Month: April 2019

Liam Photography Podcast: Episode 17 – New Announcements from Nikon & More

In this episode new announcements from Nikon, The Cameras That Shot the Winning Photos of World Press Photo 2019 and Stephanie Leigh Rose creates anti-selfies.

CoolPix W150

Nikon Z 6 & Z 7 firmware

Nikon Z6/Z7 firmware with eye-detection AF and more is coming on May 16

World Press Photos 2019


The Cameras That Shot the Winning Photos of World Press Photo 2019

Stephanie Rose Anti-Selfie Project

Transcription by there may be grammatical errors.

Liam Douglas 00:01 You’re listening to the Liam photography podcast. I’m your host Liam Douglas and this is episode 17 in today’s episode, some new announcements from Nikon, the cameras, the shot, the winning photos, a world press photo 2019 and a woman shoot anti selfies, I dying it. Famous landmarks. All this on episode 17 of the Liam photography podcast

Liam Douglas 00:48 photography podcast. I’m your host Liam Douglas and this is episode 17 Nikon has a new announcement if you are looking for a digital camera to help a child fall in love with photography. They have just announced their new coolpix Debbie you one 50 and ultra durable and waterproof camera that you may be interested in buying for the young person in your life that you would like to ignite their flames of photographic passion. [inaudible] is built to survive all kinds of environments and accidents. It’s waterproof down to 33 feet shockproof from 5.9 feet cold truth down to 14 degrees Fahrenheit minus 10 Celsius and dustproof design wise, it features a rounded body that both grownups and kids can handle with these. This new camera features a 13.2 megapixel sensor and a three x optical Nightcore Lens. Additionally, two stills that can also record full HD video with stereo sound and this new camera, we’ll come in a variety of colors such as white, orange, blue, and even a kind of funky looking pink with flowers Motif, the builtin little planet editing function let you quickly turn real world scenes into tiny planets. Similar to a circular photo editor software that I have on my Mac. You can do something similar and I especially love to use that with 360 drone views, uh, that I shoot with my drone might Dji Phantom three that says the graphical user interface has been modified to make it easier for first time users to navigate. Camera operations can also be customized by selecting the design of the menu screen based on five options as well as a variety menu feature that can be to limit the availability of selected camera functions.
Liam Douglas 03:04 There is currently no news on the release date or the pricing, but that camera is scheduled to be released at some point in 2019.
Liam Douglas 03:16 Next up. Nikon has released a new 15 second video that provides a preview of their upcoming, I detect autofocus functionality that will be coming to the z six and Z. Seven mirrorless full frame camera bodies. Nikon had first, uh, mentioned that they were working on an update that would include, I detect auto focus in January of 2019 but the release of that firmware has been slightly delayed while they’re working out some bugs according to the rumors that I’ve read online, there’s still no concrete date on when the item will be released, this firmware update, but it should becoming sometime hopefully and Q two of 2019 so you’ll definitely want to be keeping your eye out for that update if you are a canon z six or the seven owner.
Liam Douglas 04:16 Other major upgrades promised by Nikon include raw video support, outputting raw video to the atomistic Ninja five monitoring recorder using the pro Rez raw codec and support for next gen CF express memory cards. But it is unclear if those two items will be bundled with this firmware release. Oh, and I apologize. It looks like they’ve tentatively scheduled the release for May 16th of 2019 so it looks like they have narrowed down a potential release date in May. We’ll have to wait and see if it actually comes out at that time or if it ends up getting pushed back yet again.
Liam Douglas 04:58 On another note, it cameras, they shot the winning photos of world press. Photo 2019 have been announced now, if you’re not familiar, world press photo is a series of awards that are given out to camera brands and manufacturers and models. Um, based on they use, uh, the use of those cameras by professional photo journalist. And if you’ll remember in the recent episode I did with uh, Joe Mott who had been a photojournalist for a number of years. We had talked about how the photo journalism, uh, John Rowe photography has kind of died off. It’s definitely a lot weaker than it was say 20 years ago. But that’s not to say there aren’t still professional photo journalists out there. Now the announcement by world press photo, the winning photos for the 2019 edition and these are considered the most prestigious awards in journalism and the camera metadata shared alongside the top photos is again providing us with an inside look at what gear the world’s top photo journalists are using in the field at this moment.
Liam Douglas 06:12 Nikon surprisingly took the crown from Canon in 2018 with 52% percent representation among winning photos compared to Canon’s 30% Nikons time at the top. However, did not last this year can instruct back and was behind 46.4% of the winning photos compared to Nikons 36.8 well, Sony has made huge strides in the camera market over the past year. It became number one if you didn’t already know in the full frame camera market in the u s last year, it’s used by a photo journalist in world press photo hasn’t changed. Only a single finalist photographer was confirmed to have used a Sony Camera, which happened to be the a seven r two for their work.
Liam Douglas 07:06 So it looks like, although Sony is number one as far as full frame camera buddies in the u s as of last year, they still got a long ways to go to crack into the professional photo journalist market. And I think there’s still going to struggle for a little while yet before they’re going to break into professional sports photography market as well. Now, don’t get me wrong, I know that Sony has the a nine a lot of people rave about it. It can supposedly do 20 or 30 frames a second, whatever the case may be. Um, but I’ve also read a lot of articles and seen a lot of videos where different users are saying the autofocus isn’t quite as accurate as a lot of other people will lead you to believe it is. Now, I did reach out to Tony Northrup, if you’re familiar with Tony and Chelsea Northrup, uh, with their youtube channel and they’re, they’re a podcast, which is picture this.
Liam Douglas 08:06 I reached out to Tony after I’d watched some of the videos about the a nine and, uh, the videos I was watching and I watched him of videos that were posted by a few different professional photographers that do shooting sports. And the consensus among these, uh, professional full time sports photographers were at the Aa Nines autofocus was only accurate about 54% of the time compared to you Dannon’s one dx mark to a Nikon d five B, an accurate 98 99 100% of the time. I reached out to Tony about this, this was a few months back and he was telling me that in all of his testing, the Nikon arming the Sony a nine was just as accurate as a canon and Nikon. But I’m, I’m 100% sold on that yet because I still to this day see more recent data online where people are still saying it’s not nearly as accurate as others had been portraying it.
Liam Douglas 09:05 Now, I don’t know if it’s a matter of the, the style was sports shooting. You’re doing, I know in, I believe in Tony’s video, um, he was photographing a jogger that was more or less running dead on at him and in some of the other videos I’ve watched, um, if you are off it, a little bit of an offset diagonally from the runner then it was missing quite a bit. Now maybe that’s been fixed. And a recent firmware update, I’m not sure. I know Sony has dropped a bunch of firmware of Bates recently. Um, but I don’t think they released anything for the a nine. I could be wrong. I know they’re big one recently was for the a seven bodies, uh, to enhance the, I detect auto focus in the, give them the uh, at to add on the uh, animal. I detect auto focus as well.
Liam Douglas 09:54 Um, which was included in their recent HPSC mirrorless body, which I think was the 68, 6,400. Um, but so I’m not 100% certain on that. I could be wrong. Maybe they did release an update for the [inaudible]. It made its auto focus as far as shooting action sports more accurate, but I haven’t seen anything concrete on that yet. I’ve heard yes from some people know from others. So as far as I’m concerned, it’s still kind of up in the air. Now, uh, getting back to these awards, uh, in terms of individual cameras, the Canon five d mark for the five d mark three, the Nikon d five, the Canon one dx mark too in the Nikon d eight 50, where the top five tools of choice with photo journalists and the five d mark four definitely was the biggest, uh, that was the one that was used by the most professional photo journalists, um, with six and then the five d mark three came in at five, the Nikon d five before the one dx mark two, and then icon d eight 50.
Liam Douglas 11:04 We’re both tied at three. And there were some other cameras in the mix as well. Uh, to uh, to was the Canon Eos 60, used by two shooters and icon d three s two shooters, Nikon d 802 shooters. And from there it went down even further of course down to one and you had a variety of bodies under a single user be a whole bunch of different bodies. The Eos five Dsr, which I have and love, I think it’s a fantastic camera and you had the Canon Eos one DX, the first generation, the Nikon d 300 the Nikon d 7,200 the Nikon d four the Fuji film x Pro to the ECS 100 t three g film, the ECS 100 s the ECS 100 and then one shooter with the Sony a seven r two which I mentioned a moment ago and one with the Leica Q and the area sensor size bowl frame is understandably still the format that is most used at 73.3% versus a at 11.1 and no data was 15.5 in other words, those images, the SIF data didn’t indicate whether it was a full frame or an aps body being used.
Liam Douglas 12:25 Now if you do want to see the top camera gear breakdown, I will include the link in the shownotes door. You can see the breakdowns for 2018, 17, 16 and 15 as well as this data for the 2019 awards. So it’s definitely, like I said, um, the market has definitely shifted back again, not the market, I’m sorry. Uh, with photo journalist that’s shifted again. It was canon for a long time. Nikon managed to win it last year, but now it’s back to cannon again and it’ll probably stay that way in the foreseeable future. Uh, I could be wrong, but I really, I just honestly don’t think that photo journalists or going are going to be jumping on the mirrorless full frame bandwagon anytime soon. I think it’s going to be a few more years yet. And the reason why I say that is because the DSLR technology has been around for quite a long time now.
Liam Douglas 13:22 They’re extremely robust, they’re extremely durable, you know, with the magnesium and all of that, the weather sealing and the, it’s just proven technology. So I really don’t think you’re going to see a serious number of photo journalists, which into Marilyn’s full frame bodies just yet. I think it’s going to be a few more years yet, but we’ll have to wait and see. Now there’s been speculation by uh, many people that the DSLR technology, as long in the tooth and short to live, a lot of people are forecasting that again and an icon will only be making DSLRs maybe through 2019 and that’ll be it. Uh, I don’t believe that. As a matter of fact, during a recent interview with one of the Canon executives, I believe from Canon Europe, he was actually saying that Canon is going to continue making DSLRs for the foreseeable future in addition to their mirror list, full frame offerings.
Liam Douglas 14:25 So I don’t think Canon is going to pull the plug. Just, yeah, and I, and I believe a big reason for that is they know they’re top dog when it comes to photo journalists. And when it comes to sports photography, serious sports photography, you know, like the folks that are shooting for sports illustrated or the people that are shooting for MLB and Nhl and NBA and all that stuff, the Olympics, all of those professional sport shooters are still using DSLRs. And I don’t think that’s going to change just yet. I think we’ve got a little bit longer to go. There’s already, as I mentioned in an earlier episode, there’s already rumors that can and will be releasing a one dx mark three, uh, towards the tail end of 2019 or, or very, very early in 2020 so that they have and photographers hands in time for the summer Olympics in Tokyo.
Liam Douglas 15:19 So we already know they’re going to make at least one more where they’re going to release at least one more high end pro sports body and the one DX series. Now whether or not they’re going to replace the one dx line with a mirrorless bowl fry, full frame sports body would dual memory cards and everything, 2030 frames a second, whatever the case may be. Whether or not they’re going to do that after the 2020 releases. The one DX mark too. I don’t think so. I think can, I mean there’s already rumors that they’re going to do a pro body that they’re probably going to drop on yet this year it’s going to be the third. Um, eos. Our body, what they’re going to call it. I’m not sure yet. Nobody seems to know for sure yet. Uh, but they are rumored to be releasing a probiotic this year that’s going to have dual memory cards.
Liam Douglas 16:14 It’s going to have in body image stabilization and possibly a higher frame rate. Uh, even more advanced. I detect auto focus and there’s even rumors that this new probiotic may possibly also have cannons, new Quad Pixel autofocus that I mentioned, uh, recently in a pretty, and I think it was episode 16, but we’ll have to wait and see if that actually happened. So I do believe that Canon is going to release a professional body in the Ios are line with the RF mount. But I’m certain it’s not going to be their sports body. They’re not going to be, they’re not gonna, they’re not going to kill off the one dx line just yet because it’s a work horse. I mean it’s a tech, it’s a body that’s been around for quite a while. For the longest time it was technically a crop body camera cause I had a 1.3 crop factor and a lot of people didn’t realize that the older one ds all were 1.3 crop factor and they were not true full frame.
Liam Douglas 17:15 The one, the body did not become true full frame until the one dx came out. And now the one dx mark two and of course the one DX mark three which is on the horizon. So they are true 35 millimeter full frame DSLR bodies unlike the older generations of one d like the one Dan and the one ds and so on and so forth. Those raw dot three crop factor. So I don’t think Canon is going to be releasing a high end sports body and mirrorless and under the eos are technology just yet. I think it’s going to be a couple of years yet. Usually what Canon does is they’ll release a new one d body, uh, and they’ll wait a couple of years before they release it’s replacement. That’s generally how it goes. They released the one DX, they wait a couple of years and the one dx mark two comes out, they wait a couple of years.
Liam Douglas 18:10 Then the one dx mark three comes out. So if they’re going to release the one DX Mark Three in early 2020 for the Tokyo Summer Olympics, and that’s going to be it for at least a couple of years. So chances are we might not see a replacement for the one DX body and Amir list full frame derivative until 2022 but who knows, maybe Canon’s cooking something up. Uh, like I mentioned before in a previous episode when I was at imaging USA and spoke to the gentleman from cannon at the CPS lounge, he did tell me that cannon’s got stuff in the works that’s going to blow everybody’s mind. So who knows? Maybe I’m off on this. Maybe they’re going to release a one DX mark three but they’re also going to release an EOC. Are Derivative sports body? I don’t think so. And if they do, I think the earliest they might do that would be the end of 2020 early 2021 they’re not going to want to cannibalize their one dx mark three market, you know, by releasing a sports body alongside it and Merrill list.
Liam Douglas 19:19 So I don’t see that happening. But who knows, maybe they’re, maybe they’re going to release the one dx mark free and then at the end of 2020 or early 2021 they’re going to release their first muralist sports body that can do 2030 40 who knows? 40 frames a second. God only knows. I mean everybody’s looking to push up the frame, you know the frame per second. You know, for the longest time cannon was always king there, especially with the one dx line and now Sony had to move the bar up by coming out with the a nine they can do 22 theoretically 30 frames a second. I don’t know if it can actually truly do 30 or not. I’ve heard mixed things on that, but they wanted to move the bar up with a Sony did. So they came out with a nine is a full frame, mirrorless sports body.
Liam Douglas 20:13 But again, like I said, the auto focus on that, it’s still questionable as far as how accurate it is. Uh, you know, I’ve seen a lot of stories both ways and a lot of videos both ways. That’s neither here nor there. All right, so I don’t want to beat that story to death too much. But like I said, I will share the link to this story about the photos of the world press photo 2019 or ads that will be in the show notes. And the last topic I wanted to touch on in this episode is kind of an interesting story. Now in this day and age, especially with millennials and all of that, everybody’s aware that we have what’s known as the selfie craze and the selfie craze is where all these young people, especially to go around snapping pictures of themselves with their smartphones all the time and posting them on Instagram and Facebook and Twitter and Yada, Yada, Yada.
Liam Douglas 21:09 Well, this story that I came across on pet a pixel today I thought was really interesting and this was posted a couple of days ago by Michael Zang and the title is woman shoots anti selfies. I dying at famous landmarks and I thought this was kind of cool and it’s a really great idea, especially in, like I said in the Selfie Day and age, it’s kind of interesting to see somebody doing anti selfie. So I thought this is really cool. And in the article it says when normal people visit famous landmarks these days, they commonly pull out their phones and snap a Selfie to keep as a memory of being there. Well, artists, Stephanie Lee rose does something different. She shoots anti selfies of herself. Dying and dying isn’t quotes of course, because it’s all stage. Rose says the project titled Steph Dies is a photographic performance art series. And in the article on pedit Pixel, they have several of her images and it’s really interesting.
Liam Douglas 22:16 The first one, uh, I don’t see any mention about where this one was taken, but it’s her like face down and a fountain or a body of water in a town square. Um, and then the next one is her dad at the Eiffel Tower in Paris. And in all of these shots she’s laying face down. So, Eh, she, there’s a shot here for dead in front of the Eiffel Tower in Paris. Uh, there’s another one of her dead on the rocks near the Golden Gate Bridge in San Francisco, a nether, one of her at the Paris marathon and so on and so forth. And I just thought this was a really creative and interesting idea for an artistic photo project. They just go around the world to different countries and photograph or herself as a dead person. And all of these interesting places. Uh, there’s even one here, and I don’t know how to pronounce the name of it, but there’s one of her dead at the base of a glacier in Iceland and those, one of her dead in the middle of the square at borough market in London.
Liam Douglas 23:29 And a couple of more in different places in Paris. Maybe that’s where she’s based out of as well as a couple of more of her in Italy. But I just thought that was a really interesting artistic concept that instead of doing selfies, doing anti selfies of herself dead at these famous landmarks. And the one of the reasons why I find this interesting is not only for the creative aspect of it and you know her thinking outside the box and doing something different and unique. But I also think it’s applicable. And like I said in the in 2019 and this selfie age, we do see frequently stories on the news where people have gotten killed over taking selfies, people have fallen off of cliffs, people have gotten hit by vehicles, by trains, by buses, all kinds of crazy stuff. So I think in that aspect, this project to hers kind of plays to that in two different ways.
Liam Douglas 24:35 Being opposed to the standard Selfie by doing an anti selfies as an artistic story or project. But then also the other side of that is you could look at it as her way of protesting against people that are constantly doing selfies and landmarks and jeopardizing themselves and others around them because they are more deeply concentrating on getting their selfie shot than they are what’s going on around them. And as a result, people are getting injured, named and even killed over something as stupid as a selfie. I mean, I’m sorry, but how narcissistic do you have to be to get killed while taking a selfie? That’s just insane. But maybe that’s because I’m an old timer. Maybe that’s why I think it’s a little bit nuts for young people to be getting themselves killed over getting a Selfie, um, at a, at a, a landmark or a canyon or a cliff or a set of row drugs.
Liam Douglas 25:42 And that’s another thing. People are still doing railroad photos all the time. And I want to keep reminding you that photographing on active railroad tracks is actually against federal law. The railroads are privately owned by the rail companies and you are trespassing. I’ve shot on railroad tracks myself. I try to limit it to only shooting on abandoned tracks. I never put models on tracks. I like to just shoot the railroad tracks themselves because I liked to leading lines that you get in and the look that you get that generally once in a blue moon, I’ll stand on the tracks, but generally I will stand near the tracks and just shoot at an angle that makes it look like I’m shooting more over the tracks, but not necessarily being on the tracks themselves because it is dangerous and it is trespassing. Now when I find a band and railroad tracks, I’m not afraid to get down on the ground and lay right down on my stomach to get a unique point of view of the tracks, but I’m not dumb enough to do that on live tracks and all.
Liam Douglas 26:46 I guess I’m trying to say people is use some common sense when you’re taking photos and especially when you’re taking selfies, but and the other hand, maybe this is what a Darwin meant, the Darwin awards you hear about all the time, so not trying to be morbid and cruel to anybody, but please, if you’re going to take a Selfie, I can understand, you know, if you’re excited about being someplace you’ve never been before in a foreign country or or at an international landmark, that’s cool. That’s great. If you want to document it, that’s fine, but pay attention to what is going on around you so you don’t become another statistic. All right, that’s it. I’m going to wrap up this episode. I will also have the lengths to Rose’s project on her Facebook, her website and her Instagram, so you’d be able to check that out in the show notes as well. And this is episode 17 of William Photography podcast. Wrapping it up. Please remember to like rate and review, subscribe, whether it’s an iTunes, Google play or any other software that you use to listen to podcasts. And I will see you next time in Episode 18

