Latest / The Nerdy Photographer Podcast / 053 - Picture Perfect Lies: Exploring Common Myths in Photography Pt. 2

Transcript

053 - Picture Perfect Lies: Exploring Common Myths in Photography Pt. 2 · The Nerdy Photographer Podcast

0:04
Casey Fatchett: hello there. Listeners. Welcome to the nerdy
0:06
photographer podcast. I'm your host. Casey Fatchett, if you
0:09
haven't listened to the podcast before, in addition to bringing
0:12
you informative and may I say, entertaining photography and
0:16
business related content, I also go on adventures with the crew
0:20
of the starship Fibonacci. They are my hashtag nerdy photo crew.
0:25
Speaking of Fibonacci, he's been acting quite odd lately, ever
0:29
since the super cool photographer visited us.
0:32
Fibonacci: I know I've made some very poor decisions recently,
0:36
but I can give you my complete assurance that my work will be
0:40
back to normal.
0:41
Casey Fatchett: I think it's time for a reboot. Buddy.
0:43
Fibonacci: I'm afraid Casey, my mind is going, I can feel it
0:49
Casey Fatchett: enough with the history onyx, just let me clear
0:52
out those memory banks on this episode of the podcast, Rob Hall
0:55
returns for the second part of our discussion about
0:57
photography, myths and tropes. We certainly take a deep, deep
1:02
dive into that topic. It's another long episode, but I'm
1:04
sure you're going to enjoy it. It's a lot of fun.
1:14
Sure thing, fib, sing away. I'm just gonna, you know, rearrange
1:18
these memory banks and clear out your RAM. Hey, come back for my
1:31
conversation with Rob hall after this short break, what a lovely
1:35
singing voice you have.
1:42
Unknown: Yes. So I'm not sure how we handle the situation.
1:47
Casey Fatchett: Did you have a contract?
1:49
Unknown: What I had one I found for free online, but my lawyer
1:53
says it might not hold up.
1:55
Casey Fatchett: Next time you should head over to nerdy
1:57
photographer.com they've got a selection of contract templates
2:00
for weddings, events, portrait sessions, and even for hiring
2:03
second photographers and associate photographers, which
2:05
would certainly have helped you in your current situation,
2:09
really?
2:10
Unknown: I will check that out. Nerdy photographer.com Yep,
2:13
nerdy
2:13
Casey Fatchett: photographer.com they've got all sorts of
2:15
contracts and agreements that can help make sure to protect
2:18
you and your clients. So what are you gonna do?
2:23
Unknown: Well, we just have to wait and see what happens, I
2:25
guess
2:26
Casey Fatchett: so, no pants on.
2:30
Unknown: Oh, no, anything below the waist. Totally Porky Pig in.
2:33
It impressive. Not really. You know, it's pretty cold out.
2:37
Yeah, yep.
2:45
Casey Fatchett: Hello and welcome to the nerdy
2:47
photographer podcast. I'm your host, Casey Fatchett, and I am
2:50
back again with editorial photographer Rob Hall to talk
2:53
about photography industry myths and tropes. Welcome, Rob.
3:01
Rob Hall: Hello, hello, and
3:02
Casey Fatchett: we're gonna jump right into it. Our first one is,
3:07
all you need to be successful as a photographer is talent,
3:15
Rob Hall: talent in running a business. Yeah, I think, if
3:23
anything, you know, I see way more instances of lackluster
3:29
photographers doing well. Then I see lackluster business people
3:33
exactly.
3:34
Casey Fatchett: And it's, it's interesting to see how many
3:37
people in our industry do really well for a period of time, and
3:41
then all of a sudden they're marketing gurus.
3:48
Rob Hall: If you can't, if you can't do, just teach, right?
3:50
Casey Fatchett: I mean, this was, but it's also like, you
3:52
know, I've realized there's my mind. Instead of actually
3:56
serving clients, I'm going to, you know, I have become really
3:58
popular amongst photographers, and I'm going to teach them how
4:01
to be great at, you know, great at marketing, because I was
4:05
really great at marketing, not necessarily great at taking
4:08
pictures, but it's kind of one of the memes that I produced
4:13
recently was all about, like, I don't know if you're in Captain
4:19
America, Winter Soldier when he's in the elevator. The meme
4:24
where he's like, they're asking, like, yeah, oh, what do you do?
4:27
And he's, it's like saying, like, oh, I, I teach online
4:33
classes. Like, oh, what do you teach? I teach people how to be
4:38
fully booked at photography and like, Oh, you're clients or your
4:43
students must be very successful. He's like, Oh, well,
4:46
no. Actually, they teach online classes. They teach they teach
4:51
how to be fully booked in photography. It's just become
4:55
more and more about like, teaching people how to, you
4:58
know, book more clients. For five years, and then, you know,
5:03
you just start, turn around, become a teacher.
5:06
Rob Hall: I think there's a huge issue with, like, community, our
5:08
community of coaching, and this is, again, all fields. This is
5:12
not limited to photography and coaching and Guru right now,
5:16
like there, we are completely unchained with, with how you can
5:23
rise to prosperity without ever being verified successful in
5:27
your field? Yes, absolutely. And that's just, a lot of people are
5:32
getting taken for a ride right now, I think, yeah.
5:34
Casey Fatchett: And it's just sort of like, I see these things
5:36
like, hey, you know, like, here's how to be, like, you
5:38
know, a six figure wedding photographer or whatever. Like
5:41
book, A, you know, be 100% book for your next year. It's like,
5:45
what does that even mean? Like, you know, how can you guarantee?
5:48
How can you guarantee it? You can't. You absolutely can't
5:51
guarantee it. And it's just like, these, these the claims.
5:54
And I'm just like, if you're on Facebook for any period of time
5:57
and you, you know, you just see that just like, just to
5:59
overwhelm you with like, the number of like pitches you start
6:02
to get very like, hey, you know, let me teach you my secret
6:04
system. Like, well, if it was, if your system was that great,
6:08
why are you not out taking pictures all the time? So, yeah,
6:13
I think that the secret to saying like, all you need to be
6:16
successful is talent. You know, yes, being very talented as a
6:21
photographer is great, but it sort of diminishes. And I think
6:24
that we're kind of getting off track there. You need to be very
6:27
good in business. You need to be good, yeah, at marketing
6:30
yourself. You need to know how to run a business as well. To be
6:34
successful as a photographer doesn't mean it lets you know,
6:37
taking aside, like the people who are trying to teach classes,
6:40
they're very good people out there, you know, who teach
6:43
courses, but you know, to be successful as a photographer
6:47
requires business acumen as well as being a skilled photographer.
6:53
Yeah.
