WEBVTT Kind: captions Language: en Title: Billy Newman Photo Podcast Episode 295: Shooting with Multiple Cameras and Film | The Anti-Workshop Photography Movement 00:00:00.000 --> 00:00:23.068 Welcome to the Billy Newman Photo Podcast. Commercial, landscape, and outdoor photography techniques, gear retrospectives, and field tutorials from the Pacific Northwest. 00:00:23.068 --> 00:00:28.388 looking on. Um, so I worked on, on those for a while, like a handful of images of just the 00:00:28.388 --> 00:00:33.708 vehicle looking cool in the environment. And then I spent a good bit of time with the couple as, 00:00:33.828 --> 00:00:38.928 as like a model or as like a, I don't know, an actor in the scene. And it went pretty well. 00:00:39.048 --> 00:00:42.548 They're, uh, they're not like trained models or anything. They're not professional and it 00:00:42.548 --> 00:00:50.188 probably wouldn't require that, but they're, uh, avid RVers and drivers and they drove the RV up 00:00:50.188 --> 00:00:54.208 there. So it seemed to make sense to have them in the picture for a little bit, but it was good to 00:00:54.208 --> 00:00:57.848 stage a couple of things. We pulled out a few things from, from inside the vehicle. I almost 00:00:57.848 --> 00:01:02.008 never worked with props. It's something that I find really unnatural. In fact, I think like, 00:01:02.868 --> 00:01:07.828 um, I don't know if I've really ever worked with a lot of props or a lot of, uh, like set up stuff. 00:01:07.828 --> 00:01:13.668 Even when I was doing portrait stuff, we almost never used props. We had like a little armrest. 00:01:13.808 --> 00:01:18.208 I think it was about the only thing that would qualify a little squeaker to make kids look over 00:01:18.208 --> 00:01:23.928 to the camera. Um, in this situation, we had a handful of props, like, uh, you know, like a 00:01:23.928 --> 00:01:28.428 wine glass, wine bottle, something to kind of set a scene of some sort. I don't know if it was ever 00:01:28.428 --> 00:01:35.028 really, um, thought through as well from the perspective of an art director, but, uh, we pulled 00:01:35.028 --> 00:01:38.768 out what we had and photographed them and it worked out really well. There's, uh, you know, at least 00:01:38.768 --> 00:01:42.948 for, for the purposes that it, that we need for the time, you know, for while we were there. So it was 00:01:42.948 --> 00:01:46.908 cool. We, you know, just set up stuff and try to take pictures. I think I was working with 00:01:46.908 --> 00:01:52.908 three different cameras that evening. Um, so I was working with, uh, the Nikon D70, excuse me, 00:01:53.388 --> 00:02:00.268 that's totally the wrong camera. I've never even owned a D70. I was working with the Nikon D7,000. 00:02:01.288 --> 00:02:09.328 I almost said another wrong one, uh, with a Nikon D7,000 and, uh, worked with probably every lens. 00:02:09.628 --> 00:02:14.368 Um, I also worked with the Nikon D2H, which is my camera that I shoot with most of the time. And I 00:02:14.368 --> 00:02:21.168 also worked with the Nikon F4, uh, and I was rotating between the 80 to 400 millimeter lens 00:02:22.148 --> 00:02:28.648 and the 50 millimeter one eight. And I think I used another, uh, 28 millimeter 2.8 lens, uh, during the 00:02:28.648 --> 00:02:33.788 photo shoot, but a lot of it was just hot swapping lenses to one of the three cameras to get a rotation 00:02:33.788 --> 00:02:39.088 and stuff. And it worked out all right. A handful of the film images were pretty cool. I shot a good 00:02:39.088 --> 00:02:45.468 part of a role of, uh, Ektar or Kodak Ektar film, uh, that evening. And like, yeah, it's pretty cool. 00:02:45.548 --> 00:02:49.768 It's really colorful. It's interesting. It's got sort of an interesting texture and shape to it. 00:02:50.288 --> 00:02:56.668 Um, and I think some of the best low light images really, they came from, they came from the D7,000, 00:02:56.768 --> 00:03:04.348 which is, which is what I assumed. I felt like, um, like Kodak Ektar was what was in the camera 00:03:04.348 --> 00:03:09.168 and probably the best film stock I'd have available at the time, but it doesn't really 00:03:09.168 --> 00:03:13.728 fare that well when you're trying to get interesting low light photographs, at least in 00:03:13.728 --> 00:03:19.248 this scenario, it's not fast enough. It's sharp, but just in the scenario where we're shooting at 00:03:19.248 --> 00:03:24.488 anything more than 200 millimeters, it's