Media Tech Podcast

Facebook Page https://www.facebook.com/billynewmanphotos/

https://www.lowepro.com/us-en/magnum-400-aw-lp36054-pww/

180 Billy Newman Photo podcast mixdown NFT Art And Photo Minting

Hello, and thank you very much for listening to this episode of the Billy Newman photo podcast. Happy St. Patrick's Day appreciates you guys tuning into this episode and checking it out. I wanted to talk today about some information coming out about NF T's. And it's been a great, significant bit of news in the digital art market, at least in the last couple of weeks or something. And it might be a short-term bubble, but I thought I'd talk about it a bit. It's these, these non-fungible tokens in this kind of weird and abstract idea that I don't think we've seen explored yet, and it's going to make sense in the future, probably for digital spaces or something like that. But it's also kind of a strange idea. These NF T's, these non-fungible tokens, are these kinds of blockchain-backed tickets of pieces of art built into a smart contract so that you can have information about it. And it's, I guess, it's proof of origin to the owner. And this is supposed to be what makes it valuable and unique. And these go up on markets, and art collectors are purchasing these digital art pieces to be individual pieces of digital art, or at least have the unique ownership of that token of digital art.

I guess it goes up in value; a few different people have made a lot of money trying to sell these, these NF t pieces of rare art that they're creating. And it'll be interesting to see how it plays out. I also think it's kind of related to the big, big boost that we've seen in aetherial. And in Bitcoin in the last couple of months, where people had, I guess, like a lot of money or a lot of assets in Ethereum and Bitcoin, and they were able to put that over into these collectible pieces of art and see that I guess they grow in value. Also, I think William Shatner put out an NF t collection of collectible works of art throughout his career that the NBA put out top shots, which is like a collectible Hi, highlight reel of different pieces of the games this year, I guess. There are other trading cards and stuff that have come out various selling video game tools, or video game assets that you can buy and then transfer in a wallet to the game and then apply like special armor or special tools or unique swords or something like that.

And that kind of makes sense. In a digital world, you buy an asset that you would want to have in it, and then it would do something. But it's interesting, though, in the art market, I think Grimes put out some piece of digital artwork or some collection of digital painting, and it's sold for millions of dollars. I think Lindsay Lohan put out just a picture of herself with an Ethereum diamond in front of her face that sold for $17,000. The band Kings of Leon was the first to put out an NFT album and NFT collectible, and I guess collectible band memorabilia around it or something. But I think it was through yellow heart.io was this company partnered with to do an NFT release of their album, which is interesting. And it'll be interesting to see how the kind of control that stuff into the future. But yeah, they definitely like it at the moment when the NF t story was popping.

So I heard about it a few weeks ago. I've also heard about a few years ago, I think, like back in 2019. I talked a bit about the distributed apps and the interplanetary file system stuff being developed. And it's different and a few others it's more blockchain but kind of related stuff about using some distributed web stuff to do some interesting, I guess, kind of distributed sales and tools and stuff. But it's cool that this has some taken off; it'll be interesting to sort of see what's going on; it's getting a lot of attention by digital artists as an opportunity to be a new avenue to sell art and to have an evaluation of collectible art.

And it'll be cool if it does take off. And it's probably like early days like it was sort of weird and abstract to talk about Bitcoin early on; it's perhaps still too odd and abstract to talk about NF T's and unique pieces of digital art as having equity in the digital virtual reality space. Maybe that'll make more sense in 15 years, but right now, it seems like why I don't understand what that was even to do with that. Which is, you know, kind of where I'm at, I don't know that you like, how you get the accurate equity in a digital asset like that if you can duplicate it and copy it. Again. And again, even though you have a smart contract that does say, You're the original owner, I kind of get through some evaluation of it. But still, it just sorts of seems like there, and it doesn't have to hold that much value. But for collectors and stuff, it's an exciting way to see it.

But what I'm looking at was a couple of ways that photographers tried to apply this to set up their sets of photos or see as a collection of pictures and like, e-book or something like that, or even like physical goods, where they have an intelligent contract set up to have a print delivered to the individual who purchases it, along with the NFT, that I think is just the blockchain ledger record of original ownership or something. So it's interesting how, I guess, they weigh that out; I haven't seen anybody be specifically successful with any one way of doing it yet. And that would be interesting to seeing what happens; I was looking at Trey Radcliff he's, he's been in the digital photo environment for about ten years or something like that big an HDR stuff, it's okay. And successful, push a lot of work sells it to a lot of good spots, a lot of good prints and stuff out there, he set up an NFT gallery of some of his prints to be limited run collectible.

So you can go in and select in a gallery and get, or whatever it is that that smart contract, I guess kind of sets you up for maybe it's a specific print, perhaps it's just that, like, whatever digital version has a locked content piece that you get there, you can purchase it and then have that as a collectible. And it makes sense for a lot of artists. So in that sense, it's something similar to what I'm going to try and do where I'm going to set up a gallery of some of my photographs and a limited run as NF T's in their only run as those NF T's and put them on the market to see how they work. But generally, that seems like an analog to the same function that you do for a stock photography market where you'd buy a photo, receive the file, and have the right to use that photo. Or if you were going to purchase an image or a digital print off of my website or something like that, and then receive that was just sort of like it seems in a way another analog to achieve that same thing.

What's interesting is if, if it kind of goes into a different space, where are you getting some digital asset that you're applying to a, let's say like virtual reality, art theater that you have. This is, I guess kind of one of the notions that you're supposed to go along with in the future is you'll have some like augmented reality glasses, say that will show different digital art pieces along your walls in your house as you go around or a VR environment where you can move to a whole virtual environment that offers you, I don't know your sports cards collection, or you move to another room, and it's your digital art pieces, or your I don't know, whatever other pieces you can collect as NF T's, and then you have those unique pieces, and I guess it's we'd see more of the value,

I think in some ways, it's going to be kind of a bubble since it doesn't seem to hold as tightly to the value of stuff on the blockchain; it's kind of difficult to even sort of getting the abstraction of the importance of Ethereum or, or of Bitcoin. And you're not really.

It's challenging to Infuse the piece of art with that, I guess, stayed together. Or it seems like something that sold for a high price could suddenly drop and be almost valueless if there's no other buyer in the market to repurchase it. So it seems like right now, there's a lot of liquidity in it because there's a lot of art collectors with a lot of Ethereum cash that is trying to do a quick flip of stuff to see collectible items escalate and value.

And so there's going to be some risks and some big winners in that. And they'll probably come out on top if they invest. Right. But as it is for like a real collectible piece you intend to, I keep, or you know, really have and do something with. I don't know if I see how it's going to play out, at least in the short term. So it'll be kind of interesting as listening on the clubhouse. It's like a newer app. Probably most people have heard of it in some way by now. But it's a new app. And it's like audio like group messaging thing. At the same time, we're outside of messaging.

I think it's like a group chat. But for voice. It's silly. It's got like a conference call. So I've kind of just been listening in on a few of them. Everybody talks about Bitcoin. When in crypto and, in this case, like NF T's on that, it's full of people getting into it. And I hear a lot of nonsense on that channel; mostly, when I was listening in on some of their ideas and stuff, it seemed like they were a little detached from, like, kind of the realities of what it is to put it together and, and sort of move it along. And I might sound that way, too, if you hear this.

But it was kind of interesting to sort of try and pick up on what they were thinking. And it seems like people are hopeful that this is going to be a significant change. And it probably will, in the long run, be something that sticks around. But in the format that it is right now, I think it's going to adjust. I think there's going to be some leveling in the market. And there's going to be certainly some winners in the collectible space. And it's not like an even kind of marketplace yet to really understand the value of goods and stuff. So we'll see how it is. One exciting part of it is the kind of strange part is the inefficiency of some of it. Now I'm talking about the Ethereum blockchain.

And it seems like most NF T's that are being bought and sold and traded in the collectible space right now are moving across the Ethereum blockchain, through the marketplaces like open see this sort of the one that I primarily See, or re arable, or there's like, known origin, or a couple of others that are out there that are pretty interesting. And they have some lovely pieces. And some of them are like invite-only, where you have to be known artists or have some connection or have some group review your art so that it goes up and is of some state of quality. And it's cool to be in that marketplace. It's a superheated marketplace right now with a lot of attention. And a lot of liquid Bitcoin, a lot of liquid, I guess, asset and the theory to buy that at a higher value than what you kind of, I think, think it would maybe be worth. And so it's kind of cool that artists can get their pieces in there and perhaps sell something. But it's also.

It's interesting because there are gas fees related to I'm not sure, if you're kind of familiar with the way that Ethereum transactions work, I'm not entirely I don't, I don't understand how they change it. It used to be much cheaper to pay, you have your transaction, and that's a fee. And then you have what it costs to do the work of making that transaction, that's the gas that it does, like transact that on the blockchain and sort of pay this Ethereum gas, it used to be kind of a relatively low fee, because if Ethereum was valued at a low value, so whatever it's it was also kind of a lower yield of people trying to demand transactions on the network. And I guess the market demand for it is what kind of increases its value. So all of a sudden, now, the gas fee to mint an NFT on Ethereum is somewhere around $100.

It was like $80; it was $90, it was $124. Lowest I've seen it in the last two weeks, somewhere around $65. So for just one NFT, if you are minting it, and that's just the creation of it. So I guess it just seems like it's it which would have once been, I should mention, which would have once been like, a few dollars, or maybe Max $10 or something like that. And now, with the escalation to that demand and the gas fees. Now it's like nearly 100 bucks. So just the way that it kind of works to put an item as an NFT into a marketplace seems a little too costly. And it's sort of like to what end is, am I doing anything with that work. So it's cool; it just should be maybe a more efficient way of getting that transaction accomplished.

Like other blockchains can do, perhaps like the same ledger task and record things cryptographically in the blockchain so that you do have proof of like unique ownership or, you know, the particular creation date. But you can do that perhaps for like a cheaper gas fee if you're doing it on some, you know, collectible blockchain. So, let's get to the idea. I guess I was thinking that I was looking at the ghost market.io. And that's another marketplace site that I put up a couple of my photos is NF Ts, which runs on a different blockchain like the phantasma blockchain. So it's almost costless to put up an NF t on that page, like, you know, if you like 10 cents or 20 cents or something like that, I guess it would evaluate to, and he uses the same sort of system. So we're using a crypto coin to run the transaction onto the blockchain and mint the NFT in the same kind of ledger process.

It's the same kind of file asset or unlockable stuff, but it's just like using a different cryptocurrency. And then, I guess, and I've still kind of confused as works. Still, I think it's supposed to be compatible with Ethereum, or you're able to transfer that into your crypto wallet. Then how to in the theory and wallet or back onto the Ethereum blockchain, you have to kind of pay for a transfer something there, but I guess it's supposed to be interoperable. I don't know how it works. So it's kind of like, a little mysterious to me. But I'm kind of interested in shadow work on it. So what I'm going to try and do this week is set up a gallery of NFT photos from some of my portfolio stuff. And maybe I'll try and put that as, as a link on my website, or

Just as a link that I have available. I've been trying to kind of debate or a bit between trying to set it up with

Open C is probably the site that I would use to set up FTS with the Ethereum blockchain. But yeah, as I mentioned, there's just that that heavy Ethereum gas fee; it seems right now to be around 80 to $90, just a mint one. On the open sea, they have a process called lazy minting. That allows you to pay just once the first time to set up your first NFT in your account on the open sea. And so, you pay around $80 for your first minting through that process. But then after that, as you list things for sale, it will do it as a lazy man.

So that means that you don't pay the Ethereum gas fee until someone purchases that that listing on the open sea marketplace, and then it's minted into an NFT. And then it's owned, I guess by the purchaser there; I think it's set so that the buyer pays the gas fee. So I feel included in the price of your item or something. And there's like it's like some circumstances if you take as a low bid offer, then the seller pays the gas fee and it but doing that process, you're not if you make a gallery of it, you're not, you're not finalizing and minting the NFT until the time that the item sells. So if you perhaps don't sell many of those items, they aren't ever minted into NF T's. They do, though, however, list on the marketplace. And I guess that's a significant benefit, generally, is that you're trying to list on one of the biggest marketplaces to get your artwork seen. A lot of the painting I see right now is like digital artwork created on the phone or through some digital manipulation, sort of with a cinema graph tool like cinema graph Pro. Some make like a still picture have some flowing motion elements in them.

I've seen as a lot of that sort of stuff, where a lot of like kinds of gifts where there's a couple of seconds of rotating sculpture in a digital video, you know, I don't know, it's kind of interesting to see the types of things that are purchased as art collectibles right now. So it's somewhat interesting, what I do see those that it seems to be artists that are selling things or artists with a big market, following you know, they have like a more prominent Instagram or Twitter or art marketplace network already. So I think like some of the artists that I'd seen perform success successfully in selling their NF T's in the collectible market, we're already involved in like the art of like, high-end Fine Art market, with high-end art collectors, that are moving into this digital space. And they have a manager, agents, and a marketing program kind of already laid out for the launch of the NFT collectible product.

And so it seems like they're already prepared to, to kind of make listing, you know, like, list that and advertise it to, you know, 250,000 people that would kind of potentially be in that collector's position. So they've already kind of at a higher tier position, I guess in that hierarchy anyway. So it's kind of interesting to seeing how that is. And we'll be seeing how it starts to take off over time. But yeah, I think it's maybe perhaps a bubble for a bit of time. But, remarkably, the crypto prices are going up like they are. And it's cool that the NF t space exists, which will probably advance into the future and stuff.

I wanted to talk about it a little today on the podcast and put out a couple of my thoughts. I want to try and fill it out a bit more in the future. Maybe we'll talk a bit more about that clubhouse app that I was talking about and some NFT gallery stuff that I put together this week on the next episode. Also, some good stuff. It's pretty active. But thanks for listening to this episode, the photo pack, So thank you again.

Billy Newman Photo Podcast | 159 Film Scans From The Darkroom.com

Wed, 07 Oct 2020 12:05:00 +0000

159 Film Scans From The Darkroom.com

Editing photos from a recent set of scans I got from The Darkroom. The 1st roll through a canon Eos film camera. Film fade.

If you’re looking to discuss photography assignment work or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often? Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, visit the Support Page here.

You can find my latest photo books all on Amazon here.

Gear that I work with

Professional film stock I work with https://imaging.kodakalaris.com/photographers-photo-printing/film/color

I keep my camera in a Lowepro camera bag

When I am photographing landscape images I use a Manfrotto tripod

https://www.manfrotto.com/us-en/057-carbon-fiber-4-section-geared-tripod-mt057c4-g/

A lot of my film portfolio was created with the Nikon N80 and Nikon F4

https://www.kenrockwell.com/nikon/f4.htm

https://www.kenrockwell.com/nikon/n80.htm

The Nikon D2H and Nikon D3 were used to create many of the digital images on this site https://www.dpreview.com/reviews/nikond3 https://www.dpreview.com/reviews/nikond2h

Two lenses I am using all the time are the 50mm f1.8 and the 17-40mm f4

https://www.kenrockwell.com/nikon/5018daf.htm

https://www.kenrockwell.com/canon/lenses/17-40mm.htm

Some astrophotography and documentary video work was created with the Sony A7r

https://www.dpreview.com/reviews/sony-alpha-a7r

I am currently taking photographs with a Canon 5D

https://www.dpreview.com/reviews/canon-eos-5d-mark-iii

I am Billy Newman, a photographer and creative director that has served clients in the Pacific Northwest and Hawaii for 10 years. I am an author, digital publisher, and Oregon travel guide. I have worked with businesses and individuals to create a portfolio of commercial photography. The images have been placed within billboard, print, and digital campaigns including Travel Oregon, Airbnb, Chevrolet, and Guaranty RV.

My photographs often incorporate outdoor landscape environments with strong elements of light, weather, and sky. Through my work, I have published several books of photographs that further explore my connection to natural places.

