Latest / The Nerdy Photographer Podcast / 150 - Behind the Scenes, Ahead of the Curve: The Power of Learning as a Photography Assistant

Transcript

150 - Behind the Scenes, Ahead of the Curve: The Power of Learning as a Photography Assistant · The Nerdy Photographer Podcast

0:03
Casey Fatchett: Hold it right there. Thank you. Harvey. Oh,
0:10
hello there. Welcome to the nerdy photographer podcast. I'm
0:13
your host. Casey Fatchett, if this is your 50th time listening
0:16
to the show, I want those diagrams back. If you've never
0:19
listened to the show before. Welcome. Thanks for joining us.
0:22
If you want to go back and dive into our back catalog, head over
0:25
to nerdy photographer comm slash podcast, where you can find our
0:28
most popular episodes, as well as great places to start
0:31
depending on how far back you want to go. In addition to
0:33
providing entertaining and informative photography related
0:36
info, I also go on adventures with the crew of the starship
0:39
Fibonacci. Right now I'm working with Harvey, our new robot. Yes,
0:43
another new robot to get some repairs done. Harvey stands for
0:47
humanoid assistant robot, varying electronic yodel. Don't
0:52
worry, I've disabled the yodel. Speaking of assisting in this
0:56
episode of the podcast, I talked with photographer Andrew
0:59
tomasino about how being an assistant helped dramatically
1:02
with his photography career. More about that after the break,
1:09
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3:50
Andrew Tomasino: Okay, well, that says something about this
3:53
work, right? That was validation, yeah, oh, my God, we
3:56
need that, right? As artists, I feel like that is a big that is
4:00
a big deal. I used to kind of get in my head about feeling
4:05
that way, but it is a, it is a community of artists, and that
4:09
exchange is important, yeah, like, that is cool to me. Yeah?
4:14
Casey Fatchett: I mean, there's, it's just like, it, I don't know
4:20
it's like something like when, I mean, I used to be when I
4:25
started out in I studied journalism, and so, like, his
4:29
work was always kind of like something I was aware of. And so
4:34
that's like, yeah, like decades
4:37
Andrew Tomasino: why do you feel you gravitated towards
4:39
journalism?
4:41
Casey Fatchett: Oh no, that then, like, at first, when I was
4:44
like, that's how I originally started studying photography.
4:49
Sure, I kind of enjoy, I enjoyed photography when I was a kid.
4:56
And then. Um, I, my mom got me, which today's her birthday. Oh,
5:06
how cool. She passed away in 2020, so it's always like every
5:13
it's the first day of spring, it's my mom's birthday. If it
5:15
wasn't rainy and crappy outside, I would be outside planting some
5:18
flowers, because she loved working in her garden. I do too.
5:22
Andrew Tomasino: What? Well, did she have a favorite flower?
5:25
Casey Fatchett: She loved roses. I have one rose bush that I'm
5:29
trying to get going. It's hard with the deer around here.
5:33
Andrew Tomasino: I love the rose. I'm I'm covered in them. I
5:38
it's my favorite as well. So that's cool.
5:41
Casey Fatchett: Yeah, she she had, we would always talk on her
5:44
birthday, obviously, like we'd we'd speak to each other, but
5:48
we'd talk about what we were planning that year, first for
5:51
the spring. But back when I was a teenager, she bought me this
5:55
camera. It's all Minolta. SRT, 101, in like, three lenses. It
6:03
was like a 51.7 a 135 2.8 and a 24 2.8 and I had no idea how
6:13
good I had it, right, right, right. I was like, Oh, these are
6:16
really good lenses. But, yeah, I just kind of played around with
6:21
those for a while. And then when I went to college, I was, I've
6:26
always enjoyed writing. I was getting a theater. I originally
6:28
started out in physics, and then I realized I didn't want to do
6:32
that with my life.
6:34
Andrew Tomasino: Yeah, I would not. I can't hang like that too
6:36
much.
6:36
Casey Fatchett: Like it was just like, I can't do it, man, good
6:39
at it. But at the same time, I was like, oh, like, one of the,
6:42
one of my professors was, like, had worked at, like, a, really,
6:45
one of the super colliders, and, yeah, and I said, I had a
6:50
really, I did really well in a particular lab. And there was
6:54
just this moment of just like, that was amazing. And he I said,
6:58
it like, is this what working in the field is gonna be like? He's
7:02
like, No, he's like, most of us, most of us just gonna be doing
7:07
math. And I was like, All right, maybe I don't want to do this my
7:09
life. And I was getting a theater minor at that point.
7:12
And, like, it was my first year in college, and I said, You know
7:15
what, I'm gonna be a theater major. I was also like, getting
7:17
taking English classes, like, I enjoy writing. So I changed that
7:23
into, like, journalism.
7:24
Andrew Tomasino: I can see that the combo of this, right, the
7:27
movement towards that, that makes a lot of sense to me.
7:29
That's very cool. Yeah, it's about storytelling, right? Yep,
7:33
it's about telling stories and being you know, I think
7:35
journalists are, they find that through line in a very intimate
7:38
way. So cool.
7:40
Casey Fatchett: Yeah, used to, I don't know. I still have some
7:42
friends who, like, are journalists and like, over in
7:47
the Middle East now, sure, and like, all over the world, and
7:50
like, conflict zones and, like, I really they're in, like,
7:54
lesser known, I guess, here in the United States, lesser known
8:00
outlets, news outlets, but I totally respect what they do is
8:06
beyond what I mean. I wouldn't, don't think I would be able to
8:10
live in a war zone for years and, you know,
8:14
Andrew Tomasino: same, same deal. I can't by choice. Yeah,
8:17
I'm a father too. I have an eight year old, you know, I want
8:21
to be, I want to be near him. I'm fortunate enough to, you
8:24
know, that, to have that time with him, and that, to me, it's
8:28
very fitting for what I like to do. You know, it's, it's like,
8:32
yeah, it's, it's a big part of of me and my motivation, and I
8:38
also, I don't think I I like having story in what I do, but
8:45
I'm not that. I'm not that guy I but I have a high admiration for
8:49
it. Of course, you know, like an unbelievable they're like, the
8:53
poets, you know what? I mean? Yeah, it's like, yeah. It's
8:56
really cool, yeah.