Liam Photography Podcast: Episode 16 – New EOS R Firmware & Canon Rumors

In this week’s episode I talk about the new Canon EOS R version 1.2.0 firmware, which gives users some bug fixes as well as enhancements for the EyeAF system and continuous shooting in Silent Mode.

You can grab the new firmware from the Canon Canada website here.

Also grab the discount on the Canon EF 100-400mm F/4.5-5.6 IS L USM MK2 before they are sold out!

Deal: Canon EF 100-400mm f/4.5-5.6L IS II $1559 (Reg $1799)

Thanks to for the new rumor info, please check out their website, they are great folks!

Transcription by there may be grammatical errors.

Liam Douglas 00:01 You’re listening to the Liam and photography podcast. I’m your host Liam Douglas and this is episode 16 and today’s episode I’m going to be talking about the new firmware for the Canon Eos are full frame mirrorless camera as well as new canon rumors it have come out. Just recently. All this on episode 16 of the Liam photography podcast

Liam Douglas 00:47 your listening to the Liam Photography podcast. I’m your host Liam Douglas, and this is episode 16 so at the beginning of the year, Canon announced that they would be releasing a new firmware update and the first part of 2019 it would improve their, I detect auto focus as well as their continuous shooting capabilities when using silent mode and new AAF tracking capabilities. Well, I’m here to announce that Canon has officially released firmware version one dot two dot. Zero or the Eos are the enhancements and I’m getting this information from Canon I detect a AV support, Servo Aaf when shooting still images now available when shooting movies regardless of movie server, Aaf Setting, small AAF, frame size support server, Servo, Aaf when shooting still images now available when shooting movies regardless of movie Servo, AAF setting. I can say that I do personally like the smaller auto box. I personally thought that the auto focus blocks that pop up when you’re getting your focus lock on the USR.
Liam Douglas 02:03 We’re a little bit big for my taste. The new one is considerably smaller and I like it a whole lot better. In addition to the enhancements, this firmware also fixes under certain conditions. The electronic level displayed in the electronic view finder did not display properly under certain conditions. Information displayed in the electronic view finder was not properly rotated and under certain conditions updating the firmware for the wireless file transmitter WFT e seven was not possible. Now, the first and the third fixed. I personally didn’t have any trouble with my electronic level has always worked properly in the electronic view finder, but I can stay did. I did sometimes have occasions where if I rotated, my eos are, as I was looking through the viewfinder, it did not properly rotate from landscape to portrait mode and then back the landscape again. Sometimes it would get stuck in the vertical portrait format even after I turned the camera back down to the horizontal format, so I did personally have that issue.
Liam Douglas 03:14 Now just to let everybody know, cannon had announced a few days ago that they were going to be dropping the firmware on April 18th which is today. For some reason it was actually available on Canada, the Canon Canada site yesterday morning, so if you are on the Canadian site for Canon instead of Canon USA, you were able to download the firmware fairly early in the morning. Yesterday. I found out about it from one of the Canon Eos are Facebook groups that I’m in and I don’t know why, but as of late last night, the last time I checked Canon USA, they still did not have listed as available to download on their site. They still only showed so I went ahead and went to the Canadian site, grabbed a copy of the firmware. I put it on my camera and put it on Genesis Camera. Absolutely no issues. I do like the enhancements to the autofocus.
Liam Douglas 04:17 It works much better. I have not tried continuous shooting in silent mode yet because I almost never use silent mode. I don’t shoot things like weddings. Um, I do do wildlife, but I do that with my DSLR is that are faster and like my one dx mark too. So I haven’t had an occasion yet to actually test whether or not the continuous shooting, well, silent shutter is activated, actually does work, but I’m assuming it does. Since all of the other enhancements and fixes do seem to be there. The Canon announced in this firmware release, so pretty exciting and it makes the Canon Eos are autofocus system yet more powerful. It gets it closer. It’s still may not be on par with the quality of Sony’s, I detect auto focus, but at least Canon is getting closer, which is a positive thing. And one of the reasons why I told everybody for years that there was no way I was going to drop all my canon stuff and switch to Sony because I knew it was only a matter of time before Canon would get on the Mirror was full frame bandwagon.
Liam Douglas 05:20 And then once they did they would go gangbusters. And it looks like that’s exactly what is happening. That, so the first rumor I want to talk about is there is a new rumor that Canon has yet to drop a professional eos our body in the 2019 calendar year. So according to an interview with one of the Canon executives with Canon Europe, Gannon is supposedly possibly going to be releasing a 70 plus Mega Pixel Eos. Our camera in 2019 with Ivus, which is the inbody image stabilization. We don’t know anything concrete yet. He said that, yeah, that’s basically the million dollar question whether or not we’re going to drop a pro body this year, but the rumor mills that are circulating this information usually are fairly accurate and this again ties back to one of my earlier episodes where I made my predictions for 2019 and I told all of my listeners in that episode of the podcast and you can find it on the way of photography, website.
Liam Douglas 06:38 You can also find all the past episodes in iTunes, Google play in any other software that you’re using for podcasting, but in that episode I predicted that there was a strong possibility that either before the end of 2019 or right at the very beginning of 2020 Gannon was going to announce a third ios our camera. It was going to be a pro body. Now when I say pro body, I’m not saying that canons getting ready to release their one DX mark to muralists full frame killer. That’s not going to happen. The rumor is currently as they are over the last month or so are the Canon is planning to release a one DX mark three for their high end probiotic that’s specifically geared for sports action like motorcar racing, motorcycle racing, the Olympic, stuff like that. Now we do have the 2020 summer Olympics coming up in Tokyo next year.
Liam Douglas 07:42 Most people are speculating the Camden’s gonna release a brand new pro sports body before the Olympics happen. So more than likely that camera body will drop either very late 2019 or very early into 2020 and the rumor males are currently saying per canon and some other sites that it will be a one dx mark three full frame Dslr, not a mirrorless body. So when I go back to this current rumor that I’m talking about, when I say pro body, the current rumor is Canon plans yet in 2019 to drop a five Dsr light body. It is an Ios. Our model now, I don’t know if they’re going to call it the Eo s r slash as or eos are slash are. Cause if you remember with the five d a high end 50 megapixel five d body, they went with a five d s and fid Sr and the only difference between the two is one of the filters on the sensor.
Liam Douglas 08:49 One had it and the other one didn’t. So as I predicted in, I believe it was episode two, my podcast, or maybe it was one where I talked about my predictions for 2019 I believe that this new pro body that’s being hinted at coming out this year is going to be a 70 plus megapixel, possibly even a hundred megapixel canon has been playing around with 100 megapixel sensor for a couple of years now and they probably quite probably have it perfected now. But the rumor is it’s going to be at least a 70 mega pixel, possibly higher dual memory card, pro body and an eos are RF mount format, which means as I predicted in that earlier episode, this is more than likely going to be the replacement for the eos five d s and five Dsr, which I have the five Dsr. I love that camera. It is a fantastic DSLR.
Liam Douglas 09:47 The sensor in it is amazing. It’s not medium format, which is a body I would love to have some day for commercial work. But from what most of the experts say, it’s about as close as you can get to mirror medium format with al actually having medium format. So of cannons coming out with a mirrorless eos are derivative. It’s got a 70 or 100 megapixel sensor. That’s going to be a massive, massive game changer, especially if it’s got inbody image stabilization. I detect auto focus. Another new rumor that I almost forgot about his canon apparently filed a patent for a new auto focus system that’s called Quad Pixel a f and this quad Pixel Aaf built on the current technology of their dual pixel AAF. Well basically effectively give you eight way Pixel Aaf. So not just to not going from two to four but actually going from two to eight.
Liam Douglas 10:52 So we’ll have to see how that works out. The information about the patent, it looks extremely promising, especially if you’re shooting and in portrait mode when your camera, but you’re shooting a landscape scene. Um, the dual pixel AAF doesn’t always work well for that. I don’t know personally because I haven’t tried it with that. Mostly for my personal belief they dual pixel is more like something you would use if you’re blogging or something like that or you’re filming somebody you know because it’s going to do a better job of maintaining focus on your subject and the camera doesn’t get distracted by other things in the background. So rumor right now is an eos. Our body there are third one for 2019 is going to drop at some point later this year. 30 megapixel plus cents or dual memory card slots. At least one of those slots will be SD.
Liam Douglas 11:44 Now the question is, will the second slot be compact flash like the five d s in sr or will it be one SD card slot and a c fast slot, which I would personally rather see the seed fast slot as a secondary cause compact flash is getting kind of long in the tooth that’s been around forever. Um, I have plenty of compact flash cards for my buddies that use them, which is the eos five Dsr. And my eos one DX mark too. They both use compact flash and it works okay. Um, but I would much rather have see fast and I kind of wished that Canon when they did the one dx mark too, I wish instead of a compact flash and a C fast, they would’ve just went with to see fast slots. That would have been a lot better. Now granted cfs memory is more expensive but it’s also a heck of a lot faster and more durable because you don’t have to worry about the little pins getting bent and stuff like that or debris getting into the pin holes.
Liam Douglas 12:42 The CFS card, if you look at the interface side, it was see fast card, it actually looks like a set, a hard drive. It’s got one long port, one short port and they look pretty much just like an east Satta interface for uh, any set a hard drive in your computer. So is this camera going to come out? I think there’s a strong probability that it will come out that Camden’s gonna blow everybody’s minds. Like I said in an earlier episode when I was at Imaging USA for 2019 I spent a lot of time at the CPS lounge talking to a canon employee who’s been with the company for almost 30 years. And I was talking to him at length about the mirrorless camera war and what everybody is saying out there. And what I’ve been telling everybody that I personally felt was going to happen.
Liam Douglas 13:30 And again, as I mentioned in that episode, I, I told her, I’ve been telling everybody that when Canon enters the full frame mirrorless market you watch, it’s not going to take them more than maybe 18 months, 24 months tops for them to be a serious threat to Sony. And if Gannon is dropping a third els, our body this year, and this one’s going to be a pro body with Ebis bill memory card slots and a 75 to 100 megapixel sensor, that’s going to be a game changer. That is rarely, rarely going to give Sony a hard time. So we’ll have to wait and see if that body does drop later this year. But I am excited and I’m hopeful I’m not going to run out and buy one. I was having this discussion with my girlfriend Janice yesterday and I said, look, you know, even if Canon does come out with a pro body in the Eos, our RF system, I’m not going to run right out and buy one.
Liam Douglas 14:27 I’m totally happy with my EOCR are. So I have a mirror was full frame that I use for my full time real estate photography. It does a great job and right now I don’t have massively high shutter accounts on my three DSLR bodies. I have the one DX mark to the five Dsr and the 60 mark to all of my cameras are still in pretty much mint condition with reasonably low shutter accounts. I, you know, I don’t go crazy with them as far as the shutter account. So even if Canon does drop a dual memory card eos, our body probiotic this year as a replacement for the five ds and SR, chances are I’m not going to run right out and buy it right away. Maybe things will change, you know, next year, I don’t know. We’ll wait and see, but I don’t think so. I think I’m going to finish using, you know, most of the life out of my current DSLRs, which are fantastic cameras.
Liam Douglas 15:20 Most of my glasses still eff now I know what the control ring adapter, which I do have, Janice and I both have for our eos, ours. We can use our IEPs and efs lenses on them, but still be in, I still have a large investment in high quality e f l series glass and I have three DSLRs and only one mirrorless full frame. I’m going to stick with my pro bodies in the DSLR arena for the time being and then at some point down the road when my DSLRs are getting a little bit long in the tooth and they’re shut, her life is getting to the end of the road. Then I’ll look at, you know, getting one of these pro bodies in the u s are are a format, but we’ll wait and see what happens. Now, the next rumor that I wanted to bring up, because this has been one that a lot of people have been kicking around for a while now and this rumor is the Eos 70 mark two the last in the 70 series and according to Canon rumors that come it is a lot of people had been speculating that Canon was going to drop a 70 mark three at some point this year, but now their sources are telling them that no canon is not going to come out with a 70 mark three they’re going to see a replacement for the eos add which will move slightly up market to cover the prosumer and enthusiast APLC shooter.
Liam Douglas 16:45 So more than likely it’s going to be the Eos 90 [inaudible] and the 70 mark two series is done, uh, can, it’s not going to make any more, they’re not going to continue the line with the new generation like they did with the five d mark three and now mark for the 70 mark two is going to be the last model of cannons 70 series, which is a great little crop body camera that’s capable of high frame rate. So it’s great for shooting sports and wildlife. A lot of people love it. I’ve got several friends that have the 70 mark two including my friend Jeff Harmon from the master of photography podcast a that’s what he uses to shoot a high school basketball with and he loves it. And several of my local friends and camera clubs here in Georgia have the 70 mark two and they love it as well.