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

159 Billy Newman Photo podcast mixdown Film Scans From The Darkroom

Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. Appreciate you guys checking out this episode. I think it's getting into October a bit. And it's cool. It's kind of nice to have in the fall. Come on, and the seasons changed a bit, we had a bit of rain, and it's been a little back and forth. And hope we get a little of an Indian summer with some nice weather sort of stretching out. And apart in November, hopeful for that. I know we felt like a couple of years of that in the past, but it seems like it's a bit back and forth. And pleasant might not be the answer for what happens this year. But I've been working on some film scans. And I wanted to get into that I had talked to a couple of podcasts ago about how I had sent a roll of 100-speed actor film out to development house in I think San Clemente called the darkroom. It was like a website service that was suggested to me a while back, but it looks fine, or Yeah, they've got a website online that talks about the film development stuff that they do a lot of the like color film processing for 35-millimeter film work just great. And I think that they do a medium format and other types of film development as well. But I had taken a role of 100 Media actor film out of the camera after I'd finished it, I think on a trip back in August, and I had prepped it, put it in a mailer, and then sent it out to its place down in, I guess, Southern California. So it took a couple of weeks, and they set up an account, got my films negatively scanned, and then I think they sent the negatives back to me; I just received the envelope that I thought yesterday. But a few days before that, I got an email with a link to download a zip file with all the scanned images. And so I think they were JPEG format. And I picked the higher resolution scans, which worked out a lot better for me; I think there are a few different tiers that you can select from like, maybe starts at $12 for the basic scan, then I think it moves up to somewhere around 15 or 18 bucks. All in all, I think it's been about $25 to get this roll of film developed and scanned and then mailed back to me. And it's okay, and it's like a good amount. But it used to be cheaper, and it seems like. I think like when I go to Fred buyer and do like the one-hour color film development CD only, which is I think I did a lot of it for a long time, especially like through like Walgreens or Payless or Fred Mayer or something like that, you know, and like stop. They pulled all those operating features out a couple of years ago. And then it was just stuck taking my film to a cool and old local shop that would do the C 41 processing there. And they would do like a 24-hour turnaround for your film. But everybody suffering from the same problem that they didn't have a scanning system that was really up to the technology of the day when I think, you know, like I probably mentioned even way back when I was talking about all this film scanning stuff that many of the film scanners that they had that they'd introduced to a lot of the like the supermarket you know, department stores was a like two or three-megapixel scanner. And I think it was maybe for convenience or speed. And it's probably still similar to that, you know, if you order the most basic scans that probably take the least time and are like the most efficient process through. So I do understand it, but a lot of those scans that I had automatically created for me through those departments or, you know, film processing when our photo rooms were just a couple megapixels, or you know, they were like 1600 pixels across anything huge nowadays. So that ended up being like a problem after a while. So what I ended up doing was I'd get the film developed. And then I ended up buying, and I think it was a Pacific image, prime film 7200, and I'm trying to remember what that one was. And then, I used film scanning software silver eyes. Now there was a silver package. I can't remember the name of that film software now. SilverFast, I think it might be that, but it was. Yeah, it was this film, film scanning software that was pretty complex to operate. And then it was a pretty professional kind of scanning tool that you could make a lot of different changes and features to get better scans with whatever you're working with. But you can make a lot of different adjustments to it. I had many more advanced algorithmic features to sort of repair spots and film scratch problems, and I guess we clean up a little of that damage. So you want to scan so if you just had the Ross game, you'd be really surprised or maybe not at how bad it is, or you know, just like a little dust or little artifacts seeming to be in the scan that doesn't look correct and or just little pockmarks in the film emotion itself. You can get to see those like pieces of the film when you scan them. Still, the software really kind of go through a sort of tune that out a little, I was always really kind of surprised to see some ways to get a handle that positively you know, you look at like Photoshop, and it's really kind of a hit or miss sometimes the fiddle filling correctly. So it was a cool piece of software, but it helped me down or help me scan a bunch of film negatives that I shot; I think like a lot of the stuff that I shot with the f4 is where I do the C 41 film development, get the negatives back. Then I would have to like to spend. It would be like two days after that, you know, just kind of like hobby time now just kind of like putting a scan in and then letting the scanner kind of run through it for 45 seconds is sort of what it seemed like it was just this big, grinding motor noises, it ran this scanner head over the film negative with a big light. And you get these pretty good scans from your negatives. And I think it's probably still some high-resolution scans from some of my photographs that came from that private film scanner. So I was happy that it did that for a while. I think that was what you know, 2000 maybe 1617 or something like that, that I'd worked with that. That film scanner a lot earlier, it isn't that maybe I think 20 1516 then I've kind of moved into the Sony Ace of our stuff. But yeah, the film scanner stuff was cool. And I was happy to kind of get to go through that part of it. Yeah, then you get the bump of not having to pay for the send-out services. And then you also just can get the less expensive film development part of it. And then it sort of feels like you're doing the darkroom work again, right? Like you, you know, you, you have to kind of have to do, you're not doing it, because you're sending it, you're sending it to a place just to get that one part that has developed the film. But now, once you have the negatives, they haven't been made in anything. So it's kind of like working with the older tools. I never did that. I was always into the digital field of it but through working with the film now. And as it is like 2020, or at the time like 2014 1516, it was cool to kind of have it be like a different set of tools, but still kind of work with film photos and film negatives to make cool images and cool digital art or cool digital, or things that were distributed through a digital mechanism. But were still created through like a film system. Yeah, I was just I was kind of like the like that for the side kind of hobby photography, stuff that I would work on. So I think now, in the future, I've gotten rid of that Prime film scanner; I sold it on eBay A few years ago, got a good price for a lot of those pieces, I was able to kind of sell-off again for near and around what it cost me to get it, which was cool. I think like I had like a photo printer for a long time, like some higher-end 13 by 19 photo printer, I was able to sell that off eBay for a good price to digital stuff, you know, like cameras and stuff sort of start to depreciate, but now a lot of things kind of hold their value well enough if they're functional. But I saw that stuff off for a while. And then now what I'm working with is, I guess the idea of just sending it out to a dark room, or you know, just some servicing some facility that will process my film, and then return it to me with some high-quality scans. And I think now, as I can do it, I want to try and get higher quality scans of the files. I mean, even still, that's a setback that I have is that I still have the negative in a big negative storage box over here, which is great. And the problem is, is that the available file that I have available to me to make art out of images out of is just not much better than like what you know, like a two-megapixel file or something. So it's okay for some web use. But, for printing, even small photos, it's a little crunchy in the file size. So I'd like to go back through and take a bunch of those, this film negative strips, stack them together, mail goes off to one of these processing centers, like the darkroom, and have them go through it. Scan those files again and like a higher resolution in whatever kind of professional capacity they have to do so and then send those back to me. And then I'd have all new scans, all new versions of those images that I can go back through, edit in different ways, or you know. I have more control over the file and how I can use it, and I can finally use it on some of the more modern art stuff that I'd like to do. Like to make a print some of those things, you know, I'd like to make a canvas brand of some nice film photograph I had in the mountains, there's a number of them that I think is cool. But, as it is those, those photos aren't available to me to do that kind of work with because I can only make them maybe five by seven, maybe eight by 10; you can extrapolate it out to a byte. And that's fine. But it's not an art piece; it doesn't seem like that, that nice, that high quality, just because the files are just so tiny in some ways. So we'll see if that kind of changes. I know there are some ways around it too, but, but if there's a way that I can kind of just get it from the natural source again, that might be a cool way to go about it. But for this role of a film, what I did is I imported those photographs over to Lightroom. And using that x touch controller that I was talking about, so I have kind of some knobs and sliders to kind of move around and mix the color as well you know that development settings of the photographs that I brought in, and I've been kind of trying to mess with that a bit to see if I can get used to it or see if it kind of hits most of the points that I want to be sort of strange, you know, the tools sort of affect how you make adjustments, how you make edits, how you kind of see the edits and stuff. So it's interesting to work with some different tools and see how that changes a few things. But for the most part, yeah, it's been going cool and I just kind of cruising through the photos, you kind of pick out the winners there, you know, the flagged as pics, photographs. So I go through, and I mark those photographs up. And then I kind of go through and make some color adjustments to this sort of individually. Start with some basic development settings and then go into some lens correction stuff that is tricky on a film camera. In Lightroom, there's no metadata from a digital camera to import over from a film scan or from you know, just some scan, that's a JPEG from, you know, just, it doesn't know what camera you had, it doesn't know what lens you use, it doesn't know how to affect the barrel distortion. So some of those things, you have to kind of select for a bit more manually if you do understand if you do know what it was like, well, I had a Canon camera, and I used to I 17 to 40 f4 lens. And I think you can go in and pick that. And it's I'm not sure how it affects it or if that distorts effect is the most accurate profile now that we're working with a different camera and a different wall and the same lens. Yeah, so I'm hoping that it's just like the lens profile affects that frame the same way. But it seems to be very subtle. So the barrel sources stuff sometimes is something I work with, but also they don't, you know, sometimes I think part of that part of the photographic effect is sort of what the lens does to the picture. And sometimes, I'd like to leave the barrel distortion effect in the photographs. Sometimes many rounds seem to happen or just sort of the light, and it's extraordinary when you see the adjustments have, you know, before and after a barrel distortion adjustment. Because it's just like it's the same image. But there's just like a little of flexing and just some parts of it, and you think wow, like what is a weird, subtle change, but like, I guess that is flattening it. Or maybe it's not, and maybe it's distorting it more if it's incorrectly calibrated. So it's just kind of interesting to, to see how that is and how it sometimes looks, but that I've had help photographs. And I've also had it sort of digging up the composition of a photograph just in the way that it would stretch it, it was sort of Paul, a few things out of line that I'd hoped to kinds of composing in a certain way. Like if you're trying to put something like right at the top of the frame, or right off the frame that Yeah, I just sort of pulled and stretched it so that it made the composition changes that I was trying to put in, not work. So I've noticed that a couple of times. I think it crops it a bit to make the distortion occurs. So you just use like a little shaving off the edges of the photograph to make that barrel distortion kind of fit the frame again. And then sometimes if there's something there some kind of context or detail, like I think like imagine you framed up like a page of newspaper texts or something, you know, right up to the corner where the letters meant the up, or you know, the x and y-axis of the photographic frame. But then, if you added a barrel distortion, it might swing or press or stretch that text out and off the composition of that frame edge there. And that's sort of the types of things that might have happened before I use that example, I guess because you could kind of visualize sort of the flexing or stretching of a page of text that was just supposed to be flat, you can kind of imagine it was kind of pulling off or drifting off or, or not being squared upon under the page in the same way as it would have been at the corners. So that's where some barrel distortion stuff can come in and bite me, but To better, I guess it's straighter, or it doesn't have the vignetting that it would have had otherwise. But there's Yeah, no controls for that sort of stuff for the film camera. And it's a feature I use a bit but maybe not necessarily all the time. So it was going through editing a bunch of photographs and stuff. There's, I think, a lot of images through there; I've been pretty slow to shoot through this roll of film, I've been doing a lot of stuff. Probably with like the digital camera, and other than that 360 cameras I was into. But yeah, let's go through and shooting. I kind of shoot her alongside the digital photographs that I'm taking out on a trip, you know, if I come up to some bento thing, and I think I'll take a film photo of this. Then I pull it out of the camera bag I have with me and try and shoot a couple of frames, but I was going through mark it up, the flag picks editing up. I was noticing, and I'm not sure if it's just this camera. This is the first roll of film that I put through this Canon EOS camera, and I think it was seen as like champagne-colored plastic. Oh, champagne-colored plastic camera body. It's like champagne. It's I think we're supposed to be like silver. It's like plastic silver is a sort of what they were going for. I don't know if it worked out, but it's probably 9098 9099 eras. And it's fine. It's, it's, but yeah, it was inexpensive. I think it was like $$3040 on sites like KEH, or you can probably find similar models on eBay. And I'm sure other sites too. But yeah, it's easy to kind of pop in there and tries to check out some old kind of inexpensive Canon cameras; you can get rebels like a rebel film camera from 2000 to 2001. Area for just dirt cheap, like $$166 It depends on the model or the quality, but they're very inexpensive because a lot of those produced a lot of them, I think sold during that era, too. And yeah, it's cool, if you want to, if you want just to grab a camera, which is cool, too, you know, the film cameras stuff is nice, because you can get an SLR for again like I was saying maybe less than $20 if you shop around correctly. It's just a black box with a lens, you know, and you're able to control the features. And when you're able to hit the shutter and capture an image, then you're able to expose that onto the film. And that's what you've captured. So it's cool, you kind of have you don't have to worry about some of the same features, or you know is it is this high enough technology is good enough does have low enough noise has enough buttons on it is some of the stuff that we kind of think about when we're trying to shop around correctly for the right camera, when we're working in a digital space, you know, you pick out like a point in issue, you find out it's like, doesn't focus at all, or you know, it takes a long time to do whatever thing or the images kind of come out maybe a little yellow, or they don't, the lens looks a little funky, or whatever it is a lot of cameras now they're almost all great. So it doesn't matter. But they're always, you know, better or as good as the types of cell phone photos you can get now, which are all pretty stellar. When you think about the type of technology that you're able to use. I mean, imagine back to like, even ten years ago, even in 2010, let's say, you know when it was actually kind of developed thing when camera phones have been around for maybe seven, eight years, pretty, pretty widely. Then even at that time, when it was quite popular. I mean, I think Instagram was a working mobile application near and around ten years ago, could be 2010 2011 is right around now ten years ago that Instagram started taking off, right. And then, it was in 2011 that they sold to Facebook. Now it was in 2012. It was in February 2012. And I joined in February of 2011I think I think that that's right, but I think they started right around now, ten years ago. So that means Yeah, mobile photography was taking place. But if you remember right, that those filters on Instagram were created to correct or justify how bad the cellphone cameras at the time were you take a cell phone picture, I had no contrast; it was very yellow, it wasn't a sensor that was responsive enough to the low light environments that we'd often be in even in like pretty well-lit environments that would kind of pull out this sort of yellow kind of photo that would just be grayed out in this film would do that forever too. But it just really look as high quality as it does now. I mean, it's amazing the kind of low light conditions that we're able to get one of these cameras to operate. And then that is just a simple film camera. I mean, now you look at the iPhones that have come out or like the new one that they've just announced, and it's just insane and stellar cameras that they're able to do Right now, so it's cool. That it's just like, the lenses. Can they fit on the front of that thing? Or, you know, it's wild, but it's cool how well you can cache your images now digitally. Back in what? 2000? Yeah, I was like, or 2010 it was kind of yellowed images and stuff. I don't know. So the stakes. Alright, it's cool that I guess it's getting better. It's nice that goes, but yeah, for a lot of what I said, the phone camera that I had, is great about doing a podcast and the film camera that I had champagne colored. Got it? Okay, ah, for 30 bucks. I think the images This time turned out a little soft is probably what I would say. So sort of similar to an older camera, like an older digital camera with that kind of yellowed images, I shot a roll through this camera, which is the first one. So we'll see if it reproduces the same effect as I shoot through like another role, and maybe a more organized, or, I guess, thoughtfully considered lighting condition. But what I noticed is that, yeah, the film developed in a way that had like a bit of haziness to it, and I'm not sure what caused it; I mean, it could have been a light leak, but it didn't look like the light leak kind of condition might have been like maybe closer to like something like the expired film is sort of what it looked like, where it just didn't really like turn over. And it just sort of looks like a little grayed out in some spots where I would have thought it would, it would be like a little crisper, some photographs came out fine, and do look very crisp, and do look very bright and colorful like they were able to capture that the color quality of the light at the time that the photograph was taken. And so that might be like a more just like selective opportunity thing that happened like maybe the photographs they were taking were in conditions that would be bad light as possible, but, they're, you know, I mean, I took digital photos against it right there. And really like film photographs should be able to handle some backlight, or some kind of sidelight that's maybe going to be a little hazy or something but big, it's going to seem like a few photographs were a bit washed out and how they ended up developing sort of how it goes with a lot of films I remember losing like several frames are roll-on that Nikon F g 20 that I talked about sometimes that like manual focus, manual wind film camera that I had a photograph, like a bunch of stuff back in, like 2012 2013 with that camera. And I would lose like a couple of frames a roll and just the operation of how that camera worked. Like it would just kind of crunch a frame, or it wouldn't wind it correctly. And you have to like why'd you just have a racket again, the way it's built, you can't like back it up or double, double expose or anything like that. So you just have to, like, crank it over again and shoot. And then, you know, whatever happened in that frame, so you just get like a black one or, you know, some white frame that never developed. And that was always kind of like, but it was also similar to the N 82. Or with any, any one of those auto wind film cameras was similar to this can, and once you put the feed of the film into the camera body, you put the canister in the film. And then once you've seen that, that door shut on the camera, once it latches, it'll kind of auto wind will grab the end of the film and then wind it up on the other side so that it's matched up and then ready to go at frame one. But I do remember as a couple of times when it would be just kind of like the mess that up, or it would grab like a few too many frames at the beginning of the roll to kind of wind it in before it figures out where it was. But I've kind of had that happen or, even near the end, when you'd shoot. And you could have shot maybe one more frame on it or two more frames on it, but just the way that it would count, it would stop and then auto wind back. And remember, like a couple of kind of tricky things with that or like where you take a picture, and then it would wind to the next one, like auto winds to the next roll or the next frame the role, but then it would fail at that, then it would shut off, then you'd have to flip the switch, turn it back on. And then it would, and I think wind again like I'm saying because I had a wind air that would wind out again. And then you'd like to lose that frame. And I remember, I remember dropping a bunch of frames to that as a bummer. Probably it's not that much. But it's just sort of the cost of domes. It seems like with some film stuff, if you do know what you're doing. And you can kind of anticipate some of those problems coming up. There are some things you can do to mitigate it. I think that's sort of what makes a person like, you know, a skilled operator that trades versus someone else that's not, which might be me. So it's kind of what I'm talking about. It's just like, well, try this out. It didn't work well. And that's the frustrating thing about people that want to get into some Film photography, you know, it's cool, it's cool to pick up an old camera at a flea market, something like that. And then you grab a roll of the film where you're going to get, I mean, we're going to get a higher quality roll right now you kind of have to special order it or just ordered on Amazon, it's not that special. But, you know, Amazon Prime, some roll the actors, you know, some kind of nicer Kodak Portra throw it in the fun camera you got you can also probably get that Fujifilm stuff at a local-ish place, probably most, I think you can probably get it at a bigger department store, though it's rare. Now, I know it's kind of rare. But I think you can get like the Fujifilm 400 in many spots. That's it, though; you're not going to get any other kind of film stock just publicly out; you're going to have to go to a camera store. If you're in a city, you can probably do that. Otherwise, it's still kind of I mean, you know, like a midsize town probably, but it's still sort of, sort of special and probably right now it's odd to get something like that, you know, during the COVID-19 lockdown pandemic stuff, I'm sure it's limited access. So yeah, online order 15 bucks or ten bucks or seven bucks, something like that to get the professional films Doc, and then it's going to be 25 bucks, or so like I have just found out to develop that roll of 36 frames. And it might be that the camera was bad, or that something failed, or that a battery didn't work, right, or that the meter is blown out now and that all your photos are overexposed. But I've just heard so many times and have experienced so many times that like, you know, a piece of the film failed before it was developed, or the exposure process of the film in the camera is messed up in some way and therefore doesn't develop properly. And then it's like man, like, you know, you're in, you're in it a bit to find out that I guess it wasn't as satisfying as I thought to get this roll of film development. And that's what I hear about, yeah, kind of the hobbyist stuff that I get into some film stuff. But if you can, and if you can get past that hump, it takes about four or five rolls of film to getting past that initial hump of what is this and what am I doing and what happens when I put it in here and what happens when I take it out. If you can kind of think your way through that, then you'll be in a good spot. That's at least how it was for me back when I was trying to get into it was a kind of understanding how to get the film and get the film going get some shots in. But there was a bit of a curve. And then when you get the film back, you kind of discover to Okay, like that's when I did this in the photograph in it, it works better, or it didn't work, or you know, like you try and do like some exposure compensation thing. And it's a guy that was too bright. And then you learn about bracketing or something like how photojournalists used to do back in the day when they'd have to, like, lose, like, I don't know if it's going to work out, right. So they'd have to bracket that exposure, you know, a bright exposure, a mid-exposure, and a low exposure hoping one of those was the properly metered place for that photograph. And that's where you get like bracketing systems on some higher-end professional DSLR. Now you can kind of go into some of those deeper features find bracketing. And that's how HDR photographers kind of set up some of the intuitive ways that they might approach capturing HDR images, setting up the bracketing to do something similar where they have one, one f-stop overexposed, one even exposure, and then one f-stop underexposed. I think that's right, where he adds like bright, mid, and then dark. And then they're able to combine those tonal ranges to make something that has a higher dynamic range. And they use that sometimes through a process called bracketing that sort of automates that exposure change for every three frames. So you know, high, mid-low, and then again, high, mid-low, and then again, high, mid, and so on. It's kind of cool that they were doing that, but I think that's what they would do for some of the actions he was is that they would have to do some photojournalism in I think they use that in Vietnam a lot. That's sort of what I had. And I know that it's existed as a thing outside that, but I think it was part of some press and though that were deployed, or that were embedded with the military over in Vietnam, I think they would use a lot of bracketing techniques to try and get exposures out of the field. I guess it was kind of difficult, you can imagine right, but yeah, I think that's like one of the ways that they were able to do that. So yeah, bracketing stuff is kind of cool. Or to kind of do that, so you can see like the framing or light in the frame and see like which one exposes better, but yeah, that's cool going through a bunch of film photographs and stuff going through my first roll of film out of that Canon camera has been pretty cool. It looks nice; the scans are nice; the darkroom did a good job; they look good there. I got to like the superfine quality scans. So I think there; I don't know if they're maybe 12 megapixels or something around there. Maybe a little more than Then, you can kind of zoom into it pretty well. And it seems like it would print up to a reasonably large size. I think it's, it's probably like, what is it a 24 or 22-inch print? Somewhere around there, as I think probably would, it be well-rated two. So it's kind of cool. I think I'm happy with those brands; I'm going to try them out in the future; I might try another couple of competing film development services to see how those are going and see if there are any differences or, or used to speed the service or something. But really, it's so long for me to get a roll of film shot through that, at least like right now, or at least without some specific need of it. That hasn't worried me too much. But I do want to go out and try and try and work through a roll of film a little more specifically; that'd be kind of cool. I should do that on one of these rules. Soon. Upcoming desert trips, I've been trying to be a little more to some of that stuff. So I'll talk about some of the more outdoorsy desert stuff coming up here real soon, too. But yeah, it's been cool. October is a good month, and you know, a lot of stuff is going on. But hopefully, that kind of keeps going through smoothly. So I'm going to try and keep up with some campus stuff. Keep up with some photography and film stuff. And yeah, I learned through a roll of film a couple of good ones on there. Some specific photos at some time. But yeah, you'll see them around. They'll be up on the website at some time. But yeah, thanks for listening to this episode of The Billy Newman photo podcast. You can see more of my work at Billy Newman photo comm. You can help me out at Billy Newman photo.com forward slash support. It's a donation-based system, sort of like Patreon there are different levels and stuff if you're interested in it, or you can make any donation or contribution that you would want to the podcast and if you're interested, go to the about page contact email address or through the contact form there. I love to hear from anybody that's listening to this podcast to check it out. Thanks a lot for listening to this episode of The Billy Newman photo pack.

