Latest / Reframe / 06 - Dani Watson: Creative genius through learning

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06 - Dani Watson: Creative genius through learning · Reframe

• 0:00
  SPEAKER_02: Have you ever wondered what truly fuels the creative mind, what ignites their passions and drives their creativity?
• 0:07
  SPEAKER_02: He's day, I'm Dave McGuire, an Australian fine art photographer.
• 0:10
  SPEAKER_02: From the moment I step into the world of photography, I have been captivated by the community and the stories behind the lens.
• 0:16
  SPEAKER_02: Join me as we delve into humble beginnings, explore artistic visions, and discover how we as a collective reframe our minds through the power of creativity.
• 0:24
  SPEAKER_02: Before we dive into this episode, I'd like to give a quick shout-out to the incredible team at FT Filters Australia.
• 0:30
  SPEAKER_02: It offered world-cast products, like hard quality filters with minimal colour costs, an impressive range of cinematic lenses, and various other accessories to fuel your creative intelligence.
• 0:41
  SPEAKER_02: 50 Australia actively supports the benefit of the community through workshops, educational events, and live streaming webinars on YouTube and other social media channels.
• 1:41
  SPEAKER_04: Temporarily.
• 1:45
  SPEAKER_00: Thanks for having me.
• 1:46
  SPEAKER_02: That's uh the pleasure is all ours.
• 1:49
  SPEAKER_02: For those who aren't aware of who you are as a person, as a photographer, could you please uh take us through who you are and where you're from?
• 1:58
  SPEAKER_00: No problem.
• 1:59
  SPEAKER_00: Um, I'm probably fairly new to photography.
• 2:03
  SPEAKER_00: I picked up a camera in late 2016.
• 2:08
  SPEAKER_00: And prior to that, I was a professional tennis coach.
• 2:13
  SPEAKER_00: Um, I took a break.
• 2:15
  SPEAKER_00: Um the the life of the tennis tour and running your own academy and and whatever else uh probably took a hot took a toll on me a little bit.
• 2:28
  SPEAKER_00: Um, and I was well and truly burnt out.
• 2:30
  SPEAKER_00: And and that led me to uh I guess resetting and and I came back to uh the farm to to have a have a little bit of a break, and and that led me to getting a camera for the first time.
• 2:45
  SPEAKER_00: So walking into Michael's camera store in in Melbourne to buy my first DSLR camera.
• 2:52
  SPEAKER_00: And with that came photography workshops.
• 2:55
  SPEAKER_00: Um, buy a camera, get a free workshop, learn how to use it, and and that set off my photography journey.
• 3:03
  SPEAKER_00: Uh six months later, I in I loved photography that much.
• 3:08
  SPEAKER_00: I enrolled to study photography at RMIT and did uh two years of education there, and um now I'm back studying my masters of photography.
• 3:22
  SPEAKER_00: So yeah.
• 3:23
  SPEAKER_02: Well, how how's the masters going so far?
• 3:27
  SPEAKER_00: It's it's a it's an interesting challenge.
• 3:30
  SPEAKER_00: Um definitely um I'm not gonna say it's easy.
• 3:36
  SPEAKER_00: Um the perception of landscape photography as a genre um I constantly battle with, um, being that I suppose an academic perception is that there's no commercial viability in landscape photography, or it's hard to be a commercial photographer, a commercial landscape photographer, and and then it's wanting to uh have a political stance one way or another.
• 4:05
  SPEAKER_00: And uh I don't take photos to be political, I take photos for me and to tell my story or or the landscape story, and to be pushed in a direction where I need to take a political stance on whether it's uh you know the traditional owners of the land in which I'm taking the photos of, or if it's climate change, is is a little bit foreign to me.
• 4:30
  SPEAKER_00: So I'm not gonna lie, it's a it's a challenge, and and maybe the reason that I'm doing it is to change perception of landscape photography as a genre.
• 4:41
  SPEAKER_04: Nice.
• 4:42
  SPEAKER_04: Does that come across as part of like the um sort of the way they teach you and you have to have a stance and and make an impact with your photography when it comes into the masters and trying to tell the story in an academic sense?
• 4:56
  SPEAKER_00: Yeah, and a lot of the research that they want you to go is uh you know uh photographers or landscape photographers don't go to a scene to make a picturesque image.
• 5:08
  SPEAKER_00: It um all landscape stories are political in some nature, and and I I really can't emphasize to them enough how wrong they are.
• 5:19
  SPEAKER_00: I I don't know many landscape photographers, no matter you know, what their experience in in photography is.
• 5:27
  SPEAKER_00: So whether it's you know Ken Duncan or um whoever it might be, or an amateur photographer coming through, I I can't I can't actually think of anyone off the top of my head that all of their images have a political undertone of of some description.
• 5:45
  SPEAKER_00: I know there are some, but but to my knowledge, I I can't think of think of anyone that walks into a landscape and goes, okay, I'm gonna make a political landscape uh a political image today about X, Y, or Z.
• 5:58
  SPEAKER_00: So um I go to I go to a place, I don't always take an image the first time I'm there.
• 6:04
  SPEAKER_00: It's one of the things I've learned from working with Ken um is that sometimes you need to shake hands with the landscape, so to speak.
• 6:15
  SPEAKER_00: And um and an image might not come to you to start with, but I might learn a lot while I'm there.
• 6:22
  SPEAKER_00: And the next time I go, the story that I'm trying to tell might reveal itself, and and I'm very open to that.
• 6:31
  SPEAKER_04: I totally agree.
• 6:32
  SPEAKER_04: I think sometimes the landscape has to be ready for you as opposed to you being ready for the landscape.
• 6:38
  SPEAKER_04: So it's not when you get there one time, it'll just feel right as opposed to like the first time where you might be confused.
• 6:45
  SPEAKER_04: I think it's going off topic on topic story.
• 6:49
  SPEAKER_04: I think it goes on about a lot of like you have to you know like you said shake hands, but you have to like appreciate the landscape and and get to know it and and feel comfortable in it um before you can actually capture it because it's the first time you arrive.
• 7:03
  SPEAKER_04: It's it's probably so beautiful because you don't know where the angles are, you you typically miss the shot anyway.
• 7:10
  SPEAKER_00: Absolutely.
• 7:11
  SPEAKER_00: And and I think, yeah, like my my process when I walk into a landscape is I don't pick up a camera for probably at least half an hour.
• 7:20
  SPEAKER_00: I I wander around a scene and I try not to look at Instagram what people have shot before me or or anything like anything else.
• 7:30
  SPEAKER_00: I'm I'm not there to capture someone else's story, I'm there to capture my own story and to be unique in that it it is not only the image itself, but one of the things that I have learned is it's also the words that accompany the the image as well.
