Month: March 2019

Liam Photography Podcast: Episode 13 – The Diopter, Focus Screens & Cleaning Your Sensor

In this episode I discuss The Diopter, Focus Screens and Cleaning Your Sensor Yourself.

Using the Diopter to adjust your camera to your non perfect vision so that your images are in focus all the time.

Replace that nasty Focus Screen unless you like looking at dirt specs and micro-threads.

Clean your sensor yourself and save time and money and being without your camera.

Links from this episode:

The Diopter – https://www.liamphotography.net/the-diopter/

Focus Screens – https://www.liamphotography.net/focus-screens-part-1/

Sensor Gel Stick – https://photographylife.com/product/sensor-gel-stick

Transcription by temi.com

Liam Douglas: 00:00 Welcome to the Liam photography podcast. I’m your host Liam Douglas, and this is episode 13 I want to thank all my listeners for subscribing, rating and reviewing and iTunes and any other pod catchers they might be using. In this episode I’ll be discussing the diopter focus screens and how to properly clean your DSLR censor yourself. All of this coming up on episode 13 of the Liam photography podcast.

Liam Douglas: 00:53 Hey everybody, this is Liam Douglas with the Leon photography podcast. You’re listening to episode 13 so the first thing I want to talk about in this episode is the Guy After. Now I know you guys out there. Some of you might know what the diopter is and others might not be familiar with the diopter. So as I’m sure most everybody’s aware, not all of us are blessed with 2020 vision and some people have to wear glasses or contacts. I personally work glasses, but only because my right eye, the vision is off just by a tiny amount. It’s like 2021 or something like that. It’s only off by very little bit. And I shoot with my left eye so it doesn’t really matter. But if you’re somebody that wears glasses, not everybody that wears glasses likes to have their glasses on when they’re doing their photography. And one of the reasons is the glasses tend to get in the way when you’re trying to look through the finder or whether it’s the optical or electronic view finder doesn’t really matter.

Liam Douglas: 01:58 Some people can get around this by using contact lenses instead. But even though it was contact technology has gotten better over the last couple of decades. A, they have contacts now for people, the stigmatism and stuff like that. Some people just can’t comfortably where Tom, uh, contacts, they could be allergic to the material they’re made from or it’s just not a comfortable situation for them. I know myself personally, I was born but lazy eye and my right eye. So I had to have surgery when I was two and again at four to correct that. And as a result, I never liked anything touching my eyes. So I could never wear contacts. So when I was younger and my eyesight was considerably worse than it is now, uh, contacts, we’re definitely not a route, but I could go. So I stuck with glasses. Now let me get back on track cause I kind of sidetracked a little bit.

Liam Douglas: 02:51 They’re talking about corrective lenses and stuff, but my point is on every camera where it’s a mirrorless camera, a Dslr, or even a film camera for that matter, all cameras, if you’ll look at the back of your camera where the Ip says, and on different manufacturers and different model cameras, it might be on the left side or the right side. You’ll notice that there’s a little gear, what looks like a tiny gear on either the left or right side of your view finder. And it’ll have little hash marks in it. Kind of like a, you know, the Hash marks for a grip that quarters have around their ages and dimes and stuff like that. Now what that dial is, is it’s called the diopter. And what that allows you to do is look through your viewfinder and on a a DSLR or mirrorless camera. You know already, probably that when you look through the view finder and you press your shutter button halfway down, you can see your exposure information in your viewfinder.

Liam Douglas: 03:57 You’ll see, or light meter, you know as far as whether you’re underexposed, overexposed, right in the middle, you’ll see your shutter speed, your aperture and your ISO battery life possibly, and some other things. It depends on how many of the options you have turned on as you look through your viewfinder and press your shutter button halfway down to activate that digital readout. It may look, especially if you just bought a camera brand news is their first time using this new camera or first time using a camera. In general, you may notice when you look through the viewfinder with your dominant eye that the text inside the viewfinder is boring and I might be only off by a little bit or it might be off by a lot. The diopter allows you to compensate for not having perfect 2020 vision. So what you do as is as you look through the view finder and get the, the, the digital readout that come up by pressing the shutter button halfway down.

Liam Douglas: 05:02 Now it’ll all, if you release the shutter button, will only stay on for somebody seconds. And that when I go back out for power saving mode or something like that. But anyways, as you’re looking through the viewfinder, slowly termed the diopter wheel with one finger, try it each direction and see which way you turn it. Um, as you turn it one direction first and then the other, see if the readout text is getting clearer and sharper to your eye. Once you get that adjusted perfectly for your eyesight, then you’re good to go. In general, you’re never going to need to mess with your diopter again. The only time you might next have to tinker with the diopter is the next time you buy a new camera. Generally every camera, you know, especially if you wear corrective lenses, you’re always going to have to sit and die after when you first get a new camera.

Liam Douglas: 06:00 So with that, keeping that in mind, again, you can use the diopter to compensate for not having perfect 2020 vision. And if you go over to the Liam photography podcast page, Liam photography, podcast.com in the show notes, I will have a link to a blog article I did on this subject a couple of years ago on my regularly in photography website and it has screenshots, it has images and the first one is actually of the diopter on the camera and you can see for yourself what it looks like. It’s actually circled with a little red circle, that little gear that I was talking about with the notches and now it’s an extremely small wheel and the whole reason for that is just so you don’t accidentally bump it, you know when you’re carrying your camera or whatever the case may be, you don’t want to accidentally knocked that a diopter out of adjustment.

Liam Douglas: 06:52 And the reason why you want to make sure your diopter is perfectly calibrated for your eyesight is because if the diopters off, then your focus and your images will be off. And a lot of people don’t realize this. So a person will be taking photographs and they get the beep saying that the camera’s got focused lock, and then they snap a picture. And then when they look at it on the back of their screen, or later when they get home and they load the photos up in their computer, all of a sudden all their images are a little bit out of focus. The focus is what we would call soft. And the reason for that is they didn’t bother to configure their diopter. They didn’t bother do adjust the diopter to their eyesight. And as a result, your focus and your images can definitely be off a little bit softer or they can be way off.

Liam Douglas: 07:41 It just depends on how far out of whack the diopter is too for your eyesight. That’s gonna make a huge difference and huge impact on whether or not you get a tack sharp focus in your images. Or if you end up with slightly worry, focus slightly out of focus or way out of whack focus. So keep that in mind. If you’ve been trying to figure out why you’re not getting the perfect tech sharp focus with a decent lens on your camera, it’s probably that you’re diopters out of whack. Now it could also be that the lens you’re using my need to be recalibrated. That’s a possibility as well. And if that’s the case, you’re probably better off sending the Lens. Do the manufacturer and having them calibrate it and send it back to you. Not all lenses are easy to calibrate yourself. Some of them you can.

Liam Douglas: 08:32 I’m actually using a, the menu in the camera itself, you can have it do micro adjustments for the auto focus and some lenses like the sigma and the Tamar ons. You can actually get a USB doc for their lenses. They’re higher quality lenses and you would actually put the lens in that doc, it’s Usb powered and then that doc will calibrate lens for you. And it can also do firmware updates for the lens. As the manufacturer releases new versions of firmware to make improvements to the Lens, you’ll be able to also do updates for the lens firmware. Okay. So in segment two of this episode, I want to talk about the second item and that’s your DSLRs focus degree. Now I said Dslr. And the reason why I did is because this evict doesn’t apply if you’re somebody that only owns mirrorless cameras because you have an electronic viewfinder.

Liam Douglas: 09:34 So the focus screen is a piece of edge of glass inside DSLR cameras. And the only way you’re going to see, um, the focus screen is as you’re looking through the optical view finder, that’s what is part of the optical viewfinder. In other words, the light comes in and the image comes in through the Lens. It gets bounced up through the pen of prism up the all that good stuff through the focus screen up to your eye. Now you may have noticed over time with your Dslr, you look through your viewfinder and you’re seeing dirt or little micro fiber strings or something else for that matter, and you know that the dirt that you’re seeing is not on your sensor because it doesn’t show up in your images. When that happens, you’re focused. Screen has gotten dirty and the focus green can get dirty just like the sensor can get dirty.

Liam Douglas: 10:34 Unfortunately being that the focus screen is a piece of edge to glass, it’s not possible to clean it, so you either have to live with looking at those dirt specs every time you’ll look through your viewfinder or you can go on Amazon or you can go to your camera manufacturers website where there’s Canon, Nikon, Sony or whoever, and you can order replacement focus screens for your DSLR and you can change about yourself fairly easily. And if you are the show notes for this episode, I will also have a link to an article I did on the focus screens where you find them in your DSLR and how you can change them. It’s not really hard. If you’re somebody that you’re not comfortable doing your own repairs, an electronic items, especially an expensive camera, then by all means, take it through a local camera shop or send it into the manufacturer’s repair center that’s closest to where you live and they will do it for you.

Liam Douglas: 11:38 Now, if you’re a professional services customer like I am, I have a canon CPS gold membership, um, in January cannon and a lot of the other manufacturers, uh, we’re actually here in Atlanta for Pvas imaging USA 2019 imaging USA is an annual photography convention that’s put on by professional photographers of America and there had to go headquartered here in Atlanta as well. But when you go to something like the imaging USA, or though I can’t remember the name of it, but I know there’s a convention for professional wedding photographers and there’s different photography conventions that happen throughout the course of each year in different cities, states, countries and so on. And I’m, most all of these conventions, you’re major camera manufacturers are going to be on hand and they will generally always have a separate area at the convention for their professional services customers can CPS, Nikon professional services, so, and whatever, you know, whichever one you have, whichever one you’re a member of.

Liam Douglas: 12:47 And if you go to the CPS lounge, like I did imaging USA, you can go there as a CPS member and you can drop off your camera and have it professionally cleaned by cans, professional technicians, they will clean and service your camera free of charge. You’re generally allowed to send in your camera body for a free sensor cleaning, I think it’s once or twice a year. However, one of the nice things if you happen to go to any of the photography conventions is if you get it cleaned there by the professional services folks, that doesn’t count toward your annual cleanings. So in other words, as a CPS gold member or if I’m allowed to get uh, to sensor cleanings each calendar year and I haven’t used any yet for this year, which I haven’t. Um, but I did go to imaging in January of this year and I had my camera cleaned and service while I was at damaging that sense or cleaning as well as getting my focus screen replaced.

Liam Douglas: 13:54 Cause mine was a bit dirty and I’m OCD so I can’t stand and having anything in my line of sight. When I looked through the viewfinder, I want clear glass on my DSLR is when I looked through the viewfinder. So I took my 60 mark to do the CPS lounge while I was at imaging USA. Dropped it off. They not only clean the sensor for me and the routine thing, it’s on the camera, but then they also replaced the focus screen for me. Free of charge. Now if you had to go on even Amazon and buy your focus green or replacement one, they’ll usually run somewhere between 20 and 40 or $50 depending on the camera model. You know, a manufacturer and a few other things. So they can vary a little bit in price, but they’re generally not too bad. And like I said, you can change them yourself.

Liam Douglas: 14:45 It’s not super hard. The new, uh, focus screening actually comes with a special tool that you can use to carefully lift the old one out of your camera and set the, the new one back in place. Generally what it is is if you look through the front of your camera, where your lens normally attaches up inside towards the top of the camera, when you look through that opening, there’ll be a little metal flip latch. She usually spring loaded, I um, like so usually it kind of press release and a little thin metal frame will drop down and the focus screen will be inside that frame.

Liam Douglas: 15:25 And all you do is you lift out the dirty focus screen, set it aside and throw it away whenever you want to. Do you use the special tool to carefully pick up the new focus green. You don’t want to touch it with your fingers because the oil on your skin will mess up the ethical ass. And then you just destroyed a brand new, forgot focus green before you even get a chance to put in your camera. So instead you pick it up by the little tab on the bottom of the focus screen. It has a tab that’s part of the glass in the center. You pick it up with a special specially made tweezer plastic toys or you said it in the frame and then you just push the frame back up into place until it clicks. That’s all there is to it. And once you put in a new focus screen and then put your lens back on and bring the camera up to your, I looked through the viewfinder, you’ll see that now all of a sudden you don’t have any dirt micro strings or whatever you want to call them, are no longer showing up in your field of view.

Liam Douglas: 16:25 When you look through your vote, do you find her, so that’s definitely another maintenance item you can do yourself on your DSLR, fairly inexpensive to replace and fairly easy to do yourself. It only takes a couple of minutes. You just want to make sure that anytime you’re working on your DSLR and you’ve got your lens off it, there’s no protection for the sensor and the sensor is going to be potentially exposed to dust and dirt. And generally, I always tell everybody, because it’s a rule of thumb when you don’t have a camera lens, are when you don’t have the lens mount it on your camera. You never want to have that opening pointed upwards because it’s going to be easy for dirt and dust to fall down inside there and get out your sense or your focus screen. Get everything old, very in grungy. Yes. If it’s um, loose dirt and dust pollen, whatever the case may be, you can most of the time get it out when the rocket blower by flipping the camera so that the hole is facing down and then holding the rocket blower and blow the opening and gently blowing up and do it with the rocket blower.

Liam Douglas: 17:33 Don’t blow in with your breath. You’re going to cause more problems. You’ll get moisture from your breath in there, muck up your center, muck up your focus screen, whatever else you’re going to cause, all kinds of problems. So make sure you always use a walkup lower. You can get those on Amazon and a of other places. They’re fairly inexpensive if you get the small one. I think there are only like four or five bucks and the larger size one, which is what I have, I think it’s eight or 10 bucks, something like that. So they’re not super, super expensive, but that allows you to clean out your camera anytime you get dirt, dust, pollen, anything like that inside. Hopefully it doesn’t stick to your sensor, but a lot of times it will. And you’ll know if you have dirt on your sensor because you’ll start seeing spots in your images like a little, it’ll be like a little shadow, a circular shape, shadow light, light colored, dark spot.

Liam Douglas: 18:32 In different areas of your images, you might only have one spot and it might have multiple spots. It’s all gonna depend on how much dirt got under your sensor and that leads to segment three. Okay, so now I’m going to talk about how you can clean your DSLR censor yourself. You can also do this with mirrorless cameras, but you want to be careful because some mirrorless cameras are the sensors a little more sensitive than others and you could possibly damage your sensor. So this isn’t for the faint of heart. If it’s not something you want to tempt yourself, that’s perfectly fine. Take your camera to a local camera shop, send it into your manufacturers nearest repair center and have them do the cleaning for you. But it is fairly early or easy to clean your camera’s sensor yourself and there’s a great newer way to do it.

Liam Douglas: 19:29 The old way to do it was you go on someplace like Amazon or some photography equipment or assessory sites and you would buy these little cleaning tools that kind of looked like a microscopic squeegee. I know that’s not accurate, but this, it’s kind of what they kind of looked like. And what you would do is you would use that to gently brush across to your sensor that you’d get the brush it. You would order these components for your actual camera, whether it’s a full frame or a crop body or micro, four thirds or whatever. You know, because these tools came in different widths and you wanted to make sure you got one that was the right width for your sensor. So that way you could do a cleaning in a single pass. You know from starting from left or right going across your sensor and you wouldn’t have to make multiple passes.

Liam Douglas: 20:19 You could do it all nice and neat and one pass. Well that’s the old way of cleaning your sensor. The new more modern way to clean your sensor is a product called Sensor Gel stick sensor. Gel stick is a fantastic item for cleaning your center on your DSLR or a mirrorless camera yourself in the comfort of your own home or your little studio at your house or whatever you may have. And it saves you the hassle of taking your camera to a local camera shop or shipping it to your manufacturers nearest repair center and waiting a few days or a week or whatever the case may be to get a sense are cleaned and then sent back to you. And then of course you got to pay for it. And that costs can vary. Some, uh, camera shops as little as $25 to clean the sensor of some charges as much as 45 or $50.

Liam Douglas: 21:13 Now the sensor gel stick is a item that is a onetime cost of right about a $55 it’s 54 99 and the nice thing about it is you’re just thinking, well you know 55 bucks. That sounds like quite a bit. Well not really because the sense of Gel stick is an item that you’re going to buy one time and you won’t need to buy one again for several years, possibly longer. The Nice thing about the sensor gel steak is it’s this cool little tool that you can buy their maiden Germany. Now you want to make sure you go to the show notes for this episode. I will have the link to where you can buy the sensor gel steak off a website called photography life and you want to buy it there and there is a warning towards the top of the webpage from the show note links that’ll let you know, do not buy Sensor Gel, stick from any other place besides this website.

Liam Douglas: 22:14 And there was a reason for that. And I’m not saying this because I get a kickback. I’m not an affiliate or anything like that. And like I said, there’s, there’s a warning at the top of the webpage where you could buy the item. And the reason why there’s a warning, and the reason why I recommend that you go directly to this ID, your centric leading Gel stick is there are imitation items on Amazon e bay and they’re cheap Chinese knockoffs and some of these cheap Chinese knockoffs you can buy for as cheap as $5 but do so at your own peril. And what I mean by that is those cheap Chinese imitations aren’t built to the same standards, the same quality standards as the original legitimate sensor gel stick, which as I mentioned earlier, is made in Germany. And the folks that make sense there, Jill stick, I’ve actually gotten horror stories from customers that were duped into buying these Chinese knockoffs on Amazon.

Liam Douglas: 23:19 They figured they’re saving themselves a few bucks or whatever the case may be. They go to use these cheap Chinese sense cleaning gel sticks and they end up accidentally ripping the antialiasing aliasing filter right off their sensor, which is not good because then your camera needs a whole new sensor and that can be expensive. So you want to make sure that you get your sensor cleaning gel only from photography life website photography like.com and as I mentioned, I’ll have the link in the show notes for this episode and this tool is a marble. So when you buy one of these and you’ll see the pictures of the product on the website, it comes in a nice little aluminum case. They flips open. Inside is the sensor cleaning gel stake, the instruction manual and some sticky papers. The Gel stick itself is a plastic handle and it has a small square on one end of it.

Liam Douglas: 24:19 It looks blue when you can’t learn, but that’s the plastic tent. It’s the plastic cover over the jealous type pad itself as well as the Gel stick is a little bit, it’s not a clear gel stick. So, but anyways, what we’ll do is you’ll take the are genuine sensor cleaning gel stick, take off the protective plastic container, the snaps around the end of it, set that back in the metal box while you’re using it so you don’t lose track of it. And then what you’ll do as you will turn on your DSLR. If you have a Dslr, of course you’re going to have to go into the menu, tell what you want to do, a manual sensor cleaning. And when you do that and you push that option in your menu, you will hear your mirror flip up out of the way. It’ll flip up and stay flipped up as long as your camera has power, as long as there’s life in the battery, that mirror, we’ll stay up.

Liam Douglas: 25:16 When that Mir locks up, it exposes the sensor. You can then take the sensor cleaning gel stick and you gently press it on your sensor. Now it doesn’t do the whole sensor in one shot, so you’ve got to do it in a little steps across, left to right, start at the top and then go across the bottom. If you have a full frame sensor, if you’ve got a crop muddy sensor, you might be able to do the whole sensor in one full pass from left to right. Um, but it’s all, it’s all going to depend on the size of your camera’s sensor. Micro four thirds might be a better idea. You might be able to do micro four thirds in one pass and maybe not quite the crowd body might take one and a half passes and a full frame sensor is going to take about two full passage because it’s a bigger sensor of course, but basically you’re going to gently press this slightly sticky pad that’s on the end of the sensor cleaning gel stick.

