How to Light a Film Scene – Cinematography & Filmmaking Tutorial 4

How to Light a Film Scene – Cinematography & Filmmaking Tutorial 4


Hi. Welcome to Tutorial #4 This is actually a quick continuation
of the previous tutorial. Just want to show you more examples
from the same film that I worked on. How I did lighting using only two lights. It’s mainly about how I designed the shot… about how I placed the camera
in the right place… how I placed the actors in the right place. So, here you can see one of the PAs marking the floor.
It’s for the actor to know what marks he has to hit.
And also for the focus puller… since the actor has to walk towards the camera,
the focus will change drastically. This is how it looks with the normal lighting
in that location. It’s very flat, washed-out. So, I turned off all the lights except
the stove light there and I added, just to the right side of the camera,
a big soft box. The same soft box I used in Tutorial #3. So, I put that 500W soft box
and pointed it at the actor. Then, I added another 65W fluorescent light
just behind the actor. It’s just off screen, to the left side of the camera. And that’s pretty much it.
Just two lights and here is how it works. And for the reverse, when we see
the girl welcoming him, I did the same thing.
What I did do, though… I faked it around… and that’s something I do very often… because you don’t really get a sense of
where she was exactly… basically, I didn’t like that she was
against those ugly-looking curtains there, and I also wanted to show a bit more of the kitchen cabinets… So, I had the actress and the actor… and the camera…
and everybody else move a lot more into the kitchen… so, if you think about it, now we are
in a completely different spot than in the previous angle but of course you don’t get to see it,
especially since the shots here as so close, so tight on the actors,
it doesn’t really matter. I also added these little LED lights. I taped them underneath the kitchen cabinets up here. They are these $6 lights that you can buy at WalMart. They run off two AA batteries. And they’re great, because they’re so light
you can tape them anywhere. This just adds something interesting to the scene. Otherwise, it feels kind of flat. Then, you see me turn on that big 500W soft box. I adjust the exposure here on the camera,
bring it all down a little bit. And then you see me turn on
that 65W fluorescent light as a hair light. And that’s it.
Here’s the final thing. I hope you enjoyed it.
Stay tuned for the next tutorial.

Ep 1: My Path to Hollywood – Cinematography One on One with Steven Fierberg, ASC

Ep 1: My Path to Hollywood – Cinematography One on One with Steven Fierberg, ASC


What’s your name and what do you do? I’m Steven Fierburg and I’m a Cinematographer or a Director of
Photography depending on what people like to say! What introduced you to
filmmaking? What was it that inspired you? What made you say, this is what I want to do? You’re a kid from Detroit!
I didn’t know anybody in any artistic field at all in Detroit.
I mean, everyone just wanted to be an automotive engineer or an automotive
executive or something. The idea of going into the film industry seemed crazy. I was
just throwing my life away. So I signed up for an engineering major and I got an
advisor engineering advisor. The day before school started I walk into
his office to meet him and he goes. what are you doing here? And I go, well, you’re
my advisor! And he goes, why? And I go, well, I might be an engineering major. And he
goes, no…come here. And he takes me out into the hallway and he shows me
like four guys down the hall with pocket protectors and all the stuff
well you would expect. He says, those are engineers. He goes, you’re much too
interesting to be an engineer, you can’t be one. Then he kicked me out of his
office. And this guy like saw immediately, this guy I’d never met, he saw who I was in a way that everybody I knew in Detroit for some reason couldn’t see. A graduate student took me on set of
documentary they were making about the Chinese New Year and we were waiting for
the parade to start. I saw something going on on the street
and I went down and I looked at it and there was a big Panavision camera there.
It turned out Francis Ford Coppola was filming “The Conversation” and Gene
Hackman was there and I caught his eye and he looked at me like I belonged on
the same earth as him. I went back and I thought, if I was 40 years old and
I was working as a lawyer or doctor what would I think if I went in the
street and ran into people filming and I had I never even tried to do it. I
couldn’t live with myself. And so in that moment I said, that’s it, I’m
going for it. So you have this sort of documentary look in the past but then
also you’re big into Steadicams and these very intricate moves – so it’s a
little dichotomy inside you there! On “Entourage”, yes, absolutely. But now when we
go to “The Affair” there is no documentary feel. You have handheld shots here and
there but there is to me a very beautiful type of light. It’s got a darkness to it;
it kind of almost has a little bit of a brooding nature, but then at times you
have all this pool light which I love. It’s great
you weren’t pigeon-holed for that. No, I love that you’re saying that, I love that
you’re saying that. I have no intention of “The Affair”
looking like “Entourage.” . I like the idea, like what we were saying, is starting from scratch. Like what could this movie
look like? What should it look like? What does the script
tell me it should become? That’s where I’m starting. I really need to read
the script and then try to let it somehow fill me. And then hopefully it gives me a
good idea about how it should then feel. Marshall Herskovitz, who’s a partner of
Ed Zwick, when I was doing “Love and Other Drugs” he said, you do heightened
reality. And I think that that’s something that I actually aspire to. And in general, what I try to do is
something that tends to be fairly naturalistic. You know, it looks like
you’re really in that place and it gives, well it can give, weight to the performances.
Whereas if you light something that’s in a very beautiful but stylistic way. It makes
them more aware of the fact that you’re watching an artifice, which is the movie.
Because the lighting is, even though it’s beautiful, is not something you would
normally see. On the TV show “Entourage” one of the things I did very consciously
is I said, I’m not backlighting these actors because they’re already too damn
good-looking! We’ve got all these twenty year olds who are beautiful and if you
glamorize them it’s gonna make the audience throw up and they’re gonna hate
these characters. And I was very upfront about that fact. I said no I’m not gonna
glamorize them I’m gonna make them look like you just saw them on the street or
you went into a restaurant and that’s what they would look like. And I think
that gave the show in some way gravitas that it wouldn’t have had if I hadn’t
done that. I can’t believe that I came from Detroit and actually made a life in the film industry. When I’m working I go sometimes, how is this a job?! Cuz it’s so much fun. I was just doing this low-budget film in New
York and most people were working on it for free or almost free because they love it.
What a wonderful thing that we we love our job, that we love doing it.

HOW TO CHASE STORMS – For Photography & Spotting

HOW TO CHASE STORMS – For Photography & Spotting


Hank’s storm footage currently airs worldwide in productions from BBC Earth, National Geographic, The Weather Channel and many more You can also see Hank’s lightning captures in Motion pictures “The Last Witch Hunter” and Netflix original “TAU.” The Pecos Hank YouTube channel features educational and cinematic delivery of severe weather as well as frequent encounters with with wild animals and interesting people he meets. while living on the road day to day. He is going to talk about anticipating storm development & transitions for optimal viewing and I think this is going to be some optimal viewing for us. Come on up. Guys thank you so much for having me out here. The welcome has been so warm which is nice considering how cold it is. The commute, I gotta tell you, it wasn’t the smoothest. I flew up from Houston last night And I’m sitting on the plane and next to me there’s a woman and her four year old girl It was the first time she’d ever been on an airplane. And so she kind of had this look of… I’m kinda nervous and I’m excited And we were trying to say this is going to be safe and fun. and the little girl looks out the window and she says… “Wing!” And I said “Yeah, that’s a wing.” And the plane started to back up and she goes… “We’re Flying!” And her Mom goes “We’re not flying yet” And the plane started to move forward and she goes “We’re flying!” Mom said “No, we’re not flying yet” And then the plane gets o the runway and takes off and she sinks back in her seat. Her eyes are the size of small goldfish bowls And here face was teetering o the edge of astonishment and panic. Kind of like that child that’s running… And it falls and hits the ground and you don’t know if it’s gonna laugh or cry. And so you immediately go into preventative maintenance. So we’re taking off and I said “Look at all there sparkly lights!” and she starts to get a smile on one end of her face. And then her mom goes. “Look at the pretty clouds!” It’s working. She’s starting to feel good… And she’s smiling and I’m looking at this child looking out the window seeing the miracle of flight for the first time. And then her smile starts to go away. She reaches up for her head And I thing, Oh no! The change in pressure is starting to effect her. And so I go, “Can you yawn?” And she goes “What?” And I go “can you yawn?” and she goes “What?” And I go, “Go like this.” and she started SCREAMING AND CRYING and backed away from me. Her mom looked at me like, What are you doing? And then it was awkward for a couple hours after that. It doesn’t get any better… So I get to the hotel. It’s about 1AM. And I’m walking into the hotel. And I meet the really nice desk clerk at the beautiful Inn at Waters Edge. He says. “Here’s your clicker. Use this to get in the elevator. It won’t work unless you use the clicker. I said OK. He said use the same clicker to get in your room. I said OK and then walked into the elevator. I hit the button. It starts going up and I’m standing there. We get to level three and the door doesn’t open. I’m thinking Okay… SoIi hit number 3 again. I can kind of hear this whirring. I’m deaf in my right ear so I can hear sounds but I can’t place sounds. I kinda hear this whirring noise. It stops and I’m thinking okay great. I’m stuck in the elevator. So I hit the door open button. And it makes a noise. I’m thinking what do I do? So I start pulling on the door and that didn’t work at all. And I see the emergency ring button and I though… Let me go down and I’ll let them know it’s not working maybe So I hit level 1 and as I’m getting out a woman is walking in. And I said excuse me I done think the elevator is working. and she goes… Really what’s wrong? I said the door’s not opening. and she said “I just took it. It’s fine.” I said Okay. (huh, we’ll see about that!) So I go back up with her. I’m sitting there waiting. I hit 3. I made sure I used my clip. We get to the third level and the door doesn’t open. And so I turned around like “uh huh!” And I look and she’s walking out the door that’s opening behind me. I didn’t know what to say so I just said “I’ll be speaking at the weather seminar tomorrow.” I wanted to talk to you guys about anticipating storm development & transitions for optimal viewing. I’ve been chasing for over 2 decades Over the years I’ve seen some patterns and I’ve learned a few things. And I wanted to share them with you guys. And uh… Some of it might even be accurate. I’m going to take you guys on a hypothetical storm chase. It’s not one of those chases where there’s tomatoes the whole time. Theres going to be a lot of transitioning and a lot of development that we’re going to anticipate. I’ve got a mosaic of radar grabs and different storms This talk is geared more towards photographers and chasers But I think there’s going to be a lot here for spotters as well. A little bit for everybody. Maybe not for little 4 year old girls. If you’ll notice the SPC says “Perhaps supercells initially but with a rapid upscale growth into cell clusters or an MCS So what that means for us burrito aficionados is We want to get on these cells early right? For most of us, it’s probably tomatoes that got us out of bed at 2am. Made us leave our families. Driving all night long drinking truck stop what-not. Some of us lied to our bosses. Some of you bailed on your mom on Mother’s day. So it’s probably tornadoes that are getting us out. We want to see those and monitor those. So we want to get on these cells really easy and really fast. Before the cluster or get messy or become more of a linear mode. And so they’re off. We’ve got discrete cells. Remember how I said we want to be on them, but we’re way back here because We were craving a grand slam. we wanted a hot meal. We’re tired of bananas and gas station sandwiches. So this is where we’d really like to be We’ve got a well developed supercell. A hooking appendage. It’s already severe warned. They surprised us a little early, however this might work in our favor. We’ve got another cell that’s developing down here. It’s heading in our general direction and we can head it off at the pass So this might actually work in our favor. Let’s go see what that cell looks like hypothetically. So here we are underneath the base It’s still got kind of a bow-ish look to it… A heavy downdraft behind it But it’s developing nicely. We’ve got a mean storm so that’s a good thing. Let’s sit and watch it and see where it goes from here. Now we’ve got a pretty good wall cloud right? We’ve got a tail cloud here. The rain-cooled air is condensing sooner. It’s streaming up here. So we know there’s a motion of wind going up through here. We kind of see some spokes here maybe suggesting some inflow coming in up here. And right here the end of that wall cloud has a rounded edge. And up here we can see the towing cumulus towers At our back the inflow is just gushing into the storm We put all this together and we can pretty much calculate this thing is rotating. And here’s our next slide. The same storm maybe 5 or 10 minutes later. And something has happened to it that if we’re hoping to see a tornado we don’t really like. Notice the wall cloud has been kind of blasted in half. It’s no longer got that rounded nub up here. It’s almost starting to look like curtains in your house are blowing outward. This storm is being undercut by cold outflow. Our storm, I think we can anticipate it’s becoming outflow dominant. We all know an outflow dominant storm is less likely to produce a potato. We’ve got kind of a shelf cloud forming here, but notice underneath right here we do have a spin-up. This particular scenario is burrito warned right now We’ve got this rotation here and we’ve all invested a lot into seeing tomatoes We tweeted our forecasts coincidentally 45 minutes after the SPC gave their outlook. So we really want that to be a tornado so that we have something to write home But we know that is a gustnado. Even though it’s underneath the storm still. It’s an easy pick when its pushed out in front of the storm and somebody might argue They’re saying “No, i