame. Love it.

Ah, yeah. Yeah. Recipe for. For what Jason loves. Yep, yep.

Great. Great pick.

All right, yours, number one.

All right. My first one here is it actually just. It happens to be the exact setup that I'm using. So it's the m eleven with the Sumicron 50 f two. And this one is titled Theory SF Exploratorium, which I will take to mean San Francisco Exploratorium, which is a really cool place in San Francisco. It has all kinds of science. It's like a science museum, I guess you could call it, but it's pretty hands on, so you can kind of. You get to touch everything. Unlike most museums, where it's hands off. The whole point is to go in here and play and. And learn. And this is facing one of the exhibits. I don't. I'm assuming it's called theory or maybe color theory. Not sure. There's the exhibit, and then there's one person that is basically completely silhouette, because it's a very dark room with a lot of colors on a table, and then they're being reflected up into, I believe, a mirror. And it's just this crazy, not realistic rainbow of every conceivable color coming up from below, shining up into the middle, and sort of back at you. And I just. I love this amount of color that is in the darkest, and this person that is looking to be kind of just still and mesmerized in my mind by the sheer number of colors that are possible with what this setup is. And it's just a cool framing. It's pretty tight on the exhibit. It looks like it almost goes edge to edge. You really could have been back further, but this makes you feel like you are sort of standing there with this person behind them as they do whatever it is they're doing with this color theory experiment going on here.

Yeah, this is really cool. You know what strikes me about it? You know, when, and I've been to the exploratorium, in fact, I think it was. It was the same trip when I actually met you in person that one time.

Yep.

And I loved, loved this venue. Really, really cool. What strikes me about it is, you know, when you see people kind of walking around, taking very touristy shots, which is fine, like just snapping away on holiday or something, and you know that they're seeing something that's truly amazing or intriguing about the scene in front of them, but they just kind of shoot it and walk away, and it doesn't capture the wonder. And maybe it's on a dedicated camera, maybe it's on a phone, but this feels like it's captured the wonder of what this person's looking at, but not in a way that's too staged or time consuming. It doesn't feel like this person went there with the full studio of their photographic collaborators. And had some sort of professional capture set up. And they just went there with the camera. They had exposed it in interesting way and shot the scene. And it just kind of lets the exhibit do the talking in this photograph. So, yeah, I just think it's a cool setup in a cool building. Sam has obviously seen it and knows how to use the camera. And we're left with this very cool image. I feel like it could be in a magazine. Maybe some sort of retro future 2001 a Space Odyssey homage or something like that.

I can see that.

I don't know. It looks like a kind of made up Sci-Fi something, or rather in a movie that you're not meant to understand what it is. Just know that the computer's working.

Yeah. It's some kind of new data representation that, like, we just don't know about yet. Yeah.

Yeah.

I love that. That's great.

But, yeah, just really nice. If we're moving on to the next photo. I didn't go far from you. Evidently, I'm also in San Francisco.

Just down the road.

Yeah, just down the road. I just thought this was really interesting. This is by Adam. And again, it's with. Funnily enough, I didn't do this deliberately. The same 25 mm f 1.8 on the Em ten mk four. And it's called San Francisco comma Ca or California, I'll assume, like, you're SF, but this is the San Francisco. But you look at the photo and it's pretty obvious because you've got the bridge. You've got the Golden Gate bridge there in the distance. All the beautiful kind of rocky outcrops and the bay there. And these people just, I suppose, travelers, or maybe they're visitors. I don't know if they're locals. They've got backpacks. It looks like it's in the cooler months. Actually, no, it was shot in October. So what's that? What's the temperature like? You're a Californian. What's it like at that time?

It's starting to cool down. Yeah.

Okay. Yeah. Because they've got jackets and there's some people holding hands in the distance. And what really struck me about this before I started really looking at the photo when I was scrolling through, was that it's in the four thirds format, but Adam has chosen to put it within a kind of square white frame. And with the tone of this photo, the beautiful shadows moving across with that kind of. It looks like kind of golden hour or something time. The way that he's chosen to compose it with the light and the shadows, and put it within this white frame. It gave it a kind of retro, almost film or postcard feel, even though it was taken with a modern digital camera. And I don't know, I just like the way that it's all composed with that line of the bridge, the lines of the shadows going in that other direction there. It just feels like a photo from years ago, but it wasn't.