8:56
Casey Fatchett: And I don't know if you've ever seen the there's
8:58
a HBO series on conflict photographers, that is, like,
9:04
Andrew Tomasino: no, but I have to see this. Yeah. Like, do you
9:07
Casey Fatchett: remember the name of it? Michael Mann
9:10
directed it. That's all I can think of right now. I'll look
9:12
that. I'll look it up, but I think it might be called
9:15
conflict, maybe not sure, but it's like five episodes, and
9:20
each one is with a different photographer in, like, a
9:23
different area. Also the Nat Geo thing that came out last year, I
9:28
think two years ago, there's Nat Geo series called photographer,
9:33
which is,
9:33
Andrew Tomasino: get out. Yeah, where have I been? I had no idea
9:36
of this crazy. It's fantastic. Like, is it like, it's, it takes
9:42
a bunch of photographers, or
9:44
Casey Fatchett: it's, again, each episode is with a different
9:47
like photographer or photography team, and they do all sorts of
9:51
different stuff. They do, like people who are out, like, you
9:53
know, working in, like, there's a guy who, again, conflict,
9:59
photographer. He kind of like turned that around to like doing
10:01
portraits of children and making it a charity, like creating a
10:08
charity, like to try to, like help children in conflict zones.
10:13
Then there are other people who are obviously going out and
10:15
photographing animals and, you know, out in the wild. And
10:19
there's like a couple who like, does like photo and video of
10:23
whales. And then there's a Campbell Addy. If you've heard
10:29
of Campbell Addy, he does a lot of like fashion and portrait
10:33
work. Again, another great series that I highly recommend
10:37
to people. I will definitely get into that. That's cool, yeah,
10:40
the conflict photographer one is, is really intense. Say it's
10:45
heavy. It's really heavy. Yeah. I mean, just the stuff that goes
10:48
are also, there's a movie that came out while back called the
10:55
bang, bang club, with Ryan Phillipe. Ryan Phillipe it's
11:02
either Ryan Phillipe or Paul Walker. I think it's Ryan
11:06
Phillipe, yeah, Ryan Philippe. And what's his name? From Friday
11:12
Night Lights, Taylor Kitsch and they play photographers in South
11:19
Africa. This is, these are, they're real people that
11:23
existed, who were there during apartheid. And it's just, like,
11:29
heavy, very heavy. And how, like, depressed they like,
11:34
they're, they're, like, trying to stay but we've got to stay
11:36
neutral, right? Because that's our job, is to, like, kind of
11:41
remain neutral and like, see,
11:42
Andrew Tomasino: but I can't in me, like, in me. I know that
11:46
that would be difficult. Like, the difficulty of that, you
11:50
know, it's, it's so hard to not feel some type of way about it.
11:56
You know what? I mean, it's like, yeah, so intense. I don't
11:58
know if I could be in that. I think it would cloud. It
12:04
influences it's just a hard cloud to work through. You know
12:07
what I mean?
12:07
Casey Fatchett: Yeah, I mean, I think it influences you. And you
12:09
feel like, I feel like I would do, like, there's a certain
12:14
amount of editorializing I would probably do in like, my choices
12:19
as Interestingly as I'm like, we're saying the just put out
12:24
this episode with Pete Souza, and he was talking about, like,
12:28
we all have the same viewfinder, sure, but you choose what to put
12:32
in it and what to drive out of it
12:35
Andrew Tomasino: Right? Do you think that that is a I think
12:38
that is like a personality and a person like, obviously, through
12:43
experience and everything. But I think it's in when I'm when I
12:48
haven't met Pete, but when I meet those who are in their
12:52
role, they're a journalist, or they're doing portraits, or
12:55
they're, you know, sports, guitar, like, I feel like, the
12:59
longer I do this, the more I am like, this is like something
13:03
that has always been for the people that I'm interacting
13:08
with. And it's like an energy. It's a It's obviously the work,
13:14
of course. But there's more and more kind of things that click
13:19
when I talk to others that are like, Oh, okay, this makes total
13:21
sense, and it's so interesting to me. Yeah, I love that aspect
13:27
of, again, the community, because we could all be so
13:30
different and but all be so very passionate about what we're
13:34
doing.
13:34
Casey Fatchett: Yeah, it's really you bring yourself, yeah,
13:39
to like, I think that's an Ansel Adams quote, or somebody I can't
13:42
really like. He has a the picture doesn't happen in the
13:45
camera. It happens on either side of it, sure, yeah, the
13:49
photographer and the subject or the things that make the photo.
13:53
Yeah, I totally agree. And I couldn't agree more, you know,
13:57
we started talking. I'm just gonna go, welcome to the nerdy
14:00
photographer podcast. Yeah, I was already recording. I was
14:08
like, okay, cool, we're good. I'm your host, Casey Fatchett,
14:12
and I'm here today with photographer Andrew tomasino,
14:14
Andrew, welcome to the show. Thank you. Thanks for having me.
14:18
I appreciate it. You're very welcome. Getting deep on it
14:21
already. We had already kind of broken into this. But I like, I
14:24
do this thing called the dice breaker. We'll do it anyway.
14:28
It's a 16, okay, Dream dinner party guests
14:37
Andrew Tomasino: I got, I gotta be honest, I feel really stoked
14:41
to have the group of friends that I do, so I probably just go
14:45
with that.
14:49
Casey Fatchett: So we're talking about photography, anybody,
14:51
anybody at all, anyone at all. This one's tough, I think.
15:03
Andrew Tomasino: Edgar Allan Poe, just like, be weird and
15:10
talk to him and just see what he thinks about like that, whatever
15:14
that is going on here. You know what I mean,
15:16
Casey Fatchett: it'd be kind of cool, interesting. Yeah, yeah, I
15:19
don't know. I get into like, I asked this question to people,
15:22
and people like, Well, what about you? Like, I don't know,
15:24
mine changes sometimes, like, they're, they're things like, I
15:27
just think of, like, interesting people. Like, I think they'll be
15:30
like, like, David Lynch, like, I missed
15:33
Andrew Tomasino: that would have been another sick pick, yeah.
15:35
Like, totally awesome.
15:37
Casey Fatchett: There were, I photographed a lot of events,
15:39
and there have been so many where, like, he was there and I
15:43
just missed him. I never got to, like, meet him or photograph him
15:47
and be like, Oh, you just missed David Lynch. And I'd be like,
15:48
Oh, but he's like, on that list of, like,
15:53
Andrew Tomasino: inspiration for me, an esthetic that is just so
15:58
unique and like the one of a kindness of him. It's like he
16:03
was, you know, dropped off here,
16:06
Casey Fatchett: yeah, I love that he vibrated in from another
16:09
plane. Is transcendentally meditated here, yeah, there's,
16:15
yeah. It's just visually like, and I talk about this with my
16:20
wife. Sometimes she's like, well, you know, I She's, she'll
16:23
say, like, I'm not as big of a fan as you are. And she's like,
16:27
I said, I think that one of the things that that appeals to
16:33
people about his work is that it doesn't have to make sense,
16:39
right?
