Latest / The Overland Journal Podcast / Photographer and Cinematographer Bruce Dorn

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Photographer and Cinematographer Bruce Dorn · The Overland Journal Podcast

• 0:02
  Speaker 1: Hello, and welcome to the Overland Journal podcast. I am
• 0:05
  Speaker 1: your host, Scott Brady, and I'm here with my co
• 0:07
  Speaker 1: host Matt Scott. What's going on, Matt?
• 0:10
  Speaker 2: You know, not much is going on except for the
• 0:13
  Speaker 2: fact that we have a really good friend of mine,
• 0:16
  Speaker 2: mentor and all around cool cat, Bruce Dorn with us
• 0:21
  Speaker 2: in the studio today. So, Bruce, how do we even
• 0:25
  Speaker 2: describe you mean, so photographer, filmmaker, commercial director, somebody who's
• 0:31
  Speaker 2: never really worked in their life but seems to always
• 0:34
  Speaker 2: be working.
• 0:35
  Speaker 3: Yeah, I would say, baby boomer, lay about, baby Boomer
• 0:39
  Speaker 3: lay about. Yeah, I'm trying to post on past achievements
• 0:44
  Speaker 3: and make it to the final checkered flag without ever
• 0:48
  Speaker 3: doing an honest day's work.
• 0:50
  Speaker 1: A role model to all of us, exactly, although I've
• 0:53
  Speaker 1: seen Bruce work harder than anybody else on many days.
• 0:57
  Speaker 1: I like the one description that you give for yourself,
• 0:59
  Speaker 1: right contour. I think that works. I think that works
• 1:02
  Speaker 1: well for you.
• 1:03
  Speaker 3: You know, And any story worth telling is worth telling well.
• 1:07
  Speaker 3: And as you pointed out, having had to listen to
• 1:10
  Speaker 3: a number of my stories over the years, the details
• 1:13
  Speaker 3: remain consistent.
• 1:14
  Speaker 1: They do, Yeah, they do. And my history with Bruce
• 1:17
  Speaker 1: goes way back close to ten years now, and we
• 1:21
  Speaker 1: did a trip called Expedition seven, and Bruce was on
• 1:24
  Speaker 1: four of the seven continents with me. We spent about
• 1:27
  Speaker 1: four years together traveling around the world. He endured my
• 1:30
  Speaker 1: snoring and I endured his storytelling, and we really did
• 1:35
  Speaker 1: learn a lot about each other, and I learned a
• 1:37
  Speaker 1: lot about photography from Bruce. Bruce is certainly a consummate professional,
• 1:42
  Speaker 1: but more importantly, he is a mentor. He will take
• 1:45
  Speaker 1: the time to share his knowledge with others, and I
• 1:49
  Speaker 1: learned so much from him in my own personal photography.
• 1:52
  Speaker 1: But before we get too much into Bruce, Matt, what's
• 1:56
  Speaker 1: like the most recent cool thing that you got going on? Oh?
• 2:00
  Speaker 2: Man, you know I'm all into the gadgets. I found
• 2:03
  Speaker 2: this thing at AutoZone from Griet's garage. It's the synthetic
• 2:06
  Speaker 2: clay bar, and it has completely changed my outlook on life.
• 2:11
  Speaker 2: I mean, I mean down to the core of civilization.
• 2:14
  Speaker 2: It is just it has rocked my world. So essentially,
• 2:17
  Speaker 2: it's a magic eraser for your car. Some of you
• 2:20
  Speaker 2: may know, some of you may not. I have this
• 2:22
  Speaker 2: relatively old Japanese imported Diesel eighty series land Cruiser that
• 2:27
  Speaker 2: I'm in love with and have spent far too much
• 2:29
  Speaker 2: money on. Anyways, pretty bad paint on it, you know,
• 2:32
  Speaker 2: is sitting. I want to say it came from Kobe, Japan.
• 2:34
  Speaker 2: Everything that you associate with living in a city, pollution, whatever,
• 2:38
  Speaker 2: has just built up.
• 2:39
  Speaker 1: On this car.
• 2:40
  Speaker 2: And now the paint looks I mean pretty darn good
• 2:43
  Speaker 2: for a vehicle that's almost thirty years old. I think
• 2:46
  Speaker 2: it's twenty eight years old now, and the thing's twenty
• 2:48
  Speaker 2: four to ninety nine.
• 2:49
  Speaker 1: Like I like it.
• 2:51
  Speaker 2: I mean, they didn't send me this like I'm on
• 2:53
  Speaker 2: my second one.
• 2:54
  Speaker 1: I love it. I don't know, I like it and
• 2:56
  Speaker 1: excited about it. In little things that make it makes
• 2:58
  Speaker 1: a Toyota paint job look good, yeah, because that's really
• 3:01
  Speaker 1: hard to do. Yeah, it's really hard to They never
• 3:03
  Speaker 1: really focused on paint.
• 3:05
  Speaker 2: Yeah, I mean, they just focused on things like reliability
• 3:08
  Speaker 2: and totally.
• 3:10
  Speaker 3: Are you using it on your face too? Because you're
• 3:12
  Speaker 3: you're glowing today, you.
• 3:13
  Speaker 2: Know that's that's geez, you're making me blush. It must
• 3:17
  Speaker 2: be your green glasses, Bruce. It's just the fact you're
• 3:20
  Speaker 2: a ginger. I'm not going to hold my tongue there.
• 3:23
  Speaker 2: I am only slightly of a slightly ginger.
• 3:27
  Speaker 1: Bruce, I think this might be something we need to
• 3:29
  Speaker 1: ask everyone on our show. But it does that look
• 3:32
  Speaker 1: like a ginger? Absolutely, I'm not even like clay Croft
• 3:36
  Speaker 1: is a ginger.
• 3:37
  Speaker 3: Yeah yeah, yeah, but you know you walked from the
• 3:40
  Speaker 3: car to the room or we're recording and you're you're
• 3:43
  Speaker 3: beat red, you.
• 3:45
  Speaker 1: Know, from thirty seconds. I mean, I think you must
• 3:48
  Speaker 1: have to use SPF one squillion. It's one squillion.
• 3:52
  Speaker 2: Yeah, yeah, No, that's just because I'm sweedish, like to say,
• 3:55
  Speaker 2: I'm so sweetish.
• 3:56
  Speaker 1: I came flat packed at birth. How about you, Bruce, Like,
• 4:01
  Speaker 1: what's the recent cool thing that you're digging on.
• 4:05
  Speaker 3: I've been working with some really cool lights. Part of
• 4:08
  Speaker 3: my career as a photographer and a filmmaker has been
• 4:11
  Speaker 3: defined by working with light. From the very beginning, had
• 4:14
  Speaker 3: one camera, one lens. The next successory I bought was
• 4:18
  Speaker 3: a light. I think I still own that light, but
• 4:20
  Speaker 3: lately I've been working with some portable led lights from
• 4:24
  Speaker 3: believe it or not, an American manufacturer. There's still American manufacturers.
• 4:28
  Speaker 3: Light in Motion is a company out of Marina, California,
• 4:31
  Speaker 3: just a stone's throw above Monterey and they're at a
• 4:36
  Speaker 3: hangar up there on the old military base and they're
• 4:40
  Speaker 3: building They manufacture lights for bicycles, headlamps like we use
• 4:45
  Speaker 3: around camps, and underwater lighting. I was doing a dive
• 4:49
  Speaker 3: with a buddy. We're looking for mcgaladon teeth down in
• 4:52
  Speaker 3: the Flora of Florida Keys area, and this guy had
• 4:55
  Speaker 3: this really wacky small led light. We're in a hotel
• 5:00
  Speaker 3: room way up above the beach, and goes check out
• 5:02
  Speaker 3: how bright this is. He turns it on lights up
• 5:04
  Speaker 3: the beach, and of course there were many people down
• 5:06
  Speaker 3: there doing all kinds of interesting things in what had
• 5:09
  Speaker 3: moments before been total darkness. The light was spectacular, but
• 5:14
  Speaker 3: it was extremely blue in color, which was by design
• 5:17
  Speaker 3: about eight thousand kelvin, which is really high on the
• 5:20
  Speaker 3: blue side of the scale.
• 5:21
  Speaker 1: And is up for underwater y yep.
• 5:23
  Speaker 3: Because as the light comes through you lose red and
• 5:26
  Speaker 3: yellow in the first eleven or twelve feet, and then
• 5:28
  Speaker 3: it gets to be sort of bluish and greenish. You
• 5:31
  Speaker 3: add your fill light with a blue light, and then
• 5:33
  Speaker 3: you put a bunch of agenda or red into it
• 5:36
  Speaker 3: in post and now you get your color back. I
• 5:38
  Speaker 3: was thinking to myself if these guys could make this
• 5:40
  Speaker 3: in a legitimate kelvin temperature for surface use, I would
• 5:44
  Speaker 3: buy a ton of these things. So I actually approached
• 5:47
  Speaker 3: the company and have been grinding on them for a
• 5:50
  Speaker 3: couple of years, and now they offer the same units
• 5:53
  Speaker 3: in thirty two hundred calvin, which is classically called tungsten temperature,
• 5:58
  Speaker 3: and then fifty six hundred keell them. It's high impact plastic.
• 6:03
  Speaker 3: It's got a very tight little led array in it.
• 6:06
  Speaker 3: Modifiers that you can put on it from ellen Crome
• 6:08
  Speaker 3: and some of their own proprietary modifiers. I think you
• 6:11
  Speaker 3: can drop this thing from a couple of feet onto
• 6:13
  Speaker 3: concrete and it'll bounce.
• 6:14
  Speaker 1: They feel super solid.