Yeah. The Golden Gate bridge is always a difficult thing to photograph because there are infinite numbers of photographs of the Golden Gate bridge. Right. Like a lot of these big tourist type attractions. Of course, there's going to be a billion photos of them. So it makes it difficult when you're trying to. Not that you're always trying to do something different, but you want to try to put your own little spin on stuff. And I think this does a really nice job of that, actually. This is not an angle you generally will see of the bridge. It makes it feel like it's on its own and not next to a giant city. I love that. And I think you're spot on with the. The fact that it is this sunset time yellow feel with the border. It gives it that Polaroid, seventies vibe of, like, this is an old photo that I just snapped quickly. And this is, you know, hung up on the fridge with as a Polaroid, yet it's from 2023, so obviously not. I think it was a really great choice to have the. The border there because I think because of the colors, too, it allows you to almost step away from it a little bit to take in the entire photo as one object rather than trying to hunt around within it and go, oh, bridge and some rocky outcropping and, you know, some hills over there. It lets you see it, I think, better as an entire cohesive image, having this cool border around it. And it's also just kind of a neat border where it's like. It's like a double polaroid almost, because generally it's like a thin border on three sides and then thicker border on the bottom, where this is, like, too thin on the side and then thicker on the top and bottom. So that alone is just kind of interesting, I think.

Yeah, it just really stood out in the feed when I was scrolling through. And even though there's obviously, I assume Adam has done some editing, we all tend to edit our photos. Right. I don't look at this other than the fact that it's been put in this frame and feel like it's not reality. It feels like this is how Adam saw it. On the day, this is what the light was like. And I appreciate that kind of real look to the photo. So it has a kind of retro film, instant feel. But I feel like I'm looking at a very close, you know, representation or digital simulation of what it was. Not like he's filtered it heavily or something. So, yeah, I just think it's a really nicely done photograph. So. Well done, Adam.

Last thing that just came to mind, I actually really like that there's just a bunch of people in it. I think a lot of times we try to, like, oh, wait till everybody's out of the frame. Or, like, try to get some angle so there's no people in it. But I think the people, all the different people being there, it seems very clear that it's a lot of different groups of people, all just enjoying the beach by the bridge. So it just kind of adds a nice human piece to it, which I think is nice. You could easily say, no, people, and just be kind of stark, the bridge. But it almost makes the bridge secondary to the people, which I like.

Great point. I agree.

All right, number two for me, this one is from Scott. It is untitled. This, again, obviously, same body. So this is a. This is. I'm having trouble with words here. So. Okay. This is a top down of an escalator, I believe, going down, I think. And it is. It is a slower shutter speed, so it's a quarter of a second. So there's a lot of blur in there. But both sides of it are not blurred. And up one side is stairs, which have yellow markings on each of the stair lips, like a safety thing. And then on the right side, I think that's the wall, which has some cool texture and lines on it. But the focus in the middle is obviously this escalator with one single person on it completely blurred, giving just this cool, ghostly effect, almost of, I don't know, a specter or something, where it's just this kind of blob of a person that's wearing seemingly all black. I think they have black hair. So it just gives this ghostly, floating feeling as they're going down this escalator. And I can imagine looking down at this with it moving would be potentially maybe not that interesting. But the fact that it's this slower shutter speed. Giving this kind of slow motion to stopping this person in this ghostly fashion, just super cool. I really love this. Everything about this checks boxes for me.

You know what? I never thought I would see a photo where someone managed to make an escalator look like Wales. Baleen, that's a very specific thought. I know, but I looked at it, I just went, it looks almost like, even feathery, like the motion of those lines on the escalator. It's just a really interesting effect. Even if you look at this and think, oh, it's a pretty mundane moment because someone's going down an escalator, the artistry of it is just really interesting. Just, you know, when you use your camera, no matter what the gear is, no matter how expensive or cheap it might be, when you know how to use those things like shutter speeds and slow time down and get an effect like this, it's just really cool. And maybe you can tell me. And this is where more of that gear chat comes in. Now that you've been using this camera more, Jason, the m eleven. And you have to have that really well. You don't have a choice. It's manual. Do you think it's easy to do something like this?

I think it can be.

Would you feel comfortable or confident doing stuff?