Billy Newman Photo Podcast | 154 Developing Film And Converting MiniDV Tapes

Tue, 01 Sep 2020 21:18:24 +0000

Developing Film And Converting MiniDV

Developing a roll of film. Converting Mini DV tapes from 2006. Camping around Mt. Jefferson. Viewing the meteor shower.

154 Developing Film And Converting MiniDV Tapes

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

https://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

Developing Film Converting MiniDV

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Billy Newman Photo Podcast Feed

154 Billy Newman Photo podcast mixdown Developing film and Converting old tapes

Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast for the first week of September 2020. I hope everybody's doing well. Thanks a lot for checking out this episode. I wanted to talk a little about the start of September, some of the stuff I've been up to. It's cool, and I just finished a roll of film here pretty recently. Like I think during this last week when I was out traveling around, and I haven't finished a roll of film in a while, I've been shooting mostly on the digital camera that I've got kind of moved over to canon equipment back in 2018. And I've been shooting with that for, and I guess now almost two years is what it's coming up too. And so, during that time, I picked up a Canon film camera.And I've been using the Canon lenses that I have for my digital camera. On the Eos system over on an older canon film camera from I think the late 90s is what I was able to pick up. So I went over on like kth comm. I think this was this is probably like nine months ago or so at the beginning of the year. And I picked up a really inexpensive Canon camera body was like $35, something like that, to, to pick up this camera, mostly plastic in the body, but it has a bunch of the manual controls that you would expect from the sort of mid-range SLR sort of like the five D Mark, or you know, the five D Mark, the five D line, you know, whatever when you want to pick, but it's not the full professional build model. But it's definitely not the lower-end one. So yeah, it has like kind of the same layout of buttons and stuff on it as you can get with the more modern layout of cannon buttons and stuff. So most of it's really the same as it kind of translates back from one to the other. But it's a cool, pretty simple camera, and it's got, I think, like three focus points, three autofocus points on the inside. And that works fine for the kind of simple stuff that I was trying to do. But it's cool I was a cargo by I'm out here at a wildlife refuge spot. And I was checking out sort of has changed now that it's September 1, they've cut all the grass that they grow in these fields out here, that's all been cut, bailed, driven off. And then now it's like been tilled up, and there's like dirt and rocks and like all of these big multi-acre fields that kind of a stretch on out here. So we're working with this canon film camera, this, I can't remember what the name of it is. But it's got pretty simple controls, and it's been easy to use. It has a weird battery. Maybe I have talked about that before. The kind of tricky thing about some of these late 90s SLR cameras is that they take this sort of proprietary about these almost proprietary disposable batteries. I think this one is something sort of like to sort of fat double A's that are bonded together. And then kind of wrapped in this, you know, this little casing unit and that's supposed to like fit in your camera, and then the power of the camera for a couple of rolls or something like that it works fine. But I always kind of prefer the double-A or something that's a little more standard. They understood that they needed certain batteries to deliver more power for certain mechanisms. But I think now they've got that pretty well figured out with different series or different sets of series of double A and triple A batteries that they can use. Like that, the lithium-ion double-A batteries seem to work fine. And a lot of the stuff that I've used before, even just you know, the basic Duracell stuff has always worked fine. These are, these are weird batteries. So there, you know, like really thick, kind of, like if you took a double-A battery, and it was made playdough you took a double-A just kind of squished it a centimeter smaller than it was and kind of got it fatter on the sides. That's sort of what it looks like. And like I was saying, Yeah, bound together as I set it to and then put into the camera, and I haven't had to replace it in a year, but really, I've only shot through one roll. So I think like when I shoot with the Nikon f4, I think that takes a proprietary battery, but if you have the double-A battery pack system that attaches to it, and that's what I had so that one took like, took like six double-A batteries that went into the base and into the handle of the camera. And you could get about ten rolls of film shot with just that one set of batteries. And for me that would last a really long time. But if you'd imagine, you know, 10 rolls of film is you know, Max 36 frames. So if you multiply that out, it's you know, it's not more than a day's worth of shooting if you're if you're kind of shooting an event or like a wedding Or a sporting event, or something like that, where you're going to be expected to come back with a lot of frames that you, you know, develop and produce and then pick from. But for most of this kind of like, landscape work that I'm up to, or you like, this sort of stuff, it's a lot slower, it's a lot easier in a lot of ways to put together and a little more steady way. And so yeah, 10 roles, or, you know, like, I'm not going to shoot through 10 roles in the next two years, probably. Because it's, you know, sort of novelty thing for me to shoot now, but it's cool. I got that film role finished, I think, yeah, like I was saying it was probably from January till near the end of August now. So it's really not like a fast pace, it's probably like two or three frames a month that I've been shooting, but it's at a number of the different camps and stuff that I've gone to over the last year are different like trips and stuff that I've gone through different little spots that I was at. So I hope that there's some cool stuff on there. It's kind of fun when you go back and check. And you see, like what you got. And if you haven't, like, duplicate it over, or at least if I noticed, I haven't really duplicated over the the photo sets with, you know, a bunch of digital images of the same location, and then a bunch of film photos that same location have I really like crossed over too much. It's really almost a surprise to me what I when I developed the role, and I see some frames over there, I think, oh, man, I've heard you know, I've never seen this photo before, I never got to look at the back of the screen, just have to see how this photo would come out. I didn't I didn't get to pull it up on my computer yet. So you kind of look back to this thing that happened, you know, six or seven months ago, and you go, oh, man, I remember taking a picture of it, but I had never seen it. And so it's kind of fun getting to capture some of that stuff. And get to go through and check it out. And yeah, sometimes there's a there's a cool quality to the film photos that come out. But this is the first role that I put through this camera. So we'll see if it if it comes out at all, I don't really know how to develop it now that we're in sort of the, the COVID staff that we've been going through during 2020. I know like a lot of businesses and now opened up again or you know, like back into operations. But there's also sort of some strange protocols of how different things work. So I was trying to kind of figure that out and see if there was delays or something to it. But I think that, that I'm able to take it down to a spot. And they can probably develop it in house over a couple days. But well, no, I think it's still send out. Yeah. So I think it kind of depends on like, what what the, you know, what the location in Portland is doing or something right? I'm not really sure. It's kind of interesting, I think they can do a lot of C 41 processing in house. So maybe it's easier for him than what I'm thinking. But I was looking at a couple different services. So there's always kind of the idea where, if you're in a bigger market, you probably got a couple more options than I do. But out here in a more rural smaller market getting filmed about this become quite a bit more difficult. I probably talked about this before. Well, you know, like we've everybody's seen, the film departments in the photo departments of a lot of stores, just kind of go out of business, or flip to be in just a few digital kiosks that you get prints made up. And that's definitely going to serve 99% of the business. But in department store negatives were never the best things by any means. But but a lot of a lot of the access that you would have had to send your photos somewhere that you would see at least you know, like through your commercial markets you go to have kind of disappeared. And so so now like, yeah, you really just have to send an envelope out yourself to some developing house to have them, process the photos, send you back your negatives and send you back like a digital CD or thumb drive with your photos on I think now you can select for thumb drives for most everything. But it's kind of a little strange. It's and it's a reason I was looking at this one service called I think the darkroom. I think they're out of like an area in Northern California, like Santa Cruz or Monterey or something like that. And it's, I think, probably south, probably Bay Area. Maybe I could say that more like the South Bay sort of what it seemed like they're, they're saying from some of their information, but with them, I kind of like fill out a contact form on that website. And then it sent off that information. And they email me back like a prepaid mailer that I can put my, my film role in, and then they'll take it, put it through a scanning process during my negatives back and then give me the scans through some digital means. And the prices were pretty reasonable, but it seemed like it was somewhere around 20 bucks a roll to get the sort of good stuff, you can go up from there and spend more you can go down a little bit and spend a little less, but I wouldn't really recommend that that'd be that'd be like a lower quality scan of the materials. I haven't really that's sort of what I'm faced with the local stuff too. Like I was saying I can go to this local camera shop that's still a town away. And I could drop my film out there, then there's sort of the old-timey, they haven't really renovated anything since the late 90s, sort of camera store model that you would have seen before. But you go in there, you can drop your film off, they'll have it ready in a day, which is great. Otherwise, with this meal and service, we'll probably have to wait a week or two weeks to get my film back. But you can wait like a day, two days, three days or something, go down and pick up the film. But the problem is the CD that they provide you is bad. Or it's just got like, I haven't done that in years to I used to have like a CD reader, I haven't had like a CD drive in a long tiling a couple of years now at least that I've like done the CD stuff, shoot. But the seat Yeah, the CD-quality or like, whatever, whatever system they're using to scan those images is pretty bad. So you get like a, it's like a two megapixel scan, it's really highly usable for anything. But you know, like, something fun to see on a computer screen. But it's not really good enough to print anything more than like a four by five or so in photo. And even still, that's kind of, it's not as rich as it could be, if it was scanned properly. So that's one of the benefits that you get with doing the send out is that you get to kind of work with whatever, whatever scan shop is actually looking at and dealing with and caring for your photos and a lot of these local shops, they probably do a good job also. And if you're in again, like a larger market or more developed market, there's going to be well, I don't know, probably like, I don't know, there's probably going to be one or two places. And most of the West Coast market cities like say, you know, like Seattle, now the car going by. But like Seattle, Vancouver, San Francisco, I mean, Portland's got two or one, maybe they've got like a little art-house style one. But I think a lot of these also, I think they kind of cheat a little and send their stuff out to a bigger print house when it gets a little more complicated. So I'm not really sure how that goes, you kind of have to look at it. And like sort of read what that little spot is up to and how they kind of work with us that's filled with photos and stuff. But But yeah, I think getting the scans is a pretty good way of going about getting your film stuff created. And it's not too bad sending your scan in getting it developed put on CD getting sent back to you, that's all pretty easy to see 41 processing for a lot of the color film stuff that you can just get is pretty easy to use, like any other more complicated stuff, like medium format, or large format, if you get to shoot it, what's the other one to 40 even like some black and white stuff, it's like it's just not standard enough, it's not the C 41 processing system they've got. So it has to be sent out to like a different place. And it has to be, I guess, more beautifully processed to get handled. But I think that's because kind of like what what we recognize is that the those those formats of pretty much all of it disappeared now. So you just really can't get ahold of a lot of medium format film to shoot through. I mean, you can, of course, but it's just not going to be something that's done enough. So just about all that stuff is sent out to a few hubs that are large enough, so they can get enough of that so that it's profitable enough for them to keep developing it. So it's kind of cool. It's interesting, but But yeah, I want to try and shoot that film off. Get my my film sent back to me. Hopefully that'll work out pretty good. The other thing I've been trying to do, I've been going through like an old box that I have, and it's got these mini DV tapes in from probably started in I don't know 2005 2006 2007 and then probably no more by around 2008 or 2009 those interesting facets things kind of come and go when you look back at him . I think when I was getting into video editing and video processing stuff back in like high school and into college when I started a lot of the video footage that I'd record would be put onto these mini DV tapes that were little kind of like small palm-sized VHS tapes that were kind of a split between a few different video mediums that are out there like hiei or VHS See I think was like the other camera types that they had out there for a couple of years sort of were sort of floating around there in the market at the same time. They have these mini DV tapes, and it's got footage on them still, and I think I have clips of the footage that is that have been captured off of it like way back in 2005. Whenever I use a capture card to capture mini DV footage over from the camcorder that took it and then bring it into Final Cut Studio three or whatever it was that might have been around back then probably studio two Adobe version one premiere one, you know way back. But when you'd capture the this AVI file that was huge as a humongous file was like two gigabytes every minute or something. It was terrible. It kind of a uncompressed and this is just like a standard definition grainy video it sucks to deal with, but you just barely kind of process it with the computers of the day running it FireWire over from the computer, or over like across the camcorder through like a little capture card FireWire mechanism that I had in it, I think it was I got to use like a Canon XL one back in the day. And that was pretty cool. That was like a pretty fancy camera for the 2004 2005 2006 range. And so yeah, it was fun to get to shoot on a nice big lens. And I got to do a bunch of sports stuff and a bunch of normal video stuff. But But yeah, sure, with that captured onto a mini DV tape, sent over FireWire to like Mac, g five computer I think is what it was for a long time. And then I got one of those later myself to use to do some editing stuff. And I had that until I don't know, 2012 or so 2013 when I finally sold it. But yeah, using those computers and stuff to capture these mini DV tapes a way back, I'd captured the footage, done some edits to it or worked on whatever project that was associated with it. And then I'd rented that out. And I probably still have some of those captured files that are edited rendered out that are somewhere on my computer video archive that I've got around, I've seen a few of them float around, but it's not really like the raw footage. So it's cool. I've got these mini DV tapes still, to whatever still on, and I think they've been recorded over a few times. So I didn't do the the archivist job of putting everything together as I probably should have project by project, mini DV tape, but mini DV tape to pull out all the raw stuff now and be able to have it in full. I think I've recorded over a few of those like short class project files that I would have recorded for a bunch of the stuff that I would have worked on through late High School in college. So for whatever, I got a box of tapes, so whatever I do have I have, but I definitely think that I've lost some stuff in there too. So taking these sets of tapes, and I'm trying to take them in and send it to like a conversion shop, sort of like I was saying, you know, with the film stuff, trying to get my film developed, I'm trying to send these these mini DV tapes out to a spot where they'll take it, put it in the scanning system, and then capture that video off of it again and give me a digital file with that captured video. And it's kind of cool getting to see some of the stuff again, I've done it with two tapes already as like a test, and then I need to drop in probably another eight or 10 tapes to see if I can get some video off of them. But it's kind of cool. Yeah, some stuff that goes back to I think like 2006. And then another thing from probably summer of 2007. Maybe somewhere in there. Yeah, probably like the 2007 year I think it's like this wedding that I recorded. And so yeah, I just, I just got this guy, this tape bag, it was blank. It didn't have a label on it. And it's just, yeah, somebody's wedding from 2007 that I recorded. So it's like, yeah, there you go. Yeah, another event that I accorded recorded some some stage event that I recorded, and got got tape of it, there you go camera set up on a tripod looking at video from I think that was 2000, early 2007 as well, you know, so it's kind of kind of interesting to csfb, I just dropped off another two tapes, I'm going to I think drop off. Maybe you know that four or so. And I think they process it, they put it on a thumb drive for you. And then they send you the tape back and they give you a thumb drive. And it has a sort of process mark on it. But yeah, he through the through the same drive in your computer to transfer those files over. And they're like a more reasonably compressed mp4 or something, I think this time, or QuickTime file, something like that. And yeah, drag it over your computer, you got to an hour of videotape. now converted over to a digital file. So I'm going to try and go through that box that I have and see if I can pull out some cool videos from some stuff from 2005 to 2008. Whatever range of stuff I was recording at that time, that'd be kind of fun to see. Really what I'm noticing though is that it's just a lot of junk. I really am frustrated that you kind of think like early on, you're like recording some stuff, you're recording something cool. And then it kind of turns out later to be not not super useful. It's just not like a really like a full contained thing. And you think man, there's a lot of waste in here. If I could have eight hours of the good stuff. That would have been great. You know, if you really think about life and like, oh, what, eight hours what I'd want to still see now. Right? You know, like, what kind of stuff What do I wish I had recorded a little bit more of moment to moment. And I'm looking at that a little bit through the videos that I recorded that are like, what is this project and also into the photos I record to have like, you know, like that. There's an there's the process of photos that is cool, but there's some nostalgic stuff about photography that that really is what grows Over the years, you know, like, if you just take in personal photos, it's like the moments that the things in the the way that you sort of interacted with the thing that ends up being a lot more fun to see and look back on then just sort of the, the