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.
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.