• 7:49
  SPEAKER_00: And and that's probably where the last 12 months, in terms of my growth, I've I've learned the most as well, how to be a storyteller and and tell my story or um my story behind the image.
• 8:02
  SPEAKER_02: Do you think um not pulling your camera out of the camera bag as soon as you get there really helps you connect more as well?
• 8:11
  SPEAKER_00: It's enabled me to slow down.
• 8:14
  SPEAKER_00: And part of that was also last year I actually went and started learning film.
• 8:23
  SPEAKER_00: So um, so it's been interesting listening to some of uh the photographers that you've had on that that have moved away from film, and I've actually gone the opposite way.
• 8:34
  SPEAKER_00: I've I've picked up a camera again, um, a film camera.
• 8:38
  SPEAKER_00: I'd never shot film, I own digital kind of baby.
• 8:43
  SPEAKER_00: Um, and so shooting film allowed me to slow completely down.
• 8:48
  SPEAKER_00: And and I bought a Hasselblad for the first time uh last year, about uh May last year, I bought uh uh 500 CM and I reconnected with a lecturer from RMIT that I got along really well with and and asked him to teach me film.
• 9:08
  SPEAKER_00: And my goal was to go to Lake Air and shoot film, and and I did that.
• 9:14
  SPEAKER_00: But every time we went out, uh he he was also combining film and digitals, so that spoke to me a lot.
• 9:24
  SPEAKER_00: But getting a hassle blad really enabled me to slow down, slow down, appreciate the landscape.
• 9:30
  SPEAKER_00: And because I don't take a shot within that first sort of 20 minutes, half an hour, more angles start to appear.
• 9:38
  SPEAKER_00: I don't have so many ideas running through my head, it becomes very clear what what the story is that I'm trying to tell.
• 9:44
  SPEAKER_00: And and then I probably take less shots as a result.
• 9:49
  SPEAKER_00: So I I probably take less than 30 to 40 shots in a particular location, but every frame is is different.
• 9:58
  SPEAKER_02: I was kind of jealous when you bought that camera, I must say.
• 10:01
  SPEAKER_02: As you would have known.
• 10:04
  SPEAKER_02: It's actually the 503 is my dream camera, but uh they're a bit pricey at the moment.
• 10:08
  SPEAKER_02: Did you end up buying the digital back or did you borrow borrow that?
• 10:13
  SPEAKER_00: I so when I went out and was learning film, uh the guy that was teaching me had a digital back on the 500cm.
• 10:22
  SPEAKER_00: And and in the end, I went, why am I learning film when you're digital back?
• 10:28
  SPEAKER_00: Yeah.
• 10:29
  SPEAKER_00: So literally on the way to Lake Air, I was driving from the Central Coast to Sydney Airport.
• 10:35
  SPEAKER_00: I bought a digital back and I took that with me to Lake Air.
• 10:40
  SPEAKER_00: So now I've got um I get the best of both.
• 10:44
  SPEAKER_00: I I've been shooting a lot of black and white uh film uh because I understand it.
• 10:50
  SPEAKER_00: Um not not too bad.
• 10:52
  SPEAKER_00: Uh colour film scares me a little bit.
• 10:55
  SPEAKER_00: Um by me being back in Melbourne.
• 10:58
  SPEAKER_00: Um I think it's just uh the the concept of exposure, like how it's you know, vastly, vastly different.
• 11:09
  SPEAKER_00: I understand a digital camera very well, and I'm very technically minded.
• 11:13
  SPEAKER_00: And the people that are that have been teaching me haven't given me a technical explanation on how to expose correctly for colour film.
• 11:23
  SPEAKER_02: Interesting.
• 11:24
  SPEAKER_00: Oh, you just shoot here and here and here, and you might be able to blend blend them together, similar to I guess like HDR or whatever it is, you expose via highlights, expose for your shadows.
• 11:36
  SPEAKER_00: But I'm very much uh one, I like to be a one-shot person.
• 11:41
  SPEAKER_00: Um so I need a really rigid and methodical mentor, I suppose, to show me the ins and outs of shooting colour film, and I'm actually going to do that while I'm here in Melbourne.
• 11:55
  SPEAKER_00: So um Ken has lent me his Linoff, the very famous red Linoff.
• 12:02
  SPEAKER_01: Yep.
• 12:02
  SPEAKER_00: Uh the 617.
• 12:05
  SPEAKER_00: And I'm going to give Color Film a crack.
• 12:09
  SPEAKER_00: So I've bought a whole heap of film and yeah, I'm I'm ready to go out and do some experimenting.
• 12:15
  SPEAKER_04: Velvia 50 for you by the sounds of it.
• 12:18
  SPEAKER_00: Yes, I I I do.
• 12:20
  SPEAKER_00: I have uh I've got about three boxes of uh Belvia 50 and some Belvia 100 and um yeah, even went to a local film base the other day and and bought some uh some Kodak.
• 12:33
  SPEAKER_00: So some Kodak 100 and and that sort of thing.
• 12:37
  SPEAKER_00: And what I'd actually love to do is uh find my own style in film photography and test a few different fields of film.
• 12:44
  SPEAKER_00: Yeah.
• 12:44
  SPEAKER_04: Nice, nice.
• 12:45
  SPEAKER_04: I think I think you know you might end up going towards the Kodak because you you get rid of that sort of really deep magenta, right?
• 12:52
  SPEAKER_04: And it's sort of less contrast.
• 12:54
  SPEAKER_04: I think that that I think that'll actually fit your style from what I've seen in the rest of your work.
• 13:02
  SPEAKER_00: Yeah, I and that's that's why I like I I'm keen to sort of experiment and and and I suppose that's my style as well.
• 13:09
  SPEAKER_00: I I love to experiment, I love to try different things.
• 13:14
  SPEAKER_00: I'm not afraid of failure.
• 13:16
  SPEAKER_00: There's a hell of a lot of failure.
• 13:19
  SPEAKER_00: Um, but the failure helps me in my process, I guess, perfected over time.
• 13:24
  SPEAKER_04: That's the only way to improve, right?
• 13:27
  SPEAKER_04: If you're not failing, you're not you're not working hard enough, I think.
• 13:30
  SPEAKER_04: If if everything's easy, it's uh you need to push harder.
• 13:33
  SPEAKER_04: So it sounds like you're on the right path there.
• 13:36
  SPEAKER_04: On your creativity, I need to ask about your pictures that have like the shapes in the air.
• 13:43
  SPEAKER_04: Yeah.
• 13:43
  SPEAKER_04: And how you create them, the lights that are in the air.
• 13:46
  SPEAKER_04: Like, um, that's is there like meaning behind why you put the different shapes or and and how do you create them?
• 13:53
  SPEAKER_00: Um, yeah, okay.
• 13:55
  SPEAKER_00: So um I I started a project, um, and it's actually what I'm doing for my masters at the moment.
