Episode Archives

Liam Photography Podcast: Episode 20 – Grande Being Sued, Nikon Releases Their EyeAF & More

In this episode I talk about Ariana Grande being sued over posting to Instagram, Nikon releases their 2.0 Firmware with EyeAF, Adobe updates Lightroom with a new Texture Slider and also rename Lightroom Classic CC and Lightroom CC, but there is still name confusion. DJI release their Osmo Action camera as a direct competitor to the GoPro and more in this episode.

Ariana Grande Lawsuit:
https://petapixel.com/2019/05/15/ariana-grande-sued-for-posting-photo-of-herself-on-instagram/

Adobe Texture Control
https://petapixel.com/2019/05/14/adobe-adds-texture-control-slider-to-lightroom-and-camera-raw/

Nikon EyeAF video by Jared Polin, AKA FroKnowsPhoto
https://www.youtube.com/watch?time_continue=15&v=gxqa_f6LsQI

DJI Osmo Action
https://www.dji.com/osmo-action

One of my Landscape photos on today’s Tony and Chelsea Live!
https://youtu.be/463wZr7P2Jk?t=541

Transcription by temi.com there may be grammatical errors.

Liam 00:01 Ariana Grande being sued for posting photos of herself on Instagram. DJI unveils the Osmo action to rival the Gopro. Adobe adds a texture control slider to light room and camera raw and Nikon finally releases their firmware, which gives their z six and z seven cameras. Eye Detect autofocus all this and more on episode 20 of the Liam Photography podcast.

Liam 00:58 welcome to the Liam photography podcast. I’m your host Liam Douglas and this is episode 20 I want to thank all the listeners for subscribing, rating, and reviewing and iTunes and any other software that you might be using to listen to this podcast. We appreciate you all so much and appreciate you listening every week to our new episodes, whether they’re just camera news or interviews. We appreciate y’all so much. Be sure to stop by the lamb photography podcast, Facebook group and join so you can stay up on the no and you’re also welcome to post your own photos there. Made sure that they are photos that you took yourself. Do not steal other people’s photos and post them to the group or you will be banned. Everyone is free to join. The group. The only requirement is that you answer a simple question, which is the name of the host of this podcast, which is myself, Liam, and I do that to keep the bots and spammers and advertisers and all that other garbage out of the group so that people can enjoy it more.


Liam 01:57 All right, so let’s get on with episode 20 of the lamb photography podcast. Ariana Grande Day is being sued for posting photos of herself on Instagram. So if you know anything about a little bit of the history with Ariana Grande’s, she’s a pop star I guess. Uh, here in the U S I don’t know a whole lot about her. Um, I only listened to eighties music myself. That was the era I grew up in, but she made headlines a couple of months ago for striking back at what she called greedy photographers with a concert tour or photo contract that demands that she retains full copyright for any photos taken of her at any averse shows and concerts. But now the singer is being sued by a photographer for posting his photos of her without permission on Instagram. So apparently back in August of 2018 the 25 year old grand day posted side by side photos of herself leaving a building while holding a bag displaying word sweetener, which apparently was the name of her fourth studio album.


Liam 03:05 The caption read happy sweetener day, but it turns out those photos were shot by New York based Paparazzi photographer Robert Barbara who says grand aid never asked for or received his permission to publish the shots. Barbara just filed a copyright infringement lawsuit against Grind Day yesterday in the US District Court for the southern district district of New York. Barbara is the author of the photographs and has at all times been the sole owner of all right title and interest in and to the photographs, including the copyright there to the lawsuit states Rondae in fringed on his copyright in the photographs by reproducing and publicly displaying the photographs on her Instagram page. And apparently it’s kind of a big deal because I guess she has like 154 million followers just on Instagram. Uh, it says Grand Day is not and has never been licensed or otherwise all authorized to reproduce, publicly displayed, distribute or use his photographs.


Liam 04:09 The photographer is demanding either 25,000 for each of the photos or profits ground a generated from posting it to our 154 million plus followers on Instagram. That post has racked up at least 3 million, 392,000 likes prior to it being taken down. And this is according to the lawsuit. So it’ll be interesting to see how this one plays out in the courts. I’m sure they’ll probably reach some sort of settlement agreement. A lot of times that’s what happens with these kinds of cases. Um, but it is interesting that, you know, I’m, like I said, I don’t know a whole lot about her and I’m not, and I’m not trying to bash or anything, but I mean, I’m sorry, but to me she’s got one heck of an ego thinking that anybody that takes photographs or heard any of her shows or concerts is just going to forfeit all rights to their photos to her.


Liam 04:58 And she can do whatever she wants with them. And people have talked about this on other podcasts and youtube videos and I agree with what a lot of them say, just don’t sign the release. It’s as simple as that. Um, you’d be crazy to give up your rights to your own work. And as somebody who is an artist herself, I think it’s kind of ridiculous for her to expect other artists to surrender their copyrighted works to her. Um, just because she’s a musician. Uh, I just think that’s totally out of whack and she’s definitely off the rails with that, with that whole a concert photography contract that she’s trying to force on, on everybody at all of her shows nowadays. I, the girls got one heck of an ego if you ask me. But like I said, that’s the latest news on the situation with her and it’s like I said, it’s going to be interesting to see how it plays out, but I, I’m assuming that more than likely they’ll reach some sort of settlement outside of court.


Liam 05:58 Uh, I mean it’s possible it could go through the entire court process, but you know, usually people like this, uh, in cases like this, they usually settle them out of court. So I imagine that’s probably what’s going to happen in this case. So the next episode or item I wanted to talk about on this episode is Dji unveils the Osmo action camera to rival the Gopro. So if you know anything about action cameras, of course Gopros, not the only company that makes them, but they’ve been pretty much the top dog ever since they came on the scene. They started the action camera craze, um, and the gentleman that founded a Gopro, a was the surfer himself and he kind of put together what he did. Originally it was, he bought these inexpensive Chinese cameras and then he created his own waterproof housings for them and wrist straps and he sold them to other servers up and down the California coast.


Liam 06:55 And that’s how his company got started. And so he was the first one to create the action camera and the action camera craze. And then of course other people have gotten involved. Sony’s got their align. Other companies have done action cameras, there’s a lot of Chinese knockoffs to the Gopro, but use the same mounts and everything. Um, but Gopro has always been the top dog. And this is really interesting because Dji of course is the top name and drones and drone photography and cinematography a, their drones are used by a Hollywood for a lot of movies and TV shows because it’s a lot cheaper than hiring a crane trucks, um, and having to pay 80, $90,000 a day for a camera truck to follow a, a hero car down streets and stuff like that and shoot the footage from the crane boom or whatever it is on the truck and stuff like that.


Liam 07:47 So a lot of, a lot of studios have gone use the Dji drones for those kind of shots. Uh, too much success. And it saves the studio a ton of money because like I said, the old way with using those boom trucks, you paid 80, $90,000 a day to rent those trucks. And then of course, you had to pay the driver and the camera operator that was in the boom and all that stuff. And nowadays they can go out and buy two or three of the Dji, um, as, um, um, inspire. I think it’s the inspire one drones, um, which are the, uh, the commercial grade drones the Dji makes. And, um, you, you know, a studio can buy three, four, or five of those. I mean, yeah, they’re not cheap or three to 5,000 a piece, but when you’re a multibillion dollar studio, that’s chicken feed, you know, and he could buy four or five of those drones and use them over and over and over again, and you’re still saving a ton of money versus, you know, renting one of those boom trucks and, you know, hiring a driver and a boom operator and all that stuff.


Liam 08:53 And the Nice thing about the commercial d Dji drones is they can actually be set up and controlled with two radio controllers at the same time. So you can have two people, um, working each one of the drones. You can have a person that’s the pilot flying the drone and a separate person who’s the camera operator. Are you using the, the uh, sister remote and, um, so, and I say it like I said, a saves the studios a lot of money. But anyways, I’m getting off track here. So anyways, Dji has announced the Osmo Action Camera, which is a new product that they’re just coming onto the market with and go pro tried to rival Dji drones back in 2016 and I’m sure you might be aware by launching the Dji a Karma. But I mean, I’m sorry, the Gopro Karma, uh, but it wasn’t a very good drown and they ended up having to recall them all because they had a lot of issues.


Liam 09:47 They ended up discontinuing the entire, a Karma drone line in less than two years. So now Dji has decided they’re going to return the favor by releasing their own action camera. And the thing that’s interesting as it looks like it does take a similar amount to the Gopro, if not, um, the same kind of mounting system. So I don’t know if there’s any kind of copyright infringement there. I wouldn’t think so. Uh, I don’t know for sure. But like I said, there’s a lot of Chinese companies that make their own action cameras that are very similar to the Gopro and the mounts are exactly the same, but then again, China does not or anybody else’s intellectual property or trademarks or patents or anything like that. So that’s probably how they’ve been getting away with it. But, um, the thing that’s interesting about the Osmo action camera is the fact that it has two screens.


Liam 10:38 So the Gopro in a way has two screens. It has a touch screen on the back, which you can preview your footage, um, Adrian shooting it or your stills. You can swipe it, uh, to go through the menu and the preferences and all that good stuff. But on the Gopro, and I have a few of the Gopros, the screen on the front is a plain black LCD screen and it generally just shows you what mode you’re in. Um, how many minutes of battery life you have left, how many shots you have electric are doing stills versus videos. And you know, how many minutes of video record time you have left, stuff like that. But the difference with this Osmo action is the screen on the front is a full color selfie screen. So if you’re into using action cameras, you can set up your shots, frame your shots a lot better with the Osmo action camera because the fact that it has a selfie screen on the front of it, it’s full color instead of just the black LCD screen that the Gopro has.


Liam 11:45 So it’s definitely gonna gonna shake up the market quite a bit. And just like the hero seven, the Osmo action does have built in stabilization. And I was, uh, my girlfriend and I were watching Kai Juan’s a video about this camera the other day, I think it was yesterday or the day before on you on his youtube channel. And he demonstrated the builtin stabilization and it does work really, really well. Uh, and in many cases that actually did a better job of stabilizing than the builtin stabilization of the hero seven black. So it’s definitely going to shake up the action camera world. And the other thing that’s interesting is the retail price for the Osmo action is $349. So they’re even selling their camera for 50 bucks less than the GoPro seven black goes for. Although I’m Gopro has done sales on the seven black where you can get a better price on it and stuff like that.


Liam 12:45 You can save some money and made various times, you can get a, you can get a coupon code from them that’s good for like 10 days that you can use on air webstore and save a hundred bucks off the price. So, but it’s definitely going to be interesting now that a Dji has decided to get into the action camera market. And you know, I honestly think he did it too. It’s kind of a slap back to a few Gopro for trying to get into their market with the wood, their failed drone, you know, in the last few years that, you know, that just fizzled out real, real miserably. And of course Dji still dominates the drone market and I don’t think there’s going to be any kind of con serious competition for them anytime soon. There’s a couple of other companies that make, okay. Drones, uh, other Chinese companies because Dji is a Chinese company, um, and their drones are so, so, but uh, you just don’t see people snatching them up like you do the, the Dji Phantom line, especially in the inspire line.