• 6:15
  Speaker 3: It's waterproof to three hundred feet, water proof, not water resistant.
• 6:20
  Speaker 3: I recently shot a little project for the local college.
• 6:23
  Speaker 3: The theme was rowing drowning under student debt, and I
• 6:27
  Speaker 3: sunk a poor young lady in the pool with her
• 6:31
  Speaker 3: cap and gown and then shot some pictures of her
• 6:33
  Speaker 3: struggling with her student debt. For those of us who
• 6:36
  Speaker 3: travel a lot, traveling with lithium ion batteries is a
• 6:39
  Speaker 3: very difficult thing because of all the car them on. Yeah,
• 6:42
  Speaker 3: so because these lithium ions are internal to the lamp.
• 6:47
  Speaker 3: They sidestep all of those issues. You can put them
• 6:49
  Speaker 3: in the cargo hold and it's and it's cool, pretty
• 6:53
  Speaker 3: amazing in it.
• 6:54
  Speaker 1: Yeah, what's the name of the company again? Light in Motion.
• 6:57
  Speaker 1: And then the product that you're talking is the Stella
• 7:00
  Speaker 1: around Stella nice.
• 7:01
  Speaker 3: So you'll see them in gold Rush, bearing Sea, You'll
• 7:04
  Speaker 3: see them on well wars. They are the light of
• 7:06
  Speaker 3: choice for extreme conditions. I've got a couple that are
• 7:09
  Speaker 3: on quick release super clamps on the wing mirrors on
• 7:13
  Speaker 3: my F two fifty so I can spotlight deer, I'm sorry,
• 7:16
  Speaker 3: look for campsites along the side of the road, and
• 7:19
  Speaker 3: then I can grab them off of the mirrors, go caving,
• 7:22
  Speaker 3: go snorkeling, use them to light a scene around the campfire.
• 7:26
  Speaker 1: Wow.
• 7:26
  Speaker 3: So they're true cinema grade in a very small package.
• 7:30
  Speaker 3: And the rugged ezed aspect is what really turns me
• 7:34
  Speaker 3: on about them.
• 7:35
  Speaker 1: Oh that's cool. That's a nice, little and unexpected choice.
• 7:38
  Speaker 1: That's nice. I like that. Yeah, you've got so many
• 7:40
  Speaker 1: gadgets that it's cool that this. You got almost as
• 7:43
  Speaker 1: many gadgets as you. What's your thing? You know, I've
• 7:46
  Speaker 1: been riding this hon to Africa twin and I really
• 7:49
  Speaker 1: it's it's been an interesting bike to write because it
• 7:51
  Speaker 1: has the DCT, which is like a semi automatic transmission.
• 7:54
  Speaker 3: Now you dissed that initially, you said it was too
• 7:56
  Speaker 3: heavy and you couldn't bump start it.
• 7:58
  Speaker 1: It's the bump starting that's problem and it's still a concern.
• 8:02
  Speaker 1: So but I've been right. It's been nice to ride
• 8:04
  Speaker 1: a motorcycle every day. Yeah, so that's been that's been
• 8:07
  Speaker 1: my thing. And I you know, I realized the other
• 8:09
  Speaker 1: day that it's a it's a great bike overall, Like
• 8:12
  Speaker 1: for someone who wants to buy their first adventure bike,
• 8:15
  Speaker 1: it's a great bike. But I think I would still
• 8:17
  Speaker 1: want the six speed manual.
• 8:19
  Speaker 3: You know. I went and test road one and I
• 8:22
  Speaker 3: like the automatic, and I found it to be what
• 8:24
  Speaker 3: do they call it deep learning if not AI deep learning,
• 8:26
  Speaker 3: because when I was riding it casually, it short shifted,
• 8:30
  Speaker 3: was using the torque, but as soon as you got
• 8:32
  Speaker 3: aggressive with it, and it went, oh this is how it's
• 8:34
  Speaker 3: going to be. Yeah, kind of like the tranny and
• 8:37
  Speaker 3: that little German Corvera that I recently bought manumatic. It's
• 8:42
  Speaker 3: got a clutch, but it's controlled by a computer. I
• 8:46
  Speaker 3: found it to be really enjoyable to ride.
• 8:48
  Speaker 1: Well and at lows speeds off road, which people that
• 8:52
  Speaker 1: are getting new to adventure bikes they need to be
• 8:54
  Speaker 1: riding slow and technical terrains so they don't hurt themselves
• 8:57
  Speaker 1: or the bike. This this bike really allows. It's kind
• 9:00
  Speaker 1: of like a recluse clutch, so excellent low speed control,
• 9:04
  Speaker 1: so you can be dragging the rear brake and feathering
• 9:07
  Speaker 1: the throttle and moving through terrain really competently. So like
• 9:12
  Speaker 1: low speed stuff, super good. I don't know that I
• 9:15
  Speaker 1: would be in for the extra I think six to
• 9:17
  Speaker 1: eight pounds that it adds and the fact that you
• 9:20
  Speaker 1: can't bump started in the middle of nowhere, but I
• 9:22
  Speaker 1: guess if you're riding with other people, it's not a
• 9:24
  Speaker 1: big deal. So yeah. And they make those little with
• 9:26
  Speaker 1: him jump packs, so they do. Yeah. So there's other ways.
• 9:28
  Speaker 1: There are other ways around it. And they've got a
• 9:30
  Speaker 1: new model that just came out that I'm excited to
• 9:33
  Speaker 1: check out, but enjoying being on the bike.
• 9:35
  Speaker 3: I just want to point out to the listeners since
• 9:38
  Speaker 3: you don't have the visual that one Scott was talking
• 9:40
  Speaker 3: about riding through technical train He was doing that handlebar
• 9:43
  Speaker 3: thing that you do, and he's both his pinkies were
• 9:46
  Speaker 3: in the air as it.
• 9:47
  Speaker 1: Was he was prancing. Was he being very delicate with
• 9:52
  Speaker 1: his control?
• 9:52
  Speaker 2: Yeah, but that is a big thing for somebody that's
• 9:55
  Speaker 2: getting an adventure by riding. I mean, these things are
• 9:58
  Speaker 2: they're heavy machines, right like I mean the kind of
• 10:02
  Speaker 2: correlation to that recluse. I mean, I know a lot
• 10:04
  Speaker 2: of indarro guys, i mean top En Darrow riders that
• 10:07
  Speaker 2: use those things because it's just easier. I mean, it
• 10:10
  Speaker 2: is easier to ride for sure. And it's still I mean,
• 10:12
  Speaker 2: this is the adventure sport model. So it's got over
• 10:14
  Speaker 2: six gallons of fuel. That's nearly nine inches of suspension travel.
• 10:19
  Speaker 2: So it actually it performs great.
• 10:20
  Speaker 1: I mean it's it's something that a lot of people
• 10:23
  Speaker 1: don't don't look at because it misses a couple of
• 10:25
  Speaker 1: those key points like cruise control and stuff that it matters.
• 10:29
  Speaker 1: But it also doesn't matter. But this new model's got
• 10:31
  Speaker 1: all that, It's got all the Whisbane gade.
• 10:34
  Speaker 2: It still has less travel than a KTM nine to fifty. Yeah,
• 10:37
  Speaker 2: it does more weight than a KTM nine to fifty,
• 10:40
  Speaker 2: and less horsepower than a KTM nine to fifty.
• 10:42
  Speaker 1: The one that I've got is still less horsepower. The
• 10:44
  Speaker 1: new one is a little more.
• 10:45
  Speaker 3: But doesn't rest my case, but doesn't have the sex
• 10:48
  Speaker 3: appeal of an electric e bike. Because that's that's my
• 10:53
  Speaker 3: that's my that's your new jam, you new jam.
• 10:56
  Speaker 1: Oh. Yeah, although you have this, that's a very cool story.
• 10:58
  Speaker 1: You You had this HARDI Davidson that you built thirty
• 11:02
  Speaker 1: something years ago.
• 11:03
  Speaker 3: Still have Yeah, she's thirty one years old this year. Yeah.
• 11:06
  Speaker 1: And it was in like mccooney, carbureter ads and everything else.
• 11:09
  Speaker 1: And then you sold it and it and it went,
• 11:11
  Speaker 1: it went away. You didn't you didn't know where it went.
• 11:13
  Speaker 1: You didn't know who had it. And then somebody of
• 11:15
  Speaker 1: your what was the story?
• 11:17
  Speaker 3: Yeah, I built it in eighty eight, sold it for
• 11:20
  Speaker 3: a massive profit. It was an easy rider and hot
• 11:23
  Speaker 3: bike and calendars and all that stuff. I you know
• 11:26
  Speaker 3: how it is. You feel like you built one good
• 11:27
  Speaker 3: one that the next one will be better. Yeah, sold
• 11:30
  Speaker 3: it for a good piece of change. It showed up
• 11:32
  Speaker 3: on cragslist out in New Jersey about three or four
• 11:37
  Speaker 3: years ago. I bought it back from the guy for nothing.
• 11:40
  Speaker 3: He had put five thousand miles on it. Wow, since
• 11:43
  Speaker 3: I sold it to him, but he had screwed it
• 11:45
  Speaker 3: up with a bunch of weird changes, so I put
• 11:49
  Speaker 3: it back to the original condition. Just like meeting an
• 11:52
  Speaker 3: old girlfriend that you should never have dumped and she,
• 11:55
  Speaker 3: for some reason still likes you and you're back together again.
• 11:59
  Speaker 1: So yeah, no, I love that that old thing. In fact,
• 12:02
  Speaker 1: that was the first Harley Davidson I ever rode. It
• 12:04
  Speaker 1: was your bike, and it didn't suck as bad as
• 12:06
  Speaker 1: I thought I would.