• 14:03
  SPEAKER_00: So it's it's really um my it became it evolved into my I guess my take on really overshot location and how I can add something different to the scene.
• 14:21
  SPEAKER_00: And those shapes are injecting me into the landscape, which is different from uh your typical sort of landscape photographer.
• 14:30
  SPEAKER_00: So we like to, we don't like like generally when we shoot a scene, we don't like people so much, or we don't uh inject our own personality into a into a landscape.
• 14:43
  SPEAKER_00: And and doing this project has allowed me to I guess it's um create something that's a little bit different.
• 14:54
  SPEAKER_00: Um the again, there's a high rate of failure.
• 14:57
  SPEAKER_00: I don't walk into a location and instantaneously say, I'm gonna do it here.
• 15:02
  SPEAKER_00: There is some planning.
• 15:04
  SPEAKER_00: Um, I've planned one for believe it or not, uh, Prince's Pier in Melbourne.
• 15:12
  SPEAKER_00: Um, so the famous uh pylons, everyone shoots the same angle, the same shot, and and then it becomes, well, how can I make it different?
• 15:21
  SPEAKER_00: So um, I guess in some ways it's me trying to create something different from some of the most highly photographed scenes in Australia.
• 15:31
  SPEAKER_02: That's a cool take.
• 15:32
  SPEAKER_02: Do you pre-visualise what you're gonna shoot or you um experiment on the day, like you said a bit earlier?
• 15:39
  SPEAKER_00: Um, no, sometimes the idea evolves.
• 15:41
  SPEAKER_00: So um, so I'll I'll be in a location and say it's a sunset or that sort of thing.
• 15:48
  SPEAKER_00: I carry all the gear with me anyway, and then sometimes the I feel like the light is right.
• 15:56
  SPEAKER_00: Um I I try to be in a location at the right time, but um again, it's almost that sense of um I suppose shaking hands with the landscape a little bit.
• 16:11
  SPEAKER_00: It it doesn't always, I don't, I don't, I don't sort of overplan it.
• 16:16
  SPEAKER_00: Um the idea itself might might evolve, and and I guess that's how I'm injecting my my own personality into it.
• 16:25
  SPEAKER_00: Um the one of Princess Pierre is probably very different in my thought process.
• 16:31
  SPEAKER_00: It's because it is highly planned.
• 16:33
  SPEAKER_00: I have I have an image in my head what I want to do, and and as part of my masters, that's this process of really going elaborately and planning a shot to even sketching the shot.
• 16:47
  SPEAKER_00: I have sketched it, what I want it to look like, and then can I achieve it?
• 16:53
  SPEAKER_00: So that's the next thing.
• 16:54
  SPEAKER_00: Can I achieve my pre-visualization of it?
• 16:58
  SPEAKER_00: And what what will happen?
• 17:00
  SPEAKER_00: So will it fail or will it succeed?
• 17:04
  SPEAKER_00: And will I, you know, will it send send a message, or will it have people starting to ask questions?
• 17:11
  SPEAKER_00: And and I guess that's what the project is.
• 17:14
  SPEAKER_00: Everyone, everyone that sees those images sees things differently.
• 17:18
  SPEAKER_00: Even I I was interviewed in the Australian where uh the guy that interviewed me said, was it my uh political stance on UFOs, or was I trying to, you know, go into the supernatural or create that kind of discussion?
• 17:36
  SPEAKER_00: And and until he mentioned it, I kind of just laughed and yeah, kind of said no.
• 17:42
  SPEAKER_00: But a lot of the symbols that I've actually been painting are around the philosophy of alchemy, which is Earth's element.
• 17:49
  SPEAKER_00: So um, so when I went to Trentham Falls, I light painted the symbol of water, and and then it's kind of evolved there.
• 18:00
  SPEAKER_00: I've got all the symbols on my phone that that they're here, they're handy, and and it just might be a moment that I kind of go, okay, that's what I want to do.
• 18:11
  SPEAKER_00: And yeah, I'm gonna give it a crack.
• 18:13
  SPEAKER_02: I I do have a question about um how you do it.
• 18:16
  SPEAKER_02: Do you when you're doing the light patterns, do you set a a preset um flight path or are you doing that manually?
• 18:25
  SPEAKER_00: So it depends what shape it is that I'm I'm painting.
• 18:29
  SPEAKER_00: So the circles and the spirals are much easier.
• 18:33
  SPEAKER_00: You can set a set of path, um, the squares, the triangles, and that sort of thing is slightly more mathematical.
• 18:41
  SPEAKER_00: So it becomes that I'm actually writing down coordinates and uh height, elevation, and distance in which I'm moving them.
• 18:51
  SPEAKER_00: So so when I line them all up, um if it's one shot, I've done it in one shot.
• 18:57
  SPEAKER_00: Um and I've also done it in multiple shots where like I don't want to move things around, it either lines up or it doesn't.
• 19:05
  SPEAKER_00: Um yeah, so it just depends on the shape that it is.
• 19:09
  SPEAKER_00: Um I've probably got more adventurous with the shapes as I've gone on.
• 19:16
  SPEAKER_00: Um and and then curiosity.
• 19:18
  SPEAKER_00: So so there's there is some programs that you can sort of download that um you can pre-draw in a light uh like a path.
• 19:28
  SPEAKER_00: Um I've used it a couple of times and had mixed results.
• 19:32
  SPEAKER_00: Uh but pretty much I just pre-wheel it.
• 19:38
  SPEAKER_00: So yeah.
• 19:39
  SPEAKER_04: So they well, these images when you take the shot with your steel camera, it it that's one shot and it's that's how it looks in the camera, or is it like a blended thing that you do?
• 19:52
  SPEAKER_00: So so it pretty much depends on on the location.
• 19:57
  SPEAKER_00: So um so I try for it where possible to be one shot.
• 20:03
  SPEAKER_00: Um the what there's one that I did out uh the painted hills, and it's one shot.
• 20:09
  SPEAKER_00: It's and it's three halos.
• 20:14
  SPEAKER_00: Um so that was actually me doing and I did it on film, so which was even more of a challenge.
• 20:22
  SPEAKER_00: Uh so that was where I learned about uh reciprocity failure and all of that sort of thing with uh long exposure film and and kind of had a calculator that um I thought would give me a result, needed to do a three-minute exposure.
• 20:39
  SPEAKER_00: So did a three-minute exposure and had the time that I could do a halo, um, move the drone, and I can actually switch the lights off of the Lumicubes off.
• 20:52
  SPEAKER_00: Um so switch them off, uh, move the drone, paint another one, and then another one.
• 20:57
  SPEAKER_00: And and it became that evolving sort of process in which uh the first time I did it was one halo, and then I kind of went, I wonder what it would look like if.