most plain, sort of flatly composed VISTA that you can kind of put together on a on a viewpoint, which is sort of what I ended having a lot of just like, Oh, yeah, it's like, it's like a horizon and then a sky. And I don't really know where it is, and it's sort of flat. And okay, but, but then there's a lot of stuff. That's, that's pretty cool. And sort of personal to get to see. And that's what the, I think the fun stuff is year over year, over years, you get kind of further down the road. But I wanted to talk a little bit about the proceed meteor shower that had come up a while back now, in early August, it was cool again, to see that hopefully, you guys got to get out and make some observations of some meteors that were going by I got to do a couple of camping trips. During that time. I think like at the end of July, when comet nowise was cruising over, some of you guys probably got to see that that was cool. But during like the end of July is when the Perseus start kind of ramping up. And then it's pretty late. It's like it's a chance that you'll see a meteorite, or you know, a meteor streak across the sky during the evening sky during those weeks, but it really starts to kick up and peak. I think it's August 10 11th, and 12th sort of in that range ninth 10th 11th 12th. But really, I think like the 10th 11th is when it's it's the night to see it. And it's cool, and knives are on yours that the that the meteor shower is really peaking. I think it can be like up to 50 or almost 60 an hour, but you'd be projected to see. But I've seen a lot of really cool ones before that. It's been pretty fun, or you just go like, well man. I'm just seeing a lot of shooting stars throughout the sky. So it was cool. This year, I went out for a couple different sightings of it. I think like that during that last podcast that I was talking about was probably one of the better observation nights that I had when I was up on top of that mountain peak out in Eastern Oregon. It was really beautiful. It was the really dark night you can you can see really crisply into the Milky Way and into kind of the little filament light structures that sort of make up the edges and boundaries of the Milky Way. And then how dark it gets as it kind of falls off that into the deep space part of the night sky. It's really cool to kind of check out and look at that and and that was a lot of fun. Getting to go out there. Look at the sky, look at the Milky Way watch the Perseids as it kind of started to kick in a little bit more after midnight. So I said it took about about 2am that night and they're probably saw it's probably 15 or nearly 20 pretty good ones. there's a there's a bunch of spinners that were kind of coming through there but there was really like a lot of good ones that I was able to see kind of later or over that night and the night before. And it's cool when you get to see a few of them they really kind of stretch off across like a lot of different parts of the sky. I think they're the idea of the Percy is is that they're sort of originating out of the constellation of Perseus up in the north east part of the sky. But really, you can see him shoot now down into like Sagittarius and Scorpio in the south are way out past like Arcturus as you get like a little bit further over into the western sky. But yeah, it was cool getting to check out the meteor shower getting to see some of those bright tubes that are left band is like plasma tubes that are left behind is one of the bigger meteorites kind of cruises through burns up and leaves this kind of tube of I guess hot air hot ionized there. And it kind of glows for about a second or so. And the sky You can kind of see it as then sort of zips and whisps away as it sort of evaporates and cools back down. But it's fine. Yeah, being out there watching a few media or media shoot by that was fun. And then yeah, really a great part of August and some of the observations that you get to do is get a check out the meteor shower, I guess there are meteor showers through other parts of the year to like, think there's supposed to be? Well, it's probably a couple more weeks, and usually another really good one that comes up in October that we normally Miss. There's another good one, I think it's like the Leonid. Maybe it's a Leonid shower, that's in November. But for a lot of us in the Northern Hemisphere, by that time, it's just like clouded over enough. Or the the way that the weather is working just makes it so that you're not really able to make the kind of observations of the meteor showers you'd like to I suppose even when, like I was in Hawaii A while back and I was trying to make observations and some of those things I hadn't been able to do during the winter months here in Oregon. And a lot of that stuff I really wasn't able to see in the way that I would have hoped to. or Yeah, I just like the observations of it like we're just I don't know kind of kind of difficult to make. So really like get the proceed meteor shower was always one of the coolest ones because it's it's kind of it's, it's right there kind of writing a good season where you get to check it out. And in a good location for a lot of us here in the Northern Hemisphere and stuff. So it was cool, had a good time. Getting to do some of that earlier this year, it's ready to I'm out here. I like this section of the of this wildlife refuge, I was noticing the leaves and stuff like I was talking about the the acres of the of the grass fields have been tilled now. And that's dirt and rocks that are sort of turned up all over these multi acre fields and stuff. But out here past that there's groves of oak trees that kind of stretch out along the creeks as the ground and then up onto the hillsides is it kind of extends up into the forest over here more. But I've noticed in the oak trees, now that it's September 1, there's like this browning that's starting to occur. And so it's just sort of the the last two weeks of August is when you really start to first see it, but it's the first twinge that the the leaves are starting to change their color and that the seasons are starting to flip. And it's starting to move into into more of the fall. autumn season, which is kind of cool. It's interesting to see like how it sort of takes place when I was driving on the freeway last week. And as sort of moving around a little bit more, I could see a few rows of trees that had been put in I think they were ash or maybe their poplar trees that had already started to turn really quite yellow, and on some of the branches. And it's interesting to see how they sort of start to pop and turn a different time. But it'll be interesting to see how this year sort of plays out. I'm not sure if we're going to get the Indian summer the extended summer into like late September or October, like we've maybe gotten a few of the last last few years, but it'd be kind of need to check out, I'm excited for it to be September. So to be maybe a little bit of change of the vibe of what's been going on for the last few months, I'm kind of tired of the pandemic and the lockdown stuff and some of the changes that have sort of come with that. So I'm hopeful to kind of maybe see the Far be a shift in some of the way that some of that's working or kind of see like how it's going to evolve, we're going to maybe see now if like colleges are going back into place, or if schools are going back into place, or I think that'll be kind of maybe it'll set the temperature, the vibe of the type of change we're going to see through the rest of the year and how it's gonna go. I'm already seeing news articles saying you know, expect expected a distance Thanksgiving over zoom. So it doesn't look like they're putting it on the agenda to be back out of it or celebrating anything soon, which I understand, I guess makes some sense. And it sounds like a lot of states are going to be bringing their schools back into place, which I think is really going to affect a lot of parents and their ability to have a work schedule as a managing their kid in a home environment stuff. So that's all going to be kind of strange. Now that kind of cascades a problem. But yeah, it looks like it's gonna take a little longer to pull out of all the consequences from the pandemic. And it's too bad I wasn't a little faster. I was hoping that it would be kind of in July or August that would be able to kick most of it and get back to pretty regular business. But yeah, with a lot of states just not selected to have their their K through 12 classrooms reopened. But for reopening through a distance learning mechanism where you're, you're required to be occupied at home. I think that's gonna put a lot of parents in positions, that it's just gonna make it it's gonna make it an auditioning, or it's well, it's just gonna be a weird couple months, and I think everybody's got a pretty good handle on that. Shoot. I wanted to talk about this trip I did out to the lake Billy Chinook area. That's a cool area. I like that I think like Billy Chinook is, well maybe it's the lake I've seen a couple different names for that lake. It's sort of on the border. one edge of it toward the north is the Warm Springs Indian Reservation. To the south. I think it's when is that area. Now I don't know what it is. I was trying to think of the the National Forest system as part of that. Now I can't remember. But there's some national forest out there. And I think it's where like the crooked river and maybe the White River Salmon River, same river. I can remember it's where like a couple rivers sort of have their convergence point before they think they enter up and head down toward the Deschutes river and They put a dam in there and then backed it up. And it's an amazing location. It's really wild to think of what the landscape must have been like they're way, way back, but they put a dam in. But these canyon walls, he's like really, really steep walls go down, you know, like hundreds of feet or something more than like where it's even dammed up to today. So it's a really kind of strange spot but but yeah, I was camping out over there. Really interesting area, it was cool. I didn't camp down by the lake that was really actually very full kind of, like I talked about a few times in this podcast. The the outdoor kind of camping here is sort of the more developed pull your pull your truck and trailer in and set up a campsite. 15 feet from another camper next to a lake so you can fish kind of spots. Those are all really full this summer. I think, you know, maybe like Tuesday, Wednesday, you can find some more open spots, but they're still campers through the week. But then by Thursday, Friday, Saturday, most of those spots are real full in the small town junctions to get to those spots are even more full, like going out to lupine before you get out toward the Newberry crater Paulina Lake area or out toward like Crescent lake or some of those cascade lakes you can cut up to that the LA pine area some of those little travels and a gas stations out there that I've intersected with a couple times on this trip southeast Oregon are slammed by Friday with out of state license plates and within state license plates from people from Portland or bend or from wherever you're going out to do their summer recreation stuff and it's been way more busy this year than I've seen it for a number of the past years but but yeah, when I was at toward the Lake Village Nick area that the State Park area where there's like tent camping and RV camping that was sold out it said no vacancy, and it was loaded like no no distancing and seemed really you know, but it's just tense on 10 on 10 on 10 on truck camper, and so on. And it's a cool spot that I would say it's great if you get a boat or if you're renting like a houseboat or family boat or something like that to go out on a school you can drive your trailer down, drop it in the lake and take off for you know, a whole day and just kind of cruise around acres and acres of of Lake out there. So really beautiful spot really cool. It seems like it'd be a good spot to go fishing or I think people do some kind of light watersports, sort of, not jet ski, but, you know, like wakeboard, innertube, ski sort of stuff. I think it's like some parts of it. And then I think some other parts are still set up to be a little more slow for the fishing stuff. Now the car driving by what's up cars. But it was cool that there's a nice spot to go camping I, what I ended up doing though, is a was looking on that map. That off road on x map that I've talked about a few times shows a lot of the roads, the Forest Service roads to kind of stretch out and but Forest Service roads that are open too. So a lot of them have like gates on them. So if you're going down a road and you see it on the map, you're not really sure if it's open open to the public or if it if it drives through or not. It's cool because you can look on this map and see what is there where you can go and you can see what roads are open. But I was able to take this forest service or the cuts on the south side of the lake area, and then I think goes up into the mountains. And then it would if you took it all the way you would go over the mountain and then head down to sisters Oregon, which is a ways south of there, but you could take that just with with backroads the Forest Service backroads. But it was cool. But as you kind of climbed the ridge out of the Lake area out of the draw that was created by the river and the creek that flow into the bigger lake. You climb away it's like 500 feet or something that seems and you get up kind of toward the top of it. And it's interesting, the landscape is out there. It's really it seems like a flat landscape. And then the elevation changes created by the erosion from the water that that kind of creates these big Canyon draws that then drop down into the lake. So you can drop in elevation a lot, but really as you climb in elevation and get to the top of that, it really looks like a plateau that flattens out and goes flat across the high desert area out up into like Mount Hood or Mount Jefferson that you can kind of see from that area as you kind of climb up out of the I guess out of that Canyon grassland area. So it was cool. Yeah, the camping spot I got to was a dispersed campsite. That was up on top of that ridge outside of all the commotion at the State Park area by Billy Chinook. And it was cool Yeah, pulled up out of there. Found I think like these four campsites had like firing setup and they were all about probably like spread out by like a quarter mile or so. It wasn't too long of a space be I was this old rocky road that kind of curled out onto the precipice of this, this little point. And then the main road sort of stretched up the spine to the ridge, and went up a little further, until it crested over, and then came back down the other side, but went out toward this point, you had a cool view of Mount Jefferson, that wasn't really too far where mount Jefferson looked pretty prominent in the view. And then, as you looked at kind of toward the north, North West, you could see the point of Mount Hood, kind of sticking up over the flat plateau, the land that I talked about, you can see all the Mount Hood, but you can see kind of the top third of it or so just kind of sticking up over this flat plateau landscape. And then below that below Mount Hood, it dropped into this big Canyon, and then dropped into the lake Billy Chinook that you can kind of see down to the north and northwest or north and northeast, below me. And so it was cool is nice. Getting up to that spot. I tried to take some pictures up there, try to get some sunset photos of Mount Jefferson and try to do a couple of sunrise photos too. That was cool. It was better to lighten the sunrise sort of given the the side of the mountain that I was on. But yeah, it was nice getting out there and checking out mount Jefferson at night it was cool. was pretty smart. Like I'm kind of against like starting fires and stuff right now. So I've been using I think I talked about a couple of times that propane heater that saved me a lot through the through the season. But this is a good spot to use it it says everywhere up there. I think after a couple, a couple fires that had gotten out into the grassland and then gotten out of control. Early this decade, I think it was about 10 years ago or so they had that Warm Springs fire that burned. A lot of it, if you pull up a satellite image of the area, you'll see acres and acres and acres, this this whole big region that's been blackened by, by this flat fire that have gone through the big section of the Warm Springs Reservation. And some of the land that kind of stretches out from there. real shame as that goes, but there's a lot of stuff that says you know, hey, like we are locking down a lot of the fire you stuff that you have. So any any kind of just anything that seems hot, you just you don't get to use is pretty much what it seems to say I think in use gas stoves. And then you can use some propane systems, but really it's like, it's it's pretty against it in most ways. So like, I think you can't use charcoal, you can't use a fire pan, which is you know, sort of you get around these restrictions a lot of the time. You can't use any of that stuff. And I think it really kind of noticing what i what i saw out there is the wind is just really kicking up fast. And if anything leaves the fire and as a hot Ember, it'll just blow across and catch into a bunch of grass really way faster than you can get to it and way faster you can deal with it. So I understand like a lot of that, and I'm pretty happy to not have to deal with making a big fire or anything out there right now, especially through the summertime. So now that now that it is dropping into September and the fall, and moving into like some of the like hunting camp stuff that people are going to be doing. fires are gonna be great. That's always a fun part of the October camping stuff. When you get to light up a big fire burn through some Woods there plate. still stay warm. That stuff's really fun, but but man for like mid summer, really dry grassland camping. I'm happy to skip the fire this time. It was cool, though. That night when I was out there, I was camping out at the truck. And as you looked north, you could see up in Washington somewhere, you know, must have been way north of the Columbia River. You can see this Thunderhead system that had moved over. And you can see these these really bright and very distant strikes of lightning, they would shoot down somewhere east of Mount Adams so you can kind of make out up there you can see I can see Mount Hood from where I was and then a little over from that. Really more of like a due north location. You can see the hump of Mount Adams out there. And then so somewhere out east of Mount Adams from that landmark, you could see these big purple bolts of lightning that would strike down somewhere up in Washington, but that was really cool to see. Glad I got to be up there, and you can hear it, though. No Thunder anything you just see these distant flashes and stuff every 1015 minutes. You see these strikes from the storm and nowhere near me But yeah, as a trip, you can still see it from those mountaintops up there. So that was cool. Got a good time hanging out there out by mount Jefferson seeing some stuff. Check it out like Billy Shinnok that was really fun. Got to drop down to a couple fishing spots that are in that area. That was cool. nice spot, good summer spot spot to go really nice to get away from the State Park campsite area that they had that was super packed out and go to summaries that were a little bit more dispersed on the sides. How to get time doing that. So if It's cool that I probably wrap up the podcast here for this episode of The Billy Newman photo podcast for the first week of September 2020. You guys should check out my website Billy Newman photo calm; I'm gonna try and put up some more written and photo content up there on the blog posts section of the site through September and October. So that'll be kind of cool. Have some new photos and stuff that I haven't put up before. I'm gonna try and try and put out, and I got a few other things kind of planned for the fall, but I'm excited to get into but yeah, so a few few more podcasts or September. Couple more things like this talking about some camping, I have a few plans to go out and do some traveling and stuff. So I hope I get to do some posts and makes new photos about that. It's pretty excited about what I got coming out for at least the next 30 days, and it probably slows down a lot into late October, November. Man the winning time. How fun. It's gonna be exciting. But yeah, go to Billy Newman photo calm for slash support. You check out some more stuff about this podcast helped me out on there. It's always appreciated. Yeah. Until next time, thanks a lot for listening to this episode of The Billy Newman photo podcasts.