• 12:07
  Speaker 3: Ah, No, it was Actually it was super charming, that's right.
• 12:17
  Speaker 3: I remember coming down the hill from Jerome. We left
• 12:20
  Speaker 3: together and I was taking a nap here at the
• 12:22
  Speaker 3: shop by the time you finally.
• 12:23
  Speaker 1: Rolled in, And I think Martin will attest to that.
• 12:27
  Speaker 3: I mean, it was probably those psychle passes I was making,
• 12:31
  Speaker 3: but I still don't take it.
• 12:34
  Speaker 1: I do remember that, Do you remember that? So you're
• 12:37
  Speaker 1: not only a photographer, but you are a world traveler.
• 12:39
  Speaker 1: You have seen a lot of the world, and you know,
• 12:42
  Speaker 1: one of the things that we we like to talk
• 12:44
  Speaker 1: about on this podcast is helped people relate back to
• 12:47
  Speaker 1: how they improve their own journey. You have done photography professionally,
• 12:51
  Speaker 1: but what are some things initial things that you would
• 12:54
  Speaker 1: recommend someone that is new to overland travel or they've
• 12:57
  Speaker 1: been a long time overland traveler and they wanted to
• 13:00
  Speaker 1: just do a slightly better job or do an improved
• 13:02
  Speaker 1: job of capturing their own memories. What are some basics
• 13:06
  Speaker 1: that you like to tell people when they ask you
• 13:07
  Speaker 1: that question.
• 13:08
  Speaker 2: Yeah, I mean, how can we be as good as
• 13:10
  Speaker 2: Bruce Dorn in three minutes?
• 13:15
  Speaker 3: This is where the cricket sound effects come in. You know,
• 13:17
  Speaker 3: I think the number one thing is taking the time.
• 13:21
  Speaker 3: We struggled on E seven to a certain extent because
• 13:26
  Speaker 3: we were busy getting going during the early prime light
• 13:29
  Speaker 3: and we were busy trying to find a campsite and
• 13:33
  Speaker 3: making those last few miles during the afternoon prime line.
• 13:36
  Speaker 1: Totally.
• 13:36
  Speaker 3: So if you go with the intention of making imagery
• 13:41
  Speaker 3: as one of the priorities, then it will automatically improve
• 13:43
  Speaker 3: no matter what tools you're using. Obviously, Magic hour is
• 13:47
  Speaker 3: a great time to shoot, having the camera ready at
• 13:49
  Speaker 3: all times. I remember a few occasions of shots that
• 13:53
  Speaker 3: I missed and I will kick myself forever because the
• 13:57
  Speaker 3: camera is just out of reach. You know, you can
• 14:01
  Speaker 3: you can put a camera in pee for professional mode
• 14:03
  Speaker 3: and it's going to work well for you for about
• 14:06
  Speaker 3: ninety two percent of the time. You can go in
• 14:08
  Speaker 3: av you know, some kind of aperture priority or shutter
• 14:12
  Speaker 3: speed priority. I tend to work in a manual mode,
• 14:14
  Speaker 3: and I'm constantly aware of light. I like the fact
• 14:16
  Speaker 3: that I need to be aware of what's going on
• 14:18
  Speaker 3: with the light. And so if you're traveling along, if
• 14:22
  Speaker 3: you're in Arizona it's sunny, it's you know the sunny
• 14:25
  Speaker 3: sixteen rule on the front side and two stops open
• 14:28
  Speaker 3: from that on the backside. You never need to use
• 14:31
  Speaker 3: a meter. When you're in scattered clouds or overcast conditions,
• 14:36
  Speaker 3: high serious kind of stuff, it's going to be different.
• 14:39
  Speaker 3: If you're moving in and out of open shade, it's
• 14:41
  Speaker 3: going to be different. But if you're aware of what's
• 14:42
  Speaker 3: going on, and you're sort of there's nothing to photograph
• 14:45
  Speaker 3: at the moment, but you see it the cloud cover
• 14:47
  Speaker 3: is rolled in and the light has changed, color temperatures changed,
• 14:50
  Speaker 3: make the adjustment to the camera on the on the
• 14:53
  Speaker 3: console next to you. Have the camera ready so that
• 14:55
  Speaker 3: when something happens you're prepared.
• 14:57
  Speaker 1: For you can still capture it.
• 14:58
  Speaker 3: Yeah, I was a trailer full of snowmobiles up to
• 15:02
  Speaker 3: Togdi Pass in Jackson Hole, heading over toward Kelly toward Duboys, Wyoming,
• 15:08
  Speaker 3: and we were crossing a tributary to the Snake and
• 15:14
  Speaker 3: I'm driving, trying to keep the trailer behind me on
• 15:17
  Speaker 3: icy road, and we saw a line of bull moose
• 15:20
  Speaker 3: walking single file down one bank, across the frozen stream,
• 15:24
  Speaker 3: and up the other bank. I think there were like fifteen, wow,
• 15:28
  Speaker 3: and they all had these massive racks. It was a
• 15:31
  Speaker 3: spectacular shot. Of course, jackknife the trailer trying to get
• 15:34
  Speaker 3: it stopped and get the camera in my hands fast enough,
• 15:37
  Speaker 3: and all I got was, you know, the last.
• 15:40
  Speaker 1: Moose's dairy air as they disappeared into the forest.
• 15:43
  Speaker 3: Had another occasion where I was driving and I saw
• 15:48
  Speaker 3: we were back in some back country on a snowy
• 15:50
  Speaker 3: road and I saw a little flicker of movement in
• 15:53
  Speaker 3: my side mirror and I looked back and there were
• 15:55
  Speaker 3: three wolves bounding through the snow, two grays and a black,
• 15:58
  Speaker 3: and the snow was very deep.
• 16:00
  Speaker 1: They were porpoising through it.
• 16:01
  Speaker 3: Again, camera was just a little too far away, so
• 16:04
  Speaker 3: that can only be a neurochrome. I'll remember it.
• 16:07
  Speaker 1: I've got it, you know. In my head.
• 16:08
  Speaker 3: I remember both of those shots distinctly, and you'd think
• 16:12
  Speaker 3: at this point, after almost almost fifty years as a pro,
• 16:16
  Speaker 3: that it would never happen. But I was just up
• 16:18
  Speaker 3: in Jackson and I went over looking for some black
• 16:21
  Speaker 3: bears and a berry patch that I know is productive.
• 16:24
  Speaker 3: I had my two hundred to four hundred zoom on
• 16:28
  Speaker 3: my one DX Mark two in my lap because I
• 16:31
  Speaker 3: knew up the hillside there were some berry patches service berries,
• 16:34
  Speaker 3: I think they were. As I come around the corner,
• 16:36
  Speaker 3: there are two bear cubs not ten feet away from
• 16:40
  Speaker 3: me on a tree branch.
• 16:42
  Speaker 1: There was a tree.
• 16:42
  Speaker 3: Growing up the downhill side of the road's slope, and
• 16:46
  Speaker 3: they were no more than ten feet away, posing, backlit
• 16:49
  Speaker 3: and perfectly framed. And I had so much limbs on
• 16:52
  Speaker 3: the camera that I could have shot a nice image
• 16:55
  Speaker 3: of the pupil of one of their eyes, but no
• 16:57
  Speaker 3: way I could get the shot. By the time I
• 16:59
  Speaker 3: fumbled around got everything changed, they were gone. So but
• 17:03
  Speaker 3: I came back the next day and got a couple
• 17:04
  Speaker 3: of good shots because I knew they would be in
• 17:06
  Speaker 3: the area. But I think being prepared, being in the
• 17:10
  Speaker 3: mindset of capturing images is number one familiarity with tools.
• 17:15
  Speaker 3: There's a there's an old saying from the Old West
• 17:19
  Speaker 3: to wear the one gun shooter. You know that rancher
• 17:22
  Speaker 3: who's got a lever action thirty thirty and he uses
• 17:25
  Speaker 3: it to get his dinner and to chase off scoundrels.
• 17:29
  Speaker 3: I be nervous about that guy because he knows that tool.
• 17:33
  Speaker 3: If you are working with too many cameras, too many lenses,
• 17:37
  Speaker 3: you can actually create obstacles to your capacity to capture.
• 17:41
  Speaker 3: So sometimes less is truly more.
• 17:44
  Speaker 1: So that leads to a question, if you were to
• 17:46
  Speaker 1: have one body and one lens, what would it be.
• 17:51
  Speaker 3: Well, you and I came to the same conclusion. I
• 17:53
  Speaker 3: think when we were out on E seven that twenty
• 17:55
  Speaker 3: eight to three hundreds, something that's got a really long
• 17:57
  Speaker 3: range from fairly to some telly is going to be
• 18:02
  Speaker 3: a good choice. So that twenty eight to three hundred
• 18:05
  Speaker 3: l lens you were on this mark v Mark three, three, Yeah,
• 18:08
  Speaker 3: Mark three, and so that kind of combination is good.
• 18:12
  Speaker 3: There's some really neat little cameras that have what they
• 18:15
  Speaker 3: call zoom lens reflexes, where the it's a fixed zoom.
• 18:19
  Speaker 3: A number of different brands make them, and I think
• 18:22
  Speaker 3: that would be a really good way to go.
• 18:24
  Speaker 1: But yeah, that was a truly special lens. In fact,
• 18:27
  Speaker 1: when I migrated to Sony, it was the greatest loss
• 18:30
  Speaker 1: for sure. You know.