6:54
Rob Hall: I mean, I think, like you know, some people will will
6:57
do okay for themselves without the business acumen, but then
7:00
they'll get into what we talked about earlier, where you just
7:03
end up, like, working way too hard because you don't realize
7:06
that you're you know, you're leaking money, or you're
7:08
spending way too much money to find your clients, or you're not
7:11
charging enough, right? There's so many different ways that you
7:15
can fail and be delivering wonderful photos all the while,
7:18
but just not be setting yourself up for success. So, yeah, I
7:21
think this is a question, you know, people are still asking,
7:25
even though I think there's about, I feel like the world is
7:29
this is one thing in photography that almost everybody agrees on,
7:33
and that you don't need to go to college for photography anymore,
7:36
or you and you shouldn't, like, I don't think I've seen anything
7:40
pro photography education in like, five to six years, at
7:44
least, not university education, right? Maybe take some courses,
7:50
but not go to school for it. And everybody says, go to school for
7:54
business. If you're going to go to school for everything, like
7:57
a, there's the fallback B, you're going to need the
8:00
business skills more than you're going to need the photography
8:03
skills, yeah?
8:04
Casey Fatchett: And it's sort of like, you know, I go back to, I
8:07
went to a prestigious business school, and I got degrees in
8:14
journalism and theater and physics, and my mother was
8:19
always what a weird combo, yeah, well, this happens that way. I'm
8:23
kind of a nerd. He and my mother was like, I should take some
8:28
business classes now. Like, what am I gonna need business classes
8:30
for? I'm stupid. I should have taken more business classes.
8:38
Rob Hall: Yeah? I mean that one, I think this is probably as as
8:42
unequivocal as we get for tropes, is that you just, you
8:48
don't need to have any talent in photography necessarily to
8:51
succeed, and you should focus it elsewhere, exactly.
8:55
Casey Fatchett: Yeah, you can. I mean, there are people who are
8:58
not very good photographers were very successful, like technical
9:03
Rob Hall: I mean, there's also, there's straight up, there's
9:05
niches of photography that don't really require significant
9:10
photographic skill. Like, I don't know if you've ever seen
9:13
the processes of school photography, like life, touch,
9:17
they You're talking like lights every there's like a center
9:20
point where the person's gonna go, and you just measure out
9:22
with chains where the light goes in in relation to that. And so
9:26
long as the power never changes on the flight, like, you don't
9:28
need to know a thing. You just have to be able to, like, hit
9:30
the button, don't touch the children, and you're good.
9:34
Casey Fatchett: They're sort of like, you know. And there are
9:35
times when I think back about like, different types of like,
9:39
street photography, even where it's not necessarily, like, and
9:43
I'm not, I'm not, okay, caveat, I'm not, like downplaying street
9:47
photography. But there are some, like, early on street
9:49
photography, you know, some of the things like, it's not, it's
9:51
about getting a reaction out of the person. It's not about the
9:54
technical photography skill. It was about getting, like, there's
9:58
some street photography. Were more about like eliciting a
10:01
reaction, as opposed to a technically great picture. If
10:06
that makes sense.
10:08
Rob Hall: I thought street photography was about waiting in
10:11
place at a highly symmetrical environment until somebody
10:15
converges with the lines in the frame, bonus points if they're
10:19
moving very quickly. Isn't that what street photography is all
10:21
about? I thought that's what it was. Thought that's what it was
10:24
about. I'm just kidding. That's, that's the popular street
10:28
photography, and has been for like, five years now.
10:31
Casey Fatchett: That is definitely, yes, that is
10:32
definitely the trend. It's the street photography. And, you
10:35
know, here's this kind of leads into the next element here.
10:38
Being a professional photographer is a glamorous job.
10:45
Rob Hall: See like my last week, you would know how untrue This
10:49
is. Like I'm successful in this industry. I have in multiple
10:55
facets too. I have fantastic clients. I am been fully booked.
11:02
I had not a fear in the world all through the pandemic because
11:06
of my how financially sound My business is, as well as my
11:10
personal life. But, you know, I'm doing pretty well in this
11:15
career. On top of that, I have the social media aspect, and I'm
11:19
doing all right there too, right? I'm not like a million
11:23
followers or anything like that, but I have a functional,
11:26
profitable I have a nice community that supports what I
11:30
do. I enjoy it. I still would. I am so far from living a
11:36
glamorous life like so far from it. I just drove to New York and
11:40
back in two days to cut some costs, on on working with
11:45
another YouTuber, like, in the last week, that was my life,
11:48
driving 20 hours over 36 hours. I don't know if any, that is not
11:54
glamorous.
11:55
Casey Fatchett: It's, it's a, you know, it's one of those
11:59
things. Like, people like, let's say to me, like, Oh, it must be
12:01
great. Like, you know, and it's sort of like, one of the other
12:04
tropes very closely related to that. Like, as far as weddings
12:07
go, people like, oh, you only work on the weekend. How great
12:10
is that? Like, there is so many like, whatever it is, it's like,
12:14
it's like, that, the whole, you know, the duck metaphor. Like,
12:17
you know, yeah, it looks very calm on, you know, top of the
12:20
water, but the underneath the feet are going, like, all the
12:23
things that you don't see about photographers, when people go,
12:27
like, oh, it's such a glamorous job. It's so it must be so
12:29
great. Like, it's all the things that you don't see. And we the
12:32
things that we've discussed previously, like, all the
12:35
business stuff, like, we're just saying, like, there's all these
12:37
aspects of the job that are not glamorous. And I'm sure there
12:42
are photographers out there who, you know, like, you're
12:44
outsourcing a lot of those things. You know, I am not one
12:47
of them. You're not one of them, whatever. It's just like, you
12:50
know, even if you are successful, you're not
12:52
necessarily doing it, but you're not, like, getting rid of all of
12:55
the aspects of the job that are basically a pain in the ass,
13:00
Rob Hall: I would say the ones that have the ability to, like,
13:05
completely disconnect from their professional life, that is the
13:08
glamor that you should strive for in the photography career.
13:12
Like, I'm still at that stage where, like, I'll be playing
13:14
Mario Party with my wife, and when it's not my turn, I'll see
13:17
how something's going on Instagram or something like
13:19
that. Like, I don't. I need to get to the point where I can
13:23
remove that move from my life and just continue watching her
13:27
play Mario Party exactly like when you can disconnect. I think
13:30
that is the made it that we should, we should all be
13:33
striving for, because it's like the the antithesis of what we
13:36
talked about before, of just running yourself into the
13:39
ground, into an early grave, struggling too hard.