Billy Newman Photo Podcast | 148 Mixing With A Midi Controller In Lightroom and Logic Pro X

Thu, 11 Jun 2020 16:12:14 +0000

Mixing With A Midi Controller In Lightroom and Logic Pro X

Working with a DAW. Recording tracks in a studio.

Mixing With A Midi Controller In Lightroom and Logic Pro X

The xtouch compact midi controller

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

https://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

Billy Newman Photo Podcast Feed

148 Mixing With A Midi Controller In Lightroom and Logic Pro X

Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast, recorded for the first week of June 2020. I hope everybody's doing good. I got a cup of coffee made over here, and I'm hanging out at my studio desk and trying to get a couple of minutes of recording to make a post up today. I hope everybody's been doing well. I have been hanging in there through the lockdown reopening been hanging in there through the protests that have started up a lot of news and stuff going on, a lot of pictures and stuff, a lot of new images from all the different media sources, either the press photographers like the AP press photographers or are more impressively all the cell phone footage that's been captured just in the last two weeks or so has been astounding. I think it's it is going to go down in history is sort of an interesting event, sort of similar to how, what am I saying here, even just as media progresses, and now the proliferation of everyone having a camera in their pocket is sort of what's created a revolutionary moment, in a sense, you know where we get to have a lot of information captured not only from, from specific media sources, like an AP press photographer but also a 17-year-old girl gets to record a video and send that out. And that piece of media captures a moment that has a huge influence on a huge part of the culture. And I think that's one of the systems that that maybe hadn't been foreseen before, in, in the way that media works, and that the way that media spreads messages through the world, but that's thinking about, well, how would we say so just in the last couple of weeks, given that everyone now has a phone. In some way, to capture media, we've had all sorts of instances of these, this specific? Well, I guess, let's say police brutality, circumstances, and murders that have happened, that have been captured on video, and photographs, and you have just like different tear gas things or protesters different peaceful protesters being attacked different rioters being exposed for the crimes that they're committing. And so it's fascinating to see like how fast we can get these pieces of media I was thinking about maybe something like 911 when, when we just first started having digital media on the ground for recording you know, I think that's one of the first events where we had VHS like tape footage just from someone who had a camera on them when the event had happened. I think that's like one of the videos from now 11 we saw again and again after the buildings fell off this camera, kind of running away through the cloud of dust that was there. Intense footage. I also remember looking up that photojournalist back in 2001, had just started using a Canon D 30, which I think was their very first think their very first digital camera that was put out into newsrooms. So, even on 2001 September 11, 2001, a lot of the media was created on film. And a lot of the media was created on what, you know, like VHS tape or like really low megapixel, like three mega, maybe three or two-megapixel cameras back then. So I thought that was fascinating. I think it was like another year or another like, oh, maybe that I think the Nikon Done had just come out, which I'd probably talked about on this podcast before that was like one of the first cameras. So there were only a couple of digital photography options back then. The idea of cell phone videos, you know, I mean, imagine what that kind of event would have been like if every single person had a feed of video that had been uploaded or recorded on the day of an event like that. So this was fascinating about the kind of changes in those events as we progressed through history. But I was also thinking back to Vietnam, where there were a lot of videos, well, I guess, the Vietnam era and maybe the era of the 60s there, the protests and riots that had gone on to end Vietnam now. And to get the civil rights bill passed. There's a lot of media created around that we still see in history books now. But a significant amount of that media was all created by the press at the time. And that's the divergence that we see now is that instead of sort of edited message that was represented by the press, we're seeing an unedited message that's developed and created and shared by a wide population of people across the United States. And then it's edited through the crowd and then edited through the links that you receive, and even still, that's probably a manipulation of the total amount of information available. But it's just fascinating to see kind of the changes and progression of media. I'm not saying it's better now or worse than it was before. The application of media to communicate a message to a population seemed like, you know, I don't know. It's just interesting to analyze. I guess kind of the types of things that are changing. I remember, I guess, first thinking about this with 2000, maybe I don't know, probably not the first time, but I was thinking about this again, with the 2017 Eclipse. I know it's odd to try and compare these two circumstances. But historically, I started thinking about this idea that when 2017, all American Eclipse happened on, I think, what was August 21, maybe 7/17 2017, it was 2017. So it was probably the 28th. I don't know what it was. But when we had the all-American Eclipse, there were videos, and there were great photographs from almost every photographer, every Instagram photographer, every you know, amateur prosumer, or semi-professional. I have a bunch of photographs from the Eclipse that are okay. But everyone was able to capture photographs from all over the country. And that's because they all had, they all had a piece of media equipment. And then, as you go back in time to different eclipses that have happened in the past, I was trying to do that, as I was looking up information without Eclipse coming up. There's almost no information about that the past cycle of that Eclipse. So you know, I think it was like back in the 90s. And so you had some news reports from France or something, it was this, you know, cache kind of wobbly VHS tape that was uploaded to YouTube, there are a couple of photos, like one or two photos from its app, its appearance in 1945. And it's cool to see a black and white photo of an eclipse, but it's like one or two that exist. And now there are hundreds of gigabytes of images and different sequences of renderings of how that Eclipse progressed past. So just seeing that as a macro of it or as a controversial example, the change in time creates a change in the representation of a media and how it's used to show what's going on. So I thought that was fascinating. But we're seeing that now. We're just in the last 15 days. We probably have more coverage and more media evidence of things we were interested in than we probably ever had before. For a significant newsworthy event like this, though, I think it's all been kind of interesting to see and see that this sort of stuff. But well, it'll be interesting to really, it'll be interesting to see how it progresses. Over the next weeks. I think this is one of the wells. Everything seems like it's the first time as you continue moving in toward the future. But it seems like it's one of the first times that it's happened this way. I have to move the mic a little. Up the stairs. And there we go. Let's see the other pieces I was going to talk about today. I've been working in the studio still been working with Logic Pro 10. Sharp left turn, working with some audio production software, Logic Pro 10 recorded a bunch on the idea during the last podcast, and still, Yeah, I enjoyed Logic Pro 10 quite a bit. It's pretty fun to be working with. What is it about it that I like? I think a big part of it is all the free loops and sounds that you get. There are many other programs out there and many other applications that have software instruments that you can apply or loop packages that you can download. So those are certainly available to a lot of producers. But a real positive convenience about Logic is that you can download nearly 70 gigabytes of a sound library just for free that's available, sort of with the program without doing any additional or extra steps. And so that's a part of it that I think is a cool advantage. But so yeah, I've been just going through and messing with those loops and trying to check out the live loops dashboard. And I don't know if it's a dashboard, but I'm trying to look at the live loops tool of how you can throw in loops to this grid and then trigger them and sequences. So it's been fun to check out while I've been trying to do some guitar stuff, really. Pardon me. Just kind of regular practice stuff is up to you. But it's cool. There are a couple of amp modelers that you can get into when you have your guitar plugged into an interface on the computer. And yeah, it's a great, great system to do it with. I've been trying to master it called mastering if you do it this way, I've been trying to produce out the podcast using Logic Pro for at least the last one, and then I did some editing on a couple of others but yeah, I've been trying to go through and sort of learning how I could use Logic Pro to do the production of the podcast stuff, which kind of goes up and down. I mean, so I'm recording said, probably many times recording into an h4 n, which has, which has good preamps. For, for vocals, I think, you know, part of the tonal quality of how a microphone ends up picking the sound, I think is part of the preamp power that's supplied to the way that the microphone picks up the information. I don't know how it's recorded. There's something about that, I guess when it comes down to a sort of the, I don't know the quality of the sound that you're hearing. So it sounds quite good and natural just coming through. As it is, I've used other systems before that. That is not the case, it sounds really tinny or really, really thick and muddy, or just some weird digital noise. It's in there a lot of problems and stuff that I've had to try and overcorrect in the past. So this is okay, so when I throw it into Logic, I don't have a ton of things to do. But I do try and set a track like a channel strip, with a few different effects features applied to it so that it kind of adjusts the audio enough to make it I guess a little more suitable for listening to in a podcast, most of that is adding a compressor and a stack, so I had the voice compression. So really loud things and really quiet things are, are normalized a bit so that they don't pop and become loud. If you're like hearing it on headphones, you know, it doesn't go from the normal state of voice that my voice is in now to some other high loudness, all of a sudden, have an equalizer out there to get rid of a couple of odd room tone frequencies, I think there's like a, like a high pass, or this is this little filter pass that you can do where you kind of pull out a piece of EQ high and sweep it across your spectrum, then you find this frequency. That's probably like two or three that are just sort of these weird warble high pitch tones that can be in there. And, and you can kind of drop those out with the EQ. And that really kind of changes, you wouldn't almost notice it, if you were just listening to the full mix, you think, well, I can't hear that sound. But really, you can in some ways, the sort of agitating, a bad sound that you also hear along with everything else. So going through and doing some EQ, doing some stuff to the low end of the EQ, which is kind of fun to mess around with. And I've been watching some YouTube tutorials about vocal production and how different producers go through there. They're working with compressing and mastering and mixing vocals, and I was looking at Radio production stuff, which is okay, a lot of those a lot of the searches sort of end in some dopey guy kind of talking. I mean, what do you listen to do right now, some dopey guy kind of talking about sound in a way that you can't apply. Sorry. But, but when I was checking out things that were a bit more helpful, I was looking up hip hop vocal production mixes, because that's sort of a spoken word technique. Some E cueing and compression ideas are sorts a little more relevant than they are for a vocal singer. And I guess I mean, that's kind of obvious. But yeah, but I think it's a bit more of just mixing to the volume and loudness of sort of what it is. Yeah, it's cool. Learn a little about how to add some different effects to the audio. What is the channel that I'm working with? So have a de Esser placed on it to get rid of some of these sounds? I don't even know if you can hear maybe a DS at all. I'm sure it didn't. But the oh and also, I think, what is it like an echo or an echo or reverb effect that's on there. And I think that's supposed to be like a dry and wet mix; it's supposed to add like a bit more space to the sand. Sometimes it can be a little too flat, or I guess dry sounding. So you're supposed to add a little reverb to it to make it feel like it's in a more natural room space. And then like a quiet box or something. Also, put a noise gate on there so that any sound in there like a certain level will be cut out and stripped away. So there's not any distracting lower hums or buzzes or something like that. I remember on my first podcast, I think I was running like an analog input into the computer to record it my first podcast like back in 2009. And there was always this like kind of this low ground hum this that would be floating around in the background. And it was annoying. But I think I'd apply like a pretty aggressive noise gate to try and chop it out. And it just sounded way over-processed. Shoot. So kind of live and learn part of it, but I wish I did a little more learning of it. So I have this channel stack, and we're working on Logic Pro, I've been trying to figure out the mixing stuff and kind of tweaking it here and there and just kind of have fun with some music production stuff that you can do, I'm looking at this controller, there are different types of MIDI controllers out there, a lot of time, when you start talking about a MIDI controller, you're talking about like a keyboard, or you know, like a piano keyboard kind of thing, but not a piano, just a controller, they call it because it doesn't have any sounds in it a piano has strings and hammers that, you know, it's sort of a physical operation is triggering an actual harmonic sound to occur in real space. With a controller. It's, it's just, it's just buttons, you know, and then the computer processes that MIDI sounds to playback, a sample or a generated to the tone of some sort. So I have this, this m audio 25 key keyboard, which is a MIDI controller that I have plugged into the computer to do some stuff with it. But really, that's just, that's just like a MIDI instrument that's plugged in cool and great for the music production stuff that someone might want to do. But this other type of controller that I'm looking at is a little separate from what a DJ controller would be maybe you've seen this kind of the pads, or the scratch pads, or the sort of, you know, the mix fade in and out or whatever that kind of stuff is, this is DJ controllers, but this one is, is more like a digital console. So it's a think an eight-channel mixer is really what it looks like with the ninth channel master. And instead of having like outputs, like sends and outputs for quarter-inch Jacks on the top to go to analog equipment, it's really just a controller that drives MIDI information through USB into Logic or other digital audio workstations, and then allows you to control those knobs and features of your digital audio workstation through the controller. So it's cool. So you know, you slide you're going to mix something, so you want to slide the mix of channel one up to a higher volume, but you want to take channel three down a bit. You can do that physically just on these sliders that are there. And then you can, you know, punch in for record or, or you know, arm for record or select or mute or whatever it is. And then there are several kinds of control features and knobs on the sides where you can get into some things. So we're looking at these controllers looking at an X touch Baron or was made by Beringer. And it's an X touch compact, is one of the ones I was looking at, there's an X touch one. And I think just the Gen X touches like, you know, like a full size, like digital console space, it takes up most of the desktop. It's like there's a mini out there too, which I think you can, you can throw on a laptop bag. Cool that those options exist out there. And Yeah, it seems like it'd be kind of interesting for music producers to try and use. But I was also looking at some things you can do with it in Lightroom, too. So this, these controllers, you can have MIDI signals run into the computer to trigger different keyboard commands or different clicks and stuff. So I guess what you can do, and there's been some pieces of software made for it over the last couple of years that they do Lightroom control. So you can have a controller like this and turn a knob, and then that knob will respond to a fader, or you know one of those sliders that exist in the develop module of Lightroom. So you want to turn up the white balance of a photo, well, you have a slider for your white balance, or rocker something you can turn it up or down, or you have a slider that can go to high exposure or low exposure or change your brightness or hues or adjust your blacks, your tone curves. You have access to that, of course, on the screen, but you also have controls of that in physical spaces, buttons mapped to that controller through the software, I think a couple of the pieces of software that I've seen are MIDI to Lightroom or as part of MIDI to LR I think is what it's titled as which I'm sure you can search there's a paid software called p fixer that exists out there that I that has a free trial. Just try it out if you're interested. And then there's another software called LR control. And I think that's also another piece of paid software that you can get a free trial for. There are a few videos online that kind of express how some of these mixing pieces go, but really, I don't think there are that many videos that describe how you know mixing with a like an X touch or mixing with some kind of MIDI controller or photos in Lightroom works. There's some stuff like, you know, there's a couple, a couple of guys kind of going around and tweaking some photos. So you get the general idea of what it is. And I guess that's enough. I mean, you know how to edit photos. But yeah, it's kind of interesting to see how the controllers plug into it, I figured it helps with productivity and workflow. I've also seen plenty of professional photography. No, it's not like every, every top photography studio is implementing a controller, and that's why they're getting better at editing. I think they're hiring an editor. Is that what they're doing? I need to learn about sort of the higher-end stuff. But sometimes, of course, there are a lot of them, the bespoke journeymen photographers that, that just sort of work and do all the work and then build a package and send it out. But there's also a lot of photographers working in commercial markets or wedding markets to that, that, shoot a bunch of photos and then have several editors go through the library, and they'll, they'll do editing, color editing, and stuff. But they'll also do more tedious tasks like keywording, or, like metadata description, editing, or something, you know where they go through and make a bunch of changes, or a bunch of log lines to, to have liner notes inserted into the metadata of a photograph. Interesting as a process. But yeah, I've seen like, you know, a couple of interns hired in a photography studio just to work on, you know, tagging and logging and keywording stuff, which I don't want to do, I don't do that in my Lightroom catalog at all. You know, like, I don't know what to do whatever degree I need, but it's like a collection or something. So, I've seen that. But I've also seen talented visual editors, you know where their training is like, is just to use Photoshop to apply to sharpen. You go, oh, man, wow, that's what you do, is just use Photoshop at a high level to add multiple layer effects into a channel so that you can apply a type of sharpening to the pixels that we don't understand the use. I mean, I'm sure it's quite good as just the slider in Lightroom. But, for these professional magazine layout photos, they go through a couple of passes of pretty high-end old school guys that go through and do specific types of sharpening modifications to the way that the photographs look, especially I think, if the photographs are being enlarged to a great degree, you know if you're thinking about a billboard, but you're thinking about you thinking about the physical size of 35-millimeter pieces of film, is that what it is 3635? What is it? I'm not sure, but if you think about just like a frame, like a film frame, it's just, you know, a small little block, and you think about that stretched out to cover an entire billboard, or even just something on TV, I think they have to do a lot of image manipulation to what do they call it, interpolate to interpolate enough pixels to create out of nothing enough pixels, to make it so that the resolution of an image can exist is something that large, and I think there used to be some, some pretty specific processes in place for art directors to send those photographs through to get them appropriately edited for print in a magazine. And so all that sort of stuff has kind of gone out the window now. And now it's just sort of, you know, juice the photo up and an editor to make it look cool to get it out online or to get it into a book or something. So maybe it'll seem regrettable in the future that that was sort of the case with a lot of the images, but also probably not, I think it'll be fine. It'd be cool to get a pro editor on board. But I figure I figured that's sort of a way of the past. You know, I think I've talked before about different ways of the past that like film photography got where their stock photo sessions where you could just take pictures of a corral of horses, you know, 30 photographers, or take a picture of a crowd of horses, and they'd all sell that in a calendar and make, you know, make 10 grand for the year. Those days are over. I don't think that's happening anymore, as is the idea of hiring a full-time image editor to do professional color gradation on your images. I think that'll just be up to me now. So I guess that's probably a lot of the stuff that I'll talk about on this episode of the podcast. Thanks a lot for checking it out. I hope you guys check out some stuff on Billy Newman photo.com few new things up there some stuff on the homepage, some good links to other outbound sources, some links to books, and links to some podcasts. Like this. Blog posts are pretty cool. Yeah, check it out at Billy Newman photo.com. Thanks for listening to this episode and the back end

Billy Newman Photo Podcast | 147 Logic Pro 10.5

Tue, 26 May 2020 17:06:45 +0000

Logic Pro 10.5

Logic Pro 10.5 . New features. Live loops. Quick Sampler. Multitrack recording in Logic. Using a DAW. Working in a studio running Sonar. Editing Podcasts and Radio with Adobe Audition. Never used ProTools.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