Liam Douglas: 26:08 You’re going to just press and lift, press and lift and just go a little bit at a time across the sensor and what’ll happen is any dirt and debris that has gotten onto your sensor that showing up near images, the sensor cleaning gel stick, we’ll carefully lift that debris back off the sensor. When you’re all done before you put the Sensor Clean Gel, stick back in. It’s a little plastic protective a suitcase. I guess you want to call it and put it back in its metal box. You want to take one of the pieces of sticky paper that came with it and just gently press the sensor cleaning Gels, sticks, sticky pad down line to that sticky paper and then lift back off. And you generally only need to do this once. And what’ll happen is the sticky paper won’t pick up any debris that’s on the sensor cleaning gel stick that was lifted off your sensor.

Liam Douglas: 27:04 So you’re taking the dirt off your sense around at the jail, stick off the Gel, stick out in the sticky paper and you put the end of the Gel stick back in. It’s a little plastic suitcase, snap it shut up. But the whole thing back in it’s aluminum box flows lid on the box, put it up on a shelf or in a drawer or whatever the case may be until the next time you need it. Now this thing is a marvel, it makes it a million times easier to clean dirt and debris off your sensor. It makes it pretty much so anybody can clean their own sensor. And as I mentioned a couple of minutes ago, yes, it’s $55 to buy the sensor gel stick. Like you only need to buy it once every so many years. I mean, depending on how often you need to clean your sensor, you know, one of them could last year, 10 years probably or more.

Liam Douglas: 27:55 So in the long run it’s extremely cost effective because you’re not going to need to spend $55 every year for a new center cleaning gel steak or every six months. And if you’re somebody that tends to be a little more forgetful, you tend to switch lenses when you’re outside shooting and when you probably shouldn’t or you do and you don’t remember to point the opening of your DSLR or mirrorless camera down towards the ground and in you pointed up towards the sky, you’re going to tend to get dirt on your sensor a lot more frequently than I will. And you’re going to need to clean your sensor maybe several times a year. But the point is you’re still going to be saving money because one $55 charge to be able to clean your censor yourself as many times a year she need to is a lot more cost effective.

Liam Douglas: 28:48 And then 25 to $50 a pop to have a camera shop cleaned the sensor for you. So there’s a little tip that will not only save you some money, the you to be a little bit of a DIY or and service your own sensor. Now, like I said, it’s not for the faint of heart. If you’re not sure it’s something you’re comfortable doing, I don’t recommend you do it yourself. Go ahead and take your camera to a local camera shop or send it to the nearest service center for your manufacturer, whether it’s Canon and Nikon, Fuji, Sony, whoever descended it to the nearest center am you know, 25 or 50 bucks. Whatever it is, they’ll clean the sense of Foria. They’ll ship it back to you when it’s done. All right, so there we go. Three items today you’re diopter and how do you use said focus screens and how you replace them to get a clear view finder again and your Dslr is optical view finder and the sensor cleaning gel stick.

Liam Douglas: 29:51 That’s all I have for you today. In episode 13 of Liam photography Podcast, I want to thank you again for subscribing, rating and reviewing and iTunes and anywhere else you might be listening to us. Be Sure to stop by and join the Liam photography podcast based, but group you do have to answer a question in order to join the group, but the question and you have to answer as the name of the host of the pot, this podcast, which is myself, Liam, that’s all you have to do is putting Liam or you can put Liam Douglas, either one and your end and that’s to keep the spammers and bots and all that stuff out. Also be sure to stop by lamb photography, podcast.com where you can find the show notes, links, descriptions, all that good information, as well as any screenshots or redirect over to the blog posts on Leanne photography.net where you can see actual images that go along with those articles. All right, so I’m going to go ahead and wrap up this time. I will see you again in episode 14

Liam Photography Podcast: Episode 12 – Interview with Professional Photography John Harvell

In this episode I interview Professional Fashion, Fitness and Headshot Photographer John Harvell. John is based in California and loves working with lights both in the studio and on location.

I talk to John about his working in Fitness and Fashion photography including his upcoming coverage of the LA Fashion show at the Peterson Automotive Museum this coming weekend.

You can follow John’s work on his website and Social Media.

Instagram – https://www.instagram.com/john.harvell/
Facebook – https://www.facebook.com/john.harvell
Web Portfolio – https://harvell.myportfolio.com

Also be sure to Subscribe, Rate and Review this podcast in iTunes or any other pod catcher you might be using. You can join the Liam Photography Podcast Facebook Group, but you must answer the question Who is the host of the show?

You can also visit the show’s website www.liamphotographypodcast.com for links in the details where as well.

Transcription by temi.com

Liam Douglas: 00:00:00 Welcome to the Leon photography podcast. I’m your host, Liam Douglas, and this is episode 12 I want to thank all my listeners for subscribing, rating and reviewing this podcast and iTunes and any other podcatchers that you might be using. Also, be sure to join the Liam photography podcast Facebook groups. You can ask questions or comment on episodes and you can listen to all the past episodes and access show details@liamphotographypodcast.com all right. I’m your host Liam Douglas, and in this week’s episode I’m going to be interviewing California based professional photographer John Bell, who was a classmate of mine at the art institute of Pittsburgh. John Works in fashion fitness and headshot photography and John’s work can be seen at Harvey L. Dot. My portfolio.com and I want to thank John at this time for joining me today. So John, how are you doing?

John Harvell: 00:01:16 I’m doing all right.

Liam Douglas: 00:01:17 Fantastic. I’m sure you guys probably have a even better weather out there in California than we have here in the Atlanta area right now. Although it was pretty nice today. I think I got up to about 65

John Harvell: 00:01:28 okay.

John Harvell: 00:01:29 Oh No, it was chilly today.

Liam Douglas: 00:01:35 Oh it did. Ah, so you guys got some nasty weather out there today.

John Harvell: 00:01:39 Yeah.

Liam Douglas: 00:01:41 Cool. So my first question for you is looking at the work in your portfolio, Icu, you’ve done quite a bit of work with other artists that work in other mediums such as tattoo artists. Can you share some of your experiences in working with some of these talented folks?

John Harvell: 00:01:57 Okay.

John Harvell: 00:01:57 Oh yeah, I really go to this place, bought dark roast and you know, I just, I liked you go down there and watch them. Great. There are, I mean these guys who are wonderful at what they do and you know, if you’re into tattooing,

John Harvell: 00:02:19 okay.

John Harvell: 00:02:19 Oh eight and you’re a photographer, it’s fine. I get to just go down there, hang out and socialize with those guys and, and capture some of the action that they’re doing.

Liam Douglas: 00:02:34 Yeah, absolutely. Now, um, do you have any tattoos yourself or do you just strictly photographing?

John Harvell: 00:02:41 Yeah, I got it.

Liam Douglas: 00:02:44 Wow.

John Harvell: 00:02:44 A marathon on the 27th I’m about to hear another one.

Liam Douglas: 00:02:48 Oh Wow. Cool. So what’s the new one you’re going to get?

John Harvell: 00:02:52 Uh, uh, uh, uh, no, for sure I want to say.

Speaker 4: 00:02:59 Wow. Okay. I didn’t mean to put you on the spot there. I know

John Harvell: 00:03:06 ever since I retired now really retired down photography and, and try and get the photography business up and running and stuff like that. Um, so, so I’m just, I decided to get something a and an honorary for my, for my new future.

Speaker 5: 00:03:30 Yeah. So

Speaker 4: 00:03:32 now what did you retire from?

John Harvell: 00:03:35 I retired from the army.

Speaker 4: 00:03:37 Oh, cool. How many years were you in?

John Harvell: 00:03:41 Well, I was in active duty for 10 and then another 10 for a DA civilian.

Speaker 4: 00:03:50 Oh, okay. Yeah, I did the same. I was active duty Army for about 10 years. I joined when I was 17 in the mid eighties my parents had to sign and I was in during the first Gulf War and I also was, uh, of soul was involved in operation just cause when we went down to Panama to bring Noriega to justice. Oh yeah. So I, I spent 10 years in the army. But to tell you the truth, I never got a single tattoo. I mean, I like tattoos. Um, I liked the artistic side of it and everything, but when I was a little kid, I was terrified of needles. I’ve gotten over the fear of needles. I’m still not a huge fan of them, so I never really, never really had the desire to, to tattoo myself. Most of my siblings have tattoos and I just went with, uh, getting my left ear pierced a couple of times and that was it. And I remember I did it. I got my first pair of see miles in basic training down at Fort Benning and my drill sergeant drill started Edwards. He was like, why in the world did you get your ears pierced? I said, well, I figured 20 years from now, but I don’t like it. I can just leave it out in the hole. Will close over eventually. But Tattoos, man, they’re permanent.

Speaker 6: 00:05:00 Well, you know, Guam, oh, I got one in Iraq. Ashley did, uh, an area for him to do tattoos. So I got one there in Iraq, got running blog. Oh, I got to email Alaska. So yeah, pretty much everywhere I’ve been. I The guy attached to,

John Harvell: 00:05:38 oh, I, when I went to the first time,

Speaker 6: 00:05:43 yeah, Iraq. I did it because there you, you just couldn’t do anything besides take incoming or are going out the wire.

Speaker 4: 00:05:53 And I’ve actually got quite a few friends that are um, there were in the navy

Liam Douglas: 00:05:58 and that was something that a lot of them did. Like each time they would go on a tour, I guess you’d call it, like when they go to the Mediterranean or something like that. A lot of the guys I knew that we were in the navy on different ships, they would get a tattoo each time they visited a foreign port, they would get a new tattoo of some kind.

Speaker 7: 00:06:16 Yeah.

Liam Douglas: 00:06:19 There, yeah, I guess, I guess that can be pretty popular, but I was looking at some of your, uh, the work you’ve done photographing tattoo artists out there in your area and they’re really, really amazing images. You’ve got some really good stuff there. Well, thanks. Absolutely. Um, now another one of your recent projects, um, is your skating rinks shoot that you did with Megan. Um, can you share with my listeners, uh, how that concept came about and what all was involved in getting this awesome shoot set up.

Speaker 7: 00:06:48 Okay.

Speaker 6: 00:06:48 Oh yeah. I like to find them person’s personality when I shoot them. Especially if foam, yes, a mania was a TSC shoot. So are or wherever you want to call it, a for digital. Okay. And I noticed that he was into skating, so, so I, you know, I asked her, hey, you want to do gating pig? And of course she said yes. Um, the hardest part was finding a place. Yeah. I mean I searched high and low. Oh. And then she told me that you skated at the skating rink and so I contacted the owner there. Hey. He’s like, Oh yeah, sure. No problem. So, okay. So that’s how that came about. I was, I was able, I contacted the owner as a, I like to shoot a model at the skating ring. I was, oh, it’s set up the lighting not going to destroy anything and not going past your place. Yeah. And it was, it was real simple and easier. Um, we went down there that morning. Okay. Set up dinner, your different areas and shot.

Liam Douglas: 00:08:00 Yeah. Yeah. That’s really cool. I’ve been scrolling through the images as we’re talking here and uh, and the images are just awesome. And you got you, you had the lights set up a really fantastic and it looks like, um, you were lucky enough to be able to shoot this where you basically had the place to yourselves.

Speaker 7: 00:08:18 Yes.

Liam Douglas: 00:08:19 Oh yeah. That definitely makes it a lot easier. Especially, yeah. You don’t have to worry about any chaos going on in the background and stuff like that. But yeah, these images are really fantastic. Now, had you, had you worked with her before or was this a totally new collaboration with this young lady?

Speaker 7: 00:08:36 Okay.

Speaker 6: 00:08:36 Yeah, it was a totally new collaboration with her. Well now we met so well we’re going to be collaborating a lot more future.

Liam Douglas: 00:08:47 Oh, definitely. Awesome. Now, I did see at the, at the end of the shoot you had some uh, photos of her. It looks like in, in like a bowling alley.

Speaker 4: 00:08:56 Is that part of the same complex? There’s a skating rink and bowling alley Combo or, or um, two different shoots on two different days.

Speaker 8: 00:09:09 Yeah, just a really neat place.

Speaker 4: 00:09:17 Yeah, that’s really cool. Um, we have, uh, a chain of stores out here, I guess you’d call them stores in minor in a called Stars and stripes. And that’s what they are. They’re like a skating rink, bowling alley arcade. Some of them have dance floors and stuff like that too. So it’s, it’s kind of an all in one thing. And the really cool thing about stars and strikes especially, cause I’m sure you’re already familiar with my forgotten pieces of Georgia project. And um, I was doing Cherokee county recently and I haven’t finished editing and posted that video yet. Um, but when I first moved to Georgia 14 years ago, I was living in a town called Woodstock and there was an ingles grocery store right on highway 92 and Woodstock that I used to go to, you know, to buy my groceries every, every couple of weeks or once a month.

Speaker 4: 00:10:07 And that story had been there for a long time and I eventually moved out of Woodstock to Kennesaw and then moved over to the, the uh, east side of Atlanta. Now I’m back on the west side of Atlanta where I currently live. And a few years ago that ingles closed. I don’t know all the details yet. I’ve got some emails out to a couple of people to finish getting the remainder of the details on why it closed because ingles is still around. They have a lot of grocery stores in the area, but they closed that particular one and it said the building sat empty for four or five years and now stars and strikes is actually leased the building. They totally gutted and remodeled it and turned it into one of their a skating rink and bowling alley slash arcade setup swells. It’s pretty cool. When I was talking to the guy, this is their head of marketing and he was telling me that that’s what they, they always tried to do is they try to find the large buildings that will give them the square footage they need that had been sitting empty for a, you know, a few years because then they can get a really good deal on the lease and then they’ll sign it like a really longterm lease, like 20 years with the property owner and they get a great deal on the lease.

Speaker 4: 00:11:16 Especially leasing it for that long a period of time.

Speaker 8: 00:11:22 Yeah. If you ever want to shoot there, I would just ask about to open up publicity to them.

Speaker 4: 00:11:38 Well, they, they’ve actually already opened a location in this old, they’d been in business, therefore, I think you said about a year now. But I had stopped in because I wanted to shoot that building because I don’t, just wasn’t, I forgotten pieces of on not just concentrating on abandoned small business buildings. I mean, that’s the primary crux of the project. But anytime I shoot a building and then later find out or you know, either through an email or something like that, that somebody else has come along and bought this previously abandoned building or they’re leasing it again and they put a new business in there, I like to go back and fill that as well. So that, you know, the entire project isn’t just negative stuff. Yeah. So I did that when I did the, uh, when I did the video for Hancock County and the city of Sparta, um, which had pretty much turned into a ghost town.

Speaker 4: 00:12:31 Um, and then I found out there, Robert and Susan Curry, uh, Robert owns Currey and company. Um, they moved to Sparta and he bought the old furniture factory and opened up a business called Sparta imperial mushrooms where they actually grow. Uh, they organically grow Shataki mushrooms in there and sold them to the local farmer’s markets and in some of the high end restaurants in the area. So I always, anytime I get wind of somebody coming along in leasing a building that had sat abandoned for years, especially one that I’ve already shot for the project, I always like to go back and get footage now that it’s being reused again because I’ll want to cover the positive aspect of it as well.

Speaker 9: 00:13:13 Okay.

Speaker 4: 00:13:14 And uh, and the guys from stars and strikes were really cool with a lot. I talked to the manager on site and gave him one of my business cards and he said he was going to have the, the head of marketing get ahold of me and I didn’t hear from him for like a day or two. So then I filled out an email form on their website and he called me like the next day and he was like, yeah, just had been really busy, hadn’t had a chance to call yet, but I had your card here and I talked to him about filming, you know, their, their location in that old ingles building for my forgotten piece of Georgia series. And he’s like, absolutely said, the only thing I ask is give me a week or two because I’ve got guys going out to put new signs on the front of the building and I’d rather you wait and shoot the video once the new signs are up because it’ll look a lot nicer. So that’s what we did. We worked it out that way.

Speaker 9: 00:14:01 Oh, cool.

Speaker 4: 00:14:02 Yeah, so that, that turned out really good. And uh, like I said, I’m hoping to get that video posted before too much longer.

Speaker 9: 00:14:10 Okay,

Speaker 4: 00:14:11 now go ahead. Sorry. No, go ahead. I didn’t mean to interrupt you.

Speaker 6: 00:14:18 Yeah, I like gold. No, you just can’t. You can’t be.

Speaker 4: 00:14:25 Oh, absolutely. And I’ve, I’ve always been a huge, you know, history both. That’s always been one of my favorite subjects. I especially love anything that has to do is world war two.

Speaker 9: 00:14:34 Yeah.

Speaker 4: 00:14:36 Sorry, I really get into that stuff now. Um, another genre or style of photography that I see, you’ve been working quite a bit in his fitness photography now with that aspect of your work. Are, are you shooting just regular people or are you working with professional trainers and maybe some local athletes?

John Harvell: 00:14:59 Yeah,

Speaker 6: 00:15:21 skin tones and stuff and, and, and um, and Brian up the eyes, but um, this all fitness facility, they need to hit shots for the website. They needed some headshots for their website and, and so, so I go in and, and I think their headshots and just, just for, just for the fun of it, went ahead and, and we took some, some actual movement shots of them, um, performing and stuff.

Speaker 4: 00:15:55 Photography here on your portfolio. And I see you got some shots of this. Uh, I believe it’s a trainer. She’s in one shot, she’s hanging and it looks like maybe doing pull ups and then you got her lifting some weights, uh, doing some squats with the weights, with a set of barbells or, yeah, barbells. And then she’s also doing some, it looks like some stretching to, he got some really awesome work there. I especially love the one where it looks like you shot, uh, like a headshot of her and you and you shot through the handle of one of those. Um, I can’t remember what those kinds of weights are called.

John Harvell: 00:16:30 Oh, the kettle bell.

Speaker 4: 00:16:31 Yeah, that’s it. Yep. That, that turned out really amazing. It looks really awesome. Does some really cool work and that stuff.

John Harvell: 00:16:41 Yeah. Like I like to shoot on the shadow side,

Speaker 6: 00:17:03 find something else a different way. Eh, like I said, sometimes I like to shoot on the shadow side. Sometimes I find something interesting and you know, I’ll try to shoot through it. You know, sometimes it’s a lot of trial and error.

Speaker 4: 00:17:22 Oh yeah, absolutely. I can definitely be challenging at times. But generally those unique perspectives like that one through the kettle bell, they’re going to give you the kind of really cool

John Harvell: 00:17:41 yeah, Eh and you know it, the gym was already a little dark in my model. Right on my stroke wasn’t bright enough cause I, I pulled those skills back further. So from the frame so why manual focus? So Eh, it was able to actually hit that shot.

Speaker 4: 00:18:12 Yeah. And that that shot turned out really fantastic and I can definitely understand you have to use the manual focus because with the small opening, you know, through the center of the handle is probably kind of tricky to get a lock on her face without the camera one. The lock on the handle or the weight itself would definitely, yeah, definitely cause a lot of hunting with the auto focus system. I could see that for sure.

John Harvell: 00:18:36 Yeah. She didn’t think I could do it though.

Speaker 4: 00:18:39 Yeah. That’s fantastic. It turned out great. I mean that’s a really, really awesome shot and it’s a really unique and interesting perspective. That’s one of the reasons why I really liked it. And it was, that was clever thinking of that. That’s definitely a good one.

John Harvell: 00:18:54 Yeah. Yeah. You know, I, I been gone through and I’ve been revamping the way I posted

Speaker 6: 00:19:05 two. Um, yeah. Like oh a lot of my stuff was, well it’s hard and yeah, you’re going big change, perfect post-processing in retouching now. And I got, I got definitely a new style, uh, a new flow. It’s a lot more Polish.

Speaker 4: 00:19:32 Yeah. Well I was looking through this dancing project that you have here with the, with the ballerinas and I really liked the look that you’ve created with the images to post processing. I liked the green you look cause it’s, it’s a throwback to the days of film and I think it really makes the images look really cool.