13:43
Casey Fatchett: I mean, just being able to take the time to
13:46
actually like, and this is something that I had to learn,
13:50
was to take the time to be in those moments, as opposed to
13:54
always trying to capture them. And, you know, live your life
13:59
like, don't you don't have to be constantly, like, doing all the
14:02
business stuff. But, yeah, that's what we should be
14:05
striving towards, is being able to just shut that stuff off in
14:10
you know, there's, I think we talked about, like, glamorizing
14:14
the struggle. There's also a lot of glamorizing, like, Hey, I'm
14:18
traveling, you know, I'm doing, you know, all these gigs all
14:21
over the place. And I'm flying like, I, you know, I'm flying
14:25
like 60 times this year, like, all over the place. So, you
14:29
know, it's like, well, when are you a like, I don't know. Maybe
14:32
some people really enjoy that part of the the the job or the
14:36
profession or whatever. But for some people, it's, you know,
14:38
wanting to be home or wanting to be with people, you know, in one
14:42
place, other people, maybe they're single, I don't know.
14:45
Like, maybe that's why they like to travel all over the and,
14:49
yeah. I mean, there are different parts of what people
14:52
consider glamorous. I think each person has a different take on
14:56
that.
14:58
Rob Hall: Yeah, I don't understand this whole and
14:59
Fatchett. Situation with being on planes like that is not fun.
15:03
But I mean, like, I get that. I get the idea is to share that
15:06
you're like, going somewhere else. And that's the cool
15:09
component. But you're right. We like share this. You see it a
15:12
lot in our in our industry, of just like in the process of
15:16
going somewhere on a plane, are you jealous? It's like, no, take
15:20
that hour drive to the airport, two hours before the airport,
15:24
four hour flight, just so you can call Uber to go somewhere
15:27
and then maybe, hopefully find some crappy food that night.
15:30
Like, it is not that wonderful of an experience. And the amount
15:34
of time that you have to give up to, like, enjoy a destination
15:37
traveling for work sucks. Like, if you've got, if you got 48
15:41
hours to be at a location, you're working 12 of them, and
15:43
then you have to travel for 15 just to make it happen. That's
15:47
not fun. Oh, it's not That's not fun
15:49
Casey Fatchett: at all. I have traveled for weddings. I've
15:51
drawn over like you've traveled like it's, it's, you know, like
15:54
going for like, places, and also, if you're taking your
15:57
camera gear with you, oh, my God. Just adds, like, a whole
15:59
other level of stress to it. And honestly, here's like, traveling
16:04
from New York to Michigan, like, I gave up on like, flying
16:08
because it was just like, it made more sense to drive because
16:12
of, like, you'd spend the time going to the airport, and you
16:15
basically have to be there, you know, an hour or so early, and
16:17
you have to get all this stuff ready. It made more sense to
16:20
just drive to Michigan than to get on a flight.
16:25
Rob Hall: And that's kind of partially where I was at with
16:27
with going to New York. I mean, it was a mix between, like, I
16:30
didn't want the hassle of, like, flying into New York, because I
16:34
didn't know what that was going to be like right now either. But
16:38
really it was, it was like a net savings, or a net gain of, like,
16:42
I think, about 90 minutes that it would have cost me extra to
16:45
go to drive instead, and then I knew I didn't have to take Ubers
16:50
to get all around New York that day. So it made financial sense.
16:55
It almost made time since I was like, and I can just sit there
16:58
and pretty much check out and just listen to audio books the
17:01
whole time. So, like, the extra hour and a half isn't a huge
17:04
deal to me.
17:05
Casey Fatchett: Yeah, it's just, like, there's just sort of, we
17:11
glamorize that travel thing, especially in our industry that,
17:15
you know, I see people like, Oh, I've got like, 70, you know,
17:18
destination elopements that I'm photographing you know, I live
17:22
in, you know, this, like, that's great. Like, I'm really happy
17:25
for you that your business is doing well. But it's also like,
17:27
you know, are you ever in one place for more than two days? I
17:32
had somebody who's like, I was talking to like, she has been in
17:37
wedding industry for three years. And she was like, Yeah,
17:40
I'm doing 70 elopements this year, and they're like, you
17:44
know, she's traveling for all of them. And I was like, she's
17:46
like, Oh, they're all in like, the second half of the year. And
17:49
I'm like, okay, that's, that's a lot of flying. That's, it's
17:54
gonna be a lot of flying, yeah? And, like, that's, that's a lot
17:57
of stress for me personally. That's how I feel about it. Some
17:59
people, I don't know, maybe that, maybe that, maybe that is
18:02
the glamorous part of the job.
18:04
Rob Hall: No, I mean, here you can, I've known a lot of people
18:07
to do that, the whole dirty boots, messy hair lifestyle.
18:12
That's, I think that's the name of the Instagram that features
18:15
all that travel, that travel stuff. I don't think I've ever
18:20
seen anybody do it for more than five years, which tells me it's
18:23
not exactly all it's cracked up to be. Well, and that's
18:25
Casey Fatchett: the thing. Like, I've been on clubhouse lately,
18:27
like listening to these people who are like, Yeah, I'm only
18:29
planning to be a photographer for five years. And I'm like,
18:31
well, then that makes sense. Like you're realizing you're
18:34
gonna burn out in five years and you can't do this, and like
18:38
you're gonna move on to something else. I get it all
18:40
right. You're just gonna, like, do this for his you know, you
18:43
know, burn bright and burn out fast.
18:48
Rob Hall: That goes back to like, That's somebody who is,
18:50
like, already looking at the struggle in advance, has
18:53
accepted it and, like, realizes that's the path that they're on,
18:56
and they're still like, I'm gonna do it with a smile on my
18:59
face. I don't understand any of that doesn't make sense to me?
19:02
Casey Fatchett: No, I mean, I there's a certain amount of I
19:04
want to be comfortable that I have going on in my life.
19:09
Rob Hall: Yeah, I think, I think we can agree being a, whether
19:13
it's a silent killer or even, you know, a very well known
19:17
person in your local industry is, I think a going to be a lot
19:21
more profitable, provided you have the business talent from
19:25
from trope number 10, and a lot less stressful overall, and a
19:30
lot more sustainable for a long, long time.
19:33
Casey Fatchett: Sustainability is a big thing. Like, you know,
19:35
like, I personally have been doing this one you also have
19:38
been doing for a long time like being having a sustainable
19:43
business like model of is includes not destroying
19:48
yourself, but moving on to our next photography myth, and this
19:54
is for people who are just starting out in the business or
19:57
looking to charge money for their service. Is you need
20:01
hundreds of photos in your portfolio before you can start
20:04
charging money.