Liam 13:46 Um, those things just sell like hotcakes. It’s, it’s crazy how popular their drones are, but it oh yeah. And Looking, I’m scrolling down the, uh, the article about the Osmo action and that does use the exact same mounting system as the Gopro. So that’s definitely interesting right there. Um, I, like I said, I don’t know if Gopro has that mount, um, copyrighted or trademarked or patented or whatever you want to call it. But, uh, apparently not. And now the Osmo action is slated to hit store shelves on May 22nd. So the, this new drug, uh, Action Camera, I’m sorry, not drunk. This new action camera will be out soon. Um, it is capable of shooting at 10 80 p 30 frames a second. It has dual microphones, a speaker, slow motion, eight x at 10 80 p 240 frames per second or four x at 10 ADP at 120 frames per second.


Liam 14:42 It does time lapse manual exposure and it has and you know, like, uh, like I was saying a minute ago, it has compatibility with a large ecosystem of accessories because it uses a lot of the same third party accessories as the actual Gopro. So it’s definitely gonna make things interesting. Um, it can shoot four K at 60 frames a second just like the, uh, the Gopros, Ken. So it’s definitely going to create some turbulence. I have a feeling in the action camera market. Now. I’ve got some, but I got this information on this action camera, not only from Kai’s video but also from an article on Petty pixel.com and I will make sure that I include the article, uh, the Pettit Pixel article in the show notes for this episode so that you can check out the demonstration videos that are there from Dji is a youtube channel and you can check us out for yourself.


Liam 15:33 It’s definitely a, an interesting little camera. It’s a great little action. Cameras, fully waterproof and everything, um, without a special housing like the newer, uh, Gopros are. So I think it’s really going to shake up the extra action camera market and it’s going to be interesting to see, um, exactly what this means for Gopro. Because if you know anything about Gopro, they’d been kind of, the company has been kind of dying the last uh, few years, uh, just with some of the crazy stuff, the founder and CEO of the company and financially and some other things he’s done. Uh, their, their stocks took a huge hit and uh, they haven’t been doing a very good job at recovering. So, uh, with this new challenger, with this new camera from Dji, it might be a sounding the desk bell for Gopro. I guess we’ll have to wait and see.

Liam 16:24 All right, the next uh, object or item I wanted to get to you in this episode. Now, Adobe recently updated light room. And if you didn’t already know, um, one of the things would light room more recently since they’ve gone to their creative cloud subscription licensing for all of their software, Adobe, that is uh, Adobe made things kind of confusing because they came out with a cloud only version of light room that you could still run on your machine. But it has to be constantly tied to the Internet because it’s a cloud based version of light room. And they decided to name that one Adobe Lightroom cc and the standalone software, which now also has a subscription. Um, you can’t get a, a permanent license key like you could in the old days they called that version Adobe Lightroom classic cc. And it was extremely confusing for everybody because both of them had Lightroom cc in their name so people would get mixed up on which one was the cloud only version, which one was the desktop version that they were used to using.

Liam 17:31 When, you know, when Adobe did the whole cs line, uh, creative suites, you know, one through six and so on and so forth. While with their most recent update, Adobe has decided to rename light room again. So now from what I can see, they are calling the cloud only version of light room, Adobe light room and the standalone program that runs on your desk but still has to talk to the Internet to verify you have a license at least, um, is now called light room classic. So I don’t know if that’s going to help people a whole lot as far as the confusion and that with the similar naming, I’m not sure if that’s going to help her or if it’s going to be just as confusing for a lot of people as it was when it was Lightroom cc and Lightroom classic cc. Um, but they did make that name change recently and the new update, uh, I think it’s eight dot.

Liam 18:29 Three also introduces a new slider control slider in the develop module for both light room and camera rall called the texture control. And this slider is really cool. I’ve actually played around with a little bit. Uh, the Nice thing about this is you can give more emphasis to textures in your images. Um, you can raise the texture, the quality of the texture, or you can take some of the way. In other words, you can, you can, you can modify the intensity of textures in your photos, whether it’s spoilage in a landscape shot or, uh, let’s say, uh, the details and the tires on a race car that you photographed in a NASCAR or formula one race or something like that. And you can also use it with portraits. Um, although I would suggest going very, very easy with using this in portraits or you’re going to end up with some really weird stuff going on in my opinion anyways.

Liam 19:30 I mean, I, I’ve seen in other photographers have talked about seeing, you know, people over process their photos and uh, uh, you know, especially their portraits and the people end up looking like they’re made out of plastic instead of being an actual, you know, flesh and blood human being. Um, but this texture slider is definitely interesting and, and it’s nice to have, it’s a, you know, a new item for the develop module and a loop deck. If you have a loop Jack plus, um, editing keyboard like I do, they just recently released an update for the new version of light room. There a loop deck setup software. Uh, they originally released version two, six two. Dot. Six. Dot. Two yesterday, uh, which was supposed to be for the New Light Room and give you the ability to control the texture slider with one of the dials on the loop deck plus keyboard.

Liam 20:21 Uh, but they made a mistake, um, that they didn’t catch in quality control of their code. Um, so I installed a, the new version of the loopback software and all of a sudden I didn’t have support at all for light room anymore. And it was because when Lupe deck released their update, they forgot about the fact that Adobe had changed the names on light room. And so their software wasn’t looking for the new folder name on Mac or windows. It was looking for the old folder name. So since it wasn’t finding the folder, it just didn’t give you the option to use the, the editing keyboard would light room at all. And I, uh, made Luke deck aware of that on their Facebook page and they were kind enough to, uh, release an update this morning, two dot. Six Dot. Three which fixes the issue in Mac.

Liam 21:11 But as of the time I’m recording this podcast, they have not released to dot six dot. Three for windows, yet I can only assume they’re still working on it. So if you do have a loop deck plus editing keyboard, you cannot update two, two dot six dot three which will give you all of your functionality for the latest updated version of light room, a eight dot three. And you’ll have the ability to control the new texture slider with editing and keyboard. And, uh, you’ll be here, you’ll be a happy editor again. But, uh, so the texture or share similarities with existing controls, the nondestructive tool ranges from minus to plus 100 minus 100 to plus 100. Um, and it’s somewhat between positive clarity and sharpening and on the negative end at something like noise reduction. So it’s, it’s similar to those other tools but gives you more control.

Liam 22:07 Uh, the sharpening works on the high frequency, quote unquote high frequency areas of a photograph, uh, the edges and find details, texture targets, the mid frequency areas. Um, so like I said, if you have a landscape photo in which you’d like more definition and some shrubs, uh, jacking up sharpening all the way causes noise in the photo to overwhelm the extra detail that you get. But if you turn up texture all the way, certain details or enhanced while noise is largely unaffected. So that is definitely a, a bit of a game changer for those of us that are using light room. Um, and I will post a link to the article about, uh, the texture slider, a also for pet pixel where you can see some demonstrations, uh, that light or our Adobe has released with this, uh, where you can see the before and after with using the, uh, the uh, texture slider and poor crits landscapes and things like that.

Liam 23:05 And it’s really cool. Uh, there’s also a testing out the new Adobe light room slider texture video, um, at the bottom of that article. So you can, you can play back that video and watch that as well. And I think that that’s pretty cool and something that a lot of people are, are probably going to enjoy in their editing, especially if, like I said, if you’re a light room user, which a lot of people are like, rooms still wanted the most popular if not the most popular, um, editing photo editing software on the market. And there are some other really good ones out there, lumen, uh, especially with version three of women are and I think they just updated the three.one yesterday. Uh, they added libraries and some other features that you have in light room as matter of fact. Luminaires kind of cool because in many ways it’s like a combination of light room Photoshop because unlike light room and luminar you can do layers and stuff like that.

Liam 24:01 Um, where on the Adobe side you have to go take your photo from Lightroom to Photoshop to do layers and then save it back into light room. So that has definitely, uh, definitely some new and interesting things for, for everybody to using a light room. And I think you’ll enjoy the texture slider. I know I have, I’ve only played around with it a little bit, but I think it’s really, really cool. Now, the last item I wanted to talk about in this episode is Nikon has officially released the firmware update for their z six and z seven. Meryl is full frame cameras, which now you have those two cameras. The ability to have I detect auto focus and it’s okay. Uh, Jared Poland, uh, released a video to his youtube this morning on how well it works and he compared it to Sony and Canon by using the three cameras set up side by side on tripods with a Atomos recorders tied into him too.

Liam 24:59 You could see exactly what’s going on directly through the viewfinder of the camera. And he recorded, he did a great job of this video. The, the big takeaways are that Nikons, I detect autofocus. It works fairly decent. It’s nowhere as near as good as Sonys of course. And, and neither is Canon’s for that matter on the Eos are, um, but it works halfway decent. Uh, the autofocus system does tend to get confused. Um, if a person turns away from the camera so that the I detect auto focus can no longer attract their eyes or they move out of the frame and come back and you could see all listened Jerrod’s video. Uh, I’ll put a link to that in the show notes as well. Jared does a great job of demonstrating, um, are, are showing his viewers how the I detect auto focus works and how it stacks up to Sony and cannons.

Liam 25:52 Uh, but it does, if the person moves out of the frame and then back into the frame, the autofocus system, we’ll sometimes get confused and it’ll stay locked on an object that’s in the background and not go back to the person when they come back into the frame. Um, it does work from a greater distance away from the camera than canons currently does. A Sony still works by far for much further away from the camera than anybody else’s of course, because Sony has had the technology for a lot longer. So of course there’s is more ironed out and more perfected. But this is a really, really good start to the, I detect auto focus for Nikon. So they, you know, they finally gotten to the party. They got there later than everybody else, but they did get to the party and their first version of, I detect auto focus does work halfway and um, I can only expect that they’re going to make massive improvements to it as time goes forward.

Liam 26:50 You know, with new firmware updates, uh, down the road, I’m sure both Canon and Nikon, we’ll make massive improvements to their, I detect autofocus. Uh, the new firmware version is too. Dot. Oh, just to let you know that you can go over to Nikon support site on Nikon USA website and download the update now the Nikon, um, just like the canons, it’s really quick and easy to do a firmware update. You download the firmware, our file for your camera model, whether it’s the six or the seven, and you just copy the file into the root of your SD card, pop the SD card into the camera, go through the menu to the firmware section in the menu. Tell it you want to update to a new firmware. It’ll check the SD card and we’ll see the new file. It’ll say, this is the version you have.

Liam 27:36 Is this the version you’re going to go to? You confirm and, and it does the install, uh, which is the same way Canada does things. I’ve never done a firmware update on a Sony, but I know, uh, from Jared talking about in his video and Tony a Northrop as well, talking about in videos, I guess on Sony Cameras, a firmware update is a real bear. It can be extremely difficult to pull off, uh, just because they don’t have a straightforward, simple and easy way to do it like Canon and Nikon do. So Canon and Nikon definitely had the leg up on Sony when it comes to implementing firmware updates. Now in addition to adding I detection to the aff for detecting and tracking subject’s eyes, it cameras are also getting improved. Autofocus performance in low light from minus one to minus two eve in the z seven minus two to minus 3.5 EDB on the z six and minus four Eby to minus six e v on the z six in low light a f mode.

Liam 28:38 Now one of the catches and well on the Nikon with using the IDA tech auto focus is you have to have area autofocus turned on. So in other words, unlike the Canon and the Sony, you can’t use a single AAF point. And I detect auto focus together. A Nikon does not allow that. You have to have all out of focus points enabled in order to be able to, um, enable the, I detect auto focus, which I think is kind of a crappy way to, to deploy it. But like I said, it’s a start and one can only assume that in a future version of the firmware they’ll give you more control, uh, with being able to use a single point, autofocus point and still use the, I detect auto focus at the same time. We’ll have to wait and see if that does flesh out that way.