I don't yet, by any stretch, no, but I think you absolutely can be. And I think, as you know, folks that are. That have been doing this for a while and are very proficient at the craft, I almost feel like they are faster than trying to expect, because the camera has no idea, like an all automatic camera has no idea what you actually want. You would never be able to point something that's fully auto at this and get this effect because it's going to crank the shutter speed way up to make everything perfectly sharp and try to give you that perfection. Whereas this is like an intentional choice. And I think when you get to that level, doing things like this becomes so much quicker than trying to do it non manually. So, yeah, I'm amazed at what people are able to just think instantaneously what they want, and they have the feel of where all the dials are and they can just get it right there. I am by no stretch there yet, but that is part of my journey that I hope to get to, is to be able to see a scene like this and think immediately. I want, you know, f eight quarter of a second go and just nail it. And that. That is. That is something I strive for.

Yeah, this just feels like it should even be, I don't know, album artwork, thinking maybe late nineties.

Oh, easily. Yeah, this would be a great album cover. We've had several like that, actually, in the episodes now. We've had several that have been. That could have easily been like, oh, this would be an album cover for sure. You need to go make an album now just so you could use this photo for it.

Yeah, clearly we have very specific types of photo that we like or things. And look, I make this observation because I think it's going to change with our final two photos. But have you noticed that all four photos so far have been with 50 millimeter equivalent lenses?

Yeah, that is interesting. I actually wasn't looking at the lens stuff at all until after I had already picked them and it was like, oh, yep, okay, clearly there is a look.

Yep, there's a look. Yeah, we've given ourselves away there, but, yeah. Well done, Scott. I don't know the motion in this, the lines. Really cool. Not sure if this person's traveling on an escalator or actually falling through a gigantic, you know, metal pit or tube or something. Now breaking the mould for a second. I'm heading to Flickr briefly.

All right.

Yeah, that thing. We have a photo by Sebastian, same camera, but actually with a 75 to 300 millimeter lens. And it's called Robin. Now this I just thought was gorgeous for people who haven't looked at the photo yet or can check in the show notes, we are looking at a little robin on top of a garden chair with a beautiful blurred, hazy garden or backyard behind it. We assume with, you can see the lawn and the bushes stretching into the distance. But because of the telephoto lens, the zoom lens that they've used at, I think from what I can see in the metadata, the full extension, 300 millimetres or 600 equivalent, you've got this beautiful compression. And what I like is that a lot of the time, and if I'm ever trying to photograph birds, occasionally normally trying to get them in the tree or flying or something, but this little robin has come down for a little visit in the backyard, is sitting perfectly in the middle of this chair and it's just this very stark, bold contrast with the background. And I think we've had discussions about this too, Jason. You're not much of a Zoom guy, is that right?

I am not, no. Like in practice, I really, I think, yeah, we did talk about this and yeah, you're, you're doing 600, 900, 1600 millimeters. And I think back through just forever. I think the longest lens I've ever.

Used was a 90 millimeter, which is fascinating to me. I think that's fascinating. Not bad. Just. Oh, wow. Because the thing that I love about, I suppose, dedicated cameras is the ability to reach really far out. And I find that compression really super interesting to look at. Hence this photo. But that's not what you kind of do. And that. And that informs or, like, it lines up with your own gear decision. Hence what we're talking about on this podcast, for sure.

Yeah, this. So the. It's called robin, obviously. So we have this bird here, and I do love that. Like you mentioned, the bird's not in a tree where you would expect a bird to be, because that's kind of the expectation is, oh, where's a bird? Probably in a tree. No, he. This bird is sitting. Sitting on a chair, which is not something you would normally expect. The chair does have a wood top, so it's sort of tree ish.

The bird's confused, clearly. Yeah.

I really like the color. The color thing. The color going on here, where we have kind of pure. Just green. So much green in the background, but like you said, it's completely just blurred out from that. 300, which. So this is, what, 600.

Yep.

600. Mm. So they were. They were three blocks away when they. When they took this photo. But the orange on the front of the bird, just against. Not only the green on the back, but the black of the chair. Such crazy, sharp contrast. And my favorite part is the fact that the bird feels like it has noticed that it is being watched because it's like a side profile, but it kind of has that little bit of a, like, side eye. Like, are you pointing that at me? And it just has this little bit of. Kind of a cartoony. I expect the bird to say something like, hey, what are you looking at? Kind of a thing. So.

So this is my backyard. What do you want about. I live here.