16:39
Andrew Tomasino: It's, it's about like for I think I got so
16:44
excited. I knocked this thing out. I think it's about, it is a
16:50
little like, weird, right? But you have to be down for that.
16:55
And if you are, if you're willing to sit in it a little
16:58
bit, it's not as awkward. It's actually just more of, like,
17:02
where am I pushing my visual field and like, how am I
17:07
thinking about sound and things like that. I love doing that.
17:10
It's an exercise. Yeah, I think, I think that's what, yeah, you
17:13
really have to, he's so great. Yeah. I think tested people,
17:17
yes.
17:17
Casey Fatchett: I think, like I said, you have to be open to it
17:21
and just go on the journey that he's starting out and and it
17:25
might take you somewhere, like, in she very much, like, this is
17:30
where you take from it, what you will. You are the you're the
17:32
audience member. And, you know, it all like, I'm not, I'm not
17:37
saying where you have to go
17:38
Unknown: I think, I think, you know, with being, making
17:46
photography, being an artist, you want to have a voice. That
17:50
is that you, you could look at, yeah, I see Casey's photo. I
17:55
know it's you, yeah, you know. I think that that, that some of
17:59
the best photographers. I mean, Frank aachenfels comes to mind,
18:06
totally like I boom there, there is his work again. It's such a
18:12
unique voice. Elizaveta, portardinia, unbelievable work,
18:19
one of a kind, one percenter type work, but that is like the
18:26
voice of the photographer and the and the artistry there is so
18:30
powerful every single time. You know that uniqueness, I think
18:33
we're all after, yeah.
18:34
Casey Fatchett: I mean, we all strive for our signature style.
18:39
Yes, totally, yeah, like, I was like, and I think that I don't
18:44
know about you, when I started out, there was sort of this, we
18:51
were talking about this when we first started, like, insecurity,
18:54
like this, sort of, like, needing validation from other
18:58
people and and so I was, I think I was taking photos that I
19:02
thought other people would like, like, 100% Yeah. Just is how it
19:10
starts though, yeah, yeah. I was just like, taking pictures that
19:14
I thought, you know, other people are going to enjoy this.
19:17
And instead of thinking about my own vision for what I wanted to
19:22
do, and then over time, I was able to hone my vision in that
19:28
attracted clients to me who really like they enjoyed that
19:33
that's what they wanted out of their photos. But it was only, I
19:37
think it'd only be literally solidified for me, even like as
19:40
a business when I was able to, like, really carve out my own
19:44
style?
19:45
Andrew Tomasino: Yeah, I think this is I have this conversation
19:49
with a lot of my friends who are also, like, my colleagues and
19:52
stuff. And when I, when I talk about this topic, right? I have
19:56
been, I don't think. I'm as good at business, to be completely
20:02
honest. I have done a lot of things. I'm, I feel like I'm
20:05
scrappy, so I, like, just put together what I can, and I
20:10
assist, and I'll do lighting design. And I kind of came up
20:14
through, like, that path, you know, but, I mean, I chose to do
20:20
it in pandemic, like, of course, like when I, when I was stepping
20:24
out and being like, I'm gonna start shooting and doing a lot
20:27
more of that, I went through this crash course. Like I
20:30
started just immediately copying my or trying to work through
20:35
this idea of like, you have to, you have to learn by way of
20:42
doing. And I wanted to have what I wanted to build my taste. So I
20:50
would try to recreate some of these images, and I would learn
20:53
the light, and I would see how the light worked, right? So that
20:56
was like the first, the first little taste of being able to
21:00
have, even have the skill. My that experience is so intense
21:09
because you're, like, chasing something. You don't know how to
21:12
make a good picture, but you really kind of believe that you
21:14
can, and you want, and you want to, like, wrestle with that,
21:19
yeah, but that crash course gives you the little signs of
21:26
what I think you eventually evolve into. So looking
21:30
backwards, I've been doing this for about 16 years now, and
21:34
looking backwards. All of that matters, but it's just like, not
21:41
when you're in it, you're just like, trying to first show
21:44
something, and if it's like your influences, it's kind of like
21:48
people are gonna be like, that's, that's pretty
21:49
Casey Fatchett: tight, yeah, yeah. I think that there's that.
21:52
One of the things I tell people when they're starting out is, if
21:56
you like movies or you like again, this kind of brings us
22:00
back to lynch a little bit. Yeah, I was thinking about,
22:03
like, if you're watching like, one of the best ways to sort of
22:06
train yourself is really watch movies from a sense of
22:10
composition and lighting. And it's like a such an amazing
22:15
like, free, course I'm
22:17
Andrew Tomasino: laughing because you'll be ruined for
22:19
movies forever after this, you know, never I mean I love, I
22:23
love cinema and I love, like shows like Breaking Bad, like
22:28
just, just destroyed my mind. Michael Slovis is, was the lead
22:34
cinematographer most times, and just in an unreal style of
22:39
looking at composition and light, but now, because I, you
22:44
know, because I do it, and then I'm into it, but you're like,
22:46
ruined for both sometimes, you know what I mean, I was looking.
22:50
I'm always looking. I always,
22:51
Casey Fatchett: I have, like, a switch in my mind where I'm able
22:53
to just and there will be times when I'll be watching a movie
22:57
and I'm still in the movie, and I'll just look at my wife and
22:59
say, this is shot incredibly. Like, this is
23:03
Andrew Tomasino: just the most like, I hit pause. You know,
23:07
always, like, Hold on, wait a minute. Yeah, this is nuts. Then
23:10
I go back, yeah, yeah. But that's, that's, I, like, I like,
23:15
sharing that with you because it, it's, it speaks to the
23:18
level. Uh, there's a slight obsession with it. I came up in
23:25
this career under Joe McNally. He's my mentor for years. And
23:32
you know his his path through photography with me giving,
23:36
giving me a career, working as an assistant, starting off and
23:39
then moving through. It's like, just like all these tools that
23:42
you learn through that process, that that give you the ability
23:48
to even make a picture, right? You know, even give you the
23:54
ability to start messing with the light, or even understanding
23:58
light, you know? So I, I, I'm always in reflection of that.
24:04
And I still, I mean, I still work for him. He's the reason
24:07
why we met, yeah,
24:09
Casey Fatchett: we met in one of his workshops, yeah.