really difficult to do a long exposure of because just 00:03:24.488 --> 00:03:30.948 the slightest movement of the camera, since you're so far zoomed in, it moves the perspective 00:03:30.948 --> 00:03:35.808 in the lens quite a bit more, an exponential amount more than it would be if you were zoomed 00:03:35.808 --> 00:03:42.228 all the way out. Um, and it's just kind of a physical germane effect of the function of the 00:03:42.228 --> 00:03:46.488 lens. So when the, the shutter clacks, you know, since it's a physical mirror that has 00:03:46.488 --> 00:03:51.828 to flick up and then flick back down or flick up, right. And then the shutter screen drops 00:03:51.828 --> 00:03:57.228 down and then the mirror flicks back down and then you see your image and that all happens 00:03:57.948 --> 00:04:04.088 in, well, I guess in this case, eight seconds or so. Uh, but that flick up on the tripod jostles 00:04:04.088 --> 00:04:09.348 the, the lens on the front of the camera at 400 millimeters. And it's so much that the whole 00:04:09.348 --> 00:04:16.488 picture just looks like a big blur or it looks like it's a, it's shaken or, or too fuzzy even on a 00:04:16.488 --> 00:04:20.968 tripod. And it's, it's kind of frustrating. There's a handful of methods to kind of move around 00:04:20.968 --> 00:04:25.228 that. Try to implement as many of them as we could. It's mirror lockup. It's like shutting the 00:04:25.228 --> 00:04:30.808 screen. Uh, it's doing, uh, everything with a remote. So your hand doesn't touch the shutter 00:04:31.348 --> 00:04:36.748 and there's a couple of good options that we got from doing that, but nothing, uh, nothing too 00:04:36.748 --> 00:04:43.308 stellar because just the low light problems that we had is shooting an ISO 100, uh, film at night 00:04:44.068 --> 00:04:49.868 with like moving models and stuff. So it was complicated. Some pictures come together. Some 00:04:49.868 --> 00:04:54.008 pictures never do. I think total, uh, if we're talking about pictures that came together, 00:04:54.008 --> 00:04:59.688 it was 40, I don't know, about 45 images that I produced from this, that, uh, that I turned in 00:04:59.688 --> 00:05:04.868 as part of the project. And there's a lot of them that I really like and try to deliver, you know, 00:05:04.868 --> 00:05:09.368 I've been trying to think about this before I've, I've heard of shot lists. I kind of understand it. 00:05:09.708 --> 00:05:13.788 Uh, that's probably a big area of weakness of mine, at least of like, I understand, I don't 00:05:13.788 --> 00:05:17.488 know, big area. I don't even believe in shot lists to be honest about it. I think that it's 00:05:17.488 --> 00:05:24.588 probably a relatively normal thing. It's not, not really that interesting. Um, you know, 00:05:24.668 --> 00:05:28.448 if a company is interested in that, it's probably important to understand or, you know, just, 00:05:28.608 --> 00:05:34.828 just get it. But, uh, in this, what I'm talking about is, is trying to like have a list of something 00:05:34.828 --> 00:05:41.708 like photograph one, you know, like diagonal across vehicle and tulip farm. And then you 00:05:41.708 --> 00:05:47.448 have like photograph two, same thing, but a portrait image, photograph three, a film image 00:05:47.448 --> 00:05:51.288 of that. And so it's like a checklist of like, all right, well I've completed this part of 00:05:51.288 --> 00:05:54.228 the project. And then when I complete all this work, that's when I'm done. Or like when 00:05:54.228 --> 00:06:01.268 I get the right picture in this shot, you know, in this, in this mockup, um, then that's 00:06:01.268 --> 00:06:04.748 like when I've completed that part of the job, I can move on from there. And so, uh, with 00:06:04.748 --> 00:06:08.348 this, I was trying to work on a little bit of a shot list or just, uh, try and get 00:06:08.348 --> 00:06:13.188 things that were, um, everything with a portrait option, everything with a two thirds to the 00:06:13.188 --> 00:06:18.928 left crop option and two thirds to the right crop option with a center option as well. Try 00:06:18.928 --> 00:06:22.768 and get as many things as it could in this scenario, since it's going in advertising that 00:06:22.768 --> 00:06:29.228 a clear, um, open sky at the top so that there's no real pattern that has to be duplicated 00:06:29.228 --> 00:06:33.768 and you can duplicate sky really easily. You can also duplicate grass really easily. And 