saw circulation directly above this.” You guys have seen these storms. There’s turbulence everywhere. It’s going to be really hard to not find some kind of rotation above. But in their defense. You can see how it can be an easy mistake. That dust, debris cloud has a very similar appearance. But obviously we’ve got a funnel cloud above that. That’s obviously a potato. What about this one? This is actually a tornado. There’s clear rotation co-located directly above that. So gustnadoes and tornadoes can be a little tricky to decipher. We look back at our storm now and it’s clearly an outflow dominant storm. At this point we’ve got a lot of options. Let’s look at some of those options of what we might want to do in order to, or anticipate with this storm. A lot of people go home at this point they say “Eh, I’m done.” So we’re right here. One of our options is to back up. A lot of times when you have these lines forming you back up, roll the time lapse and get these beautiful structures Of storms approaching. And it might look something like that. Notice we can see the lightning. We got a shelf cloud forming here. Or it might look something like that. I’m going to come to this monitor and give this monitor some attention. So that’s one of our options. But a lot of us have seen that so we might want to do something different. So let’s go back to our radar. Ok, we could let the storm overrun us and that could be really neat. You get up in that and its really eerie. So that’s another thing we can anticipate to see when that shelf cloud overtakes you… Is to see the “whales mouth.” Now notice that we’ve got several tornado warnings on this mosaic that I put together here. We could come up here to this QLCS or this tornado warning right there. But generally as you guys know the odds of seeing that tornado are really slim. There’s probably going to be a slim window of there even being a tornado. And that can be a wild goose chase. However if we were there, It might look something like that. They’re generally not these beautiful amazing burritos. They tend to be weaker, but not always. Another option. We could come up here. It looks like we’ve got a supercell embedded along this line. That can happen in kinks sometimes. Other times it was perhaps that other supercell that we initially wanted to be on and as the line came, the supercell was so powerful that it was able to retain its identity. So we could go up there and see that. I generally don’t mess with those unless there’s nothing else. It might look something like that. They generally for me in my cases they tend to be more high precipitation The odds of seeing a tornado in that are really slim. And it can be really dangerous as well. Maybe we’d get lucky and see something like that. Obviously I think we all know what we should do. We want to go down here to Tail-End-Charlie, the tail end of the line. That’s probably going to be a better place to see Just have more visibility and it’s the more likely place i think to see a photogenic tornado. And if we were right there looking at the storm, it might look something like that. You can see it’s multicellular. There’s a couple cells. The second cell actually has a pretty good wall cloud directly underneath the updraft here So let’s drive up close to that and lets keep a better eye on that. Now we’re underneath the base and it’s looking a bit meaner than the first cell we were on. It’s a little more rounded. It’s not so bow-ish looking. It feels meaner. It looks meaner. It’s starting to look more like a mesocyclone. I like the words “supercell structures.” They’re kind of hybrids between not a supercell and a supercell. We’re going to watch this one and see what happens. One thing we’ve all noticed is sometimes you see this uptick in cloud-to-ground lightning frequency. Generally we associate that with storm strengthening. Sometimes, about once a year I’ll run into one of these storms and the cloud-to-ground lightning activity is so intense. Every two to three seconds BAM! Thousand-one, thousand-two BAM! Thousand-one, thousand-two BAM! I’m probably exaggerating a little bit It’s really amazing to see this. You can feel the energy in the atmosphere. So sometimes with this frequent cloud-to-ground lightning activity we can anticipate generally storm strengthening. At least I do. Here’s another cloud-to-ground lightning strike Now the base is kind of getting over us. On this day the cells are moving really slow. We feel kind of confident we can be underneath the base a little bit. It’s still not looking that tornado-ish yet. But notice the two little trees right here… That’s foreshadowing. Here’s another strike. Here’s our two little trees here. This storm was really amazing. It took me a lot of discipline to not use the word “insane” just now. Just in my field of view, I got multiple CGs crashing right in front of me. I’m not even getting the ones that are here or behind me. And then here’s our next shot. POW! Nails the tree. And this is probably not the brightest thing… to do! You can see we’re kind of elevated. Lightning is striking and getting closer and closer. This strike caught the tree on fire. And then right after that, Boom! Another one. I thought it hit the tree again but it was actually about 20-30 yards behind the tree. Behind that tree there’s some kind of structure. A metal phone booth… With an antenna and gears I call it the port-o-potty from space. But it nailed that. Ok at this point it’s time to do like they do on Holy Grail and runaway! Runaway! Ok, Skip has some really compelling theories about tornadogenesis and I have some too I want to share with you guys. Like his, it’s widely debated. But I have found out, and have multiple occasions to back this up… That if you look at a storm and you say “Eh, you’re kind of wimpy” And if you turn your back on it, it makes a tornado. I’m just going to throw that out there. I heard somebody say it’s true. Who said that? Yep! Alright, our storm is mean now. We got a mesocyclone. We got a fat tail cloud. We got a funnel cloud there. It’s probably a tornado. But notice our storm is starting to fill up with rain. And we get kind of an ugly tornado that’s rain-wrapped. This burrito was very transient. And then our storm… lets say it goes outflow dominant. A lot of times when you go on these storm chases, it’s not drive to one cell, and you follow that cell like Skip got to do on his last chase. That generally doesn’t happen. There’s a lot of transitions. You go to your first cell early in the day. that cell isn’t in quite the right environment. So you run over here and get on that cell and it doesn’t quite do the right thing. So the typical storm chase, storm chasers are bouncing around a lot waiting for their right cell. On thing I want to point out, another amazing phenomenon that you can see… We’re going to call this a typical negative cloud-to-ground lightning strike. We’re calling it that because it had several flickers. it was a DUDUDUDU! Now watch this next lightning strike. It’s got a different look to it right? It’s got this smooth channel. There’s no branching on it. And generally we call these positive lightning strikes. Positive lightning sticks really do well with video. Even if you have a camera with a rolling shutter. They nail the ground. the pulse is long. Just one good BANG! It really registers well. So these are really neat, these smooth channel positive lightning strikes. Here’s another one here. Same storm. Here’s another one here. They have this crazy bending. Who here has seen these before? A guy Sam here gave me his calendar earlier. Man, you have a great one by the way. In that calendar you have one of these and what I like about your picture Sometimes we call these branchless lightning, but i assure you there’s branches it’s just aloft. In your picture, the clouds open up aloft and your seeing the recoil leaders up above And then below the base in the boundary layer you’re seeing the smooth channel. So it’s a really great picture. I wish I had it to show these guys. Ok here are some more of them. This is a stacked image. But look how straight that lightning channel is. So that’s something I think is really neat and I wanted to share with you guys. Ok we’re looking back at our storm. It’s clearly outflow dominant again. It’s starting to get a shelf-ie cloud look to it. It’s still gnarly under here. But again our storm went outflow dominant. So I think it’s time to go back to the radar and asses the situation. So if you look here there’s no more burrito warnings. And that doesn’t look like a supercell at the tail end of that, however… Something has happened. When you see these lines like this. This happens many times. That’s part of the initial wave but a lot of storm chasers are biding our time. We’re waiting for a cell to fire up prefrontal line in that warm sector. When that happens on some of these volatile days, We’re like… Alright, it’s business time. Right there. We’ve got a cell. If we turned around it might look something like this. It’s already got a good velocity couplet. The cell on this day is moving really slow. We’re up here but we’re confident we can go in front of this cell. We’ve got plenty of time. We’ve calculated it. So we’re going to anticipate this storm moving right up here right where the NWS says it’s going to. And we’re going to drive right in front of it And it might look something like that. So we’ve got our base here. We can see the anvil cloud. It’s blossoming over us. At this point all we gotta do is let it come to us. But let’s drive south a little more and maybe we have something like that. So we’ve got an LP supercell forming. We’ve got a clear mesocyclone and we’re standing there. Warm air is blasting at our back. Our tripod sometimes flies off and we look really silly. But guys, I’ve got to do the disclaimer. I gotta say it. I don’t know the politically correct words to emphasize safety and then show you what I do. It’s a contradiction. So I’m going to go with my disclaimer and that’s, I’m a professional guys. Please don’t try this at home… Because you’re probably going to have to wait a long, long time. You gotta drive to Oklahoma. (crickets) For those of you that are watching at home… Nobody laughed at that last joke. And there is is. There’s the classic shot that we love. The supercell structure. We’ve got the tail cloud. We’ve got the tornado. Oh man, I want to get a little closer and get a good shot of that. I definitely think that is too close. We should probably turn around. Oops You didn’t see that one slide. Ok so now our storm has a long track (tornado). It’s been on the ground 30 minutes. More and more rain is starting to fill up that updraft. It’s getting more and more dangerous by the second. This particular one was on the ground 90 minutes. EF4… The longer it’s on the ground the more it tends to get rainier and rainier. And then the bear’s cage turns into a bomb. It’s high precipitation. There’s still a burrito on the ground in there. We’re probably not going to mess with that. It’s getting dark. And then our storm… Let’s say, again it goes outflow dominant. There might be a surging cold front that finally caught up. But whatever reason, the whole storm is becoming a line again with really pretty structure. and now it’s time to go back to the drawing board. What do we want to do here? This is a time that I really love. Lets say the tomato threat has been mitigated. Maybe we wan to shoot into some of that orange and get some lightning strikes with the orange. That’s always nice. But I want to be on the other side of this storm right here. Here’s why. So we look at our GOES image… and out here to the west there’s nothing. Nothing but sunlight. Once that sunlight gets underneath that anvil, magic is about to happen. Another cool thing is we might have some above anvil cirrus plumes right here.. If you haven’t heard about above anvil cirrus plumes yet, you will. Ok we’re driving. We turn around and look back. the sunlight is getting underneath it. So we’re getting this really pretty red turbulence. We’re not worried about potatoes. Pretty spectacular sight if you’ve never seen that. Now we’re on the other side. There’s no more rain. And this is kind of what we wanted to see right here. This is what we anticipated. Was… that. We’ve got the sunlight… That beautiful magic hour look and we’ve got this short window where sunlight got below the anvil. Before it goes down we’re going to get those bright reds And pretty lightning. Let’s turn our heads. What’s to the right? Awesome! Rainbow and lightning. The red goes away. Another thing we want to see. What’s to the north of us? That’s what we wanted to see. Who doesn’t love looking at mammatus clouds? It’s getting darker and darker now. More and more lightning activity is becoming visible. This storm is highly electric! Now it’s completely dark. There’s so much lightning activity we can really make out the cloud features. Again what’s so special about being on the back side of this is there’s no danger to me as long as I’m far enough away from the CGs. You can just sit there and GAWK at these beautiful lightning displays, colors and cloud shapes. Ok, that’s probably where we are. the line is still growing and zippering down like this. But there’s something developing right now that if you’re a lightning lover and you see that radar image, you’re like, “That’s where I want to be.” In the trailing stratiform region behind this bowing segment there’s a lot of lightning activity. That’s where we want to be because that is where some of the most erratic, crazy lightning discharges tend to occur. We’re going to start driving up into that. The first thing we start to see is anvil crawler lightning. Everybody here has seen anvil crawler lightning right? This is upward-moving lightning. Upward-moving lightning tend to initiate from tall objects. So you get into that trailing stratiform region, you find a radio tower and you wait. and eventually you’ll see lightning shoot up out of that tower. When it hit the base of the cloud there tends to be a screening layer there… A charged screening layer. And thank goodness for that because it hits that and blossoms out in all directions. And then… I’ve heard of three, but six? Now I’ll walk you through what’s happening. You’ve got this lightning strike. This one comes down. It hits the ground. When it hits the ground there’s an abrupt change in the electric field and actually triggers all these. This hits the ground and then boom! Six of these leap up into the sky. And then… Bam. That happened. I’m tearing up looking at it. One of my all-time favorite moments. I had never even heard of this before. 14 upward propagating positive leaders leaping up. What the heck is going on? Look closely you’ll see wind turbines. So wow! What an amazing storm chase we’ve had together. We’ve seen some amazing things. But we’re not done yet. It’s 2am. There’s one thing we haven’t seen. I think what we’re going to do now is drive away. We’re going to back away and here’s the storm. We’ve got the anvil cloud right here. And we see a red sprite. Discharges that are shooting out of thunderstorms 50 lies into the mesosphere. If you love nature and if you love thunderstorms I highly recommend that you guys go out and have a look at these mesoscale convective systems. They’ve brought me a lot of joy and I know you guys share the same enthusiasm and I know you’re going to see some amazing things. So thank you so much everybody!