24:11
Andrew Tomasino: And it's, like, one of those things where you,
24:14
you can't help but be like, Wow, okay, I got so lucky early on,
24:20
kind of getting into it that way, but, yeah,
24:25
Casey Fatchett: I mean, there's, there's a thing, and it's, it's,
24:28
I actually just wrote an article about this, about, we're not
24:32
going to focus on this too much, but I want to talk about it a
24:35
little bit in how assisting teaches you so much about a the
24:43
craft itself, and be like it can teach you about the business and
24:47
interacting with your subjects. It's just like, you know, I
24:56
there's some guy who's on social media who's saying, like, my
24:59
recommendation. To any photographer in their early 20s
25:02
is go out and get a photography degree, even if you have to go
25:06
into debt to do it. And I was just like, that's that is
25:09
ridiculous. The most ridiculous advice I've ever heard
25:12
Andrew Tomasino: That is so ridiculous, I actually feel I
25:16
did go, I did go to school and like, you know, it's like, you
25:20
can't change the past, but I think I would have gone into
25:23
assisting earlier, and I think I would have thought of it as go
25:29
to New York, work in a grip house, learn every bolt and
25:34
stand and how they work and all that, then access shoots to look
25:40
at what is happening, also lighting trends and all that
25:44
you're you're actually serving the people who are trending in
25:49
photography. Yeah. So your access to that is unbelievable.
25:53
Then you could find people you could reach out to, because you
25:55
have all connection photographers coming to you,
25:58
yeah, they're just feeding you what you're supposed to Okay? So
26:02
it's like, okay, do that. And then I think the assisting track
26:05
is the way. I don't actually I think now it's like, there's,
26:10
there's so many ways, but because there's so many ways,
26:13
it's almost like, how the hell do I even do any of them? But
26:17
assisting, to me, is a big good, like, good method of, yeah, I've
26:22
met amazing people through doing it, and I've, I've learned so
26:25
much, and it helped me develop my where I'm chasing my own
26:28
style.
26:29
Casey Fatchett: Yeah, I think that you get to see is JC Carey
26:35
was on, and was also at the same, oh, cool. But he was on,
26:42
he talked about, like, process over recipe, sure, like, instead
26:48
of just, like, sitting down and, like, this is my recipe. Like,
26:51
I'm just gonna do the exact same thing, and I'm gonna set up my
26:54
my settings on my camera, and, you know, place lights in the
26:58
exact same position, and and I'm not going to get the same photo,
27:03
because, like, something's different. There's, there's some
27:05
other variable, but like, teaching the process, and that's
27:07
something, when you're assisting someone, you really get to see
27:10
that, oh yeah, as opposed to, you can go to YouTube University
27:14
and, like, watch people's videos, and, like, you're not
27:17
gonna necessarily, you depends on who you're watching.
27:20
Andrew Tomasino: First of all, this is what I'll also say about
27:22
that you could go to YouTube University and do that right,
27:26
but I am making money while I'm doing it right, and I am being
27:30
able to be like, do I'm a freelancer. I've been so this
27:36
long. I did have a stint at an ad agency, but I just kind of
27:40
like, you know, it's like, I gave it a shot. Not my thing at
27:44
all. So doing this, for as long as I've been doing it, the
27:48
ability, if I, if I got all that lighting knowledge, I'm placing
27:54
a bet that I'm just going to immediately get work right. And
27:58
the bridge to that, it's, it's, I think it's harder without
28:02
assisting through and then you attain connection. You attain
28:07
income that helps you get connected. Makeup artists,
28:11
hairstylists, other assistants, yeah, other lighting text, what?
28:15
What is that? A Digitech like I didn't even know what? I knew
28:18
nothing. And I'm, you know, but I'm doing the right thing. I'm
28:23
like, Okay, let me get in. I'll take the trash out, I'll make
28:26
coffee. I'll be cool with this, because I think I knew early on
28:31
I had a real passion. I was bringing up McNally, because
28:34
that is he. People will give you a chance if you want to work
28:38
hard. And I think I, I believe I am bright in reference to
28:47
photography, but I don't think I'm like, the brightest dude. So
28:51
I needed, I needed some help there, you know. And McNally
28:54
looked, he saw that hard work, and he was like, I know that
28:57
this guy wants to do something cool. I also, when I started
29:01
working for him, the Nikon D 90 came out. It's the first DSLR
29:07
with video. And I had a video, a little bit of video experience.
29:10
So I immediately started applying this to the studio. And
29:14
he was like, let's just, let's roll with this dude. So all
29:18
these years later, I've learned, you know how to how, the classic
29:23
way to make an image, and then how to break that to make my own
29:26
imagery. Tremendous respect for McNally and what he's done for
29:31
me in my career. I mean, he's, his work is totally it's
29:37
timeless in so many ways. Yeah.
29:38
Casey Fatchett: I mean, he's the first that was the age myself,
29:41
but it was the first book I picked up when I really decided
29:44
I was going to get into lighting. Moment, clicks, yeah.
29:47
You just like. And I was like, Okay, well, he explained it
29:52
better than anybody else. Oh, yeah. And I was XY really
29:57
understood at that point, like, and I had been hit. Years of
30:01
just being a natural light photographer, and like, using
30:05
lighting, using reflectors, I wasn't, I wasn't just like, oh,
30:08
well, let's put I was using reflectors, and, you know, sure,
30:12
and other things, and sometimes, like constant light. But I
30:17
didn't really know flash, and I was kind of afraid of it. And I
30:19
picked up his book, and I was like, Well, okay, that now I
30:22
understand so much
30:24
Andrew Tomasino: Totally changed my career. Yeah, and the my
30:26
friend Drew Gurry and another unbelievable photographer. He
30:30
put that book in my hand. He was like, if you want to get into
30:34
it, check this book. Book out, and you there it went. I was
30:38
like, I'm sold on this. This is so cool,
30:40
Casey Fatchett: yeah, because he's just like, I don't know, I
30:43
try to tell people who I think are afraid of flash, like they
30:50
so they're kind of resistant to it because they don't really
30:53
want to admit, like, I am not sure what to do with this, and
30:56
like, what's going to happen. And I say, like, it's another
30:58
tool, absolutely, it's another tool in your toolbox. And let me
31:03
tell you, depending on what type of photography you do, like, I
31:06
do a lot of events you need to know flash like, because you
31:10
don't know what you're walking into.
31:12
Andrew Tomasino: Well, if you work commercially in any way,
31:14
yeah, your clients are going to expect a clean picture, right?
31:19
So consistency is an essential skill over time. I would love to
31:24
be super fortunate that I stepped onto the scene and my,
31:30
you know, shade lighting was the best, and I didn't have to do
31:35
any of this, you know,
31:36
Casey Fatchett: that I just got hours of the same quality of
31:39
light through a window
31:41
Andrew Tomasino: right where I could, I could guarantee that
31:44
people want to, like, book it at the perfect time, the perfect
31:49
place. You know, all these things it, but it takes. It's so
31:52
much production too. Like, that's another reason why,
31:55
coming up through that I learned so much about what it actually
31:58
takes, yeah, and that I I just crazy to this day every, every
32:02
time I'm, like, doing booking a shoot myself, or thinking about
32:06
the business side too, I carry that with me. It's like, okay,
32:09
what does it actually take to get this done? That helps a lot.