• 18:31
  Speaker 3: The only thing that I found problematic with it is
• 18:34
  Speaker 3: on the twenty eight end. White angles are most interesting
• 18:37
  Speaker 3: when you use them close, when you get up close
• 18:40
  Speaker 3: to something that really increases the scale of the foreground
• 18:44
  Speaker 3: object pushes the background back, and it's an easy way
• 18:47
  Speaker 3: to add a lot of drama that particular lens. I
• 18:50
  Speaker 3: think the closest focus on the twenty eight millimeter end
• 18:54
  Speaker 3: was pushing four and a half feet something like that. Yeah,
• 18:58
  Speaker 3: and you want to be able to have it so
• 19:00
  Speaker 3: that you can get twelve inches from the front element
• 19:02
  Speaker 3: or something like that. So I went back to my
• 19:04
  Speaker 3: old school roots and got what's called a Barlow lens,
• 19:07
  Speaker 3: not named after Nina, And it's a single element lens
• 19:10
  Speaker 3: that you spin on on the front like a filter
• 19:13
  Speaker 3: and it pulls infinity in so that you know you're
• 19:16
  Speaker 3: furthest the lens will focus is maybe ten feet. Oh interesting,
• 19:19
  Speaker 3: then it brings it into about eighteen inches on the front.
• 19:22
  Speaker 3: So having one of those and if you can spin
• 19:24
  Speaker 3: it on quick enough then you can make that work.
• 19:27
  Speaker 3: But what body would you put it on. Well, bodies
• 19:32
  Speaker 3: come and go. It's always about the lenses. For me.
• 19:34
  Speaker 3: I haven't seen a bad camera in a while. I
• 19:36
  Speaker 3: was working this working this summer with a young Hopie
• 19:40
  Speaker 3: girl who I'm mentoring as a photographer, and I put
• 19:43
  Speaker 3: her on the little cannon M fifty and with the
• 19:47
  Speaker 3: little eighteen to one thirty five and we were shooting.
• 19:51
  Speaker 3: I dragged her along on some concept fashion shoots that
• 19:53
  Speaker 3: I was doing, and I'll tell you what, It's hard
• 19:56
  Speaker 3: to discern the differences between what was coming out of
• 19:59
  Speaker 3: the apsc around that and the eos R that I
• 20:03
  Speaker 3: was test driving EOSR and EOSRP at sixteen by twenty.
• 20:09
  Speaker 3: I defy you to tell the difference, you know, And
• 20:12
  Speaker 3: of course you can make stupidly large enlargements from the
• 20:15
  Speaker 3: bigger stuff. And sensory size is not just about pixel volume.
• 20:19
  Speaker 3: It's more about the way that the image is rendered.
• 20:22
  Speaker 3: The larger the final capture format, the shallower the depth
• 20:26
  Speaker 3: of field at any given f stop. So there are
• 20:28
  Speaker 3: ways that it paints the image that feels different. But
• 20:31
  Speaker 3: camera bodies, I just have something that had good weather,
• 20:33
  Speaker 3: ceiling you know. We learned about that, yeah, and good
• 20:37
  Speaker 3: temperature resilience. When we started out E seven. I remember
• 20:41
  Speaker 3: I've got a shot somewhere of the back seat and
• 20:44
  Speaker 3: we had so much stuff, and then by the end
• 20:47
  Speaker 3: it was down to a body and a couple of lens.
• 20:49
  Speaker 3: It was in a cam quarter. By the way, those
• 20:51
  Speaker 3: camquarters were disposable. I had to throw those out after
• 20:54
  Speaker 3: it got home because there's not a service center around
• 20:57
  Speaker 3: that will work on a camera that's been sand blasted
• 21:00
  Speaker 3: because it destroys their workspace. They go, has that been
• 21:03
  Speaker 3: in the sand? Don't even come in the door? Oh interesting, Yeah,
• 21:06
  Speaker 3: So there's just no future in it if you get
• 21:08
  Speaker 3: them in the sand. And I like to, I like to,
• 21:11
  Speaker 3: you know, flashback and when you guys dumped me out
• 21:13
  Speaker 3: there in the sandstorm was yeah, yeah that I remember that,
• 21:18
  Speaker 3: that little German village. Yeah, picture this, oh, Brucie, you know,
• 21:22
  Speaker 3: get some shots of us coming from you know, a
• 21:24
  Speaker 3: quarter mile away, and they dump me out and then
• 21:26
  Speaker 3: they go by and they go another quarter mile so
• 21:29
  Speaker 3: that I you know, I can get the going away
• 21:31
  Speaker 3: shot and then they sit there, you know, lounging while
• 21:33
  Speaker 3: I jog jog through the sandstorm down there, you know,
• 21:39
  Speaker 3: but weatherizing, you know, toughness generally, i'd look for toughness.
• 21:44
  Speaker 1: Redundancy in r that you've been playing with is pretty
• 21:47
  Speaker 1: pretty nifty.
• 21:48
  Speaker 3: Well I love that thing. Yeah, well it's Gen one.
• 21:51
  Speaker 1: You know.
• 21:51
  Speaker 3: Of course, Cannon is arriving at the mirrorless party with
• 21:55
  Speaker 3: the party you know well underway, and the first offering,
• 21:59
  Speaker 3: the OSAW I would consider to be about the equivalent
• 22:02
  Speaker 3: of a six D versus like a five.
• 22:05
  Speaker 1: D Mark four.
• 22:06
  Speaker 3: It's not got all of the pro content that I
• 22:10
  Speaker 3: think everyone would have liked, but the price point would have.
• 22:12
  Speaker 1: Been much higher. What a what a terrific camera.
• 22:15
  Speaker 2: It just works a little twenty four to one oh five.
• 22:17
  Speaker 2: I shouldn't say little. I mean it's a significant lens.
• 22:20
  Speaker 2: I mean, I know you guys are talking about the
• 22:21
  Speaker 2: twenty eight to three hundred is that's kind of your
• 22:23
  Speaker 2: money maker. It was me the twenty four to one
• 22:26
  Speaker 2: oh five. I mean I've shot that my entire career. Yeah,
• 22:29
  Speaker 2: so much muscle memory with it.
• 22:31
  Speaker 3: Yeah, if that was if you had to, you know,
• 22:33
  Speaker 3: the Desert Island one lens at twenty four to one
• 22:36
  Speaker 3: oh five l would be the way to go. The
• 22:39
  Speaker 3: new mount that Canon has come up with. This R
• 22:41
  Speaker 3: mount is the mount for the next thirty years. I
• 22:44
  Speaker 3: mean they introduced the e F mount about thirty years
• 22:47
  Speaker 3: ago and rode that pony for a long time. The
• 22:51
  Speaker 3: engineers are saying that they can invent and they can
• 22:53
  Speaker 3: now offer lenses that they never thought were possible before
• 22:56
  Speaker 3: because of the diameter and the distance from plan to censor,
• 23:01
  Speaker 3: and we're starting to see it. I I've sold my
• 23:04
  Speaker 3: beloved seventy to two hundred F to eight is to Mercedes,
• 23:10
  Speaker 3: who's rocking that thing in anticipation that the RF version
• 23:14
  Speaker 3: of it would follow quickly. That lens is so short
• 23:18
  Speaker 3: it actually trombones when it changes focal length, so it's
• 23:21
  Speaker 3: about the length of an eighty five.
• 23:23
  Speaker 1: Wow.
• 23:24
  Speaker 3: So it's going to be a tiny little thing that's
• 23:27
  Speaker 3: really handy. And then they're getting super speeds on a
• 23:29
  Speaker 3: lot of the primes. So I'm slowly moving over to
• 23:33
  Speaker 3: RF mounts. But of course they gave us some really
• 23:36
  Speaker 3: interesting mount adapters to be able to put the F
• 23:39
  Speaker 3: lenses on the RF bodies and amusing those so.
• 23:43
  Speaker 2: Plenty of options. I just love the compact thing. I mean,
• 23:46
  Speaker 2: you know something that I always look for. I exclusively
• 23:49
  Speaker 2: reserve the center console of all my trucks for cameras
• 23:52
  Speaker 2: because it's just it's easy, it's protected, you don't have
• 23:55
  Speaker 2: to worry about it really rocking around. And mean to
• 23:57
  Speaker 2: be able to have a seventy to two hundred that
• 23:59
  Speaker 2: potentially it's in a center console for travelers where space
• 24:02
  Speaker 2: is h I think it's always a concern travelers.
• 24:05
  Speaker 1: Especially when you're off of a motorcycle. If I can't
• 24:08
  Speaker 1: fit it into a tank bag, it just can't go. Yeah.
• 24:11
  Speaker 3: Yeah, I think that the new RF seventy two hundreds
• 24:13
  Speaker 3: about the size of a soda can more diameter, but yeah,
• 24:17
  Speaker 3: yeah about that long. And you know, uh, I like
• 24:21
  Speaker 3: the idea of compactness in the tools as well. And
• 24:26
  Speaker 3: one thing I won't give up for small size is
• 24:28
  Speaker 3: battery capacity. You can carry a lot of batteries and
• 24:31
  Speaker 3: uh that's pretty easy.
• 24:33
  Speaker 2: But that was the thing that always killed me with Sony.
• 24:36
  Speaker 2: Is I switched to terrible? Yeah, and you have the
• 24:40
  Speaker 2: new one. I switched to it because you could charge
• 24:41
  Speaker 2: up by USB. They had all these small lenses and
• 24:44
  Speaker 2: you know, again, is this the muscle memory? It can
• 24:46
  Speaker 2: And then I guess one out for me, But.
• 24:48
  Speaker 3: Color science one the other guys. You know, Fuji does
• 24:52
  Speaker 3: some pretty good work, and of course Sony is out
• 24:56
  Speaker 3: there swinging for the fences all the time. But but
• 25:00
  Speaker 3: I've never I've never regretted making the move to Canon.