00:06:33.768 --> 00:06:38.268 so, or just, you know, some kind of normal average texture. So the hope is that 00:06:38.268 --> 00:06:45.008 you can kind of render out, you know, do a clone tool with, uh, or duplicate the field 00:06:45.008 --> 00:06:49.128 that's below and then the sky above to make these graphics, uh, stretch out a little bigger 00:06:49.128 --> 00:06:54.068 for, for print, um, or for, you know, just like flyers and, and different things. But 00:06:54.068 --> 00:06:58.008 the point was to, to just try and build that into the images that I was making so that there's 00:06:58.008 --> 00:07:02.308 a good bit to sample if it's needed. Uh, or there's a good bit that, um, you know, 00:07:02.308 --> 00:07:05.148 it can be cropped out if they, if they want to get a little closer when they're trying 00:07:05.148 --> 00:07:08.788 to build graphics and something that I hadn't really thought of before. Well, I gotta say, 00:07:08.888 --> 00:07:12.448 I mean, I have thought of it, but, uh, but just kind of considering the placement of the 00:07:12.448 --> 00:07:16.108 graphics, uh, and the image that you're taking. And I've, I've heard about this from other 00:07:16.108 --> 00:07:20.728 people and they're, you know, talking about photography tips is, um, to understand the 00:07:20.728 --> 00:07:25.228 need of the art director to understand like, um, how the ad is going to be used, if it's going 00:07:25.228 --> 00:07:29.128 to be in print or if it's going to be offset or pulled to the side, or if it'll have to 00:07:29.128 --> 00:07:34.248 go like full screen or full frame of the page that you're working on, you just have to work 00:07:34.248 --> 00:07:40.088 with some, I suppose it's constraints, but just understanding the aspect ratio that your 00:07:40.088 --> 00:07:44.048 final product is going to be put out. And it's kind of interesting and it sort of informs 00:07:44.048 --> 00:07:47.648 how you have to shoot it. If you have to be a little wider out so that whoever's editing 00:07:47.648 --> 00:07:52.828 it has room to move the photograph around to fill a square box when you're working with 00:07:52.828 --> 00:07:54.368 the rectangular, you know, 00:08:22.161 --> 00:08:30.701 So when you get the negatives back, you can go through, you can look at them, and you can observe all these photographs or these images that you haven't seen or even thought of, you know, in three or four weeks. 00:08:30.841 --> 00:08:35.141 And at that point, you've never had a preview of the photograph or any kind of sense that the exposure came out. 00:08:35.201 --> 00:08:42.561 So it's a real surprise when you see the photograph or you see just the negative scan of it for the first time when you kind of pull the negatives out once you get them developed. 00:08:42.701 --> 00:08:44.441 And you can see something exposed there. 00:08:44.441 --> 00:08:52.951 You can kind of get a quick idea of if it came out sort of appropriately or, you know, sort of the way that I had meant it to when I had taken the picture. 00:08:53.471 --> 00:08:58.411 And I think that was kind of cool to get through those or, you know, just to get through and get to check it out. 00:08:58.591 --> 00:09:00.711 So there's a handful of those that will be going up on the blog. 00:09:01.391 --> 00:09:04.811 Just a couple pages are over from where this podcast is. 00:09:04.971 --> 00:09:08.771 And that'd be billynewmanphoto.com forward slash blog. 00:09:10.181 --> 00:09:11.621 The other stuff I've been working on. 00:09:11.621 --> 00:09:17.301 And so I just got those photos developed, I think it was Monday I went and dropped those off. 00:09:17.441 --> 00:09:19.641 I went to Alcee Falls. 00:09:19.681 --> 00:09:27.781 That's an area that's a little further out in the Willamette Valley when you're heading toward Mary's Peak and that area. 00:09:27.901 --> 00:09:34.961 So I went over there in the afternoon and tried to take some photographs while there's still quite a bit of light out just to get some work in. 00:09:35.121 --> 00:09:40.501 Trying to get those washed waterfall photos, you know, kind of watching the water. 00:09:40.501 --> 00:09:45.981 Or sort of drape over the hill or over the land that it's on and then fall down and kind of crash. 00:09:46.081 --> 00:09:48.441 And it's that really cool kind of washed look. 00:09:48.581 --> 00:09:49.661 So that's what I'm going for most. 00:09:52.571 --> 00:09:59.791 And today I spent a lot of time watching the Chris Picard Creative Live special that was out. 00:09:59.911 --> 00:10:00.831 I thought it was pretty interesting. 