Liam Douglas 17:37 It is a very good a PSC body. It’s very fast. It has dual memory card slots. So it’s a fantastic pro-sumer body that you can use for shooting sports. Whether Nascar, basketball, baseball, doesn’t matter. That camera will get the job done. And it’s a reasonably priced by, so those are the big rumors from Canon for the time being. As I mentioned earlier, if you want to get the version firmware from your for your eos are go ahead and grab it from the Canon Canada site. I’ll put a link to that in the show notes of this episode. I’ll give you the direct link right to the page where you can click, you know, and select whether you need it for Mac or windows and you can go ahead and download it, get that installed on your body. Oh, and another thing I almost forgot about on the firmware front, cannon did also drop new firmware for their current RF lenses.
Liam Douglas 18:39 Now I can’t confirm that there’s new firmware for all of the RF lenses. I personally have the f 35 millimeter RF Lens. The STN Lens, there was a new firmware for that. Uh, the folks on the Eos are groups that I’m in on Facebook said there was also a firmware update for the 24 to one oh five f four lis RF mount. And both of those firmware versions are So apparently, if you remember in one of my earlier episodes when I talked about the USR before I actually got mine, the els, ours, new RF mount is physically the same diameter as the eff. Now. So my big complaint was, well why did they come out with another mount while apparently with the RF mount, the shorter flange distance allows them to make smaller lenses because they can get the rare element closer to the sensor on a mirrorless body.
Liam Douglas 19:37 And the RF lenses also have 12 copper contact points on their mouth instead of eight like the ef lenses have and the efs lenses. And the reason for that is those four extra contacts I believe not only have to do with the control rain on the native RF mount lenses because all of those lenses do have the customizable control ring that you can set for ISO, aperture, shutter speed, wherever you want. But those extra four contacts I believe are also the communication system that allows the eos are to update the firmware on its lenses directly. So in other words, after I updated my us our last night to I went back to the website, pulled up the details for my RF, 35 millimeter f 1.8 STM macro lens, downloaded the two dot o firmware for it, popped it into the root directory of my SD card for the USR, put it in the camera, booted it up, went into the menu, went to firmware, and once I had the RF lens mounted on the camera, when you go into the firmware, you will see the firmware for the camera body and for any native RF lens that’s attached.
Liam Douglas 20:56 I just selected the lens that I want update firmware. It found the new file on the SD card and upgraded the firmware on the lens for me. I love that. I think it’s great. I know sigma especially, and I guess now tamarind both give you the ability on their higher end lenses to update the firmware yourself. You don’t have to send it into one of their repair centers to have the firmware update and you can do it yourself now, but unless things have changed. Last I had heard from anybody that default one sigma and Tamarinds USB cradle that you have to map the lens in to update the firmware you’re using. Your computer ran between 200 and $300 I could be wrong. That’s what I’ve been told by several sources. I don’t know for certain because I haven’t gone on a sigma sigma or Tamarind’s website and looked, but I do know that both of them offer a USB doc.
Liam Douglas 21:51 Do you upgrade the firmware yourself on any of their high end like the sigma art lenses and the Tamra and I think it’s their sp high end lenses is what tamarind calls there so you can update the firmware. I love the fact that Canon would, the eos are, gives you the ability to update the firmware for any RF lenses directly through the body. That is awesome. To me, that’s huge. And it saves the consumer’s money, especially when Canon does something stupid like giving you the ability to charge. The Eos are with USBC cable, but only if you buy their $200 a doctor. I thought that was a, Canon does some things. Sometimes it just gives me headaches, drives me crazy. People will call me a canon fanboy because I own all canon gear. I do have one or two third party lenses, but most of my lenses are either the USM gold band lenses or El Lenses, which are fans, luxury glass of course.
Liam Douglas 22:52 But Canon does do printing plenty of things. That frustrates the crap out of me. And one of them was the decision to create a proprietary USB charging system that they soak the customers $200 to buy. I thought that was asinine. Pardon my French. I thought it was retarded. Uh, Sony and then icon mirror was full frames. You can just charge the battery. While it’s in the camera using any standard Usb c cable and you’re good to go. Why Canon thought they had to be a pain in the butt and come out with a proprietary USB charger. I don’t know. Ken loves to do things their own way and who am I to argue with them? You know, they’d been doing things their own way for over a hundred years and I don’t think they’re going to change their policies anytime soon so there isn’t much point in complaining about it.
Liam Douglas 23:44 I just wanted to piss and a little bit so there you have it. Now another thing I wanted to touch on real quick before I wrap up, this episode is engaged. You’re not aware, there are some deals going on on Canon gear. So if you want to get the cannon ETF, 100 to 400 f 4.5 to 5.6 l I s mark two Lens, which is one that I have. It’s a fan tastic lens, fantastic loan telephoto. Zoom works great if you have the one dot four times teleconverter or the two times teleconverter and I’ve got both. This is hands down one heck of a wildlife lens. This lens is amazing and right now it is on sale for 1559 marked down from its normal price of 1799 and I will put a link to it in the show notes. This isn’t a any kind of third party, a gimmick.
Liam Douglas 24:47 This is actually a $200 discount. Actually on Canon rumors it was a typo. The normal price is 1759 and it’s on sale right now for 1559 and 20 cents. Don’t ask me why the 20 cents and that’s kind of odd. But now this is bore a refurbished one. It’s directly on and like I said, I’ll put a link to it in the show notes. It is a refurb, but I can tell you from dealing with cannon all the years that I’ve been at Canon shooter, another thing that Canon does, very similar to what apple does. And, uh, another example of how the two companies have a very similar mindset and business model is when Canon or apple, either one, when they refurb a piece of gear, you are basically getting a brand new piece of gear at a discount. Both companies, when they refurb a camera body or a lens on Canon side or an iPhone or iPad on apple side or an apple TV or a Mac mini or whatever, they basically take the body apart.
Liam Douglas 25:51 They Yank out all the guts, throw them away or recycle them or whatever they do with them and they put all brand new guts back into the existing body. So when they say refurb, you’re basically getting a brand new lens or device or whatever the case may be. But you know, there is a slim possibility. It could have a few minor, you know, scuff marks or blemishes on the outside. I personally never had that happen. I bought refurbs from both companies a few times over the years. And my God, they’re refurbs. When they arrived at my house and I took them out of the box, they looked just as brand new as a brand new device. You couldn’t tell the difference that you give you the full warranty on it so you’re not missing out there, but hey, you can save yourself $200 you get the one year limited manufacturer warranty included and you can find that deal.
Liam Douglas 26:38 Like I said, it shop that so if thinking about getting yourself a new wildlife or sports lens that’s got some reach, that is definitely a lens that I highly recommend and now I know some of you are probably saying, well why would you recommend it for sport or two four dot five to 5.6 well, four dot five to $5 six is not really that bad. Especially if you’re shooting outdoors sports now. Yes, if you’re shooting indoors sports like basketball or hockey or something like that, you’re probably going to want to go with the 70 to 200 f 2.8 but if you’re like me and the outdoor sports that I shoot on occasion is stuff like Nascar or motorcycle racing here on the tracks and Georgia, which we have quite a few race tracks in this state or if I’m going to go and to local high school soccer, all of those sports take place outdoors during the day with a ton of ambien sunlight and a four or five to five six lens is going to be plenty wide enough aperture wise for you to get amazing images.
Liam Douglas 27:46 And like I said a little bit ago, I can tell you from personal experience, the Canon 100 to 404 five five six I s u s m l mark too is an incredible lens. I had the mark one, I bought the mark too when that came out because my mark when I bought used, I want it to get a brand new mark too. Um, with the full warranty and everything. So I bought the new one, I sold my old one, pretty much got all my money back that I paid for the old one, used, I made all my money back. So I broke even on that and I got this brand new model, the mark two edition and it has been fantastic hands down. Uh, I’d like some of the minor tweaks and changes that can and made to the lens design and it’s just an incredible lens for shooting outdoor sports.
Liam Douglas 28:30 So I highly recommend if you have the budget in your pocket, run out and grab that Lens. While you can get it for $200 off, I guarantee you will not regret buying that Lens. All right, well that is all I wanted to cover on today’s episode of the lamb photography podcast. You’ve been listening to episode 16. I want to thank all of my listeners for subscribing, rating and reviewing an iTunes, Google play or any other software that you might be using to play this podcast. Please be kind enough to share this podcast out to your friends and relatives on social media and ask them to subscribe rate and review as well. We really appreciate it and I will see you all again next week in episode 17

Liam Photography Podcast: Episode15 – Where Can I Sell My Photos?

In this episode I talk about selling your images on the platform. EyeEm has been around for quite a few years now and one of the nice things about their Marketplace is your images also go into sister marketplaces like Getty Images.

My profile on EyeEm

My Tybee Island Sunrise that has sold over 750 copies!!!

My antique clock photo that sold on there

My lion photo that landed on a NatGeo cover!!!

Show notes transcribed from Sonix, there could be grammatical errors.

[00:00:01] You’re listening to the Liam photography podcast. This is Episode 15. Today’s episode I’m going to talk about a great Web site for selling your photography and hopefully make a little bit of money. Coming up on episode 15 of the Liam photography podcast

[00:00:42] You’re listening to land photography podcast I’m your host Liam Douglas and this is Episode 15.

[00:00:47] I want to thank all my listeners for subscribing rating and reviewing and I tunings in any other pod catchers that you might be using and also be sure to join the Liam photography Podcast Facebook group.

[00:01:00] You can find show notes and links to any of the outside sites that are mentioned in today’s episode at Liam photography podcast dot com so in today’s episode I wanted to talk about a subject that I get emails about on a regular basis from student photographers especially and that’s where can I sell my photography. Aside from having my own Web site that has some sort of e-commerce platform as part of the Web site where I can sell prints or something like that. What are some other ways that I can sell my photographs. And while I’ve used a few different sites I’ve got my my images on a few different photography sites that allow photographers to join either for free or maybe can join for free.

[00:01:52] But you have your limited to how many uploads a month or a week you can do and then you can upgrade for a certain amount of money a month or a year and you can upload unlimited limited photos you can submit them to marketplace and stuff like that and try to make some money off your photos.

[00:02:09] And like I said I’ve used quite a few of them over the years. I’m still on probably about three or four Web sites where I have some of my photos in those Web site marketplaces and a couple of them I’ve had success with in a couple of the others I haven’t really sold anything with. So those ones of course I don’t pay for the upgraded membership since I’m not making any money. It’s kind of silly to spend money if I’m not making any money in return. So I stopped doing that I stopped going with the paid membership on a couple of sites but one of the sites I really wanted to talk about today because I’ve had so many photography students ask me where I’ve had the most success selling my images is a Web site called I Am and I am is e y e e m dot com. Now I am is a photography hosting Web site that’s based out of Germany. You can go to.

[00:03:14] and join for free and you create a profile you can set a cover image for your profile similar to what you might do on Facebook. You can upload a logo or a picture of yourself as an avatar for your profile.

[00:03:34] And you can also upload your images. Now whether or not you want to sell your images that’s completely up to you. I’m not saying you have to.

[00:03:44] I am there’s still a great Web site photography site just to upload some of your photos and share them with the photography community at large. It can be a great site for doing that. If you’re not sure if you want to sell your images or you’re just starting in your photographic journey and you don’t feel that you’re experienced enough yet to be able to sell your images and expect to make any kind of money with it.

[00:04:11] Now don’t get me wrong I’m not saying that I’m getting rich off of any of these Web sites hardly but it is cool to sell some of your images you know make some money off them know that you know you have images that have a certain amount of demand in the commercial world.

[00:04:28] You know people are interested in buying them so once you create your profile on I am you can follow people you can follow other photographers just like you can on Instagram or follow people on Facebook or friend them on Facebook or whatever the case may be.

[00:04:42] You can do the same thing on Amazon Web site and like I said once you have your you create your free account set up your profile you can start uploading images and when you go and upload a new image you’ll select the image from your computer or you can also grab images that you already have in your Dropbox or Google Drive or Flicker account or Google. Google Photos and you can import them right into your I am profile out. Once you add an image to your I am profile you can you’re going to their software is going to scan. They have an A.I. system that’s part of their Web site and it will scan your photo and it’ll come up with a bunch of keywords that you can tag your photo.