Episode 35 – Photography and Figure Skating (feat. Interview with Joosep Martinson)

Episode 35 – Photography and Figure Skating (feat. Interview with Joosep Martinson)


Kat: You’re In The Loop – we’re here to discuss
the ups, downs and sideways of the sport of figure skating, and maybe give you +5 GOE
along the way. Let’s introduce this week’s hosts. Lae: Hi, I’m Lae. I’m currently trying to process that the JGP
is happening, and crying about my baby Juniors. You can find me on Twitter at @axelsandwich. Kat: Hi, I’m Kat and I am so thankful that
the figure skating season has finally started again. You can find me on Twitter at @kattwts. Gabb: Hi, I’m Gabb. I’m your costume enthusiast. You can find me on Twitter at @tegomass. Becs: Hi, I’m Becs, and I am counting down
the days until I can actually photograph figure skating in person again. You can find me on Twitter at @becsfer. Lae: Cool, so we’re really excited to have
this episode because it’s all about something that we can all rant for hours just casually
about. It is the photography episode, and we are
your resident photography enthusiasts – along with a lot of other people in our team. But I think we’re being tasked to represent
all of that love and bring it to you guys. Becs: We would also like to give a quick shout
out and thank you to the listener who suggested the concept for this episode to Kat. We had such a blast putting this episode together
and we really value listener suggestion and will do our absolute best to figure out how
to implement them or incorporate them into future episodes. So please, do send us suggestions, feel free
to. Thank you so much for sending this one and
we really hope that you enjoy the end product! Thank you. Lae: So, the way that we’re going to structure
the episode today is a lot of listeners have really kindly sent in some really cool questions,
so we’ll be going through them and, in the process, hopefully giving you a good rundown
of all the basics that you need to know for figure skating photography. And there will be some more resources and
extra things in the show notes as well if you want to find out more information – and
we’re obviously happy to answer follow-up questions as well. But before we do that, I guess it would be
good to just give a quick introduction to ourselves and a little bit about our experience
in all of these areas. So, Gabb, do you want to go first? Gabb: Yeah, sure! So I started photography when I was in college,
and I took photography classes. It was something I always liked doing and
then I actually learned it. I applied my knowledge in photographing cosplays,
and then I thought “Why not photograph figure skaters when I go to competitions?” So that’s basically how I went about it. Just like “Yeah, why not?” Lae: And you’re also a graphic designer, yeah? Gabb: Yeah, so I’m a graphic designer and
I also do banners – which I’m sure a lot of people have already seen last season and I’m
doing more this upcoming season as well. Kat: Your banners are so iconic. Becs: I’m so excited for their debuts. Gabb: Oh yes, there’s going to be so many
good ones. I’m really excited. Kat: So I basically started photography in
high school when my dad decided one day that he wanted to buy one of those starter DSLR
kits from Costco and he was like “Oh, I want to do photography,” and then, in the end,
I ended up falling in love with it instead. He never took his camera out and I took it
instead and then it just kind of went from there. So then, in college, I took a lot of headshots
and senior portraits, did a lot of photos for formals and sororities – those kinds of
things. It’s mostly recreational for me, and then
I just like taking photos of people, and figure skaters are people. Beautiful people! So it’s, again, a natural extension of what
I loved shooting. Becs: So I probably have been doing slightly
more serious photography the least amount out of everyone here. I have always really loved photography, but
I was a tragically poor uni student who couldn’t really justify indulging in the expense of
good gear – which I made the mistake of not doing before I went to uni. So I pretty much actually used figure skating
as a challenge to cut my teeth on getting better at photography and a really good motivator
about a year and a half ago. So I actually learned a lot about photography
on the fly while trying to shoot competitions, in-between using it a lot recreationally to
photograph – I love photographing nature, if anyone has ever talked to me [they know]. To photograph people in nature, and just try
to improve a lot of different areas that I like. But it was a really good high-level challenge
for me just to be like “Okay, I’m going to start tackling and really use this as a motivation
to improve my photography game since I know that I’m going to be at several competitions
this year.” So I mostly just started more seriously about
a year and a half ago, but I’ve always loved it for ten years or so. Lae: Great, and how did you become our resident
flower crown queen? Becs: By wanting to save money! Because Kat and I were watching Skate America
last season, we saw someone give Kaori [Sakamoto] a flower crown and we were like “We should
do that, we’re going to be at Skate Canada shortly. We should do this!” And Kat was linking me on Amazon, and I was
like “Girl, we can just make this ourselves!” So that is how I spawned a terrible addiction
between Kat and me, and now we’ve made probably about 70 flower crowns each. It’s kind of a shameful status, honestly,
but hopefully, people still enjoy the prettiness and the silliness. It’s quite a happy antic to engage in. Kat: We are probably Michaels’ top patron,
at this point. (Hosts laugh) Lae: Cool, and just to introduce my photography
background, I’ve been shooting for about six years now. I got my first DSLR, proper camera that was
mine – half of it was paid by my parents as a reward for good uni results, and I paid
for the other half. And it was probably the worst camera to buy
as a beginner because my dad went full Asian dad and was like “If you’re going to get a
camera, it better be a good one.” I bought a Canon 5D Mark II, so anyone who
knows [cameras] will know that is a professional-grade camera. And then my Asian self kicked in and was like
“If I’m going to pay so much for this camera, I’m going to use it.” So I started off shooting events at uni and
then that kind of snowballed into fashion, into portraits, travel, food, and also a wedding
that I shot. So it is a little business that I have on
the side, but I hadn’t shot sports photography before so figure skating was a completely
new area for me. But it was something that, again, I love shooting
beautiful people, I think this is a common theme. So that’s how I got started with it. So what we want to do then is we’ll move onto
all the different photography questions that people have asked and, I guess, the first
one that we’ll go into is, someone has asked “Is there a good point-and-shoot camera that
you can recommend for photographing skating? And any beginner tips on how to get started?” Kat: Well the most important thing we want
to emphasize is that photography is for everyone. Anyone can do it, you can use your phone,
you can use whatever cheap camera you have lying around. There’s more to photography than just having
the best camera or the best lens. Most people have their smartphone, a little
bit higher up than that will be your typical point-and-shoot, and then, if you want to
upgrade more, there’s also mirrorless and DSLR, and then there’s also different types
of DSLR. There’s a full-frame and then there’s crop-sensor,
like APSC. So that’s usually the trend that people move
up in, in terms of buying your cameras and then, once you invest in the DSLR, you also
have different types of lenses and then you can upgrade your camera bodies. There are lots of different ways to improve
your gear as you move forward through photography. Lae: But I think what people mean when they
say “I really want to get into photography,” as opposed to getting better at the photographs
they already take, is when you make that leap from using your phone and point-and-shoot,
which are cameras that don’t have detachable lenses to swap out your lens, because that
opens up your possibilities to different types of photography. Because essentially, what makes photos very
different on a technical level is the type of lens that you use, and so that’s usually
the biggest jump from a financial perspective and also from a commitment perspective. So that’s mainly what we’re going to focus
on, under the assumption that people who are asking these questions are interested in kind
of delving into the world of DSLR and mirrorless photography. But if you want any tips on phone photography
and how to get better at shooting on your phone, I have written up a guide in my own
blog and will write a short introduction as well for the In The Loop website, just giving
you some tips on getting better at your phone photography as well. We’ll be talking later in the episode about
how you can make this entire journey of buying a camera more affordable because you don’t
have to buy things new, so stay tuned for that. But first we’ll talk a little bit about shooting
specifically for figure skating. Kat: So I think that all of us really started
photographing figure skating more frequently last season. I think the first figure skating event I shot
anything for was Stars on Ice in April of last year, and that’s completely different
from competitions because it’s stage lighting. So you have spotlights and a dark background,
so [you have to adjust] a lot of the settings in stage lighting versus the competition,
regular rink lighting. Becs: And how would you normally recommend
alternating your settings for that, for people? Because I think one of the difficulties of
photographing shows straight off too is the fact that if you go to a competition, you
can go to the practice for most places other than some competitions in Japan and stuff. It’s generally pretty normal, you know what’s
anticipated. But for a show, if it hasn’t been aired or
if you haven’t had fan reports, hasn’t been covered that much – you don’t necessarily
know the programs people are skating, you don’t know the group numbers, you don’t know
what the lighting is. So how do you generally tend to anticipate
that, or do you just – I usually shoot on the fly, personally, and like lift up my camera
and take interesting shots. Kat: Let me just say that shooting group numbers
is the worst thing in the world. Becs: It’s terrible! Kat: You can’t shoot group numbers properly
from the audience. Gabb: There are too many people! Becs: It’s like synchro in group numbers are
the bane of your existence, there’s just no way to pull it off well. Kat: So I end up using those intro group numbers
during shows and galas as my opportunity to try to get the setting right. Because you can’t focus on one person in a
group number, it never ever looks good. So that’s what I usually end up doing. As for the settings, all of us shoot with
a mirrorless or a DSLR, so we all shoot manual. If you shoot manual, that means that you adjust
all the settings on the camera yourself. It’s not like the auto, where they kind of
optimize the settings based on the environment in which you’re shooting. You have a lot more control if you shoot manual,
but that also means that you have to know what all of those different functions do. So when I’m shooting at a gala, I try to keep
my shutter speed pretty high because you already have low light. So if you have a low shutter speed, a lot
of your images are going to be blurry because the longer your shutter is open, the more
light gets through and you’re going to end up with this kind of blurry image. I also try to keep my ISO as low as possible,
but it’s pretty hard when you’re in a dark setting, because the lower your ISO is, the
darker the image is because the ISO is the sensitivity of your sensor. The lower the ISO, the less grain you’ll have
in your images, but it’s also going to be darker. So I try to keep the ISO somewhere between
1000 and 1600, so it’s not too grainy but I also get enough light in, and the aperture
is largely dependent on what lens you get. You just keep your aperture as high as you
possibly can, which is a low F-Stop number. I try to play around with the ISO and the
shutter speed as much as I can and keep my aperture on the largest possible aperture
which is, again, the lowest F-Stop. Becs: And side note, sometimes galas can snake
you just a tiny bit if they have really wonky, inconsistent lighting or if you’re like me
when I was shooting Grand Prix Final, from the seats that Yogs and I were sitting from,
the spotlights were angled horrendously for us and it honestly ruined a lot of my photos
just because of the angle of the light. So that can be quite hard to control for and
you kind of just have to deal with it or wing it or cry and try to move to another seat,
if it’s not a very crowded event. But mostly, there will be a lot of challenges
so keep checking your photos and just adjust as best you can to try to get something. But they’re a lot of fun to shoot because
they have a lot of dramatic variances in lighting and setting than you’d get at a competition. Kat: Gabb and I had that issue at Grand Prix
Final, [Gabb: Yeah] because we were sitting at opposite sides but the same end of the
rink. Becs: Yeah, we were both kind of short side
towards the Kiss and Cry, and that was sort of rough. Lighting was not in our favor so just roll
with it. Gabb: And in general, at GPF it was just weird. Lae: In what way? Becs: So regarding lighting, I’ve shot in
a decent amount of rinks by now. Probably the best rink that had the best lighting
where I’ve looked at it and was like “Oh, I can keep my ISO so low, it’s so bright. The white balance is great. I don’t have to do too many adjustments,”
was probably the one at US Nationals because it was a super new rink. But Grand Prix Final was so wonky. It felt like a rink where they had the lighting
and – you know when you go to someone’s house and a light goes out and they screw-in whatever
random lightbulb that they’ve found that someone donated to them, so it’s all different sorts
of lights? That was very much how Grand Prix Final was. You shot one way and the light was completely
different, the white balance was super wonky and then you shot a slightly different angle
down the rink and it was totally different. So editing and adjusting for white balance
for just shooting one program or one run-through was an absolute nightmare in that rink. Kat: Yeah, during practices is our time to