00:10:01.011 --> 00:10:01.511 I thought it was cool. 00:10:01.711 --> 00:10:02.771 I think you guys should check it out. 00:10:02.771 --> 00:10:09.811 If you get a chance to see it on the Creative Live site replay, I think it's creativelive.com. 00:10:09.951 --> 00:10:15.271 And then every once in a while over the next few weeks, they'll replay the lesson that they recorded today. 00:10:15.271 --> 00:10:19.831 If you want to see it otherwise, I think you have to purchase it for some few. 00:10:20.171 --> 00:10:23.151 If that's what you're interested in, it might make a lot of sense for you to do. 00:10:23.151 --> 00:10:28.891 But for me, I don't think that purchasing a workshop is something that's really necessary. 00:10:29.111 --> 00:10:33.911 In fact, I'm kind of frustrated with that in some ways with photographers and the photography industries. 00:10:33.911 --> 00:10:44.851 Because it really pushes photographers or these people in this marketed position of an expert to sort of explain themselves as someone who's worth a certain amount. 00:10:44.851 --> 00:10:53.751 Or understanding their process is worth a few thousand dollars to go spend an afternoon with them and have them explain to you how exposure and f-stops work. 00:10:58.921 --> 00:11:00.261 I don't think that's really appropriate. 00:11:00.981 --> 00:11:02.261 Or I don't think it's the most useful. 00:11:02.441 --> 00:11:09.521 I think it's like a web series or as a live blog or I don't know. 00:11:09.801 --> 00:11:13.301 Just as some way, if you're interested in that, you want to kind of get that word out. 00:11:13.421 --> 00:11:14.601 I think that makes a lot of sense. 00:11:14.601 --> 00:11:28.181 And so I think, you know, it worked pretty well for Chris Picard to go through today and talk about his process or specific settings when he's trying to pick out building like a tent photograph at night or a long exposure of the Milky Way. 00:11:28.481 --> 00:11:34.661 Or I think yesterday he talked a lot about surf photos or about kind of image composition. 00:11:35.021 --> 00:11:37.641 I think there's a few things that are pretty interesting about that. 00:11:37.641 --> 00:11:45.321 But I think a few takeaways that I have for some ideas was one was like flattening the image first. 00:11:45.641 --> 00:11:52.441 So going through when you get your photograph back and working in Lightroom with it to kind of bring it back to a more neutral place. 00:11:53.421 --> 00:12:00.361 So once you've made your picks, once you've made your selections, the photographs that are good and the ones you want to work on and hopefully one that you use for something. 00:12:01.801 --> 00:12:15.561 What you do is you would go through then and kind of make, I guess, neutralizing effects to it or you wouldn't kind of work and impress a lot of color into the photograph or a lot of contrast, a lot of clarity. 00:12:15.901 --> 00:12:23.661 And you just kind of work on the photograph to make it a more neutral experience or something that kind of resonates with the viewer as something that they would have experienced. 00:12:23.661 --> 00:12:30.461 And so far with a lot of the photographs that I've made in the past, it's all been about surrealism or about impressionism. 00:12:30.461 --> 00:12:44.281 It was about trying to create things that kind of looked more alien, like compositions, angles, horizon lines that were peculiar, things that you wouldn't really see, things that had more unnatural color to them or more natural experience. 00:12:44.281 --> 00:12:54.341 And that's really to reflect the way you feel about it or to kind of put some level of, I guess, I don't know if it would be emotion into it or it would be depth into it or it would be character into it. 00:12:55.741 --> 00:12:59.261 Maybe a few of those photographs would apply, but I'm sure a handful of them, it wouldn't apply. 00:13:00.341 --> 00:13:01.421 But I thought that was pretty interesting. 00:13:01.601 --> 00:13:04.321 That was, I think, one of the bigger, bigger things that I learned from it. 00:13:04.521 --> 00:13:08.101 I thought it was cool watching him work in the Yosemite area too. 00:13:08.861 --> 00:13:10.881 And they were kind of watching the hang gliders take off. 00:13:10.881 --> 00:13:24.381 And so it's been cool over the last couple of months, but if you follow his feed on Instagram or on Twitter, then you can see those photographs that kind of came up during the events of the last month, sort of get worked on, processed, and then put through the social media feeds. 