• 21:09
  SPEAKER_00: And then that's my creative process, the the idea of all.
• 21:14
  SPEAKER_04: I got a huge more respect for that, these types of photos now that which I had no idea how much actually went into.
• 21:20
  SPEAKER_04: I'm looking at it on the phone here.
• 21:22
  SPEAKER_04: We're on Instagram, I was looking at the exact shot.
• 21:25
  SPEAKER_04: I'm like, these are amazing.
• 21:26
  SPEAKER_04: Yeah, like the the the way you go through creating those is definitely a whole series of different skills all put together to create an image.
• 21:36
  SPEAKER_04: It's they're amazing.
• 21:37
  SPEAKER_04: Really cool.
• 21:38
  SPEAKER_04: These hats off of respect to you to doing it all in camera with one go.
• 21:43
  SPEAKER_04: You know, honestly, I thought they were just Photoshop lines the first, the first time I saw them.
• 21:47
  SPEAKER_04: Um I'm not really sure what they were, so yeah, no, that's really cool.
• 21:54
  SPEAKER_00: No, I've uh I've crashed the drone several times.
• 21:58
  SPEAKER_00: So uh the the first time and and I've actually got a lot of uh failures so I I did a talk recently with some with some students and um and I showed them the you know the 12 to 15 shots of failure before I got got what I wanted and then there's some unexpected results so so recently I went out with a friend and and shot at sunrise and thinking oh yeah I can do this at sunrise but the light at sunrise changed so rapidly that it really became harder to control the output of light that I needed from the drone and and an unexpected result and I think I've got it on my Instagram is it's the one that's got uh it looks like an inner square so two squares um between some rocks and it burgess and that's actually the drone because I didn't realize the drone well shooting at sunrise it would then capture two lights independently so so all of a sudden the lot there wasn't enough spill to create one big light it became two independent light so I created two squares by accident so it's a it's a very good looking uh accident it's a good yeah it's a good looking result so so it's just like sometimes you get some really unexpected results in in doing this and and there's been there's been uh a whole lot of learning in the process like how do I eliminate the drone lights um um what are the best lights to attach and um and then um because I'm doing it most of the time almost in that just after sunset that almost getting into blue hour um it's also uh trying to gain an understanding of which way you direct the drone which is much harder than you think so because uh you you you are you kind of appreciate daylight more when you can you can see it and and when you're covering all the lights on the drone um to eliminate their spill it uh it becomes a whole lot more of a challenge to actually go okay the drone's coming towards me now not away from me or whatever it might be what drone are you using if you don't mind me asking I'm using a Mavic 2 Pro I I've uh resisted the urge to upgrade.
• 24:31
  SPEAKER_00: How long until you do the believe it or not the more I chat to some of the people that have the like Mavic 3 and uh even the new one makes me more sort of happy with my choice to uh to keep the one I've got I I'm really familiar with it.
• 24:51
  SPEAKER_00: It's um believe it or not some of the settings haven't relayed over to to the newer models.
• 24:58
  SPEAKER_00: So so I'm uh at this point in time I'm pretty content.
• 25:03
  SPEAKER_00: If it's not broken why change it absolutely I I I upgraded my drone to uh got rid of it to help pay for a Fuji I was like oh I'm just gonna get rid of because I was uh shocking at using a drone I tell you I was trying to fly it all the time just not getting any any good results so I was like it's time to move on with this thing yeah um going through your profile you have a a vast um array of styles so you shoot aerials landscapes um you do uh well looks like we do a little bit of abstract and some animals like what what would be your your favorite out of all of them to be shoot shooting like subject wise I I probably love them all and that's the hardest thing i i I went to study photography as wanting walking in as a passionate landscape photographer I wanted to connect with the landscape I loved nature I loved what uh landscape photography gain gave me personally in 10 in terms of a sense of adventure exploration I'm out in I'm outside um which I guess was what I got out of being a tennis coach I wasn't sitting in an office or I I think if I was sitting in an office I'd be a caged animal um like ready ready to sort of explode so um going into uni that was what I envisaged and a great thing about uni I never thought so at the time was they exposed us to multiple genres and I I I kind of debated and and a very good friend of mine said it to me this way I always class myself as a perfectionist but I'm probably not a perfectionist I probably just have very high standards and and I wouldn't accept failure.
• 27:03
  SPEAKER_00: So when I was doing these other genres if there was failure I started again and I started again and um and with that I gained such an appreciation for multiple genres of photography and um and then I wanted to learn from the best in that particular genre.
• 27:23
  SPEAKER_00: So so for example you know if I had an upcoming assignment on fashion and portrait photography I googled who the best Australian port uh fashion photographer was which was Peter Coulson.
• 27:37
  SPEAKER_00: So I went and learned from Peter Coulson and learned how he he does things what his philosophy was or that sort of thing.
• 27:45
  SPEAKER_00: So so I really invested in my own learning and with that um I think I've been able to merge multiple genres sort of together or experiment with crossing over a little bit more.
• 28:02
  SPEAKER_04: Yeah nice.
• 28:03
  SPEAKER_04: So do you do you go down the road of um making money from different types of genres in photography as well or do you stick to landscape?
• 28:13
  SPEAKER_00: So I'm I would class myself as really or it's an emerging sort of genre which is destination photographer or destination photographer.
• 28:24
  SPEAKER_00: So destination photographer over does overlap multiples of that so whether it's lifestyle food architecture landscape it's I guess the more the complete package of what uh some of these like businesses whether it be in tourism or whatever it is is looking for now.
• 28:46
  SPEAKER_00: So um with that some of it is often you know people portraiture showing how people are engaging you know with a a particular space or a hotel so so because I am that kind of generalist I do get a lot of commercial work and and a lot of the places that have seen my commercial work um they they kind of like that I also experiment a lot as well so um I'm not afraid to shoot to the brief but then I'll provide them extra shots which might be slightly more abstract or not really what they thought they are but when I supply them they kind of go, wow that's actually really cool.
• 29:35
  SPEAKER_00: We didn't ask for that but we want that as our hero shot or whatever it might be.
• 29:41
  SPEAKER_00: That's really cool your your creativity is is taking over the brief as if yeah it's in the classic uh giving a cast or something they didn't know they wanted yeah yeah yeah and and a lot of it is probably around that abstract and sometimes slightly creative wacky ideas like you know going and shooting a a train station and seeing the basketball court that's alongside the train station and then going hey I wonder what that will look like with a drone and then I put the drone up and shoot some really abstract images of a colourful basketball court that's alongside the train station that I'm shooting commercially for that's that's that's pretty much my thought process there's no rhyme or reason it's just an idea pops into my head and I go I wonder what it will look like and and that's really it there's there's no secret formula it's just as simple as that.