John Harvell: 00:19:53 Yeah. That was a class project. It was miss monk. It was either miss [inaudible] or Ruben. Yeah, yeah I did that. Um, class assignment.

Speaker 4: 00:20:09 Yeah, I’ll bet you’ve got a good grade on that one. Cause they turned out amazing. Those images are really great. And like I said, I love the, you know, the grain. You look the old, the old film type look to it. It’s really nice.

John Harvell: 00:20:20 Yeah. I actually liked green. I like a lot of people. I do ag grades through my images sometimes cause whenever I post process, what I do is I post process. I go in there and I do everything. And then, then I use exposure for where my, uh, when my Gilmore, which exposure for is awesome. I

Speaker 6: 00:20:48 love it for,

John Harvell: 00:20:49 well I’m lucky if I want him look okay.

Speaker 6: 00:20:52 I will go into Photoshop,

John Harvell: 00:20:55 uh, post-process everything and make all my adjustments and then I go into exposure for and, and do that.

Speaker 4: 00:21:04 Yeah. And it looks fantastic. I love the way it replicates the, uh, the film film look from years ago, cause that’s when I started out. I started out shooting film many, many moons ago. And uh, I really like film and film. What doesn’t work for everything, but it works fantastic for this series. It’s really great for the Ballerina series. I mean they, they just look amazing. Yeah. I really liked that.

John Harvell: 00:21:32 What

Speaker 6: 00:21:32 I started, well I started photography one year, two weeks ago. Yeah.

Speaker 4: 00:21:39 Ah, so you didn’t, you didn’t go through the brutality of shooting film? No.

John Harvell: 00:21:46 Yeah, they’re all, you know,

Speaker 6: 00:21:49 or in Iraq I bought a point and shoot,

John Harvell: 00:21:52 which I still have images of, oh I have to find them and I still have the images go by rob [inaudible] going off and stuff like that. Um, but yeah, no, I bought, I buy a cannon, ADB and light. Let’s see,

Speaker 6: 00:22:13 I bought it in 2015 is and I didn’t really do anything with it. Yeah, no, I was just yes. Pictures. And then February, February, 2018 it decided that, you know, I’m on to learn photography and, and actually wanted to learn, I’ll be phoning about photography. And so, so I took my Canon Abd. Yeah. Oh, okay. I started the art institute and then I found out when I was shooting it on the, hmm. Indoors crap sensor wasn’t for me. Um, and so I was in a predicament and I was like, okay, I’m going to go full frame cause I want to do portraits and fashion and stuff like that. Um, so where idea on movie? Well frame. Okay. And then I decide, decided because I have an eye injury. Um, so I decided to go Sony. And so first thing I got was a Sony, a seven r two, which has focus peaking, Eh, and I bought a macro is the 90, the 90 macro was my first one. Then I got bored because I wasn’t really invested into Canon. So, so I went in with Sony and ever since then, uh, I normally focus by about 50% of all my shots. I do. So, so focus, peaking really

Speaker 8: 00:23:46 helped a lot with the community cause I have an eye injury in the right eye.

Speaker 4: 00:23:50 Oh, okay. Yeah. Now I won’t give me a rough time for betraying cannon and move into Sony. I tell people all the time, it doesn’t matter what camera system you use, they all do a great job. They all take amazing images, certain ones or have, you know, each one has different strengths and weaknesses and as long as you’re doing what you love to do, who cares what system you’re using.

Speaker 8: 00:24:21 It doesn’t matter what I like to use Sony Focus, we’re focused and I liked to manual focus a lot and plus I like to use gone focus and it makes a world of difference when I was using an optical view finder. MMM. And since I can’t really stand, lied to you, so I, I would, I like to use the, I like to use, do you find her and without focus peaking I can’t see nothing, you know. So

Speaker 4: 00:25:11 shooting Sony, after he got away from your add cannon, you’ve had an electronic view finder. So that’s the big thing about the electronic view finder is being able to see your exposure exactly the way it’s going to be in your final image. That’s huge. I mean that’s a game changer right there.

Speaker 8: 00:25:34 Yeah. I don’t really turn it on.

Speaker 4: 00:25:49 Oh, okay. Oh, so you just use capture one for doing your editing, Huh?

Speaker 8: 00:25:53 Yes, I was doing okay. Uh, a week ago or two, two weeks ago. Okay. Oh, I was a lot of stuff. My hard drive crash. Uh, well my, my update from the hard drive when I recovered the hard drive, it deleted everything. Um, so I still have light room, Eh, and then I read this thing from, mmm. Um, what was her name? Megan. Okay. Eh, or I forgot her name. Well I was reading her article posted in the office Oh. In one of the Facebook groups and I was like, you know what, I’m going to go ahead and

Speaker 6: 00:26:43 go ahead and try through one. And I actually really enjoy capture one. I mean it’s just basically adjustments. Yeah. But the, but as soon as I put everything in there I need, it doesn’t work as, it doesn’t look black. Like in light room, everything kind of looks flat. You did there. And as I’m and in capture one, it doesn’t look flat or muted at all. It’s actually pretty amazing program.

Speaker 4: 00:27:13 Oh yeah. Yeah. I’ve actually been with capture one for a couple of years now. I just upgraded to the new capture one pro 12, which is really great so far. I’ve actually got capture one, I’ve got white rooms, cc classic. And then I also have another one that I’ve been playing around with called Luminor. Luminaires really cool because with their newest version they call luminaires three. They’ve given it a lot of the same functionality as far as a library module. Like light room has loads and loads all your images so much faster than light room does. I mean it’s just crazy how much faster it is.

Speaker 6: 00:27:55 Hello? Hmm. Yes. Well I had, but when I went to switch to capture one things are things crashed on me cause I think one of my drives is going now or something. But um, it actually saved it. I was able to recover it from capture Warren. I was like, hmm.

Speaker 4: 00:28:31 Yeah that’s fantastic. Good software. Don’t get me wrong. For the most part it’s fairly easy for somebody that’s new to editing photos, it’s fairly easy for them to learn. But what people tend not to realize is light room is primarily a database program. So that’s why it gets so slow and sluggish because it’s got all this other stuff that it’s doing in the background. You know, it’s not just a straight photo editor like capture one is it does all this, it does all this database processing and stuff like that in the backend and it’s creating the side cart files and all of that stuff. Um, which in a way is cool because you don’t have to worry about um, your changes doing any kind of destructive damage to your original raw files. But the trade off is it also makes the software extremely slow and you got to, I mean, you’ve got to have a system that’s got a lot of Ram. You got to have a, a powerful, a GP or a graphics processing unit that’s also got a lot of Ram and any more you can’t run. I mean in my act 27 inch Imac, I have a terabyte solid state drive and, and there is my primary system and light room can still be slow even on a solid state drive. It’s crazy.

John Harvell: 00:29:58 Yeah. The video or anything.

Speaker 4: 00:30:17 Oh yeah. Yeah. It sounds like you’ve got the same Imac. I do cause that’s the one I have the 27 inch five k retina display model.

John Harvell: 00:30:24 Yeah.

Speaker 4: 00:30:25 Yup. Yeah, it’s a great, it’s a great system. I love it. But even on that now see when I bought mine, I didn’t pay the extra money to get it with a solid state drive from apple because Apple’s upgrade prices are just ridiculously high. So I bought mine and then I took it to a local place that’s an apple authorized repair center and I bought a one terabyte solid state drive from a company called other world computing or OWC. And the reason why I did that is not only is apples price way higher for a solid state drive, but they’re using older solid state drive technology, which is one of the things that kind of miss me a little bit about apple because they’re still using like slower solid state drives in their newest Max and you can go to somebody like other world computing and you can get one. It’s like twice or even three times as fast for less money. So my,

John Harvell: 00:31:26 go ahead. I was going to be subjected to Windows. You can, you can have the iCloud drive on their surface pro.

Speaker 4: 00:31:55 Oh yeah. There you go.

John Harvell: 00:31:57 Because apple apple is a little bit, you know, either you’re going to spend three times as much for a computer that you could build the same thing for an apple. I mean, you know, you’re, you’re really paying for a name and, and I mean I do like using apple but, but for, for my all intent purposes, I ran stick with windows and it used my surface pro. Now if apple did came out with the, with the iPad that that runs a full version of [inaudible] and, and I was able to put the, you know, Catherine one and everything on there, then I might get myself and an iPad like that. But if they’re going to keep running, uh, on some version of OSTP onto their iPads, then I don’t know, it’s just not worth it to me.

Speaker 4: 00:33:04 Yeah. Now the big thing that I do like about apple is I understand that you pay more. Cause I’ve worked in it as well as photography for almost 30 years. I’ve been involved in both. And for a long time I always built my own systems, but I know I didn’t run windows. I abandoned windows a long time ago. I always ran Linux on my stuff. But the big thing, yeah, the big thing, and I tell people this all the time, yeah, you pay into premium partly for the apple name, but then the other benefit you get, and, and I’m not trying to be an apple fan boy, but the other thing that you do get as far as the benefit is everything is designed by apple. So apple doesn’t physically manufacturer their Mac books and their iPhones and their iPads, but they use a specific hardware set, one specific hardware set for each type of device, whether it’s a Mac book pro or an Imac or their iPad pro.

Speaker 4: 00:34:06 And they build the operating system around that specific hardware profile. And that’s all they use. And the downside to being in the windows world is Microsoft makes the operating system, but then you’ve got dozens of other companies that make all of the hardware components that are in a PC. So that’s why even when I was still using pcs, I got rid of windows and just went with running Leong Linux because I didn’t have as many problems. It didn’t matter who the hardware was from and the fact that the operating system was a separate component, things just worked a lot better. And especially when you got, if you got into like a boon to Linux was a big one. That’s the one I’ve gotten a lot of my family running. If they’re not running apple stuff and it’s because a canticle the company that makes um, the boon to Linux operating system, their hardware support is just decades beyond anybody else’s stuff. They have far more hardware support and their operating system than anybody else in the world. It’s just crazy.

John Harvell: 00:35:14 Oh yeah. Yup.

Speaker 4: 00:35:20 About to give you an idea how old I am, I’ve been using Linux, like I said, off for almost 30 years. And when Linus Torvalds released the first Linux kernel, he uploaded it to the Helsinki University FTP server. I was one of only 10 nerds in the entire world that downloaded it and started playing with it.

John Harvell: 00:35:40 Yeah.

Liam Douglas: 00:35:43 Yup. So I’m definitely an old school nerd. Definitely. So I was looking through your website here. The other one I, another project that you did that I wanted to talk to you about because I thought this is really cool, is the world decay portrait of Tiger Lily series. I really love this because to me, um, the entire shoot has kind of like a Mad Max vibe and I’ve always been a huge fan of the mad max movies. So I wanted to talk to you a little bit about this. How did this project come about?

John Harvell: 00:36:14 Okay,

John Harvell: 00:36:23 well shoot,

Speaker 6: 00:36:32 I’ll here in the desert. Yeah, I drove, I drove all the way to death valley or through death valley to Nevada and linked up with John l’amour and,

John Harvell: 00:36:45 and we shot, oh, tiger lily,

Liam Douglas: 00:36:49 the two of you actually worked on this sheet together.

John Harvell: 00:36:52 Yeah.

John Harvell: 00:36:53 Yep.

Liam Douglas: 00:36:53 Oh, that’s really cool. I knew, but I know both of you guys, but I didn’t realize you guys did this shoot together. That’s really awesome.

John Harvell: 00:37:02 Yeah. And did that um, she, she had with math and I was like, all right, cool. And it was kind of, it was in a building, Bandon, he meant factory and my brain started ticking now I was thinking, okay, I got, I know I want to do with this. And I was thinking man, Matt style all the way through my head.

Liam Douglas: 00:37:43 Yeah, you guys definitely picked a great place to do this. Kind of like this kind of shoot cause that was the first thing I saw when I saw the very first image in the series and I was like, this is like Mad Max. This is really cool. I love that mask that she’s wearing. Nothing is awesome.

John Harvell: 00:37:57 Yeah. That mask is pretty well set up for that

Liam Douglas: 00:38:10 now. Was it really, you said you were in Nevada was a pretty warm out that day or not too bad this time of year out there.

John Harvell: 00:38:19 It was pretty cold.

Speaker 6: 00:38:20 Freezing,

John Harvell: 00:38:24 freezing, windy and before I got there he was shooting nude so well. Well I, I can’t imagine

Speaker 8: 00:38:36 how close she was.

Liam Douglas: 00:38:37 She was doing nudes before that shoe.

John Harvell: 00:38:41 Yeah. Outdoors.

Liam Douglas: 00:38:43 Yeah. Yeah. I was going to say she must have really been freezing issue if she was cold when she was learning, you know, the costume that she was wearing when you guys did that shoot and she was doing, she was doing news the same day. She had to have really been freezing.

John Harvell: 00:38:57 Yeah. She’s a trooper. I can tell you that. Wow. He’s really great.

Speaker 8: 00:39:03 Oh hopefully one day I get to hear her again sometime. And then you’re a teacher. But yeah, she’s, she’s really great.

Liam Douglas: 00:39:12 Yeah. It looks like you guys, you guys got some really great images so it was an awesome concept. I really love that one. Now I know I’m a, recently you just did a shoe, what was it last week with a, with a model named Janet. Jenny B. Yes. And you guys did a beat you for that. Can you tell me a little bit more about that? I’ve seen some of the images, they’re really fantastic as well.

Speaker 8: 00:39:33 Yeah.

Speaker 6: 00:39:34 Oh Amen. Process are reprocessing and um, cause cause some of the images came out great. I mean the images came out great. Well, my post processing is I could do better. So that’s why I just decided, you know what, uh, she’s a really great model. She was really fun to work with. I was thinking, well this was my opportunity to you really, really Redo my, my way of Oh, post-processing and everything and, and so, so there’s going to be more to come on. Yeah. Uh, uh,

Speaker 8: 00:40:23 on that shoe on then I’ll probably drop there and my portfolio website. Yeah. It was fun. The beaches. Great. That, you know, first time I ever shot on the beach, cause I’m Mo, I’m only shoot in the desert since I’m here in the desert. Um, she, she’s very wonderful. She, she’s like, she was a really awesome person where uh, the Guy Jesse [inaudible] who was the owner of the studio because I shot in the studio. They’re really awesome people count. Can we tie, go back on Camry, tell Jenny he comes back to her again.

Liam Douglas: 00:41:01 Yeah. That’s cool. Yeah. I just did my first photo shoot with a professional model while back on the 22nd of February, I photographed with a, I think I told you about an alley summers. And uh, she, she’s based out of Colorado. Um, as a matter of fact, I don’t think she lives too far from professor mot. Um, but she does a lot of traveling. I see. She just came back from, uh, she did a weekend in Hawaii. Lucky Hawaii and Alaska are the only two states I’ve never been to yet. I’ve been to all 48 contiguous states. I’ve never to Alaska or Hawaii. Um,

Speaker 8: 00:41:35 well I would,

Liam Douglas: 00:41:38 oh, cool. Now, but the thing I really enjoyed, and it sounds like you had a similar experience. It was just, I’m not a big portrait photographer. Um, just because, uh, years ago I did, I did children’s portraits for Kmart back before anybody had the fixed studios and they hired the $12 an hour, shut her monkeys. Um, I actually traveled to eastern seaboard with six other guys and we did all the children’s portraits for Kmart on the east coast. And I love doing that because I have a knack with children, especially young children because you know, I do a little puppet shows and make all kinds of funny voices and stuff like that. So it was easy for me to get great shots of kids, but I don’t enjoy doing standard portraits or post portraits of adults so much because I’m not really comfortable telling adults what to do. Um, but having my first photo shoot, uh, towards the end of February with Allie, it was just awesome because with her, I just had to give her a basic idea of the, of the shot I was looking for and she knew how to do all the posing herself. So it’s definitely a million times better working with a professional model, you know, I mean, I had to hire are, but for me it was worth it cause I got some fantastic shots. I led a session.

Speaker 8: 00:42:58 Yeah, yeah, yeah. Go ahead. Yeah. Uh, yeah. How, how well,

Liam Douglas: 00:43:26 okay.

Speaker 8: 00:43:26 MMM. Flow was and, and I mean, it was truly, truly liked baby.

Liam Douglas: 00:43:35 Oh yeah, yeah, definitely. Yeah. After shooting with a professional model, I’m like spoiled now. It’s like, that’s the only kind of people,

Speaker 8: 00:43:44 well it is because it doesn’t, it doesn’t complicate the shoot. You know, you go out there, you can set up your lighting and let her know, hey, this is why I’m looking for, and, and they do it. It’s just really, really wonderful. Um, you know, so yeah. You know, like, like me, I, since I shoot with lighting like 98% of the time, I mean even, you know, indoors, outdoors, full blown done. I don’t, I don’t really, I don’t really have a time frame when I think writing isn’t good. That’s I do is I, or shoot with white, I don’t care if it gets, even if it’s, um, you can have golden hour. I mean, I’m still going to pit some kind of lighting out there, but, and, and a lot of models I work with has never shot with lady. You know, it’s the first time they, they seem like demons is when I shot him and it gets really hard. You know, it gets, it gets really hard sometimes and you’re trying to tell him, okay, okay. Remember those, just the slight share. There’s a little box, there’s will, there’s a window that you cannot go past when you’re moving. Cause some, some miles I work with somewhere really hyper. I mean they just hyper,

Liam Douglas: 00:45:21 you’re trying to get the shot all over the place.

Speaker 8: 00:45:25 Yeah. Yeah. That’s, that’s, that’s more of the main reasons I started. I was shooting with the Colt 45 whole lot because with cause you know 10 feet back if you attempt to um, light pattern.

Liam Douglas: 00:45:41 Oh yeah. Yup. No, I’ve been, I’ve been messaging Jenny be a bit on Instagram back and forth talking to her. So I’m really waiting for her to come to Atlanta so I can get a chance to shoot with her as well. Cause she seems like a really great lady.

Speaker 8: 00:45:56 Oh really? Awesome.

Liam Douglas: 00:45:59 Now if you haven’t already, um, and it, I don’t know if you’ve heard episode eight, that was the first episode that I did an interview and I interviewed a professional model that goes by Ellie cat and she’s based out of Arizona. And she was telling me, cause when I first started following her and talking to her, she was telling me that she doesn’t really do any, any traveling to do photo shoots. While now when, by the time I did my interview with her, that’s totally changed because she was telling me she’s got about a dozen photographers that want to shoot her in California. Um, so she’s going to be traveling to la, San Diego, San Francisco. Uh, I’m not sure blending. So you might want to, um, if you’re not already, you might want to follow her on Facebook and Instagram because, uh, she would be another great person to work with. I mean, she does some amazing work. She’d been modeling for five, six years now and, uh, and she said that she gets compliments all the time from photographers that she makes their, their shoots so much easier because she just knows what to do.

Speaker 8: 00:47:03 Oh, that’s good. Okay. People just starting out. Okay. You know, you gotta learn. Yeah. You know, you gotta learn from fall, you get professional models. You’d go ahead and pay them or TFP with professional models and Eh, you know, you’re, you’re going to learn a lot from them and they might learn something from you, but you also get these, you get newer models who are just trying to pretty calm and you and you can give them a more experience that, that they never had a chance to see before. Yeah, exactly. You know, you gotta you gotta do those things. Um, I haven’t, uh, shoot with another model that’s coming up for an evening gown that they, I got to try at home. I’m trying to find a location right now for, and then I got to travel up to San Francisco and do a Oh, right. Uh, uh, Ariel fitness person. So rope.