00:13:24.501 --> 00:13:29.061 So I was looking at that and like, oh, that's kind of what was going on when this picture that I've seen before was taken. 00:13:29.701 --> 00:13:35.361 Someone's skateboarding down this little S-curve road on Glacier Point, kind of looking out toward Half Dome. 00:13:35.361 --> 00:13:41.061 I think that like conceptually looks really cool, or a few others of like people taking off in a hang glider. 00:13:41.261 --> 00:13:42.321 That looked really interesting. 00:13:43.821 --> 00:13:52.961 So a few parts of it that I've learned about or I've been thinking about was a lot of what he was talking about, about building the photograph or about kind of elevating the image. 00:13:53.101 --> 00:13:56.641 And I thought that was kind of interesting instead of just taking sort of what you're presented with, 00:13:56.641 --> 00:14:08.661 but really trying to bring in different elements, different pieces that you have to kind of elevate the image, elevate the composition and make it more of an interesting moment or interesting photograph than other things have been before. 00:14:09.791 --> 00:14:12.651 And I'm interested in that and I want to try and do that more. 00:14:13.011 --> 00:14:19.881 But so far in the past, I guess it's been, well, at least over this last year, I've been getting more into film. 00:14:19.881 --> 00:14:26.781 And with that, a little bit, it's more less pixel polish, less work to make everything look really clean and pretty. 00:14:26.961 --> 00:14:36.261 And I'm trying to intentionally leave more of the grit in or more of the kind of film aesthetic look, more of the, I guess you'd call it a mistake, 00:14:36.281 --> 00:14:42.061 but just more of the natural way that the film, the photograph, the image kind of represents itself in the moment as you take it. 00:14:42.181 --> 00:14:46.841 And I want that kind of homemade, I don't know, home built sort of look to the image. 00:14:47.301 --> 00:14:49.501 So that's what I'm hoping to look for, work on. 00:14:49.881 --> 00:14:51.621 Build out a little bit more over the next few weeks. 00:14:51.981 --> 00:14:55.981 I think this Friday, we are leaving on a camping trip. 00:14:55.981 --> 00:14:58.181 So we're going to head up toward Mount Jefferson. 00:14:58.321 --> 00:15:00.661 This is the future hope, the goal for this weekend. 00:15:01.201 --> 00:15:09.281 We're going to spend some time in the Mount Jefferson wilderness area, probably camp there for one night and then head in and do some kayaking near Detroit Lake. 00:15:09.501 --> 00:15:15.181 And then head over to Silver Falls and try and work a little bit more on some things, you know, in that area. 00:15:15.421 --> 00:15:16.661 So I've been to Silver Falls before. 00:15:17.061 --> 00:15:17.901 Be good to go back. 00:15:17.901 --> 00:15:22.721 I haven't been in a few years, I think doing the loop or getting to a few spots, a few waterfalls. 00:15:22.841 --> 00:15:26.241 It'll be cool to go to sitting there, taking our time, photographing. 00:15:26.241 --> 00:15:26.881 It'll be a lot of fun. 00:15:27.961 --> 00:15:31.801 So with that, we're at another 13 minutes of the Billy Newman Photo Podcast. 00:15:32.241 --> 00:15:35.101 I want to thank you again for hanging in and checking it out. 00:15:35.261 --> 00:15:36.201 And we'll talk to you soon. 00:16:21.071 --> 00:16:25.451 converter now you're all of a sudden at f8 when you shoot or at least like the brightness of what 00:16:25.451 --> 00:16:30.171 you're capturing is at f8 so it makes it a lot slower but it does add like a lot of magnification 00:16:30.171 --> 00:16:33.731 and zoom to it but i think it cuts down on like the amount of light you'd need to capture 00:16:34.471 --> 00:16:40.991 to represent an 800 millimeter image man that is zoomed in but sometimes i guess they need it 00:16:40.991 --> 00:16:43.851 for some of this wildlife stuff that they're putting together i mean that's really where 00:16:43.851 --> 00:16:48.051 you see a lot of these these big zoom lens go into you know if you look at like a like a dedicated 00:16:48.051 --> 00:16:52.171 nikon 600 millimeter lens that thing looks like a telescope that needs like its own 00:16:53.091 --> 00:16:57.631 tripod and whole mechanism to