usually get an idea of what the lighting situation is. It’s a good opportunity to also become familiar
with the program as well so that you know what parts of the program you’d be interested
in shooting. But yeah, Grand Prix Final, I basically gave
up taking photos. Gabb: Yeah, I remember I would take pictures
towards where Becs and Yogeeta were sitting and it would be super yellow, and then I’d
take pictures on the complete other side and my white balance and lighting would be great,
and then I’d shoot towards where the Kiss and Cry was and it’d be super dark. So it was just a real nightmare. Lae: I think one thing to consider sometimes,
I think a lot of skating fans when they’re buying tickets for an event to sit at, they’re
like we have to within this many rows, we have to be judges’ side, or we want to opposite
judges’ side but we want to be long side, and that’s not necessarily, depending on what
you like to capture when doing photography, those aren’t always necessarily the best seats. I would much rather side short side to capture
a lot of disciplines than sit opposite judges, [Becs: Right] because short side, you can
be by the twist corner, you can get step sequences – if someone has a straight step sequence,
and comes down the rink, you can get amazing shots and so much eye contact or set-up or
lifts look gorgeous, but sometimes when you are opposite judges, even if your seats are
generally quite fun or more central for actual ice coverage and other aspects, you’re just
going to get a lot of backs, or the choreography isn’t going to be really presenting. It’s really quite rough for Ice Dance, if
you want to shoot Ice Dance, probably don’t sit opposite judges. Gabb: I was at a competition two weeks ago,
a local Quebec [Canada] competition, and since there was only one side for the seats, basically
I only got shots of people’s backs for Ice Dance, it was really bad. Kat: Ice Dance is one of those disciplines
– well, really all of them – but Ice Dance is one of those disciplines you want to be
on the judges’ side because otherwise you will just have two backs staring at you. [Hosts laugh.] At Four Continents, I was sitting opposite
the judges’ side, because apparently all of the seats were opposite the judges’ side,
in the corner too. So, I did not get a lot of good Ice Dance
shots that were during the programs because all I saw was their backs, and usually people
were doing crossovers in that corner, so all I get is them doing back cross-overs in that
corner past me. So a lot of pictures I took of Ice Dancers
faces were during warm-ups as they were stroking around the rink. Becs: One thing you can do, if you don’t have
ideal seats for photography, one thing that’s really useful sometimes is… Okay, you have two options. You can either sit in your actual assigned
seats if you do go to practice or if you decide you want to, and sort of figure out, okay,
someone runs through their program, and you’re like oh my gosh. When I was at Grand Prix Final, I’d look at
someone and be like ‘this lift!’ I can get this part of the choreography perfectly
from my seat, it’s great. But, you can take advantage, especially if
it’s a complete mob of something, like Yuzu[ru]’s not practising, or something. You can kind of flit around the arena, and
be like okay! Well I want to see what other programs look
like, or I’m not in the twist corner. I didn’t take a single photo of a twist during
Grand Prix Final, so you can kind of flit around. Lae: I think for photography purposes, what
the key take away then is that number one, the best photography seats are not necessarily
the best seats for actually viewing a program, and secondly, I think don’t underestimate
the good shots you can get in practise, especially for like Ice Dance practise where they’re
pretty much made-up already, it’s such a good opportunity to take photos of the very fact
that you can vary where you are sitting during practise, so you can get better seats. Also, I think it’s just a more relaxed time,
and you have a better chance of a skater practising an element in your corner, where you are sitting,
for example, when they’re in practise because they’re not necessarily cleaving all the time
to their actual program. They could be practising an element or a spin,
and so definitely would recommend people attend practises if you’re wanting to get good photography,
if you’re able to. Kat: In general, just a couple of constant
reminders because you never want to be stuck in these situations. Bring extra SD cards, make sure you have enough
storage for all your photos. There is literally nothing worse than realising
that your SD card is almost full and you’re in the middle of shooting competitions, and
you’re doing burst mode and shooting in RAW and you’re just frantically deleting a bunch
of photos. Gabb: It’s hell. Also, check! If you’ve been shooting a competition for
a whole day. Check that you’ve transferred you’re photos,
but check that you’ve formatted your card before you started shooting, because I did
this, my last day at Skate Canada practise, and everyone knows I was having a meltdown
because I had 100GB of photos on my card, 120 and I had transferred them all and backed
them up, but I hadn’t formatted and then I had taken shots of Shoma [Uno] and Piper [Gilles]
and Paul [Poirer] and was desperately trying to mass-delete everything so I could use the
card, it was a disaster. So, don’t do that! Kat: If you don’t have enough storage, try
to get a card – especially if you’re shooting in raw, you need that extra storage. I would recommend having at least one 128GB
or maybe 64GB SD card to use for the day- if you like to live on the edge. A 128GB will give you around 5,000-6,000 photos
which should be plenty for a day if you’re not crazy which we all are. Try to have at least 128GB for shooting and
then be able to back up your photos and reformat. Also, know what your camera’s battery life
is! Know if you need to bring extra batteries
and have one fully charge, or if you know your camera can last a day on one battery,
just make sure to charge it every single day. Be vigilant about your camera’s battery. Be aware that sometimes rinks are cold and
batteries can underperform in the cold. Lae: You might witness your camera actually-
my camera was jumping from full battery to one bar, then back again in the cold. If you have that happen, don’t panic. Go outside and warm your camera up as lame
as that sounds. You sometimes will be taken aback by those. It needs warmth to survive. Becs: It’s like a sad plant. Kat: If you can get an extra battery, it’s
always highly recommended to bring a backup for whatever reason. Batteries will deteriorate naturally as you
use it. Check your battery setting too. Like if it has 70% capacity at full charge,
it has 70% of the change if it were brand new. Be aware of that as well. Becs: Also, it’s just hellishly hard to
find a place to charge a battery if you do have a crisis at a rink. It’s worth even buying a cheaper backup
just so you don’t have to run around hunting for that. Lae: So we have some questions around picking
a camera and the differences between camera bodies, what cameras we use, and what we do
and don’t recommend. We really wanted to sort of break this down
into several key points. First, when you’re picking a camera, what
factors you should be considering beyond your figure skating photography needs. Becs, I think you had some insight about that? Becs: Initially, one thing obviously was budget
just because these [camera] can vary quite a bit. The camera, if I wanted to go from a four
framed DSLR, it would have been all or nothing, it would have been about a thousand dollars
more than my current body. One thing I strongly considered was that I
wanted to photograph more candid photography and take my camera everywhere. I love to hike. Obviously I could lug a tripod and a massive
DSLR and a lens and stuff on every hiking expedition, but I probably don’t want to considering
I like to travel quite light. This is especially if I’m country-hoping
or going to multiple different destinations. I ended up opting a very light and small mirrorless. I shoot a Fuji X-T20. I would probably actually recommend now that
they’re on sale, going with a T2 or T3. Basically I went with a cheaper and lighter
body and I did invest in different lenses so I have quite a large telephoto that’s
quite heavy and stuff. I also have smaller lenses so if I was going
to pack for a trip, it’s pretty versatile. I tried to incorporate, okay I want to do
some photography in terms of portraiture for friends, and I want to do some more promotional
shoots, and some macro, and I love to photograph nature. When I was selecting what sort of gear I really
wanted to invest in, I wanted to think realistically. Like, what really suits my lifestyle in addition
to taking figure skating photos. Those may not be the most professional, but
still would be something I could improve on and be quite proud of. Kat: Obviously what we’re trying to say
is that photography is a pretty expensive hobby. You’ll get out of it what you invest. Photography doesn’t have to be expensive but
if you’re looking to create high quality photos, you’re going to have to prepare to foot the
price. Everyone has different limits for what that
might be. Some people might think that spending $2,500
on a lens and camera body is insane, and I don’t blame people who think that. For some people, that’s just reality and what
you have to deal with when you want a nice body and lens that lends you a little bit
better versatility and better quality in your photos. Lae: Also take into account that there are
repairs that you may have to do and most investment that stacks up. It really does depend on your budget and I
would really heavily recommend people really do their research around the body and range
of lenses available because it will serve you well to have a long term plan for where
you want to take your photography. If you do really want to work yourself to
a place where you’re shooting professionally and getting paid for your photos, then it
might be worth investing in a good quality camera from the outset because you’re depending
on that return once you actually hit the stage of being able to be paid. For most people, I think if you want to keep
it as an amateur hobby, it then really depends on knowing what you’re going to predominantly
use your camera for. No one is expecting to go to figure skating
competitions every single day of the year, but it is a pity to leave your camera languishing
in the cupboard, so I do really recommend a camera that suits your needs. Becs: Right. One thing I would recommend is really researching
and comparing across brands such as the range of lenses and how much they cost. Fuji is relatively expensive in glass. I’ll look at comparable lenses for Canon
sometimes and i’m like, “oh, I could get a much cheaper used lens.” In terms of actual compactness and lifestyle,
I really research the lense range. I think to do landscape, and marco, and sports. These all have pretty accessible lenses I
could switch in and out and try to work towards investing. Almost construct a mini plan in advance in
the sorts of photography you’d like to aim for if it’s going to be a bit more serious. I would even go and play around with the cameras
and trying them out to figure out if that’s what you like to shoot with- that’s really
helpful. Lae: Just to talk a little bit about the difference
between a full frame and a crop frame camera, I would say that a full frame camera are professional
grade cameras that you see official photographers at competitions using. I wouldn’t recommend them for beginners because
they are so expensive. They are genuinely such an investment. When I bought my Canon 5D Mark ll, that was
brand new in 2011, that came with one lens, I paid $3,500 AUD for it. I believe that’s the rough equivalent of
high $2,000 USD. It is a huge investment and it only gets more
expensive because an average red ring lens, or professional L lens for a full frame camera
in Canon is easily in the thousands if you want to get really fancy lenses. There are some cheaper lenses, but they’re
all in the hundreds. I think people can genuinely get taken aback
by the prince- photography is a very expensive hobby. I do recommend that if you’re going to invest
in these sorts of cameras, then you should be thinking about getting to the level where
you can get paid for the photography. It took me probably about four years of shooting
and being paid for my photography to sort of pay off that camera. Now that it is, that’s where the return investment
actually happens. Kat: Just for a basis of comparison, Lae and
I use a similar camera- we both have Canon 5Ds. When I got my first camera, it was a Canon
60D Crop Sensor APS-C, I paid between $1,000-$1,200 at the time, and it wasn’t even the newest
model I think. That one came with an 18-135 mm. That’s a lower quality lens with a lower
quality body, and that’s still a thousand dollars for every a Crop Sensor DSLR. That can be pretty expensive too. Lae: That can be something to take into consideration
but I do that that if you’re going to be serious about it, then Crop Sensor and Crop Frame
is what I’d recommend for starting out, and Gabb can attest to that. Gabb: Yeah. Crop Frame is something I’d recommend using
because it’s cheaper, you can get the same amount of zoom or more compared to the full
frame, it’s more versatile, it’s lighter, and you could easily upgrade. For me just to compare, I use a Panasonic
G7 and I bought that one second-hand because I already had an Olympus which uses the same
lens, the Micro Four Thirds. For my body since I got it used, I got it
for around $700 and that included a microphone, extra batteries, an SD card, and I thought
that was a pretty good deal. After that, I got a Telephoto lens which is
my holy grail lens and that is the 35-100 mm F2.8 and I got that for around $700 just
because I was searching on Ebay, looking at listings for 3 or 4 months until I got a really
good deal on it. I think if you bought the lens new, it would
cost about $1200, I would say, I think that’s about the price. But yeah, crop frame could come pretty cheap
but I just want to say that with my camera body, it broke during Skate Canada on the
last day which was very sad. Becs: Tragedy! Kat: That was so tragic! Gabb: Yeah, so it broke on the last day and
I went to Panasonic to get repairs and the thing is that it took them ages to quote me
back on how much that would be and when they did, they told me it would cost $695 just