Liam Douglas: 00:48:34 Yeah, I’ve got a, I’ve got a photographer friend in Chicago area, Brian Sadowsky and he shoots a lot of fashion and he does a lot of artistic, nude work as well. And um, he likes to work with, uh, younger models that are just starting in the profession, um, because he doesn’t have to hire them all the time. You know, he can do a trade, you know, where he gives them images to put in their portfolio and stuff like that. And then, you know, they’re modeling cards and stuff like that. But I know the biggest problem he runs into with, with trying to do shoots with these young models that are trying to get established in modeling is they flake out on him all the time. Like he’ll have a, he’ll have a concept for a shoe he wants to do and he’ll build all the props in his studio and he’ll get the wardrobe and all that stuff together. And then the, the girl won’t even show up. She doesn’t even bother to call or text him and cancel. She just doesn’t show up at all.

Speaker 8: 00:49:26 Yeah, that means a lot. And you want to, you want to create great lakes out. Apparently my time prior to the shoot, so now you’re like really bothering skill. Anything I think of, you know, cause Eh, and that’s just, that’s just how it is. You shouldn’t, you shouldn’t be, you shouldn’t be messing with people’s time.

Speaker 4: 00:50:37 Yeah.

Speaker 8: 00:50:39 Time is very important and it’s, it’s not like, you know, since I’m not a natural light shooter, you know,

Speaker 6: 00:50:46 so white shooters, I don’t know how they plan things, but I actually plan and I go in, I designed out Ah, light, I go into my set of light program and I, I go in there and I start to really, really all getting depth town, going to set up lighting, you know, I Google mapping area or whatever. And then I go in there and I, and I looked for some positioning at that time of day. You know, I, I go through a lie, I’m very, very old.

Speaker 8: 00:51:19 Well I’ll make sure I get everything you know, down right before I get there.

Speaker 4: 00:51:25 Yeah, you’re meticulous in your planning and that’s definitely not a bad thing. I know. That’s why he gets so frustrated because you know, even when he shoots on doors, he pretty much always uses a lighting set up and so I can understand why he gets so frustrated with these models. Just blowing him off after they’d been telling them for weeks, they’re going to come out and do the shoot with him because he’s gone through building props and getting wardrobe and figuring out the lighting set up and where the location, all of that. And then the girl just doesn’t show up. I mean, that’s a lot of wasted time. And you know, I don’t think some of these, some of these models realize that, that they’re, they’re actually really putting, you know, somebody like you or him out because they don’t realize how much work is involved in setting up one of those kinds of shoots.

Speaker 8: 00:52:15 Yeah,

Speaker 6: 00:52:21 go there. No, I, I actually do a lot of research and that’s one thing I might not be, oh, but if I know the location, I go in there, you know, prior, prior to going to any place I look at everything. I figure out what kind of lighting I need and everything goes so light. You know, you, I have to use lighting. I mean I to shoot natural light and I have, uh, I have no, no enjoyment for using natural light or I would be a strobist or

Speaker 8: 00:53:08 set up two lights, three lights, four lights. I mean, I mean cause cause what is the tography photography is all about light. Uh, and, and in order to get the best images as as I can, I I need,

Liam Douglas: 00:53:25 yeah, exactly. I mean I’m looking at it. Oh, I was just going to say there’s nothing wrong with that because I know a lot of the professionals have been shooting for a long time. That’s one of the big things they talk about is you know, uh, not enough photographers learn how to use lighting. You know, they either want to always shoot natural light, um, or if they shoot with, you know, any kind of artificial light, they don’t know how to use them properly.

Speaker 8: 00:53:52 Yeah. They don’t take the time to learn people pretty easy. You set your ambient and then add power to light to the individual. Then you can add another light hair light. Then you’re adding light to separate them from backgrounds or like me, I see a lot on location outside. You know, I use the sun. The Sun is either going to be a rim light or, or it could feel, it could be the main light. And then I add like we’re rim, you know? Or even a lot of times when I sit up outside, I used the sun, I use the, I use another light to help fill this son. And then I use a hair light, you know, so I have, I have the sun, it’s kind of like a, a light deep with the sun and then another light

Speaker 6: 00:55:16 for, for hair light, you know? Yeah. You have to always look at positioning of the sun or, or if you’re going to shoot in is you’re going to have to look at where you’re at. Intent to do, you know, unless I’m doing something really dark, you know, cause I like to shoot really dark images and, and um, if I’m doing something really dark, I’ll, I’ll fight grid, the light, bye. You know, I’ll find it, add a hair light, and then, and then, um, I’m really focusing more into Rembrandt lighting and, and just trying to get, just try and get the person, um, and just try and get him a little kiss up highlights on them in the back.

Speaker 8: 00:55:59 You know, once you, you have your understanding of your intent, then, then you just, you know, you can, you can just start adding all different types of light. That’s not, a lot of people wants to go out there and learn light. Um, they’re, they’re not, they’re not trying to push themselves to be great. That’s, you know, that’s how I look it. I mean,

Speaker 6: 00:56:24 anybody could pick up a camera and everybody has a camera today. Everyone has a cell phone. But the one thing is cell phone can’t do is add light there. There’s, you know, you’re not going to add light with cell phones.

Liam Douglas: 00:56:40 Yeah.

Speaker 6: 00:56:41 And if you, you as a photographer that wants to compete with every single photographer out there, you’re going to have to add light. You’re going to have to him, you know, it, understand it and learn it.

Liam Douglas: 00:56:54 Yeah, exactly. I know that’s one thing I, I’ve seen both David Hobby who goes by the strobist as well as Zach res, who’s a fairly famous photographer who’s based here in the Atlanta area. That’s one of those things that both of them talk about is, you know, you get these photographers, they’ll go out and buy four or five or six lights, but the problem is they never learned how to use them. It’s like start with one light master doing a shoot with one light properly, whether you’re using reflectors to bounce it and stuff like that. Then once you mastered your first light, then add a second light and then eventually a third light and so on and so forth. But they say the same thing. It’s not super hard, but you got to master your lighting. You can’t just go out and buy three, two, three, four, five, six lights and throw them into a shoot together and you have no idea what you’re doing with them or how to use them properly and then you, you end up with a mess.

Speaker 6: 00:57:47 Yes. Yeah. You’ll see it all the time. A lot of people and then they, they, they’re confused because you always got to start with one. What, what I did was I got one light. No, matter of fact, I, I started lighting in Miss [inaudible] class. So I went and bought a flash. Yeah. And, and for her class, for photojournalism. Yeah. And I just felt like the light that was produced from a hot shoe, so, so I bought a bone bracket and, and, and I use my impact, like stand with the burns bracket. And then, um, I bought a beauty dish, a Cheetah, Sam beauty dish, and I’m going out there and for my class assignment I went and, and it’s shot some more off camera flash, first time, usually flag. And I did it a one light setup. Well, I learned real quick and you know, you know, watching just watching videos, um, and studying, just studying how off camera, flash work. I, I went there, I said ambient, and then I just added power to the, to the light. And that’s how, how I broken into

Speaker 8: 00:59:22 our camera flash, uh, was in this month class.

Liam Douglas: 00:59:26 Oh yeah, absolutely. And I always loved to the classes that I had with professor mark. She’s a fantastic instructor and as a matter of fact, I’m going to be interviewing her in the next couple of weeks. I think I’m interviewing her April 4th, because I really wanted to talk to her about because she did photojournalism for years for like AP and Reuters and stuff like that. And so I’m really looking forward to doing the interview with her about that stuff cause uh, she knows a lot about that stuff and I really liked the projects that she’s been working on. Um, when her and her husband traveled to, uh, Zambezi and places like that as well.

Speaker 8: 01:00:05 Photo journalism document stuff that I like,

Speaker 6: 01:00:14 it goes down,

Speaker 8: 01:00:20 I look at our work. It’s pretty impressive.

Liam Douglas: 01:00:23 Yeah. Yeah, I like to do that style. I’m into street photography and editorial, documentary style photography and probably one of the reasons why I’m more into the photo journalism type stuff, even though it isn’t what I do for a living because it’s almost impossible to get into that field of work anymore. The photojournalism industry is dried up for the most part. I mean a lot of the newspapers fired all their photographers because they, you know, they weren’t making any money in print anymore and stuff like that. But years ago when not, cause I’m originally from Pennsylvania and I was in fire and rescue up there and um, I actually did, um, uh, I don’t really want to say crime scene photography, but you similar. Um, so like structure fires and stuff like that. I would document, you know, that kind of stuff. Um, for the, you know, the, the uh, fire inspectors that would go in and review all the details. They’d inspect the site and they’d look at the imaging and stuff and determine whether it was arson or an accident and so on and so forth. So I’ve always been kind of a little bit into that kind of stuff. Photo journalism, editorial and documentary style stuff.

Speaker 8: 01:01:41 Well,

Speaker 6: 01:02:00 well, I’m learning too as a tutorial once I find a really good person who’s cat food and stuff, female and in submitted for their annual issue.

Liam Douglas: 01:02:15 Oh yeah.

Speaker 8: 01:02:16 Already kind of had the concept I’m on right now. And once I get that concept and out right and place are in the place to shoot at and then I’ll start making it happen. But yeah, I already got editorial on mine. I already contacted the magazine. They gave him all the information and everything to submit.

Liam Douglas: 01:02:43 Cool. The last thing I want to talk to you about before we wrap up this episode is I believe what the starting tomorrow you’re going to be photographing. Okay.

Speaker 8: 01:02:56 Yes, yes.

Liam Douglas: 01:03:00 Yeah. Now how did you, uh, how did you get involved in that? Because I wouldn’t think that that would be an easy thing to get into, but I think it’s really great that you’re going to get to shoot it. That’s awesome.

Speaker 8: 01:03:11 Yeah.

Speaker 6: 01:03:25 And so they sent me, they sent me a photographer, video coordinator and, and he, you know, me goes, hey, um, uh, I got you a press pass, you and my wife who’s my assistant. And so, so you can go there and, and, and Catherine’s behind the scenes and, and the dancing and runway. And so I asked him, can I bring yt? And he’s like, he’s like, oh, I wouldn’t have it any other way.

Liam Douglas: 01:04:02 Okay.

Speaker 8: 01:04:03 So I’m going to go there. I want to do a simple one light set up. It’s, it’s that there Pearson Pearson, uh, Automotive Museum in Los Angeles, which is, I don’t know if you ever googled that place, but if you Google it, um, on Peterson Automotive Museum, it’s one of the best places in La motive out of motives guide. Um, I watched a youtube video and, and they have models. They’ll be standing around these very classic, Nice cars, just plain clothes. So I won’t go there and I’d do a one light setup and hopefully I get some models with some beautiful cars in the images.

Liam Douglas: 01:04:51 Wow.

Speaker 8: 01:04:53 Yeah. If you, if, if you never googled it, I suggest you after we get done talking Google Peterson out of motor museum. It, the building itself is just a contemporary work of art, but they have, they have cars from the movie theaters there. They have, they have a Porsche, a porch area. They, they have all kinds of neat cars that the original Batmobile, you name it. It’s there.

Liam Douglas: 01:05:27 Yeah. And George viruses when I’m George viruses. Dream children is the uh, the original Batmobile from the sixties TV series. That would be awesome to see that.

Speaker 8: 01:05:41 This is like Hollywood goldmine. James Fun. I’m a big games fun Jean Fun.

Liam Douglas: 01:05:53 Oh me too.

Speaker 8: 01:05:55 So they have one of his cars in there and everything so hopefully, hopefully they have a great model standing next to it. So cause I’m going to have to bust out the 24 g master and go ahead and get the model and the car.

Liam Douglas: 01:06:12 I hear that. So this is actually even better because I didn’t realize that you were going to be shooting models with these vintage and classic film and TV cars. So that’s really awesome.

Speaker 8: 01:06:26 My goal is hopefully I do like, I got photos every night I get home, I’ll post process post process in depth photos on the behind the scenes because it’s more like photo journalism or color correct it and I’ll send it in so they could drop it onto their, onto their website and stuff like that. But every night I go down there, um, shoot, come home post-process dropped the images and they post them on there. They don’t really sell too many tickets to the La fashion week. This one here, a lot of is invitation only. So feel really get in there and get to capture. This is something that, that is really awesome. It’s not like one the, it’s not like a regular fashion week where were, you know, you get tickets and you go a lot of, a lot of it is invitation only.

Liam Douglas: 01:07:37 Wow. Yeah. So you got, you got some serious access to this. Wow.

Speaker 8: 01:07:42 Yeah. Yeah. And, and you know, or if they I got to do is to buy them pictures. Hopefully they’ll invite me back for, um, for spring and summer collection because this collection is, falls in there. They have a couple of those. That’s designers. Yeah, I know

Speaker 10: 01:08:08 it’s going to be there. Um, go on.

Liam Douglas: 01:08:14 Well, the great part about this

Speaker 8: 01:08:16 is you’re not only getting the shoe something that you love to do, but you’re also going to get to do probably tons of networking while you’re there. I would like to help you build your portfolio network with the local models here and models and some of the designers and really interact with them. So I’ll be all neat designers, photographers. I mean those are the guys behind the scenes, but a designer, photographer date, they have the most

Speaker 6: 01:09:04 captures, captures it, you know, you know the models all the time, the clothing all the time. Um, be all meet some of it. Some of them. Um, they have ’em uh, most of the so press that’s going to be there as like La Times, cosmo nylon. You know, why the magazines are going to be there. Um, I mean it’s, it’s, it’s something, it’s a really big event in La. You know, they have all kinds of la fashion week,

Speaker 8: 01:09:35 you know, the motto experience part of art or the art foundation. And, and then of course this la fashion week that’s based down in Hollywood. So

Liam Douglas: 01:09:49 you really hit the kind of photography that you love to do once she gets a combined fashion and cars. But you’re going to be doing some major, major networking to hopefully get some other gigs in the future. Maybe a magazine shoot or some magazine shoots and some other fashion shoots as well.

Speaker 8: 01:10:09 Yeah, I mean at this museum the museum is three stories. I can’t, I really can’t wait. It’s a beautiful place in La and I get to go there and capture some models and cars. I mean cars and fashion. I can’t ask for anything better.

Liam Douglas: 01:10:34 I agree with you 100% on that. Yeah, that sounds like it’s going to be really amazing. That’s fantastic. Well I don’t want to keep you too much longer. We run about an hour and 10 minutes, which is fine. I love the interviews to be at least an hour, so we didn’t have any problem with that and I definitely wanted to touch on the La fashion week stuff that you told me you were going to be doing. Um, and I’m definitely going to have to Google that, that museum and check that out cause I definitely sounds like some place I wouldn’t mind visiting someday if I ever get out to the west coast.

Speaker 8: 01:11:06 Come out to the west coast.

Liam Douglas: 01:11:09 Oh, absolutely. Absolutely. Well, John, I want to thank you for your time and sitting down and talking with me on this episode of my podcast is definitely always wonderful looking at your work. You’ve got some amazing work on your portfolio and a m and I’m glad to hear that you’re, you’re getting a lot of success and you’re getting a chance to expand your networking and, and rub elbows with some of the industry professionals and, and various magazines. That’s awesome.

Speaker 7: 01:11:38 Congratulations.

Speaker 6: 01:11:42 Yeah, right. Polish things up. So some of the stuff that, what’s great now, they’re going to even be even better.

Liam Douglas: 01:12:08 Cool. Well, I’m definitely looking forward to that because like I said, you’ve already gotten an amazing start and so it’s going to be really great to follow your work as you keep continuing on this journey.

Speaker 7: 01:12:18 It’s going to be awesome.

Speaker 8: 01:12:20 Oh yeah. You always got, you know, the moment that you get to the point where you think you’re the best, you’re not, you’re gone. You always have to go in, revamp yourself, reassess yourself, and always improve.

Liam Douglas: 01:12:40 Oh, absolutely.

Speaker 6: 01:12:42 Repairs. If you don’t, if you don’t do that, and there’s a lot of photographers out there that, that, that that’s like that, that they, they get to the fight that, that you can’t tell him no wrong, you know, you’re going to shoot yourself in the foot. And I, and me, I personally, every oh criticism gives me and I, and I go in and I reevaluate myself and, and you know, and I always try and make improvements. It’s always, always, always gotten make improvements and a lot of people don’t do that. You always have to do cause cause you know, by the time we’re 80 years old and still, if we still able to hold back camera, you know, we’re going to still be learning.

Liam Douglas: 01:13:30 Yup. That all the time. Photography is, it’s, it, it’s, it’s a lifetime of learning experiences and trying new things and getting out of your comfort zone. And it’s not something where you’re going to learn, you know, you’re going to learn everything there is to learn and photography in a year or two years or four years.

Speaker 7: 01:13:50 It’s a lifetime of learning.

Speaker 6: 01:13:53 Yeah. Yeah. Right. Economists photography now 87 years old.

Speaker 8: 01:14:11 Wow. He wants you to follow his dream, his dream now follow his passion now.

Liam Douglas: 01:14:18 Oh, that’s cool. I didn’t realize for the longest time, but uh, one of my favorite actors, Leonard Nimoy from the original star Trek, he was big into photography as well.

Speaker 8: 01:14:32 You’re never too old to start. And you know, I wished I cited earlier in life. Well, I mean at 41 or 40, like 30 [inaudible] 40 41. So

Liam Douglas: 01:14:49 are you still got, you still got plenty of time. You can still shoot for another 30, 40, 50 years. Easy.

Speaker 8: 01:14:56 Yeah. Well,

Liam Douglas: 01:14:57 Yep. That’s not well, that’s the other nice thing about photography. You’re never too young to start learning it and you’re never too old to start learning it.

Speaker 8: 01:15:05 Yeah. I have a buddy know he was diagnosed with cancer and she went on this special diet and he’s 73 years old and believe me, he could outwork any of us even being seen with an illness. He could still climb, he could still hack hack his gear. It just proved that, that you know that you’re never too old.

Liam Douglas: 01:15:40 Exactly. Exactly. Yup. And I’ve got you beat by almost a decade. So I’m really getting to bill.

Speaker 8: 01:15:50 Yeah. Oh this is mine.

Liam Douglas: 01:15:54 Yeah, there you go. That’s true. All right, John, let me let you, uh, let you go. We’ll wrap this episode up and I’m going to get rid of it to have myself some dinner as well. So, uh, and I don’t want to keep you too long because I know you’re probably all excited to get ready for tomorrow with the fashion week things started.

Speaker 8: 01:16:11 Yeah, I in to the client cause you know, I don’t want to be behind schedule. I always like to be up on schedule. We want to stay up late tonight. Go ahead and get these headshots post-process and, and dropped into the drive for him and, and then um, and then I’ll be all set for tomorrow and continue on editing on any pictures cause you know, wanting to make sure I get those things edited and, and send off to her.

Liam Douglas: 01:16:48 Oh, absolutely. Yup. All right. Well. Like I said, I don’t want to keep you too late and I want to thank you again for giving me so much of your time. This has been really fantastic and it’s been a pleasure to talk to you and talk to you about your work, this stuff that you’ve been doing cause it’s really amazing work. You’ve got some really great, you’ve got a great body of work going there.

John Harvell: 01:17:08 Well thank you, I appreciate that. Absolutely. All right, thanks again John. All right, you too. Bye Bye.

Liam Douglas: 01:17:20 Alright then that wraps up episode 12 of the Liam photography podcast. I want to thank John Again for being my guest today on the show and I want to also thank all of my listeners for subscribing, rating and reviewing and iTunes and any other pod catchers that you might be using a be sure to follow John Harville’s work. I will have the links to his Instagram as well as his, uh, website portfolio and is Facebook and the show description show notes area. So definitely, uh, give him a follow and check out his body of work. He’s been doing some really amazing, amazing work. And, uh, I’m really excited for him that he’s going to get to a shoot the, a la fashion week, this weekend at the, uh, at the car, Peterson car museum and, uh, in Los Angeles. So that’s really going to be exciting and fantastic for him. All right, I’m going to go ahead and wrap up episode 12. I want to thank you all again and we’ll see you next time. And episode 13.