keep supported i don't even think it's something you can just attach 00:16:57.631 --> 00:17:01.411 to the front of the camera and then you know go about your business with the 300 millimeter you 00:17:01.411 --> 00:17:08.331 can pretty well do that that fixed 300 to 28 lens for a canon or for a nikon they're big they look 00:17:08.331 --> 00:17:12.911 like a tank on the front of that camera but it can handle it pretty well and it works pretty well 00:17:12.911 --> 00:17:17.111 and you can move around and take pictures with it for a lot of wildlife stuff that sort of seems to 00:17:17.111 --> 00:17:22.491 be what people use a lot is a 300 millimeter lens like that with a 2x converter so they can hit up 00:17:22.491 --> 00:17:28.011 to that um to that 600 level zone when i was working with that nikon camera that that was like 00:17:28.011 --> 00:17:34.371 an 80 to 400 and that worked great for a lot of wildlife stuff pretty cool for that but to get close 00:17:34.371 --> 00:17:38.511 on those specimens of a bird that's maybe six inches high you know for a deer or an elk if you're 00:17:38.511 --> 00:17:43.311 looking out 100 yards and you zoom in it's it's going to be like eight and a half feet that you're 00:17:43.311 --> 00:17:48.531 kind of viewing in that uh in that circle there when you're talking about a bird it's maybe 12 00:17:48.531 --> 00:17:53.571 inches or you know tops 24 inches if you're talking about a giant bird you know uh and so really even 00:17:53.571 --> 00:17:57.391 like their physical masses they kind of take up the space of the photograph it's sort of difficult to do 00:17:57.391 --> 00:18:03.191 that one of the old adages that's sort of a goof for uh beginning photographers is the name of the 00:18:03.191 --> 00:18:08.251 game is fill the frame it's sort of this idea where if you're taking a picture of something 00:18:08.251 --> 00:18:15.031 have that something be most of the space that occupies the screen and french film stuff it's 00:18:15.031 --> 00:18:21.431 called mise en scene it's like what's on screen and i think that's like a big part of the attitude or the 00:18:22.521 --> 00:18:28.881 the feeling that you get the emotional feeling that you get from what's sort of what the impression is 00:18:28.881 --> 00:18:34.301 of what's visualized on the screen is is what's on screen and it's sort of like this french way of 00:18:34.301 --> 00:18:40.801 like if you want to if you want to film noir this like uh it means a dark film right so like it's a 00:18:40.801 --> 00:18:48.361 detective story kind of kind of movie but the viewing of it the the way that it is visualized 00:18:48.361 --> 00:18:54.141 on screen is dark and that is sort of representative of its dark storyline and so it's sort of this thing 00:18:54.141 --> 00:19:00.121 of what's on screen is supposed to represent what's in the words there's sort of a connection of it or 00:19:00.121 --> 00:19:05.681 what the meaning of it is is represented on screen same thing in this what's what is in the photo 00:19:05.681 --> 00:19:11.301 is what should be the photo what's on screen and uh and that's sort of this same thing where you're 00:19:11.301 --> 00:19:15.161 taking like a lot of like wildlife photos i've taken a bunch of these too where you take something you're 00:19:15.161 --> 00:19:18.541 real far away from it because you can't get that close to wildlife and then you have a picture of a 00:19:18.541 --> 00:19:24.821 bird or a coyote or something and it takes maybe the amount of you know like a space the visual 00:19:24.821 --> 00:19:29.781 space of a fingernail or something you know at arm's length in a photo and so it just isn't really 00:19:29.781 --> 00:19:34.661 that much visual mass to observe unless it's sort of constructed in a way where you can kind of have 00:19:34.661 --> 00:19:40.601 some context of the landscape or the the the environment and the goal of the animal or so 00:19:40.601 --> 00:19:44.281 that's really cool and you can kind of describe that it's like if it was like coming at you 00:19:44.281 --> 00:19:50.241 that's sort of a diagonal angle and you had sort of a landscape and a target of it in frame too 00:19:50.241 --> 00:19:53.961 you can kind of have like oh here's the subject here's the action and then here's like the 00:19:53.961 --> 00:19:57.361 destination all kind of represented in the photograph that's sort of cool when you can do that and you 00:19:57.361 --> 00:20:01.661 can