to get it repaired. Becs: Which is what it cost to buy! Gabb: Yeah basically! Since I was like ‘yeah I’m not paying
that, I’m just going to buy a new body.’ So I was able to get a new body on eBay – no
lens, no nothing – just a body with some extra batteries that came with it and I got it for
like $300, which is really good! So you can still get really good pictures
and not pay as much as you would for a full frame with just a crop sensor. Kat: And it’s good that you mention that
too because one thing that is important to note is that a lot of the photo quality is
determined more by the lens you use and not the body. So if you had the option between investing
in a high quality lens or a more expensive, better body, always go for the lens first. The lens has longevity. Usually lenses don’t deteriorate as quickly
as camera bodies do which is why Gabb was able to find a body for pretty cheap. But lenses usually retain the same quality
and you usually get better photos if you invest in a lens than if you just go for the most
expensive body Becs: Yeah, I would also agree with that because
that was one of the deciding factors in why I chose to get not as quite of a premium of
a body for Fuji because I looked at it and compared it and was like ‘I know I want
to buy this very specific lens so I can photograph figure skating in addition to some other things’. I looked at the pros and cons and the better
body I wanted was like $600-$700 more, so I just went with the cheaper body, which has
excellent performance so you really can get a lot out of it if you do your research. Kat: Be prepared for how expensive lenses
can be. A lot of people that don’t know a lot about
photography might be surprised by that but you really have to invest in lenses if you
want to produce better quality photos. So a lot of the more professional grade lenses
are easily in the thousand range and that’s usually not even the most expensive ones either. There are a lot of lenses that are in the
couple hundreds range but the best quality lenses with the higher apertures and longer
focal range will tend to be in the thousands. If you can get a 70-200mm for $1000 USD, that
is good, that is amazing, jump on that. Becs: Just as a really quick tip if you’re
researching what sort of camera system to invest in, there’s always like ‘Canon
makes this glass, Fuji makes this glass’ but check out what other lenses work with
the mount for your camera or an adaptor because – if you’re thinking more ‘I want to balance
lifestyle photography and figure skating photography’ – you can get some really great lenses for
cheaper if you don’t necessarily buy the name brand for your camera. You’ve got a lot of much cheaper options;
most of them will be more manual lenses likely so if you’re not comfortable shooting with
manual focus and other things, you might have to get more comfortable with that but that’s
definitely something you also want to quickly investigate on the side to double check your
other options. Lae: And then just finally to quickly give
an overview of the two key brands at the moment, Nikon and Canon are still the two giants of
the photography world. One of our ITL team members Clara shoots with
a Nikon D7000, also with a 70-200mm lens. What Nikon tends to be famous for is their
lenses are generally more affordable than Canon’s and usually if there’s a particular
type of Canon lens, there will always be a Nikon equivalent. If you’re going down one or the other, look
at the different characteristics of the brand and what they’re known for. And obviously, as Becs and Gabbs have mentioned,
you can look into other brands like Fuji, Sony, Panasonic and other brands as well. And obviously don’t forget the special lens
manufacturers like Tamron and Sigma. Lae: Another one of our ITL members Gina uses
the Canon 7D Mk 2 setup with a 70-200mm f/2.8 lens so that’s definitely a great lens for
Canon as well. What Gina does additionally does is utilise
the AI servo continuous shooting function with autofocus on for rapid multi-directional
movement tracking. Basically this is function within EOS DSLR
camera bodies that basically allows you to analyse and track movement and the camera
focuses the image based on where it predicts the subject will be at any given point in
time. This is often used in sports photography where
the subject is continuously moving and this increases the likelihood you’re going to
get a series of shots in focus. If it’s something you’ve enabled in your
camera, it’s definitely a useful function if you can get your head around exactly what
it involves. Becs: Moving on, we got one question from
a listener regarding what sort of lenses and cameras you should avoid if you don’t want
security all over you. This is…relatively… Kat: It’s a loaded question. Becs: It’s a very loaded question and honestly,
one thing you have to understand is to think about where you’re going to competitions
because different feds have different standards and within those feds, different competitions
have different standards and different security guards for the competitions have wildly different
concepts of what’s appropriate. So let’s quickly run over some of the basic
standard specs in terms of permissible lenses that they formally say, and then what our
experiences have been in actual relation to that. Kat: So the most common rule you will see
about photography is ‘no detachable lenses’, which is one of the stupidest rules ever. (Lae: It really is) Barring the fact that
no one ever enforces it, and most security guards don’t know a thing about cameras
anyway and don’t realise they’re looking at a detachable lens camera like 80% of the
time Becs: It’s tragic like at Skate Canada once,
someone tried to rip off a $1500 telephoto lens off my camera because they thought it
was a tumbler. Not anything against the security guards but
their knowledge of basic photography gear can be pretty tragic so be prepared to explain
things a lot. Kat: But yeah so a lot of competitions will
have a rule you can’t have detachable lenses, some will say no focal length of over 200mm,
or they’ll ban lenses that are more than 6in in length which is the stupidest thing
ever because if you’ve ever seen one of those really big white lenses, that’s the
70-200mm and it’s over 6in in length but it’s 200mm so it’s technically within
the rules. Becs: One thing to be wary of is the fact
that sometimes, if you have a fully contained zoom for a much nicer, higher level lens with
fixed aperture, your lens is going to be much bulkier than if you have a lens that extends
out. So you might have a lens that has a 300mm
zoom that security will just wave by but for the 200mm, they’ll be like ‘No no no no’
because it’s technically a bulkier lens even though it technically fits their stats
more. So basically in general, in terms of a rundown,
Skate Canada says no detachable lenses and they have their really strict 6in and 200mm
[policy]. We talked to our team member Gina who was
at Pyeongchang for the Olympics and she said it was basically as long as you didn’t exceed
300mm. And then the US Federation is probably the
most lenient but the most inconsistent and Kat has a lot of anecdotes about that. And then I think in general, European federations
tend to be kind of across the board have less explicitly stated photography policies or
be more lenient, and then Japan is just…don’t bring out a camera, don’t bring out your
phone and even try to take photos. No. (Kat: Do not even try). Don’t make any effort. In fact, I started going to figure skating
competitions in Japan and was so used to not photographing a single thing that then 6 weeks
after I moved back from Japan, I went to ACI and completely forgot to even bring my camera
because I had forgotten that one was actually allowed to photograph skating competitions
in the US so that was a tragedy. Kat: But yeah, these kind of security things…there
is no right answer to get past security. It just depends on what the situation is. Like Gabb – because her camera is pretty small
and even her telephoto is pretty small, she can probably get in a little bit easier Becs: It’s a lot daintier than if say if
you’re shooting a Canon 70-200mm. Kat: Gabb did you ever get stopped by security?? Gabb: No, never! Kat: Yeah! Which is like, again, crazy to me! Becs: Because she actually has longer range
in some cases. Lae I think has been a little bit fortunate
in that she’s mostly shot Milan Worlds in 2018. Tell us about Europe because that’s the
real unknown for some of us. Lae: Europe was honestly very chill. I think they were more concerned about our
water bottles not having caps than with my gigantic lens and camera body that was easily
5kgs. I can only speak to one experience where I
went to Milan Worlds but they were fairly lax about letting in cameras, I don’t remember
there being a very stringent policy on not being able to take taking cameras in. While we would never encourage any listeners
to break the rules and to flout these things, I think the thing that you have to be aware
of is the reason why they ban these lenses in the first place is that they don’t want
to cause disruption to other people in the audience, they don’t want the perception
that we have a whole bunch of professional photographers in the crowd and I think the
key thing is just around the optics of how you’re shooting. So unfortunately if you do have a full frame
camera and you have a bulky DSLR, even if you’re technically not breaking the rules
or you’re just on the allowances, the optics to a security guard, to these event organisers
who don’t know the finer details around photography…if you’re looking like you’re
kind of disruptive or you’re very prominently visible with your camera, that’s probably
what’s going to get you the knock. And so that’s where having a smaller and
more discreet camera can really be in your favour. So definitely read up on the rules. I will just say you do have to just see how
the situation is on the day. Sometimes they’ll be really lax, sometimes
they won’t be. You just have to be polite and understanding
if you’re told to put your camera away, don’t fight them on that. Kat: Sometimes it’s also a lot of miscommunication
too between the arena or the rink management and the ISU and also the security because
sometimes security is just private security that’s not for the rink. So there’s three levels of miscommunication
that can happen. Becs: The general rule of thumb that we found
when attending competitions – at least in North America where we’ve tried to do more
photography – is that it’ll get stricter as the competition goes on. So, for example, at Skate Canada, Gabb and
Kat and I and several other people we know had been taking photos with our standard gear
and not sneaking our gear in really at all, just going through normal bag checks and they
waved us in for Thursday and Friday. And then once we hit Saturday, the day of
the FS, they were doing much more extensive bag checks and being much more suspicious
of our gear, even though they had basically waved us through the two prior days. Or for US Nationals once, I ran in and Saturday,
they didn’t even glance at my camera gear and then Sunday, they were like ‘What? You can’t use this’ and I had literally
emailed the US Fed four times to request their camera policy so I just politely told the
security guard that I understood and that it wouldn’t be a problem and proceeded in
and they didn’t give me grief but generally, rule of thumb, it’s going to be stricter
as it goes on so just be aware of that and try not to be too upset. Lae: I think just never go into the competition
assuming that you’re entitled to take photos but definitely bring your camera because you
don’t want to be there, see security being really lax about cameras and then not have
your camera there. Just always be prepared – prepare for the
best case scenario but if the security is truly giving you grief and not letting anyone
shoot, then just accept that and enjoy watching the competition with your actual eyes because
at the end of the day, that’s it. Kat: Trust me, we totally understand the frustration
of sometimes being denied your camera but then you look out in the audience and see
someone shooting with a massive lens Lae: Oh yes, we totally get that! Becs: We understand the agony, just try to
be patient and you know what, if you’re not having to shoot you can actually focus
on the competition better, which is not always the best comfort but it can be nice. Kat: That was my experience at Four Continents
because the only event I did not get to actually shoot at Four Continents was the Pairs Free. So I did not get any Sui and Han free photos
at all. Lae: So another key theme in the questions
that came out was whether or not we get to actually enjoy watching the competition while
photographing. Specifically we’ve been asked “do you
see jumps when you photograph and does photographing skaters help you with insight on their tech
abilities?” So I think, personally from experience, I
try very much to watch the actual competition as much as I can with my own eyes. The camera is your second eye – all it does
is really just focus your field of vision. So when you’re seeing jumps as you’re
photographing, if you’re photographing on burst mode, you won’t see them necessarily
when you’re in the moment of taking photographs but it’s also not as though you go completely
blind either, you just see it in a different way to if you were watching with your own
eyes. This is where I think having a zoom lens with
a really high zoom such as a 200mm or 300mm is amazing because it actually gives you more
than what your eyes can see – or at least me because my vision’s super poor. So if you’re sitting far away, you can get
a close up view on details you won’t be able to see with your own eyes so I actually
really quite enjoy that experience. But yeah, it is hard to get a holistic picture
if you’re focused on taking a close up of a jump or a spin. Kat: I personally hate shooting jumps or spins. If it’s in midair you do get funny faces and
stuff, which is kind of amusing while you’re going through all of the photos. Or if you’re taking may be like a burst of
a jump then you can get the entire takeoff and landing. But in general individual jump photos are
not as aesthetically pleasing. You can maybe if you’re looking at takeoffs,
like Lutz edges and flip edges from a proper angle, those can be nice to look at. Lae: It’s rare that you get it. Becs: My advice basically if you want to photograph
people in the air, photograph Pairs. Because you can get some really cool twists