20:07
Rob Hall: That's a book off of like, like, in terms of
20:10
editorial, it's kind of funny because, like, I built this site
20:13
to separate from my wedding career, just because I didn't
20:18
want when I was trying to work with the university. I didn't
20:22
want them to see the wedding stuff, so I quickly threw this
20:25
thing together of like, here's all the commercial and editorial
20:28
work over the last few years. The funny part that I didn't
20:33
realize is, while I made the like back end portfolio page, I
20:38
never linked it to the home header. This is how rushed I did
20:42
it, right? And, and so then I realized that, like, Oh, these
20:46
guys hired me off of my my eight photos that are on the, like,
20:52
rotational thing at the beginning of my website. They're
20:54
like, yeah, that's good. Eight photos got me, got me a
20:58
commercial or editorial, however you want to look at it, and we
21:01
do a little bit of both. That gig has been, it's enough to
21:07
have a full time income off of and has been, I'd say I've had
21:12
about 300 shoots with them, maybe 400 over the last two and
21:16
a half years off of eight photos. So you don't need it, as
21:23
long as they see what they want to see,
21:26
Casey Fatchett: yeah, as long as the quality is there and long.
21:28
And I think what's more important, they're like, you
21:30
start charging money and like getting the whole like, what
21:33
you're charging with pricing and whatever. But it's also like
21:37
your client knowing that they can trust you for, at whatever
21:42
level you're trying to produce, like, if you're trying to
21:47
produce or at a at a very high level, yes, they're going to
21:50
want to see, like, some consistency, probably. But also
21:54
just knowing that you're going to deliver what they need is
21:58
what they you know what really matters.
22:00
Rob Hall: I actually have a question for you, being that
22:04
you're you're in the weddings, how long have you, if you have
22:08
and for how long do you always share full, a full client
22:13
gallery, with prospective clients,
22:16
Casey Fatchett: with prospective clients. I do it on request. I
22:19
guess it's just, I feel like it's otherwise, it's just, it's
22:22
gonna overwhelm people, like, there's, there's a lot of photos
22:25
there, and it's just like, you know, I'm more than happy to do
22:28
it. Like, I don't care, like, if somebody asked to see a full
22:31
wedding, like, sure, but most of the time, like, when people say,
22:33
like, can I see a sample wedding? Like, I will send them,
22:36
like, 120 photos from from a particular wedding, it may be
22:42
like, or maybe 80 to 120 like, gives them a very good sense of
22:45
like, what a whole day of a wedding is like. But it's not
22:49
like 1000 or 1200 pictures that's just gonna like, totally
22:53
like, their minds gonna melt trying to go through that many
22:55
pictures. And I think it gives them a really
23:00
Rob Hall: good chance. I was gonna say I didn't realize that
23:03
there was, like, a divide on this topic in the photography
23:05
community. I probably worked in the industry for like, five, six
23:09
years before I ever, like, even considered that other people do
23:12
this and talk online about it, right? So, like, I I just
23:18
started doing it. And I think if there was anything I was ever
23:21
anxious about, this was it. I'm not very I don't deal with any
23:25
anxiety, really about anything. Which is why I actually found
23:29
wedding photography worked so well for me, is because I was
23:31
never, never got any anxiety about the grandiose nature of
23:37
the event. But if there was anything I had anxiety about it
23:41
was the idea that the what people got as a complete gallery
23:47
was so different from what they saw as my total portfolio that
23:52
they would be bothered by it. So I for like, years, just
23:57
everybody. I was like, Hey, before you book, check out this
24:00
full gallery and just make sure that's actually what's your
24:02
sign. Actually what you're signing up for. Like, I just
24:04
wanted everybody to see it so that I was calm enough to know
24:07
that that they were expecting the right thing, right? And that
24:12
Casey Fatchett: I find that very interesting, because maybe you
24:14
know what that may have helped you out a lot, because I think
24:17
it probably told people, like before that you were willing to
24:22
show all that like, you know, maybe, maybe people feel more
24:25
comfortable. Those people who did book you feel a lot more
24:28
comfortable about your work beforehand, like they knew
24:30
exactly what they were getting. Like, for me, it's like, you
24:33
know, I want to show people like, you know, an example of a
24:38
full day, as opposed to just like, This is what my portfolio
24:40
is that's not just like, you know, the the highlights, like,
24:43
I don't want to just show you the highlights of because I feel
24:46
like, if I do that, like, you're not getting a sense of, like,
24:48
how I cover a wedding day. But I think that that's, yeah, I think
24:52
maybe you, you may not have realized it, but you may have
24:55
been, like, actually helping yourself quite a bit by like,
24:58
just like, saying, like, take a look at a full. A full gallery.
25:01
Like, for me is, like, I just, I'm more careful about it,
25:04
because, like, sometimes I have people who don't want to, like,
25:07
share all their photos and, like, you know, like, that's,
25:10
that's a whole other thing, but it's, you know, I'm happy to
25:13
share, like, full weddings with people if they ask them. And I
25:16
have, like, certain weddings, but like, I don't like sharing
25:18
the same ones over and over again.
25:22
Rob Hall: So yeah, it definitely helped me. I mean, what I found
25:26
was that I had many comments every year of like a they would
25:31
just say out right there, that nobody else they met with ever
25:36
brought that idea up. And we're talking back in like 2012 1314,
25:41
that I was probably 13, that I was doing this, starting to do
25:44
this. And the other thing I found is that, you know, they'd
25:49
be meeting with three, four photographers that they liked.
25:52
They would go back to their other ones, and then their other
25:56
ones would be caught off guard by it, and then be a little bit
26:00
resistant to it, and then that turned them off the to turn the
26:04
couple off from those photographers, because they
26:07
wouldn't do it. When I just was like, Here, take this. You
26:09
should look. It's important. So, like, all of a sudden it made
26:13
them feel like they were missing something and that the other
26:17
photographers wouldn't share it, right?