• 30:41
  SPEAKER_00: And the images you're talking about they they did really well for you recently as well didn't they with basketball court images yeah absolutely and I got asked the day I got asked uh yesterday did I shoot specifically for awards and um or am I one of those photographers that shoots for awards and and I laughed and I've gone well that that would take like serious planning and um and I'm not that kind of photographer.
• 31:09
  SPEAKER_00: I'm pretty I suppose instinctive and an idea will pop into my head and it like as I said it is I wonder what it will look like and um and some sometimes they work and some sometimes they don't but when I did that first one which was at a brand new train station that they'd built in Melbourne then I kind of sparked my curiosity okay I'm now going to revert to Google Maps.
• 31:37
  SPEAKER_00: I wonder where there are other really interesting uh basketball courts or really funky colours and the one of them which was the really colourful one um I got there the day before they were demolishing it.
• 31:53
  SPEAKER_00: So the next day it became rubble.
• 31:56
  SPEAKER_00: So and and I couldn't believe it.
• 32:00
  SPEAKER_00: So this so this particular court was under well right next to Kingsway in Melbourne and it was a um developer uh for a short amount of time created this community court had a very well known artist come and paint those you know insane colours and and I got there the day before they demolished it.
• 32:23
  SPEAKER_00: So timing is everything so just lucky yeah.
• 32:27
  SPEAKER_02: And for those listening the the competition that Danny won was the Australian emerging photographer and she won that with uh the basketball uh the the basketball um courts as well amongst other winnings and top fives 20s and tens you did really well in that competition you're being a fiery point danny just just looking at your feed in the past year I think it's it's you're exploding into like a whole nother area of your photography and then and your career as it progresses yeah it's it's amazing um I I kind of feel like the last 12 months has been really exciting.
• 33:07
  SPEAKER_00: I can't sort of emphasize enough uh how like you can just all of a sudden be plotting along until all of a sudden it clicked for you.
• 33:18
  SPEAKER_00: And then it just makes sense like everything makes sense you um I kind of feel like I was jumping in and out of styles for a while I was I was doing okay um it wasn't to criticize my images but there really wasn't a connection there and then and as stupid as it sounds I go out I spend some time learning film and then I buy a digital hassleblad and I've never had a camera that felt so right for me and and then all of a sudden I just had something that became a part of me and the images changed my work changed dramatically and then all of a sudden it just made sense and I like yeah my work over the last 12 months has drastically kind of changed and um and I really put it down to that okay I'm starting to slow down be maybe more considerate but um yeah I'm I'm I'm not saying buy a hassleblad but um but it it's amazing how much the the camera did sort of help help me find my style.
• 34:34
  SPEAKER_02: All I'm hearing is go out and buy a hassle blah budget I highly recommend it.
• 34:40
  SPEAKER_02: If it's in your budget I highly recommend finding an excuse so I can tell my wife that I'm gonna go buy one.
• 34:47
  SPEAKER_02: I'm gonna have to give up a kidney both of them sorry I've been trying to get that one over the line for many years and I haven't won yet so it's um it's an ongoing thing.
• 35:04
  SPEAKER_00: Just a quick Yeah I sorry I I probably looked at it as a it's a camera the more I used it it's a camera for life.
• 35:13
  SPEAKER_00: So and and the fact that I had reverted back to film and I can integrate new and old and um my bank balance doesn't like me at the moment but I've recently just bought a superwide so um so I'm curious now to see see what I can get with a with a super wide so um I yeah so so I think like the next next few months experimenting with the super wide and and that sort of thing it it could get very interesting.
• 35:45
  SPEAKER_04: How wide is it the super what's the focal length there?
• 35:49
  SPEAKER_00: So I've got a digital 16 mil and um Hasselblatt will probably hate me saying it it feels so wrong believe it or not I don't know what it is about the 16 mil but um I was canon and Fuji and Lumix and and I would always shoot with a 16 mil and or 16 to 35 and and that was you know my range and and getting a hassleblad I started with a 45 which is the equivalent of a 35 mil and so a lot of the images that I've shot are actually at 35 mil and it feels so so right like it feels so comfortable and and that sort of thing.
• 36:39
  SPEAKER_00: So I'm like great I'm going to go and really blow the budget here and buy a 16 mil and I hate it.
• 36:48
  SPEAKER_00: So absolutely hate it and um which is kind of the irony with it so um so the super wide I think works out to about 23 mil so I'm I'm sort of wondering if it's that sort of happy medium that I'm sort of looking for.
• 37:08
  SPEAKER_00: It's maybe I've moved away from being um the landscape photographer that shoots at 14 or 16 mil and maybe my point of difference is you know shooting somewhere in that different range and and I do sort of shoot at a lot of different vocal lengths but um yeah man 35 mil it just seems really comfortable I I can just make it work.
• 37:35
  SPEAKER_04: Yeah it gives you that option to sort of isolate a little bit more doesn't it and it get rid of some of the mess or as when once you start going really wide again.
• 37:43
  SPEAKER_04: I think it's something like when your your viewpoint matures in in the landscape I think it's that sort of sort of minimalized as opposed to like going super wide and fitting everything into the frame again as well.
• 37:59
  SPEAKER_04: But yeah I think I don't know what it's like just uh it also bellows so what's it like when you're focusing if you have to get really close is it um you end up with either out of focus parts in the landscape or or you're able to achieve quite a like a strong depth of field.
• 38:19
  SPEAKER_00: Yeah so um so on the digital Hasselblad it's got these you know amaz this amazing thing which is all in camera focus stacking so I'd never I'd never sort of experimented with in-camera focus stacking before um and you know to have the ability to do that is um incredible and I've only just started experimenting with that but no I I I kind of felt I was taking the same shots but maybe I was just further back a little bit and that that 35 mil just allowed a completely different connection with the landscape maybe because it wasn't so wide or there was more consideration into what I was leaving in and what I was removing.
• 39:08
  SPEAKER_00: And uh one of the best features about the digital Hasselblad is it shoots in X Pan mode and I which is like a ratio 2.7 to one which like I I've been Ken Duncan's assistant for three years and I I'm like I do not want to be a mini me.
• 39:31
  SPEAKER_00: I do not want to be a mini Ken Duncan I I am not going to shoot panoramic but I buy a Hasselblad and then all of a sudden I'm shooting panoramic and I'm shooting panoramic everywhere and and I joked uh even with him the other day I've gone so I've literally become a mini you like I went to New Zealand and Carragini like recently and and all I did was shoot Pano Pano Pano like everywhere I was going I was shooting Pano and um and he just has this wry smile on his head and he goes well it is the perfect format for let's get photography and that's so true that it's so true and and it it could be literally as simple as that like maybe I've started to see the world a bit differently and um and I didn't see you know panoramic but it's it is that consideration more so in panoramic what you leave in and what you leave out and um and then how do you create depth and and you are a lot more considerate.
