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0:14
Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast.
0:23
I’m bringing this photograph up today, it’s another image going up on Instagram, Facebook, and my site. And this is a photograph from the winter storms that we had back at the end of December, the beginning of January, I think this is after the big ice storm that we had. But after, after, I think one day of a winter storm where we had a lot of snowfall, the weather cleared, and we went out on a walk. And we took a bunch of photographs, probably a number of the pictures that had been that have been put up in the last few weeks here. But this photograph was from a section near the cemetery, I think close to the university of Oregon campus. I like this image, it’s really simple, and it’s pretty easygoing. It’s just a panel of trees that are maybe 100 feet away or so that stretch up and kind of reach up into the top of the frame. I like the composition a little bit. And I also liked the backlight that was coming from the sun, behind the trees through sort of partly cloudy broken up evening or early evening, late afternoon sky. So really, this was just one of those images that I appreciated and I wanted to put up I like the drape snow on that evergreen, what would you call it? It’s not leaves, right? But on evergreen trees. I thought that was kind of cool about it. I had another photo, I think I just made a video about the other day. That was, I think a closer-up position or another vignette of some of the images that we’re looking at here.
1:50
You can see more of my work at Billy Newman photo comm you can check out some of my photo books on Amazon. I think if you look at Billy Newman under the author’s section there and see some of the photo books on film on the desert, on surrealism, camping, cool stuff over there. Today I’m talking about a couple of the photographs that are going up online. And man yesterday was way successful, got a bunch of content stuff done that time yesterday, but to edit a bunch of photographs, and try to cut on a couple of videos, but that’ll only go so fast. But I think I got a photo or a podcast wrapped up I got a video made. I got a photo edited and posted this stuff. So I dig it when I’m kind of jumping in and getting all the pieces together each day. That’s kind of cool. I’m messing around with the anchor a little bit. I don’t know how long lasted that’ll be but at least to promote this podcast. So if anyone had actually, I wish I doubt anybody had ever followed a link over from anchor to check out this podcast, let me know, sometimes. But yeah, it’s one of that kind of budding. Well, I don’t know what budding means when it’s not 2007 anymore, but it’s one of those biting social networks that have a handful of people that work on it or follow it. But I’m not sure how successful overall it is. It’s sort of like, like an Instagram app. But if the post you make was an audio post or a podcast, just like me talking right now, I think it’s about the same thing. So something sort of similar to that. And because it’s sort of like this podcasting stuff, that’s why I’ve been getting into it, but trying to do a little audio update post over there each day, I think you can check that out. And I don’t know It’s okay but trying to talk about some photos stuff over there. Also, today, I’m in my truck, and I’m working on a bunch of stuff on my laptop. I’m trying to edit this photograph. Well, one of them is a very dark camp, or you know, like when we’re getting ready to go on a backpacking trip and one of our kind of the layout of a bunch of the gears are trying to pack it and get it ready that morning, which is always like a really tough part of the backpacking trip. I don’t know how much backpacking you guys do, but especially when you’re kind of transitioning from two states, one of them being car camping, where you’re sort of loaded out for an extended period with more heavy equipment that you’re kind of loading and carrying around. So you kind of pack for the car but then you sort of change out when you go backpacking. You know if your car came in a couple days, then jumping out and going backpacking, you sort of have to reassess and then sort of repack everything that you would need to get through a backpacking trip and it’s man it’s time consuming you know when you have to kind of do that swap over but anytime you pack packing for the backpack and ship stuff it’s kind of I don’t know if it’s frustrating but it’s a little bit about like oh man like do I take this Do I not take this is it just gonna be weight on my back that I carry that I ended up using or participating with you know, this item or this thing for for just 1% of my time there you know, and then sometimes you can still on short trips that definitely have especially on short trips, short backpacking trips, like overnight ships, two day trips, I’d really recommend you you put out Anything you want to carry in, in a plastic sack, you know like something that’s like a gallon big, but I swear, if it’s one day, if it’s one overnight ship you should eat before you go. I can like that I don’t know if I want to eat a ton of food, but you should, you should leave so that you don’t need to eat right away, you should hang out you know, have a meal ready, and then have a power bar on the next day or the way back or something like that. But you know, some spare food and whatnot but, but a lot of spare stuff. A lot of extra stuff, a lot of delicacy stuff. It’s tough when you’re backpacking. But you always want to do it until you start hiking the weight of it, then you want to ditch it, then you want to throw it out the window, or you know off the trail right?