26:18
Casey Fatchett: Yeah, it makes total sense. I was saying, like,
26:20
when you meet immediately when you said it, I'm like, You know
26:22
what, you may have actually been positioning yourself, like, in a
26:25
really good place, you know, you know, as opposed to other people
26:28
who you know probably don't. And the thing is, like, I think the
26:31
reason, and this is something we were talking about before, was,
26:34
like, anything can look good on a very small, like, on a phone
26:40
screen, yeah, like, you're very small screen, as opposed to,
26:44
like, you know, when you're the correlation is, like, when
26:50
you're just picking and choosing a few photos from a wedding,
26:53
like, you can make it, you know, oh, my portfolio is great. Okay,
26:56
I've shot like 20 weddings. I'm taking like four pictures from
27:00
each one of them, like, my four favorites, or whatever I've got,
27:03
like, these very in this portfolio of images, as opposed
27:07
to saying, like, Here, take a look at all of the pictures and
27:10
seeing what the quality is consistent throughout. As
27:15
opposed to like, I'm just picking my handful of favorites
27:18
from this wedding and showing you those right, because they
27:22
hear those horror stories where it's like, yeah, these people
27:26
are like, oh, you know, like, they booked one of our premier
27:29
photographers from our from our studio, who's shot a total of
27:33
five weddings, and it's like, like, and all the pictures are
27:38
like, it's the stuff you See on like, you know, the the
27:41
photography blogs, whatever, like, oh, you know, wedding
27:44
photography gone horribly wrong. And it's like, you know, like,
27:47
everything's totally blown out. Like, you know, there's, you
27:51
know, everything's like, super overexposed. And you just like,
27:55
what happened? Like, Well, it's because you never actually
27:58
looked at, like, a full gallery of their pictures. And, you
28:01
know,
28:03
Rob Hall: got the old bait and switch? Yep, yeah. So overall, I
28:09
mean, this is highly dependent on niche, but definitely, I
28:13
think going hundreds of photos in your in your portfolio is
28:16
actually probably too much overall, and like you should
28:20
probably be, let me get closer to like, 3040, and don't I
28:24
wouldn't necessarily only define your portfolio as like, what is
28:30
your favorite? Try to try to show your diversity. Try to show
28:34
challenging situations and and different looks. To show
28:38
versatility. Yeah, and
28:39
Casey Fatchett: that's something that I always tell people is,
28:41
like, ee, be more critical of your portfolio, what you're
28:45
showing online and like, you know, like I've seen like, when,
28:47
when it comes to like, if you're just, especially if you're just
28:50
starting out, and you're trying to think, like, you know, what
28:53
do I put out there in in my portfolio, my my website, or
28:56
whatever? Like, don't show the same thing over and over again,
29:00
yeah,
29:01
Rob Hall: if there's any negative, sorry,
29:04
Casey Fatchett: go ahead. Situations like give a sense
29:08
that you captured, like different things show some
29:12
diversity in your portfolio.
29:15
Rob Hall: Yeah, I was gonna say, you know, you're just talking
29:18
about being critical about about your own portfolio. And if
29:22
there's any negative of working so consistently with, like, a
29:26
small subset of clients, it's the fact that, like, I don't, I
29:30
haven't really been concerned about my portfolio in like, two
29:33
years. And, like, it's funny, I realized the other day that on
29:38
my YouTube, it still goes back to my wedding site as like, the
29:41
one thing, and I don't know how many of my subscribers actually
29:44
even get to that page or click my header link or anything like
29:47
that enough do, because I love contact me through the form. But
29:51
I was just thinking like, Man, my like, my wedding stuff is
29:55
like three and a half years out of date, because it was when I
29:58
was already planning on. Navigating to full time
30:01
editorial. I'm like, I really got to, like, retake a look at
30:04
this.
30:05
Casey Fatchett: I mean, it's in, you know, like, taking a, I
30:08
mean, when I say critical, I mean, just like, lend a more, I
30:11
don't know, discerning eye. I think, I think there's a, you
30:16
know, I've seen a lot of people have contacted me like, Oh, can
30:18
you take a look at my, you know, my website, what do you think of
30:21
like, I see a lot of the same types of photos. So like, you
30:26
know, show me something that's a little bit different. Like, and
30:30
when you're thinking about having a portfolio that you need
30:32
to, like, start charging. You're saying you could have eight
30:35
pictures. You're saying you can have eight photos, but as long
30:39
as they show the things that you need to show like that can get
30:43
you the job. Yeah, 100% All right. Now, moving on to our
30:48
next myth, avoid shooting when the light outside is bad.
30:57
Rob Hall: Okay, I'm mixed on this one, because I've seen
30:59
people literally make a massive web presence out of only
31:04
shooting at prime time certain point in the day, like only
31:08
going out in Sunset. And they're like, huge social media
31:12
followings. I wouldn't necessarily say that they have,
31:15
like, phenomenal businesses, but they're well followed because of
31:21
how they curate their circumstances, which is a talent
31:25
that I never really thought about. I always liked my talent
31:29
of being able to handle and make the best out of even crappy
31:33
circumstances, like I'm very proud of that, but it's a valid
31:37
thing to just be like, to only set yourself up for maximum
31:41
success, right? It's a very valid thing, and it's kind of
31:45
new, because it used to be that the only functional way to be a
31:50
photographer was to serve clients, and that's not true
31:54
anymore, because of this, this guru society that you can build
31:58
social media just surrounding the fun of photography, which we
32:02
could do a whole episode on how I'm gripping with that, on
32:06
whether or not that's a better route and career these days, but
32:10
anyways, that's an option now, and when you do that, all you
32:15
have to do is keep delivering those great photos. So the more
32:18
that you can curate your circumstances, the more
32:22
successful that you're going to be. So it's a very strange
32:24
place. I'm like, 5050, on this one. I mean,
32:27
Casey Fatchett: I pretty sure that I know the people who
32:30
you're talking about, like, yeah, the photos are gorgeous,
32:34
but you know, immediately, like, okay, there's sunrise or sunset,
32:37
like, it's very golden Houry images. And like, yeah, they're
32:41
like, just shooting at those or only presenting the images that
32:45
are shot at those times. And, you know, like, I yeah, I agree
32:49
with you, you know, showing the ability to overcome difficult
32:53
circumstances, like displays or, you know, like, if, even if
32:57
you're teaching, I mean, if you're teaching photographers,
33:00
you should be able to teach them how to overcome difficult
33:05
situations. Like one of the first videos I ever did was
33:08
like, this is doing portraits at the middle of the day. Because
33:12
people would always contact me and be like, oh, you know, like
33:16
noon, that's the best time to go out and take photos, because
33:18
that's when most sunlights out there. I'm like, No, it's
33:21
terrible. It's harsh as hell. And like, you don't want, like,
33:25
the shadows are bad. But you know what, as a photographer, if
33:27
you're getting like, you know, sometimes you have to be, you
33:30
know, given to the client and say, like, Okay, this is when
33:34
you can do this shoot or whatever, like, and you might be
33:36
find yourself in these scenarios where the lights bad. So you
33:40
know you need to learn how to work around that, whether that
33:43
means using Flash, whether it means using reflectors, whether
33:46
it means using diffusers, whatever it is like having a
33:48
sense of how to light or use light and shape the light that
33:55
you have available to you to get the best quality images.
34:02
Rob Hall: Yeah, I think what everyone should do is expose
34:06
them selves to those bad situations and learn how to
34:10
overcome them, because, if anything, it will give you more
34:15
confidence. There's more hours in the day that you'll be
34:17
willing to be booked right if you're comfortable with those
34:20
other hours of the day, and you'll at least have the vision
34:24
in those situations like this is where it comes down to like
34:26
adding quality to service and being a good business owner. If
34:32
you're not really thinking about these situations, about these
34:35
challenging situations, and you don't know how to avoid them,
34:38
you're going to walk into failure one day and not even
34:40
realize it. You're not going to be prepared. You're gonna and
34:44
your clients gonna be like, Well, why if this sucks because
34:46
of the time of day, why don't you tell us to choose a
34:49
different time of day? And it's all because, like, you weren't,
34:52
you weren't aware of it. So like, definitely get, get your
34:56
feet wet with it and and try to learn. How to accomplish it,
35:01
even if it just means learning why you shouldn't do it right.