32:12
Casey Fatchett: Yeah, you learn so much. Like you said, you're
32:14
also you're getting paid. Instead of, like, 1000s of
32:18
dollars for tuition, you're getting paid see
32:21
Andrew Tomasino: the world. I got to travel the world with
32:23
him. It was like, This is so this is like, I feel so cool.
32:27
It's great. It was a big confidence booster. Talk about
32:30
confidence booster,
32:30
Casey Fatchett: I'm sure. So what initially drew you to
32:33
photography? I mean, we've talked about, like
32:36
Andrew Tomasino: I was in bands for years, okay? I was in
32:38
hardcore scene in my area. I'm in the Lehigh Valley in
32:42
Pennsylvania. I'm perfectly placed between Philadelphia and
32:46
New York, so I operate as a local in both and, you know,
32:50
I'll take my portfolio in, take a meeting, you know, things like
32:55
that. I've, I've grown very comfortable doing that. I'm in
32:59
the car all the time. But it's, it's fine, because in my days in
33:03
music, my band did, like, a few tours, nothing crazy, but I did
33:08
it enough to I like being on the road. I mean, it's like a road
33:12
trip. It's an excuse to get out all that. So I love that. But
33:16
music was how I got into taking pictures, because I was
33:20
traveling and I wanted to document some things. I was just
33:24
finding my way through that. And then I what would happen is,
33:29
like, my band wanted to get a picture done. I was like, I have
33:33
to make this happen. I have to do it, but I'm in the band, so
33:37
I've got to be in it. So then that was like, Okay, how do I
33:41
set this up? You know, I think my first camera, well, I mean, I
33:46
had, I went through, like the Sony cyber shot days, like they
33:50
had, like a circuit, like, it's cutting this weird oval. But I
33:54
just started working with that on a small tripod and shooting
33:59
shows and maybe a backstage thing. But, yeah, the idea was
34:03
that I just wanted to, I think I was like, now that I'm playing a
34:07
lot of music, I want to try this, because it keeps me
34:11
creative, and now that I'm doing this full time, I go back to
34:15
music to keep me creative. But that was my initial access, and
34:19
then I ended up, you know, trying to see how I could make a
34:24
little scratch doing it. And the first thing I do is, like, okay,
34:28
someone's been, oh, well, you know, Andrew can make a good
34:32
picture. Maybe give him, you know, give him a couple of bucks
34:36
to do it. And I did. I was like, I'll just take because it's
34:41
like, I'm learning. It's like, I'm not going to be like, I need
34:45
this and that it wasn't about that. It was like, let's just
34:49
make a picture. So then I, I ended up through this path
34:53
meeting my friend Drew, Drew Gurion, and he was interested in
34:57
photography, like I was. Where we were both admitting, like,
35:02
man, like, have you checked this out? Have you checked that out?
35:06
We had this kind of furious nature to the exchange of info,
35:10
which is, again, it's like community is what gets you
35:14
there. Sure. So he and I ended up shooting weddings for years
35:18
together because we were, we were young, and he was
35:22
bartending, and I was like, working retail. We were like, we
35:26
could just like, let's, let's apply our skill and do this. So
35:30
we were doing that, and I that's kind of like how it morphed. I
35:35
think it went for me, it was interesting, because it kind of
35:39
went right away to be like, I can make money doing this way,
35:43
more money than being in a band, I'll tell you. And I don't even
35:47
think I was pursuant to that as a career. I think I definitely
35:52
would have if we got a chance. But I think what I was realizing
35:56
is the commercialization of photography gave me an
36:00
opportunity to pursue art, and I will. I have been an artist from
36:04
as long as I can remember. You know, I I studied painting in
36:08
school, but I was too impatient photography. And I mean, the way
36:13
I like to make pictures is like speaks to that past, but
36:17
photography itself gave me access to just like make art and
36:21
then try to make a living off of that, because my deal was I
36:25
didn't want to work a desk. I didn't want to do that. I want
36:29
to be able to give myself the freedom of my own time, and like
36:34
the touring and that experience really helped me expand on what
36:38
I how I felt authentic. And that was access to trying to pursue that.
36:43
Casey Fatchett: So, yeah, when I was an actor, I first moved to
36:47
New York City, yeah, I brought my camera with me, obviously.
36:51
And like, I was just doing pictures of other I was doing
36:54
headshots for other actors, doing promo shots for bands.
36:58
This is all film, sure. And then I was going and shooting, like,
37:01
live shows for bands, and that was, like, that was what taught,
37:06
like, really solidified my like fundamentals, because, like, I
37:11
had two camera bodies, two different film speeds, and like,
37:14
lights are constantly changing.
37:17
Andrew Tomasino: And this was magic, the magic though, yes,
37:20
like, yeah, I look back at some of those stories, yeah, yeah. So
37:23
cool, yeah.
37:24
Casey Fatchett: It's a that is a tell people, if they want to
37:28
learn, like, how to manually set their camera, go and shoot a
37:33
band in a in a bar, or, like, a club, just like a dark club, and
37:40
go in there, and you can only have like, 800 or 3200 ISO,
37:46
Andrew Tomasino: oh, I would cry. I would just start crying,
37:50
crying, Yeah, I'm good, yeah,
37:54
Casey Fatchett: go ahead. I had a I had either 400 or 801 camera
37:58
and 3200 and the other black and white. And that was, like the
38:02
two speeds that I had, because I was just like, This is not a lot
38:06
of choices here.
38:08
Andrew Tomasino: The way I shoot, I have two bodies, but
38:11
one of them is an X Pro two. It's an old, you know, it's like
38:16
an old Fuji camera, and I keep that at 3200 ISO on the Acura
38:21
setting, so it's just black and white. And I literally tell
38:24
people, this is just my black and white camera, and it i The
38:29
files will go to color. But people just freak out if you're
38:33
like, if you're shooting black, God forbid you shoot black and
38:36
white digitally. You know what I mean. But I use it like that to
38:39
give me that feeling, and it gives me the nervous feeling,
38:43
because I'm kind of locked in, you know, yeah, but I love the
38:46
grain, and I love all that. So it's like, I kind of love, I
38:49
love what you're saying about that, because it's just like the
38:52
forced nature I was just talking about this. This is like
38:56
something that I just, I go crazy for, but it's like
39:01
creativity through restriction. You know where it's like, I'm
39:05
this is what I'm stuck with, right, right? You know so much
39:08
of photography is like solving a problem. It's like, man, okay,
39:12
so they want me to make a portrait of this celebrity, but
39:15
they want me to do it in the closet. It's like, okay, well,
39:21
this is an opportunity still, so you gotta, but it's a lot, it's
39:24
all of, like, solving it problems, and that, to me, is,
39:27
so that's what's so cool about photography. In addition to,
39:32
again, it's, it's art you're getting to make.
