Latest / The Nerdy Photographer Podcast / 124 - Beyond the Camera: How Skill Outshines Gear in Photography

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124 - Beyond the Camera: How Skill Outshines Gear in Photography · The Nerdy Photographer Podcast

0:03
Robot Salesman: Hey, buddy, can I interest you in a new laser
0:07
torch? Double the line?
0:10
Casey Fatchett: No, I don't need a newer model laser torch. Oh,
0:15
hello. Welcome to the nerdy photographer podcast. I'm your
0:18
host, Casey Fatchett, if you've never listened to the show
0:21
before. Welcome to the show. In addition to providing
0:24
entertaining and informative photography related info, I also
0:28
go on adventures with the crew of the starship Fibonacci. I
0:31
call them my hashtag nerdy photo crew. Right now we're docked
0:35
making some repairs to the ship.
0:36
Robot Salesman: Okay, man, I get you good press just fell off the
0:39
back of a cargo ship. These are
0:41
Casey Fatchett: brand new The one I'm using right now works
0:45
just fine. Man. Why is everyone always trying to push new gear?
0:49
Speaking of new gear and not so subtle, segues on this episode
0:53
of the podcast, we talk with Rob Tyrrell. He's the manager of the
0:56
Leicas flagship NYC store. We discuss gear acquisition
1:00
syndrome, as well as finding the gear that's right for you. All
1:04
that after the break.
1:05
Robot Salesman: Yeah, come on. Come on, guy. You know you want
1:10
this laser touch my guy. I'm not your guy pal.
1:19
Casey Fatchett: Hey, there, nerdy photo crew, it's that time
1:21
of year again, Black Friday and Cyber Monday are here coming,
1:25
and the nerdy photographer has you covered with the ultimate
1:29
list of Black Friday and Cyber Monday deals on things like
1:33
equipment, software, services and much, much more. The link to
1:39
that list is in the Episode Notes, so go in there and check
1:42
it out. You can save a lot of money this time of year, and
1:46
saving money always a good thing. You can even save 20% on
1:50
anything in the nerdy photographer store by using
1:53
discount code. BF, 2024 that's BF, 2024 that's the discount
2:01
code to save yourself 20% from November 26 until December 3. So
2:06
get that order in now. Hello and welcome to the nerdy
2:15
photographer podcast. I am your host, Casey Fatchett, and today
2:20
I'm here with Rob Terrell, who is the manager of the flagship
2:25
Leica store in New York City, and we're going to be talking
2:28
about running photography, business equipment choices. But
2:31
before we get into all of that, we're going to start with the
2:33
dice breaker. I roll a 20 sided die, or with 17 best photography
2:43
advice you've ever received 17. Was the number, oh, that
2:51
determines our topic.
2:52
Rob Tirrell: I mean, it's simple, but just keep shooting.
3:01
Yeah, just keep shooting, because it's going to keep get
3:04
you better, and you can develop your eye, you can kind of
3:08
cultivate a look, and then also get better at knowing settings.
3:13
Casey Fatchett: Yeah, I think that that's something that I see
3:16
a lot of younger photographers doing lately, is just like,
3:20
they're asking for this, what were your settings on this
3:23
photo? Instead of like, I'm gonna go out there and try this
3:28
and learn?
3:29
Rob Tirrell: That drives me so crazy, because it doesn't
3:32
matter, because you can give them the same exact setup and
3:35
they won't get the photo right like you, because everybody's
3:37
different, everybody's gonna get a different look and angle, and
3:40
Casey Fatchett: the situation is different. Like, the lighting is
3:42
very different. Like, I see people like, going, oh, what
3:44
were your what were your settings for this shoot where,
3:48
like, the guy is, like, hanging off of the side of a car or
3:50
something, and he's like, oh, you know, F 11/60, of a second,
3:54
you know, ISO, 400 and I'm like, whatever. You're not gonna get
3:58
the same shot. Like, that's like
3:59
Rob Tirrell: what are you gonna go back in time, and then you're
4:02
gonna swap it out, and you're gonna get the job. And you're
4:03
going to
4:03
Casey Fatchett: get the job, and I won't Right, right? And you're
4:04
going to be in the exact same position where the sun was in,
4:06
like, you know, the clouds and the sun were all on the right
4:10
Rob Tirrell: back to the future moment. The Delorean. He's going
4:12
to jump and swap me out,
4:13
Casey Fatchett: and exactly where we're going. We don't need
4:16
to meet her. Yeah, exactly. Yeah. That's, one of those.
4:21
That's something that bugs me, because I just think that, and
4:23
there's a lot of pushback, is like, Oh, you're gatekeeping.
4:27
I'm like, I'm not gatekeeping. You're just, I would rather
4:29
teach you the skills to figure out how to do this on your own
4:35
and so that it fits your vision of things, as opposed to saying,
4:39
like, these are my exact settings go out and use those
4:42
settings, because that's just a that a it's disingenuous on my
4:46
part to make you think that you're going to get the same
4:49
photo
4:51
Rob Tirrell: Yeah, we, we actually had a situation where
4:54
someone was out there telling someone how to push and pull
4:57
film, who was like a novice and. And showing someone how to
5:01
emulate their style. And not everybody can do that, not and
5:05
we had a lot of complaints of people coming back and like,
5:08
hey, the camera's broken. It's like, No, you're doing things,
5:12
uh, way ahead of schedule. You're way ahead of your skill
5:15
level at this point. Yeah. Like, you can do that, but you need to
5:18
really figure out the settings first, right?
5:21
Casey Fatchett: Yeah. And I think that there's a I don't
5:23
know. I don't know what it is. It's a rush to be at it, like
5:30
you were saying, Keep shooting gratification. Yeah, yeah. Like,
5:33
I want to be at this top level already. I want to start here. I
5:36
don't want to, like, fail along the way. And making mistakes is
5:41
one of the best ways that you learn how to do something. I
5:44
mean, I have very little formal training in photography and just
5:49
going out and shooting and reading books. I don't think
5:52
anybody really does much of that anymore.
5:53
Rob Tirrell: Who knows? It's possible audio books are popular
5:56
now. Yeah, they'll listen to us and they'll listen to an audio
5:58
Casey Fatchett: listen to an audio book. I have this, like
6:00
ancient Kodak photography book that was made and, you know,
6:04
like the thing was originally put out in the 60s or 70s,
6:06
which, you know, when I first started shooting, was film
6:09
anyway. But I would just, I just read that book, and I was just
6:12
like, Oh, okay. Like getting my basics, my basic information
6:18
that I then went out and built up on every time I would take
6:21
pictures and go, I wonder why they didn't come out the way I
6:23
thought it was. And film will do that to you anyway, because you
6:26
really have to go back and think, What did I do?
6:30
Rob Tirrell: What was the setting there? Was I shooting at
6:33
too slow over shutter speed? Too fast of a shutter speed?