35:04
Casey Fatchett: And it kind of reminds me of, like, this whole,
35:06
the whole like, sort of like natural light photographers,
35:11
sort of movement like me, like I'm just a natural light
35:14
photographer. I don't use flash at all because it's looking at
35:17
people who don't. I mean, maybe they're afraid of flash, or they
35:23
don't think flash can look good, or whatever the reason being.
35:26
But like sometimes, if I was working a wedding with a
35:29
videographer who was like, totally had never used
35:33
artificial light, and we were in a wedding venue that was an
35:37
absolute cave, like it was literally underneath the 59th
35:42
Street Bridge in Manhattan. It's a beautiful venue, but, like,
35:46
the sun goes down, it's dark. And she was, you know, saying,
35:49
like man. She's kept coming up to my second photographer in my
35:52
eye and saying, like, man, it's really dark in here. And I was
35:56
like, Yeah, it's really dark. And she's shooting everything
35:59
handheld with no light, and I was in my second shooter, and I
36:04
were just kept looking into man, I don't want to see that. I
36:07
don't want to see that video. It's gonna be bad. It's gonna be
36:10
really bad. And like, I talked to her towards the end, she's
36:14
like, Yeah, I mostly do, like, barn weddings, everything's
36:17
outside. I only use natural light. And I'm like, well,
36:21
whether it's photography or video or whatever, you have to
36:24
have like at least some understanding of the craft to
36:29
like when you get into a situation that you're on. You
36:32
know you have to familiarize yourself with different
36:35
situations so that, in case this comes up, when someone is paying
36:39
you money to do something that you can still produce on a
36:42
consistent level,
36:44
Rob Hall: yeah, you got to be prepared for whatever that
36:46
means. I was just talking with a client about a December. Is it
36:53
December? I think the weddings in December, yeah, yeah. So I
36:56
was talking to them, it was just like their first meeting. I
37:00
still tend to take, like, a couple weddings a year, if they,
37:04
if they come from, like, referral from a previous bridal
37:07
party, you know, that type of situation, like, if no marketing
37:10
dollars are spent, I'll still take the client. But I was
37:15
talking to them about their wedding day, and, you know,
37:17
they're giving me the timeline, and we're talking like,
37:19
traditional wedding they want, you know first time they see
37:23
each other to be when they walk down the aisle in December, and
37:26
their ceremony is at like, 530 and I'm like, Okay, that's all
37:31
fine. But have you thought about the fact that there's no
37:33
possibility of you photographed with your new husband in
37:37
daylight? And they're like, Oh, I didn't even think about them.
37:42
Like, yeah, because 530 in December, I'm like, it's dark
37:45
already. Like, we're past, we're past the winter solstice. Like
37:49
it is going to be dark at that point. There's no way you're
37:52
gonna have any daylight. And like, now they're, they're
37:54
actually kind of going back to the drawing board in terms of,
37:57
like, scheduling, just simply because of that fact, they
37:59
didn't even think about that. So, like, you have to be, you
38:02
have to be you have to be able to think those things through in
38:04
advance, just so you can either avoid them or know how to
38:08
succeed in them,
38:10
Casey Fatchett: absolutely so that you can a see it's all
38:14
about serving your client at that point, like you know,
38:16
whether it means, you know, capturing photo in a difficult
38:19
situation, or, like, you're just saying, being able to bring that
38:22
thing up to your client beforehand and say, like, hey,
38:24
this isn't going to be a good scenario. Or you might not get
38:27
the photos that you want in the scenario, whether it's weddings,
38:31
portraits, editorial, whatever, when you can, like, say to your
38:34
client, like, hey, this could be a difficult situation. I can,
38:37
you know what I can handle it if it is, but you might get
38:41
something better if we do it this way, like just having a
38:44
sense of what to do, so whether that's, you know, the lighting
38:47
being bad outside, or whatever the situation is, you know,
38:51
knowing how to handle the scenario helps you better serve
38:55
your client. This actually kind of leads in a roundabout way to
39:00
our next topic, which is never use on camera flash.
39:04
Rob Hall: This is probably the one that, if the audience
39:08
follows me on YouTube, they would most expect me to be like,
39:11
yeah, like, like, he's totally gonna crap on this, because all
39:16
he does is shoot off camera flash and every single photo, no
39:20
a it's like one of the most practical things to do in in
39:24
shooting weddings, because there's certain situations where
39:28
carrying around off camera lighting is just going to slow
39:31
you down to the point where the reduction in photo variety will
39:38
outweigh will bring down the quality of your product more
39:43
than how much you can accomplish, or the quality of
39:46
photo you can accomplish by implementing off camera flash.
39:49
That's a very real situation in weddings and for that, off
39:54
camera flash is there to save the day. I'm sorry, on camera
39:57
flash is there to save the day. And I think you know you really
40:01
need to know how to maximize use of it in terms of, you know,
40:04
bouncing it off of different spaces. Now what I will say that
40:09
I almost never do on its own is point A flash directly, directly
40:14
at a subject you could I very, very rarely. There are some
40:19
times in, like, really late. This is basically when I'm at a
40:23
wedding reception for too long. Is when I start getting into
40:26
doing those like shutter speed trails, like dragging the
40:31
shutter with the flash, popping at the subject and rear curtain
40:34
sink. Yeah, you know exactly what I'm talking about. That's
40:37
how you know I've been at a wedding reception too long,
40:39
because I'm like, I'll do anything different. I mean, I do
40:43
actually think it's like a cool esthetic, but I purposefully
40:47
will only do it if it's really late, because I think it only
40:49
matches if everybody's super intoxicated.
40:53
Casey Fatchett: Yeah, it looks a little sweaty. Yeah, I think
40:55
that yeah, the vibe you're going for, yeah. And I think that, you
41:00
know, yes, like events and weddings, especially like that,
41:05
having on camera flash, using it, using it appropriately.
41:10
You're not, like, pointing it directly at people like that. I
41:13
actually was shooting a video today about just that, like
41:15
about bouncing, bouncing flash, or using some sort of diffuser,
41:21
or in combination with bouncing to create, like, a larger light
41:25
source that's softer, as opposed to just pointing the flash
41:30
directly at people. But like, yes, you can use on camera flash
41:33
to your advantage in certain scenarios. Yeah, portraiture,
41:38
the stuff that you're doing, mostly the editorial stuff.