Yeah, totally. So just that little bit of a side nod of the. Of the head and the eye is really fun. And again, just sitting on a chair, I just love that. I think this is super cool. And the 600 thing. Yeah, I don't. That's. That's wild to me. At the same time, though, if it were a 50, like, you probably wouldn't get this, because by the time you got close enough, they would. The bird would be gone. So I can definitely see the merits of a long reach. But overall, just a fun photo. I imagine this was maybe in their backyard or I. It looks like a home environment, and that's awesome. I love it. It's really fun. And just a cute little kind of look into nature meets humans.

And just the fact that the chair extends beyond the frame. I like that idea of scale. You can see how much smaller the bird is, or that Sebastian has the world's largest chairs it's one or the other, maybe both. I don't know.

Could be.

So, yeah, there you go. A little bird.

All right, last one. Here we go. This one is titled snow. And this is with. Oh, here you go. It's long, 135 millimeter. Okay. It's a little bit longer. ISO 12,500. So. All right.

Wow.

And what we've got here from. Is it. I'm going to say yutaka would be the name. Here it is. Another. Apparently, I'm on a kick for above shots today because this is, again, a top down from above, assuming maybe a building. Not sure. A lot of things going on here. So we've got. We have cables going across the frame, which I will assume are for a trolley car. Train. There are train tracks coming in, but they're not straight across the frame. They curve from the top down through into the bottom. So that's really nice. There's a single person walking, and then snow, as in the title, but not fresh nice snow. This snow has been walked across by hundreds of people. It looks like there are so many footprints across every bit of this snow. And then on top of that, as if that weren't just already cool enough, there's all these crazy, awesome colors. It's kind of a. They all converge into the middle. There's red coming from the top and the right, there's yellow orange coming from the top left. And then there's this cool blue coming up from kind of the bottom left, all coming to the center point, almost coincidentally, where all the cables meet in the middle in this triangle. So shapes wise, there's so many cool lines and shapes here that I was immediately drawn to it. This one doesn't have any of the normal glass tags on it, but I. Lines would have to be on there, I would assume. And then again, just that one single person that is framed by some of these lines for the train and the edge of the frame of the photo. So just, I love, love the colors and the shapes and the lines in here. And especially if I had to pick just one thing, it is the shape of the train tracks, because they are. You feel like train tracks are very rigid, but these feel like they're almost just kind of flowing like water from top to bottom, because they're. They're just very wavy compared to what you're kind of thinking of, like a train just going long distance where the tracks are just fairly straight for a long time. So, yeah, colors, framing lines. Beautiful.

Yeah. You can see a lot of conscious, deliberate choice in this photo. Of course, the person walking into the frame. I'm not sure if Yutaka was waiting for this person or it was just by chance, but you can tell that they were really composing this scene and trying to choose where the tram lines were coming in, because we can assume that beyond this frame there could be more kind of wire chaos or things. But right here, this is like this juncture, this meeting of all of these different lines with the footprints, as you said, underneath it. So, yeah, I like the deliberateness, I suppose you could say, of this photo, the choice to photograph this exact point, which is what makes it interesting and not just some other part of the street.

Definitely, yeah. And the color. I. I'm dying to know where all the colors are coming from. I just. I want to know more as to what's going on here.

Shop signs or something. Just something as simple as that. Or there's some sort of super fun disco that no one's attending in Moscow because it's freezing.

It could be outdoor disco in the middle of winter.

Disco Moskvich. Nobody came.

Well, is that. Is that three by two?

I think it is, yeah.

There you go. Let us know how you feel about themes. I don't think we're gonna, like, make a thing about themes, but I think it was fun to do this little experiment down. Looking at other photos through maybe the camera you use, but is not necessarily anything you've taken. I think it's an interesting way to kind of get a perspective on what's possible.

Yeah, we can do stuff like genres or particular styles or formats, or we can do stuff with gear. Again, I like the idea of bringing gear into the chat, but without making it gear chat, if you know what I mean, because there are a lot of maybe youtubers out there who maybe obsess over that a bit too much. It is important, but as we've shown, you can take decent photos, whether it's with a more expensive Leica M eleven or the, in contrast, much, much cheaper em ten mark four, because these are not in the same photographic league, I think you can say, in terms of their price points. Right. But you can still do cool stuff with both of them.

Oh, absolutely. And it's all about the person using it. I mean, you can have really great or not very great from anything. I mean. So, yeah, I, as with the point of the show, is about the photos, and there are tools to create the photos, but that is definitely not the focus.

Perfect. Well, thank you for sharing your images, Jason, and giving me a view into your liker world.

Yeah. Thank you. Likewise. We will be back for the September episode.

Thanks, everyone.

Thanks to it.