[00:05:33] You know if it’s a landscape that might come up and landscape sunrise or sunset nature ocean if it has a large body of water in it or lake or something like that. And you can choose to add all of the keywords that the A.I. has generated or you can just pick and choose a few of them. I usually will use all of them because they’re generally their A.I. is fairly accurate. So you can get some really good tags without having to sit there and think of them off the top of your head and type of man and so on and so forth.

[00:06:05] But once you have the you know once you’ve uploaded the photo into the queue and it generates the keywords for you and you add then to your photo you just give the photo subject a title whatever you want to call it.

[00:06:19] One of my most popular ones on I am I simply call Tybee Island sunrise and it’s a beautiful landscape shot that I captured on the beach from the beach on Tybee Island Georgia in 2014. And I didn’t do any post-processing. My girlfriend and I were staying at a hotel probably about 30 40 minutes from Tybee Island that weekend and we got up at four thirty in the morning and had some quick breakfast and coffee and we drove out to Tybee Island from cities from the Savannah area and we got out there probably 20 30 minutes before the sun came up and I set up my camera on a tripod right there on the beach and as the sun came up over the Atlantic I snap a shot and it just turned out fabulous.

[00:07:16] I mean the everything in the image has an orange glow. Sunrise glow to it. And I did not do any post-processing to the image at all. And I’ll have any link to the image on my I am profile in the show notes for this episode so you can check it out yourself but I didn’t do any doctoring of the photo. I haven’t done any post-processing at all.

[00:07:38] That’s straight out of the camera and the entire scene like I said had a nice really warm orange glow to it. You’ve got the sun big in the sky coming up over the Atlantic Ocean and into very very far distance.

[00:07:53] There was a couple of seagulls or something like that but they they more or less just show up specks in the background. If you even notice them.

[00:08:01] And you can see the water you know you can see the a little bit of the Atlantic Ocean from the beach a little bit of sand. And that’s pretty much it.

[00:08:09] It was just a nice quiet useful Sunrise morning and I got a fabulous shot in that has hands down been my most popular photo on I am now getting back to what I was saying a moment ago.

[00:08:24] Like I said you upload your photo to the queue you tag the keywords you give it a title or a subject.

[00:08:31] You can also specify the location where the image was taken and there’s a little checkbox that you can check to say I want to submit this photo to the I am marketplace if you do that then your photo it gets uploaded immediately but it doesn’t go into the marketplace immediately because they have curators on their side that have to review the images first before they’re allowed to be passed into the marketplace.

[00:08:58] So if you let’s say you uploaded a portrait shoot you did with a model whether it’s a professional model or just a person in general you’re your teenage daughter or son or something like that or whatever the case may be.

[00:09:14] If you’re going to upload a photo like that and want to sell in the marketplace and of course you’ve got to have a model release you can still get images in the marketplace without a model release under certain circumstances but then they can only be sold for editorial use where a model or property release is not required. So anyways once you get the images uploaded you tag them and all that good stuff you submitted to the marketplace and it’ll take a little while.

[00:09:44] I’m not sure exactly how many curators they have on their side but I know from the time you submit a photo for the market to be considered for the marketplace until it actually gets in the marketplace it could be a week or two.

[00:09:56] I know I’m just being honest with you but the nice thing is is I am has some really great partnerships with other photography sites marketplace sites and one of their biggest ones is Getty Images and I’m sure all of my listeners have heard of Getty Images.

[00:10:16] Most listeners especially if you’re into photography at all you’re probably already familiar with Getty and Getty is one of those entities that you either love or hate. I don’t know if there’s really a happy medium. They are probably the biggest photography marketplace in the world. There’s millions if not billions of photos in their online marketplace.

[00:10:39] And but you know there’s a lot of people who say you know they undercut the photographers. They pay in extremely little and blah blah blah.

[00:10:47] I don’t want to get into any of that. I don’t care about that. That could possibly be a subject for another episode of the podcast. But all I’m talking about today is how you can sell your photographs as a photographer especially if you’re just starting out you’re a novice or a hobbyist and you’re not looking to be a full time professional photographer but you’d like to make a few extra bucks here and there were some of your images especially as your skills improve. So a great way to do it is using the I am Web site and marketplace and like I said you’ll submitted the marketplace to get reviewed by a curator you will get approved or denied or whatever the case may be and then it can get passed off to what’s known as the I.M. collection at Getty Images and once it gets passed off to Getty Images If you actually go to Getty and you search under the I.M. collection chances are you’ll be able to find your photographs there.

[00:11:39] I’ve actually got a subsection of the I am collection of Getty Images where my photos are I have that bookmarked so I can pull it up anytime I want to and right now I’ve got about a hundred and thirty four photos submitted to the that are in the marketplace actively and I’ve had a few of them that I’ve sold here and there. I did a beautiful photograph of an antique clock that actually shot in a local antique mall in Monroe Georgia a few years back. I just thought it was a really cool looking clock.

[00:12:15] It was a big round clock and it was hanging from a wrought iron frame kind of like it would outside a building like maybe a bank back in the day or something like that and it was analog style clock of course.

[00:12:32] And I thought it was just really beautiful looked really cool so I snapped a picture of it during my first trip to Ian Henderson’s antique mall and rode Georgia and I used my eighty five millimeter one point eight US canon lens which gave me fantastic Boca in the background behind this clock and because it’s an antique mall there’s a lot of people selling you know their antiques and their tchotchkes ease and all that stuff there. If you’re not familiar with an antique mall it’s basically usually a large one or more storey building.

[00:13:07] Ian Henderson’s is three stories altogether where people can rent a space or X number of dollars a month and for and by renting that space you’re allowed to sell whatever Chomsky’s or antiques or vintage items you want in your space. So it’s kind of like a flea market only endorse and you don’t have to be there to man your space all the time. You put your items in the space and they have a special label and tagging system and all that good stuff and the full time employees that work there you know they make sure that when somebody buys one of the items from your space area when the customer takes it up the register they pull the special tag off it it identifies who it belongs to as well as the price and you know and your stuff gets sold and I’m sure the antique mall probably gets a small commission off each sale in addition to the few dollars a month they charge you to rent the space but anyways getting I’m getting off track there a little bit too much so I’m sorry for that.

[00:14:06] But anyways this clock was just viewed it was a beautiful antique clock analog on a wrought iron frame and I thought it looked really cool so I shot it with my eighty five millimeter one point eight lens and got fantastic Boca balls in the background because of other lighting that was other lights that were at the other end of the aisle from where I was shooting at the far end of the building so it created a really cool effect and I’ve sold a couple of three copies of that clock on Getty Images be the I.M. collection and I’ve got a one or two other photos that I’ve sold a few copies of but by far hands down the most popular image I have on the platform is my Tybee Island Sunrise seems to be extremely popular.

[00:14:54] I’ve had that photo I’ve been on the I am Web site for probably about four years now or maybe maybe going on five years.

[00:15:04] I kind of lost track to be honest but anyways I shot that sunrise shot in 2014 and I think I uploaded it. That same year to I am or it might have been early 2015 so maybe I’ve been on there for years not quite five.

[00:15:19] Whatever the case may be but that particular sunrise I call I just call a sunrise over the Atlantic Ocean. It has been super super popular on I am and on Getty Images and to this date so far I’ve sold probably around seven hundred and fifty copies of that image.

[00:15:40] Now I know you’re probably out there here in this and you’re thinking Oh my God. He sold 750 copies of one photograph.

[00:15:45] He’s gonna be rolling in the money now that’s not the case because there they offer different versions of your photograph once it’s in the marketplace so in other words I could potentially have a client that buys a copy of it because they want to use it for a blog post on their Web site.

[00:16:03] You know they just need a low rez you know small version of the image you know and in that case you know if I sell if they sell you know a low rez small version of that of that photo to a client for use on a one time use on a website or a blog or something like that then you know I might only make two bucks or five bucks or whatever the case may be. But clients can also buy a high res version. They can buy it printed on a canvas stretched canvas and they can buy a frame and all that stuff. Then yeah you can make considerably more money per sale that way. And I’ve actually had a few of the sales that know my my cut of the money was about a hundred and fifty two hundred dollars which is pretty good. So I made some decent money with the image on there but I haven’t by any means you know gotten rich by selling the photos on the I am in Getty Images marketplace.

[00:16:58] But like I said at the top of this episode I have new photographers and especially photography students ask me all the time where some of the places that I sell my images that they might be able to do the same thing and especially because one of the things I really like about I am is any time one of your images sells in their marketplace you get an email you know you get an email basically. Jane you sold a photo this is how much you made Click here to pay out and you have to sign up to receive your money. You could do it one of two ways you can either do it via a pay pal and have the money wired to your PayPal account or you can have a paper check mailed to you which you know if you’re in the United States like I am and I am is based in Germany it probably take a while to get a paper check and I’m not sure but they might I’d have to go back and read the terms and conditions but they might only Mail a paper check after you’ve earned a certain amount of money.

[00:18:00] In other words you the money gets held in a queue until you hit like a fifty dollar mark or a hundred dollar mark or something like that.

[00:18:06] Then they’ll cut you a check normality but I’m not hundred percent certain on that because I haven’t looked at that aspect of it for quite some time.

[00:18:13] But you know most people are going to want to use PayPal because PayPal is fairly common these days. You know a lot of people at PayPal accounts whether they do a paying or not because a lot of Web sites and a lot of companies take PayPal as a payment method or allow you to you know you can run your credit card to buy something online through PayPal instead of just strictly through visa or MasterCard or whatever because you know with PayPal you get a certain amount of buyer protection if you will so you can get your money you know deposit in your PayPal account once you click the link to cash out your earnings the money are usually being your PayPal account within three to five business days. So they’re pretty quick on that which is one of the things I really like because one of the other sites that I have some of my photos in the marketplace actually I think I’ve taken most of them out now because I just got frustrated with them and I’m not going to mention them by name because I don’t want to I don’t want to bash anybody but I sold a beautiful photograph that I captured of a male lion at Zoo Atlanta.

[00:19:20] He was the male line that they had lion habitat at the time back in 2014. And I got a great capture of this male lion laying at the top of his habitat. There was like a hill on the backside of the habitat and he could climb up there and he had this massive round kind of roundish shaped but flat on top rock that they referred to as his pride rock and he would lay up there and and kind of survey his little kingdom there and I snapped an amazing image of that male lion back in 2014 the same year that I took the Tybee Island sunrise shot and I uploaded that one and put it in the marketplace of this other Web site and I actually sold a copy of it and you know I made a couple of hundred dollars for my share of the money my my cut of the profit from the sale. But the thing I didn’t like was number one they wouldn’t tell me who bought the image. And I can understand you know these these Web sites probably they have to offer their client their buyers a certain amount of anonymity I guess. But it just really frustrated me that they wouldn’t tell me who bought it or what they bought it for and then later when I found out by doing a google image search of that lion photo of mine and it popped up on a Web site and I sent the company a cease and desist because I thought they were illegally using my photograph. That’s when I finally found out who actually bought it and it turned out it was National Geographic. And like you know like I said I made a couple hundred dollars selling that lion photograph to Nat Geo I beat out ten thousand other photographers and actually got the cover of their 2015 Big Tex cats textbook for doing her public schools.

[00:21:13] That’s a public school textbook which is really cool. I mean a lot of photographers especially if they shoot wildlife thought you know a lot of photographers that’s their dream in life is to one day get a National Geographic cover.

[00:21:25] Now granted I didn’t get the cover of The Monthly National Geographic magazine but I still got an NGO cover it’s still a pretty prestigious thing. And they not only bought my lion photo for the cover of this text book but they’re using my photo as the cover rack for this textbook. So in other words My Lai and photograph they wanted it you know full size because they actually they’re actually using it as the wrap cover for that text book. So my lie and photo is on both the front and the back because it’s a wraparound of the entire book. And I’m also the first photography credit that’s mentioned on the inside cover of the book so let’s pretty cool as well.

[00:22:09] But the thing that upset me was the Web site that sold that image to National Geographic for me really should have kind of pushed or forced Nat Geo to buy an exclusive license which would have made me a lot more money and my dad.

[00:22:30] The flip side of that is I wouldn’t be able to sell that same photograph to anybody else for X amount of time or maybe ever depending on what the terms were. So I was a little bit miffed that they didn’t push them to buy in an exclusive license. But on the other hand it allowed me to upload that same lion photograph to other market Web sites and sell it on other platforms so and I believe I’ve also sold a couple of copies of the image on I am in the I am marketplace so. But the big thing I didn’t like about this other company is they not only I personally felt they they undercut my value of that work as a photographer by not asking Nat Geo to buy an exclusive license where you know I could make as much money as possible from that image especially if it’s gonna be on book cover for goodness sakes that particular photography marketplace site even after you sell a photograph you have to wait 90 days to get your share of the money.

[00:23:34] And I thought that was kind of messed up because you know Nat Geo is paying for the photograph upfront.

[00:23:40] You know they’re paying up front to get a copy a high resolution copy of my photo so that they can you know printed on the cover of their big cats textbook and the company that’s selling the photo for me is getting their cut of the money immediately. But I have to wait three months to get my share of the money and so I thought that was a little bit messed up so between the fact that they make you wait three months to get your share of the money when they get theirs up front and the fact that I didn’t feel that they were looking out for me enough as a photographer you know especially with a big multibillion dollar company like National Geographic they they really should have pushed them to buy an exclusive license so that I could have made a bit more money off the photograph you know in an exclusive license I’ve probably made a couple thousand dollars for the photo instead of owning a couple hundred bucks. But hey I still have the prestige of being able to say that one of my photos is on a National Geographic cover and not a lot of photographers can say that so that that part of it is pretty cool but getting back to I am like I said I am is by far my favorite outside Web site for selling my photographic work. I’ve been on their Web site for like I said four to five years now and I don’t have hundreds of my photo photos in their Web site and marketplace. I’ve got a hundred and thirty two photos total one hundred twenty six in the market and fifty five of the ones I submitted to the market are in partner markets as well.

[00:25:19] So my images can actually sell on multiple they get their submitted to multiple marketplaces where where people can buy them whether they want to use them for a book cover or they want to canvas sprint to hang on the wall in their living room or they want to use it for article on their Web site or something like that you know.

[00:25:40] So I get more exposure that way which which I really liked with the other company I mentioned a little bit ago with the the whole Nat Geo thing when you submitted an image you were only in their marketplace and there are a good sized site and I’m not saying that they don’t have you know a decent number of clients for all I know they could that particular sites based out of Canada but you’re only submitted to their marketplace and one of the things I do like about I am is you get submitted to the I am marketplace and your stuff that gets approved not only goes into their marketplace but it also goes out to Getty and some other partner marketplaces that you know other companies that they’re partnered with. So that is pretty cool and get you more exposure for your images and a higher chance of selling.