Liam 29:27 In a future version a, the, I detect aff for still photography is highly anticipated feature that detects and focuses on humanize and both AFS and AFC using the auto area f mode only when the eyes and multiple subjects are detected, the multiselect or, or some selector can be used to select the eye upon which the cameras should focus. This is coming from Nikon. This enables precise focus on the eye of the intended individual even when looking through the electronic view finder. Now one thing that you will see, and Jared Polin Aka fro knows photos, a video as a, that the, I detect autofocus box on the icons a bit larger than it is on the Sony. And when Canon did their firmware update, their last one, uh, go on to, uh, I think it was one dot two. Dot Zero from one.one.zero. Um, Dannon actually gave you the option has smaller autofocus boxes.

Liam 30:29 You could, you have the normal size, which was larger than a smaller size, which is what I prefer on the Nikon. You can’t do that. There are, there are auto focus boxes are a bit bigger and a coordinated Jareds testing. And his video, one of the downsides of that is the, I detect autofocus, we’ll frequently lock onto the subjects eye lashes instead of their eye. Um, so they do still have some, some bugs and issues that they’ve got to flesh out in that, but I’m sure, you know, in a future firmware update, it’s going to be, you know, they’re good. They’ll get things more ironed out just like Gannon. Well, and it’s not going to be too long before Nikon. And so our canon will be able to give Sony a real run for their money on the, I detect autofocus side. We’ll have to wait and see.

Liam 31:14 Uh, like I said right now, Sony is the king when it comes to that, but the other two are actually in the party now and so it’s Fuji. Fuji does have a, I detect auto focus as well and some of their cameras. So it’s definitely going to be interesting to see how this goes. You know, how things go moving forward. But it definitely makes things a lot greater for all of those of us. The enjoy photography, whether you’re doing it as a hobby or as a paid professional, uh, the more useful technology and tools you can have in your camera, the better it is for everybody. Right. I did have one other item I wanted to talk about on this week’s episode and it almost completely slipped my mind. Um, and it is a little bit exciting. Uh, Janice and I, as I was out doing my real estate photography and we were riding in the car today, we were watching the, a youtube video for Tony and Chelsea Northrop’s live show that they do every Thursday at 4:00 PM on Youtube.

Liam 32:11 And they were critiquing landscape photography this week. And I had actually submitted one of my photographs that I shot back in 2014 of a sunrise on Tybee island, Georgia with the sun coming up over the Atlantic Ocean. And the photo has been really popular on Getty images. I’ve sold about 800 copies of it the last couple of years, um, which I’m, I’m pretty proud of and I was really stoked that they actually chose my photo is of the ones that they critiqued on their youtube channel today. So I’ll also put the link in the show notes to the, a segment of their video where they’re looking at my photographs from talking about it and, uh, my listeners can check it out for themselves. All right, so that is all I wanted to talk about in this episode of the podcast, the Liam photography podcast, episode 20. I want to thank all of my listeners again for subscribing, rating, and reviewing and iTunes or wherever else you may be listening to us from. And that includes Spotify. And I will see you next time. In episode 21

Liam photography Podcast: Episode 19 – A New Portrait lens, Discounts and Firmware

In this episode I talk about the just announced Canon RF 85mm F/1.2L USM lens. Savings from Canon and Nikon to save those shooters some money, as well as new firmware for Sony and Nikon cameras and new praise from DxO Mark on the Panasonic S1R full frame sensor.

Canon RF 85mm announcement from Canon Rumors
https://www.canonrumors.com/canon-rf-85mm-f-1-2l-usm-coming-next-month/

Canon savings article from Canon Rumors.com

Big Canon EOS R price drop, save up to $500 and still get the EF-RF adapter for free

Nikon firmware update for DSLRs

Nikon D850, D7500 and D5600 firmware updates released

Panasonic’s S1R sensor story from Peta Pixel

Panasonic S1R Ties Nikon D850, Sony a7R III for Top 35mm Sensor: DxOMark

Nikon’s sales event

https://www.nikonusa.com/en/nikon-store/mothers-day-sale.page?cid=img_en_us:SEM:EC:ELVT:042819:Google:P:CaptureSavings:z6:Low:z6&gclid=EAIaIQobChMI8tX20-WO4gIVw4uzCh3rPAK-EAAYASAAEgLlkvD_BwE

Transcript by temi.com, there may be grammatical errors.

Liam 00:01 Canon announces its first RF Mount Portrait Lens Canon and Nikon. Both are offering savings on their muralist, full frame bodies and Nikon and Sony have released new firmware or their camera systems. All this on episode 19 of the Liam photography podcast
Liam 00:45 hello everybody. This is William Douglas again with a lamb photography podcast. You’re listening to episode 19 so on May eight Ken and unveiled the RF 35 millimeter f 1.2 L it’s first portrait lens for the new RF mount on the Ios are an RP full frame mirrorless bodies. The New Standard Prime Lens is the first one to pack Canon’s proprietary belief spectrum refractive optics technology which greatly reduces chromatic aberration and faster lenses. According to cannon, the Br optical element first introduced in the last 35 1.4 l mark too is inserted into the lens and refracts blue light between the concave and convex lenses. Gannon says this enables the convergence of the entire wavelengths of light to one point resulting in higher image quality from the center to the edges of the frame. Features and specs of the RF. 85 1.2 l include a minimum focusing distance of 2.79 feet or 0.85 meters.
Liam 01:57 A customizable controlling for or adjusting exposure compensation, shutter speed, aperture, Iso, a 12 pin communication system, dust and weather resistance, ceiling, fluoride and coding for resisting smudges in air sphere coating that reduces flare and ghosting. Now this new Lens is supposed to be released in June of 2019 at a cost of $2,700 now if you may remember I’ve talked about the RF lenses for cans. Ios are an RP in previous episodes and I’m still trying to grapple with the idea that some of the lenses they released for the RF mount are just ridiculously more expensive and their ETF cousins, if you remember I mentioned before that the RF 50 millimeter 1.2 l is $1,000 more than the eff 50 millimeter 1.2 l the 28 to 70 f two is about $1,300 more expensive than the 24 to 70 f 2.8 in the eff mount. And now we have the same thing with the RF 85 millimeter 1.2 l portrait Lens.
Liam 03:16 This lens is running for about 13 or $1,400 most more expensive than the mark two version of the eff. Now 85 millimeter portrait lens. Now on trying to get some, I’ve been trying to get some information from Canon on and why their pricing is so all over the place. And the reason why I say that is if you remember from the previous episode, the RF 35 millimeter 1.8 I s Stn Lens is the same price is there. Eff 35 millimeter F I s Lens. And the same is true with the 24 to one oh five f four l I s Lens. The RF version of that lens has better glass, makes better images than even the mark two of the eff mouth and yet they sell for the same price. So I’m still not sure why Canon is going ridiculously more expensive on some of the El Lenses. And then other lenses in the RF mal, they’re selling for the same price as their ETF cousins. Now I did send an email yesterday to one of the executives at Canon USA and I’m waiting to hear back from him on that and I’m hoping maybe even to possibly, uh, get him to do a brief interview on the show and talk about Dannon’s thoughts on the pricing model for these particular lenses.
Liam 04:41 Now, some good news for anybody out there that’s a current canon or Nikon shooter and you’ve been debating whether or not you should pull the trigger and buy their mirrorless full frame offerings. You have the Nikon z six and c seven as well. As I mentioned, the Canon Eos are an RP while Nikon has announced as of May, third price drops for what they call capture the savings sales event. Now this will allow you to get into one of their newsy meritless full frame bodies at a significant price break. Nikon, we’ll be providing several special offerings on the innovative Nikons email system, including up to $600 instant savings on the Nikon z seven and $200 instant savings on the z six so now would be a good time if you’re a Nikon shooter to grab one of these two bodies and save yourself a little bit of coin in the process. I think it’s a great thing. A lot of people complained when Nikon released the z six and c seven that the z seven especially with priced kind of out of range with everybody else. Disease six was selling for 1999 so now you can get that for $200 off. You can get it for 1799 and at 1999 it’s on par with the pricing for the Sony and Ken and offerings. But the z seven
Liam 06:05 okay
Liam 06:05 was retailing for $3,500 which is a significant amount of money, especially when it doesn’t have all of the capabilities that the Sony mirrorless full frames have or less money.
Liam 06:19 Okay.
Liam 06:20 So these price breaks on the Nikon z systems I think are really awesome. Now the price breaks do also apply to certain Nightcore lenses as well as some of their cool pics point and shoot cameras.
Liam 06:35 Yeah,
Liam 06:36 you can get the
Liam 06:38 Nikon d eight 50 also for $300 off it either otter Adorama or B and h. The coolpix p 900 is $100 off the d 3,400 with the 18 to 55 VR kit is $100 off the Nikon d 500 body only as $200 off the Nightcore 50 millimeter f 1.4 g is $40 off. And then I con 24 to 70 f 2.8 g is currently $350 off, so that’s a great time. Like I said, it’s a great time to pick up any of these items that you might have been kind of on the fence about, especially if you want to transition from shooting Nikon Dslr to icon Merrill was full frame. Now’s the time to make that plunge.
Liam 07:27 Yeah.
Liam 07:27 Now in addition to the sale that Nikon is currently offering, Canon has also announced price drops on there, Esr and RP where customers can save up to $500 and still get the eff to RF adapter for free. Under this current sale, you can get the Canon Eos, our body for 1999 which saves you a $300 plus. You’ll get the eff to RF adapter for free, the basic adapter. And then the Canon Eos are with the 24 to one oh five f four l I s you can save $500. That package bundle is currently selling for 2,899. So there again for Canon shooters, here’s your opportunity to get into mirrorless full frame and save yourself some money. I was a little bit bummed out when I first heard about this sale because I’d already bought mine in Janice’s, um, eos, ours back in February and be in Canon. Didn’t offer the sale until late April.
Liam 08:31 Going into May, I wasn’t able to get the refund on the extra money that I paid. I had inquired about it because I got my cameras through Bnh and, and one of the Eos are camera groups that I’m in on Facebook. One of the other members had posted that they got a $300 rebate back from Bnh cause they had bought their ios are through B and h and it was only two weeks before Canon announced the sale. So BNH h reached out to him and said, hey, we’re going to send you back $300 a week you spend on your body because it’s been less than 30 days since you bought it and cannon offer at this price break. So B and h really takes care of their customers. They’re a fantastic company to get anything camera related, video related, uh, any kind of electronics, a bleed. They sell Mac books and other electronics like that. They’re just a really great company. They’re located in New York City and I’ve done a lot of business with Bnh and Adorama. Don’t get me wrong at, or Ron was a great company as well. They’re headquartered Ella cat of California and they offer a lot of fantastic deals on,
Liam 09:36 yeah,
Liam 09:37 photography and videography, cameras, lenses and assessors. So definitely check out either one of those next time you want to buy something for your camera or for your videography hobby. Now. The next item I wanted to touch on as of today, Canon or Nikon, excuse me, has announced new firmware for the d eight 50 the d 7,500 and the d 5,600
Liam 10:07 d eight 50 firmware update version 1.1 offers the following. The camera now supports direct wifi connections to devices running snapbridge. For more information on that, you can see the denim to the user’s manual in which this feature is described before. Using this feature upgrades to the following version of the APP snapbridge version 2.5 0.4 or later. This burn were also fixed. The issue where the camera sometimes had trouble focusing on subjects in the focus points at the edge of the frame. For the Nikon d 7,500, the 1.1 firmware update now also supports direct wifi connections to devices running snapbridge just like with the DA 50 the same, uh, refer to the addendum to the user’s manual in which the features described. And you must of course update your snapbridge version of two dot five dot. Four or later. Now for the d 7,500 to the firm are also fixes the following issues at the mode dial was rotated from p d u one and then back to p ISO sensitivity would be set to the value selected for you one repeatedly pressing the zoom in and zoom out.
Liam 11:25 Buttons during movie live view would cause unexpected behavior when three eight 38 40 by 2160 30 frames per second was selected for the frame size and rate in the movie shooting menu for the Nikon d 5,600 the firmware update version one.one.zero same as a with the other two cameras. It enhances the direct Wifi connection support the snapbridge, but again have to have your snap bridge version updated to two dot five dot four later and for this camera, it also fixes the issue where the touch fn would sometimes not be available. So if you have any of these Nikon Dslrs, I highly recommend that you get over to Nikons website, their support section, and download the firmware one.one.zero and get it installed on any of the DSLR bodies that you might own.
Liam 12:23 Yeah,
Liam 12:24 and now for all of my listeners that might be Sony shooters, I don’t want you to feel like I’m leaving Sony out that I only talk about Canon or Nikon on this show. Sony has recently released firmware version 5.04 it’s flagship, a nine mirrorless camera, the major software upbring update brains, AI powered autofocus capabilities, better image quality and workflow improvements. The AI based autofocus first announced back in January of this year, bringing Sony’s powerful new realtime tracking mode for fast and accurate subject tracking. It uses artificial intelligence based object recognition to detect and follow subjects through the frame with unprecedented accuracy. Now I was watching the other day a video by Jared Polin from fro knows photo and he has tested this new firmware extensively and he said that the real time tracking was just insanely, insanely accurate. He was testing out the this new firmware, a filming a flyers game in Philadelphia and even when he was using the video feature and filming the hockey match and he would have one player as his subject for his filming segments and other players would come in and out of the frame.
Liam 13:50 Yay. Nine submersion five firmer with stay locked onto the primary subject of the video that he was shooting. The IAF can be activated with a half press. The shutter release and it works even at the subject’s eyes are temporarily obscured during shooting. If you want to see a, an idea of how well the eye auto tracking works and how accurately it is is at reacquiring the eye of the subject moves their head or turns around or something like that. You can see a simulated movie video clip on pet of pixels website and I’ll put the link to that in the show notes so you can check that out. So Sony is definitely raising the bar considerably. This new version 5.0 firmware update, they first released these new capabilities in the a 6,408 PSC mirrorless body. And now those same capabilities are available on there a nine, which is their flagship sports shooting.
Liam 14:53 Diaz are a mirrorless full frame body. It’s capable of 20 frames per second. Now I know I watched a lot of videos and read a lot of reviews when the a nine first came out. And even though when I had said, uh, con converse with Tony Northrop via email, he was telling me that it was extremely accurate, but I wasn’t buying that at the time because as I mentioned, I had been watching a lot of videos on youtube by reputable photographers and reading a lot of blog posts on various, um, highly reputable photography sites. And the consensus from most of those people was that the, I detect auto focus and the focus tracking, we’re only about 54% accurate. So in other words, only 54% of the time with the tracking me completely accurate if you’re trying to shoot any kind of sports. Well, according to Europe, Poland, I don’t have one of these cameras, so I can’t test it out myself.
Liam 15:48 But I trust Baird. I’ve known him for a long time. And with this new version 5.0 firmware, the a nine is incredibly accurate. It tracking moving subjects for any kind of sports, whether it’s hockey, Nascar, basketball, baseball, it doesn’t matter. The a nine now does a fantastic job of tracking and maintaining a lock on your primary subject, whether you’re shooting stills or video. Now you can download the new firmware if you haven’t already installed it, just head over to Sony website to download the update for windows or Mac. And I will include both of those are, I will include those links in the show notes as well. So exciting times. If you’re a Sony, a nine shooter, this is definitely a firmware update that you’re to want to grab. Now on a final note, one final item that I wanted to talk about Panasonic’s s one are highs, Nikon, d eight 50 and the Sony a seven r three for top 35 millimeter sensor according to Dx.
Liam 16:56 So mark. Now this is significant because most people when they’re thinking of these type of camera bodies, they’re usually talking about Sony Nikon, Canon and the likes, but according to Dx, so mark, the new Panasonic s one are actually has a sensor that is comparable in quality and performance to the Nikon d eight 50 which is one Nikons, top of the line, full frame DSLRs and the Sony a seven r three which is one of Sony’s top full frame mirrorless bodies. Now according to the Dex Oh mark, while the hassle bled x one d dash 50 c and the Pentax six 45 z medium format cameras remain number one and number two on the leader board respectively. The s one received the same score of 100 that ranks it as the best sensor you can find on a full frame body. So this is pretty significant for any of my listeners that are shooting with Panasonic price wise, the Panasonic s one our costs 36 98 while the Nikon d eight 50 and Sony a seven r three currently costs 29 97 and 27 98 respectively.
Liam 18:14 So although this new news from Dex, oh, mark reveals that they, Panasonic sensor is every bit as good as the sensor in the Nikon and the Sony Panasonic does self were considerably more money. You’re talking about a thousand dollars higher priced than the Sony and you’re talking about eight, $900 higher in price over the Nikon d eight 50, which is significant. So if you’re already shooting Panasonic, you’re probably going to stick with those. Panasonic shooters are fairly loyal to their, uh, platform as our food. You shooters and most every other shooters out there. You will occasionally see people bounce from like Canon or Nikon to Sony and back again, stuff like that. But the Pentax and a sonic, oh, shooters and Fuji, they tend to stick with their platform. They’re extremely loyal and so some of them can be extreme fan boys and girls, uh, as well when it comes to there. Preferred camera platform system.
Liam 19:26 Well, that’s about everything I wanted to cover on episode 19 of the Liam photography podcast. I want to thank my listeners again for subscribing, rating and reviewing and iTunes and anywhere else that you might listen to this podcast. Be Sure to stop by the podcast, Facebook group and request to join. Uh, you are required to answer a single question and that is what is the name of the host of this podcast, which is myself, Liam Douglas. You can just put Liam or you can put Liam. Doug was either one will do and I do that to keep the spammers and bots out of the Facebook group. If you join the Facebook group, you’ll not only know when new episodes are dropped, sometimes even before your devices notify you that the new episode has been released, but you are also free to converse with other photographers and people that had just enjoy looking at photography and you can also post your photos in the Facebook group so I don’t restrict it too heavily. You’re free to post your beautiful images in the Liam photography Facebook group. Also be sure to check out [inaudible] photography, podcast.com where you can see all of the episodes past and present, as well as the show notes. And I will see you next time in episode 20