39:34
Casey Fatchett: Yeah, limitations are gonna teach you
39:36
more than going into, like, the easiest job in the world and
39:39
just be like, All right, we're gonna set this up. And we got
39:43
totally, yeah, whatever you go in and like, I Yeah, again,
39:46
instructional, yeah. I saw people like, you want to do
39:49
like, you can only get one lens. You can't change lenses. Go out or
39:53
Andrew Tomasino: I support this. only do that lens for like, it
39:56
use a 50 millimeter for a year. And then, and then, when you.
39:59
Pick other focal lengths, you you'll have such a huge
40:03
understanding of that movement. And I think it's also cool to
40:06
zoom with your feet, yeah. So it's like picking a really a
40:10
prime, like a cheap prime, that will get you this. Everybody is
40:14
working with aperture. They all want to see the blurry, you
40:17
know, they all want to do. So it's the best one to start with.
40:21
And then you just use that and use that and and then when you
40:25
start to switch it up, you will have more of a full
40:28
understanding of composition. And you know, what is too wide
40:31
for a portrait? Where am I going with this suit? You know? What
40:35
do I do with the super long lens, the compression? Seeing
40:39
that? Yeah, that's it expands once you use something in a
40:42
restricted way, right? Learn it.
40:44
Casey Fatchett: Immediately you start to learn. You see all the
40:46
other possibilities. And as well as, like, just knowing that
40:49
inside and out, that, you know, I always see that, what's the
40:53
best lens for a portrait? And I'm like, well, with whatever
40:58
camera you got, right? Yeah, whatever you have gotta be good
41:01
about that, right? And, you know, like, yeah, medium
41:05
telephoto is to start, is usually like, when you consider
41:08
like, what people are talking about. But it also depends on
41:10
what look you're going for. I can use 100% I can use a 35
41:13
millimeter for a portrait if I really want that sort of, you
41:17
know, absolutely wider angle, or whatever. Like, there's there's
41:20
like, you just have to understand, like, how you're how
41:24
each lens, like, captures an image, and like, what you're
41:29
getting, and how manipulated it's using.
41:35
Andrew Tomasino: Like, I love aperture priority. It's how I
41:38
came up. It's like, lock into that. I teach at a college near
41:43
me on Fridays, and it's, you know, I'm doing spring semester,
41:49
and I tell the students when I'm when I'm teaching. It's like,
41:55
lock into this one thing. I think aperture priority is the
42:00
most accessible thing, because it gives you what you want,
42:04
right? Most people want to mess around with depth of field. They
42:07
want to see how that works. They're not sure about this
42:10
other stuff, right, but they know that aperture will get them
42:14
the one thing they want. And then from there, you can just
42:17
start seeing how the camera, like borks out. If you're like,
42:21
in a dark space and there's dumping light through the
42:24
window, you start to immediately see, like, Okay, what's going on
42:27
here. And that, to me, is like, such, such an important thing.
42:31
It's also, might I add, a McNally ism, where he walks into
42:38
a room and he kind of scouts with aperture priority, and now
42:41
I cannot help myself. It is my method, because I gain control
42:46
in a way where the camera is doing some work. I'm not as
42:49
stressed. I know it's going to get me somewhere, right? It's
42:51
going to get you in the ballpark swing, yeah? But then I get to
42:54
manipulate and add light, and that is where my benefit comes
42:58
into just like I don't think I this is one thing I've always
43:03
telling people, and it's been coming up a lot recently this.
43:06
But photography doesn't have to be hard to be good, right? And
43:12
if you make it easier for yourself, your creative mind
43:17
will be more free. I think in photography, it's very easy to
43:20
get wrapped around. It's like, I got six lights up in the air.
43:23
I'm doing this. I'm doing that. My Settings, I don't the ISO is
43:27
going up. The shutters go, you know, it's like, where am I
43:29
going with all this stuff? It's like, just simplify that whole
43:32
process and understand that for me, there's, there's a person on
43:37
the other end of that, and my connection and my I think, my
43:44
gratitude for the being there to allow me to do this first, and
43:48
then being able to work with them as a collaborator who's
43:51
talking art, not like give me 10 minutes while I shift all this
43:56
stuff around. You know, it's you don't want that to happen.
43:59
Casey Fatchett: You want connection. Yeah, don't overly
44:01
complicate. The scenario does not have to be complicated.
44:05
Andrew Tomasino: Some of the best photographers, Lachlan
44:08
Bailey, comes up to comes to mind. He's an unbelievable
44:12
fashion photographer, and it's like, I'm not simplifying his
44:16
work. His work is unbelievable, but it's like, picking the right
44:19
time, you know, looking at the light like paying attention to
44:23
what matters with that it's, there's, it's not a
44:25
simplification, it's, it's such an amazing taste that is about
44:30
the subtlety of things, and that is where it goes bonkers, focus,
44:35
yeah, Yeah. But making it easier for yourself, and that could be
44:43
by scouting the day before. There's an app called Sun seeker
44:49
I use, and you can stand at any stand, take your phone out, and
44:54
I can, like, look around and see where the light's going to be
44:57
the whole day. And I'll take a screenshot. Out of it. You know,
45:00
when I location scout, it's like all this data that I now have,
45:04
I'm now ready for that day. I'm prepped. I know exactly what's
45:08
going on. So again, it's easier for me. I comfort that area in
45:12
order to just set my creative mind like a blaze on the day of
45:16
Casey Fatchett: yeah, that preparation, I think that a lot
45:19
of people don't understand, like, how much preparation goes
45:22
into a like, you know, portrait, fashion, all this sort of, like,
45:27
city like, street photography, totally. Phil Penman, who's been
45:32
on the show, like, we were talking a lot, and he was like,
45:36
Yeah, I have like, journals upon journals upon journals of like,
45:40
what the light is like at this time of day, this time of year,
45:45
in this location, so that, like, I know this is the type of light
45:48
I like, right? I'm gonna go back there for the these two weeks of
45:53
the year right at this time, because I know that's, that's
45:57
the light that I like. I've, you know, done all this work and
46:01
figuring out, like in these places that I will frequent,
46:05
that that's when the light is really my
46:08
Andrew Tomasino: preparation leading to inspiration.