• 40:39
  SPEAKER_00: So yeah I we won't tell him but maybe has swayed me eventually a little bit.
• 40:46
  SPEAKER_00: He's also swayed Glenn a little bit as well too because he only used to shoot panoramas yes yeah well with both of us probably the the irony was Glenn and I were both in Carra Genie recently together and uh we went like we we really did the hard yards like getting into some of these gorges where you've literally got to jump off a waterfall and you know swim with your gear a couple of K's out and and whatever it is.
• 41:15
  SPEAKER_00: But every location that we stood in it was funny we were in different groups but at the end of the day we would come back together and go, all I saw was Ken's photos everywhere I stood.
• 41:27
  SPEAKER_00: So I yeah so so we've just spent like five six days in in Karajini exploring Karajini where both of us really didn't shoot a lot because everywhere we stood all we saw was Ken's work and but we we kind of felt it's almost that that we we might have needed that time where we'll go back in a year or two and it'll be completely different.
• 41:58
  SPEAKER_00: We'll we'll have a new idea or how we can do it different.
• 42:01
  SPEAKER_00: We uh both of us don't want to be Ken like we're we're very uh fortunate that we have been mentored by him and uh don't get me wrong like I think I'm one of the luckiest photographers in the world to be mentored by him uh so extensively for for such a long period of time and um he's never showed me how to shoot but he's really taught me the business of photography and um yeah and I'm I'm really grateful for that.
• 42:35
  SPEAKER_02: I I wouldn't really call it luck Danny because um you're so driven and passionate so if if they didn't see that in you they wouldn't have picked you up so I wouldn't say it's luck.
• 42:46
  SPEAKER_02: It's well deserved yeah exactly I'd say well deserved you earned your place there.
• 42:51
  SPEAKER_00: Yeah they're they're great um like we have many of this discussion about photography.
• 42:58
  SPEAKER_00: Um he wants me to take photography a little bit more serious.
• 43:03
  SPEAKER_00: So the irony is like uh I did show him the basketball courts after I shot them and he referred them to play school I need to become a serious photographer and forget about play school.
• 43:17
  SPEAKER_00: So he uh he kind of laughs sometimes about uh the direction that my mind goes it's uh completely off on a wild tangent but um but I also think that that's my point of difference to him as well.
• 43:32
  SPEAKER_00: So I I don't want to shoot the shots that he shot.
• 43:36
  SPEAKER_00: He's done it.
• 43:37
  SPEAKER_00: If I like it I'll own it and and I have that philosophy against any photographer.
• 43:43
  SPEAKER_00: I I love looking at everyone's interpretation of the world but I don't really have a desire to go out and replicate it.
• 43:50
  SPEAKER_00: I um if I like it I'll contact the photographer and buy it.
• 43:56
  SPEAKER_02: Well that's that's that's a good philosophy We're on the we're on the same boat with you.
• 44:03
  SPEAKER_02: That's the positive about Spoon Digital these days.
• 44:05
  SPEAKER_02: You don't have to be so selective.
• 44:07
  SPEAKER_02: So you can keep you can just shoot, shoot, shoot, shoot until you go, okay, cool.
• 44:10
  SPEAKER_02: I like that.
• 44:11
  SPEAKER_02: Or that didn't work, and you can just delete it.
• 44:13
  SPEAKER_02: So you're not wasting money like Ken Wood or Glenn back in the early days.
• 44:17
  SPEAKER_02: You know, um, we we do have that upper hand.
• 44:20
  SPEAKER_02: So I can understand how they're a bit more selective, but um, yeah, I think I think we're definitely in a great point of time being photographers, that's for sure.
• 44:30
  SPEAKER_00: Yep, absolutely.
• 44:33
  SPEAKER_04: I want to touch on you've been running workshops, uh photo workshops recently.
• 44:38
  SPEAKER_04: Uh I'm pretty interested to know how's that traveling for you?
• 44:42
  SPEAKER_04: Um is it something that well, what do you get out of running a workshop the most?
• 44:48
  SPEAKER_04: Is it the you're giving back to the community and the people that are attending, or is it a combination where you get to capture these amazing locations at the same time as you're you're working and giving back?
• 45:01
  SPEAKER_00: I well, I come from that coaching sort of background, so coaching teaching sort of background.
• 45:06
  SPEAKER_00: So instinctively, I I probably love that element.
• 45:13
  SPEAKER_00: Um, but I actually the more time I spent with Ken, so post-study, I I would consider myself a really technical photographer across multiple cameras.
• 45:24
  SPEAKER_00: Um I own multiple brands.
• 45:28
  SPEAKER_00: I'm probably, well, up until maybe a year ago, I wasn't really brand loyal.
• 45:34
  SPEAKER_00: Um, I would you I would pick the camera to suit whatever it was that I was shooting on the day, or the camera that I was the most comfortable with shooting that genre.
• 45:46
  SPEAKER_00: And so so that's given me an advantage, I suppose, in teaching.
• 45:53
  SPEAKER_00: Um I would definitely say it's it's also about giving back.
• 45:59
  SPEAKER_00: I I really consider myself fortunate from all the photographers that have helped me like in my very short journey.
• 46:08
  SPEAKER_00: So um, so whether that be Ken or Glenn or um, you know, Peter Coulson or or even the amazing lecturers that I had at uni, it's I see it as an extension to give back and pass on my knowledge.
• 46:24
  SPEAKER_00: I I'm not precious about anything.
• 46:27
  SPEAKER_00: You know, someone can ask me how I did it and I'll uh I'll tell them.
• 46:33
  SPEAKER_00: Um if they want to know how I shot something, it's it's fine.
• 46:37
  SPEAKER_00: Um, my style in teaching, and I probably drive some of my participants nuts, is they'll ask me a question and and I ask them a lot of questions back, and I might reword their question that they've asked me.
• 46:52
  SPEAKER_00: So I'm trying to establish where their knowledge base is, and then I'm gradually challenging them with every question.
• 47:01
  SPEAKER_00: So, okay, well, have you thought about this?
• 47:03
  SPEAKER_00: Um I don't really uh instruct anyone or physically grab their camera and go, you need to stand here.
• 47:11
  SPEAKER_00: I I appreciate the the creative process.
• 47:15
  SPEAKER_00: And what I love more than anything is whether it's seeing their excitement out of something they've captured, but but also when they tag you in some of their shots, you know, a week later or a couple of months later, as they're starting to get through them and go, This is my favorite shot.
• 47:35
  SPEAKER_00: And what I love seeing more than anything is photography or that location through their eyes and their connection with somewhere that we are that might be different to mine, and and I probably just learn as much from them as they do me, and I don't underestimate that at all.