https://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

Billy Newman Photo Podcast Feed

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

147 Logic Pro 10.5 BNP mixdown v2

Hello, and thank you very much for listening to this episode, Billy Newman photo podcast recorded for May 26, 2020. How's everybody doing today? I wanted to talk today about some stuff I've been doing this last week for the last few weeks. I've been talking about some outdoor stuff and some things related to the lockdown pandemic stuff, but I kind of change and change what I was talking about a little bit for this podcast. Still, I wanted to get into was some of the training stuff I've been looking into around Logic Pro 10.5 that has just come out recently. And I thought it'd be cool to go over a little bit of an overview of some of the new features and stuff that you can do with a digital audio workstation, and why to bother talking about it. But I think it was about a year ago or so. I was talking about setting up the studio in the house that I met here and getting a PC ready to go is an older one. I think like something from some desktop I had around from 2010 or 11 or so. Yeah, yeah, by that time. And I remember getting that computer set up with an I think it was like Windows 10 on it. And then I was using, and I think, the same audio interface USB out into the computer. And then I had downloaded I downloaded sonar, the new version of sonar that you can get for free. I think both cakewalk sonar had owned it. And then I think Gibson had bought out cakewalk. And so it became Gibson sonar, and then I think Gibson decided that wasn't going to be part of their business anymore. So I think they just kind of shut it down, essentially, but then sold that off to band lab. COMM band lab is a, I think, a minor it's another internet company. They have a simplified digital audio workstation app that you can use to create a demo or something like that. But what they've done is they've gone through, I guess, and have purchased probably for a relatively low price, or I don't know, I assume since they're just keeping it and kind of hardly maintaining, or you know, doing a bit to maintain it. But they took the sonar Platinum program, the full digital audio workstation, and the multi-tracking tool, and they made it free for people to use and get. But I think it's only a Windows-only program. So you got to have got windows 10 to run it. So I did that. Yeah, and sonar was a program that I'd worked with before for doing some studio multitrack. And stuff, I think, years ago, probably around 2012 2013, when I was working with some friends to set up some studio equipment stuff, was cool. We had like a big sound craft ghost that was laid out. And then we had many channels kind of running into that from the microphones that we're using to track this band. And then that all went into a pretty old computer was amazing what it could do, you know, for just it was probably like a two gigabyte of RAM. You know, smaller hard drive 2004 or five, six era PC computer probably would even be that much, right? There's something about that time. But that's what we used. Yeah, that's like all we had with us. We had an, I think it was like a PreSonus audio interface. And then we got like, like an eight-channel audio interface. That was really cool. You know, we had like eight digital audio channels coming into the interface, which means we could track the live channels into sonar at a time. And it didn't even pick up, you know, even on that old machine. And so it was interesting how that architecture works to do some editing stuff, but sonar is what I had been using before. For some stuff, really audition. Adobe Audition is what I'd use most for some of this kind of the more simple radio broadcast style stuff. And that's what I had learned to use when I was at a radio station doing internship years and years ago, back in 2008. Right, in Summer 2008, they did that. And they use Adobe Audition version 1.52 to do all their radio production edits. And yeah, going in taking calls with the production guy, or somebody calling him to do like an I think they would do like a water level report is a radio that station now you can figure, but they would have like this. Suddenly, you know, it's 1245. And here's your local water level report for July 28 or something. And then it would be some lady that would call in from a department that would measure this stuff, and she would give her water report and the production guy you'd record it and then produce that then it'd be prepped to go out on air later. You know, it's like a spot that a DJ would trigger upstairs, and so we kind of walk. You're using audition to do those steps. And so learning that as a program was probably the first one that I'd done, we should probably go back to high school before that when I was doing editing stuff, but sonar back to sonar was some of the stuff that I've used. Probably a good bit more for the music, you know, like trying to track a band or do like multi-tracking projects. But so yeah, that's what it used to be. That's why I threw on 10 PC to do audio production stuff for this podcast workflow that I was trying to get into. And it's cool. It works well. But I stopped using a computer A while ago, and I think the windows ten computer that I'm talking about had a power supply go bad, which could be replaced pretty easily and is on a to-do list. But since then, I've just been relying on the kind of like I'd mentioned, just recording, recording onto the device. And then using Adobe Audition to do the post-production work on my MacBook, which is kind of interesting. It's just a more, it's just a better workflow for the most part, so I've been kind of sticking with that. But recently, to get to the point, as you are all excited. Logic Pro 10.5 has come out with no logic. As yet to be mentioned in this podcast, Logic Pro is the program produced by Apple as their professional digital audio workstation. And so there's GarageBand, which probably a lot of people have some experience with. And GarageBand is sort of the trimmed down simplified home user version of a program, like Logic Pro, and they've done that intentionally. I think it's the same team that generates the two programs. And look at them, or you look at their interfaces, and you look at the types of access that you have to things, you do see a familiar similarity to it. Which is cool. So if you've used something like GarageBand in the past for home projects, you won't have as big of a difficulty moving into a more professional digital audio workstation environment, like Logic Pro 10. So I think it was Logic Pro 10, just you know, 10, zero, came out wine or product 2013 or so I think that was sold for 200 bucks. So it was like a purchase price of 199. And then, since then, you get the point updates for free, or, you know, as included with your original purchase. So just recently, I think there'd been like 10.4 before this. And then now they've moved on to 10.5. And 10.5, I think, is probably the biggest, as noted by plenty of new sources, as noted as one of the most significant feature updates that logic has probably had in years and years. I mean, I think this is the first time that they've gone through and removed and updated some of those legacy items that have been in there since 2003, or four or five, you know, it was just some of these legacy products originally put in there as including their interfaces to it looks like a 2002 interface you then like there's these synthesizer interfaces where weird knobs that you have to these weird just rotating features of the interface it looks like it looks ridiculous. I don't know any other way to explain it. pretty wild for some of the stuff that's just remained in systems for a long time. But for 10.5 to try to go through an update, a lot of that stuff. There's a lot of cool new features in logic 10.5. So logic is real similar to sonar, which is, I guess, kind of why I mentioned it. At least through my experiences similar you guys are probably thinking similar to I know what people who are listening probably actually, some Well, no one's listening. What am I saying? If someone were to bother to try to find some information out about logic, and they ended up listening to this podcast, they probably have had some information about it, or they would be covered an experience with Pro Tools and Pro Tools is like the industry standard for multi-tracking dos software. And I've never used it I've never opened Pro Tools I've never seen Pro Tools, you know, in its process at all. I don't know I did a couple videos or something. But yeah, I have no I have no experience working in Pro Tools. And I don't know I'm not a fan of avid software overall, you know, for Pro Tools, the avid system of video editing stuff either I've just 'm not I'm not that interested in that kind of stuff that they put together. Really for price and stuff to it just seems over overdone a I'm pretty happy some of more available tools that are in the consumer computer market. I mean, I think it's like 800 bucks or something still Abbott's Pro Tools and I think that in the past it was just, you know, insane even more than that even Will you know, kind of proprietary back in the past, it was more difficult. Now I think m audio is a partner with Pro Tools. And so in the past, if you had Pro Tools, you have a lot of proprietary Pro Tools, audio interfaces that you had to use, if you wanted to set up your studio to work seamlessly with the Pro Tools software. Now, I think they've made a deal with M i O, which is sort of like a less expensive audio interface manufacturer, they've had like interfaces and microphones and, you know, they got like an array of I think they've got like some studio monitors, they've got some interfaces, they've got like keyboards is a big one that they've got. I've got a keyboard over here from them audio. And what did it Yeah, Mr. Yeah. They're less expensive. They make Pro Tools, interfaces, which is cool. Now, so they've got a partnership with Pro Tools. And I think that they've been trying to make that more accessible to musicians, probably because it's become a more competitive market with Pro. I think the industry standard stuff is I mean, it always seems more secure than it should be. It doesn't seem like an absolute that Pro Tools should be the digital audio workstation of engineers across the world. Still, for whatever reason, it's just kind of taken over and and as those people, you know, are still filling those positions. I think that's, that's just what's taught in audio recording school. It's like a standard, even though there are many other good, other good services and choices out there. I think I've seen sonar and logic title how to so I don't know, they're they're competitive. And as I've been hearing more this there's there's produced music producers that are coming out saying, Oh, yeah, I do a lot of a lot of my work and in logic. There's, you know, there's a whole class of music producers that are logic-based producers or sonar-based producers are, and I seems to kind of rotate around every couple of years for for who's doing water, you know, who wants to look cool. People that use Pro Tools, one of the cool probably a lot of them. So back to back to old Logic Pro 10.5. Here's the good stuff. So Logic Pro 10.5 introduces live loops, this is one of the bigger feature updates that's been seen in logic or an integrated digital audio workstation years, probably probably like 20 years or something I know, it's all seem to be about the same where you just have, you just have a multitrack environment, that's like a linear starts from zero time, and then ends at the end of your project, you know how to infinity let's suggest but you Not till you're you multiple minutes. And then in this, you have that multitrack view where you're just kind of layering and stacking these different sections so that they're they're coming together. And so you can kind of visualize how those sounds are coming together. In opposition to that, I think there were programs like Ableton, which had non linear audio production development. And that's kind of complicated to say, but I think it was a different way of visualizing the interface so that you could trigger loops in time in a measure or a bar. And those would trigger appropriately in that measure. And then when you had that setup of, you know, a couple of loops that would cycle through, you could trigger those on and off. And you can kind of create, create changes to whatever that that sound was. And then you could record that or send that out. That's got it. That's a that's an incomplete way of explaining Ableton. But the idea in Logic Pro 10 here is they're kind of merging those two environments. So you had them both available to you and your digital audio workstation stays works station space at any time. And so the live loops, representation that we get in logic, pro 10 is this grid of kind of chiclet-style buttons that you've become accustomed to seeing on an iPhone or something like that via this grid of buttons. And then in that you can drop drop in loops that you have. So these real instrument loops, and the loop library you have, you can bring those over and set those up and track locations, but you just have this block there. And the next that you can grab a different loop or a similar loop, and then drag that into the second block. And so what happens is that if you were to tab or click on that loop, you get a play button, and it would play that one loop through to the you know, to the end of the loop. And then if you were to trigger that stem of loops vertically, it would play all of the loops that you would set up in that vertical column simultaneously to play it in time with each other. And then you would create a new creative mix of music. It's pretty cool. It's a nice and fast way to kind of demo out ideas. And all this time you're not recording these ideas necessarily. You're just kind of playing them live, starting and stopping them live and then trying to come up with what sort of the the mix performance of how you'd want these stems to come together in a file production. And so it's cool. You can have your drum track in there. Or you can have a couple of different variations of a drum track if you want to go between a different beat or a different velocity. Rhythm during the chorus section to the verse section to the bridge, you can kind of break those pieces up. Similarly, like if you go down next to like your bass loops, you could have, you know, a bass line that was started in the intro, and then change during the first verse, and then become, you know, some simplified refrain during the chorus. And then kind of change out again for the for the rest of it along with the lead along with you know, whatever else, or whatever the textures you want to add into your tracking, you can kind of have those laid out in these in these kind of square pads, like a drum pad sort of thing. And then as you trigger those sounds, or you can trigger horizontally to if you want the ideas, you can organize stems of things vertically that you can trigger, so you can go to those live. But if you want to mix that up, you can shut everything off, and then play those loops individually as they'll play with each other to make new sounds. And so you can be creative and do a lot of interesting things, I think. I think it'd be pretty cool. Learning about what I did for training stuff is so right now, Apple has. I think, as mentioned earlier, the the Logic Pro 10.5 systems, or the software, is $199 to purchase. If you purchase Logic Pro 10, you get this update included at no cost, which is cool. But if you have yet to purchase logic, and you're interested in trying out or trying to learn some stuff about this digital audio workstation versus others, or whatever it might be, they've got a 90 day free trial going on right now. So you can go to you can go get this and then try it for the next 90 days in full service and see if you like it. And so it's worth it in that capacity. I think that's kind of cool. What's also cool is there are 70 gigabytes of sounds that you can get in a sound library to attach to your Logic Pro 10.5 software. And so with this, they're all royalty free, all available to use loops and MIDI instruments and sampled instruments that you're, you have access to create music with. So it's cool. And it's so much music and sound and audio and all these loops contained, that you have a ton of creative options available to you and right there. And that's what's cool is you get so you don't start off with a dearth of an experience. Once you just get this audio software, it comes with 70 gigabytes of instruments of everything for you know bass, electric drums, organic drums, like any kind of percussive interest instrument, any kind of synthetic, or any kind of synthesizer sound that you want to try and get you can achieve with it is really cool. So you can take those and throw it in, you can do this 70 gigabyte download of data and throw that onto an external hard drive now, which is pretty cool. I think for a long time, they just had this integrated database where everything had to sit on your main drive. And I think that drove drove a lot of music producers crazy as they tried to have, you know, bigger libraries of loops and stuff. But it's probably in part because hard drives weren't fast enough back in the day for that sort of stuff. But now, you know, in the last many years since like Final Cut has had had video libraries on external drives, it seems like they should have made the capacity for for logic to have, have your loop library on an external drive a little easier. So I wanted to talk about the training stuff that I've been doing, I think I'd mentioned I had done a good bit of work with, you know, other programs in the past. But this is really the first time that I've gotten into spending time learning specifically about some of the features and the controls in Logic Pro. And now Logic Pro 10.5. So what I've done is gone to now what's called LinkedIn learning. LinkedIn learning calm. There used to be a website called lynda.com. And lynda.com was these these screencast video tutorials of how to use different types of software and how to be trained and you know, just training for different types of most of the time computer-related skills. So I've used that service for a number of things over the years. So specifically, I think Chris or wigs Lightroom tutorial is probably like a standard for many photographers who have been interested in and learning about photography editing. And so all of those courses that have existed over the years have a lot of good information in them. But so I went back to, to what would be lynda.com now as it has been purchased by LinkedIn, through Microsoft, it's now called LinkedIn learning. Right on Hmm. So LinkedIn learning has all of the old Lynda videos including all the updates to the videos that they're continuing to produce. So I went on and I tried to find some training videos. About Logic Pro 10. There's a number of videos for like Essential Training for Logic Pro 10. But there's nothing because now this new update Logic Pro 10.5 is really only maybe two weeks old or something. It's, there's no, there's just no new video training established for it. So I think for Logic Pro 10.4, there's a full Essential Training Video that was produced by was a Scott Hirsch music producer out of New York. And he just kind of goes through the controls and the system and stuff and you get you get a good feel of like how to how to make changes, how to use different features, how to use the mixer versus like the linear tracking system, you know how to use different controls and stuff, a lot of this stuff is similar if you've used GarageBand, like I was mentioned, or another digital audio workstation that does multitrack in the past. But it was cool. Yeah, learning licks and techniques about how to apply different different compress, or how to make the settings of a compressor do more specifically, the types of things that I'm wanting to do in a mix, I think was some good information for me to be learning about through the Logic Pro training stuff. Also, in addition to that, if you don't that, so LinkedIn learning is a paid service, you can get a one month free trial of that, too, which I'm taking advantage of at this moment to get to get some new information. But what you can do is go to YouTube and look up similar, similar training videos. And there's a lot of people a lot of music producers out there that have done their own screencasts of kind of walking through different services or different techniques that these digital audio workstations provide. So looking at a guy, guys website, I think it was why Logic Pro rules calm, and that had a lot of good training videos on it, too. He had a lot of information about how different pieces of it work, and just how to how to make use of a lot of the techniques that you'd have to apply in a certain piece of the software to make it more effective. And I thought that was really cool, I really appreciated some of the stuff that he'd done. And because he's a YouTube channel, he's just kind of putting out content more regularly. So he has, I think, five videos up right now about these different features related to Logic Pro 10.5. So I think it's like a general overview, there's one specifically about the live loops feature that I was mentioning is is one of those premiere new new interface features, it's now part of Logic Pro 10.5. In addition to that, I think they've created a step sequencer a new sampler; I think they have a quick sampler now, and they have a full sampler where you can go through and make your own samples to make your own loops. So you can really be producing your own music. And I think that's I think it's really cool, that kind of stuff that you can do. That's a big update that they've done, I think they talk about, like, what is the s e s x 2427, something like that. It was this old sampler, this old the sampler software, there was probably some third party plugin that ended up being bought, and then ended up being integrated into logic, that speculation, but the way that it looks, it just doesn't look like Apple it ever designed it. So it's like, it's this crazy looking kind of silver software with a ton of buttons and knobs instead of it looks like it was supposed to be some, some real object, you know, like, like if they made some, some actual pedalboard, you know, looks like a drum machine or something. But it's laid out in as a software in front of you. And it's just impossible, it seems to me to use so. So apples gone through and updated that, that kind of legacy piece. Some people are happy about it, some people are mad about it, I see some people writing in forums, long live, the ESX sampler. And then everybody are plenty of people saying they're and they're happy to see it go that they're happy to see it replaced by a more modern piece of a more modern utility. So there's a lot of cool features. And that's to where you can you can really get into recording and making your own samples or taking a piece of music that you've already recorded. And having the sampler go through and auto select these regions of it. So you can go through with your like your keyboard, and you can trigger those regions with your keyboard to play that to play that sound out. It's really fascinating, that kind of sampling that you can do with it. Gosh, I mean, there's just so much production you can do with it. So as it goes for podcasting, I wonder if I'm gonna use logic i think i think logic really honestly, like most of the audio production stuff that I would do even to a small degree which me onyx OS got, it's really nothing I could do this on my phone or not nothing on my phone is great, but just I'm not doing anything. Right. So. So I might, you know, I stopped using sonar because it was kind of overkill to do the multi tracking stuff. For just a podcast for some audio or mastering stuff. It seems like I have a grip of how to do the editing in logic, maybe a little better than I do in audition. Even though I've been using audition for years. I can't have the same the same process and stuff, but there's this Sort of a way that this is something I don't understand yet. And if someone that actually understands logic as listening to any of this, they should tell me about it. But it seems like in audition, when you have an audio file, like a WAV loaded into the program, and you're looking at it and editing, editing it, if you were to apply the EQ effect or compressor, once you have those settings, and then you apply it, it'll render that change to the wave. And you have to wait for it, you have to wait like 20 seconds when you apply when you apply an effect, like a hard limiter, or compressor or a de Esser, and it'll change the full waveform that you're seeing there is in logic, it seems, I guess, more like a non destructive editor where you have your original waveform in your track. And then over in the mixer, you can apply sends, or you can apply these effects as a stack that you can turn on and off. And it'll kind of live mix that section of audio that you're hearing. So you can you can stack on a compressor first change those settings and stack on an EQ and then stack on a de Esser and then stack on a limiter or something at the end of that, or a limiter on your your master output something I don't know, I think that's how you're supposed to do it. So you can do that. And then you can change those settings and you're not really adapting the original waveform, you're not doing you're not doing that at a stage where if if you turn one on or one-off, that you're you're kind of rendering the whole file in advance. I don't know if I have that totally right. But that's something I'm trying to figure out. So some things that you notice from that is audition, or programs that kind of bake in the setting effect that you're you're making a change to seem to operate a lot faster I think is the track is sort of is sort of rendered and frozen, and is that the process is not having to do any live rendering of added effects on top of the file that's already trying to have to have to grab that file and then play that file and then add another layer of digital processing to it that you selected through changing settings and then render those settings to the WAV file as it plays it without much latency. And it just sounds like a lot of tasks to do. So I guess when you have like a bigger logic project with 24 instrument tracks, all with compressors, and limiters and, and whatever other effects changes there are on it. I apparently, it's just really processor intensive. And it I've already noticed, like even just with a few of the smaller demo projects that they have installed with it, and even with my computer being okay, it's it's already like hit like a CPU overload a few times and logic, logic producers have talked about this a ton of times, there's a bunch of videos out there on like how to stop your CPU overload messages, some of its talking about changing your buffer size. So it's talking about selecting tracks and freezing them. Or there's a process called freezing and tracks sort of similar to what we just talked about with addition where you're kind of baking in or rendering that track out so that the processor doesn't have to worry about it anymore. And then from there on, you can just kind of mix on the single track that you're you're working on at that time. If you're working on a multitrack project, you'd select the select the guitar, but then you can freeze all the drums so that whatever mix that they whatever mixed state they were in, the computer doesn't have to worry about processing, it only worry about processing the live effects on that single guitar track in the sense that you're you're making changes to it's cool. I don't know the few different features and stuff you can do to it. And it's interesting how all these these different digital audio workstation controls have come up over the years. I think like for this logic stuff, you know, this is what they're trying to sell Mac Pros for I'm sure like even a Mac Mini would be a killer logic workstation for a studio. But But yeah, that like that new Mac Pro, that gnarly one with you know, 128 cores, I think one of the things that we're trying to demonstrate with that is, you know, with, with a massive a massive amount of core and what is it probably like eight or 12 or something for the more standard one. I think that are the whole background of getting, you know, a ton of RAM and a ton of processor space and a ton of cores with to do some of these larger studio mixes of logic projects, you know, say if you have a symphony, or you have like a full orchestra or something that you're trying to do a mix of, you have these live effects and compressors running on every track. And you could have up to, you know, 100 or 1000 tracks or something running with these live. These live effects they have to be processed on it. And so the idea was I heard this at other times that that larger studios would take would take Mac pros and run them in tandem, so that they would have as many tracks as that individual Mac Pro could have, and then that would be bust down. That'd be bust down into another mixer where they would have all of those. Is that making sense? Yeah, they would have let's say like I would say 100 tracks would be on Mac Pro one. And then they would have 300 tracks in total. So they'd have Mac Pro two and three. And each of those would have 100 tracks that it was responsible for operating in logic, and then it would run in tandem, and then be mixed out to a bus. So you'd have all those tracks rendered down into the 300 onto their, their channels. And it's it's crazy stuff, but it's kind of this like reduction process. They don't need to do that anymore, apparently, because the as what they're trying to sell, you know, these, the newer Mac pros, or if you max out a computer to its fullest, you can kind of handle some of these larger processor-intensive projects like that. In response to that, man, I remember in 2003, using cool Edit Pro to do 24, track multitrack projects on a computer with 800 megahertz, and I didn't really have a problem with it. So I'm not really quite sure what I'm understanding about logic, or about audio production stuff in that in that capacity. Seems like there's some other some other tools or other utilities around not tools, but just some of the concepts, right? That that allow you to do stuff without some of the limit some of the processor limitations. That's always kind of frustrating when the technology kind of gets in there to fight with you. But But I'm sure that the intent of it is that you do more live processing, that means you have to, you have to do less rendering time on each individual track. And, man, the mixing process can be really frustrating if you have to render out a million different variations of changes, which is kind of different projects that I've gotten stuck in over the years. So I don't know, we'll see how it goes. But it's cool. Yeah, been trying out Logic Pro 10.5 in the studio staff, learning some keyboard controls, learn how to run some live loops, but trying to mess around with some different mixes and stuff. It's cool. Yeah, you just grab those loops there, I mean, I can make, what I've been trying to do is make like a drum bass and sort of texture sound loop that kind of has a couple changes in it. And then I can take a guitar, plug it into the audio interface set of facts that are built in to logic, you can pull up like a pedalboard and logic, and then have that adapt the sound of your incoming real instrument, and then run that into a track, or even just play a live into a track. And then have those live loops kind of running on the side of it. So you can kind of create like, you know, like a jam loop or something, you know, you don't have a band to play with. So you can kind of create a couple other instruments that have pieces, and then that are going to key that are going to repeat. And then you can kind of find whatever it is in the guitar that you want to to kind of work out an idea are working on playing through something. So it's kind of cool. I've been trying that out a bit too. And then once you do have an idea, it's really easy to just kind of lay that down into a track and create a demo out of it. So it's really fun. Logic Pro 10.5 you guys go check it out. Thanks a lot for listening to this episode of The Billy Newman photo podcast. I'll probably be wrapping it up here today. Got a drink my coffee cup beautiful coffee, and I haven't even really subsonic now it's only lukewarm. So what am I going to do? I think I'm going to go from here, I'm going to suggest that you guys go to Billy Newman photo calm and check out the support page. I've been trying that trying that out. So Billy Newman photo comm forward-slash support, you'll find something similar to the layout of a Patreon page there where you could if you found value in some of the the podcast information that I put out or some of the website stuff, some of the photos stuff that I've done, you can throw a couple bucks my way to whatever degree of value you found in it. If you found value in it, provided, that'd be great. I'd always appreciate it and you can do that at Billy Newman photo comm forward-slash support. What else is there? Probably some new stuff on the blogs and new new website stuff. Man, I don't know probably back to doing some Logic Pro 10.5 stuff I need to go on a drive. I'm kind of itching to go out towards somewhere, somewhere toward the coast is what I'd like to do. But I don't know really I want to get out to Eastern Oregon again. It's may now like late May like Memorial Day was yesterday. And time is different 2020 what pretty cool stuff. Well, I'll try and check in again on another podcast coming up soon. Send me some feedback if you want if you made it all the way to this part of the podcast, shoot me a message to the contact form on my website. always appreciated to hear that someone is has bothered to check out this podcast and until next time. My name is Billy. Thanks for listening

Billy Newman Photo Podcast | 141 DAPPS

Sat, 27 Jul 2019 03:44:15 +0000

DAPPS

Billy Newman Photo Podcast Feed

Produced by Billy Newman and Marina Hansen

Link DAPPS

Website Billy Newman Photo http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

https://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

You can find my latest photo books all on Amazon here.