Liam Photography Podcast: Episode 18 – Interview with Portrait Photographer Reuben Njaa

In this episode I interview Reuben Njaa who is a professional portrait and landscape photographer in San Antonio, Texas. He is also a Professor of Photography.

You can see his work at his website

And on Facebook

Transcription by www.temi.com forgive any grammatical errors.

Liam 00:00:01 You’re listening to the Lillian photography podcast. I am your host Liam Douglas and this is episode 18 and today’s episode I’m going to be interviewing Ruben [inaudible] who is a professional portrait and landscape photographer in Texas. He was also a full time professor of photography with the art institute, my Alma Mater, and he is still also teaching with one of the local universities in San Antonio, so he will be joining us on the line and just a moment or episode 18

Liam 00:00:58 you’re listening to Liam photography podcast. I’m your host Liam Douglas and this is episode 18 and this week’s interview I will be speaking with Ruben [inaudible] who is a professional portrait landscape photographer in the San Antonio, Texas area. I usually try to prepare a few questions ahead of time to ask my interviewees, but it’s been kind of a hectic week this week and I didn’t really get the opportunity to, so I informed Reuben before I did the intro that will be kind of flying by the seat of our pants this time. So we will see how things go. Hey Ruben, I’m back on the line with you. How are you doing?
Reuben Njaa 00:01:38 Are you there?
Liam 00:01:41 Yup. There we go. Sorry about that. Some sort of technical hiccup. I’ve never had that happen before. So how are you doing? Good. Good. So I was telling the listeners that as you had had to inform me, you work mostly in portraiture and landscape right now and I wanted to know, first of all, could you give my listeners a little bit more of your background in photography? How you got started in photography?
Reuben Njaa 00:02:07 Yeah, sure. Yeah. When I first started college, learned to pick or study about that
Reuben Njaa 00:02:39 and I think about my third year I met a girl who was taken together for that class and it just seemed, uh, I was pretty excited about that I thought was kind of interesting for sure. Dad. And uh, I ended up in New York or New York or broke up and I stayed on in New York for a little while. He was working in a money, never word, not how work in the studio up and coming artist creative place. We’re nervous and artists were sort of New York, a lot of wear out, a whole lot of other artists around and I stayed in Minneapolis or something like that. I up to move back. Yeah. And the best time San Antonio, we’re sort of a sleepy little town. They are bigger and better able to come here. A pretty good portfolio going. Uh, started working my way around. I was able to go back to Minneapolis and go to New York. There’s a lot of work trusted or twice, lots of weird, uh, how I got involved with photography. I went back and got my art. You’re not playing to her about it. It’s a lot of hard work.
Liam 00:06:46 Yeah, absolutely. Now when you left Texas the first time and went to New York, did that cause any kind of tension with your family because you didn’t stay there to take over the reins?
Reuben Njaa 00:06:58 Yeah, that would cut me off or money or I first author, author tried that ranch for a long time. No rodeo scholarships. Most of my life, no more comfortable when the ranch and during those times I was in New York are Dell back home, my father and my mother. And it wasn’t all that deal after all.
Liam 00:08:10 Well that’s good. I’m glad that uh, you know, over time you guys were able to just smooth things over so that you had a good relationship again. And I was gonna I was gonna ask you if the ranch was still in the family, but you already answered that one.
Reuben Njaa 00:08:22 Yeah.
Liam 00:08:24 You don’t have to worry about anything being a long story. The, the interview episodes, I like to be longer format, usually an hour. When I did my interview with Jill, we went for just about an hour and 40 minutes. So that’s not a problem. Yep. You can take all the time you need to, to, uh, to talk. Uh, now I’m assuming, and I could be wrong, cause I know you’re a few years younger than I am at a, that when you first got into photography, you were shooting film of course. Like I was, yeah. What was the, uh, what was one of the first film cameras that you used?
Reuben Njaa 00:09:09 A lot of that was kind of torn off. I never, so cameras at my parents, hello, most kind of cameras, but this was the first and we’re 35, uh, uh, first, uh, you know, cameras have ever had. And so I rented one hour old, I had a local house. I Love Scotch, Crawford, San Marcus, we’ll call it. I put, uh, once I got that for a minute course when you go to news about it up, I had a sort of modeling larger shank spare meg and then we’ll color darker. And I just really enjoyed that a lot over the next 20, 30 years or so. 20 new again, you know, I’d always had a dark room. She had access to a darkroom earlier in Jordan and I worked very low, I guess you could say getting into the digital, uh, tried it two times. We’ve seen a little smaller cameras are spread excited to drive away. But [inaudible] was saying wasn’t really enough, has really embraced her within pickle and I was working for [inaudible] are during work forward, you know, headed in that direction. So I needed to sort of adapt. I don’t work in the digital world.
Liam 00:11:08 Even to this day. You still shoot a a bit of film on occasion, correct.
Reuben Njaa 00:11:16 Pin Hole. The ocean had a pinhole camera, film would that panel. And that was really something I enjoyed a lot, having not up a lot of shows before. I do. I used to be when there were half a dozen laughter pound, but you could drop off the dark room. Now I have to just shut it all off of a male. I don’t know. But uh, so I haven’t really shot at a lot of denim ops or two in the freezer. I should probably break out with what I try to, I have pod darker was university there our work yet? Hello? Oh one course. It’s a dark course, which I’m region, those classes fill up classic pick, college art, the dark, you know, it’s just amazing when they watch those stages, when they see the prints coming up and look no upper or or you know, a lot of times developed the founder, it’s all black and you say a lot of disappointment on assignment third trigger that they shouldn’t have negative and that shoots a little images on there, a manager but Christmas. But you know, that’s kind of fun and I can share this form. I wanted to, I could still work in that dark room. Uh, I really had the urge to do that as much lately, but I’m thinking about breaking up the four by five. Yeah.
Liam 00:13:24 Yeah. I can imagine developing in high school I developed some of my own film cause I was in the camera club at my high school, uh, for the four years I went to high school. And, and yeah, the first time, you know, you’re developing the film, your own film, it’s kind of exciting. Um, you feel like a little kid, you know, watching this quote unquote magic happened. But, but then, you know, over time I got into the world of digital photography and, um, uh, actually the first, I think if I remember right, the first digital camera I had was a Sony Magica, one of the ones that took the floppy disks.
Liam 00:14:05 Yeah. You put the three and a half inch hard floppy disk in the side of it. And that’s what it records your images too. It was kind of slow, you know, of course being I was a floppy drive. It wasn’t anything as, as fast as what we have now with SD cards and CF cards and all that good stuff. But yeah, I, uh, one of the first cameras I ever played with was an old Kodak instamatic Kenny. Remember now which model it was. It was a little, uh, square camera was brown. We’d like silver bands and it took one 10 film was one of the ones my, uh, my uncle had when I was about four or five years old. He gave it to me to play with when he got a new camera, a film camera, he got to use Shika and he let me play with the Kodak.
Liam 00:14:51 And when I got a little bit older, so I had a better understanding of how to actually use the camera for a while, it was just a play toy. But, um, then I would buy, I would buy one 10 film and I would just go around, uh, cause I’m from out in the country in Pennsylvania, northeastern Pennsylvania. So it was all farm country where I grew up and I, you know, I’d go out and take photographs of the pastures and, and what the Mount Pisgah and, and shoot some sunrise and sunset stuff on occasion, stuff like that. Um, and then like I said, once the digital came out and I started moving towards digital cameras, I still like film and there’s just something about it, but I just don’t, I don’t dabble in it anymore to be honest. Uh, I, as you, I’m sure you’re aware, cause I posted pictures on Facebook from time to time.
Liam 00:15:39 I have quite a collection of film cameras. Uh, antique and vintage film cameras. I wrote up local antique malls and when I find one I’ll, I’ll snatch it up to add to my collection. I’ve got some brownies here and you’re, she goes and Pentax and some others and uh, Minoltas and I just collect them now. I don’t, they’re all functioning cameras. I use, I don’t know, I don’t have the desire to buy film and she fell many more and then it’s being, it’s getting harder and harder to find places that develop film. Of course the cost goes up and I’m like, that’s just too much expense these days. So I just stick with the digital side of things.
Reuben Njaa 00:16:20 I remembered what working commercially, what Pentax camera or whether we’re shaped like a 35, where’s the camera? Those are so welcome. I’m really loved. Those characters were in favor of sharp and then negative.
Reuben Njaa 00:17:17 Oh, just switching gear offline or those were fun times. A lot of days I had a dark room where I could shoot her right away.
Liam: 00:17:39 Yeah,
Reuben Njaa 00:17:42 I think about it should do something with that issue. How welcome Sharon? Pretty sure my credit deteriorated to the point where I probably probably what I’ll end up.
Liam 00:18:13 Yeah. That’s what a lot of people do these days that they develop the negatives and then they just scan a man and turn them into digital and then they can touch him up in light room and Photoshop and stuff. As a matter of fact, one of my friends, he was a coworker from one of my jobs a few years back, Tim Weaver, and he lives in Arizona, Phoenix Area I believe, and he still likes to shoot film. He’s got digital cameras, but he loves film and he develops his own film. He has a dark room in his house and, and he still gets a note. As a matter of fact, anytime I post one of my and my film cameras from my collection, he’s always messaging me and he’s like, man, if you’re not going to run through film through that thing, sent it to me, I’ll use it. I’m like, Nah, I’m not going to run films or oh, but I’m not going to give them to it because I like to collect. And I just, I think I’ve always been a technology person. You know, I work in it as well as doing currently doing full time real estate photography and I’ve always been a technology person and I, I love the new stuff, but I also love the old stuff. So
Liam 00:19:20 yeah, one of my friends posted on Facebook earlier today, a list of the five things I said that people no longer have in their homes, DVDs, cds, and I can’t remember what the other three items were. And they said, come back if you actually still have one of these items. And I’m like, I have all five. And one of my other friends is like rarely as big a tech nerd as you are, you still got all that old obsolete stuff. And I’m like, Hey, I like old tech. I liked new tech both. So.
Liam 00:20:11 Oh yeah, absolutely. And the problem is technology changes so fast cause for many years, um, I would do what they called white box feces. I would build my own computers, I’d go to a place where I could buy the motherboard and the CPU and memory and all the other components and I would build a complete system myself. Cause that way I got what I wanted. You know, I didn’t have to hurt, I didn’t have to go to Dell or gateway or whoever and get assistance from them and pay way more than it was worth it to get a mediocre system. I could build it myself and have a more high end system and yeah, it still wasn’t. But if you’re cutting out the manufacturing costs, that saves you some money there. So I would buy the components and then just build the whole system myself. And I did that for a long time.
Liam 00:20:56 But you know, technology was changing so fast that it would seem like, you know, uh, the latest CPU today would be obsolete in six months. So it was just crazy. It was a never ending battle of keeping everything upgraded, you know, technology wise, because it’s changing so fast and it’s been that way with the digital cameras too. But I think, I think it’s kind of tapering off a little bit more now, although now everybody shifting into the world of mirrorless full frame cameras. So then you got the news, he got the mirrorless camera wars going on, you know, everybody trying to outdo each other and Canon and Nikon, you know, were tardy to the party so to speak. And you know, uh, Sony has been dominating and uh, in the mirror was full frame cameras. But now that Nikon and Canon have got their hat in the ring, I don’t think, especially cannon, I don’t think it’s going to take a long to catch up with Sony and universal and Sony Fan boys tell me I’m crazy.
Liam 00:21:53 But it’s like, well, look at it logically. Nikon, not so much, but Canon and Sony both are heavily divested in all kinds of other technologies. You know, Sony has got televisions and DVD players and Blu ray players and all this other stuff. There are video game consoles. They don’t make all of their money just from there. Their camera and lens line, that’s just a small portion of the revenue string. And it’s the same way. It was kind of, cannon does a lot of medical imaging technology, MRI machines and stuff like that. So with both of those companies, cameras and lenses are just a small part of how they make their money and both companies have very deep pockets so they’ve got way more money to spend on research and development. Then some of the other companies do. And wait, you know, with Canon and Nikon both being around for over a hundred years, I don’t see either one of them went out of business anytime soon and I’ve been predicting that Nalat cannon’s got mirror was full frame bodies.
Liam 00:22:53 They released two so far and there’s a rumor that they’re going to release a pro one yet. So there third body this year. Uh, we’ll have to wait and see if that actually happens. But uh, there there’s pretty strong rumors indicating that they are and it’s going to be a 60 mega pixel plus sensor, dual memory card, probably even more enhanced. I detect auto focus to better compete with Sony’s IAF. And I keep telling people, it’s like, look, now the look has gotten into the, gotten into this party of mirrorless wolverine. I don’t think it’s going to take them more than 18 to 24 months before they’re completely caught up a Sony.
Reuben Njaa 00:23:33 I see a lot of articles about mirror. I had a summary, what was the rear camera and the London and I go to New York. I could walk around with that little Cameron. I Dunno, this is so small. I’m going to my daughter last year. Um, I think I’m probably all set on my camera gear now. MMM. And there’s probably what I was trying to ignore. All the while we advertise via our bodies are working.