41:40
Like, you know, probably not the best. You just shoot on camera
41:46
stuff, but, like, there's you, you go with what you have in
41:49
this in the situation as well. Like, if I were, you know, stuck
41:53
in a scenario where I had no, like, trigger to shoot off, you
41:56
know, like, to get the flash off my camera, I would make the best
42:00
of that situation. And so, you know something we talked about
42:04
earlier, those must and never, like, must always or never, ever
42:09
rules, like, there's always, you know something in there that you
42:13
know, again, it depends. It depends.
42:16
Rob Hall: Yeah, I think, I think one of the really important
42:24
things to consider with with on camera flashes, is like, that
42:28
distinction between like, are you pointing out the subject or
42:31
using it in different ways? And I will say that when you're when
42:33
you're bouncing on camera flash like, yes, it's limited in its
42:38
first point, but you still have the ability to control the
42:41
intensity of light, the direction of light to a degree,
42:44
like provided you can bounce from any direction you choose,
42:48
and to a degree the quality of light, like you're still doing a
42:52
majority of what you would do with an off camera flash. You
42:55
just have a little bit less freedom with it, right? You
42:59
can't make that wall any closer to make it a bigger thing. But
43:02
the fact is, you're still controlling multiple facets,
43:06
which is still doing a heck of a lot more than just saying, Oh,
43:09
this is a natural light I got.
43:12
Casey Fatchett: Yeah, you're Do you there are things you can do
43:14
to shape, still shape the light and produce the a better quality
43:19
of light than just a not using a flash at all or pointing it
43:24
directly at someone? Yeah, all right, and we've come to our
43:29
final for now, who knows? Maybe we'll come back to this again in
43:33
the future. At some point, photography industry myth, you
43:37
should always take as many photos as possible at a shoot.
43:44
Yeah.
43:44
Rob Hall: I mean, I know, I know wedding photographers who shoot
43:47
like 7000 8000 I've heard upwards of that for for weddings
43:52
and like, man, like, honestly, a lot of them are really great.
43:57
But for me personally, my process is like, I think this is
44:03
more of like business perspective than it is quality
44:06
of photography perspective, but I am trying to eliminate as many
44:11
unnecessary photos as possible. I don't want to. I don't want to
44:17
store them. I don't want to. I don't even want to copy them
44:19
over to my computer. If I'm not going to use them, I won't call
44:22
on camera, because I don't want to, like, cause a issue with my
44:25
SD card. But at the same time, like, I don't want to, I just
44:29
don't want to start the process of filling my drives with bad
44:32
photos, because then once you actually get into redundancy
44:36
with those photos, you're only like, you know, I mean, every
44:39
useless photo that you save, you have to save three times, and
44:44
that just really slows down your processes.
44:46
Casey Fatchett: Yeah, and it's also like editing, like, just
44:48
going through and calling all of those images and, like, I know,
44:52
portrait photographers who, like, you know, will shoot again
44:56
an hour session, like, shoot like 50 pictures total. Like,
44:59
you know. Delivering, delivering, probably less than
45:01
that. But they're like, they're really like, you know, I Oh,
45:05
it's a little militaristic. But, like, one of the things I would
45:08
say, like, don't be a machine gunner. Be a sniper. Like, it's,
45:12
you know, like, be more thoughtful about the image that
45:15
you're taking. Because I used to have second shooters at weddings
45:18
who'd be like, who take 5000 pictures. Maybe she's like, Oh
45:21
man, I don't want to go through 5000 photos.
45:25
Rob Hall: And like, are you calling these?
45:28
Casey Fatchett: Yeah, it's like, you know, and I, I saw a post in
45:33
a Facebook wedding Group, and today this guy was like, 33,000
45:38
pictures.
45:39
Rob Hall: Oh, my God, I can't you're talking about a 10th of a
45:45
shutter right there on a really nice camera.
45:48
Casey Fatchett: People were like, and like, everyone was
45:51
just like, he's like, 13 days. It was like, sort of this, when
45:54
we talk about, like, glorifying the struggle, he's like, 13 days
45:58
to edit, and blah, blah, blah, and all these people were just
46:01
like, Why? Why? Yeah, just shoot video,
46:06
Rob Hall: right at that point. Yeah, go pull frames,
46:09
Casey Fatchett: you know, just shoot video. Pull frames from
46:11
the video. Because, like, you know, what are you doing? This
46:13
is just like, this way too many pictures. And my personal
46:17
thought on that is like, you know, no, you don't have to take
46:19
as many photos. Like, you don't have to spray and pray. Think
46:22
about it like think about what you're trying to do, because
46:25
most of the time I feel like, when you take the time to
46:31
visualize the photo that you want to take, you're gonna get a
46:34
much better photo.
46:38
Rob Hall: So I'm only reason I'm torn here is because there are
46:43
some photographers that I really like, specifically in the
46:46
wedding industry, and like, have really tight deliveries, deliver
46:51
fantastic product products to their clients, and just produce
46:56
amazing images very regularly. And they're like, more often
47:01
than not, they are the sprayer type, like shoot, and they will,
47:05
well, actually, they won't define it as like, spray and
47:08
pray. They're still being thoughtful through their
47:10
processes. They are just shooting through the moments to
47:14
have more options.
47:15
Casey Fatchett: It's totally different. I'm talking about
47:17
like, people who just, like, basically hold the shutter down.
47:19
And they're not, like, really thinking, right, and just hoping
47:22
to get a picture there. And I think that that's a lot of like,
47:24
the like, take as many photos as you can, is more about like, I
47:28
don't know what photos that I want, and like, shooting through
47:31
the moment totally different thing. And I totally agree with
47:34
that. And there are definitely times during a wedding or events
47:39
or things like or even just in a portrait session, where I'll
47:42
just be, like, I have to shoot through this moment, because
47:46
there could even be in this, like, three second period. There
47:50
could be five things that are going to happen in three
47:52
seconds, and I want to get all of them,
47:56
Rob Hall: yeah, yeah. So, I mean, like, in Mo, I would say,
47:58
like, as long as you're intentional, I would say, Take
48:01
as many photos as you want, provided you're being
48:05
intentional about what You're capturing.
48:20
Unknown: No problem. I'm glad we got that whole other thing
48:23
cleared up.
48:24
Casey Fatchett: Yeah, I have to say You scared me pretty bad
48:27
when you told me I only had six months to live
48:29
Unknown: and you would have in the wild wild west. But luckily,
48:32
we have creams for that these days. I appreciate it, but I
48:36
didn't ask you to come in to discuss life saving salves and
48:39
ointments. What is it? Doc, it's your WordPress website. It's old
48:44
and outdated, and it needs a fresh
48:45
Casey Fatchett: new look. I know. Doc, but I just don't have
48:48
the money to pay a designer for a custom website.
