Thoughts on Producers And Artists Working With KEH
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Thoughts on Producers And Artists Working With KEH
Produced by Billy Newman and Marina Hansen
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Hey, what’s going on? This is Billy Newman. And thanks a lot for listening to the Billy Newman photo podcast. Thanks a lot for checking out this, this audio feed, it’s kind of cool, I’m trying to put up more stuff to it.
And trying to double post or kind of keep something coming out once a day, once every other day, a couple of these sort of mobile recordings a week, a couple of full podcast episodes from from some part of the feed a couple couple updates. I guess it’s what we’re going for, but it’s going good. Talking about some of the photo stuff that I’m up to. I just posted a Hawaii clip was a clip from Maui this video clever just to find quick clip, I think Marina to get us kind of going through a bunch of the waves. I remember it was really cool. I liked this video clip. But I got a saying on that last podcast how I was going through. And I’ve been trying to pick out a bunch of the old video clips from different places that we’ve been to, to put up and kind of show and just kind of make use of there’s so many of those that I’ve never really put up. And I’ve been thinking about that, like I was talking about, I really want to shoot more video. And I want to and I’m really excited to do that with some of the new camera equipment I’m getting into. I talked about that stuff a lot. But shooting more video, shooting more clips, and kind of multitasking around photography, all that stuff is is what I’ve been talking about. And some that’s kind of interesting to me of how do you do both of those things at the same time. And how do you do that without really letting something suffer, or you know, something not come together as well as it’s supposed to. And part of that is kind of the planning part part of that’s the anticipation part beforehand to like sort of what what you’re setting up what you’re organizing, before you get going when you’re shooting a project or when you’re doing photographs for somebody. But that also kind of brings up at least a topic or some part of it about photography, I think I maybe mentioned this before. And that sort of that perspective, like the route perspective you have when you’re working as a photographer, I don’t know, if I really have the right words for it, maybe you guys would think about it better. But I kind of think about it as a as like a producer. And an artist, which is sort of the two sides of photographers that I see seem to see them fall into were some of them are trying to produce for a job or produce for a task that they have placed in front of themselves. And even really good people, even people that that work as artists would really fall into this where they’re trying to accomplish the need. They’re trying to kind of organize something into a product, and then finalize it realize it in some way. And that’s kind of what I think of is the producers mindset, which I’ve probably been a lot before. But I’ve also been trying to think more about the Creator, or the artists mindset about what they’re looking for, like how they’re trying to anticipate new things, how they’re trying to bring new elements into, into what they’re up to. And what you see a lot in photographers is it’s kind of interesting photographers sort of is sort of a divining rod between producer and artists, you know, artists, a painter, you really never considered that archetype of, of creator to be to be the production type, or to be just sort of business oriented or process oriented process in the sense of, you know, just trying to trying to put more pieces together trying to put out more elements faster. That’s like, that’s like a volume based shot. But it’s not a it’s not a quality based shop, or it’s not a maybe not quality, there’s volume. And then there’s uniqueness or just kind of thinking about supply and demand. It seems like that’s like, sort of that all those words sort of seem to be floating around each other, kind of all around this idea of the producer, and the artist or the Creator. But I’ve been trying to think more about the art side of it. I really been trying to do that since I started working and taking photographs with with film. And it’s weird to say that that’s sort of what kicked me into that. But for a long time, I kind of pictured digital photography as an archival process, that what you’re supposed to do is sort of go around. And since it’s inexpensive, or nearly infinitely cheap to take and then store the data of a photograph, then you’re kind of supposed to just go around and as inexpensively as you can store it, you’re just supposed to go around and kind of capture things and the status quo of what they are, and then archive that. So you can go back to it and see what it’s like but you’re not really supposed to add a lot to it or put flavor into it, put art into it, or make it really beautiful. It’s just sort of what we see a lot in photography over the last 15 years. It’s just sort of this archival data collection, thinking behind it or where you’re produced and like I work as a production photographer, it’s like the production side of it. It’s not artistically based or brand based or color based. There’s not really an art director behind it putting together it’s just always the same thing. It’s the same side shot of a product or corner angle shot of a product.
And so that’s the production side the art side like saying the film side of it, that’s really what I started, when I started doing it when I was doing another production photography job when I was working on the road river taking photos of the rafters that would come down, that’s a production oriented job where I have to fulfill 800 photographs that need to be produced every day between 10am and 3pm. And then I build those and then sell those back. And I hardly ever sell more than, you know, kind of back. But I remember thinking at that time, I was working so heavily in digital, I was shooting so many photographs, and I was completing a job, I was kind of finishing the product that I needed to be, but I didn’t really feel like I was being patient enough, or kind of taking in enough or anticipating enough being intuitive enough to put together stuff that I thought was art or stuff that was making me grow as a as a creative person or, you know, grow toward being better in photography. And that’s sort of the the pitfall of the production side of photography, the production side of creative stuff of art, is that it feels like you don’t really get to do the anticipation, the anticipation, the building, the the kind of, I don’t know, just the the more joyful, considerate side of making something that feels new and feels right and good, you know. And that’s a feeling that I’ve had for a long time about different projects that I do. I probably I’m sure I stress way too much about those sorts of things. But yeah, it’s kind of talking about production. The creative side, I don’t know, I’ve been trying to work more in film. So that’s why I wrote that book back in 2012 2013, after, after I road trips was, I was really trying to be focused on the creative side, on the intuitive side, on the I don’t know what it is really, but just the the more ephemeral part of capturing the phenomena, that is making photographs, they’re really like capturing something that’s unique and special at that time, and putting a lot of yourself into it, having a lot of yourself reflect in the photographs that you make. And, and it sort of seems like if you’re not really thinking about it a lot, I know creators sort of start to talk about that side of things a lot. And it sort of sounds below Hardy. So sorry about that. It does kind of seem to get that way. Where you’re talking about your craft, and how good you are at it, I don’t really want to talk like that. But I thought it was kind of an interesting idea to sort of think about the creative side, the artistic side, and how to build stuff. And I think that started with was talking about like Hawaii at the beginning of it, or posts that I’m making something like that. But I’m trying to go back through all of these things. Oh, yeah, video, shooting video, shooting photos at the same time. That’s a production side of things you like working as a media producer at that time. And maybe you’re not so much not to say always, but you’re maybe not so much working as an artist working as, as that intuitive creator to make something that’s real and new. And, and so I’ve been trying to think about that as at least a way of balancing the two, you know, I work in production for photography, a time, even weddings or something, you know, it’s still like, it’s a job, it’s a task. It’s like, it’s kind of on rails, in a sense. It’s like a whole a whole event and production. Well, the whole event that sort of moving along on a timeline. And you have to be in spots, and kind of capture different things. But you really you can achieve the accomplishment you you know, it’s going to happen, and then you achieve producing the product that is expected of you. And that’s kind of different than sort of intuitively, recognizing what you’re supposed to do and or kind of finding beautiful things and then capturing them more intuitively. And that’s the kind of photography I like a lot. But I know that in both cases, it’s really just work. And it’s kind of just what you end up expressing with it. I’ve seen both people kind of do both things. But as he goes for recording video, and making photos at the same time, it seems like I’m trying to set up some way to do that passively. So that the video just sort of going all the time or that there’s video that’s being recorded, but I’m trying to get out of the position where I have to always keep setting it up to go I have to keep figuring out how I’m gonna get to get like video clips of something, maybe it’d be a lot easier now that I’m gonna have a an SLR, you know, like, it’s not even an SLR anymore. That I’m going to