Liam 00:24:26 Yeah, I can understand that. And same way with me, one of the first mirrorless cameras that I had was an aps. It was a Sony Nex. Uh, I had the next six, um, and it was a good little camera. I got some great images with it, but it was one of their earlier crop buddy mirrorless cameras and the evs wasn’t the greatest in those days. Matter of fact, um, when they were doing the next series of APC mirrorless cameras, the camera didn’t even come with the electronic viewfinder. You had to buy it as a separate piece to add onto the camera. So you know, when you bought one out of the box, by default, all you had was the, the LCD screen on the back. Then you had to shoot live view mode using the back of the camera. But luckily I bought mine used from a guy phone on craigslist and, and he already had the EVF added to the next six that I bought from him.
Liam 00:25:19 So I didn’t have to worry about that part. And it, like I said, it was in the early days of Sony mirrorless technology. So the EVF which kind of slow and clunky and um, it was hard to really, it wouldn’t keep up with what you were trying to do as well as they do these days. And the other big problem in the early days of the mirrorless cameras was they were small. I have big hands myself. Most of my bodies appear pretty good sized bodies. And um, so that part I didn’t like the ergonomics wasn’t that great and their battery life was terrible. I mean, my next six, I think I would get like a hundred, 150 shots before the buy, the battery would be completely dead because they were putting these tiny batteries in them and they just didn’t last. You know, the EBF was running, running constantly, and the EVF technology was old.
Liam 00:26:11 You know, it was the early days, the EVF. So they were a huge drain on the batteries in those cameras. So Sony has come a long way with the technology, you know, now that they’re doing the a seven series and the [inaudible] and stuff like that. But it was slow going and, and that’s one of the things I keep telling people. I’m like, look, you got to look at how Canon and Nikon, especially Kannon do things versus Sony. And I liked, uh, for an analogy, I always say Canon and apple are very similar in how they do things and Sony and Samsung, Samsung on the smartphone side are very similar. Sony and Samsung, we’ll both just throw the latest technology into something, you know, a product that they’re going to put on the market, who cares if it works properly or not. And that’s why you would, you’d hear the stories and read these stories online where you know, when Sony released their first muralist, full frame camera that had four k video, it’s like, oh yeah, it’s got four k video a yeah, but it’s four k video really only in theory because yes it has four gay video, but four k video, a full frame means the camera gets hot and about a minute and a half and then you can’t use it until it cools down.
Liam 00:27:22 So, and everybody’s been crying about the fact that Canon didn’t go four k full frame and their first marital was full frame bodies. It’s a one seven four crop factor when you want to shoot four k video. But it’s because of the fact that you’ve got to get the hardware ironed out to the point where you can do full frame four k without the camera glowing red. And I subscribed to Tony and Chelsea, Northrup and Connecticut, they’re big on youtube and you know, their photography youtube channel is pretty massive. And I remember, uh, and one of the videos Tony was talking about, you know, the early days with the Sony’s with the four k video and he says, yeah, we were on vacation one time in Florida and I was carrying the camera in my hand, walking around the beach with a turned off in my hand. I turned it on to shoot some video and as soon as it booted up, it said it was already too hot.
Liam 00:28:20 So, and you know, that’s what I tried to get people to realize that Canon has a more cautious approach because to them, their reputation is everything. They’ve been around for over a hundred years and they’re used by a lot of pros, especially sports shooters, wildlife shooters, you know, national geographic people and, and the people that shoot the Olympics and all these other professional sports and canons reputation is everything to them. So they’re not going to release their first mirrorless, full frame camera and put full frame four k video in it and it has a camera constantly hot and locking up or crashing and user, you know, they want to have the best customer experience. So they’re going to wait to put that newer technology in a future Eos, our version of their camera when it’s more properly vetted rather than just throwing it on the market. And who cares if it works completely or not?
Liam 00:29:17 We’re not, we’re not technically alive cause it does have four k video. You just can’t use it because the camera gets dude off. And uh, and uh, you know, some people just don’t seem to grasp that, that it takes time for new technology to flesh out and it’s, and it’s the same way in the smartphone world. You know, Apple’s slower to adopt new technology in their phones because the technology has to be properly vetted and proven before apple will put it into their smartphones or their iPods because they’re the same way as Canon. Their reputation is everything. And Sony just like, or a Samsung, just like Sony, they don’t care, so they’ll throw 10 watt wireless charging in their phones and on. Then all of a sudden you’re seeing all these customers that are complaining that their phones are getting super hot or the batteries explode because it’s only a 10 watt wireless charging isn’t a perfected technology yet.
Liam 00:30:14 It’s just crazy and it’s hard to keep up with all that stuff. And for my part, I love the cameras I have. I’ve got old canon gear, I’ve got one or two third party lenses. I got one Sigma Art Lens and I got a couple of lens babies and stuff like that. But most of my glasses can and my bodies are all cannon. You know, I have three DSLRs and one mirror was full frame. I bought the Esr and I love it. It’s a great camera and I don’t need to have the latest technology and my first mirror was full frame body because I still let my DSLR, so I don’t care. Yeah, I don’t care if they an Esr can’t do 20 frames a second because my one dx mark do. You can do 16 a second so I’m perfectly fine with that.
Liam 00:31:00 And you want to get into your medium format at some point, but I want to wait until I get to the point where I can afford to get a digital medium format. I know I can buy Amea is all day long on Ebay or Amazon or Greg’s list. I find them all the time for a few hundred bucks, but I just don’t want to, you know, I don’t want to deal with the hassle of developing film. It’s just too much costs. Too much time involved. Now you have, yeah. You have medium format film bodies, don’t you?
Reuben Njaa 00:31:31 No, not the more. I know what, I’m sorry. I’m so all my, I have a Cutler, we’re back in the day when I told him everything around digital cameras, I made an format to our door a lot depends on how you tripod or a good way to go quite in that category. I don’t shoot that shallow, but I have a project five years ago and I rented a one back and I ran into, say I had at that time had like a hundred megabyte image. I shot the job and I still had a couple of barriers left the rentals. I was out at a park and slow me down. I flipped the land off and I put this, I made this hole pinhole camera when I went out the next day and shot with this how to megabyte a digital camera with this dollar and a half pimco rooms and then it was fun because I like photography can be challenging. The chance to come into my work. I don’t, I don’t like everything to be quite, so not all like nowhere to exactly what I’m going to get a trophy, you know, tracking as a parent whole anyway. Was that sort of uncertainty in that sort of skirting or wouldn’t you had to go up slow, methodical kind of work? What the tripod maybe format other than the way to go?
Liam 00:34:11 Yeah, I’ve been kicking around the idea. I just haven’t pulled the trigger on buying them on yet. I do like to do some tripod work cause I like to shoot landscapes. I have a and I’m sure yard, no, cause I posted about it a hundred times when I was still going to school but I have that one, a sunrise shot on Tybee island beach and, and George out by Savannah has been really popular and sold. I sold uh, getting close to 800 copies of that I’m getting now. And so I would love to have a medium format to use for that kind of stuff. Went on to, you know, I get up at four o’clock in the morning, I get some quick breakfast and a couple of copies in me and drive out. I never stay on Tybee island cause it’s pretty much a tourist destination so it’s really expensive to get a hotel there.
Liam 00:34:59 So my girlfriend, I’ll usually stay at a hotel in Savannah and then we’ll drive out. And that particular year when I got that shot, we got up about four in the morning. We had some breakfast and coffee and we did the 30, 35 minute drive out to the island and got there before the sun came up. And I was right there on the beach as the sun came up over the Atlantic and it was just perfect. I had my tripod all set up and I wasn’t even using a full frame in that day. I was using my, uh, I think I was still using my 50 d and uh, I had my, uh, 28 to one 35, a USM with image stabilization and I had it set up on the tripod and as assigned come up over the Atlantic. It was a perfect shot. And I, you know, I snapped it.
Liam 00:35:46 And the thing that is so, it was so funny about that day is it was just luck, I guess you could say because it doesn’t always happen. But the light, the way the light was when the sun came up over the Atlantic that morning gave a orange glow to everything. And I’ve had people ask me, they’re like, well, what’d you do to that? And post processing to get that orange look. And I’m like, I didn’t do anything that’s straight out of the camera and only one shop that morning came out that way. Just the first one I shot came out like that. I didn’t do it. Yeah. I didn’t do a thing with the shot. I’ve sprayed out of the camera in it into light room and I was like, that looks awesome. And I posted it and, and I’ve sold a lot of copies of it on Getty and uh, but it’s a great shot.
Liam 00:36:32 So I would love to have a medium format for doing that kind of stuff from time to time. And I’d also like to eventually get into doing a commercial or product photography. And I know a lot of times for, for that kind of work, the clients that, you know, a client that’s going to go out, and I’m not going to get to that point anytime soon, but you know, a client that goes out and hire somebody like chase Jarvis to do one photograph or a new product and they’re going to pay him $300,000 for one shot that they’re going to have to put in every magazine ad on the planet. Every magazine they run ads with and they’re going to turn it into a billboard or whatever else. You know, those clients that are paying that kind of money, they usually want the photographer, they hire shooting medium format because of, you know, the largest sensor.
Liam 00:37:16 You get more dynamic range, you get more detail. Um, I’m somewhat close to that. The, the people go back and forth about it. Um, but a lot of people say that the five Dsr than I have from Canon is about as close as you can get the medium format without actually having one because it has a 50 megapixel sensor and it has a massive amount of dynamic range to it. And I do get amazing photographs with it, but I just as Sunbae I’d like to have a medium format. I wish Canon make made one, but they don’t. So you know, if I’m going to buy medium format, I’ve got to go with phase one or Fuji Film or Hassle Blab. Um, I don’t think there are.
Liam 00:38:01 Oh, here. Oh, are they? I hadn’t heard about that. Yeah. The only problem is like, it’s so bloody expensive. Yeah. Because, uh, I know Hasselblad did the, um, the x one d meritless medium format camera and uh, it’s $10,000 just for the body with no lenses. And then by the time you buy a decent that you can only get the lenses of course, from Hasselblad. So, uh, the lenses, the lenses aren’t cheap either. So you pay 10 grand for the body and then you know, one lens is like 3,500 bucks and it’s like, oh my God. But
Reuben Njaa 00:38:43 yeah,
Liam 00:38:45 yeah, absolutely.
Reuben Njaa 00:38:49 Okay.
Liam 00:38:51 That’ll probably be the route I ended up going unless I hit the lottery or something down the road. But I doubt that will happen.
Reuben Njaa 00:39:06 Yeah.
Liam 00:39:09 Yup. Absolutely. Well, the other big thing that intrigues me with Sunday, getting a, a medium format, digital cameras, the fact that if you, let’s say you buy a hassle bland, one of their, maybe not their top of the line model that’s 50 or 60 grand, um, uh, you know why if you could come up with the money to buy one, it’s 15 or $20,000 or even a used one for that range. Or if you can get lucky enough to find one for 10. The big thing that I like about the digital medium format cameras is the way they release software updates for the camera. It’s basically a lot of times like getting a whole new camera because they change the software so much. The medium format camera, the digital medium format cameras from everybody I’ve talked to, they’re more like a computer than a camera.
Liam 00:40:00 So every time they release a major software update for that particular hassle, bland body, it’s like getting a brand new camera all over again. So if you’re lucky enough to have the money to buy one, it’s like you could buy up one time and you probably never have to buy one again depending on how long you live. Um, I know one, a photographer that does product photography, commercial work that I follow on Youtube, he’s in the UK, his name is Carl Taylor, and he just got the, uh, not too long ago. He bought the, I think it’s the [inaudible] 100 d or something like that. It’ll do 100 megapixel images. It’s a hundred megapixel sensor, but the way they do this stacking or whatever, you can actually create 400 megapixel images with it. But that camera, just the bodies like $60,000. And I guess he made, he makes you enough money shooting for big corporations that he was able to go out and buy one. But, uh, but that was one of the things he was saying and one of his videos, he’s like, yeah, the Nice thing about this is it might be a $60,000 camera. I don’t need to buy it again. I can shoot with the same body for the next 20, 30 years because every so often they just released a new major software update for the camera. It’s like having a whole new camera again when you install it.
Liam 00:41:23 Yeah. So that, that aspect of it is pretty cool. And uh, I don’t know about you used Hasselblad’s because I don’t really see their medium format used around where I live in and I’m in Atlanta, but I don’t think there’s a whole lot of people that shoot hassle blood in this area. But I know like you mentioned earlier, um, phase one, um, they’re actually headquartered here in Atlanta and I’ve looked on their website. You could actually buy, um, excellent condition, used a medium format system to theirs for like nine, $10,000. And the Nice thing is, uh, being their local, to me here in Atlanta, a lot of times they’ll have used ones that they fully serviced and everything before they resell them. And for $10,000 you’ll get the camera, you know, with the back and everything and it’ll come with at least one lens included as well. Yeah. It’s not quite so bad if you spend a nine, $10,000 for a used one and you’re getting a free lens as part of the package. But you know, because medium format lenses, we’re just not cheap at all. They’re very, very expensive.