6:35
Casey Fatchett: Yeah, yeah. I recently went out with some of
6:37
my film cameras into the city, and I was taking this. For those
6:42
of you who are listening, obviously you can't see anything
6:44
I'm holding up this, like, codec, dua flex, very cool
6:47
medium format camera. It's like 70 something years old, and I
6:53
forgot what film speed I had in it. And you can't exactly crack
6:57
it open and like, the max that it could go up to for that, oh,
7:00
I mean, you can put, you can technically, it's 620 film,
7:04
which is a codex proprietary thing. Is one of those things
7:07
they they made all these like 620 film cameras. In all 620
7:11
film is, is 120 film, but the spool is narrower. So if you
7:16
just like, clip the edges off the spool on a roll of 120 you
7:20
can fit it in a 620 there's a little little hidden knowledge
7:24
there for you folks, there's, there's a ton of like, 620 film
7:29
Kodak cameras out there, but they wanted their own
7:30
proprietary film so that you had to buy it from them. But the
7:30
thing is that then people with like, 35 millimeter came around,
7:31
and people like, I don't want to carry this brick around, yeah.
7:43
But it only has three aperture settings, 811, and 16, and the
7:51
shutter is either instant, which is 1/30 of a second, point and
7:55
shoot and or bulb. And I was running around outside and in
8:03
the bright day, and I thought, Oh, this is 400 I thought it was
8:06
400 film. And I was like, Oh yeah, I think it's gonna get
8:11
overexposed, but I'm gonna try it anyway. I'll see what
8:16
happens. And then I came back and, like, I was all rolled up,
8:16
and I'm like, No, it was 100 those flu shots might actually
8:16
come out pretty nicely. We'll see what happens. So, you know,
8:20
little mistakes here and there that you make and
8:23
Rob Tirrell: and you might like that style. Yeah, they prefer to
8:26
shoot that speed at a different
8:29
Casey Fatchett: settings, right? And I, honestly, I don't know if
8:31
this camera even works, like it's I don't know if there are
8:34
any light leaks. I bought it. It appears to be an excellent
8:38
condition, but I was just like running some film through it to
8:41
see what happens. So hey, you know what? We'll see what happy
8:44
accidents come of that. And I think that there's a problem
8:47
with like, people, like, aren't willing to, like, make mistakes
8:49
and just be like, I'm gonna experiment and see what, what I
8:52
get here and have some fun.
8:54
Rob Tirrell: Becoming slightly more expensive experimenting.
8:56
Casey Fatchett: But, yeah, I mean, it is. I mean, I happen to
9:00
be in your own but I mean, I have to be in a position where I
9:03
can experience that way I'm talking even with digital, I
9:06
think people are like, there's an unwillingness to just like,
9:08
I'm going to try something completely wild here. And it was
9:14
very funny, because I think you are no Phil Penman, he was on
9:20
the show a while back, and, yeah, I was looking at his work,
9:24
and I said, the like, there's things like the ghostliness of
9:28
people in some of the images, something I had tried a while
9:31
back when I was, like, doing some shots in New York. I said,
9:33
this his style, like, really speaks to me, because that was
9:36
something I had just, like, played around with and
9:38
discovered, you know, in my own sort of experimental, like
9:42
taking photos and like going, Oh man, I really like how this
9:45
looks. I haven't gotten back to doing it much since then. But,
9:48
like, the end, when I saw his work, I was like, well, that's,
9:50
you know, he does it way better than I do. He does, he does a
9:54
lot of better than most people. And but yes, it's sort of like,
9:59
you know. I played around and found this thing you know, which
10:04
you know, he's obviously way better at. But it's like I
10:07
managed to by experimenting find something.
10:09
Rob Tirrell: No, it's always fun to mess around and try and,
10:11
like, emulate other photographers in a way, just to
10:14
see if you can do it, or just to see if you can't do it, or to
10:17
really respect them more. I have, like, a sometimes I get a
10:21
little aggressive with, like, my jokes. And I was thinking of
10:24
doing a real idea, like an Instagram reel of recording
10:30
yourself, like, Hey, here's how to shoot, like, Phil Penman, and
10:34
then you, like, zoom in on the camera, turn it on, and the
10:37
screen comes up, and it's just dumb, yeah, because, like, let
10:42
them live. Like you're, you could get to that level, but at
10:45
the same time, then now you're just, you're really replicating
10:48
his work, like, let him live while he's alive, right? So he's
10:52
still out here creating and doing his style, and a lot of
10:56
people out there not rip it off, but kind of are getting to that
11:00
point of really, kind of taking that blueprint and copying it to
11:04
a T, yeah, not okay. That's not good etiquette. That's not good
11:10
Casey Fatchett: I heard many years ago. You know, the choices
11:13
you have are to imitate, emulate or innovate, and your choices
11:19
probably should be innovate or emulate, if anything, see
11:22
something like, oh, that's kind of cool. That speaks to me in a
11:24
certain way, like, I would like to figure out what it is that I
11:28
can do that's something similar. I'm not going to try to do the
11:31
exact same thing as this person. I'm trying to bring my personal
11:36
part of this to, yeah, to my photography. Like, and that's,
11:41
of course,
11:41
Rob Tirrell: we're all influenced by photographers Be
11:43
inspired different generations. Yes, it's, it's great to have
11:47
that inspiration, obviously in learn technique. But yeah, like
11:50
you said, you got to innovate. You got to have to adapt it to
11:52
your style, and hopefully find a style. And it's getting harder,
11:56
obviously with Instagram, to to be different. But yeah,
12:00
hopefully you can find a way to block out the noise and really
12:03
find what what you resonate with and what makes you want to
12:07
continue being a photographer or making art.
12:10
Casey Fatchett: Yeah, it can be, it can be hard, because you're
12:13
trying to like, you're trying to stand out from all these other
12:18
people. And, you know, copying someone else doesn't really seem
12:22
like the way to stand out from it. But as someone who's, like,
12:25
really involved with photographers in your job, what
12:29
do you think the most important skills or strategies are needed
12:36
to run a be a successful photographer today?