[00:26:30] So that is one of the the Web sites that I would recommend for most of you out there want to maybe test the waters a little bit on whether or not you could sell some of your photographs that could be a really good way to do it.

[00:26:46] And like I said it doesn’t cost anything to join I am as a matter of fact I don’t even know. I don’t think I am even has a paid membership. Now they do have they do offer a magazine that they sell and I think they also do have photography contest at different times. They eat and pay a fee to get your your photo are too.

[00:27:14] You pay a fee for a subscription to the magazine.

[00:27:17] I don’t know how many issues they publish a year I’m not sure on that and they do run some photography contests.

[00:27:24] I don’t think you have to pay to do have your photos in the MA in their contest.

[00:27:38] I’m not sure if you do or not and you can win some prizes and stuff like that. That’s pretty cool.

[00:27:45] But just I am to me is just a really great site. I like it a lot. I think they are doing some really cool things to help out photographers and it’s nice to have the marketplace.

[00:27:56] And like I said once you create a profile you can only upload your photos and submit them to be considered for the marketplace but you can also follow other photographers you can view other photographers work when you go to their home page you get in kind of like a massive photography timeline new speed if you will. It’s in a nice grid grid format so it’s easy to view and you can see some really amazing work on there. I mean there’s a lot of talented photographers all over the world and some of them just have some really amazing work that are on the IAM Web site and and sometimes it’s just fun to go and scroll through the home page and look at what other people are working on what they’re posting personal projects or you know if they’re working on children’s portraits or wildlife or whatever the case may be it can just be a lot of fun to look at what other photographers are doing or their passion projects or for a living. So that part can be really cool and of course when you find somebody is photograph on there that you like you can give it a light by clicking a little hard you can leave a comment as well like you can almost any other site that people commonly share photographs and you can build it a little bit of an audience on there. If you submit photos regularly and put some of your best work on there of course you’re gonna build up a following. I’m not as heavily on the site the last year or so as I was maybe in the past just because I’ve been so busy with so many other things. You know I work two full time jobs right now. So between that and doing this podcast and trying to build up my youtube channels I’m stretched pretty thin. Although I did finish my bachelors at the end or beginning in November of 2018 so at least I’m no longer going to school full time and working two full time jobs.

[00:29:49] So that’s a little bit better but there you have it. There’s an idea for a Web site. Did any photographers any of you out there that loved to take photographs. You can go to e y m e y e m dot com I apologize. And like I said I’ll have the link in the description show notes area as well. You can go there and you can sign up for free and you can start uploading your photographs and submitting them to the marketplace. And if you do decide to join I am you can.

[00:30:23] You’re perfectly welcome to follow me on there and I’ll be happy to follow you back. Well listed on there is Liam Douglas and my profile name on there similar to what you would have on Instagram is at Liam photography and you could find me on there. I’ve currently got only one hundred and forty followers and I’m following a hundred and fifty five but I’ve got several hundred liked photos so I guess that’s something.

[00:30:50] But anyways like I said if you decide that I am is something you want to try out. I definitely highly recommended it’s a great company a great site.

[00:30:59] And you know I think they treat photographers photographers fairly well there with what they’re doing with their platform and I definitely recommended for any of you out there that might want to try to make a little bit of money with your photographs see you know if what you’re doing is popular enough that people are interested in buying you know copies of your photos because you’d be surprised. You know I’ve got friends and people that I’m in Facebook groups where they consider themselves only novice photographers or hobbyist photographers.

[00:31:31] And it’s funny because someone that’s a Facebook friend of mine Jeff Harmon is the host of The Master photography podcast as well as the photo taco podcast and and he’s been doing. He’s been doing photography podcasting for four or five years now and he’s like me. He works in I.T. full time and he does photography as well but he considers himself only a hobbyist even though he has some amazing sports photography work. He does a lot of high school basketball sports photography and he does amazing work. He’s very very talented but he considers himself a hobbyist. I tell him all the time that I think he’s crazy that he’s that he’s pretty serious and he’s definitely good enough to be to be considered pro because his work is just amazing and that’s another thing I want to mention. Jeff Harmon will be joining me as a guest on this podcast in the near future probably during the month of May or possibly June. We’ve got he and I are going to hash out the details yet and that’s going to be very exciting and the reason why I wanted him to come on the show is because I personally feel he’s extremely talented as a sports photographer and that’s the subject that he’s going to be my guest for is sports photography.

[00:32:50] So if you have any questions that you would like to ask a sports photographer feel free to post them under that subject on the photography Podcast Facebook group. There is already an announcement post where you can submit questions that you would like me to add when I have Jeff on the show as my sports photography guest in the near future. So be sure to stop by the Facebook group. You do. You can join the facebook group. You do have to answer a question. But the question is what is the name of the host of the leading photography podcast and that of course is me William Douglas or you can just put Liam and I had the question as a requirement just to keep out the spam spam and the robots and all that stuff to keep all that garbage out of the Facebook group to keep it just real people that enjoy photography enjoy learning more about photography and enjoy sharing photography. That’s what the Facebook podcast group is all about all right. So I am going to go ahead and wrap up this episode. This is Liam Douglas you’ve been listening to Liam photography Podcast Episode 15 and I will see you next time.


Liam Photography Podcast: Episode 14 – Interview with Photojournalist Jill Mott

In this episode I interview Professional Photographer, Photojournalist and Professor Jill Mott of Colorado.

Jill worked for many years as a photojournalist for newspapers in her home state of Colorado, working domestically. She has also worked in film and on several personal projects in Southern Africa.

You can find Jill at the following Social Media accounts and Website.

Transcript by

Liam Douglas: 00:00:00 You’re listening to the Liam photography podcast. I’m your host Liam Douglas, and this is episode 14 and today’s episode I’ll be interviewing Joe Lott, who is a professional photographer in Colorado. Joe worked for many years is a professional photo journalist. She is also worked most recently as a full time professor with the art institutes, um, online program, which is the program. I graduated from my bachelor’s degree and she has also been working on some personal projects in South Africa. So stay tuned for all of this on episode 14 of the Leon photography podcast.

Liam Douglas: 00:01:06 You’re listening to The Liam photography podcast. I’m your host, Liam Douglas. And this is episode 14. So today on the phone for our interview, as I mentioned a moment ago, we’re going to be talking with Joe Mott, who was previously a professional photo journalist and has also worked as a full time professor of photography with the art institute of Pittsburgh Online Division. I want to thank my listeners again for rating, reviewing and subscribing in iTunes in any other software that you might be using to listen to this podcast. And we’re going to get started right now.

Jill Mott: 00:01:44 Okay.

Liam Douglas: 00:01:45 Hey Jill, how are you doing? Thank you so much for taking the time to be on this episode of the Ilium photography podcast. I really, really appreciate it.
Jill Mott: 00:01:56 Okay.

Jill Mott: 00:01:56 Oh, I’m so excited. I’m so glad to be part of all your media that you have out there.

Liam Douglas: 00:02:05 Yeah, I, I’m trying to expand my brand as much as possible in the podcasting. I really enjoy doing it and it’s a little bit easier to do. I’ve been in, been trying to work on the youtube channels more, but the video just is so time consuming between, you know, go over like for the forgotten pieces of Georgia, between going out and shooting the, the counties, the buildings, getting all the historical data and then shooting the footage as well as the stills and then editing at all and recording the audio for it. And it’s just a very, very time consuming. And as I mentioned when I talked to you before I started this episode, this is actually going to be the first episode of the podcast where I’m recording video at the same time. To put up on the youtube channel. Exciting. Really cool. Yeah. I’m always trying to try to challenge myself with new, try out new things and new ways to promote the brand and stuff like that. So I’m going to, I’m going to start off with the first question I had for you, which is where’s photojournalism something that you would always wanted to get into, um, when you were younger? In other words, did you know that it’s what you wanted to do as a young lady in junior or senior high school or was that something that came about as a career later on?

Jill Mott: 00:03:25 Great question. And I’ve had time to reflect on that on a couple different levels. You know, when I was young I had no idea what journalism was. And to be honest, I wanted to be a detective. I was a product of the 70s and Charlie’s angels was amazing and I thought I wanted to be a detective Pei. And as I got older I realized maybe that wasn’t going to be the case. And as I discovered more career opportunities about photojournalism, I was really into art and had an opportunity to study art in Italy. My family is pretty hard to stick. I’ve got 12 jurors and interiors and whiners and um, quilters and all kinds of artistic family members who were pushing me in that direction, not necessarily pushing me because I’ve loved it. Um, but I thought that was the way to go. And while I was in Italy, I heard, overheard someone talking about, yeah, photo journalism, you can travel and take pictures.

Jill Mott: 00:04:45 And I thought, Whoa, that, that sounds like the career for me. And then that’s when I realized that there was a lot of opportunity in the world of photojournalism, although I still didn’t know quite what that meant. It sounded really exciting and I am sure a lot of your listeners are thinking national geo and that kind of thing and not what, what came to me as well. But the idea of kind of in the dating and hearing people’s stories, uh, was the first kind of connection that I had, uh, in terms of the real world and what I wanted to do. I knew that with something that was really a passion for me.

Liam Douglas: 00:05:34 Cool.

Liam Douglas: 00:05:36 It kind of was like a best of both worlds thing for you. You got to travel and do something that you can be passionate about at the same time.

Jill Mott: 00:05:44 Absolutely. Absolutely.

Liam Douglas: 00:05:46 Yeah, I could definitely see where that would be a win win scenario as one of the things that I was always intrigued about with photo journalism. But, uh, I mean, I know photo journalism journalism is still there. Um, when I think, uh, I think the professions a lot more slim pickings and it was, you know, a couple of decades ago with the advent of the Internet and social media and you know, a lot of newspapers have gone out of business or are they stopped print and they just strictly do their, their stories online. You know, when you hear us, the, you know, you hear about these stories the last couple of years where like the Chicago Sun Times, they fired all of their photographers and they’re just perfectly happy now with having the reporters go out the cover story and just snap pictures or video with their iPhone and they call that good enough now.

Jill Mott: 00:06:39 Yeah, it is very, very bad. Many, many levels. And I think something that I hope your nurse and everyone will take notice of because First Amendment, freedom of speech is a very important issue and what our country was founded on and founded on for good reason to keep in check what is happening around us. And there’s a lot of reasons why media is changed to what it is become. And I’m sure that’s another episode I’d love to discuss with you. The opportunities as are getting swimmer in terms of a daily job in terms of full time position, uh, and what people are now calling themselves are documentaries, the cog refers or editorial photographers and really finding and speaking and projects that they’re passionate about document. And it’s really sad that there aren’t those opportunities to have a work at IBM. We use paper, I cut my teeth that many of these papers that, you know, as an intern where you’re have the ability to photograph sports and portrait and fashion and even then and now, it really does give you so many feel to enter a variety of niches in, in photography. And it’s the greatest job on earth. Really. I loved that. I had an amazing chart trying working at newspapers.

Liam Douglas: 00:08:31 Yeah, it sounds like it would definitely meant a lot of, a lot of fun and a lot of adventure and excitement. And like you said, um, you know, it’s bringing a current events to the forefront, you know, um, you know, because for many, many years, the only way that you know, news was covered was photo journalists. You know, uh, whether it was a war correspondent or um, photographers, photo journalists that worked for Reuters or AP or whatever the case may be that traveled around the world. You know, one week they might be covering a, a conflict and a third world country and, you know, the next week or a couple of weeks later, they might be covering, you know, an election and a newly formed democracy that was previously a communist regime. Um, and things like that. So it was definitely a lot of, uh, a lot of exciting things that were going on in those days.

Liam Douglas: 00:09:24 And I kind of wished that I had gotten into, it’s not that I wasn’t into photography. I, I’ve done it as a hobby and a profession off and on for 25, 30 years, even before I went and got my degrees. Um, but I was doing other things. I spent 10 years in the army and then I got into working in it. So I never really got into, I mean, I, I kind of wished I had gotten into the photo journalistic thing. Um, but I just didn’t really think about that all that much when I was younger.

Jill Mott: 00:09:53 Okay.

Jill Mott: 00:09:53 Well, and I think that you don’t really, 10 years ago you didn’t go away. And it has changed so much over the years. I often talk about the, those changes. I mean, I could be at a newspaper and be down photographing people is morning and then CEO of the bank and in the evening. And it was a great opportunity for me to intermingle with so many different kinds of people and the changes that have happened in terms of print to digital, you know, as a photographer, I would actually have to cut my picture out of the newspaper and put it in and send it to you, an the editor, you, um, get their feedback or to move up to the next level of newspaper. And now we have it so easy to, you know, put it on your social media and share it around the world, which is an advantage at time and a great thing. But, uh, that slower process of being able to analyze a media, your images, is it something that is a little bit lot?

Liam Douglas: 00:11:24 Yeah, exactly. And the big thing, the big thing that I look at with this digital age is more of a negative is, you know, like you were saying at one time, you know, for our journalists where the life’s blood of news and information and now when the digital age and all the social media and all that, that’s, you know, our current day and age, it’s so hard for a professional photographer that’s now doing editorial or documentary style in place of photo journalism because there just isn’t that much of that anymore. It’s hard for them to get their work picked up by news organizations are outlets because the world’s just inundated with all the mediocre stuff on social media and because of the death of print, for the most part, the vast majority of print dying off and that affecting budgets and advertising revenue and all these other factors, they get lumped into it as you know, part of the whole equation. A lot of times these outlets now, they don’t want to pay for the content. They want to get free content. So they would just assume, and it’s sad, but they would just assume get Sally’s iPhone photograph for a story rather than a professional photographers photograph because they don’t want to have to pay for it. You know, Sally’s perfectly fine with just getting her name mentioned

Liam Douglas: 00:13:03 quality. So you see that happening and that the whole idea of factual information and the training that photo journalists in the past I’ve gone through in terms of ethics and you know, where’s this information coming from? You know, that is something that is really important for audiences to recognize that you have the time to really analyze media, whether it’s print or images, whatever it is, is this real, what is being said here? Um, you know, can you trust that? And sadly of print journalism and the, the very slim, um, you know, newspapers were cut so much that their staffing is very limited and they don’t have the staff to go out and cover in an investigative way. And that is part of the problem. And, uh, yes, you know, if, if folks can get it from, you know, cheap or free or the quality is less than excellent, people are using it because of the demands. And I think we as individuals and consumers of that media needs to think about, you know, our demand and our reason for, for wanting that. Why, why do we feel that we’re gonna trust that type of media over something else?