Liam 00:42:32 So, I wanted to talk to you a little bit about your work. Um, you sent me the link to your website and I remember you posting some of the images from this one project of yours that you call mine. And I really love these images. Could you share with my listeners a little bit behind the story behind how you, what the inspiration was for this project? These are really amazing images.
Reuben Njaa 00:42:57 Yeah. Um, graduate school, I had quite a bit in Chicago, very famous photographer, a portrait on the wall lobby or movie star from that error. And they all had black turtle. Hitchcock was more of a man and he shot. Um, so the place was up all those black. So I don’t know if for some reason my mind always year one, I’m looking for something. Do I thought about that? So I bought a couple of, I started shooting class people in the long term. The other weird thing as sort of happened,
Reuben Njaa 00:44:29 I haven’t been here at giving directions, put him in a Turtleneck, I put them on the spot and turn off a lot when I’m sure no court and people are really having some top, oh, what we’ll do, we’re gonna work what to do. And I just didn’t figure that I looked at them, they looked at me, I’m looking through the camera and I just waited there and going on salts, I click it. And it was well wonder whether that do, I was comfortable and they were little mannerisms or every day or most people don’t even realize. And so I, it was just a waiting game and I would really like a standard about us. But you know, this is something I’ve really live through. It put up a Notre throughout campus and you’re done. And everybody stopped by this fear of, you know, and I would assume they had a archer in the town.
Reuben Njaa 00:45:59 So I just went up, uh, uh, you know, they’re not shot well another 60 people all with this shame, say my bed basically streamlining and another job in the radar are when your version is around. I heard the same thing. So all total, I, you know, I might have, I might have purchased 200 people in this one series a, all of this turtleneck, all this trending. And it wasn’t until I was there, I have a show up late. All these prints out which ones I wanted that home project, this sort of Gel together. People, you know, we’re not necessarily uncomfortable, some of them more, but I’ve had this natural look to them. Nothing I didn’t, you know, look over this way or look over that way. And so I really enjoy that, that hole. And a couple of weeks ago I thought about revising that here we a couple of people, but it’s hard to go hard for me to go pack how to do something again that I’ve already pre world close to going off.
Reuben Njaa 00:47:28 But why are you this came together and the people and you know, I had little kids, grandparents, uh, well I look at it, she’ll remember some of the people were asking me, what do you want me to do? I just, uh, I’ve been so used to telling them what to, it was hard and that’s why I left. I had to just bide my time and I’m looking through the camera layer. I’m just waiting. I’m just waiting. And they get mad that it happened. You know, once I talked to four or five shots, that was, oh wow. I never knew I did that.
Liam 00:48:26 Yep.
Reuben Njaa 00:48:28 Yeah. I mean, I don’t know. I don’t play your mother to try that again, but I don’t know if very thing knew I could add to it over and over again. So I started doing that by painting portrait something. That was another challenge. I’m pretty happy with that, with that whole, that whole shit.
Liam 00:49:00 Yeah, I love this series. I love that it’s a fairly simple, basic concept but it’s also fantastic and I love the different expressions you’ve gotten from the different people and and to me the idea of having the black background as well as the black turtle neck, so all that really sticks out of the person as their hair and their face and maybe their hands is just make some really awesome images. I’ve always loved this series of yours,
Reuben Njaa 00:49:28 right? You can’t, you don’t know what, what you got on a lot of money or what sort of set up very simple.
Liam 00:49:54 Exactly. The first guy that you have on your website and the series, cause even got a black knit hat on the hat and the turtle neck and, and he’s got the full beard and it’s just a really good image. I like that one a lot. I like all of them. They’re really fantastic images and it’s just such a basic concept but I mean the images are fantastic.
Reuben Njaa 00:50:27 Yep, absolutely. I was going to try to do a lot of people going through a real complicated multiple lights set up and I thought I could get enough separation with this one. I think overall it met all my expectations.
Liam 00:51:01 Yeah, really love on your website is the incontrovertible apparatuses and I see you’ve got three parts to that now. This is, this is all light painting
Reuben Njaa 00:51:36 three times a year that have what they call a community garage. One time when I was there, this woman had the tools and there were some older tools. Some of them I had never seen before and so I bought a couple pick him home. I just liked the way they failed or they look like I started playing around with life and they’re once I liked it. But that possibility when I was starting to drop a hundred dollar bill country buying to photograph, I’ve got a whole garage full of tools and that’s why they did that. But you know, unlike the people are still around, so we’ll let them figure out where the shoot of our day.
Liam 00:52:47 Yeah. Yeah. That’s cool.
Reuben Njaa 00:52:53 Well, my wife,
Liam 00:52:55 yeah, I really love this series because I love how some of the tools are like virtually brand new and others, you know, they had the rust and the more of the Patina and it just creates a really cool image. I always love any kind of image that has texture into it is really awesome.
Reuben Njaa 00:53:18 We’re brand new, the other stuff, bottling garage sales or junk store if I happened to be around there. But uh, yeah, I, I think one of the interesting parts of photography I like try to get as much texture I can and the flashlight or different angles and could look a regular a strobe or not alive. So, you know, just the way to bring out more tactical rush to someone I really do. And you know, it working where,
Liam 00:54:15 yeah, I like it. I, like I said, I think it makes for a fantastic images. The rusty texture is really great. That’s always something I enjoy and I’m into old stuff like that. Probably because I spent a lot of time with my mom’s parents when I was growing up and my grandpa kiss guard and I, we, we’d go out to flea markets and all kinds of places like that because he had different things. He liked to collect metal tools. He loved to collect, um, and powered saws. So he actually, yeah, he worked at, he worked at a strip mine at first strip mining company. He was there, there a chief diesel mechanic for older strip mining vehicles and stuff like that. He did that for like 35 years. And um, when he first retired he made the cover of the, the largest newspaper, our area.
Liam 00:55:06 The day after he retired from working for state aggregates, he decided to go out with his two man handsaw but by himself and cut down this huge hickory tree they had in their yard. They had over the years, cause they lived, my grandparents live on an s curve and grandpas passed away now, but they lived on this s curve on this. But a state highway or may actually I think it might give you just a county highway and people would always take that term way too fast. And over my lifetime that Hickory tree claimed, I don’t know how many cars that was down at the far end of their property because it sat probably 40 50 feet from the road and people would just come through that s curve way too fast. They’d always end up going through the bottom corner of their yard and hit and that Hickory tree. And so the day after he retired he cut it down with a two man hand saw by himself and then split it all up and put it out for sale as firewood or as what he did the first day he was retired. Did that or uh
Reuben Njaa 00:56:20 oh yeah. I don’t know. I don’t know how many per ones they are, but I really, really enjoy about going to get rid of all those four or five and a half. Yeah. Yeah. Cause they’re really the same. Interesting.
Liam 00:56:47 Yeah, they’re really cool. That was the other thing my grandfather collected tool wise. He collected handsaws and those planes. And, and then the other thing he was into was the, uh, the old colored glass, like cobalt blue glass and stuff like that. Yeah. His favorite was the cobalt blue and he liked to collect the, uh, the Ruby red colored glass as well. The original, the original stuff, not the repop stuff that they, they mass produce these days, but the old stuff, and that’s one of the reasons why I love to go and I’m a big thing and the Atlanta area is antique malls where it’s basically there, it’s like a flea market, but it’s inside a massive building and yeah, and the person that runs it, you know, they, they ran out small spaces for people to come in and sell their vintage and antique stuff. And I’d love to just walk through a big multistory antique mall sometimes on the weekend and just photograph all the things that catch my eye as I’m walking around there. And then of course, I always end up buying any antique cameras they got to add to my collection
Reuben Njaa 00:57:55 power about here are the usual round top. And the only thing in that house or, and when the handbook or whatever the highway that runs through this little path there in Macau of nothing but some of them are high and sell low Amala pop. But our people this time of year and do that little power and go over a couple of weeks ago all the way back from Houston. And it’s just amazing. If you had a wish you could fill it in. That shares are just amazing. Luckily I’m not in the collective mode but I was definitely a pack there.
Liam 00:58:55 Yeah. My favorite shows on TV is a American pickers on the history channel cause I’m like Mike, I’m always fascinated by rusty goals. Yeah. I don’t know. I’ve just always been mesmerized by the texture of rusty metal and I always think it makes great for photographs. Maybe
Reuben Njaa 00:59:21 y’all do these tools and try to figure out another way. I can come up with a different way or photograph, uh, with some of the technique. And I thought about bringing out my for about five and just doing this direct positive, put a sheet of paper in the, in the film holder and ordered, they’re happening, but you don’t have a negative, it’s just a positive and just kind of an insurance thing. I did, I let, try to have our artists some positive, negative, try it that way, but we’re going to give up on the rock now. My daughter wants me to, she got to get rid of those things before you die. I can’t have them.
Liam 01:00:09 They can take care of all that stuff.
Reuben Njaa 01:00:14 Well, and I said,
Liam 01:00:16 as right, you’re being left all of these tools.
Reuben Njaa 01:00:23 Yeah. Hello.