141 DAPPS

Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. Appreciate you guys checking out another exciting episode of one to avoid bad dust in the background. So I wanted to do another podcast today to do a sort of a collection of some of the things that I've been trying to work on getting the computer stuff up and go and that I've been trying to do, so it's a few different things that I've been trying to detect, check out a lot of it around some of the surveys, just talking about around the ipfs interplanetary file system, stuff that I've been thinking is pretty fun, it's kind of cool, checking out some of these different systems that people are creating like D tube that I've talked about a few times d sounds dot audio is another one that I've been trying to publish to which sort of has its ups and downs in some way. But then really on the other side of it is some of the stuff that you can do with the browser's system, or I think I'm using the various right now. And then there's also the ability to. I guess set it up from the command line or something like that. But say diria is the Orion side by siderius. I think Orion by saying do seem to be the easiest way to get an ipfs node started on your computer, Windows, Mac, or Linux, which is pretty cool. So I have mine going on a Windows 10 computer over here. I have it going on to Macintosh computers. And I'm still trying to figure out sort of how it works, I think a lot of stuff that you're putting up is going on to your local node, and it's being served out from there. But I was testing it out the other day just with Marina. And we like uploaded a small picture and got the hash link for it and then opened it in the browser on her computer and it pulled up the image file, it pulled up like an E-book thing that I put up there too. So it's pretty cool that you can find it that you can, I guess even have that built out. But really interesting out works. So I'm trying to I guess use that a little bit more and put up a bunch of the videos and stuff that I have up there. And a way where I can use it in the long term. You know, my understanding of it is that it's sort of persistent on the internet. And then it'll be there distributed for a long time, if it gets distributed properly before, I think if it gets off my note or something like that, but I'm not even sure that really breaks it or not, I'm not sure yet, but I'm trying to figure it out. Pretty exciting stuff though, figuring out the distributed web. The other part of it I'm trying to figure out is how to do website publishing onto the distributed web. And I think there's a few tools that are going to be in development probably right now. They're supposed to be released, maybe closer toward the end of 2019. But one that I'm checking out? Well, there's two of them. There's the Pico CMS, which has been used, I think, on Linux for a long time to make standalone HTML, sort of CMS based bersih. HTML CSS websites through a CMS. Well, that's a lot of letters. There's this other one, though, that is the one that I mean to talk about, which is called public. That I think is still in beta. Right now. It's a piece of software that runs again, on Mac, Linux and Windows, I have it on my, I think on two Mac's right now that I've been trying it out on. But there's a few different themes. It's a standalone program that runs on the computer, and then you can select a theme. And then you can go through and make modifications, that theme and add your content into it like pictures and whatever your posts are that you want to have add to it. And then you can preview it. And it's just a standalone file architecture that is building like on the computer where it's writing out the code and the CSS file that is supposed to reference to so it's working pretty well. It's kind of cool. I'm trying to check it out a little bit and sort of see what kind of little say I could build with it. But the reason I say that is because standalone websites as opposed to the things that are sort of set up more like a database like WordPress that I've got going on, I think that maybe you could do it with WordPress, too. I'm not really totally sure about it. But from what I understand that the standalone just sort of flat HTML website is pretty easy to put up onto this distributed web that I keep talking about. So you can take that standalone file that contains the text and photos and code and stuff for your website, put it up onto your distributed web ipfs node, and then take that hash link, and then open that in any browser. And then that'll open up whatever website content you had there, and it will show it in the browser. It's kind of a cool idea.

Billy Newman Photo Podcast | 140 IPFS and Cakewalk Audio Recording

Thu, 25 Jul 2019 11:17:59 +0000

IPFS and Cakewalk Audio Recording

140 IPFS and Cakewalk Audio Recording

Billy Newman Photo Podcast Feed

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

https://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

140 IPFS AND CAKEWALK AUDIO RECORDING

Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. I wanted to talk a little bit today about some of the audio chain stuff that I've been trying to put together in the podcasting studio that I've been building, I guess, but it's fun. It's just going to open the different pieces together. I've been trying to use cakewalk sonar more. And actually, that's what I'm recording right now, which is kind of cool. I like using the program. It's kind of interesting to use it a bit. Oh, interesting. I see what I'm doing a little bit more. I just kind of checking out like how stuff sort of moves around in it. But yeah, now I'm seeing it's over on this other track. And then if you hear that, that's the keyboard coming in. So what I'm trying to figure out how to do is do some multi tracking stuff in sonar with the audio interface that I have. So I have a two input two output USB interface with age four. And so the school each friend you can take out you know, in the field and record anywhere with the batteries and stuff just done the SD card, we're just I've been doing a bunch of stuff. But you can also use it with the XLR inputs to do a left right input into the computer is like a two track to track piece. So yeah, that's kind of cool. You can just yeah, just had to put in and work out or you know, have it connected to a computer and then have it be the audio interface. I've also got this, this 25 key, m audio key 42 and gigwalk. Also some piano plugins, a warm pad or some of this of synth effect thing, right now trying to figure out some way to make like a cool soundboard or something like that be fun. It's probably just annoying in the background. But that's stuff that I have been working on in the studio thinking about mixers and arms control pads and stuff. But it's kind of fun stuff. So I've been checking out the ipfs network. I've been talking about it a few times before here on the podcast. But it stands for interplanetary file system. It's kind of a cool way of sort of creating a distributed hash table now around an hour. it's it's it's something where it's like a distributed network instead of having like a server system. So I've been trying to set that up. It's pretty complicated, but you can go to Siberia's and download a program called Orion. And that's like a browser that you can use to upload and then download, you know, send files back and forth over the ipfs network, which is pretty cool. It's kind of interesting. So I downloaded it on a couple of computers here at home. And I was trying to use this, this key to connect the two of the nodes together. So you could kind of create, like a direct connection in the network. And I was trying to do this with a couple other computers I had around the house to to do some stuff. But But yeah, the ipfs node is pretty interesting. I'm trying to put up some media stuff onto that over the last couple days. I've been using this site called D sounds got audio. And I'm trying to upload a bunch of mp3 files of my podcasts. And it's just kinda interesting to check it out. But yeah, it's it looks like a lot like SoundCloud or something when you use it. But instead of any of those files existing on a website's server, they exist distributed across the world, United States, I don't know how far it's really distributed yet. But those files are distributed on different computers. So it can be reproduced from from different areas of the network. It's interesting, I don't know, I'm kind of curious how it works out. I'm also using this video program, or video website called de dot tube, which I think is what it is. It's supposed to really just be like a YouTube clone. And it works pretty well. It's it's not, I think, the full resolution and flow that YouTube is, but really as it goes, it's it's quite far along for what you would think to do with it. I've also been checking outbid shoot, which is another sort of YouTube video competitor, but they do a lot more with ads and with paid content. And I think that the D tube stuff is it seems like a little more homegrown in some ways, when you look at the website, but but as I consider it, I think it's, you know, it's ad-free. It's crypto, decentralized, it's really it's interesting, like when you log in, you don't really even use your email address or anything like that. It's just, it's this cryptographic key that you log in with. And that's like your account data and if no one has it, so if you lose it, then it's gone. I think forever,

you know, So it's kind of cool, check it out, you can go to your page, you can go to upload media like you would on YouTube or so that it's a little slower though it seems like that's that's definitely something that I was noticing. I'm trying to make an upload right now. And it's going fine. But I think it's a little bit slower than maybe some of the other the other like YouTube or something like that if you're uploading a 10 NDP video, it'd be more robust as a service. This is definitely like something, some some piece of the internet that's being made by people like you and me. So it's, it's kind of cool that it works at all, really. But yeah, I think these, these D tube sites and the sounds, sights are going to be kind of interesting media players. And not players like, but just interesting kind of media side features that that I think are kind of interesting, as people are starting to maybe consider moving away from centralized services like Facebook, and Microsoft, and apple and Amazon, and all that. So yeah, it's gonna be Google. Yeah, YouTube, and Google and all that, but, but it's cool, try to check out the ipfs stuff. And get it connected, I was trying to upload some videos that I have on my YouTube page right now. And trying to download a bunch of YouTube videos. Also, like I watch the YouTube videos that I have, there's, there's a couple different features out there, there's like maybe one that you've heard before we put s s before the YouTube domain name. And that'll send you over to a website called I think it's like save form or something like that. And then you can, you can download sort of a lower resolution version of that, that file, which saved me a couple of things I helped me out a couple times, it was, you know, audio and video of it, you can download it, I think it was ad-free, that it's as a website that kind of, you know, pushes you to buy stuff a lot, though, to think of the way the service works, as opposed to trying to check out this thing called the YouTube dash DLL, which was like a youtube downloader. So I was trying to go through and download some of the videos that I had on YouTube, but that I don't really have like the same same clips from on my computer. So it's cool to go through and check it out. too, but and was it D sounds distributed sounds. Distributed audio, it's kind of cool. checking it out. So I'm uploading a video in the background right now on my laptop. It's like a screen capture video working in Lightroom. And going through the editing of a photo. So I'm throwing that up there on the two, which is like, probably gonna take forever to upload, it's kind of a larger, I think it's like more than 10 minutes or something like that's one gigabyte. So it's like a bigger file for that network to take. So I think it takes like a little bit more time is cool, I'm trying it out. And I guess we'll kind of see how it goes. It's also cool, too, I guess you can just you can publish websites to the ipfs hash tables. Also, like if you write like a static HTML site, or an HTML CSS site, I guess you can package that and then upload that. And you will have a web link to go to that HTML site, and it will pull up like it was pulled up on a server, which is pretty interesting. I haven't really learned quite enough about it yet. I'm trying to figure it out a little bit more, I want to try and get like some kind of distributed, distributed blog website up or you know, something where you can kind of update it a couple times, I think there's another one called steep shot dot i O. That was this, this photo-sharing website that I was checking out, which is kind of cool. It's still all these are still in alpha. I was having a hard time actually getting stuff to upload when I was using it. So it was kind of interesting, but I think it's stuff that it kind of comes and goes as you're sort of an early adopter of some of the services. But I'm gonna try and try and use steep shot.io to continue doing some stuff too. That's another distributed photo-sharing site, which is kind of cool uses the, I think I think when you post a photo, it posts it to the blockchain ledger is still sort of something that's out of my depth, it seems to me, but I think it's kind of cool that you're able to do stuff like that. And yeah, but put stuff up on the web and download it from the web without ever really going through a centralized service. So it's kind of fun stuff. But in addition to that, I've been working on podcasting stuff I've been working here in the studio trying to get things going. I've been trying to get the the the keyboard rolling, I think I've got it kind of figured out now. So I've got the keyboard and MIDI controller rolling. And I've got my audio interface set up with the two channels, which is kind of cool. Trying to record into sonar right now, instead of Adobe Audition, which is interesting. I'm applying a couple live effects in the effects rack which is kind of cool are just kind of interesting, like get checkout

and stuff is you know, like how different services and stuff work and and yeah, it's cool. cakewalk Lightroom was definitely built out to be a really capable multitrack recorder. I used it years ago, Stephen Scott and I were doing Scott and Robert. Were doing the studio audio studio stuff, trying to record and do like multitrack band recording and stuff that was really fun, really interesting, but we all use sonar for that, to kind of do the multi-tracking for podcast recording, it's probably a lot of overkill, you know, like, a whole bunch of different different tracks set up to record, you know, eight or 16 tracks of a band for for just recording one track of audio for a podcast and then maybe putting some some music that underneath it. I think it's, it's working pretty well for that system right now. But yeah, it's cool. Trying to get into the audio stuff, getting a computer set up with it, having the keyboard setup is pretty fun, too. I also trying to look at audio, or what is it like studio furniture seven trying to like get the studio set up. And it's cool to get the door guy, let's go one of my bangs, but I'm trying to, like go around and I was looking at Yeah, like pictures on Google of different console desks, you'd probably look that up like audio console desk or audio studio console, or something like that. And you'll get pictures of just these seems like really, really cool furniture desks, you know, like it's a built out desk that in the middle of it is sort of lowered so you can slide in this big 32 channel, console mixer into it. And then on either side, you have all your control panels and stuff, you have your shelf with your computer monitor or whatever above. And then you have all of your control racks, your studio monitors like your big studio monitor speakers up on the sides kind of raised up against it. But it was cool. Yeah, kind of going through and seeing like the different kind of outboard gear that people put into their studios and stuff. And I thought it was kind of interesting, you know, when I was looking at Radio studios to and even back in my time of working in a radio station, aka LDR. It was an it was just interesting. Like they really radio stations don't have a lot going on. It's cool if they had a little bit of money and they were able to buy out like a studio or have a couple of production rooms or something like that. But really, man, a lot of the time when I look at some of the studio equipment, it's just sort of a felt-covered desk with you know, some electronics box looks sort of like an amplifier. And then a headphone and a microphone coming out of it with like a yellow legal pad and just a couple of cables on and off the side of a desk. But it just looks like you know, it's in some some fluorescent-lit room with you know, just just had I don't know, there's like a guy doing a remote. I remember back in the day, radio remotes used to be sort of like a big deal. You know, you do it for the marketing of it. And I was at an event a couple was maybe two years ago now. Wow. Yeah, two years ago, I was at one of the football events. And they had a radio remote there. I was doing like a photo thing at a booth there, and they told me like oh yeah, like this, this radio stations coming in to do a radio demo. They're going to be set up right behind us like Oh, cool. That'll be like a thing you know, I remember doing radio remotes how to do sticker stops, right so I had a van had like a big you know, colored branded wrapped a van with like a orange light on it that would drive around and give out free Dutch Bros or something like that to people driving around. There's just sort of a radio promotion thing. You know, you park it the light on in and out stuff. You know, it's kind of like an marketing implementation. And this was just like it was an old guy at an old guy, I think his wife at a table with their iPhone. And they had like, I'm serious. I think they just had their like headphones like they just their white iPod headphones in and they'd called the station and they were just they were just talking and that was it. Not as fun as it used to be Yeah. So radio remotes are nowhere, I guess, what they used to be, or you know, radio stations and all that even podcast TVs and stuff, and you look around at some of those. It's all had a podcast equipment, a lot of podcast, production stuff is I guess pretty limited in what they're able to do and a lot of people are using like audacity, maybe this h4 n that I'm using to that's that's one of the common common audio recorder interface pieces but it's cool. I like I like running it just to the SD card that works really well and I'm also finding out that I like it a lot to run in running the audio into the computer as an interface you know that to USB interface. I think it's working better than I thought it was. So I was going to talk about right now. Well right now it's 3:55am. I've been up for a while.

And it's kind of become like a standard schedule on those for me kind of waking up maybe around three or four in the morning. Maybe Getting back to bed around six but but really probably a lot of time, it's just getting ready for work and sort of starting to get on with the day. So it's kind of interesting, waking up super early. But it's nice to there's, you know, nothing going on right now to distract me from doing some recording and some podcasting stuff, which is kind of fun to do about gas, but I was trying to figure out some other stuff. So I've been get back into the photo stuff, which I haven't really talked about much other than just audio recording and setting up and network. That's exciting photo news. So as the photo stuff goes, have been been busy been working a lot, I just finished up a wedding this last week finished up some other client work, which I'm pretty busy with most of the time, but I'm not doing as much I guess, like personal photo stuff as I want to do right now. So I want to try and get out of my camera and kind of fit in some, just some fun trips out, you know, like, kind of go over to the there's a river area that I want to check out. And there's also like a couple kind of hiking areas that I want to go over to and check out to do some I just kind of simple photo stuff, but really is like the bigger like higher scale photo stuff goes. I really want to get out of town headed toward like Eastern Oregon, and I've been trying to set up some plans to do some camping stuff. It's already like probably like mid summer now. Yeah, so we've been in it for a little while getting through the summer experience. But I want to try and do some more camping stuff. And that's like a big push for big push for August this year, August, September, and probably October too. I want to try and get out and do as much as much outdoor stuff as I can. Yeah, okay, cool. So I got got August coming up, and the rest of the Indian summer so there might have after that check out. So that'll probably wrap up

Billy Newman Photo Podcast | 139 Mac Utilities

Wed, 10 Jul 2019 14:38:42 +0000

Mac Utilities

Utility programs I am trying out on the Mac.