12:40
Rob Tirrell: Yeah, I mean, it's getting more complex now you
12:43
need to really be a content creator. Now, to really like if
12:48
you're starting out, if you don't already have a name, you
12:50
need to be kind of that one man band of not only being the
12:55
person that can use the camera, but the person that can edit,
12:57
the person that can now maybe even generate video, or have
13:01
them the means to have some video content generated of it
13:04
yourself in action. People love to see that the BTS of it all,
13:08
yeah. But I mean, it starts with I think lighting. I think if
13:13
understanding lighting is going to save people a lot of time and
13:17
effort and prevent the grueling post game of it all. If you
13:25
nail, if you nail it in camera, saves you much more time right
13:30
stress and anxiety if just get the lighting right, right in
13:35
camera, because it's easier to do it and yeah, measure twice,
13:38
cut once,
13:39
Casey Fatchett: yeah, and it's sort of like the we have the
13:42
privilege with digital to be able to see what we're getting
13:46
and, you know, unless you're shooting, like, a very fast
13:50
moving event, and, like I do weddings, and so it's like,
13:52
there's, there's a certain amount of, like, sometimes I'm
13:54
shooting an aperture priority, and, you know, the times I'm
13:56
shooting manual and I on threads. I don't know you get it
14:01
on threads, but I always see the questions people ask me, What's
14:04
the point of shooting manual? If you're like, you know, with my
14:07
camera's really smart. Like, no, your camera's dumb. Like, most
14:11
camera cameras do what you tell them to do, right? And most
14:14
people don't understand how they do what they do. Like, I will
14:17
get into like, conversations with people about metering. I'm
14:21
like, Okay, what's your metering mode set out? They're like, what
14:24
exactly? And every day, every day, yeah. And so like, okay,
14:28
let's talk about understanding how the camera does that. And
14:30
that's why you know your shot is horribly underexposed, or
14:33
horribly overexposed from what you saw in your head, yeah,
14:39
learning how to manually do that stuff and see the light and be
14:42
like, Okay, I'm just
14:44
Rob Tirrell: your human eye will meter different than meter on a
14:47
camera exactly it can get close, and that's why there's different
14:51
metering modes. I always set up people with our cameras. I know
14:55
a lot of the camera systems have profiles that you can save. I
14:59
stress this. To everyone who buys a camera from from us here,
15:04
let's set up some profiles. What do you like to shoot? It will
15:07
save you so much time trying to fiddle with your settings,
15:10
especially for wedding photographers. Yeah, let's set
15:12
up a flash profile. Let's set up a black and white preview. Let's
15:16
set up this one that's electronic shutter so like,
15:19
let's up this video profile for you so you just jump right to it
15:25
and you don't have to fiddle with setting. Fiddle with
15:33
settings, so you're not going to
15:33
Casey Fatchett: get lost and shoot too slow in the minutia,
15:33
yeah,
15:33
Rob Tirrell: too dark, yeah, all these variables, you just jump
15:33
right to it, and it saves you a lot of time and energy. And you
15:33
go back them up, right, export these profiles, put them into
15:34
another camera, or view them and see them like, Hey, what did i
15:38
What did I set that to? Why did I do that? Well, maybe I'll
15:41
tweak that and then override it.
15:43
Casey Fatchett: So, yeah, it's the the saving yourself steps
15:51
and streamlining the process, which, yeah, I've been doing
15:54
this for 25 years. Like, that's the one thing, the economy of
15:58
movement. Yeah, it's sort of like, I'm gonna, like, smooth
16:02
out this, this process wherever I can that makes me do things
16:06
faster and better and like, it's not just like you have the
16:11
knowledge in your head, which is good, but it's also sometimes,
16:14
like just knowing how to make the process run smooth
16:17
Rob Tirrell: one step closer to being the professional that most
16:20
people claim that They are, which is fine if you want to
16:23
have that to to like, strive for. And I'm not going to shy
16:27
away from telling someone, hey, you know what, you are
16:30
professional or you're not professional. But don't go out
16:34
there claiming a professional if you don't have it kind of set up
16:38
to look like one in the field, because we'll spot it and
16:42
they'll know a mile away whether you know what you're doing
16:43
Casey Fatchett: or not, right? You show up to a shoot and you
16:43
don't know what you're doing. People know real fast, like,
16:48
you're trying as many times as you think you can. Like, oh,
16:52
learn on the job. And I've just get thrown on fire, right? Yeah.
16:57
And, and when I was very young, I made that mistake once or
17:00
twice of, you know, like, doing the like, you know, it's close
17:04
enough to what I do. Yeah, I know how to handle this. And I
17:08
go there to be, like, No, this is not anywhere. And you don't
17:12
like, I can think he can manage this. It's not that big of a
17:15
job. And then turns out, you know what? You don't know
17:19
everything. Yeah, it's always, always, there's some humbleness.
17:24
I think that needs to
17:25
Rob Tirrell: definitely, but that's like you said earlier, if
17:27
you need that to kind of those mistakes, even with settings in
17:31
a camera, those kind of mistakes can help you prevent that down
17:34
the line. Hopefully, it's a learning experience and and you
17:36
could view it as one. I know it's tougher to swallow that
17:39
pill sometimes, but like someone recently just told me that they
17:44
overwrote a card that they were using on a shoot without backing
17:47
it up. And I'm like, it happens, yeah, it's not supposed to, but
17:51
it can happen.
17:52
Casey Fatchett: It can happen been the victim of that, not via
17:58
my, my own hand, but a subcontractor who it happened
18:04
to, and you know, you had to find ways to hopefully correct
18:10
as much as you possibly can ever happen again. Yeah, make sure
18:13
here, let's set these protocols in place, yep, to keep that from
18:18
happening and and now, like, I go through that with every
18:22
subcontractor that I have, like, this is what we do. You know,
18:26
this is how we handle management file. Yeah, yeah. How do you
18:29
handle the cards? This is what happens afterwards. This is what
18:32
when you, like, you need to have redundant copies before you
18:35
ever, like, reformat a card. But like, what you were saying,
18:40
though, like about having profiles, it reminds me of,
18:43
like, how just shooting manually, it's something that
18:46
happens to me a lot, not a lot, but it happens with enough
18:49
grants for me to laugh at myself for making the mistake is I'll
18:54
be inside shooting manually, and I'll go outside like the bright
18:58
Sun and forget that my ISO set at 4000 or something, and then
19:03
like next three shots are suddenly very bright and airy
19:07
without my unintentionally just remembering where you are.
19:15
Rob Tirrell: No I have a I have a another suggestion for people
19:18
who like to shoot in aperture priority, and you can now, like
19:21
for most of our cameras and most of other brands out there, you
19:24
can set a dial to be an exposure compensation and that way, you
19:28
can keep it in aperture priority while still maintaining wide
19:31
open or whatever aperture you want. And then just kind of,
19:35
let's just compensate a little bit either way, and even when,
19:39
for your specific example, obviously we would want to, we
19:42
would want to keep it underexposed when we go
19:44
Casey Fatchett: outside, try, try to with my issues that going
19:48
out there, and it's like, the camera can't, like, the shutters
19:51
quick enough. The shutter speed is not fast enough to
19:53
compensate. But, yeah, it only usually takes, like, one shot.
19:57
And I'm like, why is that? So? Whoa, yeah, where? Right? Can't
20:01
salvage that one. And, yeah, it's the Why can't I see
20:08
anybody's faces? It's all just like a weight. It's a white
20:12
screen. Did I put something in front of the camera? Nope. So
20:15
speaking of mistakes, what are some common mistakes that you
20:20
see photographers making and running their business, shooting
20:27
or whatever, and how can they avoid some of these mistakes or
20:31
pitfalls?