• 47:58
  SPEAKER_02: I I do have a question about um, it's been on my mind since we started um being an assistant with um Ken.
• 48:08
  SPEAKER_02: And if someone said to you like being an assistant is a like a dying, a dying thing, because it's kind of an old school way of thinking, having an assistant, would you say that it's dying, or would you say it's probably a good way to go if if you can find someone to be an assistant for or having a mentor as such?
• 48:29
  SPEAKER_00: I would highly recommend any photographer out there to have a mentor, um, particularly no matter what genre it is.
• 48:39
  SPEAKER_00: So um I I've had multiple mentors.
• 48:45
  SPEAKER_00: I I think that a mentor like um I might learn all they have to offer, and then I need to find the next one that's going to help take me to the next level or the next level.
• 49:00
  SPEAKER_00: And uh my my time with Ken is probably as much as me learning from him, he's learnt from me as well.
• 49:09
  SPEAKER_00: So it's that um it's that mutual respect that um I did learn an awful lot from them to begin with, and and now I probably challenge Ken a little bit.
• 49:24
  SPEAKER_00: Um and we bounce the most weird and wacky ideas off each other, and we probably drive Tammy's wife nuts, um, isn't where our minds go, where um he he is like a super creative, um, and uh trying to get him nailed down into one idea is nearly impossible, which is probably me as well, like to a certain extent.
• 49:52
  SPEAKER_00: But the only difference is if I have a weird and wacky idea, I might have multiples of them, but I want to finish them.
• 49:58
  SPEAKER_00: So he's very quickly moving to the next one.
• 50:01
  SPEAKER_00: So you've got to try and keep up.
• 50:03
  SPEAKER_00: Um, so the pace working for Ken is quite high.
• 50:08
  SPEAKER_00: Um, and and I love it.
• 50:11
  SPEAKER_00: Like it's every day is a challenge, uh, no day is different.
• 50:15
  SPEAKER_00: Um there is a need for photography assistance out there, it's it's about finding the right one.
• 50:24
  SPEAKER_00: Um, I recently said to some students, like, don't be afraid to uh reach out to someone you admire and go, hey, I'd love to go shooting with you, or um, can I pay for some of your time or whatever it might be.
• 50:40
  SPEAKER_00: And a lot of my relationships have come from that, where I might have contacted a photographer and just said, Hey, I'd love to buy you a coffee, and can we have a chat?
• 50:51
  SPEAKER_00: And or um, I've given them a call or whatever it is, and hey, can I buy you a cup of coffee?
• 50:58
  SPEAKER_00: And can we have a chat about photography?
• 51:00
  SPEAKER_00: And then it might be, okay, your next studio session, um, I'll give you a couple of hundred bucks if I can watch you work.
• 51:09
  SPEAKER_00: And and then that photographer has a new appreciation of what I'm asking.
• 51:15
  SPEAKER_00: They they understand I want to learn, I'm valuing their time, and then it becomes a more respectful relationship.
• 51:23
  SPEAKER_00: It's not that, okay, I'm a young photographer and I want to take.
• 51:27
  SPEAKER_00: Um, I'm I'm valuing their time and valuing their knowledge, and I'm putting a figure on that.
• 51:34
  SPEAKER_00: And I know that's not for everyone, but I've it's it's given me an avenue in to a lot of these photographers.
• 51:43
  SPEAKER_00: And the lessons that I've learned are invaluable.
• 51:47
  SPEAKER_00: Like um, whether it be in business, um, a process or even failure, like, you know, learning from their failures, and they might be open and honest with me out, you know, things that worked well and things that didn't work well in in the photography industry and photography business.
• 52:08
  SPEAKER_00: And and I think that's where I feel I've created a really good platform of knowledge.
• 52:16
  SPEAKER_00: Um, I'm probably in the stage now, I still probably consider myself an emerging photographer, that maybe the next 12 months I'm now looking to launch myself and my career into being, you know, a standalone photographer.
• 52:34
  SPEAKER_04: Oh, nice, nice.
• 52:35
  SPEAKER_04: I can I can definitely see um from your drive and and your approach is is why you've so far been so successful in a continuing to do so.
• 52:45
  SPEAKER_04: Um hats off to you.
• 52:46
  SPEAKER_04: I love it.
• 52:47
  SPEAKER_04: I love your approach.
• 52:48
  SPEAKER_04: It's it's awesome.
• 52:50
  SPEAKER_00: Yeah, I think it's like um, I think it's as simple as like you surround people you surround yourself with people that make you want to be a better photographer, and and and that's that's probably where where I'm at.
• 53:05
  SPEAKER_00: Like I draw inspiration from so many amazing photographers.
• 53:10
  SPEAKER_00: Um, you know, I own their work.
• 53:13
  SPEAKER_00: Uh I own multiple photographers' work.
• 53:17
  SPEAKER_00: Um, and I I'm I'm really passionate about the industry.
• 53:22
  SPEAKER_00: And um I I was told by a photographer, I won't say who it was, if I wanted to sell prints, uh, the first question a potential client would ask me is, Well, whose work do you own?
• 53:34
  SPEAKER_00: And he referred to it like um a real estate agent.
• 53:39
  SPEAKER_00: Would I buy a house from a from a real estate agent who who had never bought their own house or never sold a house?
• 53:46
  SPEAKER_00: And and I kind of went, okay.
• 53:48
  SPEAKER_00: That's a great thing.
• 53:49
  SPEAKER_00: And he goes, and and he said to me, he goes, so if you only have your work on your wall, really, the only thing you're saying to me is your Nigel, no friends.
• 53:58
  SPEAKER_00: And I laugh, and that's what I remember like the most.
• 54:03
  SPEAKER_00: And so so now I don't have any of my own work on my walls.
• 54:07
  SPEAKER_00: I've got um, I've got Ken's work, I've got Peter Lick, I've got Glenn's work, um, I've got a Kieran Stone and um and a few other photographers, Cam Blake, um, because I really passionately want to go and see the Franklin River, uh, because of Peter Dromboscus.
• 54:29
  SPEAKER_00: I own Peter Dromboscus's work.
• 54:31
  SPEAKER_00: So that they're all works that inspire me and push me to be a better version of myself.
• 54:38
  SPEAKER_02: That's the best.
• 54:39
  SPEAKER_02: I've I've always said to that if you buy someone's print if you can't afford it, buy it a book if they've got one.
• 54:44
  SPEAKER_04: Yeah, definitely, definitely.
• 54:45
  SPEAKER_04: I might have to finally get the rest of them out of storage that I've got stored away.
• 54:49
  SPEAKER_04: I went on very fast, I haven't unpacked them all yet.
• 54:53
  SPEAKER_04: So gotta get them all back out on the wall.