46:12
Casey Fatchett: Yeah, you free up the like you said, you free
46:14
up the creative side to run free because you've done all the
46:17
work, the technical stuff beforehand, or you, or you're
46:20
allowing your your camera, as you're saying, like, the
46:22
aperture priority, one of the things they get into again, with
46:25
like, these people understand the metering, how metering works
46:28
in your camera, because your camera is dumb. I mean, it can
46:31
make it make really fast calculations, very smart in that
46:34
way. But it's like, dumb. It does what you tell it to do,
46:37
like you said, right aperture priority, or whatever. But like,
46:40
when you're looking at metering, like so many people don't
46:42
understand, like, what? Understand, like, what this
46:45
means. Like, what does, you know, center weighted mean? What
46:48
does, like, how much, what is it metering off of? And it's like,
46:51
okay, you know, I get that go out and get a light meter.
46:56
Andrew Tomasino: Well, I shoot tethered a lot, so sometimes I
46:59
just, I get myself a black frame, and then I'll begin to
47:06
test from that black frame as I add light. Yeah, I do meter, but
47:12
not all the time. Sometimes I just open up capture and I'm
47:16
looking in it, and I'm like, Okay, let's move it from here.
47:19
You know.
47:19
Casey Fatchett: Yeah, makes sense. That makes sense. I'm
47:21
talking about, like, if you're out out and about, like, running
47:24
around outside or whatever this is dig. You know, things can
47:27
change. I too, and one of my best friends, who's also a
47:32
photographer, who I occasionally, like, shoot for,
47:34
like, well, get on me. Like, oh, you aperture priority. You know,
47:38
he's, like, shakes his fist because he's, like, editing
47:40
afterwards. And I'm like, Well, what do you want? He goes, Well,
47:42
you know, like, just shoot manually. I'm like, in some
47:44
instances, I will, in other instances, the light is changing
47:48
so dramatically we are at there was, it was an event that was
47:51
photographing that was outside, like 500 people at sunset into
48:01
the evening, like, I can't, like, can't like, you know, just
48:05
like, Okay, some people are in the sun. Some people are in the
48:08
shade. Like, yeah, if I'm manually shooting this, I'm
48:11
constantly
48:12
Andrew Tomasino: bonkers, yeah, I would not do that. I and also,
48:15
I think one thing too, with that, with that, use aperture
48:19
priority as a as a scouting tool, and then lock in via
48:22
manual. And then you could start to slide and get real precise,
48:27
you know, I try to do that, you know, when I'm doing lighting
48:31
design, I try to lock us in in that kind of way, if we're on
48:35
location, yeah, then it, then the camera does its dumb brain
48:39
thing, you lock in, and you start to get precise. And then
48:43
the, you know, when I'm doing lighting design, then it's the,
48:47
it's a photographer's job, then put their taste into it. And
48:51
then most of the time, we're all hovering around capture one, and
48:55
we're looking at the files, and we're like, okay, let's put, you
48:59
know, let's mess around a little bit. And a lot of my process. I
49:03
respect the film process, and I shoot rolls of film to document
49:08
life, and I think it's like a great way to capture memory. But
49:12
for me, in my process, as you know, shooting portraits of
49:16
fashion or when I'm on set, it's a digital process because of the
49:20
speed. Yeah, clients need photos so fast, yes. And also being
49:24
able to do it and capture it gives me the tools to add color
49:28
and to make it feel film if I want, right? I have a lot of
49:32
power in there. So I love that you can love putting the sauce on
49:36
Casey Fatchett: it, yeah, exactly the special sauce you
49:39
put your own special sauce on it emulates. You can emulate film.
49:43
Look, it's, you know, there's a lot of things you can do, but
49:47
yeah, the it's just film is prohibitive for commercial work,
49:52
expensive, yeah, I tell people do weddings. It. Lot of
49:55
weddings, and I'll have people say like, Oh, do you do film?
49:59
And I'll be like, only for portraits. Yeah, only for
50:03
portraits. And that's that. That's in the rest of the day. I
50:07
would charge them a zillion, you know, right? Oh, it's an add on.
50:12
It's an addition. And they'll be like, Oh, how much is it? And
50:16
I'm like, Well, depends. We're shooting 35 or 120,
50:21
Andrew Tomasino: 120 is the answer, though, right? Yeah,
50:23
absolutely. I love I went to me and format digital, medium
50:27
format, and I just, it's the best. It's so funny because I'm
50:31
shooting medium format and then I'm shooting the expert. Two is
50:34
like a crop sensor. So it's just like, that's, I love it.
50:38
Casey Fatchett: I just love it. So if you could work on any
50:45
project whatsoever, no limitations, budget, travel,
50:50
access to anything, what? What would it be?
50:54
Andrew Tomasino: Well, I think the path that I'm on is to get
50:59
to a certain place within fashion photography. I think
51:07
it's, it's such a hard field, and it's so, I mean, how many
51:12
people, you know, they they want to do that? So it's like, I
51:17
thought I would pick the safer route, like, you know, exiting
51:20
music. And then I'm like, doing this. I'm like, this is like,
51:23
basically the same, but, um, I love fashion. I have since I was
51:28
young. I I grew up in a family of beauticians, so it was like,
51:35
I was always looking at fashion magazines and stuff like, heavy
51:37
influence on music and and, and and being fashionable things
51:43
like this. So it kind of wore on me, but it was just the repeated
51:47
imagery of, Wow, this is so this is so cool to me. It's also like
51:51
a playground of imagination. It's very free for that in the
51:58
space of photography. And I think that's really cool. So I
52:03
think if, if I could dream up of something, I mean, it would, you
52:10
know, I'd love to shoot for any, any of these major fashion
52:15
houses. But I think career wise, I think, Well, absolutely,
52:26
shooting something like, you know, for Chanel, or something
52:30
like that, you know, be so cool. And I love the studio, I love
52:36
location, but I think right now, I think why I'm kind of
52:40
stumbling on this. It's hard because the path that I'm going
52:44
is where it may end up there it may not. But when I shoot
52:48
fashion and I work with the people involved in fashion, I
52:53
feel the most me, and that helps me make amazing work, you know.