Liam Douglas: 00:15:26 I forgotten pieces of Georgia. I was contacted by the lady who’s the editor for the Sparta Ishmaelite newspaper in Sparta, Georgia in Hancock County. And we’re doing a collaboration for her newspaper. And even though it’s a small town newspaper, and I believe it was always just a weekly paper, wasn’t a daily paper. Um, originally when, you know, she first started working there, she started out as an intern and worked your way up. But until just a few years ago, she had a staff of like 25 and now it’s her all by herself. So she has to go out and cover the sporting events and the new stories herself than she has to take any pictures or self. And, and she has to do everything herself. She has to put together the entire newspaper and then send it off to the parent company that owns her newspaper now has tons of other papers and other markets and she literally has to send her finished weekly paper off to one of their other locations that actually runs the print and then shifts the Finnish newspapers back to her.

Jill Mott: 00:16:41 Yeah. That’s where people start to real people who are the audience and they get really bent out of shape with the media and habit perspective about that. But this Gal’s probably trying to do her bed if we get news out there and I would ask them to really be conscious about the local news sources that they have around them. Try to support them as much as they can and look at the bigger forces and analyze what’s happening because there’s, there’s not enough coverage and she’s doing the best they can. There’s a million high school that have, you know, the state winner of whatever or is going on and the local politicians that are, you know, running for this office and that’s a lot to cover. And you know, it’s, it very, very important to have some kind of local news source. A lot of people may call them the local rag or it’s this or that, but if you have something, and I think it’s very important for people to recognize that that is there because a lot of countries, a lot of places in the world don’t even have that opportunity. And I commend this Dow to uh, what she’s doing and you know, trying to do her bed and you know, it’s hard for folks like you who, you know, string for them are freelance for them. And of course our, our work is valued and we should be getting paid for that. Um, but there is an APP that is a part of, I feel as a community responsibility to help tell the stories that are going on around you.

Liam Douglas: 00:18:54 Yeah, absolutely. And that’s one of the reasons why I was interested in doing this collaboration with her newspaper. You know, I’m not getting paid for it. All I’m getting is credit in the paper itself. My photos are being shared and, and my links to my social media and my youtube channels and stuff like that. But I, I’m fine with that because, uh, I just, the first time I visited Sparta I was so sad and just to see how devastated this town had become gabbing basically in the late 18 hundreds to the early 19 hundreds. It was the capitol of the cotton industry in the world. And then after the boll weevil epidemic, um, which I think was after World War, I can’t remember his world war one or World War II, I think it was world war one when it was really bad, it decimated a lot of the crops and, and you know, eventually the, the cotton warehouse was bought by a furniture company that made wooden furniture in the town for decades.

Liam Douglas: 00:19:53 But then they moved their operation down to Florida and after that, you know, Sparta pretty much became a ghost town. And I’m from a small town in Pennsylvania myself, so I kind of have that kind of relationship with her paper, you know, because I’m from small town myself, we had a weekly newspaper as well. Detroit is that. Um, and you know, so I, I definitely don’t mind sharing my content with their paper to try to help out this little town that’s trying to make a comeback and it’s, it’s been a, a long struggle for them and hopefully, you know, they’ll, they’ll come back maybe not to their full glory days when they were the cotton capital of the world, but hopefully between the stuff that I’m helping them. Whereas in the stuff that, uh, Robert and Suzanne curry are doing with the, um, the elm street gardens where they’re actually using plots of land throughout the city limits for a garden and they actually hire some of the local kids and other people to help them with the gardens. And then they take the produce to the farmer’s markets and stuff like that. Um, you know, hopefully it’s going to help revitalize Sparta at least to a certain extent.

Jill Mott: 00:21:17 You know, you’re not putting it out there. People are your community in every community that we live in that are doing great things. And without journalism, without newspapers, how are you going to find out unless you know someone in that

Jill Mott: 00:21:37 you know, area. And that is one of the things that is really a danger with our nation here is if we’re not able to talk about and document and preserve history of what happening, looking like you have done with your, uh, forgotten pieces of Georgia. If you cannot look back at what happened and reflect on that and think about how we can prevent these things from happening or how we can improve, you know, for the future. And we don’t have that visual aspect is it’s very, very dangerous. And um, again, that’s probably a topic for another, another podcast, which I hope to be at Florida. But if those are really interesting topics that I hope people will, we’re really think about because media, the first amendment and freedom of press and that idea of the press being designed to take notice of these things, history, preservation, the future. Our government are very, very important and, uh, it’s important that we all be a part of that.

Liam Douglas: 00:23:12 Did you travel to other countries

Jill Mott: 00:23:37 area or nearby? An independent photographer, independent freelance documentary photographer that I started exploring more of those things going on in the rest of the world and I always had a passion for Africa and back when I really started exploring what was going on in the rest of the world.

Liam Douglas: 00:24:10 Okay. So you didn’t spend any time or anything like that?

Jill Mott: 00:24:19 There was always my dream and it was always very glamorous to think about that I had during the going to Nicaragua as a word correspondence and it, and then any young person to cover those types of things. But it really is a special kind of person that can do that. Um, you definitely want to be saying all I said, you know, speak a couple of different ways, those kinds of things. And, and it just, uh, I need to cut my teeth and in the state, which there’s plenty to do and, and uh, cover. I, when I worked in California, I was working in northern California and uh, in Paolo Alto area and at that time, East Palo Alto with a up a thriving place for drug activity and gang activity. And that kind of domestic, uh, we’re fair, was very intriguing to me and I had the opportunity to go on a lot of ride alongs and, um, hang out with the, the, uh, and you’re gonna have to edit that now. Uh, alcohol, tobacco, firearms and, and those kinds of things and do a undercover stuff, which was very exciting. Both kinds of things were really, really fascinating to me. I, again, going back to that idea of being a detective, I love that kind of thing right along for one of my favorite things to do.

Liam Douglas: 00:26:07 Oh yeah. And then you got, you know, you’ve got a certain element of danger, the adrenaline rush but not, I mean I guess it depends on the situation, you know, with uh, with drug gangs and stuff like that that could get pretty dangerous but maybe not quite as bad as having to worry about, you know, your, your vehicle driving over an IED or something like that. And I in a war torn country, but yeah, I could definitely see where you would definitely get the, the rush, the adrenaline rush and the, the element of danger, you know, covering things like that. Especially doing ride alongs and stuff. And I, from my time as a state constable and Pennsylvania, I worked extensively for, for quite awhile in the Harrisburg area, um, with the drug task force. And uh, that was definitely a, that can definitely get a harrowing at times for sure. Dealing with the bad element all the time.

Jill Mott: 00:27:05 We’re in a war as a photo journalist working for a newspaper. You have a lot of pump up, your adrenaline even, you know, being and tricky situations perhaps with homeless and you don’t know what quite what’s going to happen and you’re always kind of looking around, riding along with the cops are rolling up on a flyer. And it’s an interesting that we get to this point in the conversation because I always find myself still really aware of my surroundings and what’s going to happen and who’s coming into the situation and how, you know, how are people acting? And that does give a rats and it’s really interesting as a creative person to figure out how do you document that as a photographer, how do you document that? How do you tell that story? Um, because you’re, you’re being aware and looking and analyzing and then how do you translate that as a photographer, if it’s the a great offer, maybe you can combine all of those together,

Liam Douglas: 00:28:37 certain elements to it. That would definitely be dangerous. Even when I’m out traveling today, I’m out doing my real estate photography during the day or driving back and forth. When I worked for Turner at night, I try to always have one of my cameras in the car in case I come across anything interesting that I can document, whether it’s a structure fire or a bad motor vehicle accident on one of the interstates or whatever the case may be. And I actually had a situation a couple of years ago where I was out, you know, shooting for my project and I was up in Ringgold, Georgia and we stumbled upon a car show and I love car shows. Um, so I stopped to photograph the car show we all these antique and vintage cars and muscle cars and race cars and all kinds of cool stuff. And so I was there for a few hours photographing the car show left, got 20 minutes up the road and came across a massive house fire and ended up documenting that as well.

Jill Mott: 00:29:40 Yeah, that’s what I,

Jill Mott: 00:29:42 I love about being afforded. Journalists are being a photographer. That’s a where you just never know what’s going to happen.

Liam Douglas: 00:29:51 Exactly, exactly. And you know, sometimes I don’t remember to always take my camera with me and I’m always nervous about just leaving one in the car all the time because I don’t want somebody, you know, smashing my car window off to steal my camera. So sometimes, unfortunately I, I’m, I’m stuck with only being able to document with my phone, which bums me out. But yeah. Was, what are you going to do?

Jill Mott: 00:30:15 Well the best camera is the one you have with you.

Liam Douglas: 00:30:19 Exactly. And Chase Jarvis made a book out of that. He spent a year and he spent a year doing all of his professional shoots with nothing but an iPhone four and then wrote a book about it. Yeah. And even came out with his own camera app and the APP store.

Jill Mott: 00:30:34 Yes, absolutely. I highly recommend everyone take a look at this work and it’s a great advice. You know, sometimes you don’t want your camera equipment and then there’s no shame in using an iPhone or whatever smartphone you have made. Now capture that, that image and you know, it really brings us back to the idea of quality versus quantity. You know, get this with whatever you have. And we see it in millions of videos and photos making some serious money and making a difference in the world, uh, just off a single iPhone photo or, or, or smart phone. And in terms of that idea of documentation and preserving history and it’s important to you.

Liam Douglas: 00:31:28 Exactly. Exactly. And one of the things, I haven’t gotten one yet, but I’ve been kicking around the idea, I don’t know if you’re aware of this also top of my head, I can’t remember the name of the company, but there’s actually a company and they sell them on Amazon. That actually makes like a camera body for your smart phone to go into your phone. Actually, it’s kind of like a doc that you put your smart phone into and I think it works via Bluetooth and it basically gives you all the same controls and feel of a DSLR using your smartphone as the actual camera. Yep. But you’ve got an ISO dial and shutter speed dial and all that stuff. Aperture control on all of that and I’ve been thinking about picking one up. I know they uh, they recently released their mark two version of this device. I can’t remember the name of it off the top of my head, but I know I have them bookmarked on my Amazon shopping list. And you can get out. Yeah, you can get one for like 70 bucks. They were, they were at one time, they were a couple of hundred dollars but now you can get one, you can catch them on sale for like $79. And I thought about getting

Liam Douglas: 00:32:40 one just to play with and maybe is a way to have a camera with me all the time in the car without risking one of my more expensive cameras but still have all the functionality of, of a professional camera with the smartphone. I thought that might might be a good happy medium, I don’t know.

Liam Douglas: 00:32:58 But definitely something definitely something I might have to do a podcast about.

Liam Douglas: 00:33:05 Yeah, for sure. Now, the next question I have for you, and you and I’ve talked numerous times aside from this, this episode, but you know, I know like myself, you’ve dedicated a significant amount of your time and continuing your education. And do you have any advice for my listeners on what they should look into as far as schooling? If they want to get into photo journalism or now what’s more editorial and documentary photography, you know, do they need to go to school? Is it a good idea to go to school and get more of a, um, a mixture of, uh, I guess I want to say exposure to different genres and styles of photography as well as photo history and stuff like that. Like I did it, which I really enjoyed. Um, I mean, I know there’s a lot of self taught photographers. Chase Jarvis is a matter of practice, one of the highest paid photographers in the world and he’s completely self taught. Um, but there’s, the problem with being self taught, at least in the digital age, is so many people turn to ut for everything. And the problem is you don’t always get quality content on youtube. So I guess, uh, that would be the biggest part of this question is any advice you would have as far as what they should look into for schooling? Should they bother? Wouldn’t have associate’s or bachelor’s degree or just get a certificate program or, or just do completely self taught or, or maybe get an apprenticeship with an existing professional photographer

Jill Mott: 00:34:46 so rapidly. It’s hard to figure out what is the route to go and what you can afford and what are you going to get the best benefit from? Great resources out there for people to take advantage of. Youtube is a great resource and I’d like to, you know, also in tell your listeners about creative live there’s a lot of great resources out there you can access for a nominal fee. And I would say first off, the most important thing is that you need to know your camera. You need to know the technical aspects of your camera. You need to be able to shoot your camera on manual. And a lot of people will shy away from that. No. Say, Oh, I can shoot it on aperture priority, shutter shutter speed or whatever that is. And yes, you can never going to make you great.

Jill Mott: 00:35:54 That’s an ever going to make you awesome. And so really understanding and being familiar with the technical aspects of photography. Is it number one, I’m not a numbers person, I’m not a math person and I mean it’s technical side of photography for many, many years. But the thing about understanding your camera and photography on the technical side is that it’s going to allow you so much more creativity. And so number one, I think it’s really important for you to, except that there’s very technical side of photography that you should learn. You know, there’s a lot of rates to do that. And of course the number one way is go out and oh shoot on manual shoot with your one month, you know, you’re, you were talking about that, you know earlier, just take your camera with you and make pictures, experiences the bad form of education.

Jill Mott: 00:37:08 Sorry. Yeah. The other guy, they’re kind of part of that question. You know, what is the ultimate goal of you using your photography? You want to be working for a newspaper? Do you want to tell stories about people that are not being told? You know, that’s the most common kind of almost cliche or photojournalism. I want to tell the stories about people whose voices aren’t heard. Then I recommend really thinking about looking into education based around what that issue is. Are you interested in politics? Are you interested in social? Are you interested in human rights? Then ideas based around those bat form of education would be something for you to consider. Anthropology, I did a minor in anthropology and I use my photography as a collaborative aspect of that, you know, and that then spurred my interest in Africa and other culture. So it’s really important for you to parallel what your interests are as a photographer for BM year, you have an economic interest, you have a historical interest.

Jill Mott: 00:38:42 Then you know, think about what you can do to learn more about history, economy, those kinds of things because of wake journalism or documentary work is going like that. You have to have that niche, you have to have that structure, that bone bear idea of, okay, I’m interested in this history and this is how I’m going to do it visually. So those are some things to be thinking about. You know, you needed a degree that’s very debatable when you look at job applications that say you need to bachelor’s in this and the and, and then yeah, you know, it’s, it is a good opportunity, but a lot of the job listings and things that you have out there are based on communication management, um, public relations. So it’s really important that you can do a lot of different things at once. So is it straight up photography degree necessary?

Jill Mott: 00:39:51 I would say that it’s debatable. I would say that learning different styles of photography, editorial, commercial, photojournalism, portraiture, uh, all those are very important. So you really can, what is it that you wanted to and what you passionate about. And the often when, Aye. Aye. Aye. And I, I’ve instructed, you know, soon what are you going to be wanting to do this? And then they take, you know, they only want to do weddings and then they take my photojournalism class and they realize, well this is awesome. I love this. I want to learn more about that and guess what photojournalism is? Weddings. So I think it’s really important for everyone to kind of say what is the ultimate idea or what is the ultimate goal that you want to achieve? And then break it down from there.