20:32
Rob Tirrell: Yeah, I'd say, Okay, getting too much gear. I
20:39
think buying too much gear at once is is a mistake. I see a
20:43
lot, and I try and combat as much as I can by letting people
20:48
know, Hey, start with one lens, or start with one or two lenses
20:52
and maybe a flash, but maybe wait on a flash. I mean,
20:55
technology has gotten so good with these cameras, you don't
20:56
even need a flash, or some of them, unless you do want to take
20:59
that kind of photography. I'm not saying don't get a flash. So
21:03
it can be that situation with its gear related, if people just
21:07
buy things they don't need, or they they listen to people like
21:10
us that told them to get they needed a 50, and they needed a
21:13
90, and they needed these, this and the other thing, and then
21:16
they need a 21 so then they have all this stuff, and they don't
21:18
know what to do with it. They haven't even mastered the one
21:21
lens that they really will lean into for most of their work. So
21:25
and then they regret that purchase, or they have a hard
21:28
time getting rid of it or returning it, or whatever, so
21:32
that then they've lost a lot of money that could have been put
21:34
into either marketing or into just learning about it, taking
21:38
classes. So that's one. And then another common one, I'd say, is
21:45
that other side, like I said, marketing, I think it's, it's
21:48
figuring out, how do I roll out my instagram? How do I put
21:51
together my website? Business Card, having a website? Yeah,
21:56
got to have a website. People think Instagram is going to be
21:59
enough. It's not enough. You need to, you need to have a
22:02
website, and it doesn't need to be perfect, doesn't you don't
22:04
need to spend $100 a month on a website. You don't need to be
22:07
selling things right away on a website. Just yourself, put a
22:10
little bio up. Mine's not perfect, either. You can look
22:13
mine up and use that as reference, but it's it just
22:17
needs to show that you know what you're doing, you what brands
22:20
you've worked with any of any or clients that you can share on
22:23
there, and maybe an inquiry to pricing or or list the pricing.
22:29
Casey Fatchett: Yeah, I think that there's a the over gear
22:34
purchase. I think is an excellent, excellent point,
22:37
especially if you're not just starting out, but like, you're
22:42
like, What? What do you actually need? And there are some times
22:47
where, again comes to wedding photography, people will say,
22:49
like, what do you what do I need? What do I absolutely have
22:51
to happen? I'm like, like, if I were to pick three lenses, it'd
22:54
be a 50, a 24 to 70 and a 70 to 200 Yeah, those three lenses, I
22:58
can shoot pretty much anything. But if you should only start
23:01
with one. I would go with the 50, yeah, and start with the 50,
23:04
and then I move to the
23:05
Rob Tirrell: or the 24 to 70, because then it gets you kind of
23:07
that range. So it's, it's either, either, or depends on
23:09
what style. Yeah.
23:11
Casey Fatchett: I mean, like those three, I think you can do
23:12
pretty much any. I could do anything I wanted to do at a
23:16
wedding with those three lenses. And, yeah, it's the the there's,
23:23
there's a lot of, I would agree completely. Start with one lens,
23:26
start with two lenses. Really figure out your gear. I think
23:30
that's one thing that that I see, again, a lot, from all
23:35
kinds of photographers, is that, you know, not wanting to take
23:40
the time to understand their camera and like, where all of
23:45
the menus, all the stuff like, oh, you can set that. And I'll
23:49
tell people, you can, you can set that in your camera, and you
23:51
don't have to worry about something like, what,
23:53
Rob Tirrell: yep, like, every day we at work here at Leica, we
23:57
are here to advise and educate and with the workshops and
24:03
everything that we do, I know my company probably doesn't like me
24:06
for upselling enough, but I mean, I think that it's best to
24:11
to not kind of see the blood in the water and attack it and sell
24:16
everybody everything at once. They really need to step in.
24:20
Some people only need one camera, right? They don't need
24:22
five cameras. They don't need five lenses. They don't need to
24:26
upgrade their camera. That that is, that is a case. Everybody
24:30
needs to update their camera. We offer firmware updates that can
24:33
keep it kind of current as long as the technology suits. But
24:37
it's, it's every it's case by Casey, as some people do need to
24:41
keep up with the times, depending on the needs of their
24:43
business and what they do for a living. But most people don't
24:46
need the whole kit. They don't need to buy my whole store,
24:48
right?
24:49
Casey Fatchett: And they're, they're consumers, and I mean,
24:52
as as a photographer, I am the go to person for everyone in my
24:56
social circle. Like, what kind of camera should I buy? And. And
25:01
this, I think this, this should be a topic here, but we can get
25:03
into now. Like, you always get the what's the best camera for,
25:08
you know, this type of photography, and I'll sit down
25:11
like, no, no, let's talk. There's no one answer. There is
25:15
no because there is no one answer. And now talk to people
25:17
about, like, okay, a, what's your budget? B, like, what do
25:22
you actually do, taking pictures of and what types of things do
25:25
you want to what's your skill level? Yeah, like, how difficult
25:29
is this gonna be for you to pick up? I want to take pictures of
25:33
birds. Okay, you're gonna get, like, a super you're gonna get a
25:35
long telephoto lens. And, you know, maybe something that's got
25:39
some, like, has a fairly high, you know, rate of capture for
25:44
your that's, that's, that would be my suggestion. We'll talk
25:48
about, you know, getting, like, delving down deeper into that.