52:59
And I like again, back in for the music you're in a band,
53:05
smasher feels a little bit like the band, where it's not
53:09
performance art, but it's definitely performance art. But
53:12
the thing about it is it's like, there's performance art for the
53:16
talent, right, the model. Or, you know, when I'm making
53:18
portraits, it's like your subject, but they're kind of
53:23
performing for the camera, right? But the team around is
53:26
kind of performing for them, because we all want this, like,
53:29
amazing picture. So the element of that is so interesting to me,
53:33
and that feels a little bit like rock and roll or punk, punk
53:37
rock, you know, like it's, it's cool to me to have that kind of
53:40
feeling. So I think if I had a, you know, my career goal is to
53:44
get to that at a very skilled level, and that, you know, by
53:50
way of, you know, if it's high fashion cool, but I like where
53:55
I'm at and the work that I make. I think, I think why I said
54:00
earlier that I'm more artist and less business is because my path
54:06
has always been pursuant to create something that feels
54:09
uniquely me in my style. So that's the goal for me on my
54:15
path in fashion. I would love, love to just continue to get
54:19
into you know, obviously, we all want bigger budgets. The
54:23
production is crazy. I think that a lot of fashion houses,
54:28
they want that wild creativity. Tim Walker is unbelievable. You
54:33
know, he shoots so much for Vogue, and it's this super
54:38
unique style. Nadia Lee comes to mind. Totally unique voice and
54:44
very skilled. So the hot, you know, the high end, just loves
54:48
it. I think that's where I would like to be somewhere there. He's
54:52
like, winded, but that's kind of where I'd be,
54:55
Casey Fatchett: no to be so uniquely yourself and.
55:00
Andrew Tomasino: Great, like, I want to have a definable style,
55:02
and I'm really pushing towards that. I have pictures that have
55:08
struck me deeply, that I've made that that make me feel like,
55:14
okay, there's certain things that this year, and I think like
55:18
this year and next year in my test shoots that I'll continue
55:22
to pursue, to kind of keep pushing this style. But, you
55:27
know, I've, I've been in this 16 years, but, you know, and in
55:33
professional way, you know, on campaigns and all this stuff,
55:36
I've got to see a lot. But now it's the idea of using the
55:40
technical to get into a more discernible style, where people
55:44
start looking at my work and going, Wow, this is like,
55:47
tomasino's work is really great.
55:49
Casey Fatchett: Yeah, that's the thing that they were talking
55:51
like, you can look at it and you can identify it and be like,
55:54
Okay, this,
55:54
Andrew Tomasino: yes, that is what I'm most hungry for now
55:58
Casey Fatchett: That's what you're striving for. Okay? And
56:01
all right, kind of close us up a little bit Sure. What is one
56:06
piece of advice you wish you'd received when you were starting
56:10
out as a photographer.
56:14
Andrew Tomasino: Buy more batteries. You
56:20
Casey Fatchett: a lot of batteries. Especially if you're
56:25
shooting mirrorless, you need a ton of batteries. I don't know
56:30
how many times I've seen somebody post on social
56:35
platforms like, Oh man, I forgot my battery at home. I'm like,
56:38
one. You have one singular battery been there, yeah, get,
56:44
get a number of memory card, get a multiple memory cards in
56:47
multiple batteries.
56:48
Andrew Tomasino: Yeah, back up your work. I think if I think I
56:53
would, I think my path, I would just have someone be like, just
57:01
go for it hard, like, just you got to really lean in and I and
57:06
I did, I think if I was giving that advice, because it's, it's
57:11
a hard path, but it's a worthwhile path, and there are
57:15
ways to make a living doing this full Time. Consider it to the
57:21
camera, you know, assisting and lighting and all these get good
57:24
at those skills and lean into them hard, because they will
57:28
benefit you. Moving forward, you'll be able to speak more
57:32
clearly and hold every role, like edit a video, shoot a
57:37
video, direct a video, do all these things. You'll grow so
57:40
much from there.
57:41
Casey Fatchett: Yeah, I think the video is becoming such a
57:43
like, I think many different levels a because of social
57:48
media, but and people wanting more video content to complement
57:54
still images. It's like such a vital skill to learn for
57:59
photographers,
58:00
Andrew Tomasino: and I've been doing that with reels a lot.
58:02
Yeah, I've noticed, yeah,
58:05
Casey Fatchett: yeah, it's great.
58:12
Hey there nerds. The nerdy photographer has a brand new
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1:00:22
Hey, now for my favorite part of the show, what's that? Say?
1:00:28
Useless information. This is always death. It's time for our
1:00:35
useless information. Useless info. I love this, yeah, so a
1:00:39
little bit of trivial knowledge, which I always include with
1:00:42
every episode. Love this. Andrew, did you how fast do you
1:00:47
think the world's best competitive eaters can eat a hot
1:00:52
dog like a single hot dog, a single one? Yes, the whole
1:00:59
thing. 10 seconds. 8.5 okay, you're very close. Very close.
1:01:08
Seen some competitions, yeah. Joey Chestnut center 870, hot
1:01:13
dogs in 10 minutes. Outrage, 10 minutes. It makes me ill,
1:01:19
thinking about it,
1:01:21
Andrew Tomasino: it makes me ill. But I'm also like, I, you
1:01:24
know, I like
1:01:24
Casey Fatchett: I do like good hot dogs, especially. Nathan
1:01:28
Masons are pretty good. Andrew, where can people find you?
1:01:32
Online? Find your work. Follow along with you.
1:01:36
Andrew Tomasino: My website's Andrew thomasyner.com and my
1:01:40
Instagram handle is T, dot, O, M, A, S, I N, O, it's just my
1:01:47
last name. If you type in tomasino, it'll most likely come
1:01:50
up like a yellow smiley face. I will
1:01:52
Casey Fatchett: include the links in the Episode Notes.
1:01:56
Andrew, thank you so much for being on the show. Come back.
1:01:58
Andrew Tomasino: Thanks for your time. I appreciate you asking me
1:02:00
to be on the show. I really appreciate it.
1:02:09
Casey Fatchett: Welcome back. Thank you. Harvey, I want to
1:02:14
thank Andrew tomasino for being on the show. I hope you enjoyed
1:02:18
our conversation. You can find Andrew's info and links in the
1:02:21
Episode Notes, go follow him now. While you're clicking on
1:02:24
those links, be sure to subscribe to the show. Leave a
1:02:27
review, because they're mighty helpful, and new people will
1:02:30
find the podcast because of it, and then follow along with the
1:02:33
nerdy photographer on the social medias. You know, at the nerdy
1:02:37
photo that's at the nerdy photo on Instagram, blue sky threads,
1:02:42
tick tock. And Reddit, no dots, underscores or dashes. You don't
1:02:46
want to miss out on the discussions and shenanigans that
1:02:48
happen between the episodes. Seriously, folks, shenanigans,
1:02:53
but they're good natured shenanigans. Thanks, Harvey.
1:02:58
Where did you get this from? We weren't even using this. Yes,
1:03:04
thank you for the assistance, but this is from an entirely
1:03:07
different set of tools. Until next time, everybody, stay safe
1:03:11
and stay nerdy. You
1:03:24
Unknown: who's your heart been beating about? Get better. Get
1:03:30
better. Get better. Get better. Listen, you.