and really cool throw photos as long as the man isn’t grimacing too much *laughter* which
is unfortunately common. But you know if you want to really photograph
kind of a dramatic aerial shot, pairs is a better discipline than singles. If you’re seated in a corner that’s really
fantastic the landing of a jump that can be really fun to get because you can really see
a skater’s extension and the angle and really capture the fierceness and moment of a landing. So I wouldn’t necessarily discount that, but
in general shooting jumps is just like additions to your private comedic gallery. To be fair if you like photographing spins,
I would say jumps are a lot iffier. Spins can give you a lot of appreciation for
position and also a lot of appreciation for skaters who have amazing…who have not even
funny faces but amazingly serene faces. And increase your respect. I think one of the most fun things about shooting
a full competition, especially if you go to practices, is finding a skater or two who
you didn’t really care about that much or you weren’t that impressed by just watching
on a screen or whatever. And then you sit down and you photograph them
a bit and you review the photos and you’re like “Wow they look perfect in every photo,
like their expression is amazing or their lines are amazing”. Like okay I wasn’t quite a frothing at the
mouth Alina [Zagitova] fan, and then I went to Grand Prix Final and I photographed her
a bit and I was like “She photographs so well. Her expression, her extension in spins is
gorgeous. Or her lines are beautiful.” It can really give you an appreciation for
a skater that you don’t anticipate. Or you photograph a junior and you’re like
“okay well I’ll just take a few shots”, and then you review them it’s stunning. So I think that just adds a lot of appreciation
for the sport in general. Kat: In terms of insight on tech abilities,
I tend to avoid jumps and spins but it’s really telling which skaters have produced the most
aesthetically pleasing lines and figures if you shoot through their step sequence or just
shooting a program and looking at their lines. Skaters that produce aesthetically pleasing
lines, every single frame are the ones that you kind of have an appreciation for just
how beautiful they are when you look through the photos. Like there are some skaters where you can
complain about posture or those things and they don’t become apparent until you look
at their photos. Lae: So the next question we had was “whether
we had figure skaters we like to photograph more than others?” Gabb: For me I just like photographing any
skaters that I really like. So I really like photographing Jun Hwan, there’s
no surprise there. But if I don’t have anyone I particularly
like to photograph in a group who is on the ice I do like to photograph whoever has the
most interesting costume. So whether it’s like the sparkly stuff or
just anything with any interesting detail, I would end up photographing them a lot. Becs: Good costumes are such a draw in terms
of just being like “Yes yes you are worthy!” Gabb: Especially if they’re sparkly! Becs: Yes sparkles please! Kat: Aka Ice Dance ladies.[Gabb: Yes!] 90%
of the time deliver with their costumes. Becs: Yes. One thing that is so beautiful about picking
who you’re going to photograph is ah Ice Dance ladies and ladies in general show up looking
usually fabulous most practices even so… Kat: And then you have the men with like 80%
black costumes or monochrome. Becs: Yeah it’s tragic, it’s a tragic contrast. Gabb: And ladies tend to have better expression
too when photographing, so that’s always nice. Lae: Unless you’re Yuzuru Hanyu, sorry. [everyone: Yes!, Kat: Of course] Becs: No he’s a dream to photograph. Kat: Genuinely, like I tend towards skaters
that I think have beautiful lines and have expression that goes through their whole body
from their head to their finger tips. I am really drawn to the way that skaters
use their hands so I love photographing skaters like Yuzuru, Sui and Han, especially Wenjing,
and Satoko Miyahara, Alyona Kostornaia. They have such beautiful hands. It really comes out in photos I think. Their lines are gorgeous and I love photographing
them. Even Shoma too. Becs: Yeah, Shoma is very charismatic. Also Shoma gets points for usually having
extremely good expression. Kat: Although he is very… he’s quite fast. Becs: Yeah he is! This is another thing that you get with photographing
is that sometimes you actually start to…like Wakaba, Shoma, Yuzu etc. are really fast. So sometimes it’s actually easier to get a
better shot of a slightly slower skater. Or someone who is just taking their time a
bit more. Lae: They nyoom pretty fast. Becs: They nyoom by you and you’re like “Hang
on hang on I had that framed perfectly”. And then you review it and you’re like “Ah
yes….”. Lae: So sort of quite related is also the
question of how difficult it is to take good photos of skaters? I would actually say my top tip, especially
for skaters that you really want to photograph, is to study up on their programs and really
know when they’re hitting those photogenic moments. So like for Yuzu for example, I will focus
on his hydroblade, on his ina bauer, on the jumps landings. So that actually gives me time to know when
to pace myself when I’m shooting so I’m not constantly just photographing whatever and
wherever and just following him around with the camera. It’s about knowing like “Okay the moment is
coming” and really almost prepping your composition and your camera to where you know that he’s
going to do that move and then just taking lots of burst mode photos while he’s going
through that and then just putting your camera down. I think that really helps. Because you have a higher chance of really
focusing on that one shot. Rather than splitting your attention throughout
the entire program. Kat: I completely agree with becoming familiar
with the program whether you already know the program or you’re watching it in practice. Like when I was at Four Continents I knew
specifically that I wanted a shot of Rika during the step sequence. I knew that she was going to be right in my
corner facing me when she did the little arm thing right at the end of the step sequence
so I really wanted to get a shot of that from my corner and I did get that shot. Also I wanted a photo of Kaori’s spiral as
well, her spiral sequence, her Y spiral right in my corner as well. So I was really happy that I got that as well. Lae: Yeah so it’s a lot of that is about watching
for the program and going to practices is also that’s where it’s really helpful because
you can get a preview of where all these key moments are happening. So if you know that the hydroblade is happening
on the other side of the rink don’t even bother photographing that, just use that energy to
prep for the moment that the moment that you will be able to capture well. I think that’s a key way to be able to ensure
that you’re still enjoying and processing the program and not just frantically trying
to keep up with your camera and shooting wherever. Lae: So a quick question from Courtney Milan
I think addressing our previous point about point and shoot cameras. So people who really don’t want to dive into
this very expensive world of DLSR photography, there are definitely still options available
if you want to more than just your iphone. So what Courtney has asked is “Last season
my iphone only takes very blurry pictures”, and she wanted something better but doesn’t
want to spend a huge amount so she’s wondering “Is something like a 40x zoom going to be
enough?”. Gabb: So basically anything is better than
an iphone especially just having a camera that has a bigger sensor than your iphone
helps a lot. And also if you just want to use your iphone
we could also recommend just using your camera on video mode and then taking screenshots
of your recorded video. Because sometimes those end up way better
than what your camera would take while it’s zoomed in. So for point and shoot something like a 40x
zoom would definitely be enough but sometimes the quality won’t be that great. I used to have a point and shoot and that
one was 26x zoom and it was an optical zoom. The thing about that is that it had no IS
[image stabilization] so it was not stabilized. So even if I was in maximum zoom and my settings
were alright, the slightest shake, even just me holding it as steady as I could, would
still have some motion blur in it because it just couldn’t [handle it]. Lae: So I think from experience what the best
thing to do is actually to go to a camera store, like physically go there. There will be experts whose job is to help
you and you can hold the camera. It really does make a difference because you
can read up on all these articles online but the fastest and best way is to just actually
go talk to someone about what you need and they’ll have recommendations as well. Becs: So moving on, one listener asked us
just generally what we use for editing and posting our photos, I think we are all pretty
unified in that we primarily use Adobe Lightroom? Lae: Yes. Kat: And Photoshop sometimes. But yes Lightroom is the best if you have
a ton of photos that you want to edit on the fly. Becs: Yes so it’s very handy in that regard
and integrates pretty well. You have a lot of flexibility with it in terms
of how you choose to process your photos which is wonderful. Lae: We will just flag obviously that Adobe
Lightroom comes at the moment with a subscription to Adobe Creative Cloud so it isn’t the most
financially flexible and accessible program to use. But if you are serious about shooting more
it’s definitely the program to invest in if you’re going to be seriously editing your
photos and shooting a lot. Because it just has everything in the interface
designed to help you organize and edit your photos best. Kat: But also if you’re a student a lot of
universities will offer discounts of a free subscription as well so keep that in mind
too. So if you’re a student go check your university’s
free software and downloads. Lae: I’d also just take this opportunity to
really emphasize the importance of editing your photos. So I think that’s actually the one quality
that I find is different from any other person with a phone camera versus someone who is
starting to learn about photography is the fact that editing is what gives your photos
your own distinctive character. So you should absolutely edit your photos. All photographers do so don’t ever feel like
it’s lying or not authentic because no photography that you’ll see on advertisements or out in
the world has not been edited, even if it’s just color correction or what not. You can even start if you don’t have access
to Lightroom or professional editing software there is free software available. There are things like GIMP, and FireAlpaca
and all of these programs online that you can download that kind of dupe photoshop. So things like editing the contrast and the
highlights and shadows of your photography is very easy with those programs. I also recommend that if you can transfer
your photos to your phone and you’re not looking to have really really big files and you’re
just looking to post on instagram or twitter an app like VSCO or SnapSeed. Gabb: Yeah I just want to add in that last
year during Autumn Classic I was helping Karly on how to edit her pictures. I just recommended SnapSeed and she’s been
using it ever since. Lae: If it’s just simple editing there’s a
lot of really good mobile apps as well. So definitely look into those. Editing doesn’t have to be inaccessible but
you definitely should edit. Kat: While we’re talking about editing if
you do want to take your photography and editing to the next level we always recommend shooting
in RAW. So there are two main photo file formats that
you probably are familiar with: JPEG and then the other is a RAW photo. So basically a JPEG file is usually…if you
shoot with JPEG basically your camera is processing the image already into a smaller compressed
form so it takes up way less space in your memory card. So if you want to save space, shoot in JPEG
because you can take thousands of more photos if you shoot in JPEG. But the RAW photos is basically just your
camera taking the info from the sensor and just leaving it uncompressed so you have all
of the raw data essentially from the image. So what that lends you is a lot more flexibility
while you’re editing because you will have way more range in what you can edit, like
the saturation, or just any quality of the photo you can kind of play around with a lot
more readily if you just shoot in JPEG. But the downside is that they are very very
large files. So they take up a lot of space in your memory
card. Becs: Yes so post processing yeah you’ll be
a lot less frustrated but in general buy an extra card or something. Lae: Yeah and don’t be put off if your RAW
photos look kind of weird or dimly lit or whatever, they’re designed to because they’re
saving all that information they’re waiting for you to edit so a lot of people will be
like “Oh but my JPEG images look so much better”. That’s because the computer has already made
those decisions about contrast and lighting and highlights for you. Whereas if it’s RAW it’s like a blank canvas
essentially for you to work off. So definitely look into shooting that. Lae: So I think we’ve run through a lot of
our insights obviously as amateur photographers. As we may have hinted through talking about
our very very expensive full frame cameras, the story is quite a bit different for professional
photographers who are officially licensed and qualified and accredited to shoot competitions. And I think a lot of people who do follow
figure skating will know this next photographer that we are about to interview. His photos are much beloved by many in the
fandom. So I was lucky enough to have the opportunity
to interview him and here it is. -end segment- START: Interview with Joosep Martinson Lae: So thank you so much for joining me in
this interview, Joosep. Is that how you pronounce your name ? Would
you be able to introduce yourself and tell us a little bit about your background ? Joosep: Yes Joosep is how english speakers
call me. When I lived in Australia people called me
Joseph, Jesup, Josep, Joe [Lae: laugher] and stuff like this so. Actually yeah I lived in Sydney for awhile
and Joe was the named they used there because Aussies always shorten everything [Lae laughs]
and I was fine with that. I don’t really care how people call me because
if they try to speak with me, I get the point, so it doesn’t really matter much, so Joe,
Joosep. In Estonian, it’s actually Yosep [Lae: Yosep?]