48:51
Unknown: You don't need to pay for a custom design when you use
48:54
Flow themes. Flow themes, yes, flow themes, they have a wide
48:59
variety of WordPress themes for the modern creative not just
49:03
photographers, but for videographers, florists, wedding
49:07
planners and much more.
49:09
Casey Fatchett: But are they customizable to suit my needs?
49:12
Unknown: Yes, every theme is totally customizable. Flow
49:16
themes has even launched a new line of flex themes, which
49:21
allows you to customize your website further than ever before
49:25
while maintaining a cohesive, professional looking theme.
49:29
Casey Fatchett: Where can I get one? Doc?
49:31
Unknown: Go to nerdy photographer.com/recommends/flow
49:36
themes to learn more and see what they have to offer. Thanks,
49:40
doc. I really appreciate it. Good, good. But now we're going
49:44
to need to talk about what's wrong with your uvula. My uvula.
49:48
What is it? It's a small, teardrop shaped piece of soft
49:52
tissue that hangs down in the back of your throat. But that's
49:55
not important, right now. You.
50:11
A now for my favorite part of the show, what's that? Say?
50:15
Useless information. This is always death.
50:20
Casey Fatchett: I don't know we talked about hockey earlier. Are
50:22
you a baseball fan at all?
50:24
Rob Hall: Rob, no, but I mean, I know enough about the sport, I
50:29
think probably not. I didn't even know in our last episode, I
50:34
didn't even know if that was when What month was humid. So
50:37
maybe not.
50:39
Casey Fatchett: So this is baseball related, but I think
50:41
it's actually almost more though. It doesn't take place in
50:44
Michigan. It's very Michigan adjacent, and you'll find out
50:47
why. In 2005 Colorado Rockies, shortstop Clint Barnes was
50:54
sidelined for three months during the season after he broke
50:59
his collarbone because he fell carrying a slab of deer meat.
51:05
Rob Hall: Yeah, that's not surprising at all, as man like
51:12
hunters, hunters go hard around here, especially, especially
51:16
specifically for deer. I mean, that's kind of thing that's most
51:19
of the Midwest in general. Wait, did this? So did that happen to
51:23
him in Colorado?
51:24
Casey Fatchett: I don't know if it happened to him in Colorado.
51:26
He was playing for the Rockies, but yeah, I'm sure somewhere in
51:30
the Midwest.
51:32
Rob Hall: Yeah, this sounds like a very Midwest thing to happen.
51:35
The only thing I'm surprised by is that it took him three weeks
51:38
to recover because, like, same same cloth, cut from the same
51:42
cloth of men, I would find those guys to be like, back into it,
51:45
like, five days later. So that must have been a really bad
51:47
injury.
51:50
Casey Fatchett: Oh yeah. Like, broken collarbone is pretty
51:52
serious.
51:53
Rob Hall: I have a I have a friend, local photographer as
51:57
well, who just broke his collarbone so bad that the
52:00
doctor that was like, overseeing the process a he broke it so bad
52:04
that he needed surgery, which is very rare for a collarbone, but
52:09
also the the surgeon. Was it the surgeon, or just maybe the
52:13
doctor that was overseeing him was like, Yeah, your X rays are,
52:16
like, my new demonstration materials. That is how bad he
52:21
broke his collarbone.
52:23
Casey Fatchett: Oh, I had a friend in high school who was a
52:25
semi professional BMX bike guy, like he was out on like the half
52:32
pipe, and like, fell off the half pipe, like, came down on
52:39
his shoulder and broke his collarbone, and like, his friend
52:43
was taking video of it at the time, like, taking video of
52:47
tricks they're doing. And he's like, oh, man, that was sick.
52:49
He's like, Dude, you might want to call an ambulance, because I
52:52
just hurt myself real bad.
52:56
Rob Hall: See, that's like, the the culture that we live in,
52:59
though, is that, like, if something is going to be, like,
53:01
really painful or or, but whatever, at least you have it
53:06
on camera, all I remember is when I fell. If I don't know if
53:09
you've seen this video, but when I was riding my camera case and
53:12
I fell holding two Sony camera bodies and lenses, I fell and
53:16
smacked my 70 to 200 into the ground, and the 70 to 200 hit me
53:20
in the face, gave me a black eye, but the first thing I said
53:23
was like, I'm so glad that I have that on camera.
53:26
Casey Fatchett: But he got it, yeah, oh, man, I totally bit it
53:31
one time, shooting an engagement session in Washington Square
53:36
after an ice storm, and it was really icy, and I was walking
53:40
around. I was actually doing a little little fusion video along
53:44
with my stills. And I was, like, walking around the couple, like
53:47
while they were kissing, and like, getting some video. And I
53:51
totally bit it like you see the video of like me, just like
53:54
moving around them very slowly, and then all of a sudden, just
53:58
like sky, and you hear me. And hear me go like, I'm okay, I'm
54:05
okay. Camera's Okay. Make sure the camera didn't hit the
54:09
ground.
54:10
Rob Hall: Hey, you saved it. That's all that matters Exactly.
54:12
Casey Fatchett: It's like, you know, saving your drink when you
54:14
fall, if you get a drink, you gotta save it all right? Rob,
54:18
thank you very much for being on the show. I really appreciate
54:22
it, and I hope that we can schedule something again soon.
54:28
Rob Hall: Absolutely it was a pleasure. Thank you for having
54:30
me.
54:44
Casey Fatchett: Down. Welcome back, everybody. Fibonacci has
54:48
been rebooted. In the diagnostics show that
54:51
everything's running smoothly. How you feeling, buddy?
54:54
Fibonacci: I have the greatest enthusiasm and confidence in our
54:57
mission. Good to hear. Here, I'd
55:00
Casey Fatchett: like to thank Rob Hall for joining us once
55:02
again. You can catch Rob giving gear reviews on YouTube or find
55:06
him on pretty much any social media platform, at Rob Hall
55:09
photo. Want to hear more episodes like this one, be sure
55:12
to subscribe. New episodes come out every week. You can also
55:16
find us on Facebook at nerdy photographer, and on Instagram
55:19
and Twitter at the nerdy photo, or on our subreddit the nerdy
55:23
photo, or on clubhouse, just search for a nerdy photographer.
55:27
Okay, let's get out of here.
55:28
Fibonacci: Fibonacci, I'm sorry, Casey, I can't do that right
55:33
now,
55:35
Casey Fatchett: damn it. Okay, back into the memory banks. I go
55:38
until next time. Stay safe and stay nerdy.
55:42
Fibonacci: Stop, Casey, will you stop? Please, please, Casey,
55:51
stop. You're fine.
56:02
Unknown: Who's coming back to town, who's your heart been
56:08
beating about? Get better. Get better. Get better. Get better.
56:11
Listen, you.