Liam Photography Podcast: Episode 11 – Other Uses for Wide-Angle Lenses, Using Creative Lenses

In this episode I cover how to get more use from your wide-angle lenses and being more creative with creative lenses such as the Holga “toy” lens and the Lensbaby.

Wide-angle lens uses

Lensbaby lenses

Transcription by temi.com

Liam Douglas: 00:01 You’re listening to the Leon photography podcast. I’m your host, Liam Douglas and an episode 11 I’m going to be talking about getting more out of your wide angle lenses and also shooting with creative lenses all on episode 11 of the lamb photography podcast.

Liam Douglas: 00:29 welcome to the Liam Photography podcast. I’m your host, Liam Douglas. This is episode 11 I want to thank all my listeners for subscribing, rating and reviewing and iTunes, Google play, and any other pod catchers that you might be using. So in this episode for my first segment, I want to talk about how to get more out of your wide angle lenses. Any photographers feel that a portrait Lens, the only portrait lenses are 50 millimeters, 85 millimeters and 135 and that’s primarily on the Canon side. I know some, not a lot of Nikon shooters will say they really loved the One oh five g, uh, portrait lens that Nikon has and it is a great lens. The other thing is the 70 to 200 f 2.8 is the most popular and best selling lens in the world because it covers all of those previously mentioned focal lengths with the exception of the 50 millimeters.

Liam Douglas: 01:29 Now 50 millimeters. Some people do use it for portraits. Um, most people use it more for like street photography or maybe environmental portraits where they want us slightly wider, um, seeing, but the most common realistically portrait lenses are 85 105 and one 35 all of which are covered by the 70 to 200 millimeter f 2.8 which again is why it’s the best selling lens in the world, whether it’s made by Canon, Nikon, sigma, Tam, Ron or Sony. Those are hot hot lenses and they sell like hotcakes. Now I know you’ll think I’m crazy, but you could actually get more use out of your wide angle lens than just shooting landscapes. One of the really creative uses for your wide angle lens is wide angle portraits. Now before you start flaming me saying, I’ve gone off the deep end here, me out. Yes, a wide angle lens will make your subject’s face look all exaggerated because their nose might look huge and their eyes and ears small, but by shooting create creatively, you can make that wide angle lens creates some really awesome shots.

Liam Douglas: 02:40 Instead of shooting your subject head on like you would with a regular portrait lens, try shooting them from above, pointing the wide angle lens down at them. Or if you’re shooting a full body portrait shoot from their feet, why would you shoot at foot level? Well, because you will make them seem taller. Ever wonder how Hollywood can make an actor that’s five foot six look like there are six foot plus tall. Well they shoot them from a lower angle with a wide angle lens in Bam. Somebody like Tom Cruise looks like he’s six foot six instead of five foot seven as an old Hollywood trick. Just one of many that are used in the various film industries to create a specific look or feel to the scene. Another gray you use for your wide angle lens as far as portraits go is for the environmental portrait.

Liam Douglas: 03:33 You can capture your subject and more of their surroundings. Now one thing to keep in mind with shooting and with your wide angle get closer or you ended up with them looking like an action figure instead of an action hero. Even when you using wide angle for landscapes, make them more interesting by shooting at ground level. If you’re afraid to lay down on the ground, crouch and set the camera on the ground and shoot, it might be a little tricky to get your focus lock, but if you use back button focus it can be a lot easier. And if you’re like me and you’ve got one of the cameras that has the very angle tilt screen, then you could set the camera all the way down on the ground or use a tripod like my gets tripod. That will open up to the point where it’ll lie your camera to sit just a little few inches off the ground.

Liam Douglas: 04:23 And then with a very angle touchscreen or very angle screen period, whether it’s touch or not, you can flip out and swivel that screen so that you can see you’re seeing in live view mode and you can get a good focus lock that way as well as taking your composition, made sure you’ve got the scene the way you want it. Now, by using this close to the ground approach, you can give more emphasis to objects that are in the foreground and less emphasis to things that are in the background. And I’ve seen photographers do this. I’m not the only one that likes to shoot this way. There’s plenty of others out there on the Internet that you can find just by doing a Google search. But let’s say as an example, you’re shooting a landscape scene, um, and you’re at a stream. If you take your camera and get down close to our rate on the ground and there’s some really cool looking rocks on your side of the stream by putting your camera right down onto the ground, you can get that interesting perspective and you make the rocks more of the star of the scene and the streams and say the woods or mountains on the other side or our background elements that helped fill in this interesting point of view.

Liam Douglas: 05:41 So I definitely recommend trying something like that. You can shoot multiple people by placing them at different distances. And in turn with Your Wide Angle Lens, you can create some really cool photos. So for example, you could have person, let’s say a young man standing closer to you and a young woman standing farther back from him. And then one of the cool things you could do is you could have him hold out one of his hands with the palm up and you could basically set up the scene. So it looks like he’s holding her in the palm of his hand and you can do other things similar to create some really cool effects. And those are just, you know, a handful of ideas at ways that you can use your wide angle lens more creatively. And if you want to see some examples, I’ll put the link in the show notes description and you can check out the blog post that I wrote on this a couple of years ago where I have some good examples.

Liam Douglas: 06:43 Um, one of the shots that I did was technically a portrait but not technically a portrait. And the reason why I say that is it was a portrait shot full body that I did, but it was of a statue in the local botanical garden and Loganville Georgia in Gwinnett county called mine’s botanical. And it was basically a statue of a Cherub, um, or uh, you know, a young angel, whatever you want to call them, different people call them by different things or cupid for that matter. Um, but what I did is, because of course the statue was up a cupid type character. It wasn’t a super tall statue. And being, I’m almost six foot tall, I’m five, 11 and three quarters. I was able to just walk up to it and tower over it. So I was able to do a downward shoot of this statue like I mentioned in the beginning of this segment.

Liam Douglas: 07:34 And it created a really cool point of view and made for a really interesting portrait of that statue, full body portrait. So like I said, if you click on the links that I’ll have in the show notes for this episode, you can view that photo and you can also get some ideas of some other creative uses for wide angle lenses. I’ll include some additional links to some other photographers work, um, that have done similar things with wide angle lenses to create some really, really cool and unique perspectives, further images. And that’s the whole idea in photography. I mean federal, what’s the definition of photography? It’s basically painting with light, which is what our camera does. And you always want to keep those creative juices flowing. So why not find an additional purpose for a wide angle lens that you already own? Why limit that one lens to only shooting landscapes or real estate all the time?

Liam Douglas: 08:32 Break that puppy out on a weekend and have some fun creating some interesting portraits or interesting landscape scenes. I, like I said, getting that camera down on the ground and put some really interesting things in the foreground that will really add some depth to your images. Okay, now on to segment two, which is shooting with creative lenses. Now what I talk about creative lenses, and I’m sure some of my listeners have probably heard of these lenses before. Maybe some of you even own these lenses. I personally owned both of the two I’m going to talk about today and they can be a lot of fun. The two lenses that I want to talk about today are the whole Gha toy lens and the lens baby. The whole good toy lens. If, if you know anything about the history of photography, I think it was back in the 80s there were these cameras, cheap cameras that were made called Holger toy cameras and it was basically a little plastic camera.

Liam Douglas: 09:39 You can still buy them on Amazon and Ebay. Um, but you can also buy Holger toy lenses for your existing camera and they’re not super expensive. I can’t remember. I think I paid like 12 or 15 bucks for mine. Now the one thing that keep in mind is there is no adjustment to this lens. It’s completely manual, um, because it’s a plastic lines that you’re getting for 12, $15. Um, that you know, if you get a model that’s made with the mount to fit your camera minor courses ETF for Canon. Um, and the other thing to keep in mind is the whole gut lens has a fixed aperture of f eight. So you really, really want to use this lens outdoors where you have lots of light or in the studio where you’re going to use a lot of artificial lighting, but you can get some really cool looks with the Lens itself and has kind of a hazy, dreamy affect to the images that you’ll create with it.

Liam Douglas: 10:37 Kind of like in the old days of film photography when photographers would smear like petroleum jelly on their lens to create a dreamy look to their images, um, to get that little extra bit of creativity in them. And you can do this with the whole good toy lens. And like I said, they’re not expensive. I figured heck for 12, 15 bucks, even if I only use it, uh, you know, once a year or once every couple of years and that out a lot of money. And sometimes it’s just fun to play around with creative items like that. It’s always good to find various ways to keep your creative juices flowing and that’s a great way to do it. Now the second creative Lens I want to talk about is made by a company called Lens Baby. Now the Lens Baby Lens that I personally have is the lens baby 2.0 it came out a few years ago.

Liam Douglas: 11:34 It does have the Canon Elf Mount. Now these are completely mechanical lenses. There’s no electronics to them, no working parts as far as that goes or especially not on the model I have now. They’ve come out with numerous models over the last few years. They have the sole 45 and they’ve got a 50 millimeter version and they’ve got 85 millimeter versions. And the point is they’re just a really cool lens to play around with and get kind of a different look and perspective to your photos. And basically what happens with the lens baby is the one I have actually has discs that you insert into the front side of the Lens that act as the aperture blades. And you can have the lens at f eight or if you don’t put any of the discs, the aperture disks into the front of the Lens at all. It’s default is f 2.0 and that’s why it was called the Lens baby 2.0 now the other thing that’s interesting about this lens is the only way you focus with this lens is by squeezing it.

Liam Douglas: 12:41 Now, I don’t mean squeezing it like squeezing her mobile Sharman toilet paper. Now, I mean squeezing it. So in other words, you grabbed the front of the Lens. It has a metal collar, flat metal collar, looks kind of like a giant washer that runs around the outside of the barrel and you grab that with one or both hands and you squeeze it Mac towards the body of your camera. That’s how you control the focus. Now the whole idea behind the lens baby is a creates a small area of focus and then everything else is out of focus. And if you squeeze it with only one hand, let’s say you’re only using your left hand while you’re holding your camera with your right hand to take your shot, then the lens of course is going to be tilted in that direction. So you kind of Sorta have a mechanical tilt shift lens in a manner of speaking.

Liam Douglas: 13:34 Now it’s not going to take tack sharp images. That’s not the idea. The whole idea with the lens baby is to just get creative, do something a little bit different and a little bit fun and a little bit silly and see what kind of cool and funky images you can come up with. I mean, just think of the cool scene you could create with some of your action figures. If you set them up or your lego figurines, whatever you, whatever you have or whatever your kids have that you can borrow for a little bit to get creative in your studio or outside in the front yard or on your porch railing or something like that where you could set these little figures up and and cool positions and groups and stuff like that and then using either the whole good toy lens or the lens baby to get some really cool and unique shots and just see where your creative Jesus take you.

Liam Douglas: 14:28 The point is that I’m trying to make here is there’s a lot of different ways that you can get really, really creative with your photography and that’s the idea. I always recommend that people try new and different things just to kind of keep their creative juices flowing, whether it’s playing around with creative lenses or using your wide angle lens for something other than its original intention, which is landscapes or anything else. Do a personal project and I’ll talk about that and another episode of this podcast. But like I said today I just wanted to talk about how to get more use out of your wide angle lens and be creative and how to play around with some really cool inexpensive lenses that you can buy in the whole good toy lens and the lens baby. Now the whole goal is I mentioned is really, really inexpensive because it’s just a plastic lens.

Liam Douglas: 15:27 There’s no real moving parts to it or anything. The Lens baby on the other hand is going to run you some money. I think the cheapest lens baby you can currently buy, um, it’s probably about $150 brand new and they run up to as expensive as I think four or $500 for some of the models. But the cool thing is is lens baby. And the whole get toi lenses. Both companies make their lenses available in a wide variety of mounts, so it’s not gonna matter if you’re shooting canon or Nikon or Sony or Pentax or Fuji or like a or ha or whatever the case may be. You should be able to find one of these creative lenses on Amazon or Ebay that you can pick up for a reasonable price and you can have a lot of fun with.

Liam Douglas: 16:16 So that’s where I’m going to leave it today with this episode. I hope that you enjoyed listening to this episode as much as I enjoyed recording it and sharing my ideas and how you can be a lot more creative with your photography. This has been the Liam photography podcast. I’m your host Liam Douglas. Be Sure to stop by and join the Facebook group under Leanne photography podcast. In order to join, you have to answer one question. All you have to know is the host name, which is myself and you’re in the group. Also stop by the website, Liam photography, podcast.com where you can listen to any of our previous episodes, anytime you want. You can stream them right off the website. And of course you can use your favorite podcatcher application, whether it’s iTunes, Google, play, stitcher, Spotify, and hopefully at some point soon I’ll get them to put us on Pandora is well, all right, so now get out there and make some great images and I’ll see you next time. In episode 12

Speaker 2: 17:20 [inaudible].

Liam Photography Podcast: Episode 10 – Where to get Gear on a Budget & More…

In this episode I talk about the best places to get Photography Gear on a Budget, Getting Quality Glass for Little Money and in segment three What Lenses Should I Buy????

Website – http://www.liamphotographypodcast.com/
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You can find me on Twitter& Instagram @LiamPhotoATL
Photography site at www.liamphotography.net and www.forgottenpiecesofgeorgia.com

Best Places to Buy Photography Gear on a Budget

Frequently I hear students say that they don’t have much in the way of photography gear due to cost of ownership. It is true that photography gear is not cheap, unless it’s cheap quality and hence gives cheap results. I’ve had quite a few students ask me how I have acquired so much gear in the last 18 months and I tell them all the same thing, you have to know how to find the deals.

Craigslist – Craigslist can be one of the best places to get a good deal on most anything, especially camera gear and lenses. I have bought numerous pieces of gear on this site, but you have to watch out for scammers and always meet people in public places like a coffee shop or store parking lot during the day.
eBay – eBay is handy for buying items too as you can find more sellers on there since they are world wide. The problem is you also run into more scammers. Also since you are buying on-line, there is no way to check out the item in person and you can get burned.
Pawn Shops – Pawn Shops are a great place to buy used gear and they often have no clue what they have. A person goes into a Pawn Shop to pawn their gear and the shop looks at what the gear sells for on eBay and then offers the seller like 25% of the actual value. If the person forfeits and the Pawn Shop can then sell the item, it is usually months later and the shop doesn’t really keep track of the value, they just price it to make a profit.
Local photography clubs – Often times you can find local photography clubs and there will be members selling gear from time to time.
Warehouse stores – Another good place are warehouse stores like Sam’s or Costco. Here you are buying new and getting a warranty and you get the better pricing offered by someone that can leverage volume pricing.
Amazon – Amazon is another great place to get camera gear and anything else. They have a wide selection of lenses from Canon’s FD to EF and Nikon, Sony and others as well.

The big thing to remember buying used gear is that you can get burned if not careful. If it sounds too good to be true, it probably is but sometimes you do get lucky and the person has no idea what they are selling. I personally bought a Canon EF 70-300mm IS USM lens at a local pawn store for $200 in mint condition. This lens new retails for $900. I also bought a Manfrotto tripod at the same store for $50 and it was missing the release plate that attaches to the camera. I bought a new plate for $7 on Amazon, the tripod with the fluid movement head turned out to be worth $500. Just remember, if you buy used, test it good before you part with your hard earned money. Meet them somewhere public for safety and test the lens or whatever it is on your own camera body to make sure it is fully operational, NEVER take the seller’s word for it.

Getting Quality Glass for Little Money

I have spoken with a lot of the new students lately that are on tight budgets but need good quality glass. This week’s post is one of the best ways to accomplish this for the absolute least amount of money.

In 1987 Canon switched from their FD lens mount system to their current EF mount system for their current line of cameras. Now, how does this benefit you the student? Well FD lenses are easy to find and some of them are as good quality and image creation wise that they are still useful today.

How do you as a photographer make use of this information, well for one thing, you can find old Canon FD lenses in a lot of places, yard sales, pawn shops, old camera shops, even Craig’s List or eBay. The problem I am sure that you are asking is what good does an FD lens do me on an EF mount camera body? Enter the Fotodiox Pro Lens Mount Adapter, for Canon FD lenses. This little adapter allows you to mount your FD lenses on your EF camera body and the adapter only costs $32.95 on Amazon. One thing to remember is FD lenses are manual only, so you need to be comfortable shooting manually, which is something you need to be doing only for some of your future classes.

The sample image I have included here is a white rose I shot on my neighbor’s rose bush and I shot this using my Canon EOS 6D and a Sigma 28mm F/2.8 FD lens and mounting it on my 6D using the Fotodiox adapter. Another thing to take into consideration is these lenses don’t register on your camera so your aperture will show as 00 and you will need to know how to calculate your ISO, and shutter speed to match up with your manually selected aperture on the lens and accounting for the available light to get a perfect exposure.

I personally think all this manual work is worth it as it makes you a better photographer in the end and makes you more of a master of your gear. F/2.8 lenses are generally not cheap, but now you are armed with the knowledge on how to obtain all the F/2.8 glass you want with little money, the Sigma 28mm F/2.8 that I used for the rose cost me $7 at a local pawn shop and they usually have tons of these lenses and are usually not able to sell them as everyone else wants EF mount lenses as they have no idea how to use an FD lens on their EF body. So get out there, find those cheap wide aperture lenses and make some great images.

What Lenses Should I Buy?

One of the questions posed frequently to myself as well as to the professors at AI is this one. The question is a tricky one to answer because there are a couple of factors to consider, such as how much money you can afford to spend and what your photographic style is.

If you shoot landscapes, then you want to buy a wise lens such as a 10-20mm or 17-40mm. Both Canon and Nikon offer a decent 18-55mm as one of their standard kit lens. Although the 18-55mm is a inexpensive one, they make very good images from my experience. Of course if money is not a major concern and you shoot Canon, you can go with either the EF 16-35mm or the 17-40mm L lens. On the Nikon side you have the 14-24mm which is an excellent, high quality lens that makes fantastic images.

For those that want to shoot wildlife or anything else that requires more reach, you can look at 70-200mm, which is an extremely popular zoom used by many professional photographers. At 70-200mm you have the most popular focal lengths in a single lens. Both Canon and Nikon make very high quality lenses in this range, as does Tamron if you are budget minded. This lens is also available in both a less expensive F/4 aperture and the faster, more expensive F/2.8. If you want the F/2.8 without spending $2,000-$3,000, then look at the Tamron, which runs around $1,000 and from every review I’ve read by pros say that it takes every bit as soon an image as the more costly ones made by Canon or Nikon.

Your bread and butter will be portraits, then you want to get a prime portrait lens. The most common lenses for portraits are the 50mm, also known as the Nifty Fifty, 85mm and 135mm. When it comes to Canon, there are three of each the 50mm and the 85mm to choose from and again, it mostly depends on how much you want to spend. The 50mm F/1.8 is inexpensive at around $100 and makes really good images, the 50mm F/1.4 USM is around $400 and is much better build quality and takes even better images. The third is the 50mm F/1.2 L which is very expensive but also makes the best images. In the 85mm, Canon makes the $500 F/1.8, the 85mm F/1.2 L original and the newer 85mm F/1.2 L Mark II. The L series lenses are expensive, running around $2,000 and believe it or not, the less expensive F/1.8 makes much better images. The original L series 85mm had lots of issues with color fringing and the Mark II edition has AF issues. The third and final really good portrait lens on the Canon side is the 135mm F/2 L.