iStat menus

Billy Newman Photo Podcast Feed

Produced by Billy Newman and Marina Hansen

Link Mac Utilities

Website Billy Newman Photo http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

https://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

139 MAC UTILITIES

Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. Appreciate you guys tuning in to check this one out. I wanted to catch up on a couple of things that I've been working on recently, which is often what I'm talking about. But I've been putting together a couple of things during the last couple of weeks and kind of run across a couple of ideas related to photo stuff and media stuff, as is the usual. But a couple of things I wanted to talk about were some Mac apps today, I've been trying to sort of set up my mac book to be

is configured with a few more utilities and a few more pieces of software that make it a little more functional for me. So I want to try and talk about those a little bit today. But one of them was I stat menus, and it was this application that I'd heard about. Maybe over a year ago, I've been using it a lot when I was trying to render some 360 footage and a lot more like video footage. I was using a computer the whole day to do that. So this program is stat menus are good for adding in a bunch of information like a bunch of system information to your computer right at the top of the wizard bar at the top, you know, like the Apple menu and your time and your clock and stuff, right? If you get a lot of information about your disk space, network speeds, uploads and downloads, and CPU and GPU. It's pretty interesting, and I like to again check it out. And kind of when you have a bunch of graphs that sort of indicate when or how much how much of a system is going toward that task at that time. So right now I'm doing an upload to Amazon photos to try and get a backup of all my images up there. And I'm looking at the network monitoring. And so showing me like a history of my network upload speeds over the last 24 hours. And I see like there's a big dip before like 5am while I was running overnight, and then now it's back up like two maybe 3x what it was before. So it's an interesting kind of monitor, like how high your speeds are. And that sort of thing. When I was running, rendering video out, it was cool, because you can see like the temperature sensor sensors inside of the computer. And in addition to that, you can see the hard drive space that was left on each few drives, including your externals, and you can see how fast the CPU and GPU are working. So I've been using this app a lot for kind of the system process, monitoring stuff, it's cool, I've been enjoying it, it's kind of fun to, to get used to. In addition to that another one that I'm checking out is probably one that a lot of people have heard of before, but I think it's called magnet, magnet, I think and it sort of reproduces the functionality that you get, I think started back in Windows seven, where if you pull a window to the edge of the screen, it'll sort of snap to the edge of that side of the screen or oral snap to beast split-pane window. It's kinda interesting how it works. But I like I like how it works on Windows. And I have been sort of frustrated in the past that I don't have that kind of utility in the Mac OS system. So I you know, just windows are sort of built to kind of float all over each other. And I did kind of like that part of, of windows or even back in my experience of working windows, which is in a way I work with a computer now I have like seven windows up right now. The windows, I don't really always go to full screen application almost all the time. So it's kind of interesting, that workflows rate changes over time. What else am I working on? Oh, Amazon photos, that was another one that I guess I'm I'm kind of going through right now sort of lean into another side of it. But I've been using Amazon photos for a while and the Amazon drive system, I did have some backups or not even really backups for the photos backups of the photos, I suppose because it's the dngs. And it is the JPEG images, I think you can put video up there also. But that takes up paid storage space. So for photos that you can put as many photos on the cloud as you want with your prime membership. And I think I put like probably almost 100 gigs of photos up there. So it's cool, you do have access to all of your images in that library of images you have online, like I can pull it up on my phone in an app, and I can pull it up on the web and a few other places. So it just gives me an accessibility to my images I hadn't really had before to every image and that way at least that's kind of cool that you know, I do see that I have access to all of those photographs bigger than that I really need to go through and make more functional collections of smaller sections of that. So I have just a lot of the photos I would need to use set up in a high quality system that is more accessible to me that's still that's the little piece that isn't really quite as tight as I would like it within my photo business. But I've been you using Amazon photos to make a backup of everything, almost everything is already there. But it can incremental area like as you go, you need to get all the new stuff up there. So I'm trying to put up a bunch of the stuff that I've had for the last couple months when I haven't really been able to put a sync back up to the Amazon photos. cloud backup. The cool thing is though, is I'm trying to work with iCloud a little more in addition to that, and so I've been setting up the iCloud

put it in Finder. So I can access my iCloud data there in Finder from multiple computers and from my phone, which is cool. But on my phone in my files app, I was going in there and I put in. So I have like the Amazon drive application on my phone, I had my files application sort of show that I can go to my Amazon photos, files that are from my phone. So without even going to the Amazon photos application just from my files app, I can go through and browse all those photos folders on the cloud and then pull up and view those images. I thought that was kind of cool. Or it was just interesting to see like, Well, yeah, I can jump to each any data photos that I want back in time, because they're all backed up now and more accessible. So So I think it's pretty cool. It's a it's a free service when you pay for a Prime membership. So I guess the proper way to say it is it is it is a premium service that is included with your Prime membership, which seems to be pretty valuable. A lot of the time I like the Amazon cloud services and cloud storage services, which I'm trying to get a little more into, like I was mentioned, I think it's I think it's 11 or 12 bucks a year for 100 gigabytes of storage space on Amazon drive. And I've been trying to think if that's going to be something that I need, you know, like a more a more proficient more full service cloud storage system. Storage, I definitely need I'm looking into like hard drives right now try to find something, but I don't know if I really need the collaborative accessibility that is provided by cloud storage so much, I think I need like fast, hard drives fast data storage and stuff. So I can I can kind of move things around. And it seems to be more useful for me than the big cloud. I'm looking at eight terabyte and 10 terabyte Seagate hard drive right now a couple of the brands I was looking at, like the G drives and those cooler like aluminum metal cases, I was looking at other Lacie drives about Lacy stuff in the past. And but I'm looking for a bigger desktop drive, I have a couple of smaller, portable drives that are great with a laptop when you're when you're moving around. And that's worked really functionally the last couple of years, but I am looking for something that really probably what I actually want is a NASS or some network-attached storage device. I've been interested in those for a long time, they're kind of expensive to get into. It's almost like buying a desktop computer when you load it up with big hard drives, and you have to buy an enclosure, and it's a big project, just all as that as it is. So really picking up eight terabytes or 10 terabytes for for 200 bucks seems like, like it would solve my problem for the time being. But that's what I thought five years ago when I bought a four terabyte hard drive. And I thought that would solve my problems. And now I have four filled up. Four terabyte hard drives. Well, one, two, those are before the two. Those are both ones. So there are four, that's for sure. So yeah, I need to get a bigger, bigger amount of space to kind of do the data management staff that I have in the background, the tough thing is, is like so you have four terabytes, wow. And so it's like a lot way more than I would have ever thought in the past. But man think about 20 years from now. But in the data we're gonna be talking about, we're talking about AR files or photogrammetry projects, there's something it's gonna be insane data. Four terabytes, I got to back that up somewhere, right, so I need a second four terabyte hard drive to have all that duplicated over to, so now I have two full four terabyte hard drives, which is kind of the problem. Yeah, I seem to run into I'm going to get this eight terabyte hard drive. And then I'm going to need a second one to back it up to, so the idea is that it's really just going to be this one big tank drive, that's going to be the archive area for all this stuff to go and get backed up to. And then we're going to have the smaller, you know, four terabyte hard drives that are maybe a little faster. I've been doing black magic speed tests on them though, and they are not that fast. Like 100 megabits a second, I'll get in a second but yeah, try to get the four terabyte hard drives I have right now to be more active, like for video projects or for the photo libraries or something like that. Maybe I can break it out and have that run a little bit more stable on some of those but the interesting thing the thing I was going to mention is that these drives are USB three, right? Wow USB three that's fast. Hey, maybe soon they're gonna be Thunderbolt three or the USB 3.1 USBC connector. That's That'll be great. That'll be what what is that 10 or 20 gigabytes a second incredible speeds. Wow, that'd be awesome or USB three what that's five gigabits a second gigabytes a second slippin. Now, the slow hard drives are what the the weakest link in the chain is. So you're sort of throttled back to the speed that the drive can write to. So the 7200 RPM drives these spinning disk drives, which used to be kind of state of the art video drives 10 years ago. And that kind of considered really slow, they are really slow their data write speeds are somewhere around 100 megabytes a second, which is below half of what was advertised for the even USB two speeds of 250 megabits a second, megabytes a second. Okay, so we're running 100 megabytes a second on a USB three, four terabyte hard drive, it's good. It's cool. It's, I think, better than the USB two connection, Acme does. So it's faster than a USB two cable, happy to have USB three. But Wow, that is like not the same kind of performance at all. So that's really where you're going to see the performance increase when you go to an SSD hard drive. So I was trying to consider that about any like future stuff, I was thinking about, like, getting like a pro desktop computer and trying to build out some stuff, like I was saying, a network, storage device or other stuff that I could use, but thinking about, okay, so for performance with like a higher-end computer, you're really going to get slower speeds. With that, you would get really fast speeds if you had an SSD, or if you had the right type of enclosure that was built to work with it really quickly. So that's kind of been crossing my mind to for future-proofing. What I'm up to for the the 2020s as we're getting into it. I really think though, you know, round, most logically, but the answer was probably get the reasonably priced eight terabyte drive now wait some years into the future and pick up some multi-terabyte solid-state drive of the future that can transmit things at faster speeds. I'm sure we'll get there sooner than later. Well, thanks a lot for listening to me kind of ramble about computers that I have installed on my laptop. That's pretty interesting, right? But all of that is in service of the greater goal of trying to get some photo stuff put together, which has been going pretty well to go through a bunch of images in the catalog. And I'm trying to get together I think I've been trying to talk about it in in so many ways a few times. But I'm trying to get together a couple sets of portfolio sort of structured into like, let's say, easily landscape, commercial shoots, portrait shoots, wedding shoot something like that. And so there's kind of a collection of each second have. So if people are to look at those photos, I sort of see, oh, yeah, there's the, there's this and then there's that. So that's kind of the plan, which is close to coming together pretty fun. And other than that I'm getting into video stuff, I've been editing a lot more Final Cut, I've got the big monitor up, I've got the weakened tackle that I'm trying to go through and kind of get used to using the pen, it's probably easier to do that in Photoshop or Illustrator or something like that to get used to the pen, that final cuts are cool too. Also, you get to kind of flow the pen back and forth. As using a tablet is a faster way of working than with a mouse. In some ways. It's sometimes a little more accurate, but it really is a bit of a learning curve in some way. So try to tighten it up. It's coming. Anyway, thanks a lot for listening to this episode, this coast to coast broadcast of the Billy Newman photo podcast. I appreciate it. You can check my stuff out at Billy Newman photo comm or subscribe to this podcast on iTunes or the Google podcast. So thanks

Billy Newman Photo Podcast | 138 IPFS and DTUBE

Wed, 19 Jun 2019 22:34:19 +0000

IPFS and DTUBE

In this episode I talk about the Inter Planetary File System and Decentralized video platform D.TUBE

IPFS and DTUBE

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

Hey, what's going on? Thanks so much for listening to this episode of The Billy Newman photo podcast. My name is Billy Newman, I'm coming to you today to talk about a couple of things that have been on my mind recently I've been, I've been kind of getting into some some different internet technology stuff. What was it talking about this last time, like some open source software and some of the Linux distribution stuff that I was interested in checking out, that's been going well, I've been checking out this Linux stuff, I've been checking out a few different few different open source media software packages that are out there. I talked about that a bit last time. But what that's kind of progressed into is what I can do with some of those media packages. So what I've been checking out is this thing called the ipfs, which is probably what I'll focus on for a bit today in this podcast, and then some of the ideas and the concepts that are around it, I'm really nascent in kind of researching it and discovering it. And so I hope it's something that sort of becomes a little bit more fruitful over time of, you know, something of interest that I'm able to learn about a bit more. But as a field of like web development or a field of media work that I might do, I think it's really interesting to start getting into the idea of the ipfs, which is the interplanetary file system, sensor interest or well, like, what does that mean interplanetary What is this about? This doesn't have to do with anything with me, I guess it's supposed to replace HTTP or an HTTPS. So the hypertext transport protocol that's used to deliver web pages over the internet is starting to be not starting to be replaced.

But there is a project in place called ipfs. The interplanetary file system that's supposed to kind of modify or change some of the aspects of the hypertext transport protocol, to be more decentralized is the big idea. So I think the idea was that if ever there was to be a string of satellites, or bases that were interplanetary, the system of networking that we have right now really wouldn't be effective for that, because we'd have big breaks in the chain, and there'd be big disintermediation of data that was able to get out. So it wouldn't be able to be based on the hub system that we have right now, where you would be a spoke out on the line, you'd contact the hub, and then that that would kind of feed back out to the other spokes on the line. This decentralized model is supposed to be I guess, more efficient where the connections are made on the periphery of the system instead of centralizing to the hub. So that means that then if there's a route of connected devices, it's supposed to remain connected. That's what we're talking about mesh networking, which is a little bit different than the network protocol system that they're talking about. I'm still pretty lost on how technically ipfs is enacted or used. But the way I do kind of understand it, well is similar to the the model that I explained a minute ago of kind of disintermediation, but there's also seems to be some kind of attachment to distributed hash tables, and the blockchain too.

So there's a blockchain stuff, there's like what we know about Bitcoin and sort of how people use cryptocurrencies. But a lot of this stuff with the ipfs house has to do with cryptography, or it's like setting up a, I don't, I don't even know the stages to explain it. But I think that's like how you're verifying your identity, when you're connecting to each other is through like a cryptographic system, or you know, like having a key, you have a key and you connect to a node or something like that. There's a, I think it started, you can go to like ipfs probably.org, or search ipfs. And you can find a lot of information about it, you can run it on your computer, that's I think how you'd have to start is there's different levels of complexity, I'll kind of start with the original one, which was installing it over terminal, either on your Mac computer, Linux computer, or you can install like a repository and probably run it on a Windows computer and some other way. I think I am working on installing it through terminal to run an ipfs node on my machine, which I guess means that sort of like BitTorrent, I would have a little bit of information of hash table on my computer and peers would connect to me to get that information. But it's also connecting to other information, other peers that are on the network. And this means that, I guess, I guess those packets of data are pulled from different sources. So that kind of assembles it,

apparently, it saves a lot of bandwidth. And it sort of makes it much more difficult for a file to be disappeared from the hub of the network because it's disintermediated. At the at the edges of the network. I don't know it's kind of interesting. So apparently, you can reassemble data, if parts of it start to go out. There's a whole bunch of different pieces to it. They're sort of interesting, but as I'm looking at, I'm looking at these daps these decentralized apps, which is what I know more about that. So what you do is you install ipfs it's running a node on your computer and then you have peers connecting to that node. We have a Little bit of data being transacted as you are part of the service of the network as you serve it to others. And as you interact with it to others, like appear on the network, really interesting stuff. I wish I knew more about higher level networking, so I could explain it better but, but how this is kind of working for me is, I've been trying to Well, I downloaded Orion, which is what I should say. So instead of running the whole ipfs system, within the command line, which is a little bit complicated, I'm interested in the command line stuff. And I want to get that going. I think that's the more native way to do it. But I'm not really set up to do that on my my working computer right now. And it's not going to be set up as a server. So I have another machine that I want to get going, it's going to be an IP Fs server, that's, that's me running like all the time, that might be a project that I'm trying to put together pretty soon. So that would be put put together on the more the more permanent basis of kind of running the node on the system. But there is this other way that's much more user friendly, which is downloading a piece of software called Orion. It's kinda interesting, the interplanetary file system sort of has this whole star theme with some of the stuff out there.

But the this application called Orion is, is I don't know if it's a browser or a peer to peer service within ipfs. But you can, you can get a key for another peer. And then you can connect to that peer and download files that have been published as files to the blockchain or to, to that, I don't know, to the, to the network to the ipfs network. So it's kind of interesting, I can do it. But I guess it kind of contains a lot of what you would have to do by running the ipfs node in Terminal and it kind of contains that within an application. So you have a graphical user interface, you can see some of the information and see some of your bandwidth usage and kind of what's going on there kind of information about that online. But I've been super interested in that. The other side of that, which I was just starting to bring up a minute ago was sort of all these decentralized applications that are starting to be built on using the ipfs. And this decentralized web platform system. So this is another area that's kind of on top of it, but I also don't understand very well, but I'm trying to dig into and trying to put out media lies.

So maybe I don't know if I've really talked about Bitcoin in the past or cryptocurrencies. I understand that they'll exist. I understand. It's interesting. I appreciate them. I haven't really invested my time or money into into the blockchain or cryptocurrency Bitcoin stuff yet, but I do think the blockchain information is really cool. And I think that what they're doing with this decentralized media stuff is really interesting. And I'm trying to push into that. How do I how do I publish a video to the blockchain? How do I publish a photograph to the blockchain? Or how do I publish journalism or statement arriving to the blockchain? That's all really interesting. So I've been checking out the steam blockchain and the steam it account system. So I got a steam it account. And I've created a D tube account by using this the steam and account as a big truck drives by. So this steam ID account is is based in the steam blockchain where you get steam coin. So pieces of this I don't understand, obviously, but apparently with this, so I have my account I have, it's all decentralized.

So there's no like password recovery stuff. They tell you this a bunch of times, but they have this like huge, long crypto key that Yep, that's your password to your account. And the only you have it, and I guess no one else does. And I guess that's how you get in and get out. But it's really interesting how those system works, but there's no like log files, or there's no way for the company to get me logged back into my account. Because I guess, I guess I still don't even understand how it works. But apparently there isn't one out there. So I have this crypto key, I log in to my D tube account using the steam it account information. But D tube is YouTube, it's really interesting. It's pretty cool. It looks a lot like YouTube, it kind of runs pretty wonky. I think it only uploads videos at 480 dpi. But it puts it on the ipfs

network. And you can go up and embed a video that is stored in on the web and accessible just in any web browser. And and you can play back in any web browser, but it just is on the interplanetary. It's on the interplanetary file system, or it's on the ipfs network. So that's all pretty cool. So there's there's D two, which is like YouTube. And then there's also this other one called D sounds dot audio that I'm checking out. This is a this is a service that's a lot like SoundCloud where you can put up just different different mp3 or waves. And it sort of shows your album art with a long a long run of the sound file. And you can kind of click into it wherever you'd like to play it from. But it seems like there's a number of musicians and DJs starting to use these sort of systems. But really in a big way. They are not used very much. There's there's not as much activity on them as you might think, or you know, they're kind of early systems and they're all sort of decentralized. So it's kind of interesting starting to interact with the communities that are out there. And some of the different people are trying to put up a bit more content than others. But there's also, I guess, barely a way to make money on these, these social blockchain systems on Steam, like views or likes or retweets or things like that, apparently are evaluated to some extent. So that costs you a bit of coin that you have a bit of this crypto the steam coin that you'd have.

And then that those transactions I guess add up for those videos or those popular videos and then you so I've been talking about cryptocurrencies and steam coin and then the batteries on my record or quit. So that's probably going to be the end of the podcast today. But I just wanted to do a couple of seconds to wrap it up. While I'm sitting you now in the coffee shop, trying to edit that podcast back together. But yeah, I'm working with steam coin stuff right now trying to get some media on D tube and D sound audio, along with another service ending called PIPA, which is like Twitter is a few other things I'm trying to look into. But I'll probably follow up with you on the next couple podcasts about some of the stuff that I'm looking into related to daps and decentralized utilities on the ipfs things that listening to this podcast, with

Billy Newman Photo Podcast | 136 Working With Canon Camera Equipment

Sat, 09 Feb 2019 04:52:36 +0000

Working With Canon Camera Equipment

Billy Newman Podcast notes 2-8-2019

Produced by Billy Newman and Marina Hansen

Link Working With Canon Camera Equipment

Website Billy Newman Photo http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

http://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

Billy Newman Photo Podcast Feed

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

Abo

Billy Newman Photo Podcast | 135 Creating eBooks For Apple Books

Tue, 05 Feb 2019 10:34:22 +0000

Creating eBooks For Apple Books

My process for creating the Western Overland Excursion eBook in 2012 and Working With Film eBook in 2013. Working with Apple Pages and Apple Books for digital publishing. Creating an account for iTunes Connect.

Produced by Billy Newman and Marina Hansen

Link Creating eBooks For Apple Books

Website Billy Newman Photo http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

Billy Newman Photo Podcast Feed http://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast v

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

Instagram http://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/

Billy Newman Photo Podcast Feed http://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast

If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.

If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.

If you want to look at my photography, my current portfolio is here.

If you want to purchase stock images by Billy Newman, my current Stock photo library is here.

If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.

If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.

If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.

Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.

If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.

You can find my latest photo books all on Amazon here.

Produced by Billy Newman and Marina Hansen

Link

Website Billy Newman Photo https://billynewmanphoto.com/

Facebook Page https://www.facebook.com/billynewmanphotos/