get back and have some space to sort of represent that but a lot of time if you're kind 00:20:01.661 --> 00:20:06.061 of getting something close of just like an individual specimen it's real difficult to do that 00:20:06.061 --> 00:20:12.421 if if you don't have that kind of deep zoom that that you're going for now i've sold all the big 00:20:12.421 --> 00:20:19.281 zoom lenses that i have like i had that like that nikon 80 to 400 i was talking about that got sold when i 00:20:19.281 --> 00:20:23.461 switched over to cans or sony stuff way back and then that all got sold and i switched over to canon 00:20:23.461 --> 00:20:30.201 stuff now way back so um so yeah i haven't had like a telephoto like that in my possession for a long 00:20:30.201 --> 00:20:35.401 time and one of the reasons for that is i noticed when i had that 400 millimeter nikon one i'd leave 00:20:35.401 --> 00:20:40.741 it in the bag for like four months at a time there would just be like these only these kind of specific 00:20:40.741 --> 00:20:46.241 instances where now that's what i need i need a i need a real big zoom lens to take a picture with 00:20:46.241 --> 00:20:51.021 now interesting photos cool photos i love the compression and the way that it sort of reconfigures 00:20:51.021 --> 00:20:56.341 the thing that i'm visualizing as different from the kind of 50 millimeter world or compression that 00:20:56.341 --> 00:21:00.321 i see things in now so it's really cool to like oh i want that image or i want that thing out there 00:21:00.321 --> 00:21:04.461 and i want those trees out there and i can kind of compress those things together by using the zoom 00:21:04.461 --> 00:21:08.081 effect that was really cool and there's really beautiful things you can do with the compression 00:21:08.081 --> 00:21:13.121 to kind of make landscape images sort of stand up on themselves you know instead of getting those real 00:21:13.121 --> 00:21:18.861 flat horizon lines that you get in some some wide angle photographs where it's uh it's just kind of 00:21:18.861 --> 00:21:22.981 half the photo is land then a real flat line then half the photo was sky look through my photos you 00:21:22.981 --> 00:21:28.461 see a million of them with compression a lot of times you can sort of kind of i don't know you can 00:21:28.461 --> 00:21:34.341 add more more elevation to the photo so if there's like distant mountains that would normally with a 00:21:34.341 --> 00:21:38.641 wide angle just get flattened out to a real thin little line on the horizon you can kind of zoom 00:21:38.641 --> 00:21:43.461 into those mountains and they'll they'll kind of get back their visual mass that we sort of see them 00:21:43.461 --> 00:21:47.581 with as we observe them across the landscape our eyes you know we kind of we kind of pinpoint 00:21:47.581 --> 00:21:52.381 in with our fovea we kind of see just that that bit that spot that we're really looking at but 00:21:52.381 --> 00:22:00.151 there's so much of the 180 degree angle around us that we see but we don't really capture in the 00:22:00.151 --> 00:22:03.791 in the viewpoint that we're taking and that's sort of difficult in photography to relate because we 00:22:03.791 --> 00:22:09.031 want the wide angleness but we also want that presence of the thing that we're really focused 00:22:09.031 --> 00:22:12.931 in on and so it's kind of difficult to figure out how to do that for a long time in photography a 00:22:12.931 --> 00:22:18.151 lot of the time though it really means you just have to edit out what's what's wide and flat and 00:22:18.151 --> 00:22:22.671 you have to zoom right into that one bit that is the subject that is the part of the fovea that is 00:22:22.671 --> 00:22:26.871 what you're looking at and and that it works pretty well it's cool and when you're doing that landscape 00:22:26.871 --> 00:22:32.691 with a zoom lens you can really make those flat landscapes kind of stand up those smaller features 00:22:32.691 --> 00:22:37.271 and stuff they can kind of be more compressed to take up more visual mass on the screen which is 00:22:37.271 --> 00:22:42.571 which is pretty cool like those rim rocks in eastern oregon or mountains or trees or whatever it might be you can 00:22:42.571 --> 00:22:47.131 kind of get those to boom pop up in the picture and be uh be sort of filling the frame 00:22:47.239 --> 00:23:41.920 Produced and hosted by Billy Newman. 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