Liam 01:00:30 I liked this. I liked your enticement series too with the fishing lures. I, I’ve never been a a fishing person myself. My Dad tried to get me into it when I was younger, but I was always more into hunting. And he took a, myself and a couple of my brothers. One weekend we went fishing. We did like a camp out along the social and Hannah River in Pennsylvania. And, uh, we, we’re gonna fish all weekend and he went to, he drove into town to get some stuff at the grocery store and while he left his, his line in the water and while he was gone, his line managed to snag a carp. And I wrote, I wrestled with that thing for like 45 minutes and it finally snap the line and got away. And I was like, that’s it for me. I am not wasting 45 minutes trying to reel something that ended that I won’t eat anyways. Cause I, I’ve never liked fish for tuna fish out of the and that’s it.
Reuben Njaa 01:01:40 And when I got home I could do with a photograph played around with them. Uh, when I was in graduate school by the coach, sorry, sorry, I got all these that my daughter had.
Liam 01:02:33 You can leave for her. These are, these are definitely old bores and I say that because looking through the series of photographs, there’s four or five of them here that I recognize. My Dad having an his tackle box. Yeah, he fished for a very long time.
Reuben Njaa 01:02:57 Got a couple of them. A couple of, I know some of them are fresh water or salt water. Salt water. Yeah. I just like I didn’t say it was a pretty cool idea to be some sort of designer and come up with the design. Something that will tie just like I like that creativity that went into these big trouble there.
Liam 01:03:47 Yeah, I think it was a fitting project and the title of enticements cause that’s just like you said, that’s exactly it. When they’re trying to come up with a design for a lure and and what color and they’re going to use, they’re trying to come up with things that are going to attract a particular species of fish or multiple species will be attracted to the same thing. I know my dad was big into bass fishing. That was one of his favorite things to do. So I know definitely some of these ones here are definitely fast followers. And the craziest, the craziest thing is one of the times I did go fishing with him, uh, before the incident on the Susko Hannah back when I was still about maybe 11 or 12, we are efficient in a friends, a pond on their farm
Speaker 8: 01:04:34 and
Liam 01:04:35 yeah, there’s, there was a good size bass in this pond that everybody had been trying to catch
Speaker 8: 01:04:42 and
Liam 01:04:44 people been trying everything, different types of wars and different types of Bait and believe it or not, my dad was the one to finally caught that and you would not believe he caught that large mouth bass with a piece of aluminum foil for Ms. Pack of cigarettes. He put up the balls, it up, stuck it, stuck as hook through it, dropped it the water and eat that thing. Nailed it within like a minute. He had that thing on the line. I was like, are you kidding me? All those lowers you have in your tackle box and that stupid fish went for a piece of aluminum foil.
Liam 01:05:21 Crazy, crazy, crazy. He’s like, yeah. My Dad’s like, well yeah, that’s the thing with bass. They love shiny objects. I was like, yeah, but you had all kinds of shiny lowers. It wouldn’t judge. Just something about that. The aluminum foil that draw drew and PSI and it went right for it and he could snag that sucker real quick and it was just so funny because so many guys in the area had been trying to catch that large bash. Everybody knew was in there but nobody could seem to catch it. While there was a similar story with one of my dad’s other friends that he worked with for a long time, this guy’s name was Bob Bristol and he lived on one of the two mountains that bordered my small town in Pennsylvania. He lived on Armenia Mountain and there was a stag that was like a world record stag at the time.
Liam 01:06:10 This was many, many moons ago in the 80s and it was like a 28 point buck. It was an older buck and everybody was all over Armenia mountain during deer season trying to get that stag just cause everybody wanted the rack. Everybody wanted the rare and Bob and his wife, they’re house was actually a log cabin on the side of Armenian mountain and he got up one Saturday morning, went out through his kitchen, started to brew his pot of coffee and looked out the window over a sink and there that stag was in his backyard and he just stepped out on the back porch with this bow and shot it. There had been people from Pennsylvania, New York, New Jersey, Delaware, the comb that mountain trying to find that stag and he walks out on his back porch and she took with this po better to be lucky than good. And that’s what he always said too. And He, and he did, he uh, he started had the head’s stuck with the rack and put it about ms fireplace in the cabin. Just crazy sometimes how things work out like that.
Speaker 5: 01:07:24 Yup.
Liam 01:07:25 It’s definitely been fantastic having you on the show this week. Reuben, I appreciate your time and I love, like I said, I love these projects a year as you’ve got some really cool images here and of course I’ll be sharing out a Rubens website on the show notes for this episode. Definitely encourage all that. Oh my listeners to check out your projects cause you got some really beautiful images here. Really great stuff.
Liam 01:07:49 Perfect. Yup. And I would definitely love to have you on the show again sometime down the road. Oh look, I’ll come up with, come up with something else that we can talk about photography related, uh, and uh, hopefully have you back as a guest again down the road. I know Joel looking forward to coming back and she was all gung Ho. She was all gung Ho to come back by the time we finished the burden. Um, but yeah, I’ve always loved your work. I never got lucky enough to have you for one of my portfolio classes. Um, but I’ve always loved your work and you’re a really great person. I enjoyed talking to you and, and I always enjoy hitting you up on Facebook and, and Jackie on there as well, so. Yup. I would say definitely keep adding.
Reuben Njaa 01:08:37 Never make it down.
Liam 01:08:39 Oh, absolutely. Uh, I haven’t been to Texas for a while. I used to get while I believe or not, I used to go through Texas all the time. Years ago when I drove tractor trailer for a living. I used to go to Texas all the time. I drove for a Schneider national carriers and I was always going back and forth for us. Texas, uh, east, west and north, south Bose. I was Waco, I was in San Antonio. I was all over the place. Dallas, Fort Worth, uh, fort worse and yeah, they had me all over the place. I haven’t been out there a number of years, so, and I’ve been wanting to go back to San Antonio, so, uh, definitely. Yeah,
Reuben Njaa 01:09:16 I helped him surely write down.
Liam 01:09:19 Yup. I definitely let you know, uh, if I do get a chance to put it out there sometime in the next, I’d like to go out there and the next year or so at the most, um, just cause I’m always loved Texas. Texas is such an awesome state and I almost moved there. Um, I got laid off from my one it job back in 2010 and for the longest time I couldn’t find another job, which you think would be crazy in the Atlanta area. And I was about ready to pack up and move to San Antonio. And then a company called me up off of me. Really good money and I ended up staying here. But, uh, I’ve always loved Texas. That’s a great state.
Reuben Njaa 01:10:00 There you go.
Speaker 5: 01:10:03 Okay.
Liam 01:10:03 Yup, Yup. Um, one of my managers that I worked with at a pure one web hosting, she was from San Antonio. Here’s a really nice lady. She’s like, yeah, San Antonio’s Great. And she’s like, that’s a lot cheaper to live out there. And then it is here in Atlanta.
Reuben Njaa 01:10:17 Yeah. Was there,
Liam 01:10:25 okay.
Reuben Njaa 01:10:26 A lot of company.
Liam 01:10:31 Yeah. And that that you guys were always had all the military bases there as well? Yup. When I was in the army, I went to a back in the, in the 80s when I was in there. When I first went in the army, I went to sniper school and in those days it was at Fort Sam Houston and now they’ve moved to sniper school down here to Columbus, Georgia and a Fort Benning. Which is ironic because that’s where I went for basic and jump school and now they got both jammers.
Reuben Njaa 01:11:07 Sure.
Liam 01:11:11 I enjoyed doing it, but when I, when I was going through the training, it was tricky because one of the things you had a, you had to, you have to have patience to be a sniper and so one of the things they did as part of our training is they take you out on this range with a big peg board and they would inflate balloons and tack them to the board and you had to pop one balloon with one bullet. Good. And of course they didn’t take you out there on a calm day. They took you out there on a day when the wind was blowing. So you’re not only having to, it was not only a patient’s exercise, but it was a timing exercise as far as making sure you didn’t waste a bullet. Cause that’s the whole mantra was sniper one shot, one kill. So they wanted to see how many of those balloons you could pop.
Reuben Njaa 01:11:56 Yup.
Liam 01:11:57 But, uh, I enjoy doing that in the military. I really, that was one of the things I did. My father, my, my adopted father had done was he was in the army during the Vietnam War. He was a ranger with a hundred and first and, and uh, I didn’t do high school sports like he did. I did track, track and cross country and he did wrestling and football. And, uh, he was kinda disappointed that I didn’t go for those sports, but I thought to myself, well, wow, most of the men in my family had been in the military. So I said, well, I’ll make them happy. I’ll go in the army like you did. So that’s what I did. And he was tickled to death with that. My younger brothers, they played football and did the wrestling part, but since I was the oldest, I like, well I know he, he doesn’t like to say it, but I knew he was kind of heartbroken that I didn’t play football or do wrestling. So I’ll go in the army. That’ll mean, you know, he’ll like that. And uh, he did. Yup. Cool. Yeah, I miss him. But, uh, he was a great guy.
Liam 01:12:59 All right, well let me go ahead and, uh, we’ll wrap this up. I still gotta eat my dinner yet. Uh, we were running a little bit late getting home this evening, so I haven’t had a chance to even have suffer yet. But, uh, we’ll definitely look forward to having you again and I appreciate you for giving me your time and coming on the show and talking to me about your, your photography work cause you got some beautiful images here, some great projects. Yup. You got it. You have yourself a good Reuben. We’ll talk to you again.
Reuben Njaa 01:13:30 Yup. Bye. Bye.
Liam 01:13:33 Well there you have it folks. Uh, that was my interview with Ruben Nahah of San Antonio. He was, like I said, one of my professors when I was one of the professors when I was at the art institute of Pittsburgh Online Division. And he also teaches at one of the universities in the San Antonio area and he does portraiture and landscape photography himself, and he’s got some really cool projects that he has shot that are part of his website. I definitely recommend that you check it out at Ruben [inaudible] dot com and I will definitely have a link to his website in the show notes so that you can check it out. I want to thank all my listeners again for subscribing, rating, and reviewing and iTunes and anywhere else that you might listen to the show. And I will see you next time. And Episode 19