Liam Douglas: 00:41:03 My associates first and then my bachelor’s. But it was me. I would just always been a nerd. I’ve always been into education. So I was like, you know, I’ve already got my computer science degrees. Why not get mine photography degree? And, um, because I enjoy school and I enjoy learning from people like yourself and Ruben and so many of the other professors, wonderful professors that I had an AI that had many years of experience, real world experience in different genres and styles, photography. You did Friday journalism and you covered sports photography. And, um, you know, Ruben did portrait and you guys both did portfolio classes and, and uh, just some easy did fashion and she also did time based media on the video side. Um, so I really enjoyed my time, Natalie and getting my degree, uh, for the educational or nerd aspect of it. But I loved getting that quality time with all of my professors, you know, people like yourselves and getting your wisdom from working in the different fields of photography like you and with photo journalism.

Liam Douglas: 00:42:14 So to me that was really important, but, and it’s not necessarily for everybody and there’s no two ways about it and this day and age, especially to get any kind of photography degree, you mostly have to go to either a big university or a, a specialized art school and those aren’t cheap. Yeah, the tuition is fairly expensive. Um, and I can understand, I mean, if people complain all the time about college education being expensive in America, and it is, but you also can’t have cheap college because then you’re not going to get quality instructors and professors, you know, you can’t, uh, you can’t have a, you know, college tuition, it’s $10,000 a year for four years to get a bachelor’s degree. And you know, the university’s not going to be able to pay a slew of professors off that and easily tuition, no matter how many students they got, they just can’t cover everything.

Liam Douglas: 00:43:12 I mean, there’s a lot of expense involved than a lot of people I don’t think take into account when they talk about how expensive education is. And Yeah, there’s a lot of great resources that are more cost effective or maybe a little more affordable, like you mentioned, like creative live, which happens to be Chase Jarvis, this other company. Um, and uh, the, uh, the, uh, linea videos as well. I think it’s linear. Um, but all went, a lot of people might not know is they need to check at their local library, like a county library or a city library because a lot of times those libraries will have those subscriptions and you can go to the library and you can actually watch the videos as a patron of the library. Will I have to pay the cost up front of your own pocket for everything because the library is already got those subscriptions.

Jill Mott: 00:44:06 Yeah, I would, I, you know, look around, see what you wanted to do for and really be clear about it before you in bath. I think that’s really important. You know, look at different colleges, different universities, what do they specialize? And I went to Syracuse University and they were well known for their photography department and their photography program. And there really is nothing like having a class with someone who has professional world experiences. You know, there’s one thing to look a youtube a video and have people tell you what to do. But when you have a professor that’s actually invested in you and cares about you and wants to see you grow, and you’re the type of students who will except that, um, critique that, uh, it really does make a difference. And I, and you know, not to pump our own horn here, but you were definitely one of the students that I really enjoyed working with because you were curious.

Jill Mott: 00:45:28 You are passionate. You took my challenges. And if you’re that kind of person that wants someone to push you, no matter how uncomfortable that may be, that’s the place where you’re going to learn it. You know? And, and perhaps you may not have the financial means for that and understandable. Find someone who’s a mentor. Find someone that will work with you and take you under their wing. And because shoe and, you know, show people your work and, and build those relationships because that is what is the doubt. And you know, you can get lost in a big class with 200 people or you can, you know, find a college that is smaller and you’re going to get that, um, individual attention. And it’s really, you know, as a student of photography, it’s really up to you. You know, how much you reach out, how much you want to know, how much you need help or want help.

Jill Mott: 00:46:37 And I would encourage whatever your listeners are interested in and pursuing or whatever they can afford or whatever is accessible to them. It’s really about making connection with someone who you can bond with that is accepting. Um, we’ll look at your work and say, Hey, you know, you need to do this. And if they say, Hey, do this, you need to do it. We know. And that’s one of the things I always admired about you, Liam, is I would do that challenge you and you exceeded my, my expectations. And, and that’s the whole thing is working with people that are going to give you those perspective. And School is great that because as you mentioned, when you go to school or you’re going to have, be challenged with the thing that you don’t want to do and if you care, you’re going to quiz yourself to create the best work that you can. And you never know where that’s gonna lead you.

Liam Douglas: 00:47:47 Yeah, absolutely. For the most part in my time at AI, I didn’t shy away from too many of the classes to be honest. There was only one really that I just absolutely would not take. And that was fashioned for talked to, you’re in fashion photography. Um, and it wasn’t that I

Jill Mott: 00:48:06 hmm

Liam Douglas: 00:48:07 wasn’t interested in challenging myself in a genre or a style that I hadn’t done before, but I had a bad experience with a professor that taught the class and he was the only one that taught the class. So I was like, okay, this is not a mandatory class, so let’s just push this one off and give me something else. And so that was the route I went with that. But I, I thoroughly enjoyed all my classes I had with you. Um, I have never been a big sports person. I did track and cross country in high school. They kept trying to get me to do football and I didn’t have any interest in football. Um, I’ve been a nerd most all of my, pretty much all my life from the 10 years old and I was writing code and stuff like that. And so I’ve never really been into sports as a participant.

Liam Douglas: 00:48:56 I’m not really big into watching any sports, but shooting sports is different. I can get into that. Um, I went to Atlanta Motor speedway a couple of years ago when in shot the folds of honor Quik trip, 500 a NASCAR race. And I was actually glad I made it that particular year because it was a lane. I think a year later that my driver Dale Earnhardt Jr retired from the sport and became a, um, a common dater, uh, for, for his sport. Um, and I know why he retired. He had gotten married and he had his first kid on the way in. His wife was pretty rattled after he had two consecutive concussions and a Freebie a season and it almost killed him. So I think that’s why he got out of the sport as young as he gave. Plus, you know, if you know anything about NASCAR, his father died racing at Daytona a number of years back. So I can enjoy shooting sports like soccer or basketball or Nascar or baseball. But I’ve just never been a sports person myself. I can’t sit and watch sports like other guys do, but I can enjoy photographing it. That to me that’s more exciting.

Jill Mott: 00:50:11 Yeah, there is something about being right feels that makes it much more interesting. And there are boards that you really have to know to be able to photograph. Wow. For example, ICL baseball is one of the sports that the idea with a challenge like is, you know, it’s about action. It’s about movement. So say your, for example, a wedding photographer and someone asked you, you know, can you, you know, you can actually on sports because it’s so fast paced and it’s about a technical skill of being able to stop that action. You know, I think that’s one of the things that is great about education is that those challenges as something you may not find yourself interested in. For example, sports of lot of people are not interested in sports but the, the eight Golan of that stopping action, learning action on purpose, um, you know, predicting action are things that you will use in other genres of photography. And that’s really important

Jill Mott: 00:51:43 that, you know, what education helps to, to do is that you’re faced with the challenges that you would never do that by choice and probably never why homework, you know, but when you do them the next time you’re faced with a world real world challenge, you know how to handle it. And I think those are some of the things that you cannot get from youtube or creative live unless you’re really, really ready to be self driven. You know? Uh, having said that, you know, whatever education you are interested in, you have to be self motivated. You have to be curious in, you have to be passionate.

Liam Douglas: 00:52:46 You’ve also worked for many years as a professor teaching photography to others. Can you share a little bit more about your experiences as an instructor?

Jill Mott: 00:52:59 Well, I find it very rewarding and just starting off, just curious, unsure. Then as a professor, instructor in students and helping them to nurture them and give them traction to where they can succeed is very exciting, especially those that are very curious. And again, passionate. And often I say, you know, I can’t teach curiosity and I can’t teach passion, but I can give you the tools to work towards success. And you know, it’s up to you when you sign up to be a student in whatever form that is, it really is up to you. And if you have someone that can give you guidance, the path to persist it, it’s really exciting. I started off teaching in Zimbabwe, I’m just teaching kids photography kids with cameras, just giving them cameras, talking to them about arts and photography. And I was incredibly inspired by their innate composition and drive and passion and I really didn’t talk to them about composition, rule of thirds, framing, you know, those kinds of things.

Jill Mott: 00:54:40 And it was amazing for me to see kids, young kids, you know, from the ages of six to 13 have this wonderful sense of composition and abilities tell story. And that really inspired me to go on beyond that. Uh, I was a photo journalist before that, started working in Zimbabwe, teaching of photography and art and communication. And we’ve just so impressed by the passion that these kids had in Zimbabwe. There’s not a lot of art being taught. And I would do small workshop where I was with the team work with kids and one of the assignments or activities we would have would be to look at national geographic and they would crowd into me almost on top of me when I was showing, but single national geographic. And it was so amazing to see how curious they were about other cultures and seeing the images.

Jill Mott: 00:55:57 And it was just so, it was absolutely incredible to, to see their need and want to be more educated about other people. And that’s what inspired me to go on to more and more about teaching and education. Um, from there I went to the art institute of Colorado and have the opportunity to teach on ground and then online. And it really is a wonderful to have the opportunity to see a student’s work. And, and again, it goes back to that idea of looking at their work, seeing what they’re saying and knowing what they need to do to be successful. And you had, uh, another one of our alumni on John Harpo and he was another one of my favorite students who I could see his passion, curiosity and his willingness to take on chat. And I think no matter what your passion is, it’s a photography or something else back with you need to be successful. And seeking out those mentors is what’s important. Aye. I love peace teach. And um, having students that are open to it is the most important thing.

Liam Douglas: 00:57:44 Professional models, these are models that work with big brands like vogue, cover girl and God only knows what else. And the thing that was interesting is the, the shoot that he was actually the weekend that he went to was a combination of fashion and automobiles. Now, I haven’t seen anything he posted besides the fashion models, but I know he was telling me that it was being held at a big auto automotive museum out there in La and they were going to have all kinds of unique vehicles from different movies and TV shows. George Barris is original, 1960s battle wheel was going to be there and all that stuff. So I’m still waiting to see those images. But at, for him that was very exciting because he’s into the fashion side of photography and, and he’s also into vehicles. He’s into cars like I am. So he was getting to combine two of his passions into a single event. So I know he was really excited and really looking forward to that

Jill Mott: 00:59:08 learning and seeing the ways that you can combine those, whatever it may be with your photography is really important. And I just want to give a bit about John Because he took my photo journalism class and um, you know, learning to light is one of the challenges in that class and, and being okay with it and accepting it. A lot of, uh, photographers, including myself at times have said, you know, I’m a natural light photographer. I can do everything by natural light and probably true, but you need the skills of lighting and artificial lights to improve yourself and to improve your work. And he never looked back with those challenges. As soon as he was presented that with a class assignment, he just took it and wrote. And from that point on, you know, it advanced himself in a very constructive ways. My opinion, you know, he has his passions and he found people in his community that he felt comfortable with, that he could try things and, and make mistakes and, and grow from there.

Jill Mott: 01:00:31 Uh, you know, he didn’t just take on that assignment and, and all of a sudden go to fashion week. And not that I would encourage your listeners to is, you know, it’s okay to make, you should make mistake, but find those areas that you feel comfortable with, that it’s the space, you know, place for you to try things. And if you need to go back and shoot it again, do it, you know, but take on that challenge knowing that you’re only going to improve. None of us go into the becoming perfect, you know, and I still make a million mistakes, you know, and I still wish that I was better than the way that I am right now. And that’s always going to be the case with any photographer. And the idea is you be creative and accepting that and moving forward. Again, it kind of goes into that education side is we’re not born perfect, we’re not born perfect photographer cause watch was Dang sure. Right. And we need, you know, opportunities to make mistakes.

Liam Douglas: 01:02:03 The roller skating rink and, and Elliot Combo facility he was at, I mean he uses his lighting all the time and he’s gotten really, really good with it.

Jill Mott: 01:02:20 Yeah. This is one of point out that probably within a year to two years that he’s done that.

Liam Douglas: 01:02:28 Yeah. Yeah. Which is impressive.

Jill Mott: 01:02:34 And your curiosity, your tasks. And so, you know, again, to your listeners, why do you care about, what are you passionate about? And you know, don’t let anything stop you if you have that passion.

Liam Douglas: 01:02:52 Yes, absolutely. And what are the things, I’m not sure. I think he was telling me that he uses a software to the, he spent a lot of time studying at home when he wasn’t doing shoots. And I know there’s a couple of programs out there, I can’t think of the names of any of them off the top of my head, but I was going to look into one of them because I know there’s a couple of companies that have actually made photography specific programs that will actually help you with setting up your lighting properly depending on what you’re shooting and how many subjects are involved, whether it’s one model or multiple models and how many lights are you using. And you can put all these parameters into the software and it will visually show you on your screen how to set things up and how the light’s going to fall. And you know which light is going to be, you know, where you want to put your, your key light, your hair light, your fill light, and then your primary lights. And I said, I’m not sure, but I think he told me he does have one of those programs and that was where he really started learning about it. And then he just went gangbusters just trying everything out in the field and different photo shoots that he was doing for school assignments and stuff that he just did for himself. And he’s gotten really great with lighting.

Jill Mott: 01:04:09 Absolutely, absolutely. And I think the important aspect of that is whatever, don’t be afraid. Try, don’t be a try it. Don’t be afraid to fail.

Liam Douglas: 01:04:22 Absolutely. Now I had two more questions for you, but I’m going to kind of roll these two windows one. Um, and that was basically in addition to your years of photo journalistic work and as an instructor, you’ve also done quite a bit of your own personal photographic work as an artist and as an instructor, like you mentioned a little bit ago and you’ve done a lot of these personal projects in places like Nambia, Zimbabwe in Rwanda. Can you tell my audience a little bit more about that? I know you mentioned I’m working with some of the children and teaching them photography and doing little workshops with them, but can you, you want to go into some more details on some of that stuff that you’ve done because it sounds really exciting.

Jill Mott: 01:05:04 Okay,

Jill Mott: 01:05:04 sure. I started off Zimbabwe and I had been working for a newspaper hearing, Colorado, Fort Collins, Colorado and they always had a passion about Africa and wanted to, you know, learn more, discover more, see more. And I’m sure again like your many of your members of your audience, you know, that national geographic idea. And I found an organization that uh, use media for documentation and they were working in Africa and I chose to give up my career as a former journalist and go abroad with a project in Zimbabwe. And I worked for a media company that produced and distributed African film media and film and video wasn’t really in my repertoire. And that is one thing I do want to recommend to any photographers out there that are your listeners is it’s really important to be versatile of this stage in our, our show history is to be able to shoot not only stills but video as well.

Jill Mott: 01:06:31 It’s very, very important and embraces and, and don’t be shy about it. You may be a little bit better than you know in one then you are in another, but it’s okay at least have knowledge about it. And when I went to Zimbabwe, I started the project with kids teaching photography and uh, are in communication. And at the same time I was working for a medium organization where I did community outreach and also worked with a film company that produced a major feature film. And I was just excited to have my name on the, um, the credit line of what I ended up doing was making of a behind the scenes. And during that time I worked with one of the, uh, film crew, which was, uh, he was a gaffer and ended up helping me quite a bit on my video and eventually turned out to be my husband who is a Zimbabwe.