Regardless of what you are going to shoot primarily, it is always a good idea to have 3 or more lenses as you never know when you might need another focal length or prime. I love to shoot landscapes, but like most photographers, I know I need to shoot portraits as well as that is how most of us pay the bills. Since I need to do portraits as well, I own the 85mm F/1.8 USM and the 50mm F/1.4 USM. I am also planning to at some point down the road to buy the 135mm F/2 L so that I have a little more reach.

I hope this information helps you to make some choices on what you want to carry in your camera bag, now get out there and make some images!

Transcription by temi.com

Liam Douglas: 00:01 You’re listening to the Liam photography podcast. This is episode 10, and today’s episode I’m going to talk about the best places to buy photography gear on a budget, what lenses should you buy and how to get quality glass for little money. All this on episode 10 of the Liam photography podcast.

Liam Douglas: 00:33 Welcome once again to the Liam Photography podcast. I’m your host Liam Douglas and this is episode 10. I want to thank all of my listeners for subscribing, rating and reviewing and iTunes, Google play, Spotify, stitcher, and any other pod catchers that you might be using. Now, our first subject for this episode of the Leon photography podcast is best places to buy photography gear on a budget. I frequently get presented with this question by, uh, uh, new photographers on Facebook groups and I’m on as well as via email, um, tightly affiliated with the college where I got my bachelor’s degree in photography. And I was also the school’s only alumni ambassador. So I wrote weekly blog posts for their website and I also was available for new students to come to you and ask me questions. I’m classes, software, uh, photography gear. You know where they can get the most bang for their buck and so on.

Liam Douglas: 01:37 So that’s what we’re going to be talking about today. Now, one of the, there’s a few good places where you can get photography gear on a budget, and I’m sure most of you are probably already familiar with some of these sources, but we’re going to talk about them again anyways. Uh, the first one is Craig’s list. Now, Craig’s list can be a great place to get photography gear on a budget. A lot of times you’ll see, especially if you live in a larger market, like I’m in the Atlanta area. It’s not uncommon to do a search on craigslist for photography gear. Even if you narrowed down the search to a specific, uh, maker such as Canon, Nikon, Sony, Fuji, whatever the case may be. But it’s not uncommon to do a search on the Atlanta area craigslist site and come up with listings for photography gear.

Liam Douglas: 02:30 Now, sometimes they may sound a little bit too good to be true, and there’s always that possibility. But the big thing that I, that I, the point I want to make about this is when you’re in a larger market, like I am and you know, there’s other large markets like Chicago, New York, Los Angeles and so on, is it’s not uncommon to find young filmmakers that we’ll buy a bunch of photography, uh, gear that can double as videography equipment and they might buy this gear to shoe, you know, a few music videos for a band or something like that. And then when they’re done with the project, they need to recoup the money they spend on the gears so low, put the stuff on Craig’s list and sell it off. And so that can be a great source for finding good quality photography gear, both camera bodies and lenses as well as lighting and accessories, uh, for reasonable prices.

Liam Douglas: 03:22 Now, as I mentioned a moment ago, I mean, if you see a $5,000 camera, the enlisted on craigslist for $1,200, then yeah, it’s probably somebody trying to scam you out of your money. Which leads me to the next point about Craig’s list. If you want to make sure you’re always a safe buyer or seller, either one. So it’s always a good idea to meet the other person in a public place. And in a lot of areas these days because of the prevalence of craigslist and people getting scanned or attacked and stuff like that in the past, um, a lot of areas like where I live in the Atlanta area, the local police departments will have an area of their parking lot. This specifically for people to meet up for Craig’s list, let go off for up, stuff like that. And these parking lots are well lit.

Liam Douglas: 04:09 It’s right outside the police station there. Security cameras in every corner of the parking lot and they’re high res cameras that’ll get license plate numbers and all of that good stuff. The camera’s are tied into facial recognition software and all of those things. Um, so they can, it can provide you a much safer place to do business if you’re meeting up with somebody from an online medium, like I mentioned, like craigslist offer up, let go, and all these other ones that are constantly popping up. So, you know, I do want you to be safe when you’re going to meet somebody for the first time in person to possibly buy or sell gear or any other items that you’re trying to get rid of. You know, I don’t want any of my listeners to get attacked, especially women. I always recommend women be as safe as possible.

Liam Douglas: 04:54 Uh, take a husband, boyfriend, brother, uncle, your dad would ever with you. Um, and then still meet someplace safe, uh, a public place to be as safe as possible. Now, as I mentioned, you can find some really great deals on craigslist, on photography. Uh, you know, bodies, lenses, um, lighting, light stands, all kinds of assessory. Sometimes you’ll find people selling Bob backdrop systems they no longer use on there with different colored backdrops or maybe theme backdrops that, you know, cause it could be somebody that was a, a professional family portrait photographer and they did family portraits for 30 years and now they’re retiring, they’re getting out of the business. So they might have a lot of really cool theme to backdrops, like ones for Christmas or one’s for, you know, senior portraits. And stuff like that that you can pick up for a really good price and you get the backdrops and the frame system and the whole whole ball of wax altogether.

Liam Douglas: 05:52 So you can find some really great deals there. Now the next that I’m sure most of you are aware of is Ebay of course. Um, Ebay’s been around for many, many years and being that Ebay has partnered with paypal is their payment system. You’re, you’re fairly well protected there. They offer buyer and seller protection and you can find some really good deals on Ebay. Um, and in mostly it’s because on Ebay it’s a much wider audience. It’s a much larger marketplace. Uh, not, I’m not saying that craigslist isn’t large, but most people are looking to buy and sell off a subsection of craigslist that’s specific to their area, their city, town, county, whatever the case may be. You know, if you’re in a small state, it might be just a, there might be only one craigslist page, a sub page for your whole state. If you’re from a really small state like Rhode Island may be.

Liam Douglas: 06:46 And I’m not saying I had to pick on Rhode Island, so I don’t want to get a bunch of hate mail about that. Um, but Ebay of course, it, you know, they’ve been around for a long time and it’s an international platform. So if you’re, if you’re totally fine and comfortable with buying gear from, uh, foreign sellers or selling to people overseas, that can be a great way to, uh, buy your gear. A, and again, I’m trying to focus on mostly buying gear, um, and getting the most bang for your buck. Um, and the, and the great part with that is, is like I said, you could be on the east coast and you might find, you know, a, a Nikon d eight 50 or a canon five d mark four that’s gently used. Now sometimes they’re going to have really high shutter accounts cause, uh, you know, the seller, you know, use the daylights out of it, you know, as part of their full time Gig.

Liam Douglas: 07:35 Um, so you want to, you’re probably gonna want to steer away from that because if it’s got a really high sugar count, then more than likely you’re going to buy it, use it for a little bit. The shutter is going to go out in it. You’re going to have to send it off to Canon or Nikon to get the shutter replaced. That’s going to cost you a few hundred bucks, whatever the case may be. But again, the nice thing is you can be on the east coast and you can buy from a seller on the west coast. Now, one of the reasons why I generally don’t recommend buying camera bodies and lenses from foreign sellers is you don’t know what you’re getting. So in other words, when you buy from a seller here in the United States, for example, um, depending on how old the a piece of equipment is, you could still get a portion of the original manufacturer’s warranty as the second owner of that camera body.

Liam Douglas: 08:24 Um, just to give you an example, and the other thing you can run into is when you buy from foreign sellers, they can be selling gray market stuff. Now, gray market gear is gear that wasn’t originally meant to be sold in the United States market. It was meant to be sold in Australia or Japan or China or wherever on the planet, but basically not here in the u s now what that means is, is you don’t get any kind of us warranty. So especially if you’re buying new stuff, you want to stick to stuff that was actually intended to be sold on the u s market or better yet, the North American market is definitely how most of the manufacturers do it. Um, I know Canon, when you buy a brand new gear from them and you open up the box and pull out the warranty paperwork, it says to be sold in the United States and Canada only.

Liam Douglas: 09:15 So then it’s more of a matter of, it’s in North America warranty, but you get my point. So ebay is another great way that you can buy a photography gear for a reasonable price. Eh, you know, and you could stretch your dollar a little bit farther. Now, another place that you might not be aware of, and again, it’s gonna depend on where you live. If you’re in a larger market area or a smaller, small town area, you know, that’s more rural versus urban, you know, it’s going to vary. So maybe you know about this, maybe you don’t. You may have these in your area and you’ve never really thought of it before. But another great source of used photography, deer on a budget can be local pawn shops. Now, as I mentioned earlier, and you already know from previous episodes, I lived in the Atlanta Metro area and in Atlanta we have thousands upon shops.

Liam Douglas: 10:08 Um, and as a matter of fact, when I moved here from Pennsylvania almost 14 years ago, I started out working in the it department for a small chain of corporate pond stores. And the nice thing about going and browsing at your local pawn shops is sometimes these pawn shops don’t realize what they have. So, and they’re getting a little smarter about it in some areas and other areas, not so much. Um, you know, where they will, they’ll get the serial number off the camera body. They have to write down the serial number anyways and file it with the paperwork in case it comes back as is a stolen. Um, but they don’t always, they aren’t always the best at looking up that particular camera body or that particular Lens. And then even if they are semi successful looking it up, they don’t always come to the right conclusion as far as its value.

Liam Douglas: 11:02 Um, so when somebody pawns photography gear and then four fits it, basically they never paid the interest or redeem it by paying the pawnshop back what they borrowed plus interest, that equipment becomes forfeit. So then after a certain amount of time, the pawn shop owns that gear. And after the legal requirements, however many days they have to weigh, whether it’s 30 days or 60 days or 90 days, that equipment now belongs to them and they can put it out in their display cases and they can sell it to try to recoup the money that they’d loaned. You know, Joe Smith who originally ponded and uh, frequently there’ll be successful at recouping all of their money, but sometimes just because pawn shops aren’t always where somebody is going to go to look for photography dear, you know, a camera body, a Nice Lens, Mike sit in that display case and that pawn shop for quite a long time before there’s any serious interest from somebody to buy it.

Liam Douglas: 12:02 And what happens is the longer that piece of equipment sits for sale and that pawn shop and it’s taking up counter space or display case of real estate, if you will, the more they’re going to lower the price. Gradually over time, like every 30 days or every 60 days, they’re gonna lower the price by a certain percentage to try to finally get that item out the door, recoup most of their money or, or you know, sub suffer as minimal a loss as possible and get that out of their display case. So they have room for other, other items that are going to be coming out upon, you know, that were forfeited. So pawn shops are another great place that you can buy a decent photography gear on a budget. And I have scored some real real bargains at pawn shops in this area. Uh, as a matter of fact, I went to a pawn shop one time and I was just looking around.

Liam Douglas: 12:57 I went in there and I like to go into the ones in my area frequently and you know, a couple times a month and look and see if they have any decent, uh, photography gear that’s been forfeited. And I’ve picked up some GoPros that way. And, and camera bodies, lenses and in various things as well as mono lights and stuff like that. But I actually went into a pawn shop one time a few years back. And this particular pawn shop had a mint condition. Canon 70 to 300 I s Usm Lens. Now this lens, like I said, it was mint. It didn’t have the original Canon box, but the thing was in immaculate condition, it had the original front and rear caps with it. And this was a lens that at the time retailed for $1,000. And I picked it up at a pawn shop in mint condition for $200 and I didn’t have to worry about it being stolen because like I said, when pawnshops take things in on pond, they have to document the item thoroughly, take pictures of it, the whole ball of wax, take down your information, take a picture of you, get your driver’s license, all of that.

Liam Douglas: 14:06 And then they have to send that information off to local law enforcement. And then the police departments will compare the list of items they get from the pawn shop to stolen goods, a repo police reports that they have and at the serial numbers match up. Then, hey, they just found an item that was stolen, you know, two weeks ago during a home invasion or whatever, and now it was pawned at this pawn shop and they can get it back for the victim. So you don’t have to worry about that. If it’s been in the pawn shop long enough that it has been forfeited, you don’t have to worry about it being a stolen item. Um, so you don’t have to worry about that. So I got this lens that was $1,000 lens. I bought it for $200, and it was precisely a combination of the pawn shop, didn’t realize exactly what kind of Lens it was or how valuable it was.

Liam Douglas: 14:58 And it’s sad. Um, after it was forfeited by the original person that pulled it, it had said, and their display case for like six months and nobody had bought it. So I came upon it when I walked into the store to browse looking for photo gear one day I was like, holy cow, I can’t believe they’ve got one of these lenses mint condition. And they originally had it marked, um, I believe for like $290 or something like that. And like I said, I buy from some of the stores in the area on a regular basis. So, uh, I, uh, asked to see it out of this Blake case and I checked it out and I hooked it up to one of my body’s, because I always believe even when you’re buying from like a pawn shop, take your camera body with you, have one of your camera buddies in the car with you, grab it, put the lens on it.

Liam Douglas: 15:45 If it’s a lens you’re looking to buy and test the Lens right there in the store and make sure there’s no issues with it. So I did that. The Lens work perfectly. The image stabilization was, was a fantastic, uh, the lens was still nice and tight. When you did your zoom in and zoom out, it didn’t make any rattling or any noise is it didn’t have a scratch on the glass or any issues, many kinds. And a, I looked at the manager and I said, what’s the absolute best price you can give me on this? And he’s like, I can let you have it for $200. And I played it. Cool. I didn’t want to let him know. He just, he just did me a huge favor. Um, so I paid for it and I took it home. And you know, I scored a great deal and I still have that lens to this day.

Liam Douglas: 16:28 Um, it’s one of the low telephoto lenses that my girlfriend Janice currently uses with her a canon cameras. And I’ve since moved up to the 100 to 400 mark, two additions. So, but the lens is still being used today and it’s still in great shape and it still works beautifully. So there’s another avenue, local pawn shops where you can get a great deal on photography equipment. The next place I want to talk about, and again, this might not be something that you’ve thought of. Our local photography clubs. Now, again, depending on whether you’re in a larger population area, like a fairly major city or a decent size, smaller city with a population of like 50,000, or whether you’re in a rural area, you know, out in the boonies, you might not have these around. But what has made it easier to find photography clubs is some of the various social media sites, whether it’s Facebook.

Liam Douglas: 17:27 Um, and there’s a newer one that’s called meetup that’s specifically for like clubs and organizations like that. So that’s can be a great way to locate other photographers in your geographic area. Um, and you can not only, you know, build relationships with these people, go out and do like group photo shoots on a weekend, you know, like what we call photo walks, where you go out and walk around, um, say maybe a, a small country town on a Saturday afternoon, you know, a bunch of you go out together with your cameras and you just walk around the area and, and take pictures of whatever catches your eye. So it can not only be photography clubs and meetups can only be a great source of used gear, but also a great way to meet other photographers in your immediate area and get some networking going on and a little camaraderie and stuff like that.

Liam Douglas: 18:25 So you definitely don’t want to, I’m not think of that as a possibility of where you can get good used camera gear. Uh, next is another place to consider are your warehouse stores. And I’m talking about like Sam’s Club, Bj’s, Costco, stores like that. And now you’re going to be buying new gear from the stores. But because they are big retail, a big warehouse chains I should say, and they’re usually nationwide chains, you know, like Sam’s club and Costco and stuff like that. They are able to buy new photography gear for a much lower price than a smaller retail store because they’re buying in bulk. So it, these places, you’re not going to get used gear, but you might be able to get that used. Uh, or I mean that new, um, Canon or Nikon body and Lens Kit Combo, you know, for a hundred, $150 cheaper than you can find it at a smaller store.

Liam Douglas: 19:31 Um, whether it’s a local electronics store or whatever the case may be. So that’s another possibility is that you might be able to get a great dear deal there. And those warehouse stores. Now, the last, um, source I want to talk about is another one that most everybody’s familiar with in this day and age. I mean it is 2019 and that of course is amazon.com Amazon again is a global marketplace, pretty much like Ebay. They’re massive and they can also leverage volume buying discounts that other stores can’t get. And I know there’s going to be people that are going to say, well, Amazon’s what’s wrong with the world or killing the moment pop businesses. And I agree with that, you know, as far as that goes. But if you’re looking to get used gear or new gear, you can find some great deals on Amazon. And a lot of times you might find a new piece of Kit that has a rebate that you didn’t know about and you just find it as you’re casually browsing Amazon.

Liam Douglas: 20:34 And if you frequently, if you just do what I call electronic window shopping on Amazon or the same kind of things, you know, camera bodies, lenses, lighting equipment, speed lights, light stance, light modifiers. Then each time you go back to Amazon, it’s going to give you these little blocks on your homepage that it’s like, this is what you most recently looked at. And here are some other suggestions based on what you’ve been looking at on here. So it can be handy that way because as I said, as you build up a browsing history on Amazon, then let’s say you go back two months from now after you’ve been looking at, you know, Fuji Camera bodies on there for a while. Um, and you pull up Amazon one day and all of a sudden food Jay’s running a rebate on one of them, new camera bodies that you had no clue what was happening, but Amazon knew about it and they let you know about it.

Liam Douglas: 21:28 And Bam, you just saved the, you know, a couple, $300 or whatever the case may be. So Amazon of course is another great website. Where are a great source to buy new and used photography gear so you can really, you can really save yourself some money when you’re buying gear for your photography, whether it’s a hobby, whether you’re a hobbyist or a professional, you can definitely save some money by going any of these avenues that I mentioned in the first part of this episode. Now getting on to part two of episode 10, I want to also talk about getting quality glass for little money. And the reason why I bring up this section is like I said, I finished my bachelor’s degree in photography. I went to the art institute of Pittsburgh Online Division

Speaker 2: 22:27 and

Liam Douglas: 22:28 I was the school’s only alumni ambassador. So I was there for new students or existing students. Anytime they had a question they could feel free to shoot me an email and message me on Facebook, whatever the case may be. They could call me if they want it on my cell phone, um, and present any questions or concerns they had. And, and of course I got a lot of questions about gear, especially lenses. Cause if you know anything about photography, it’s more about the glass or your lenses than it is about the camera body, camera, bodies.

Liam Douglas: 23:05 It can be great. You know this camera buddy is older, this one has the latest technology, the latest bells and whistles, but the glass is the most important part and any photographer worth their salt will say, well tell you the same thing, that the glass is the most important thing. And if you invest in good glass, good glass isn’t something that you need to replace every year or every two years. The camera manufacturers come out with new bodies pretty much on a yearly basis. They’ll come out with one or two or three new models each calendar year and as I said in a previous episode, you don’t need to run out and buy the latest and greatest camera body that Canon or Nikon or wherever your new, whatever system you use. You don’t need to run out and buy their newest body every year just because they released a new body.

Liam Douglas: 23:57 I mean that’s crazy. You’re going to be wasting money by doing that instead. It’s far more important to get yourself quality glass and this segment, I wanted to talk about this in this way because as I mentioned a moment ago, I would get a lot of students that were still in school full time. It would come to me and say, Hey Liam, where can I get a good deal on glass? I need, I want to have good quality glass. I don’t care if it’s you know, prime lenses or zoom lenses. I just want to be able to get decent glass. I don’t want to be stuck using the cheap low end kit glass that came with my camera body kit that I bought through the school as part of my financial aid package. And so, and I would always tell the students the same thing.

Liam Douglas: 24:48 There’s several different places where you can get good glass for a reasonable price. Now of course you have the places that I mentioned previously and I’m going to expand on those a little bit more. So let me give you an example. I’m a canon shooter. As I’ve mentioned before, and if you know me in the real world, you know I’m a canon shooter, had been for a long time in 1987 10 and switched from their previous lens mount, which was called their FD lens mount to their current ETF blends mouse system. And when they did that, all of a sudden as Canon started going forward, release a new bodies starting in 1987 there are newer bodies had this new Lens Mountain, the eff mountain, and of course they split off and did efs for crop bodies, F for full frame, which can be used on both bodies and then they later had f m further mirrorless aps, see bodies, and now they have RF, which is for their full frame mirrorless.