25:50
But like, you know, the you don't need, everything you don't
25:55
need. Like, every I am, you know, people I post, like,
26:01
pictures of some of my stuff, but I am been collecting these
26:05
things for a long time, and I have, like, sold off stuff that
26:09
I don't use and whatever. But then I'm also collect a lot of
26:12
vintage stuff, because I just like it, and that could be an
26:16
addiction that is my hobby. And then I try to find stuff that
26:20
works too, because I just, like, I just like, I just want to get
26:22
out there and, like, try it, but you don't, like, 98% of people
26:27
don't need all this stuff, like, right? And I understand that it
26:31
is my addiction of, like, vintage camera stuff, whatever,
26:34
Rob Tirrell: me too. And that can happen, and that's okay if
26:37
it gets that point, but for an initial investment, no, it's a
26:40
lot to ask someone to do, and I definitely am a person that
26:45
steers someone away from doing that. And they could put
26:48
themselves, not only in a bad situation financially, but a bad
26:50
situation where they just, they don't know where things end up,
26:54
they have too much gear, and then they misplace things, and
26:57
then they're like, oh, wait, what happened to that lens that
26:59
I had? Oh, didn't I have that? And then they realized someone
27:01
stole it, or they lost and they left it on a park bench. Or,
27:04
Yes, so
27:05
Casey Fatchett: yeah, I've, I mean, I have. I commonly have
27:09
that fear, like, where I'm like, Oh, my God, where did I leave my
27:12
135 and, you know, or whatever, like, what? What happened with
27:16
that? Like, did I leave it somewhere? And, and I don't go
27:19
out with that unless I'm shooting a wedding. I don't go
27:21
out with more than two lenses usually. And so sometimes it's
27:25
like, where, like, even someone with experience will will still
27:28
like,
27:30
Rob Tirrell: and every day someone comes in, it's like,
27:32
what's the what's the like, what's the best camera in my
27:34
line, I sound like a broken record. It's like, we're it's
27:38
2024, no one makes a bad camera. It's the camera that you want
27:41
that's going to make whatever your vision is be as closest to
27:45
it. And if that's a Leica, great, if it's a cannon, great,
27:49
Nikon, Sony, whatever, Pentax, all great, Panasonic. The list
27:53
goes on and on, because I'm sure you get the new role, eaf. If
27:57
that's your camera, go out and shoot it like there's there's a
28:00
camera for everybody now and every skills level. Or it could
28:04
be a starter camera, like the deluxe eight that we have that
28:07
just launched. Like that could be someone's kind of starting
28:11
journey with the brand or with photography, or it could be just
28:14
a fun addition to someone's ear.
28:17
Casey Fatchett: Yeah, people want and need. Want and need are
28:21
two different things. And most of the time, you don't need a
28:25
lot of bells and whistles. You know, mostly you need to figure
28:32
out what you're doing with what you have. And sometimes this is
28:36
another thing that I like to recommend people, is limit
28:39
yourself. Yeah, challenge yourself. Challenge. It's a
28:42
challenge. Go out for a day, yeah, just use one lens, like in
28:47
Rob Tirrell: focal length, and try and master it or figure out
28:49
if you don't like it. Or, yeah, because it's different,
28:52
different subject matter. Yeah.
28:53
Casey Fatchett: For me, it takes me back to, I mean, this is I've
28:56
started getting into film a lot more again in the last couple
29:00
years, and it has changed how I approach my professional
29:07
photography. And I see things much differently now, because
29:10
I've been limiting myself a number of exposures I can take
29:15
number of like, using only one lens, or, like, in the case of
29:19
that, you know, Kodak, I've only got three aperture settings and
29:23
two shutter settings. You are very limited by what's going to
29:28
happen. So you have to, like, think much more creatively. And
29:31
necessity is the mother of invention. And so you, like,
29:35
have to work the problem. And yeah, exactly.
29:39
Rob Tirrell: And it will help you when the problem arises with
29:41
something that does have all those other shutter speeds. But
29:44
what if it stops working? What if those others? What if you're
29:46
limited to just those, and now you've like, you know? Oh, I
29:49
have that experience when I did that, I had I switched this and
29:52
that this is what I how I handled it, or I blocked this
29:54
light. Like, there's so many benefits to going out with
29:59
limiting. What you have. We're so blessed to have everything at
30:03
our disposal with phones and different things and technology
30:06
like now, go out, challenge yourself, kind of get back to
30:08
that and make yourself a little bit more street smart, I guess,
30:12
for lack
30:12
Casey Fatchett: of a better term, no. I mean, it is. It's
30:14
just like the knowledge base that you have around things. It
30:21
was, I was telling people like, last year, was it last year? Was
30:25
it earlier this year? The the blurry photo trend, there's the
30:34
blurry photo training focus, yeah, so the very soft focus.
30:38
And some people were just like, I'm just going to focus to the
30:41
like, the foreground, and everything is going to be like,
30:44
What? What is? What are you trying to do here? And they're
30:47
like, Oh, it's a it's sort of a nostalgic look of like, do you
30:52
understand why those photos were out of focus to begin with?
30:56
Because there's a number of reasons. Right? It's Oak Street
31:01
broke. It's all manual focus, yeah? And you're not, like,
31:06
yeah, there's or you've got limited film speed, or by your
31:11
film speed, and then the shutter speed that you can use and like,
31:14
so there's
31:15
Rob Tirrell: all those variables for sure, yeah, yeah.
31:17
Casey Fatchett: Like the fastest that my, like, my 35 millimeter
31:22
film cameras will go other than I have a cannon that's more
31:24
recent. But like, the the older ones that are, like, made in the
31:27
70s, like, 60s and 70s, like, a 1,000th of a second is the
31:32
fastest it'll go. So, I mean, like, you can pretty fast. Like,
31:36
that's more than enough for most occasions. But, yeah, but then
31:38
you have to, like, if you don't, like, stop down enough, or
31:41
whatever. Like, you get daylight or you're trying to take my I
31:44
try to take pictures of my dog, who is extremely fast, and it's
31:47
really hard to, like, manually focus. Like, get oh no, yeah. I
31:52
want the energy, but I don't want, like, this. Not so fast.
31:55
Let's go on a run parallel to me with
31:59
Rob Tirrell: using a range finder. It's so fun to show
32:02
people because they get intimidated, and that's okay,
32:04
because, again, we've been really spoiled with auto focus
32:07
systems, or we're used to, like the SLRs that like that weren't
32:11
a range finder mechanism, yeah, that have the focus patch in the
32:15
center. But I tell people, once you nail it, you nail it, if you
32:19
if you're looking for the focus peaking on the back screen of
32:21
the digital cameras. It's not you're going to be soft. You
32:24
will be soft, and that's okay if you are soft, because it's still
32:27
you making the photo you're creating. It you're you're the
32:30
one literally focusing on that subject or setting. So it to me,
32:37
it makes it more intimate, and it makes it more of a fun
32:41
experience for someone to to do it. And not everything needs to
32:44
be tack sharp. Nothing needs to look like aI back to that
32:49
doesn't mean to look like a video game. It can be, it's art,
32:55
it's whatever it's, whatever
32:57
Casey Fatchett: there's, there's a whole thing like, I don't know
33:01
if you've ever been in a electronic store someplace that
33:03
sells TVs, yeah. And they've got this wall of TVs, and you look
33:07
at the TVs that have, like the LED TVs or whatever, that it's
33:12
60 frames or refreshes, 60 times per second, or whatever, 60 or
33:15
120, yeah, yeah. And it just looks too crisp, like all of the
33:20
special effects look bad. Like, he looks, he looks very, you
33:24
know, oh, this, this is, looks like a pre vis, as opposed to,
33:27
like, a finished product. And you're Yeah, and, like, okay,
33:31
like, well, this doesn't look great, like, yes, because it's
33:33
too crisp. You need something, you know, like, that's a little
33:37
like off. And I've been, actually been getting into now
33:40
is like, using my old, vintage lenses on my, you know,
33:47
mirrorless, like getting at an adapter, and just like, you
33:52
know, manually focusing everything. And just like,
33:54
because it has, it does have this feeling of the photos come
33:58
back, and the feel is, like, this has a lot more character in
34:04
it than this, like, super sharp,
34:07
Rob Tirrell: I don't know. No, you then that's, that's one of
34:10
our systems here, the SL, like, we're not alone with making that
34:13
book. The beauty with Leica is because it's been around for so
34:16
long, you have over 100 years of lenses you can adapt to these
34:19
cameras, which is crazy. So you get all the character of a
34:23
vintage lens, but on a 60 megapixel camera that can do
34:27
video at 8K, it's like, wow, yeah, man, I can get that video,
34:32
that video quality cinema look, but with probably a cheap setup,
34:37
I'm obviously, I know I'm talking like a term, so, yeah,
34:41
that's, I know that there are, I know there are lenses that are,
34:44
aren't really affordable, but there's some vintage lens you
34:46
can definitely get for under 1000 bucks. And I know that's
34:48
still a lot of money, but to get that look pre like, before going
34:54
into post, it's gonna save you a lot of time and right energy.