Jill Mott: 01:07:49 So that really opened up a lot of opportunities for me to travel in Africa and also understand the African culture. So most of my travel, uh, for the most part has been in Africa and Namibia, Zimbabwe and Rwanda doing outreach, doing educational outreach, teaching as well as documenting, uh, in those countries. And, uh, as I become more personal with the lifestyle of what’s happening in Zimbabwe, Patrick, my husband’s family still live in Zimbabwe, so we travel to the same areas as being communities. His family were farmers, so they, uh, his mother’s still alive and in that area. And then people that have been a part of her life are also there. And it’s been a real treasure to have the opportunity to know them on a personal level. I think as travelers, when we go abroad, we see a very surface opportunity. Unless we’re there for an extended period of time.

Jill Mott: 01:09:13 I’ve had, I’ve been very privileged to revisit the same area over and over again and get to know family, you know, and their kids what they do, their struggles. And that has allowed me to really document what’s been happening, particularly in Zimbabwe. Patrick, my husband also is a videographer. So I’ve been lucky enough to have that after opportunity, need to learn videography through him. He’s amazing. And um, travel with him on some of the, uh, work that he’s done in Namibia currently. He’s working with a company that teaches physics and had some opportunities to travel to maybe a where we’ve worked with a indigenous population, a teaching and training them in physics. And that’s really allowed me to be on the grass level, uh, to document them their home life and, and get to know them, which has allowed me to really document them in a personal way.

Jill Mott: 01:10:33 Um, I think what happens often as photographers, we get very, very excited about traveling and different cultures and perhaps we can, to photograph the obvious. When you are able to spend time with both cultures, you get an opportunity to understand their struggle, how they liked to be folk, for example. And that’s something that really intrigued me, the way Africans and in my experience, and I want to be really clear with that in my experience, the way Africans like to be photographed, it’s very different from my expectations originally and what we think at people or how we think people want to be photographed. And that is where a big base of my photography has come from.

Liam Douglas: 01:11:37 Photography portrayed in photographs. Correct.

Jill Mott: 01:11:46 Exactly. My experience, I haven’t run those kinds of ideas, that kind of thing. You know, of course there’s people that don’t want to be photographed and there’s people that want to be paid to allow you to take their photograph. But there’s a very interesting thing that I have run across with people in Zimbabwe in particular about how they want to be photographed and it’s a very stoic, very nonemotional way of being photographed. And I’ll, I’ll be able to provide you with some of the photos and the way that they want to be photographed with their, well perhaps it’s a specific person that they’ve been, you know, saved us a lot of money for four or an outfit or perhaps they have a car that they want to be photographed next to. And it wouldn’t be necessarily the way I would want to photograph them, but they want to be photographed but by these things or with these things.

Jill Mott: 01:13:08 And that then allows them to show that to their family, to their friends. And it portrays a certain idea of respect and well, that is very interesting to me because that’s not what I would see and what I would want to photograph if it were completely up to me. And one of the projects that I’ve done recently, we’re, uh, are some images that I took in Namibia, which I’ll share with you and your, your listeners, which is where I took a little bit more control and design the background and how they would be photographs I felt in the past in Zimbabwe’s very important to photograph the people the way they wanted to be photographed because that’s what they want. They are allowing me into their, and more likely than not, they maybe never been photographed or if they had been photographed it was, you know, inferior quality of quick snapshot.

Jill Mott: 01:14:25 And I felt that my way of giving back to this community or this individual was to let them, allow them to be photographed away that day felt best represented them. Which again, more often than not was not in my wheelhouse. I would’ve gone one 82 what they wanted. I found a way in, in recent times to kind of try to combine those opportunities with my, my expertise. Right? So finding relatively clean backgrounds and, and you know, you know, obviously I can use my camera to controls and angle and perspective and I can also, you know, squeeze off the, you know, my artistic perspective while still giving them the images that they want. So it’s an interesting balance that you play between, you know, really giving them what they need and want and honoring that to what you want and that idea of truth and balance and perspective isn’t it interesting. And our line to walk and not what I find one of the most interesting aspects of, of my travel and portraiture and I know probably a lot of folks out there are, are interested in, in the, in the, uh, wildlife aspect of Africa, which is absolutely incredible. And I have had that opportunity. But for me as a photo journalist, it’s always about the people.

Liam Douglas: 01:16:34 Yeah, absolutely. You can get more of an interesting story with that aspect of it. I mean, you know, yeah, sure. There’s, you know, all of the fantastic on lights or the Serengeti and stuff like that. But for me, I would be more interested in the people, the culture and the stories of the people themselves. Um, cause the, to be honest, I mean the, the wildlife aspect of it’s been done to death with as long as national Geographic’s men around us, that’s totally been done to death. Although they did also cover cultures and tribes and stuff like that. They didn’t get nearly as much coverage over the decades. I don’t think as the wildlife aspect down there did.

Jill Mott: 01:17:18 Yeah. You know, it is fascinating. I love it. And I’ve had opportunities with wildlife, but for me it’s always about people story. You know, what,

Jill Mott: 01:17:35 how many kids do they have, where do they live, what they eat, how do they dress in a regular basis? How do they make ends meet? What did they believe, you know, do they believe in a combination in Africa in particular? Do they believe, uh, Catholic idea with a combination of, um, no myth and an ancestor worship, you know, to me that is all fascinating. And as a photographer, I think the challenge is how do you feed them? And that kind of goes back to where idea of media and that obs that we talked about with media is really

Jill Mott: 01:18:27 how do you uncover that? How do you portray meaningful route for a way to not only yourself but more importantly they pay something. But how can you visualize that? How can you document that? How can you represent that without going off the charts and meaning something else? And that’s what I find so fascinating about working abroad and working with different cultures because we have so many stereotypes about what people think, what people do, what is try, what is culture. Um, and it really is up to you to, to figure out, you know, what is authentic. And that’s what I hope many of your listeners take away from, whether it’s domestic or abroad in particular in your own backyard. What is often, you know, you, you put your own spin on it or do you really try to listen and document what is really happening and how do you do that? And that’s the challenge in math. What I find so exciting.

Jill Mott: 01:19:50 Okay.

Liam Douglas: 01:19:50 Yeah, absolutely. Now I do that. That’s all I had for my questions, but I did have a few of my listeners submit a couple of questions here and um, and I think it’s mostly because I was hard for that. Nobody’s been posting questions for any of the interviews I’ve done so far. So John Harwell, he posted, um, and asked when it comes to photo photo journalism, how far is too far when it comes to editing?

Jill Mott: 01:20:16 Yeah.

Jill Mott: 01:20:16 Oh, okay. Good question. I think when it altered truth in any way, quite honestly, you know, that is a fine line. So if you take a beautiful portrait in terms of photo journalism and you take this beautiful portraits, but there’s a light pole in the back or a coke can in the front, it’s going to make a better picture of useful. You Photoshop that out, then you start to alter reality. And the point about photojournalism is that you’re documenting truth. And this is, again going back to some of the issues we talked to at the beginning of the interview, is if you start making those choices about reality,

Jill Mott: 01:21:11 yeah.

Jill Mott: 01:21:11 Then what is true, right? What is fake news? What, what we’re moving a coke can seems like a harmless, harmless thing and it’s making a better picture for sure.

Jill Mott: 01:21:25 But

Jill Mott: 01:21:27 you changed something and if you change one thing,

Jill Mott: 01:21:32 okay.

Jill Mott: 01:21:34 Does not open the door to change more.

Liam Douglas: 01:21:37 Yeah.

Jill Mott: 01:21:39 My opinion, I think your changes as a photojournalist, your post production as a photo journalist has to be very limited and you change the color balance. Yeah. That’s not really changing too much and you maybe dodge and burn a little bit on a face to bring up the eyes or to, uh, you know, bring more clarity. Can you sharpen a little bit because your shutter speed with too slow and you need a little bit more sharpen and it’s not going to really change what happened. I think that’s okay. But going much further than that is really is really dangerous.

Liam Douglas: 01:22:28 Yeah.

Jill Mott: 01:22:31 Okay.

Jill Mott: 01:22:31 Yeah. And even cropping images to make them better, you know, to get clutter out, you have to be careful. And I think the point with all of that is who is your audience? Is this where your portfolio is? It’s for a magazine or newspaper. What is this for? Is your approach. If you’re photographing and Troy cats were a newspaper for example, and you crop in and you only have one option for one image and you crop it into the one person holding signs

Jill Mott: 01:23:06 and they’re signs that something maybe that you agree with, but the 200 other people have signs that say something different and not really creating something that’s not a reality. And that’s when you have to be careful.

Liam Douglas: 01:23:31 Maybe spend a little bit longer than that. I can’t remember if it was Reuters or the Associated Press no longer allows their photography photo journalists to shoot in raw. They have to shoot in Jpeg so that there’s no editing. The images have to be shot in jpeg immediately.

Jill Mott: 01:24:16 Look at the shadows of different elements. Where have we get that? It’s very, very easy to alter things and um, trust that to be true. And you know, I remember photos of a bin Ladin being produced and distributed of him being killed and we know none of those were true. Uh, so, so be cautious. So assume that it’s true. Remember that media at this point is more interested in getting it there first. Then the reality that is the way people are looking at things, editors and newspapers and it’s important and they’ve had to retract. They taught, they have had to retract. So take a step, take a breath, realize, look at and use your intuition to look at an image or a story. And there’s a lot of good ones right now to see. Is that plausible

Jill Mott: 01:25:48 with Photoshop being so prevalent these days? I mean there’s people out there that can do magic with Photoshop, but that’s the problem is, you know, Photoshop leads to much more counterfeiting of images, faking images and doctoring images and stuff like that. And you know, I knew when those images of bin Ladin after he was after seal team six killed him that were circulating new. Those are all fake because I spent 10 years in the army and I know we, we wouldn’t release photographs like that. And primarily we wouldn’t have done it because it was, it’s disrespectful to the culture in that part of the world. So I knew that all of those images were fake. I knew they were completely garbage.

Jill Mott: 01:26:47 No. Yeah, yeah. Or what the reality is, obviously I don’t think we have to take a step and it goes to John Question. As a photographer, are you, it changed the reality to match your and as a photojournalist that’s not okay.

Jill Mott: 01:27:30 Yeah. And unfortunately in this day and age one way or another. So that’s why I pretty much don’t have anything to do with any kind of news media in any form or fashion other than the work I do with the art of newspaper.

Jill Mott: 01:27:50 It’s just sad. It’s sad.

Liam Douglas: 01:27:53 Um, so I did have one quick or one item from my girlfriend Janice. Um, which was more of a comment. Um,

Liam Douglas: 01:28:01 she said that

Liam Douglas: 01:28:03 she’s watched as you taught me through the classes I had with you over the last four years. Um, and she wanted to thank you for believing in me as she has and also thank you for giving me guidance on my project and expanding the social media aspect of that and for being a fantastic teacher and mentor. And I want to thank you again, myself as well for all that you’ve done to help me out with my photography.

Jill Mott: 01:28:32 Wow. As a teacher over the years, exceeded my expectations. And here I am being interviewed for a podcast and I have been bragging about my interview with my former student to making awesome podcasts and I’m just so excited to be here and uh, you have been a great inspiration to me as well. And um, I hope all your listeners keep on this man and asking those questions and I would love to be back is talk about those hard questions we, we, we chatted about earlier with media because I think a media per tography and the opportunity to manipulate is something that everyone needs to be aware of. The important side of photography in my opinion, is really telling those stories about the people you’re photographing in the way that needs and wants to be photographed. And your role at this Todd refer is to give them voice. And um, you’ve given me, boy, there’s this podcast and I’m very grateful. So thank you am

Liam Douglas: 01:30:26 and do this interview with me. I tell all of them, I guess I liked the interviews to at least be an hour because I just think the longer format as much better, especially for an interview, you can’t do a meaningful interview in 15, 20 minutes. And so, uh, but I definitely don’t want to tie you up all night and I’ve still got to work on editing the video portion so I can hopefully get both up by Thursday at the latest. I normally try to release my new episodes on Thursday if possible. Um, but prefer to shoot him ahead of time. Not so much for a lot of editing just because with me working two full time jobs, you know, depends on my schedule can change from week to week. I might be off one week on Thursday and then it’s fine to do it on the same day I release it.

Liam Douglas: 01:31:15 Uh, but this week I’ve got to work Wednesday and Thursday, both for Turner at night. So it’s better for me to record it with you tonight. And then I’ve got a, you know, a day or two to do the editing of the video Parsons of stuff. The first interview episode that I’m doing with the company youtube videos. So, and that way I can get your images that you sent to me in any additional ones you send. And of course I’ll also have you, um, share with me any, any social media links for yourself and your portfolio, digital portfolio and stuff like that. So I can put them in the show notes for my listeners as well. But I definitely want to thank you for being kind enough to give me an hour and a half of your time.

Jill Mott: 01:31:58 Do Edit. Well, I absolutely love this conversation and hope to have another one with you in the future. Um, I have so much fun today. I, I really, you asked some great questions and it was so much fun.

Liam Douglas: 01:32:21 Yeah. Yup. And we’ll definitely, definitely be having you back for additional episodes as long as you’re okay with that. Cause I know there’s a lot of other topics you and I can talk about

Jill Mott: 01:32:32 for sure. For sure.

Liam Douglas: 01:32:34 Alright, now I’m going to go ahead and let you go then. So I can wrap up this episode. You have a wonderful evening and we will talk to you again soon,

Jill Mott: 01:32:42 thankfully.

Liam Douglas: 01:32:45 All right. Thanks, Jill.

Jill Mott: 01:32:47 Okay.

Jill Mott: 01:32:47 All right, bye. Bye.

Liam Douglas: 01:32:50 Well, there you have it folks. That is the wrap up of my interview with Joel, my professional photo journalist and photography professor and instructor and it’s been a long one, but as I told her, I enjoyed the fact that it was a longer, even longer. This so far has been my longest interview and I, and I knew it was going to be a long one because there were a lot of great things to talk to her about and she and I have a great rapport and relationship, so hopefully you’ve enjoyed it. As I said, this is going to have an accompanying video on my youtube channel. I’ll put a link to that in the show notes as well as any of Jill social media links and her portfolio that she wants to share. With that, I’m going to go ahead and wrap up. I want to thank my listeners again for subscribing, rating and reviewing and iTunes and any other platforms you might using to listen to this podcast. You’re listening to the Lillian photography podcast. This was episode 14 and I will see you next time. And Episode 15

Jill Mott: 01:33:53 [inaudible]. Yay.