which sounds a little different, but it’s awkward when I hear it from my english-speaking
person, so Joosep sounds better. I didn’t know the answer to that question,
to be honest, but anything will do really. Lae: Right, so you’ve got several names! [Joosep: Exactly.] But, I totally understand. It sounds strange to hear the native pronuncation
when speaking English, right? Joosep: Exactly. English-speaking people can never get close
to how Estonians pronounce it, so I am okay with everything. Lae: Okay. So shall I call you… Joosep: Joosep is fine. Lae: Joosep? [Joosep: Yeah.] Alright. We’ll call you Joosep from now on then. So, I hear you’re from Estonia originally? Is that where you grew up, and where your
background and family are from? Joosep: Exactly. I’m from Tallinn, Estonia, which is the capital
of Estonia, and yeah, born here and been here for 24 years and then I left to Sydney for
4 years, and then I came back and now I’m living in Malaga, Spain for the winter season,
and Tallinn, Estonia for the summer season, so I don’t really have a home at the moment. Lae: You’re my country man! Joosep: Yeah, exactly. Lae: Well, perfect. And how did you go to Sydney and Malaga? What was the reason for leaving Estonia? Joosep: Leaving to Sydney started when I shooting
sports in Tallinn for 6-7 years and I achieved everything I could in this tiny country of
Estonia, and I just felt I needed to test myself [to] prove I could do sports photography
in an international level, so I figured I had to leave and go somewhere else, and try
my skills out and I thought maybe U.K, the [United] States or Canada, or Australia, and
in the end I just picked Australia because it’s the furthest. So if I don’t succeed, there is no way in
coming back, I need to grind as hard so I eventually succeed, so that was the reasoning
behind choosing Sydney. [Lae: Amazing.] I went to Sydney as a backpacker first, because
it’s not first to just jump into a new country and start getting work for profession, so
I had to all the jobs backpackers do for a little while, invested in equipment, got some
contacts and eventually I got a free-lance contract with Getty Images in Sydney., so
yeah! It’s actually a long story, but that’s the
long story short for now. Lae: Oh my goodness. That’s amazing! Did you pick fruit and stuff as all backpackers
in Australia tend to do? Joosep: Oh yeah! I picked fruit. I did removals, construction, all that type
of stuff, and the funny part is I was a Basketball referee first, when I was 14/15, and after
that only photography. So when I went to Australia, and started doing
all this construction and removal and fruit-picking and stuff, it wasn’t the easiest of times,
to be honest, but yes, I managed, and in the end it worked out so I’m actually proud of
it. You know? I didn’t collapse in the stress, I just kept
going, kept going, kept going and it worked out in the end. Lae: I manage you must have hustled very hard
from a young age in the photography business, how did you get into photography at the start? Joosep: My dad is a sports journalist so I’m
a big fan of sports overall. I used to do, and I’m still quite active doing
different types of sports, and it all started when I started going to different sporting
events with my dad, being a toddler pretty much, so this is where my passion for sports
started. I think I was around 12/13 years old, and
I always loved drawing and artsy type stuff, and in my school we had arts class where we
had to do some different assignments, and all the other people drew and painted, but
I thought, being a lazy person obviously, there could be an easier way of doing all
that, and then I discovered photography, and from day one, I couldn’t see it myself but
all the other people who saw my images said I kind of had a creative eye, and I could
see the patterns and lights and darks, and contrasts and all this type of stuff, composition. After that, it all started quite quickly. I could just follow other photographers from
the newspaper where my dad worked, kind of hang around with them and see how they do
stuff. I had my own camera at the time, it wasn’t
really a [professional] camera but it made sharp pictures, so I started shooting at different
events and after maybe a year or so, I started showing my images to the newspaper when journalists
came back from the games, especially when I had something good. I remember I always printed out my top 5 pictures
or something and put them on the keyboard of the journalist who was writing the story,
so [Lae: Laughter] so he couldn’t keep on typing because he saw my pictures, and sometimes
some of those pictures were better than the newspaper’s photographer had so they kind
of had to use mine because they showed the moment better than the editorial photographer
of the newspaper. This is how it all started, and at one point,
I think my skill got to a point where the newspaper thought it was a better idea to
hire me because I was making better pictures than the other photographers in the newspapers
so I was 15/16 at the time, so when I got hired.. [Lae: Amazing!] it was part time first, because
I had to attend classes and school as well, but anyway, early start for my profession,
yeah. Lae; Very early and impressive start, and
what was the tipping point for you deciding to make photography your full-time profession? Joosep: I don’t think I’ve ever really thought
about now, that’s the point where I’ll become a professional sports photographer. It’s just I really love being in the sporting
environment, in the stadiums and seeing the big games, so with or without a camera, it
didn’t really matter much at first, but once my skill got to a point where my pictures
started to look good as well, I felt like I could keep on doing that, and make money
and a career out of it, so there wasn’t really a tipping point, it’s just a smooth transition
from being a school kid to being a sports photographer. Lae: Amazing, not many people go through such
a nice transition, but it sounds like it was very natural for you. Joosep: True, but one thing is I’m kind of
hyper-active, so I really need to do something all the time, run around and that’s why I
really love sports myself. I can just switch my brain off and throw a
ball or play golf, or whatever, so if I really love doing something, I give 110% so this
is how I think it was easy for me with photography, because I did it 24/7 pretty much. I even thought about when I was sleeping,
so I got better at it real quick, so I think it’s like everything. If I decide that I want to do something, then
I either do it, or I don’t. With this mindset, it’s easier to get there
faster. Lae: Sounds like a good philosophy. So, I just want to move quickly onto a little
bit about photographing figure skating, specifically. So, I know that you cover a wide variety of
sports, and you shoot a whole bunch of different tournaments, is there something unique about
photographing figure skating compared to the other sports that you tend to photograph? Joosep: Of course! Well, with all the team sports and stuff,
there’s the peak moments where they score a goal, or in athletics, when they cross the
bar or cross the finish line, but in figure skating, it’s more an artistic flow if you
get my idea. It’s more about resonating than one peak moment,
at least for me. I feel like they’re artists, just like myself,
and dancing with skates pretty much, and arts of movement, if that makes sense? [Lae: Absolutely.] So, me being a more artsy person myself, I
really like shooting Figure Skating because it’s more than a sport. It’s not just who crosses the finish line
first, it’s about what skaters do on the ice, what they do after they’ve competed, what
they do before. It’s the whole environment of that. Lae: Absolutely. The entire process right? I guess because Figure Skating is partially
about performance as much as it is a sport. Do you set out when photographing Figure Skating
competitions with sort of a goal in mind in terms of which shots you are more eager to
take or which shots you are really looking for when you’re following a competition. Joosep: As I’m shooting this for the ISU that
means I have better access than other photographers so my main goal is to have different pictures
than everyone else. I’m willing to miss peak moments but if I
get different pictures of that same routine then I’m happy so my main idea is to use my
access as much as I can, so get really close to the skaters, and get some portraits and
stuff because I know other photographers can’t really move that much. I really want to capture the vibe of the skaters
before they go on the ice, and obviously the performance itself, and then when they’ve
finished their skating. So, it’s more about trying to reflect on the
vibe they’re having before and after they’ve skating. Lae: You say as an ISU photographer you get
greater amount of access? Does that mean, because I think I know at
least for Japanese competitions for example, the photographers are assigned to a specific
place, and they must sort of stay in that area. Do you get more room to, I guess, move around? Is that what you mean by access? Joosep: Exactly. I can move around. I can’t step on the ice when they’re performing,
but that’s about it, like I can go wherever. I just need to be sure I’m not in the way
of TV cameras and such, so I really try to make myself invisible, just for safety. But, I can move around freely everywhere,
also dressing rooms and stuff, so that’s what I’ve been doing for the last two seasons,
trying to get really intimate shots with the skaters, and show behind the scenes more than
just a performance itself. Lae: Absolutely. I think something you are very known for,
I guess, amongst Figure Skating fans is the very fact you have these very distinctive
warm-up shots of the skaters and very unique framing of the pictures, so a lot of the time,
a lot of shadow in the foreground for example, and all of that. So, is this techniques that you apply specifically
to Figure Skating or stuff that you like to shoot in other instances as well? Joosep: This is just my style. I don’t really think about it when I’m shooting,
I just do it. How these dark background pictures happen
is usually when I scout around the warm-up areas. I try to find spots where for some reason
there is more light than in other places, and I try to expose for that specific spot,
and I really hope for someone to walk into that spot. So that’s how I go about the business. Lae: Hope and Pray. Joosep: Exactly. It’s all about light anyway, if there is no
good light, even a good moment, it doesn’t look that good. If there the light is good then I can just
have someone walk in the light and it works. I get the picture, and that’s different. So, that’s really my approach to shooting
all these warm-up shots, and everything else. Try to find good light and if I have good
light then good pictures will happen. Lae: Right. And, what’s sort of the most challenging part
of photographing Figure Skating in particular? What do you do to overcome those challenges? Joosep: Well, sometimes if the skater does
a step sequences and all these things where I know I can get good pictures of but on the
other side of the rink than I am then sometimes it’s tricky to get the shots that I’m not
known for – the standard action stuff, but if it’s not just happening on my end, then
sometimes it’s tricky. I sometimes get a few anyway but if it’s Yuzuru
Hanyu and he’s on the other side skating there for 3 minutes and then 30 seconds he comes
to my side, then obviously I’m not happy about that whole situation, but I’ve managed so
far. I carry lenses that reach the other half as
well, but the quality isn’t really the same, so I can get pictures, but they’re not the
pictures I would really want to get, so I think that’s the most challenging part. Do you have any ideas on how I could overcome
that? Lae: [Laugher] You’re the expert here. Joosep: Have a chat with Yuzuru before the
competition… Lae: Tell him to stand in a particular place. Joosep: Yeah, exactly. Hey, Yuzuru, can you skate on the other side
this time? [laughs] Lae: Have you spoken to skaters, like while
you’re photographing? Because I know for example you’ve taken portraits
of Shoma Uno, and a whole bunch of other skaters that look very intimate. Did you talk with them before taking it or
was it very much candid? Joosep: A lot of those pictures are candid,
but some of them, if I have time on Sunday before the gala exhibition and the skaters