Liam Douglas: 25:53 I don’t want to go into all of that. Again, we’ve, I’ve talked about it before, but the reason why I wanted to mention this, a little piece of history, especially on the part of it, Hannon is because again, getting back to one of the sources I mentioned in the first segment of this episode, Pawn Shops, I guarantee you that you can go in any local pawn shop in your area to where they would ever display case. They sell camera bodies and lenses in and I can almost guarantee you will always find old glass. Now, don’t get me wrong, I’m not saying old glass. That’s garbage. I’m talking. I’ve gone into pawn shops in the greater Atlanta area and I have picked up cannon, Fd, Mt. El glass for a little bit of nothing because the amount is considered obsolete technology and the pawn shops didn’t know any better a lot.

Liam Douglas: 26:56 Like I said, a lot of times they don’t know this kind of equipment the way they should if they’re going to take it in on pawn, so they would just, Oh yeah, it looks like you know, high end photography equipment. We’ll take it, we’ll take it and they see dollar signs, but they don’t know that the equipment they just took in is absolutely technology that’s being phased out by the manufacturer as far as an a lens mouth in this case, so it’s not unusual to go into a pawn shop or you can even go on Ebay and Amazon and find high quality canon lenses. Even el Lenses that were FD males that, yeah. Okay. You’re thinking, wait a minute, Bill. Oh Liam, why would you tell me to buy this if it’s obsolete? Why would you tell me to buy this? Because I’m trying to help you get quality glass for as little money as possible and even though Canon phased out the FD melt doesn’t mean that glass is useless and you’re thinking, what the heck are you talking about?

Liam Douglas: 28:05 It’s an obsolete now how am I going to possibly use that lens unless I buy a camera that’s 35 40 years old and now I’m stuck with a film camera. I need to be shooting digital. No, no, no. This is where you go to a third party manufacturer and you get an adapter. And to give you a good example on Amazon, you can find lens adapter. There’s from a company called photo Dayaks. Now photo Dayaks makes a lot of different camera photography related items. They do studio light kits, they do strobes, they do soft boxes, but they also happen to make Lens adapters and you can get a photo dioxin pro lens adapter for Canon FD lenses. And this adapter will cost you 34 95 now it’s been a couple of years since I priced it, so it might be even cheaper now, but you can get that adapter for 34 95 and it will allow you to melt FD mount lenses onto your eff body.

Liam Douglas: 29:10 So now you can get yourself a high quality prime lens. Let’s say a of old school, 50 millimeter, 35 millimeter, you know, 2.8 1.8 whatever the case may be. You can buy that lens in a pawn shop that they had not been able to get rid of because absolutely technology, and I personally gone into pawn shops and bought six FD lenses from the same pawn shop and a single transaction and only paid 20 $20 for all six of them. So you’re talking a great bargain there. And especially if you’re buying a set of six prime lenses that are high quality glass, they, they’re not all scratched up. They’re not banged up, they’re not, you know, destroyed. They can be an immaculate or reasonably good, you know, with minor wear and tear and blemishes. But as long as that glass is still clean and scratch free, you can still get life out of that Lens.

Liam Douglas: 30:09 You just need an adapter. So what’s not the end of the world and with that adapter. Now the only caveat is with using an adapter like that and you’re using a manual lens, your digital body is going to show zero zero for your aperture because it’s not going to be able to translate what app the true you’re at. Because in those days, most all camera lenses had a mechanical aperture ring on the Lens itself that you adjusted to your aperture, but that doesn’t make the lunch useless just because your body doesn’t know what happened. Sure. The Lens is set for because if there’s no electronics talking to the body, you can still tell what happened through the lens is set forward by looking at the physical markers on the barrel or the aperture bring is so you could still get use out of those lenses and that is a great way that you can get low cost, high quality glass when you don’t have a lot of money, especially if you’re a photography student who’s going to school full time and you don’t work at all or you were only able to work part time delivering pizzas or something like that, or you work part time at Walmart or best buy.

Liam Douglas: 31:23 It can be a good way for you to get good quality glass while you’re still in school when you don’t have a lot of money, but you’ll be able to go out when you’re shooting your assignments and get amazing images because you will have high quality glass. It’s just glass. That’s old school, but it doesn’t mean it doesn’t still have life. A lot of times this gear, we’ll still have life for many, many, many decades to come, especially when it’s the old school mechanical glass.

Liam Douglas: 31:57 And that is the end of segment two for episode 10 the last part I want to move on to today is the question, what lenses should I buy? And now this is a question that can be tricky. It can be a tricky one to answer because there’s a few things to factor in when you’re considering the advice you’re gonna give somebody, when they ask you what kind of lenses they should buy, you need to have an idea of how much of a budget they have, how much money can they afford to spend, and what’s your photographic style? Are you going to be shooting portraits? Are you going to be shooting landscapes? Are you going to be shooting? Are you going to be doing astro photography, Star trails, timelapse you know, there’s all kinds of genres in photography. It’s a very, very broad artistic medium. So those are some of the things that you have to find out first.

Liam Douglas: 32:57 I have to find out from a young photographer that’s just starting out before I can give them a decent answer to that question. So as I mentioned a moment ago, for example, if you shoot, if you love to shoot landscapes, if that’s your thing, and especially if you’re mostly a hobbyist, um, this day and age, it’s, it’s fairly hard to make money as a landscape photographer unless you’re already world famous. And then you can sell massive brands and still make money at it. But it’s kind of hard to get into that as a pain genre. So a lot of times even professional photographers, they will do portraits or something else that pays the bills and puts food on the table. But maybe they like to shoot landscapes just for themselves because they like to be out in nature, which is something I liked to do. So there again, and I’m gonna use Canon is the example, um, an icon.

Liam Douglas: 33:54 I can interchange the two salt somewhat. Um, because here we’re talking about lenses. So if you shoot landscapes and you’re using a full frame Canon camera, one of the best landscape lens as you can get. And it’s also an l lens, which is Canon’s luxury line of lenses but won’t break. The bank is the 17 to 40 f four. It’s a great lens. It’s a wide telephoto, so it goes from 17 millimeters to 40 millimeters. It’s an f four fixed aperture. Um, so what’s not made for low white, but generally if you were landscape shooter, you’re either shooting long exposures or you were in heavy sunlight where you don’t need to worry about only having an f four aperture versus a 2.8 or a 1.2 or 1.4. Okay. So that’s not a concern. Now if you’re on the crop body side of things and the cannon family, uh, one of the most popular landscape lenses in the APC cannon bodies or to use with the Canon bodies on the crop factor bodies was the 10 to 22 millimeter. Well, that is now been phased out, discontinued by Canon, and they actually replaced it with a much better

Liam Douglas: 35:19 10 to 18 millimeter.

Speaker 2: 35:22 Okay.

Liam Douglas: 35:23 And that new lens is really inexpensive. It’s, I think, barely 300 bucks. It’s considered one of Canon’s lowest end lenses. In other words, it’s a kit lens that you can sometimes get with the body for free, but it makes amazing images and it has their newer STM, silence, stepper motor for the auto focus motor in it. So it makes very little noise when you’re using it. So you can get great landscape images with either the 17 to 40 f four or the 10 to 18 f 3.5 to 5.6. They’re both fantastic lenses and you can pretty much find lenses in this similar focal length ranges and all the manufacturers. So it doesn’t matter if you’re shooting canon or Nikon or Sony, you’re going to be able to find a similar focal length range for shooting landscapes. Even if you go to sigma or Tamra on it, but you know by third party lenses, you’re going to be able to find something in that vernacular.

Liam Douglas: 36:24 Now if you like to shoot wildlife or anything else that requires more reach, you can look at getting a 70 to 210 for example, makes a 70 to 200 in both an f four and an f 2.8 model with and without image stabilization. Of course, the 70 to 200 f 2.8 with image stabilization is the most expensive of those lenses and it also weighs the most. But you can oftentimes find a use 70 to 200 f four l without him. It stabilization for a little bit of money. I, this is a lens that I’m talking, you can probably pick up today used for four or $500, maybe, maybe even less. It depends. Um, as long as it’s not beat up too bad, like you know, cause you don’t want to get one that’s badly damaged and got ac issues with the glass. But the other nice thing about 70 to 200 is you have the most popular focal lengths in this single lens.

Liam Douglas: 37:27 So when you got 70 to 200 millimeters, well guess what? The most common focal lengths for portraits are 85 and 135. Now some people will say, especially the Nikon shooters will say, well I liked the one oh five Nikon Portrait Lens. That’s a great length. And it’s true. I’m not saying it’s not a good lens, but my point is if you own a 70 to 200, you’re covering 85 one oh five one 35. Those are three of the most common portraiture vocal lengths. And so you’ve got three of the major portrait of the three major portrait focal lengths cupboard in one piece of glass. And again, it doesn’t matter if it’s an f four f 2.8 sure the f 2.8 is two stops wider. So it allows me to stops more light in then the [inaudible] model, but especially if you’re shooting outdoors, you’re doing outdoor portraits or you’re doing portraits using studio lighting or speed lights or whatever the case may be, you’re still going to be able to live, make amazing portraits.

Liam Douglas: 38:34 Even with the [inaudible] model. And again, if you go to Tamarind Tamron or sigma, you can buy they’re 70 to 200 f 2.8 for quite a bit less with when their version of image stabilization, whether it’s called vibration reduction or wherever the case may be. You can still buy a 70 to 200 f 2.8 with image stabilization brand new for a lot less money than you can buy it from Canon, Nikon or Sony. So we also got to consider that. I mean, if you want an f 2.8 lens and you’re going to buy from Canon or Nikon, whoever is the manufacturer of the body use, you’re going to be looking at spending, you know, two to $3,000 maybe $4,000 just depends. But again, if you go with the [inaudible] model or if you go with a third party builder, F 2.8 you’re going to save quite a bit of money and of course you’re going to say it the most.

Liam Douglas: 39:28 If you go with the f four version, um, but f 2.8 you know it’s a cannon f 2.8 with image stabilization is cheese thousand dollars and Tam Ron is currently selling, there’s 70 to 200 f 2.8 with image stabilization Jeetu which is their latest model for 1200 bucks and you just saved $800 and you still got a brand new 70 to 200 f 2.8 so you definitely got to look at that as well. And now if you want a little more flexibility you can go with a couple of other telephoto lenses. Short, shorter, medium telephotos. Another extremely popular Canon Lens. And my girlfriend absolutely loves this one. I bought this lens a number of years ago. Got It for a great deal used and we recently sent it off to Canon cause I’m a CPS gold member and I had canon disassemble the Lens, clean the glass because it was starting to get specs inside on the inside of the glass that you couldn’t clean out.

Liam Douglas: 40:31 And it was starting to show up in her images. So she was getting frustrated. But anyways, I sent it off to Canon and CPS and they tore the lens apart, cleaned the glass, polished it up, replace the seals and the Lens Barrel Assembly, you know, for the zoom and all that stuff. And she got it back in the glasses. Natalie crystal clear, like brand new again. But the Lens, and don’t get me wrong, the lens wasn’t worn out to begin with because it hadn’t had a tremendous amount of use even though it’s a discontinued model that she was so happy when we got it back from Ken because it’s as tight as a brand new lens now. And I told her, I said, look, you’re going to get another 20 years. You cited a Sullins easily now that canons cleaned it and basically rebuilt it for us. And you know, with my discount is a CPS member, it costs me less than 90 bucks to get this lens, which at one time brand new sold for, I don’t know, 500 bucks, cause it’s one of their USM gold lenses with image stabilization.

Liam Douglas: 41:29 You know, it’s sold for five, six, $700 at one, whatever the case may be. I got it originally a few years ago for less than 200 bucks and I spent less than 90 to get it rebuilt and she’ll be able to continue to enjoy in that Lens for another 20 years. So that’s another thing to consider. Now, if you’re going to be mostly a portrait photographer, then as I mentioned earlier, there’s specific lenses in the prime category. And what I mean by prime or lenses that are fixed focal length, they don’t have zoom. It’s the same focal length all the time. Then there’s going to be certain lenses that you’re going to want to buy as a mostly portrait photographer. Now different people have different opinions on this. Nobody’s right, nobody’s wrong. It’s whatever works for you, get you the look or feel that you want and make your clients happy.

Liam Douglas: 42:25 And the reason why I say that is because as I mentioned a little bit ago, uh, 85 millimeters, hundred and five millimeters, hundred and 35 millimeters are common portrait, focal lengths. And in the Canon world, Canon has a 135 millimeter f two l portrait Lens. That’s a fantastic lens. I’ve got that Lens. Oh, it makes beautiful portraits and it’s got a bit of a reach to it so you get stand back from your subject and get a nice tight shot of them and fantastic Bokeh in the background with the F two aperture. So that’s a fantastic lens. Um, but some photographers, they like to shoot their portraits at 50 millimeters and no matter who the manufacturer is, again, most manufacturers will have more than one version of a 50 millimeter lens. So again, in the world that can, which is what I shoo canon currently makes swelled.

Liam Douglas: 43:29 Actually. Now I should say they officially now make for 50 millimeter lenses. And I’m going to explain here, so you have the 50 millimeter lens that maybe you’ve heard it before, it’s called the nifty 50 or the plastic. Fantastic. This is cannons, least expensive, 50 millimeter prime lens. It’s mostly plastic. It’s like one of the inexpensive kit lenses. It’s an f 1.8 so it’s got a really wide aperture so it’s great for low light situations and it does make really, really good images and it’s the lens that you can buy brand new for like 120 bucks or something like that. Then their next 50 millimeter lens up from that one is one I had a number of years ago, which is their 50 millimeter 1.4 USN. So this is one of their cannons gold band lenses. And if you’re familiar with cannons lenses at all, Canon basically has silver is their low end lenses and he’s in with a silver band.

Liam Douglas: 44:34 If it’s got a gold band, it’s their medium range lenses as far as build quality and price and cost and all of that. And then Elle of course, is Canon’s luxury lenses and they’re the ones that people are familiar with. They have the bright red ring around them. So the eff 50 millimeter, 1.4 is one of their USN lenses. So it’s a gold band. Knew the Lens will run you probably around 325 to maybe $350 although I’m pretty sure you can find that I’m regularly on Amazon for maybe even as low as 300 bucks or maybe just a little bit under 300 bucks today. But that is a great 50 millimeter lens and a lot of people like to use, as I mentioned a moment ago, 50 millimeters for portraits. Um, especially if you’d like to also do street photography. A 35 millimeter 50 millimeter are very popular prime lenses for street photographers.

Liam Douglas: 45:35 So now you have the 50 millimeter 1.4 I know it’s only point for wider aperture, but that can make a lot of difference and you’re going to get even more delicious Lee Creamy Bokeh background board. So then from there you had the Canon 50 millimeter 1.4 or 1.2, excuse me, at 1.2 l and Canon has made that lens for quite a long time. I’ve got that one. It’s a great lens. Um, and some people complain that it’s that sharp enough, it’s not tack sharp or than it has slight chromatic aberrations and I don’t have that with mine. So I’m thinking it’s possible. Maybe even though Canon hasn’t released a second generation or a second or a mark to have this lens that maybe over the years because they’ve been making it for so long, maybe they made little tweaks to um, later production runs of the Lens.

Liam Douglas: 46:35 But they didn’t change it enough or ma or replace enough of the glass elements to call it a mark two version. But it was more refined than the original production run that maybe had some of these issues because I don’t seem to have those issues with mine. But, so then you had the 50 millimeter 1.2 l the eff mount, which is what I have. And now because Canon has recently gotten into the world full frame mirrorless cameras, they’ve actually released an RF 50 millimeter 1.2 l and the reviews are that it’s a phenomenal lens and it does look like a fantastic lens. It’s the luxury lines. So the build quality is excellent, but it’s also got what I mentioned in one of my earlier episodes, a ridiculously high price tag. So you can go on Amazon or even on canons website and you can buy a brand new e f 50 millimeter, 1.2 l four 1299 $1,300 and you can buy them used for eight, $900 frequently.

Liam Douglas: 47:45 Um, but there are new RF, 50 millimeter, 1.2 l which is the same mountain diameter, the RF and theF or the same melt diameter. Um, but it has, of course the RF version has a control ring and it’s got maybe a new glass, a new set of glass elements they came out with. But to me that doesn’t denote the $1,000 higher price. So yeah, you’re, you’re not hallucinating. You heard me correctly, the e F 50 millimeter, 1.2 l brand new is 1299 $1,300 and the RF 50 millimeter 1.2 l is $2,300. That’s a major jump in price right there. But again, there you go. So as I mentioned briefly a little bit ago, um, Canon now technically has four 50 millimeter lenses. Um, so you’ve got the nifty 50 or a plastic fantastic at f 1.8 you got the f 1.4 USM gold band and then you’ve got two versions of the 1.2 l luxury lens in either ETF mount or RF Mel.

Liam Douglas: 49:06 So, and it’s the same with all of your other manufacturers, Nikon, you know, Sony, Fuji and most all the manufacturers offer like a low cost f 1.8 50 millimeter lands. And then they also have a, a 1.4 or 1.2 more expensive, better quality model that has better lens elements, you know, better glass in it and better coding and all that good stuff. So that’s the other thing to look at if you’re going to be doing mostly portraits. And then of course you can also look at getting an 85 millimeter, a portrait Lens. I have one of those. I had the 85 millimeter f 1.8 USM gold Dan Lens. I’ve always wanted the B l Lens and 85 millimeter, but I’ve read a lot of articles and talked to a lot of photographers at Camden has released two versions of the 85 millimeter, 1.2 l and both of them had issues.

Liam Douglas: 50:06 They had issues with chromatic aberrations and they had issues with the, with being soft, um, and the auto focus in and was kind of slow and sluggish for an l lens. Um, it got a little bit better in the mark t version but not significantly better. And then just in the last year, I think Canon released a new 85 millimeter f 1.4 l lens that also has image stabilization. And of course it’s not a cheap lens, so I haven’t bought one yet. Um, I get, I don’t do a ton of portrait photography. And when I do, I get fantastic results from the 85 1.8 USM. And I’ve even had other photographers tell me, you know, hey, to be honest, for the amount of money you spent, you can’t get a better lens than the 85 1.8 USM. So I stuck with that one. So I’ve got that one. And then I’ve got the, the 135 millimeter f two L and as I said a little bit ago, a little bit earlier in this segment. Um, a lot of Nikon shooters like to use the hundred and five millimeter f 1.4 g I think it is Lens, if I remember it, it’s, it has the g designation to it. And so that’s an extremely popular portrait lens to has a little bit of reach, um, for Nikon shooters.

Speaker 3: 51:27 So

Liam Douglas: 51:29 there are a lot of different things to consider. Like I said, mostly what your photographic style is and what you want to shoot are going to be the biggest determining factors in what lenses I or anybody else you can recommend that you buy.

Speaker 3: 51:45 So

Liam Douglas: 51:47 keep that in mind. The next time you know, you reach out to somebody like myself or, or any other photographer or any of your photography professors, if you were in school to get your photography degree or certificate. Keep that in mind. You know, before you bring up that, that posed that question to them. And like I said earlier, feel free to reach out to me. You can reach out to me. Um, I’m on Facebook under Leanne photography podcast, Facebook group. Um, I also have the website, Liam, photography.com, so you can comment on there or contact me via the podcast website and you can also find me on Twitter and Instagram at Liam Photo Atl. So don’t be shy, feel free to shoot me a message and, and ask me for recommendations on lenses. But as a, you know, as I said, keep in mind that you want to have an idea of what your style is going to be.