• 25:04
  Speaker 3: One of the big things was Canon pro service. I mean,
• 25:08
  Speaker 3: it's just ridiculous how well they treat you. Yeah, they
• 25:10
  Speaker 3: turn the stuff around quickly as a pro If it
• 25:14
  Speaker 3: comes in the amateur stuff gets broomed and your stuff
• 25:17
  Speaker 3: gets worked on. I generally when I send something out,
• 25:19
  Speaker 3: it gets fixed the day they receive it, or at worse,
• 25:23
  Speaker 3: by lunchtime the next day. So you know, if you
• 25:26
  Speaker 3: have to mail order the stuff away, it's it's still
• 25:29
  Speaker 3: not gone for very long.
• 25:30
  Speaker 1: Well, you're literally counting on it not only for your living,
• 25:33
  Speaker 1: but to meet your client's needs. And yeah, when you're
• 25:36
  Speaker 1: needing to make money, it's just the same thing like
• 25:38
  Speaker 1: when you're crossing Antarctica. There's a reason why you drive
• 25:41
  Speaker 1: a highlux because it's the best tool to take across
• 25:44
  Speaker 1: a content like that.
• 25:46
  Speaker 3: And I don't mind the resale values being consistently high.
• 25:49
  Speaker 3: That's a good thing too.
• 25:50
  Speaker 2: Yeah, no, absolutely, So I guess while we're talking about Canon,
• 25:54
  Speaker 2: so you're a Canon Explorer of Light.
• 25:57
  Speaker 3: Yeah, that's the pro started geez. I'm going to say
• 26:03
  Speaker 3: could be twenty five years ago by now, and I'm
• 26:07
  Speaker 3: not one of the og but I've been in it
• 26:09
  Speaker 3: for fifteen years and it's not something where well it
• 26:15
  Speaker 3: was originally. These are the best guys in their category period,
• 26:18
  Speaker 3: and they use cannons. I know that some of the
• 26:21
  Speaker 3: companies will go, oh, you're really good. Come and we'll
• 26:23
  Speaker 3: give you some free cameras if you use ours and
• 26:25
  Speaker 3: endorse them. Cannon's policy was to find people that were
• 26:29
  Speaker 3: cannon users, Like they just find you, you know, if
• 26:33
  Speaker 3: you happen to be the best air to air airplane
• 26:36
  Speaker 3: shooter or the best guy shooting blue water sailing, and
• 26:40
  Speaker 3: then they note that you're using their equipment, they might
• 26:43
  Speaker 3: reach out to you. And that's sort of what happened
• 26:45
  Speaker 3: to me. And enjoy the relationship. It's been really cool
• 26:50
  Speaker 3: because I've gotten to introduce quite a few of the
• 26:54
  Speaker 3: products that went on to do great things. Hiding in
• 26:58
  Speaker 3: Plane Sight. There's been more than one occasional I've been
• 27:01
  Speaker 3: walking around shooting a prototype that everybody was still you know,
• 27:06
  Speaker 3: talking about on Canon rumors or something like that, and
• 27:09
  Speaker 3: I've got it in my hands at that moment, actually
• 27:12
  Speaker 3: beta testing it. Got to shoot the eight hundred and
• 27:15
  Speaker 3: five six and the two hundred F two in Africa.
• 27:17
  Speaker 3: I went down there and did portraiture with the two
• 27:20
  Speaker 3: hundred FF two and some bird work with the eight
• 27:23
  Speaker 3: hundred five to six, and then I helped introduce I
• 27:26
  Speaker 3: was the second guy to use the five D Mark
• 27:28
  Speaker 3: two after Vincent Lafa's famous weekend with the camera and
• 27:33
  Speaker 3: gosh C three hundred original C three hundred and you.
• 27:37
  Speaker 1: Spent a lot of time with those cameras.
• 27:38
  Speaker 3: Yeah, and the EOSR, the Mark four. I appreciate the
• 27:43
  Speaker 3: trust that Canon has put in me. Yeah, I'm kind
• 27:46
  Speaker 3: of their general practitioner. I described how it's mostly specialists,
• 27:49
  Speaker 3: and I would say I'm kind of the country doctor
• 27:51
  Speaker 3: of explorers of light.
• 27:53
  Speaker 1: I do a little bit of everything.
• 27:54
  Speaker 2: Yeah, and people can see some of your work on Instagram.
• 27:58
  Speaker 2: I mean, you don't really take it that seriously because
• 28:00
  Speaker 2: as it did.
• 28:00
  Speaker 3: You know, I was aware of social media as a
• 28:03
  Speaker 3: coming thing, but I didn't take it seriously early enough,
• 28:06
  Speaker 3: so I didn't really stick out them much ground in it.
• 28:08
  Speaker 3: I was more busy shooting than growing about shooting.
• 28:12
  Speaker 1: Well, and I remember you, I mean talking about the
• 28:14
  Speaker 1: breadth of your career. I remember you telling me about
• 28:16
  Speaker 1: a Arnold Schwarzenegre movie you were working on. I mean,
• 28:19
  Speaker 1: you have done so many interesting things, which leads me
• 28:23
  Speaker 1: to the question of do you have any regrets from that?
• 28:25
  Speaker 1: There is there one thing that you wish you had
• 28:27
  Speaker 1: done different?
• 28:28
  Speaker 3: Well, I got I'll back up in time a little bit.
• 28:32
  Speaker 3: I almost my career has almost been defined by falling
• 28:35
  Speaker 3: into things rather than seeking them. You know, I kind
• 28:38
  Speaker 3: of have always done my own thing. I just the
• 28:41
  Speaker 3: goal is to get up and entertain myself and have
• 28:44
  Speaker 3: some fun, and then on a regular basis, somebody notices
• 28:48
  Speaker 3: that and hands me some dough. So I got to
• 28:50
  Speaker 3: Hollywood by dumb luck. I was still shooter in Phoenix
• 28:56
  Speaker 3: back in the really early eighties. A phone call came in.
• 28:59
  Speaker 3: Somebody asked me if I shot film. I of course
• 29:02
  Speaker 3: I shoot film. I'm a photographer. By the end of
• 29:04
  Speaker 3: the conversation, I realized they're asking me if I was
• 29:07
  Speaker 3: a motion picture camera operator. And I had gotten so
• 29:11
  Speaker 3: far down the path that I've just said yeah, sure.
• 29:13
  Speaker 3: And then I read up on it and went to
• 29:16
  Speaker 3: the shoot and was able.
• 29:17
  Speaker 1: To make it right.
• 29:18
  Speaker 3: Yeah, yeah, a little bit of that. And then that
• 29:22
  Speaker 3: project or the one that followed got me to some
• 29:25
  Speaker 3: big awards thing I think in the clios, and that
• 29:29
  Speaker 3: got me an invitation to Hollywood, and next thing, you know,
• 29:33
  Speaker 3: I was creative director at a special effects house that
• 29:36
  Speaker 3: was at that time the biggest effects house in the world.
• 29:39
  Speaker 3: And out of that came Pixar people and Industrial Light
• 29:43
  Speaker 3: and Magic people and Rhythm and Hughes all the We
• 29:47
  Speaker 3: really did all the groundwork, along with another sister company
• 29:50
  Speaker 3: called Digital Productions. We invented computer graphics there. So that
• 29:55
  Speaker 3: was the eighties and it was very fruitful. So I
• 29:57
  Speaker 3: was living large and getting the projects that you dream
• 30:01
  Speaker 3: about instantly. Now the regret I was a CIA and
• 30:07
  Speaker 3: some other places started sending me scripts because that was
• 30:10
  Speaker 3: the time of Tony Scott and Ridley Scott and Adrian
• 30:14
  Speaker 3: Lyon and the British invasion of all the commercial filmmakers,
• 30:17
  Speaker 3: you know, Top Gun, Miami Fie, all these real glitzy
• 30:21
  Speaker 3: looking where visuals were a really strong part of the project.
• 30:26
  Speaker 3: And I started seeing scripts, and I started reading scripts,
• 30:30
  Speaker 3: and I started going on, I'm going to have to
• 30:32
  Speaker 3: take a big cut in pay to do this movie
• 30:35
  Speaker 3: because he is a first time director. On features, you
• 30:38
  Speaker 3: basically get DJA minimums and maybe a piece of the backside.
• 30:43
  Speaker 3: But I was going to take a massive pay cut
• 30:46
  Speaker 3: to do features, and I just decided not to.
• 30:49
  Speaker 1: And you know, I.
• 30:51
  Speaker 3: Did that for twenty twenty five years, and I was,
• 30:54
  Speaker 3: I would say, in a category, not the top, top,
• 30:59
  Speaker 3: top guy, but I was certainly in the top ten,
• 31:02
  Speaker 3: you know. And if you watch TV from nineteen eighty
• 31:07
  Speaker 3: ish too, well, not that long ago. I was been
• 31:11
  Speaker 3: a lot of commercials of mine. Still in the last
• 31:14
  Speaker 3: five years. You saw my work every night. Yeah, you know,
• 31:16
  Speaker 3: because I did every soft dring company, every car company,
• 31:20
  Speaker 3: every beer company. Yeah, every airline, every hotel. It was
• 31:26
  Speaker 3: a good ride. You know, we're busy. Yeah, but I
• 31:29
  Speaker 3: would I like to have a resume of half a
• 31:32
  Speaker 3: dozen movies. Yeah, that would be cool. And I suppose
• 31:36
  Speaker 3: it's it's I always. I was recently over in Hollywood
• 31:40
  Speaker 3: and went to a sketch comedy show to see some
• 31:43
  Speaker 3: friends of mine who are in an improv group, and
• 31:46
  Speaker 3: I was going, you know, you could pull these kids
• 31:48
  Speaker 3: together and do something. So who knows, you know, anything's possible.