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
https://www.nikon.com/news/2019/0423_cpx_01.htm

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
https://www.worldpressphoto.org/collection/photocontest/winners/2019

Breakdown

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

Stephanie Rose Anti-Selfie Project
https://www.stefdies.com/
https://www.facebook.com/stefdiesofficial/
https://www.instagram.com/stefdies/

Transcription by temi.com 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 one.one 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.
https://canoncanada.custhelp.com/app/browse/a_status/published/categoryRecordID/RN_CATEGORY_319/channelRecordID/DRIVERS_AND_SOFTWARE/currentSelectedID/RN_CATEGORY_319/isCategorySelected/true/pageSize/10/productCategoryAnsList/RN_PRODUCT_1328%3ARN_CATEGORY_319%3ARN_CATEGORY_2680/productRecordID/RN_PRODUCT_1328/truncate/200/type/browse/session/L3RpbWUvMTU1NTYyODYyOS9nZW4vMTU1NTYyODYyOS9zaWQvZlVsdnM0QThfNW1PMER6eUNjclBPcFBYeEZQbGJIY0MlN0VieENCM0FFJTdFVUdKa2NZRE1FS2xVblFreVhLSjdIZjE3QmZHaHZSR3cyVzgyNTRUNG9XVTVXRE9Ua0FmdUVtTEdNYjByTmZEWTFqQ2FIWFlTMGpuZXhVZyUyMSUyMQ%3D%3D

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 CanonRumors.com for the new rumor info, please check out their website, they are great folks!

Transcription by temi.com 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 rumors.com 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 one.two.zero firmware on April 18th which is today. For some reason it was actually available on Canada, the Canon Canada site yesterday morning, so one.two.zero 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 one.two.zero listed as available to download on their site. They still only showed one.one.zero 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, podcast.com 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 rumors.com 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 one.two.zero 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 two.zero. 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 one.two.zero 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 shop.usa.canon.com 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 usa.canon.com 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 EyeEm.com 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.

www.eyeem.com
www.getty.com

My profile on EyeEm
https://www.eyeem.com/u/liamphotography

My Tybee Island Sunrise that has sold over 750 copies!!!
https://www.eyeem.com/p/62008105

My antique clock photo that sold on there
https://www.eyeem.com/p/80167673

My lion photo that landed on a NatGeo cover!!!
https://www.eyeem.com/p/84845603

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] EyeEm.com 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 EyeEm.com 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.
Instagram
Twitter
Website
Youtube

Transcript by temi.com

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 lynda.com 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.

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

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

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

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

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

Links from this episode:

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

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

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

Transcription by temi.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Transcription by temi.com

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

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

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

John Harvell: 00:01:28 okay.

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

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

John Harvell: 00:01:39 Yeah.

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

John Harvell: 00:01:57 Okay.

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

John Harvell: 00:02:19 okay.

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

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

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

Liam Douglas: 00:02:44 Wow.

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

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

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

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

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

Speaker 5: 00:03:30 Yeah. So

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

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

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

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

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

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

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

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

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

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

Speaker 7: 00:06:16 Yeah.

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

Speaker 7: 00:06:48 Okay.

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

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

Speaker 7: 00:08:18 Yes.

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

Speaker 7: 00:08:36 Okay.

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

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

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

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

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

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

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

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

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

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

Speaker 9: 00:13:13 Okay.

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

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

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

Speaker 9: 00:14:10 Okay,

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

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

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

Speaker 9: 00:14:34 Yeah.

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

John Harvell: 00:14:59 Yeah,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

John Harvell: 00:21:32 What

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

John Harvell: 00:30:24 Yeah.

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

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

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

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

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

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

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

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

John Harvell: 00:35:40 Yeah.

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

John Harvell: 00:36:14 Okay,

John Harvell: 00:36:23 well shoot,

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

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

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

John Harvell: 00:36:52 Yeah.

John Harvell: 00:36:53 Yep.

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

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

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

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

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

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

Speaker 6: 00:38:20 Freezing,

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

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

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

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

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

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

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

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

Speaker 8: 00:39:33 Yeah.

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

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

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

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

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

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

Liam Douglas: 00:43:26 okay.

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

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

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

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

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

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

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

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

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

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

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

Speaker 4: 00:50:37 Yeah.

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

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

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

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

Speaker 8: 00:52:15 Yeah,

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

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

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

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

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

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

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

Liam Douglas: 00:56:40 Yeah.

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

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

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

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

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

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

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

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

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

Speaker 8: 01:01:41 Well,

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

Liam Douglas: 01:02:15 Oh yeah.

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

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

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

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

Speaker 8: 01:03:11 Yeah.

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

Liam Douglas: 01:04:02 Okay.

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

Liam Douglas: 01:04:51 Wow.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Speaker 7: 01:11:38 Congratulations.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wide-angle lens uses

Lensbaby lenses

Transcription by temi.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Speaker 2: 17:20 [inaudible].