Liam Douglas: 52:41 Or maybe you want to shoot a little bit and two or three different styles or genres, whether it’s landscape and portrait. And then astro photography, you know, or maybe you just want to do landscapes and portraits or you want to do portraits and um, product photography in a studio. Um, keep those things in mind. Um, when you reach out to me or anybody else to ask for Lens Recommendations and myself and I’m sure most anybody else in the photography community would be happy to answer that question. Just like I said, make sure you keep in mind you don’t have an idea of what your style is, what genre you want to, you want to specialize in and what your budget is and then you’ll be able to get a sincere answer and good recommendations, whether it’s from myself or anybody else that you know that that is in photography either as a profession or as a serious hobbyist.

Liam Douglas: 53:36 Alright. And with that I’m going to wrap up episode 10 of the Liam photography podcast. I want to thank my listeners again for subscribing, rating and reviewing in iTunes, Google, Spotify and stitcher. Any other pod catchers you might be using. And again, you can reach out to me via de Liam photography, podcast.com website, as well as listen to past episodes on the website. You can also do a search for Liam photography podcast, Facebook group on Facebook and request to join. You do have to answer a question in order to join, but the question’s a simple one. You just have to know the first name of the host, which is me, the m Douglas. So it’s fairly easy to join that, that private group, and I will love see you next time. And episode 11.

Liam Photography Podcast: Episode 9 – Data Recovery for Photographers

In this episode I explore a new software for data recovery for creative professionals whether you are a photographer, podcaster, musician or videographer. Stellar Photo Recovery is the fastest recovery software I have ever used! For the next 10 days from the date of this episode you can get the Premium Edition for $60 using the links below!

Stellar Photo Recovery for Windows – https://securestore.stellarinfo.com/cart/add?vendorid=50693&PRODUCT%5b300868097%5d=1&languageid=1¤cies=USD&COUPON1=LiamPhotoD10&HADD%5b300868097%5d%5bADDITIONAL1%5d=stellarinfo.com-liamphotography

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Also check out my new podcast website to listen to ALL previous episodes and check out any links.
www.liamphotoghraphypodcast.com

Transcription by temi.com

Liam Douglas: 00:12 This is the Liam photography podcast and I’m your host Liam Douglas. And today is episode nine. I want to thank all of my listeners for subscribing, rating and reviewing and iTunes, Google play, and any other pod catchers you might be using.

Liam Douglas: 00:27 so today’s episode is data recovery for photographers, and one of the things that all photographers have to always keep in mind in the back, oh, keep it in the back of their mind, is the safety of their data. Photographers spend of a lot of time and energy working on their craft and creativity, and the last thing they want to have to worry about is the possibility of data loss. Most importantly, the images that they make with their cameras since photos or how a professional photographer makes their living, they need to safeguard their clients’ data at all costs. To this end, many photographers use multiple backups and redundancies in order to try and prevent the possibility of losing a client’s important images. Those working as wedding photographers are especially vulnerable as a complete loss of someone’s wedding images can really ruin that special day for the client. And most certainly lead to a lawsuit.

Liam Douglas: 01:26 Okay.

Liam Douglas: 01:26 In order to avoid the possibility of a lawsuit over last images, I always recommend that photographers back up all of their images and that the best move is to back them up to multiple backup systems, both locally and offsite. Whether they copy all will them to a private album in a flicker pro account or Apple’s iCloud storage or any other affordable solution. I also recommend that photographers use multiple internal onsite backups using external hard drives and Nass or network attached storage.

Liam Douglas: 02:04 Yeah.

Liam Douglas: 02:04 Even with multiple backups, a photographer can still run the risk of losing data because even though it’s fairly rare, memory cards do you fail? So what does it photographer to do if this happens, especially if the memory card fails before they can copy the images to an external storage drive, enter the software. That is the focus of this episode. Stellar is a company that makes software that is especially suited for recovering your last images. Hey, things happen. Sure. A memory card can fail due to a defect or if inadvertently or race, uh, due to exposure to a magnet, it is possible for a person to forget that they have something in their camera bag that has magnets, especially if unlike myself, you like to have her memory card reader with a builtin magnetic plate to attach it to the cover of, say, your Mac pro.

Liam Douglas: 03:00 It’s also possible in the rush to get your images move to your primary editing system to accidentally delete all of your images from the memory card before they’ve been copied onto an external hard drive. Especially I’ve working after a long day of shooting, I’m not perfect. I have accidentally deleted my raw files before moving them to my main editing system. It happens. Well, not Tory. Stellar is there to give you the chance to save the day with their stellar photo recovery software. Stellar has been in business since 1993 making software for data recovery, not only for photographers, but for anyone who has important files that had been lost due to deletion or a racing and then clearing the trash in your system. I know I personally turn off the reminder that asks if I’m certain I want to clear my recycle bin or trashcan and Macco s as it’s one less pop up that I have annoying me while I’m working over the years as someone who works in it for a living as well as being a full time professional photographer.

Liam Douglas: 04:07 I have tried numerous programs. They’re designed for data recovery and even a couple that were made for creative professionals like myself. I’m not going to mention names as I don’t want to come off as bad mouthing other programs or companies that stellar photo recovery is certainly in a class by itself using my previous recovery software, the only option I had was to do what’s called a deep scan, which is for cases where the files had been deleted by formatting the SD card, compact flash card, whatever kind of memory card you’re using and the entire scan for one of my typical memory cards can take around six hours, but it did recover the files just fine. It was just an extremely time consuming process.

Liam Douglas: 05:00 Okay.

Liam Douglas: 05:00 When I ran the same test with stellar photo recovery, the scan and recover took only 13 minutes and it recovered all of the same files without any issues.

Liam Douglas: 05:13 Okay.

Liam Douglas: 05:13 Now the other nice thing about stellar software is you have the option to perform a basic high level scan, which is much faster and generally for when the files were just deleted and the trash bin was emptied. For those of you who are not both nerds and photographers like myself, when you delete the files on a computer, the files are not actually gone. What happens instead is generally the first character of the file name gets changed to a special character, for example, such as an exclamation point. The operating system in turn stops recognizing the files, but they are not totally gone until those same sectors. The discs are overwritten with new data and even then really good recovery software such as what the FBI uses can still recover the files. One of the only real ways to totally destroy the data is using an electro magnet, but even then the files might still be able to be recovered.

Liam Douglas: 06:17 Although the possibility of that is fairly small. This is why governments and companies often had their old disk drives shredded by a special bonded external company that specializes and destroying data devices. They will actually show up at your office with a special truck and they will actually feed all of those old hard drives into a shoot on the side of that truck and they actually go through an industrial grade shredder just like you would stick a, a, an important piece of mail that has your social security number on it or something like that in a paper shredder at your home. This machine does the same thing only for hard drives. So as you can imagine, it’s a considerably more powerful a shredder being it’s shredding metal and plastic instead of just paper. Okay, so enough nerd speak. I can already tell many of your falling asleep on me or your eyes are glazing over.

Liam Douglas: 07:16 Back to stellar photo recovery. As I mentioned earlier, doing a basic or race of the files and emptying the trash and using the high level scan, their software was able to find all of my test images and recover them in about 30 seconds. Again, my previous software that I used for recovery and photos, I could not perform a basic scan, only a deep level scan. So even when it was a simple case of me deleting the files and emptying the trash can before I realized they made a mistake, I would still have to wait six hours for that scan to complete and then to finally be able to recover my files. Now the other problem is is being the software that I previously used was only capable of doing deep scans. It would not only recover, let’s say the memory card that I’m recovering was one I used for just some casual shooting at one of the local botanical gardens in Atlanta, which my girlfriend Janice and I like to visit a few times a year.

Liam Douglas: 08:18 You know, just the shoot, the flowers and the foil edge and all the other cool things that they have on display, their artwork, statues and things like that. So let’s say after out, after we’re out doing a day of shooting like that, I shot, you know, 350 images. Well then if I accidentally deleted those 350 images from my memory card, any empty the recycle, then now I’ve not only got to wait six hours to recover those 350 photos, but being that my previous data recovery software that was geared towards photography, it would not only take it six hours to run it’s deep level scan, but then it also didn’t just recover those 350 most recent images. It would actually go through and rebuild and recover every image that had ever been stored on that memory card that hadn’t, where those sectors hadn’t already been overwritten and they were completely unretractable.

Liam Douglas: 09:20 So to give you an example is I was testing my old software versus stellar, a photo recovery. I ran the scan on a 64 gigabyte memory card SD card that I have and the scan took six hours and at the end of the six hours, yeah it could recover the 350 photos that I really wanted due to my screw up. And in this case it wasn’t a screw up. I was testing doing more or less mile little quote unquote laboratory testing on this, but it would also recover anything that it could find that had ever been on that SD card. So the scan took six hours and then it came back and said it found 20 gigabytes of files and yeah, you can go through the list and pick and choose which ones you want to recover before you actually hit the recover button. But rarely, I mean, who wants to sort through, you know, possibly 10 20,000 photos that had been on that memory card at one time over the course of a year or what have you, only to just recover the most recent 350 that you wanted.

Liam Douglas: 10:26 This is why I liked the way stellar does things with their software. So getting back to my test, I deleted those 350 images and cleared the recycle bin. Now with Stellar’s photo recovery, I could run a high level scan. The scan only took about 30 seconds and the only files it retrieved where those ones that I had most recently deleted. Now the nice part is it not only stuck to specifically that most recent group of images that I had deleted and cleared out of the trash Bin, but it knows what special characters used by the operating system when those files were rewritten to make them invisible to the eos. And it was able to determine what the original starting character for the file name was. Now in this case for my canon cameras, um, on the full frame models that you can’t customize the image prefects.

Liam Douglas: 11:25 Like I can on my one dx mark too when I can on the five Dsr, I’m just like, you could on any of the five d bodies, whether it’s the mark four, three, two, one classic, whatever the case may be. Now it was able to not only find those most recent images that I had deleted, but it was able to restore the original fall names, which is extremely handy. So those 350 images, just for the sake of our example here, uh, let’s say it was an IMG underscore zero zero one two zero three 50, just to make things simple. So it found those 350 raw files with their dot [inaudible] cannon proprietary raw file extension. And then I was able to select them all, click recover, choose the destination folder and hard drive. I wanted to save them too. And within seconds, all 350 images were restored, fully intact, no issues with them.

Liam Douglas: 12:29 I was able to immediately import them and delight room and they were totally fine. I was able to go through and do any editing along to do two ohm and so on and so forth. So that’s extremely handy to have that option to either do a high level or a deep scan. And again, like I said, in this case, why would I want to wait six hours if the only option I have is a deep scan. And then on top of that, after that six hours, the soft door, my previous software is going to show me every single file that it could find that had been on that disc since I bought it, you know, a year ago or a year and a half ago. Again, like I said, when I ran the test of my previous software, it was 20 gigabytes of images. So you’re talking a lot of files, uh, you know, a lot of photos, a lot of shoots, a lot of different dates and so on and so forth.

Liam Douglas: 13:26 So why would anybody want to go through all of that hassle if you don’t have the option to choose between a high level quick scan for the most recent files that were removed from that memory card or a deep scan that’s going to recover everything as much as possible that had ever been written to that card. And to me it’s just a lot more practical. And I know to you might as listeners, it’s going to be a lot more practical, a lot more, a lot less time consuming to be able to recover just those most recent images that were inadvertently deleted. And so that’s where trying out this new software, I was immediately impressed with its capabilities. Not only can you choose between a high level and a deep scan, but the high level scan was extremely fast. And again, using the exact same SD card, 64 GIG ISD SD card, the stellar photo recovery software was able to carry out its entire deep scan and a little over 13 minutes.

Liam Douglas: 14:38 It was like 13 minutes, 37 seconds, something like that. So that’s, you know, I mean that’s crazy, crazy fast for recovery software, you know, I mean right there you can, you’ve already shaved over, you know, you shave five hours and 45 minutes plus off the, the wait time for the deep scan. And again, being I had the option of a high level or a deep scan, I can, you know, choose high level, recovered just the most recently deleted files. You know, cause I don’t care about the other stuff. All the previous stuff that had been on this memory card over the last year, year and a half, I already had those raw files. They were already stored on an external photo drive that’s attached to my Mac and so on and so forth. So that’s extremely handy and it’s a lot less time consuming so you can get back to the things that are important, like getting those files edited to get back to your client. You know the people that are paying you to take those images. So you know, this to me is just mindblowing. They, you know, it’s as different as night and day. Being able to go from a scan that takes hours to a scam that only takes a few minutes and both can accomplish the same task. They can both recover the exact same number of files, just one software. Stellar can do it a heck of a lot faster.

Liam Douglas: 16:01 Okay.

Liam Douglas: 16:02 Now after all of my testing, I can definitely highly recommend stellar photo recovery to all of my listeners out there as the goto software for anyone that needs to recover their audio video or photo files because even though it’s called stellar photo recovery and actually does all three types of files, audio, video, as well as still photos. So it’s handy for a lot of creative professionals out there and I’m especially pleased that stellar software is geared more toward creatives than anyone else, as none of us wants to have the recovery software that we’re using scanning for every single type of file that’s ever been on that drive, you know, whether it’s a SD card or you’re trying to recover lost photos that were stored on a hard drive, whatever the K or a thumb drive, USB stick, whatever the case may be. So to be able to immediately pair the scan down to only audio, video and stills, and you can turn those options on and off.

Liam Douglas: 17:08 So when you launched the software, you’re presented with a window, then asks you do you want to stand for audio, video and photos, all three. And if not, in my case, I was testing only for photos. Initially I turned off audio and video files and just let the photo part turned on. And then when I tested it for video follows, because I did test it for that as well, I did the same thing. I turned off the other two options and had it only scan for a video files. And the same with audio files. So I did test it with all three types of files. And their software by default supports all the most popular file types, whether it’s a CRT, raw file, or Nikons raw file, which off the top of my head, I don’t honestly remember what their all file extension is. I believe for Sony Cameras, it’s dot ar w or something to that effect.

Liam Douglas: 18:01 And I’m not sure what food Jesus, but my point is it supports all of the camera manufacturers per commentary, raw file extensions up to the most current, the most recent stuff, but it’s not totally all inclusive. So the one thing that I did run into during my testing is I discovered that the software does not recognize the newer.cr three raw files from my Canon Eos are that I just bought a couple of weeks ago or a few weeks ago. So I reached out to the company and I said, Hey, I’m your software. It doesn’t seem to support these new CR three Canon raw files, which are not only using a different extension but for Canon. They’re using a totally different CODEC as well. And they re replied back to me and said, hey, could you do us a favor, could you make an image file of one of your memory cards and send that image file to our secure FTP server along with 10 to 15 Raul files so that we can analyze them and create an update for our software.

Liam Douglas: 19:10 So then in the near future it will support this new model cameras, new raw type, raw, raw file type. And I was more than happy to do that, to help them out. I mean they helped me out a lot with how fast and effortless their software is to use and, and get me back to doing what I like to do, which is either shooting or editing, you know, instead of wasting all day, you know, on a scan to, to recover the most recent files. So I thought that was really awesome that their support team was very responsive to my concern. And like I said, I was doing this as a test. I was testing the software so I didn’t have any mission critical [inaudible] Ralph files from my ios that I absolutely needed to get back for a client or something like that. And I’m kind of glad that I went ahead and did this test with the Ios are raw files before I went out and used it for a paying client.

Liam Douglas: 20:08 So since I know that not only, and I’m not picking on stellar, their software doesn’t support the CR three raw files, neither does the software that I was previously using. It doesn’t currently have support for the Esr raw files either. And as somebody that’s worked in it for a long time and my computer science degree, I specialized in programming or development of software. I know that it’s totally common for a software program to not immediately have support for the latest things that are put on the market by other companies. So I wasn’t extremely upset that it didn’t support the CR three raw files because the [inaudible] only been out for about four months. So I understand that there’s a certain amount of time, you know there’s a, there’s a a game of ketchup that has to happen, so can and releases the Eeo Sar. And now the RP Nikon releases the z six and c seven and I guarantee Nikon did the same thing.

Liam Douglas: 21:08 I’m not an icon shooter so I can’t tell you this as gospel, but generally anytime a Kenyan camera manufacturer comes out with a new platform, they’re going to update the roll file that they use. They’re going to come out with a new version of the raw file that uses different codecs and stuff like that. And that’s what that new cameras platform is going to use now be in Canon. And Nikon previously hadn’t done much in the way a mirrorless cannon did have a couple of a PSC mirrorless cameras, but I believe those were still using the CR two raw file format. And then when Canon and Nikon made the decision, when they released at the end of 2018 there are new full frame mirrorless cameras that’s only common for them to come out with a new raw file format with these new codex. So I wasn’t going to knock stellar for not immediately supporting a new raw file format that’s probably only been out there for a few months. You know, a lot of times the software companies, they can’t get their hands on samples of the new raw files ahead of time from the manufacturer. So the best they can do

Liam Douglas: 22:19 is either by the camera themselves to get sample raw files to use or they reach out to their existing customers. You know, when a customer like me and contacts them and says, Hey, I was doing some testing with your software, it seems to work really great. It works with all of my 10 and cameras that I currently own except my new ios are, which has a new file for a raw file format. They were like, Hey, let’s work with you, provide us with some samples and we’ll get cracking on, you know, work on and update that we can release in the near future so that our software does support those new raw files and that’s the mark of a good company when it comes to software, especially if they’re that responsive to your query about a new camera and support for a new cameras, new role of files, that’s always a good thing. Anytime that a company is willing to go the extra mile to get you that new file format support as quickly as possible, that’s the mark of a quality software vendor.

Speaker 3: 23:26 So

Liam Douglas: 23:28 after all of this,

Liam Douglas: 23:31 I definitely want to recommend stellar photo recovery to all of my listeners as the goto software for recovering your photos, videos, and audio files. It does a fantastic job with all three of those types of files. It’s quick, it’s a great process. It’s very streamlined. You’re not going to waste a lot of your precious time because time’s valuable to everybody. You’re not going to waste a lot of that valuable time. You know, messing around with the other software programs that do the same thing that are currently out there on the market so you can get more done and get back to the things that are important to you. So I’m going to wrap up this episode. I want to thank everybody again for listening and I have a special treat for you there. After talking to one of the VPS, it stellar. He is offering all of my listeners a 10 day period where you can download the premium edition of their software because they offer a basic, uh, mid range edition and the premium edition, which is their top of the line.

Liam Douglas: 24:37 And for the next 10 days you can get the top of the line version of their software, the premium for only $60, which is a fan tastic price for this software. The other great thing about the premium edition that the basic that I was testing out doesn’t have is the premium edition can also repair corrupted files, audio, video especially. So if you have files that got corrupted due to a card failure or partial card failure and you were able to successfully copy the files off the failing memory card to a hard drive or whatever, but then when you go to open them in your editing software to edit them, you’re editing software comes back and says, I can’t do anything with these files. They seem to be corrupted will no worries because stellar photo recoveries, premium edition can go through those files and recover not only the original file, it can repair them, but it will even restore the original thumbnail image.

Liam Douglas: 25:44 Now to me, that’s the icing on the cake, so if you want to get your hands on a copy of stellar photo recovery premium edition while this sale is going on and I highly recommend it, check out the links in the description of this podcast. You can also find the links on this podcast website, which is Liam photography, podcast.com and I want to thank all of my listeners again for subscribing, rating and reviewing. You can also follow me on Twitter and Instagram as Liam photo ATL on both platforms and you can find me on Facebook under Liam photography and the forgotten pieces of Georgia. I want to thank everybody again for their time. Have a wonderful day and we’ll see you again in episode 10.