• 31:52
  Speaker 1: Yeah, So Matt questioned for you on photography, what's the
• 31:55
  Speaker 1: current setup you? What are you shooting? You got a
• 31:59
  Speaker 1: couple of them.
• 32:00
  Speaker 2: Now, yeah, you know, I I like to say I
• 32:03
  Speaker 2: have two setups, but I'm shooting for Overland Journal or
• 32:05
  Speaker 2: Outside magazine or something like that. It's always my canon stuff.
• 32:09
  Speaker 2: I actually have to work and make money from from
• 32:11
  Speaker 2: those images.
• 32:13
  Speaker 1: I don't hesitate. I go to my five D Mark four.
• 32:16
  Speaker 2: I have a twenty four to one oh five, and
• 32:19
  Speaker 2: I have Brews to borrow lenses from if I need
• 32:21
  Speaker 2: anything past that.
• 32:24
  Speaker 1: Don't look in your garage, all clear. You know.
• 32:27
  Speaker 2: The thing that's really passionate to me is my like
• 32:30
  Speaker 2: a rangefinders. They are, you know, probably the worst camera
• 32:35
  Speaker 2: bodies you could think of shooting with. You don't actually
• 32:37
  Speaker 2: look through the lens. You look through a you look
• 32:40
  Speaker 2: through a rangefinder. You're you're looking off to the side
• 32:43
  Speaker 2: and and you're essentially making and everything. Yeah, you're making,
• 32:47
  Speaker 2: You're you're you're making a measurement based on on on
• 32:50
  Speaker 2: the parallax between the lens and the rangefinder. But they're
• 32:55
  Speaker 2: you know, fantastic full frame cameras. They're very small. I
• 32:58
  Speaker 2: spend a lot of time in Southeast Asia, spent a
• 33:01
  Speaker 2: lot of time in cities, and my personal passion is
• 33:04
  Speaker 2: it's you know, the street photography.
• 33:06
  Speaker 1: You know.
• 33:06
  Speaker 2: So I have a like a M ten and like
• 33:09
  Speaker 2: a Summicron fifty, which is I mean, I guess, Bruce,
• 33:13
  Speaker 2: you could chime in, but suemicron fifty milimeter, like, it's
• 33:16
  Speaker 2: probably the best lens you can buy. There are more
• 33:18
  Speaker 2: expensive lenses, but I mean.
• 33:21
  Speaker 3: Yeah, it sum a lux's are one four summicrons or
• 33:25
  Speaker 3: F two's elmritz or two eights. As I recall I
• 33:28
  Speaker 3: started back in the day, you carried like a rangefinder
• 33:34
  Speaker 3: for wide angles, and you carried basically a Nikon f
• 33:38
  Speaker 3: for telephotos. Yeah, and that would have been the package
• 33:42
  Speaker 3: for a Vietnam era photo journalist, you know. And because
• 33:46
  Speaker 3: it's really hard to focus a and I'm not talking
• 33:50
  Speaker 3: auto focus is contemporary generation ground glass optical SLR, focusing
• 33:56
  Speaker 3: a twenty one millimeter lens is more of a guess
• 34:00
  Speaker 3: than working with a rangefinder. So rangefinders were actually technically
• 34:04
  Speaker 3: more accurate, very precise, and you know everybody should don't
• 34:08
  Speaker 3: like at some point they're just they're there. It's I
• 34:12
  Speaker 3: guess it's like on a land Rover land Cruiser one
• 34:15
  Speaker 3: of the class.
• 34:15
  Speaker 1: It really is. You just you know, you just go, yeah,
• 34:18
  Speaker 1: that kind of feels right, you know.
• 34:20
  Speaker 2: I mean they're pricey, but I've never I've never lost
• 34:24
  Speaker 2: my backside on one. You know, they hold their value,
• 34:28
  Speaker 2: they hold their value. I mean, I I'll buy kind
• 34:30
  Speaker 2: of more obscure lenses because I just I enjoy the
• 34:33
  Speaker 2: pursuit of of of making those images with different lenses,
• 34:37
  Speaker 2: I guess, and they appreciate. I mean, like like this
• 34:40
  Speaker 2: year is raising their prices twenty five percent, and it's
• 34:43
  Speaker 2: predicted the use market we'll shoot up just like that.
• 34:47
  Speaker 2: So you know, I've had my my M ten for
• 34:50
  Speaker 2: two years and I always buy I always buy everything
• 34:53
  Speaker 2: used FROMKA because there are there are collectors that just
• 34:57
  Speaker 2: buy these things and they never use them.
• 34:59
  Speaker 1: That is shot.
• 35:00
  Speaker 2: Yeah, yeah, they're just objects to them. So I was
• 35:02
  Speaker 2: by using and honestly, I'll get paid to use this camera.
• 35:07
  Speaker 2: You know, it's what it costs you, not what the
• 35:11
  Speaker 2: purchase price is.
• 35:12
  Speaker 1: Yeah, totally. I remember.
• 35:15
  Speaker 3: I guess it would have been in the seventies. I
• 35:17
  Speaker 3: was in a camera shop and a guy came in
• 35:20
  Speaker 3: with a I think it was an M three and
• 35:24
  Speaker 3: it looked kind of rough and what.
• 35:27
  Speaker 1: Happened to that?
• 35:28
  Speaker 3: He goes, well, I was in my buddy's piper cub
• 35:30
  Speaker 3: and I dropped it out the window and it's fine.
• 35:36
  Speaker 1: You know.
• 35:36
  Speaker 3: They went and found it out in some Indiana cornfield
• 35:39
  Speaker 3: and it was you know, well down in the recently
• 35:42
  Speaker 3: tilled earth. But you know, blow it off and it
• 35:45
  Speaker 3: was fine. I mean, they had one moving part.
• 35:48
  Speaker 2: Basically, if you need to bludgeon someone to death in
• 35:51
  Speaker 2: your travels in self defense and you want a camera
• 35:53
  Speaker 2: you can use afterwards, highly suggest like.
• 35:57
  Speaker 1: A Yeah, I've been I've been shooting that monocrome basically,
• 36:00
  Speaker 1: and I and I like that. It's with the seventy
• 36:02
  Speaker 1: five millimeters.
• 36:03
  Speaker 2: And for those who don't know, the monochrome is actually
• 36:06
  Speaker 2: it's a digital camera, but it is natively black and white,
• 36:09
  Speaker 2: so there was no color filter on it.
• 36:12
  Speaker 3: Yeah, they are, well, they aren't RGB, they're all luminance
• 36:16
  Speaker 3: photo sites. So yeah, it's got dynamic range.
• 36:19
  Speaker 1: It's really beautiful, the dynamic range, I think. So yeah,
• 36:22
  Speaker 1: it's been fun to shoot. Absolutely. All Right, we're gonna
• 36:25
  Speaker 1: do a little lightning round bruise A bunch of questions. Okay,
• 36:28
  Speaker 1: all right, what's what's the weirdest thing that you've ever
• 36:31
  Speaker 1: experienced in your travels. Oh my gosh, the the list
• 36:36
  Speaker 1: is so long.
• 36:37
  Speaker 3: Oh okay, it was being at nord Cap with you,
• 36:41
  Speaker 3: So you'd say that one we were at nord Cap,
• 36:43
  Speaker 3: we drove to the I'm gonna go out on a
• 36:46
  Speaker 3: lemon and say, that's as far north as you can drive.
• 36:49
  Speaker 1: It's as far as north as you can drive on
• 36:51
  Speaker 1: a road.
• 36:51
  Speaker 3: On a legitimate road. And we're out on one of
• 36:54
  Speaker 3: the fjords. I prefer Chevyes, but we're out on the
• 36:56
  Speaker 3: end of one of the fjords at nord Cap, and
• 36:59
  Speaker 3: there's a ording to all the images we had viewed
• 37:03
  Speaker 3: going up there. There was some Atlas kind of guy
• 37:05
  Speaker 3: or something holding a big sculpture of the planet. We
• 37:09
  Speaker 3: arrived and it's extremely foggy, totally, and I put you
• 37:14
  Speaker 3: and Greg up underneath the big sculpture, take a couple
• 37:18
  Speaker 3: of pictures, and we're getting ready to leave, and I go, oh,
• 37:20
  Speaker 3: wait a minute, Scotti grab one of me, and I
• 37:22
  Speaker 3: go up there and I'm posing, and out of the
• 37:25
  Speaker 3: mist came a female who came up and kissed me
• 37:30
  Speaker 3: and then disappeared into the mist.
• 37:32
  Speaker 1: She ran up onto the sculpture, grabbed, you kissed, you turned, smiled,
• 37:37
  Speaker 1: and then ran away into the fog.
• 37:39
  Speaker 3: It's my personal curse. You know, this is the kind
• 37:42
  Speaker 3: of thing. So I guess that's not really that weird.
• 37:44
  Speaker 3: That's more standard.
• 37:45
  Speaker 1: Yeah, no, that was. I mean I remember throughout the travels,
• 37:48
  Speaker 1: and this is one of the things that I wanted
• 37:50
  Speaker 1: to bring up and talk about, is not only are
• 37:53
  Speaker 1: you a great photographer, but you have this this ability
• 37:56
  Speaker 1: to be not only charming but disarming at the same time.
• 38:00
  Speaker 1: You wear these bright green glasses. You you're you smile easily.