34:57
And again, back to just like, just. Covering what you want to
35:01
capture that is going to be something that just to learn and
35:04
discover. And it's fun, yeah? Like, always on there, learn
35:08
about
35:08
Casey Fatchett: it, yeah. And if it's like, fits the vibe, yeah,
35:11
love the improve like in like, embrace the imperfections, like
35:15
the slightly, I don't know, like, I get into this thing of
35:18
like, for me personally, in my style of shooting, the emotional
35:22
weight of the image is more important than the technical
35:27
perfection. So something's a little soft, or it's like a
35:30
little whatever, like, I don't need every shot to be like,
35:33
super, you know, everything in the whole image to be, yeah,
35:39
sure. It doesn't
35:39
Rob Tirrell: need to be an apochromatic lens that corrects
35:42
for sharpness and color rendition. Like, let it, let it
35:45
be, let it be its thing. And you can even get, like, a little bit
35:48
spiritual with it. And like, how much has this lens seen in its
35:52
life? And, yeah, like, that whole thing. So it's beautiful.
35:57
It can be really fun to and we should be also trying to reuse
36:02
things, or recycle things, and not let things just get kind of
36:05
tossed to the side.
36:06
Casey Fatchett: And, yeah, that's part of reason I started,
36:08
like, getting the the adapter for that stuff was like, I have
36:11
all these old lenses. Like, why? Why spend money on, you know,
36:18
new lenses when I can just, you know, put the stuff like, I have
36:21
the I have my stuff that's like me that I, you know, my locked
36:25
in couple lenses that I need for, you know, whatever other
36:30
things. Yeah, this is the stuff that I will use for.
36:32
Rob Tirrell: I don't need the 50 auto focus. I've got the 50
36:34
manual focus. I'm trying to get the adapter that's much less,
36:39
and put it on and cost?
36:42
Casey Fatchett: Yeah, they're like, $60 yeah, you want to get
36:45
spiritual about it, like there's a whole like, what has gone
36:49
through this? We've gone through my lens. I'm working on a part.
36:54
I keep trying to remember that. You know people who continually
36:58
listen to this show, I've probably brought this up 100
37:00
times, not really, because it's only been the last year, but I'm
37:04
working on a film project with my like, I found all this when
37:07
my parents passed away. They I found like, 40 rolls of unused
37:12
film that expired in the early aughts. And I'm just like, okay,
37:16
and there's and for me, there's a sort of the sense of the
37:20
photons, the light that bounced off of that subject, came
37:25
through and interacted with this film. And you know, all these
37:29
things that have, you know, that come together and and to create
37:34
this image, and the sort of the the spiritual nature of all of
37:40
this coming together, and look, you're still
37:44
Rob Tirrell: 100% and like, and again, yeah, my dad recently
37:47
passed, and I found the same thing. I found a bunch of film
37:49
that has yet to be developed, and I'm really interested,
37:52
because the stuff that he had developed, and he definitely
37:54
influenced me a lot. My mom did too. Obviously, she was a she
37:58
wasn't like, a shooter, shooter, but she actually worked in a
37:59
film lab when she was growing up, so but my dad took a camera
38:04
with him. He was in the Air Force, and he had, like, a
38:07
Polaroid and some other cameras, and I found like, 50 plus roles
38:11
and then another 20 plus disposable cameras that weren't
38:14
developed. Wow. So I'm just trying to save up some money to
38:17
get that all developed at least, and see what that looks like.
38:20
I'm not sure what years that some of them are from, but they
38:23
could be the from the late 80s all the way through the early
38:27
2000s it's pretty crazy to think about that. So excited to see
38:32
what, what's in those but, yeah, I got to save up some money,
38:35
because that's gonna be a that's gonna be a large amount of
38:38
money.
38:39
Casey Fatchett: Yeah, it's not cheap to especially when you're
38:41
dealing with, like, old film stock. You don't want to just,
38:43
like, that's not you don't want to run it through a machine.
38:46
Rob Tirrell: Yeah, and you could, you could, and it's gonna
38:49
have to be at some point. But yeah, it's worth it's worth the
38:52
shot too. Because, I mean, you want to let it get in the
38:54
canister and never find out what's on it, or you try and
38:57
develop it and see if, yeah, something came out
38:59
Casey Fatchett: of it. Vivian mayor and like, yeah, exactly.
39:02
Rob Tirrell: See, they had that show here at Fotografiska.
39:05
Casey Fatchett: Yeah, I wouldn't saw, like, the, the press
39:08
preview. It was amazing.
39:10
Rob Tirrell: Her stuff is incredible.
39:11
Casey Fatchett: She blows me away. Like, the, the
39:14
composition, huh?
39:16
Rob Tirrell: She didn't have a light meter, no. Like, she went
39:20
out with a rolly, and then she eventually got a Leica and and
39:23
used that for color, which I thought was really interesting,
39:25
that she switched the color with the Leica specifically,
39:28
Casey Fatchett: yeah, they were both there in the exhibit, which
39:30
they looked like they had just come out of the box. Really good
39:34
care. She took their immaculate but it was also the like her
39:40
compositions, just like I found so staying with how she was a
39:44
very private person in her life, but how she all many times, puts
39:49
herself in the photo,
39:51
Rob Tirrell: always, yeah, frame, or herself in the frame.
39:55
It's really beautifully done and and to see that without a
39:57
preview, like you said, it's like we're so. Lucky to have the
40:00
instant gratification of, like, knowing what the product's gonna
40:03
look like for her. She didn't know,
40:06
Casey Fatchett: and she didn't even, she didn't even bother to
40:07
find out.
40:08
Rob Tirrell: She didn't care. She's like, I know I got it.
40:10
Yeah, move out. It's like, I got it. I don't need to look at it.
40:14
Someone will look at it in four years.