5:49
You can check out more information at Billy Newman photo comm you can go to Billy Newman photo.com Ford slash support. If you want to help me out and participate in the value-for-value model that we’re running this podcast with. If you receive some value out of some of the stuff that I was talking about, you’re welcome to help me out and send some value my way through the portal at Billy Newman photo comm forward slash support, you can also find more information there about Patreon and the way that I use it if you’re interested or feel more comfortable using Patreon that’s patreon.com Ford slash Billy Newman photo
6:29
I’ve got the Sony A seven going through its paces, it’s been cool using it for the last, the last couple of weeks, I’ve been trying to figure out its idiosyncrasies. And there are a lot of them, there’s a lot of them with these newer cameras. And I can see definitely where from the seven are or you know from the first series of the A sevens to the seven, two and you know, so on and so forth with the better and different accentuated camera models, they get better, they do get better. There are some things with the first renditions of the electronic viewfinder and the system of how that takes photos, how it kind of interrupts when you’re taking photos that don’t quite seem to a level of professionalism that I’m trying to hit for. So I know that there are a lot of custom settings that I have to go into any sort of tweak how that a seminar is going to be grabbing its photos and then how it’s chipping. You guys heard of that before chipping, it’s I don’t know what it has to do with but it’s referring to when you take a photograph or you take a couple of photographs. And then you look down at that screen on the bottom of your digital or into the back plate of your digital camera, you look down and you see the photo. And then you come up, you recompose and you shoot again, come down and look at it. And it’s I guess I don’t understand it completely. It just seems sort of like, like a modern approach to something that technology allows you to do. So I think it’s acceptable. But for whatever reason, it is sort of interference in the creative or in the photography process sometimes, and I know that there are many pros, all of those pros coming from a past world, that’s no longer here, a film where it wasn’t acceptable to do
8:08
to do half shutter press autofocus, like you have to do autofocus from the back. And then the shutter is its system. And then with that, there are all these kinds of silly rules about how you can use focus how you can use composition stuff, how you can set up your frame when you can look at the screen, or when you can review the images, I guess these film shooters, they thought it was uncouth to be able to review or see the photograph before the film was developed, or before it was later on. Interesting. And I see kind of psychologically, there’s this, there’s this path that does seem to create better work or more intuitive photographs. And those are better, they are more needed. And I can see where some of these tricks might get you closer to that. But the idea of just looking at the back of the screen doesn’t impede you so much. And it doesn’t. This doesn’t stop you if you’re a pro and you know what you’re doing you look at the screen, you’re looking at the screen because you know why you’re looking at the screen, it doesn’t seem to make sense that there’s these sort of sideways rules about features you can and can’t use it or put into your camera. But to speak about efficiency a problem that I noticed about the seminar is that it will display the image to you for about a second and a half, two seconds. And it will display it on the screen but will also display in the electronic viewfinder for your eye. And you can shut this feature off but there’s still a little bit of a hiccup around the time you hit the shutter button. And the problem with this is if I’m framed up to take a photograph, let’s say of a situation. I remember back at OSU when I was shooting sports a lot. Let’s say there’s a football game. I’m out in front of the action. And I see that the beeves set up a play they throw a pass the guy gets it he’s right in the pocket on the third of the frame that I have, and I have focused tracking on him. I want to take a series of shots with a high frame rate. So I can get that whole run of action as he moves toward me. And so the issue that I’m having is, in photography, you’re trying to select moments that look good, that’s kind of the point, aesthetically, you want them to be appealing choices. And that has to do a lot with a gesture a lot with movement a lot with kind of positioning and framing and composition and sort of thoughtfully considering what does the person look like? How are all these things in the frame relating to each other? And is it going to work when you press the shutter? And the difficulty is with these seminars, or even with the Sony A 6000? When I’m looking at it, and I take this series of photographs, I’m almost blind that whole time. Whereas before, when I would have been working with an SLR, then there’s the shutter flap where you see black for just a moment, but it comes back and it’s optically correct, immediately, it’s optically correct to what you’re going to be shooting but with the Vf, there’s just enough lag that in high action, you seem to kind of miss where the gesture is obsessed moving around, it seems like you almost have to kind of guess or assume that the next moments going to happen and then try and take it but you can’t see it. It’s weird. It’s like it shuts off the viewfinder right at the time that you need to be looking through it. And so in some ways like that, it’s a little bit complicated Am I framed upright? Am I looking at the thing right when I take the picture just show me something else all of a sudden? And I know that they’ve solved a lot of these problems. Like if you look up the Sony A nine and some of the features that it has if you bring that into high-speed shooting, it’s got this interesting system where instead of having the electronic viewfinder, blink, black, or cut out, cut out completely have the processor move all of its attention to processing that image that it just captured and then bring back the electronic viewfinder. momentarily later. What we see in the nine is a system where there’s the bracket, there’s like, let’s say like a red focus bracket that kind of goes around and you’re shooting, you’re shooting a shooting. But what you’re seeing is instead of the electronic viewfinder, blinking out black and then showing you a frame, or just blinking out black and then coming back on what we see is just that bracket that red bracket blink, yellow or blink from black to yellow or black to red or something like that. And all that’s indicating is that it is firing frames, but you’re just still seeing it completely normally like you would view any action on a screen. And that’s a really interesting process. I think it’s like I don’t know it’s like 20 frames a second or something like that. It’s almost video at that point when you’re shooting RAW frames. Are you kidding me raw frames on a Sony A nine? God knows what almost 50 megapixels that are shooting at and you can do 20 frames a second just looking at the thing and then seeing a little black bar blink yellow, and that’s signaling that you’re capturing all that data.
12:56
Thanks a lot for checking out this episode of The Billy Newman photo podcast Hope you guys check out some stuff on Billy Newman’s photo comm 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 these blog posts are pretty cool. Yeah, check it out at Billy numina photo calm. Thanks a lot for listening to this episode and the backend.