• 38:05
  Speaker 1: You you're very open with people. Talk about that a
• 38:08
  Speaker 1: little bit so that people that are maybe traveling for
• 38:11
  Speaker 1: the first time are worried about traveling. How does that
• 38:13
  Speaker 1: change the experience when you when you come in with
• 38:16
  Speaker 1: that perspective.
• 38:17
  Speaker 3: Yeah, I think just assuming the best of a situation
• 38:19
  Speaker 3: rather than the worst. You know, there were many places
• 38:22
  Speaker 3: that we went where we could easily have been mistaken
• 38:24
  Speaker 3: for off duty special ops. You know, everybody wearing tactical
• 38:28
  Speaker 3: pants and and ya dah yah, but uh, and I
• 38:32
  Speaker 3: think you're cut those pants. I do, You're you're.
• 38:35
  Speaker 1: Cut from you say, were off those pants?
• 38:38
  Speaker 3: You know, we we both approach everything, uh with a smile,
• 38:42
  Speaker 3: And there was maybe one slightly uncomfortable border crossing where
• 38:47
  Speaker 3: they kind of separated us. We're talking to us a
• 38:49
  Speaker 3: little bit and and one of the guys is going,
• 38:52
  Speaker 3: why'd your life to come to America? The sure sounds scary,
• 38:56
  Speaker 3: you know, I think I think the world is there,
• 39:00
  Speaker 3: not to say there aren't dangers out there, you know.
• 39:03
  Speaker 3: I I've there's a story I'm working on that does
• 39:06
  Speaker 3: definitely addresses the fact that it is a place where
• 39:09
  Speaker 3: you have to have your your tactical awareness on it
• 39:12
  Speaker 3: all times. But I also feel like the more you give,
• 39:16
  Speaker 3: the more you get. So when you when you're approaching people,
• 39:20
  Speaker 3: and especially if you're a photographer, you know, in some
• 39:23
  Speaker 3: cultures that can be considered a rude intrusion and in
• 39:26
  Speaker 3: others not so much. But you've got to be able
• 39:29
  Speaker 3: to read the people, read the local customs and everything
• 39:34
  Speaker 3: quickly and react and and be ready to adjust, you know.
• 39:39
  Speaker 3: But yeah, I think for anyone that's going to do
• 39:42
  Speaker 3: any international travel, you're representing all of us in the community. Yes,
• 39:47
  Speaker 3: So I say, be appreciative of this, this great opportunity
• 39:52
  Speaker 3: that you have, and don't screw it up for everybody,
• 39:53
  Speaker 3: but being a you know, ugly traveler.
• 39:57
  Speaker 1: Yeah, for sure. All right, what's been your favorite car?
• 39:59
  Speaker 1: Of old favorite car all the way back, all the
• 40:02
  Speaker 1: way back to the to the one with the wing
• 40:04
  Speaker 1: that you you beat up the bully with or whatever.
• 40:08
  Speaker 1: Oh that story.
• 40:09
  Speaker 3: Well that was the the Cadillac that I used as
• 40:11
  Speaker 3: a weapon, the one with the fins. No, there's probably
• 40:15
  Speaker 3: still I'm not sure that's beyond the Uh what is
• 40:17
  Speaker 3: that thing? A statute of limitations?
• 40:21
  Speaker 1: I think it's well beyond the statute of limits.
• 40:22
  Speaker 3: Well that was Yeah, that was a huge gang There
• 40:26
  Speaker 3: was a huge, a huge gang brawl that was taking
• 40:29
  Speaker 3: place around my car, and I managed to get in
• 40:32
  Speaker 3: the car and started and crank the wheel all the
• 40:35
  Speaker 3: way to the left and then bury the gas pedal
• 40:38
  Speaker 3: and it kind of cleaned out the neighborhood.
• 40:40
  Speaker 1: You know. It was it was entertaining. Gosh, favorite car
• 40:44
  Speaker 1: it it? Uh? It might have been a race car.
• 40:47
  Speaker 1: Huh what was your favorite race car?
• 40:48
  Speaker 3: Well, I had a little race car that I built
• 40:50
  Speaker 3: that I was a dwarf car. Was a superbike engine car.
• 40:56
  Speaker 3: Weighed nine hundred ninety five pounds and had two hundred
• 40:58
  Speaker 3: and twenty horse power. I came in second at a
• 41:02
  Speaker 3: run what you brung triathlon up at Las Vegas, lowest
• 41:08
  Speaker 3: aggregate time of dragstrip, paved oval and road course, and
• 41:12
  Speaker 3: I beat everything everything, Pantera's Ferrari's horses beat everything in
• 41:18
  Speaker 3: a home built car that I probably spent seven thousand
• 41:21
  Speaker 3: bucks on and it.
• 41:24
  Speaker 1: Made it street legal.
• 41:25
  Speaker 3: And then the manure spreader, Yeah, I licensed it as
• 41:29
  Speaker 3: a manure spreader in Wyoming. I had a cabin in Wyoming,
• 41:33
  Speaker 3: and I got it licensed as a manure spreader and
• 41:36
  Speaker 3: got a plate for it, and then brought it back
• 41:39
  Speaker 3: down to California. And I used to lie in wait
• 41:42
  Speaker 3: for superbike riders on the Angelus Crest and run them
• 41:46
  Speaker 3: down while they're dragging their adorable.
• 41:47
  Speaker 1: Little knee pucks around the corners.
• 41:49
  Speaker 3: I'd come up behind them and honk and then pass
• 41:51
  Speaker 3: on the outside or through a scenic I'll overlook parking
• 41:56
  Speaker 3: lot of sideways.
• 41:58
  Speaker 1: Yes, yes, uh so uh you know what's what's the
• 42:04
  Speaker 1: most favorite place you've ever been, like in the world,
• 42:07
  Speaker 1: the one place you want to go back to. I
• 42:09
  Speaker 1: think I know what the answer to this one is.
• 42:10
  Speaker 1: But if you could tomorrow, if you could hop on
• 42:13
  Speaker 1: a plane anywhere in the world where we did you go?
• 42:15
  Speaker 1: What's your most favorite place?
• 42:16
  Speaker 3: Well, I sure, I sure love Norway. I sure love Norway,
• 42:20
  Speaker 3: and of course I love Botswana, h and the Oak
• 42:24
  Speaker 3: of Ango and uh, I've I love New Zealand. What
• 42:29
  Speaker 3: were you going to guess? Which I was gonna say?
• 42:31
  Speaker 3: Mound could fly into Mound?
• 42:32
  Speaker 1: Oh yeah for Oka Bongah Yeah, yeah, yeah, you talk
• 42:35
  Speaker 1: about it a lot.
• 42:36
  Speaker 3: Well, you know, I guided there quite a bit our
• 42:39
  Speaker 3: mutual friend Andy Biggs. I got into guiding safaris when Andy.
• 42:46
  Speaker 3: Whenever Andy forgot that his wife was pregnant and was
• 42:49
  Speaker 3: about to give birth, he'd go find Oh, I could go,
• 42:51
  Speaker 3: oh darn, my wife's about to give birth, and I've
• 42:53
  Speaker 3: got a safari, Bruce, can you cover it? I covered
• 42:55
  Speaker 3: a couple of safaris for him that way, and then
• 42:57
  Speaker 3: I got into guiding, and uh, I would say that
• 43:00
  Speaker 3: Okavango is probably well, it's as close to Eden as
• 43:03
  Speaker 3: you're going to get.
• 43:04
  Speaker 1: That one shot you've got to the of the h
• 43:07
  Speaker 1: I think it was a lion coming through the water
• 43:08
  Speaker 1: with one of my favorite photographs in the world. Yeah,
• 43:12
  Speaker 1: in the world. Yeah.
• 43:12
  Speaker 3: Another fellow that was on the trip I was guiding
• 43:15
  Speaker 3: a group and another fellow was with me, was on
• 43:18
  Speaker 3: the same lens and same body, and I said, this,
• 43:21
  Speaker 3: she's going to come. You know she's coming, because we
• 43:24
  Speaker 3: could see that she was getting ready to sort of
• 43:26
  Speaker 3: charge towards us, and uh, we were both smoking pixels.
• 43:30
  Speaker 1: He won the uh.
• 43:32
  Speaker 3: Smithsonian Wildlife Photographer of the Year for that, and then
• 43:35
  Speaker 3: I have the same image but from a little lower
• 43:38
  Speaker 3: and to the right, and Canon used it quite a
• 43:40
  Speaker 3: bit and people were accusing both of us of having
• 43:44
  Speaker 3: ripped the other guy off. But yeah, that was a
• 43:46
  Speaker 3: pretty special moment, for sure. And one in that series
• 43:50
  Speaker 3: that I didn't publish was the same cat coming through
• 43:53
  Speaker 3: the water crossing U submerged to the point that only
• 43:58
  Speaker 3: her nostrils were sticking out and the tip of her tail.
• 44:00
  Speaker 2: Wow.
• 44:01
  Speaker 3: And then that one that I have published so widely.
• 44:05
  Speaker 3: It's a pretty special moment. But you know, the world
• 44:08
  Speaker 3: is filled with special moments. The trick is to be
• 44:11
  Speaker 3: alert and be open to receiving them.
• 44:14
  Speaker 1: And that brings up something that I thought we would
• 44:16
  Speaker 1: talk about briefly, is this. It's this whole idea that
• 44:19
  Speaker 1: imagery is now this form of narcissism, and I think
• 44:22
  Speaker 1: that people have forgotten that these moments are occurring that
• 44:26
  Speaker 1: we should be capturing. It doesn't need to be the
• 44:28
  Speaker 1: camera turned towards ourselfs In ninety percent of the cases,
• 44:32
  Speaker 1: like you see with so many people, even travelers today,
• 44:36
  Speaker 1: maybe turning that camera around or shutting the camera off
• 44:39
  Speaker 1: and actually experiencing that moment something that you can remember
• 44:42
  Speaker 1: it maybe changes you a little bit.