40:16
Casey Fatchett: Yeah, when we consider the like, her work, and
40:20
you go, she wasn't even, like, seeing, she didn't even get this
40:23
stuff developed to know, like, I got it, yes, me, yeah. But they
40:26
like to see someone, like, even evolve. And there's still very
40:31
much in the same style, but like, evolving, like she's just
40:34
doing in her head. She's not like, looking back at the work
40:36
and going, like, Oh, this is what I need to do. She's just
40:38
like, I should have done this. Yeah, there's one that really
40:41
like, I love because I'm like, she's, there's no way she's in.
40:45
She's taking pictures of mirrors in a I know exactly what he
40:49
took. Yeah? And like, one's got her and she gets the camera in a
40:52
separate mirror, yes. And I like, how, like, you like
40:56
positioning yourself, and like, making sure that you're also not
40:59
showing up in any of the other reflective services. Yeah, it's
41:03
just nuts, nuts without a preview
41:05
Rob Tirrell: to do that with it, like a top down finder rolling,
41:08
like, that's inverted. Like, yes, like the mirror image,
41:13
yeah, the skill is crazy. Yeah, I would have loved to the people
41:17
always have the questions, like, Oh, if you could have dinner
41:19
with one person, that's probably the person
41:23
Casey Fatchett: I think we I'm looking at my like list of
41:25
questions I like, we've already, like, just gone through all this
41:28
stuff, but there's a couple that I have left. So What trends are
41:34
you noticing in camera technology that photographers
41:39
should be paying attention to? And like, how do you think
41:41
that's going to impact how photographers approach their
41:44
jobs?
41:45
Rob Tirrell: Yeah, so I'll start with, like, the less obvious
41:49
one, and then get into the more obvious one that pertains to my
41:52
particular job with Leica. So I mean, I would say one of the
41:58
trends definitely is a mixture of resolution and video
42:02
capability. So those are big trends right now. We're getting
42:05
kind of crazy with the sensor technology here, both for stills
42:10
and video. 60 megapixels for us at Leica is the max currently
42:15
that we make, but obviously we're probably going to get
42:18
beyond that at some point we do have in camera stack, like what
42:23
we call a multi shot that you can do, which is great. I tell
42:25
people to do it for the SL system, if they're scanning
42:29
their own film. That's a great way to kind of maximize what you
42:33
could do with that shot, but also crop into it or do product
42:38
photography with it. So that's that's that's one. And then
42:41
obviously the video side. I mean, now we're up to Ak video
42:44
and in in, like a mirrorless side of things, with a basically
42:49
a hybrid camera of stills and video, pretty crazy to do that,
42:53
people can really shoot their own content and make their own
42:56
films and movies whenever they want, which is great, and then,
43:01
and then the other part of technology is something that
43:04
we've been doing here at Leica with Leica content credentials,
43:08
which is part of this content authenticity initiative that we
43:12
put together with Adobe. And New York Times are the current
43:15
partners with that. And basically it's a digital
43:19
watermark put in the camera sensor directly that can trace
43:23
its kind of legitimacy and what's done to the camera or
43:28
done to the photo, I should say what's done to the file once
43:32
it's out of the camera. So it's really good to validate a
43:36
photographer. You can put all your information in it, or you
43:39
could not. It's an option. You're not paying extra for
43:42
that. That setting in the camera, you're paying extra for
43:46
other things the camera does. So it's it's been pretty cool to be
43:51
a part of a company that appreciates its users and really
43:55
wants to help prevent them from ending up in a situation where
43:59
they either can't win an award because somebody can't confirm
44:02
it's a real photo. Or they submit it to a publication like
44:08
the New York Times or some other media outlet and they don't
44:12
think it's a real image, this can validate it. They send them
44:15
the full file over. Hey, here's what's been edited to it, traces
44:18
it you open up in Adobe, shows you all the layers that have
44:21
been manipulated. It's really cool to have that function, and
44:25
I'm sure it will continue to get better as technology advances to
44:29
really match what AI can do and the good and bad that comes with
44:33
that. So hopefully this can kind of keep that in check or at bay
44:37
for as long as it can.
44:39
Casey Fatchett: At bay, I think, is probably the more in and it
44:44
is important to the cat like this, seeing, I don't know, even
44:50
sometimes from the same people, I will see like, Oh, isn't this
44:53
AI thing I did amazing. And then also being like, I can't tell
44:56
what's AI and what's real anymore from the same person.
44:58
And you're like, well. There, yeah, I mean, you've, you've let
45:01
the genie out, and you can't get them back in the bottle and, but
45:07
they've seen this movie before, yes, I think, a bunch of
45:10
different times. Yeah, this is not the first, you know, dozen
45:14
times I've seen it. Also, you know, like, so having that type
45:18
of technology in the camera. I think it's, it's, it's extremely
45:27
important. I mean, I started out doing photojournalism, so I
45:30
mean, that was,
45:32
Rob Tirrell: this is who it was initially designed for. Yeah, I
45:36
can become sorry. Is that my?
45:38
Casey Fatchett: That was you. But it's fine. No worries. Do
45:41
not disturb.
45:42
Rob Tirrell: But it's not listening to me. So, yeah, no,
45:48
come on. Ai do your thing. But yes, so no, I mean, it's, it's
45:52
great to have that for the photojournalism users, and those
45:57
are the ones that are really into it now, but everybody's
46:00
going to pay attention to this sooner or later and really
46:03
appreciate it down the line. They don't need to be an early
46:05
adapter to it, which is fine, and that's why we're here.
46:09
That's why we're here to exist. And we have something coming up
46:11
on Tuesday. I don't know when this is coming up, but in
46:15
September, here on the 24th we're having an event with Adobe
46:20
in New York, here at the meat packing flagship store for Leica
46:23
to kind of have that conversation and that open panel
46:26
discussion on what this is, why it exists, why it will continue
46:31
to exist, and why you should care about it. That's awesome.