• 54:56
  SPEAKER_02: So looking forward, um, apart from your master's degree, finishing that off and and continuing your your studies and working with Ken and Glenn, what's next for you?
• 55:09
  SPEAKER_00: Um I've definitely set myself as the goal of really the next 12 months, really developing a strong portfolio of work.
• 55:19
  SPEAKER_00: So um, whatever that might entail, and whether that's uh going bush or whatever it is, and spending a considerable amount of time in one location and um then coming back with a body of work that that I can uh do an exhibition.
• 55:39
  SPEAKER_00: I've been working on projects on and off.
• 55:42
  SPEAKER_00: So whether it's an aerial project, um, I've recently shot a component of that out at Shark Bay, um, and I'm looking for um oh, and I just shot the most incredible location in um in remote uh New South Wales, um, where everything just looks like an Aboriginal painting from the air.
• 56:08
  SPEAKER_00: Um and yeah, so I'm looking for those sort of unusual locations to continue some of those projects, but but more importantly, finalise some of those projects as well.
• 56:19
  SPEAKER_00: So it's all well and good that I create these projects, but what's the outcome?
• 56:24
  SPEAKER_00: What is it that I'm trying to achieve?
• 56:26
  SPEAKER_00: So whether it's a book or an exhibition, and and definitely I'm leading towards an exhibition.
• 56:34
  SPEAKER_00: So an exhibition that I would love to have to kind of that I'm super proud of that um have my first solo exhibition with a a really strong body of work and um you know have have everyone that's inspired me or helped me on the journey be there for that launch.
• 56:57
  SPEAKER_00: And um I I think it would be as much about my respect for them and what they've helped me achieved as as myself as well.
• 57:08
  SPEAKER_00: So yeah, I'd love to have them there and um and the there is some you know discussions about where that will be and whether whether I do um uh whether I take them up on that offer and and have have the exhibition, you know, potentially there or be launched by that particular photographer.
• 57:31
  SPEAKER_02: That's unreal.
• 57:32
  SPEAKER_02: Really cool.
• 57:33
  SPEAKER_02: Definitely in you're definitely in good hands with that sort of um knowledge as well.
• 57:38
  SPEAKER_04: Um how long until you think you released that?
• 57:42
  SPEAKER_04: Do you have like a an idea?
• 57:45
  SPEAKER_00: Um, so if it's part of my master's, I I have to have an exhibition as part of my masters.
• 57:53
  SPEAKER_00: So I'll be finished my master's in a year's time.
• 57:56
  SPEAKER_00: Yep.
• 57:56
  SPEAKER_00: So and the outcome it has to be either an exhibition or or a book.
• 58:02
  SPEAKER_00: So as well as uh writing writing a thesis, which I'm not looking forward to at all.
• 58:08
  SPEAKER_00: Um, so I'm I definitely feel like I have the uh the photography component okay, but the writing component not so okay.
• 58:17
  SPEAKER_00: Um so definitely looking forward forward to that.
• 58:20
  SPEAKER_00: But yeah, I've I've uh I've been putting it off for a little while.
• 58:25
  SPEAKER_00: I I felt I wasn't ready, but the last 12 months has been, I think I've started to feel more comfortable and and as I said, I I feel like my work got all of a sudden everything clicked and I've developed my own style.
• 58:40
  SPEAKER_00: Um, and I'm really comfortable now in that style.
• 58:44
  SPEAKER_00: Um so so I think I now have a really good base to to be comfortable to to finally go, okay, I'm I'm now this photographer.
• 58:54
  SPEAKER_00: I don't want to do it half-ar.
• 58:56
  SPEAKER_00: Um if I if I do it, I want to do it well.
• 58:59
  SPEAKER_00: And and I think uh in 12 months' time I might be there.
• 59:04
  SPEAKER_00: So so yes, mid-next year, watch this face.
• 59:07
  SPEAKER_02: We'll definitely be watching, and if we can, we'd love to come and see your exhibition if if it's up here or if even if it's in Melbourne and we're around, definitely, definitely to come and have a look.
• 59:18
  SPEAKER_02: Um, that's for sure.
• 59:19
  SPEAKER_04: Uh exhibition's gotta be a top of a book, I feel like showcasing your work.
• 59:24
  SPEAKER_04: Uh I think a book's good for lot, like lots of sales over a long time, and but exhibiting your work to its full potential, I think the exhibition will definitely be a boom for you.
• 59:34
  SPEAKER_00: I don't think there's anything better than looking at printed prints and big and red life.
• 59:41
  SPEAKER_00: And you know, working with Glenn and Ken who print big.
• 59:47
  SPEAKER_00: Um that's an understanding.
• 59:48
  SPEAKER_00: They they very much have the uh go big or go home kind of mentality.
• 59:54
  SPEAKER_00: So so that's where I kind of feel if I if I did a book as an outcome, it'd be kind of as my first kind of step into the industry on my own.
• 1:00:04
  SPEAKER_00: I almost feel it'd be quite underwhelming.
• 1:00:07
  SPEAKER_00: I uh I need to go big or go home.
• 1:00:10
  SPEAKER_00: So yeah, so I think um big prints and and that's definitely what I'm working towards at the moment, big prints.
• 1:00:16
  SPEAKER_02: Nice.
• 1:00:17
  SPEAKER_02: For for our listeners um who don't follow you, where can they find your work and keep up to date with all your upcoming events and even your workshops that you're running?
• 1:00:27
  SPEAKER_00: So uh Instagram is probably the best one.
• 1:00:30
  SPEAKER_00: So Danny Watsonau.
• 1:00:33
  SPEAKER_00: Um I also have a website which is Danny What uh Daniellewatson.com.au.
• 1:00:39
  SPEAKER_00: So um that that will also have links if if anyone's interested, I'm adding in the next couple of days uh links to my masters.
• 1:00:48
  SPEAKER_00: So you'll be able to see all the behind the scenes that's going into some of my masters and and maybe some of the weird and wacky ideas that I have.
• 1:00:57
  SPEAKER_00: And and there's also uh some failure.
• 1:01:00
  SPEAKER_00: So you can sort of have a look at uh some of that as well and and go, okay, she does fail quite often as well.
• 1:01:07
  SPEAKER_00: So yeah, it'd be I think everyone would get a get a lot out of uh having a look that it isn't always perfect.
• 1:01:15
  SPEAKER_04: Agreed.
• 1:01:15
  SPEAKER_04: Definitely, definitely.
• 1:01:16
  SPEAKER_04: We'll have all those notes in the show so everyone can click on the links and check out Danny's work, and we strongly suggest you do because it's it's it's it's amazing.
• 1:01:26
  SPEAKER_04: So uh we've both been following Danny for several years now.
• 1:01:30
  SPEAKER_04: So it's been a pleasure.
• 1:01:32
  SPEAKER_04: And thanks for having the talk to us today.