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.