46:35
Casey Fatchett: Man. Incredible. And finally, for photographers
46:43
who are starting out, and we kind of got into this, who are
46:46
looking to make their first investments. Should when you're
46:50
prioritizing your gear, where should you be, like,
46:54
prioritizing when they when they do want to upgrade? Because we
46:57
already talked about, like, when you're starting out, you maybe
46:59
need to one lens or two lenses don't get a lot of things, but
47:03
when you are starting out and looking to you feel that it's
47:07
time to now start making more investments in in gear. What
47:14
would you what would your be? Your recommendation, your
47:18
Rob Tirrell: I'll start this with a with a personal kind of
47:22
experience that I went through when I first started working
47:25
with, like a the q2 was out, and I was in love with 35 shop,
47:31
like, had a Sigma lens on an icon, and that was, like my, one
47:34
of my really go to setups. But I also had other things. I had the
47:39
24 to 70 and couple other lenses. I had a little bit wider
47:42
lenses. I had, like a 16 and 35 so I had had a good kit with one
47:48
camera, but I'm like, You know what now that I'm working with,
47:51
like, I'm going to try and transition, and how do I do
47:54
that? So I got rid of the 35 and fell in love with the 28 on the
47:57
q2 and that was not only a second body, but a lens that I
48:02
used a lot. So that was the investment that I made in
48:05
myself. And I was like, All right, now I've got two cameras,
48:09
and both are very good right now, but now I've got a camera
48:12
that could do video hand right? Not worry about a lens change at
48:17
all. It's I'm stuck with the 28 and I'm cool with that, because
48:20
it's a 1.7 47 megapixels, and that's like the ultimate like
48:26
sidekick to a 24 to 70, where I do have a zoom and I can change
48:31
the lens on the other camera. And then eventually I fully
48:34
migrated, because I've been with the brand little over three and
48:36
a half years, been lucky enough to accumulate some other older
48:39
gear and some pre owned stuff, and it's been fun to really
48:45
build the kit out that way and really kind of shift. But I
48:48
would say, find what you like and what's the most efficient
48:52
for you to get out the door and shoot, because you don't want to
48:56
get in a situation where you're like, do I take this? Do I not
48:58
take this to I don't really want to carry all these lenses, like,
49:01
find something that's going to narrow that down, right and
49:03
really make you as efficient as possible, not just as a shooter,
49:08
but as carrying the load, the Pack Mule. Now, like, you want
49:13
your own Pack Mule, so please, save the weight, save your back
49:18
and the energy that comes with packing everything. Don't bring
49:21
everything to the set unless you're getting paid to bring
49:23
everything to set, right? Yeah.
49:25
Casey Fatchett: And that's another thing I'll say, folks
49:27
about, like, getting an adapter and using these vintage lenses,
49:30
they weigh a lot less than a lot of, like,
49:33
Rob Tirrell: a lot of momentum focuses. Lenses are not only
49:35
more compact, but they're lighter,
49:37
Casey Fatchett: yeah, lighter. And you can fit a lot more stuff
49:39
in a small bag than if you're trying to, like, pack all you
49:43
don't look like an obvious photographer when you're
49:44
carrying a smaller bag, right? Yeah? You can like, blend in on
49:48
a target for someone, yeah. Or you can just like, or if you're
49:51
doing street photography, you know, you people don't
49:53
necessarily notice that you're taking pictures of people. More
49:56
discreet, for sure. I.
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51:27
you, hey, now for my favorite part of the show, what's that?
51:31
Say? Useless information. This is always death.
51:40
Did you know that more tickets were sold to see Gone with the
51:44
wind in theaters than there were people living in America?
51:52
Rob Tirrell: Wow, yeah.
51:54
Casey Fatchett: So in 1939 America's population was just
51:58
around 130 million, over 200 million tickets were sold during
52:04
gone with winds original.
52:06
Rob Tirrell: They had to see it again. Run someone, someone
52:08
yelled, and somebody, someone disturbed the film, and they had
52:14
to see it again.
52:15
Casey Fatchett: They're like, Wait, what did he say? He gives,
52:17
He doesn't give. What did it? Wait? What happened? What was
52:20
that line? She said she'll never go what again? I gotta go back
52:24
and see it another time, exactly.
52:25
Rob Tirrell: Or the credits were rolling too fast, and they
52:27
really wanted to see that, that person in that scene, yeah,
52:30
like, who
52:30
Casey Fatchett: was that? Who was the body in the soldier and,
52:34
you know, laying on the ground in that big train again? So many
52:39
things. I gotta go back my third time. I gotta see it again. It
52:42
was actually the only 100 people, but they went and saw it
52:45
a million times
52:48
Rob Tirrell: or they couldn't make that day. They bought
52:49
tickets to the one night showing, and
52:51
Casey Fatchett: they couldn't get through the they couldn't
52:52
get through the whole thing in one sitting. So they had to come
52:55
back the next day. They fell asleep for the second half after
52:59
after the intermission. Rob, thank you so much for coming on
53:03
the show. It was great time. Where can people find you on the
53:06
internets?
53:07
Rob Tirrell: They could find me a couple places. They could find
53:09
me on Instagram, at Rob Terrell, R, O, B, T, I, R, R, E, L, L. Or
53:15
they could find me on my website, www dot Rob
53:19
terrell.com, same spelling or at the place of business that I run
53:23
at Leica store, N Y in New York, l, e, i, C, A, S, T, U, r, e, n,
53:29
y, if
53:30
Casey Fatchett: you don't know how to spell like a, there you
53:33
go. Yeah, I'm gonna include all those links in the Episode
53:37
Notes. Rob, you're more than welcome to come back anytime you
53:40
want appreciate talk about whatever. This is a blast.
53:45
Thanks.
53:47
Rob Tirrell: You're the best. Thanks.
53:53
Casey Fatchett: And we're back. Our pairs are all done, and
53:56
we're ready to head out on our next adventure. Many thanks to
53:58
rob Terrell for coming on the show, you can find Rob's links
54:01
in the Episode Notes. While you're adding folks on socials,
54:05
you should be following along with the nerdy photographer on
54:08
various social media platforms like Instagram, Tiktok threads
54:12
and Reddit, or, you know, wherever you are social at the
54:17
nerdy photo, all one word, no underscores, dots or dashes, at
54:20
the nerdy photo. Feel free to tell us on social media what you
54:27
think about this episode or any other episode that you've
54:30
listened to, leave your photography related questions
54:33
that we can answer in a future episode, or tell us what topics
54:37
you would like to hear covered in future episodes. Yeah, it's
54:41
all about the future episodes. Folks, we want to know what
54:43
you'd like to listen to. We also appreciate your reviews. So
54:46
leave a review on Apple podcasts or a platform like pod chaser or
54:50
good pods. On pod chaser and good pods, you can also leave
54:53
reviews for individual episodes, which is pretty awesome. Any
54:57
reviews are greatly appreciated wherever you leave. Them. Hey,
55:01
guy selling stuff fell off the back of a ship. Do you have any
55:03
good noise canceling headphones? Sometimes it gets pretty loud
55:06
when we're out adventuring and I still want to listen to my music
55:09
or, you know, answer a call without all the distractions.
55:13
Robot Salesman: My dude I have catches the thing for you, the
55:16
latest in earbud technology.
55:19
Casey Fatchett: Don't you mean, bud,
55:23
Robot Salesman: no ear bug. You put this electrified millipede
55:27
into your ear, it activates blue teeth, bites you with blue teeth
55:31
and zip zap, you are getting your tunes and calls wire
55:34
directly into your brain and all other noises are moved like
55:38
pebble fish, but much, much, much more painful.
55:46
Casey Fatchett: I'm good, actually, until next time,
55:48
everybody stay safe and stay nerdy