• 44:43
  Speaker 3: You can't be a good image maker without being someone
• 44:48
  Speaker 3: who is very aware and in touch with what's going
• 44:51
  Speaker 3: on around you. So if all of your senses are
• 44:54
  Speaker 3: turned inwards and it's a narcissistic moment, how am I
• 44:59
  Speaker 3: in this moment? I I think you miss all the
• 45:02
  Speaker 3: good stuff. It's a variation. Yeah, I mean you can
• 45:05
  Speaker 3: miss a lot of stuff by chimping, that is, looking
• 45:08
  Speaker 3: at the images on the back of your camera when
• 45:10
  Speaker 3: the action is still going on. But you can miss
• 45:13
  Speaker 3: a lot of stuff by just thinking about how cool
• 45:16
  Speaker 3: will I look in this situation. Image capture in its
• 45:19
  Speaker 3: purest form is about being able to share experiences with
• 45:24
  Speaker 3: people that weren't able to be there, and I don't
• 45:27
  Speaker 3: think that necessarily has to include us to prove that
• 45:29
  Speaker 3: we were there.
• 45:30
  Speaker 1: And selfies are awkward, they become so commonplace that, yeah,
• 45:34
  Speaker 1: now they don't feel they should feel way more awkward
• 45:36
  Speaker 1: than they do. I mean, I.
• 45:38
  Speaker 2: Guess I feel if I'm going to take the time
• 45:40
  Speaker 2: to look at somebody's body work, I want to be
• 45:41
  Speaker 2: inspired by that, especially you know, travel photography. I don't
• 45:45
  Speaker 2: really care about somebody's face that's blocking angel falls or
• 45:49
  Speaker 2: or wherever that person is. I mean, I want to
• 45:52
  Speaker 2: see a thoughtful image of that place, not of them.
• 45:57
  Speaker 1: In fact, I think the first photo I saw that
• 46:00
  Speaker 1: was an image of you in years was you sitting
• 46:04
  Speaker 1: inside the New Defender. Yeah, and that was because that moment,
• 46:07
  Speaker 1: like at least for you, and I was super specially
• 46:10
  Speaker 1: super special to be at land Rover in the UK
• 46:14
  Speaker 1: and seeing the new Defender, being some of the first
• 46:16
  Speaker 1: in the world to see the new Defender. That was
• 46:19
  Speaker 1: that was a very special moment. And those are the
• 46:21
  Speaker 1: kinds of things we do want to share because you
• 46:23
  Speaker 1: was the proof of life.
• 46:25
  Speaker 2: It's like, you know what, nobody is going to believe
• 46:27
  Speaker 2: me that land Rover flew me and Scott out here
• 46:29
  Speaker 2: to see this Defender months before everybody else I should
• 46:32
  Speaker 2: probably get And it wasn't a selfie, actual it wasn't
• 46:35
  Speaker 2: a selfie.
• 46:36
  Speaker 1: It wasn't a selfie because we weren't allowed to have ours.
• 46:38
  Speaker 1: We weren't allowed to have our They backed our phones,
• 46:40
  Speaker 1: they did back our So.
• 46:42
  Speaker 3: Yeah, did did they when they had your phones? Did
• 46:46
  Speaker 3: they come out on Facebook? In your behalf?
• 46:49
  Speaker 1: Oh? Yeah? I like land Rovers, Toyota suck. Well what's next, Bruce?
• 46:57
  Speaker 1: What what? What's the next big adventure for you? Well?
• 47:00
  Speaker 3: I'm waiting to hear if I get a camera to
• 47:03
  Speaker 3: play with soon, which would be nice. I'm going to
• 47:07
  Speaker 3: be working with my young man tee in a couple
• 47:10
  Speaker 3: of weeks. We're going to been working with a little
• 47:13
  Speaker 3: hope gal who.
• 47:14
  Speaker 1: And does she have an Instagram that we can check out? Yeah?
• 47:18
  Speaker 3: I think it's Sarah dot Honani h O n Anie.
• 47:23
  Speaker 3: And there's an article that I wrote about us working
• 47:26
  Speaker 3: together in the October twenty nineteen Outdoor Photographer magazine. And
• 47:32
  Speaker 3: she and I are going to be shooting some Native
• 47:35
  Speaker 3: rodeo in a week or two. And then I've got
• 47:38
  Speaker 3: a young concept model that i'd like to work with
• 47:40
  Speaker 3: and we're trying to sort out doing a concept shoot
• 47:44
  Speaker 3: in the White Sands down in New Mexico.
• 47:47
  Speaker 1: Out the weather is cool down a little bit and Matt,
• 47:49
  Speaker 1: what's next for you? You got some stuff coming up? Yeah,
• 47:52
  Speaker 1: go into the Royal Geographical Society in London for their
• 47:55
  Speaker 1: annual Explore event. I'm going to be helping with the
• 47:58
  Speaker 1: vehicle based Expeditions section of that, and anyone who's not
• 48:03
  Speaker 1: been to the Explore event in London, I'd highly highly
• 48:06
  Speaker 1: recommend it. Just walking those holid halls of the art.
• 48:10
  Speaker 2: Yeah yeah, I mean it's I don't know, I think
• 48:13
  Speaker 2: for a for a traveler or an explorer, going to
• 48:16
  Speaker 2: that going to that place is selfie worthy, selfie worthy. Yeah, yeah,
• 48:22
  Speaker 2: maybe we'll take a selfie.
• 48:23
  Speaker 1: Yeah. It's such a reminder of how insignificant all of
• 48:26
  Speaker 1: my travels have been compared to those people that have
• 48:29
  Speaker 1: done that before me. Yeah.
• 48:30
  Speaker 2: I mean it'll be cool to, you know, to to
• 48:32
  Speaker 2: work with some young explorers and to work with some
• 48:35
  Speaker 2: legitimate scientists that just need a little bit of help
• 48:37
  Speaker 2: on the on the vehicle side. Yeah, I'm really I'm
• 48:40
  Speaker 2: really looking forward to that. It's cool to know, I guess,
• 48:42
  Speaker 2: try and pass a little bit of knowledge on So yeah.
• 48:46
  Speaker 1: Nice. Yeah, what about you, I'm hopping on the Hondam
• 48:50
  Speaker 1: and a ride down to Phoenix and Infinity's launching a
• 48:53
  Speaker 1: couple of new SUVs. So we're going to go to
• 48:56
  Speaker 1: New Mexico and the it's the first designed and built
• 49:00
  Speaker 1: space station. It's a space port, is what they call it. Oh, yes,
• 49:06
  Speaker 1: so we're going to go. We're going to go check
• 49:08
  Speaker 1: out the Virgin Galactic Spaceport and drift various vehicles and
• 49:14
  Speaker 1: drive off road to the SUVs and they'll be funny.
• 49:17
  Speaker 3: Is that over near the very large array in New Mexico?
• 49:20
  Speaker 1: I think so. I think there's the same basic area
• 49:22
  Speaker 1: o there selfie worth.
• 49:23
  Speaker 3: A couple of weeks from now as the Festival of
• 49:25
  Speaker 3: the Cranes. There a Bosky Dell Apache and I think
• 49:28
  Speaker 3: I'm gonna be down there as well. But yeah, that's
• 49:32
  Speaker 3: that's a beautiful time to be there. New Mexico is
• 49:35
  Speaker 3: so crazy.
• 49:36
  Speaker 2: I feel it's probably one of the most underrated Southwest.
• 49:40
  Speaker 1: It really is gorgeous. Yeah, I mean, there's some of that.
• 49:43
  Speaker 1: I want to say.
• 49:44
  Speaker 2: It's the oldest continuously habited city in North America is
• 49:48
  Speaker 2: Santa Fe.
• 49:49
  Speaker 3: Well, the oldest continuously occupied village is Mowencope on the
• 49:54
  Speaker 3: res north of flag Staff. It goes back thousand years yeah,
• 49:59
  Speaker 3: as a there's a.
• 50:00
  Speaker 1: Lot of history in New Mexico.
• 50:03
  Speaker 2: I was reminded we were just out for Overland nextpo
• 50:05
  Speaker 2: East and everybody in the East coast is, oh, well,
• 50:07
  Speaker 2: there's no history on the West coast. I'm like, oh, okay, yeah,
• 50:11
  Speaker 2: have fun with traffic, Yeah exactly.
• 50:14
  Speaker 1: Oh so we had some good stuff coming up. Thanks
• 50:15
  Speaker 1: so much, Bruce for being on the podcast with us.
• 50:18
  Speaker 1: You have been an inspiration to me. It's amazing that
• 50:21
  Speaker 1: you live here in Prescott. That's how we first connected
• 50:24
  Speaker 1: all those years ago. We got to see the world
• 50:26
  Speaker 1: together and make sure everybody check out Bruce's work. He
• 50:30
  Speaker 1: does contribute to Overland Journal on a regular basis. What's
• 50:34
  Speaker 1: your Instagram again, Bruce at dorn dot Bruce d r
• 50:38
  Speaker 1: n dot Bruce. Yeah, he's the real deal. And thank
• 50:42
  Speaker 1: you all for listening. Matt, you got anything for us
• 50:44
  Speaker 1: before we go? Oh no, I'm great. All right man?
• 50:47
  Speaker 1: So will you play bar My back please? Twenty seven dollars? Okay?
• 50:53
  Speaker 1: So old all right, everybody, We'll see you next time.
• 50:57
  Speaker 1: Ay bye.