are warming up, then they’re relaxed and if I ask them to pose for me then they’re usually
cool with this. I haven’t had a skater who said no if I asked
them for portraits. I do speak with them quite a lot, not during
the competition, but before and after. Lae: What do you usually talk to them about? Joosep: As I’ve shot a lot of really famous
people, so I don’t really get, how do you say that, starstruck? Is that the word? Lae: Starstruck? Yeah, yeah. Joosep: Yeah, like, last year I was shooting
Fifa World Cup, I shot you know Putin and Macron, had a chat with Macron actually. Lae: Oh my goodness. Joosep: So having a chat with skaters, I just
take them as professionals like I am, so we’re equal. I try to feel like we’re all equal, and that’s
how the chats are really organic. It looks like they tend to like this approach,
so they’re really cool with me and it’s really easy to talk to them and get some cool portraits,
because I think they know as well what I’m doing, so if I ask them for portraits they’re
happy, because they can see these images and use these images later themselves. Lae: Yeah, I find, sometimes shooting portraits,
a lot of people are quite awkward because they are nervous and they don’t know what
to do in front of the camera. I imagine for skaters, they’re very used to
being performers and know their angles, does that make the process easier? Joosep: Yeah, exactly. This is one of the reasons I really like shooting
figure skating, because they’re all artists as well. So it’s really easy to get the idea across
what I’m trying to get, and for them it’s pretty easy to understand what I’m after. They’re really good at giving me the poses
or expressions that I need for these photos, so that’s one of the big things I love figure
skating for. Because trying to shoot some other athletes,
say footballers or basketballers, it’s not as easy to get these nice portraits, intimate
portraits. Because they’d be in the studio, just crossing
their arms and just looking at the camera, and like “what do you want me to do?”. You know, it’s really tricky. They’re so stiff, but figure skaters are so
much better. But that’s their job, anyway. To look like they’re flowing, or something,
right? Makes my job easier. Lae: Yeah, absolutely, they’re actors as well,
right? So it’s very different. Just related to, we mentioned before you said
a lot of shots you take were candid of figure skaters, how do you in an competition decide
when to shoot and when to hold back? Because a lot of the time, photography is
about knowing when the right moment is. So do you have any thoughts on when do you
know it’s the right moment to be taking that particular shot? Joosep: I think it all has to do with the
motion, when they’re preparing for competition, then you can see the focus in their eyes,
so it’s worth taking a shot. Because you can actually see on the image,
the tension, and concentration. And obviously after the performance, when
they walk off, you can see emotion in their eyes if the performance went well or not. I mainly try to grab shots when I know that
the image shows emotion. So this is the best time, when there is emotion,
when they’re feeling something. This is the perfect time I think. When they’re just a few days before the competition,
training or practicing, you can’t really get these tense portraits, if you know what I
mean? Lae: That’s when it’s most intense, right? Joosep: Exactly, then you can feel the tension
watching the image. Lae: Just a few more questions. Just curious about – we were talking before
about the frustration of having great moments happen across the rink. I believe we have seen you on Japanese news
in the background, and you’ve been walking around with multiple cameras. So just quickly, what’s your set-up in a typical
ISU Championship? Are you carrying multiple cameras, what sort
of lenses do you like to use? Joosep: I’m carrying three cameras, they’re
all Canon 1DX, and my main lens for the action, everything happening on the ice, is 200 mm
lens f/2. Lae: Nice. Joosep: I also have 400 mm f/28, just in case
they’re all skating on the other side of the rink, so I can at least use my 400. Lae: For the beads of sweat, right, on their
foreheads if they’re standing close? Joosep: Yeah, but the thing is, I only use
400mm as a back-up, because its image quality is obviously really good, but my 200mm f/2
is better. So I really try to use my 200mm f/2 as much
as I can. But obviously if it happens on the other side
of the rink, I just can’t reach with the 200. Lae: So that’s two cameras. Did you say you had a third as well? Joosep: My third one I usually use either
35mm f/1.4, or my 85mm f/1.4. So I’m only using fixed lenses because the
quality is so much better. I have to work harder to get sharp images
with these lenses. But once I get a sharp one, it’s good. I can’t do it better with any other set-up
than the set-up I have. Lae: Are you shooting at 2.8 and 2 when you’re
taking the photos? Joosep: Yeah, I’m wide open all the time. Lae: Oh yes, that would be tricky. Joosep: It is tricky. But I like challenges. I want every competition, every time I go
shooting, every assignment to be a challenge. If it’s too easy, if it’s too comfortable
for me, it’s boring and when it gets boring it’s no good. I really try to make it as hard as possible. I get nice pictures doing that as well. I miss a lot of moments, but the ones I get
are good. Lae: Yeah, and I guess natural flow-on from
that, what’s been some of your favorite figure skating moments or photographs? You have any memorable stories that come to
mind? Joosep: I think Yuzuru Hanyu must be the skater
who’s photographed and the photos turn out really good because of his emotions. Especially preparing, just maybe 30 seconds
before going on the ice, his focus and his aura, he’s just different. I think he’s the most famous figure skater
as well, so having good pictures of him, I know that people will love these. So I really try to get some cool stuff of
him, and it has worked out a few times, and hopefully it will work out in the upcoming
season as well. But nothing super special. I take an event at a time, every event has
its moments. Overall, there is nothing that stands out
that much. I can’t really remember. Lae: Have you been lying on the ground or
in crazy positions to get the shot? Joosep: I’m always in a crazy position, so
that’s nothing… I always try to get as low angle as possible. Actually, on Instagram they call this my signature
style. Lae: Oh really? Joosep: Yes, just lying on the ground as low
as possible on my tummy, have all my lenses around me, have my headphones on, because
it cancels one of five senses so I can concentrate more on the visuals. I can’t hear the fans screaming and stuff. If people ask me “what music are you listening
to when you shoot figure skating”, then yeah… I don’t listen to anything, these are my noise-cancelling
earphones that just give me that focus or edge. Lae: That’s fascinating, I might have to try
that actually. Joosep: Oh yeah, try it out, it’s good. Lae: Okay, great! One final question, I know I’ve had you here
for quite a while, but… As, I guess, an amateur photographer myself,
what we’ve noticed is that in competitions where photography is allowed, it’s becoming
quite accessible in general. A lot of professional grade cameras can be
bought by amateurs and it’s quite common to see audience members taking photographs in
the crowd at figure skating competitions. Is that something that you’ve noticed, and
do you have any particular thoughts on that phenomenon? Is it unique to figure skating, to see audience
members taking photographs? Joosep: Well, I think it’s good for figure
skating. The more photos people are publishing, the
more outside world can see these cool images, but I haven’t really noticed, because I’m
in my own zone during the competition, so I don’t really look around and try to find
400mm lenses in the crowd. Lae: I’m sure they’re there. Joosep: Probably, yeah! But I haven’t really noticed, and I hope they’re
getting good pictures, but I know I have better access and if they’re not next to me, their
pictures will be good but it’s really hard to get something that no one else has. Lae: I suppose if you were to give advice
to enthusiast photographers in the crowd or people wanting to get into sports photography,
what would be a piece of advice that you would give them? Joosep: I think it all starts with the ABC,
really. The basics. You need to get your technical stuff right,
your shutter speeds, your ISOs, and apertures quite balanced, you know, focus. And then really, what I do is I listen to
the music a bit when they’re on the ice, and try to feel the rhythm. And when you feel the rhythm, then you know
when the peak moments are going to happen. Like the butterfly, jumps and stuff, it’s
always bom bom bom jump, you know, it goes like that. Really try to shoot less but feel more. I think that’s how I do it. When I started, I shot maybe a few hundred
frames per skater, now I’m down to maybe a hundred or something. Lae: In total? Joosep: Yeah. Maybe 150 or something, but yeah, it’s not
much. I’ll shoot next to some of the photographers,
and I hear their shutter going all the time, and I could say they shoot around 5, 6, maybe
700 frames per skater. And I only do 100, so after the event I’m
usually the first one who leaves the press room. Lae: The fastest to edit through your photos
as well, surely. Joosep: Exactly, you need to push when the
right moment happens, and shoot before that or after that – there’s no reason to take
it. But it comes with experience, trying to feel
when the right moment happens. It takes time to shoot less. Lae: Absolutely. I think that’s the journey that all photographers
go through. Starting out shooting a lot, and then being
able to have the experience to narrow it down all the way. Joosep: Yeah, exactly. Lae: Perfect. Well, thank you so much for your time, I think
there was some really great insight and advice in there, and it was such a pleasure to speak
to you. Joosep: Yeah, no worries. Thank you. So my first podcast in English is done! Lae: Oh actually, one more question: which
competitions will you be at in the coming season? Have you decided or has it been confirmed? Joosep: Yeah, it was confirmed last week. I’m doing four Junior Grand Prix, then I think
around four Senior Grand Prix, starting with I think Grenoble for me, in Moscow, and I’ll
be at the Worlds in Montreal in March as well. Overall I’m doing 16, 17, events this season,
but it includes speed skating and short track as well, so I think I’ll be around 12 figure
skating events for me this season. I think that’s plenty. Lae: Yeah, we absolutely look forward to you
being there and all the photos that will come out of it. Joosep: I do look forward to this season myself,
because I have some ideas that I haven’t really tried before, and trying to get more intimate
moments, portraits. At some events I’m probably going to grab
some of my lighting gears as well, so maybe we can get some cool portraits and a more
studio look lighting in there as well. Lae: Oh my gosh. Well, that’s an exclusive for us! I’m so excited! I will hopefully be making the trip to Montreal
too, so if we see you in the distance crouching on the ground we’ll give you a yell. Joosep: Yeah, no worries, I’ll see you in
Montreal, right? Lae: Yeah, fingers crossed! I have a thirty hour flight before that happens. Fingers crossed that that will go smoothly,
and wishing you the best time at all these competitions, and good photography! Joosep: Yeah, thank you! -end segment- START: Outro Lae: If you haven’t seen them already, you
can find a lot of Joosep’s photos on his Instagram. Follow him on @jmfotoz. You’ll also find a link to his website there,
which will tell you more about him and show you more of his portfolio. Well I think that pretty much sums up our
entire episode on photography. So I think we just want to thank you, first
of all, for listening, and a special thanks to Gina and Clara from the ITL team for their
additional advice, our entire transcribing and and quality control team, Evie for editing,
and Gabb for graphic design. Kat: If you want to get in touch with us,
you can contact us via our website inthelopodcast.com, or our Twitter or Instagram. And you can also find our episodes on Youtube,
iTunes, Google Play, Stitcher, or Spotify. Becs: If you enjoyed the show and want to
help support the team, please consider making a donation to us on our Ko-Fi page. We’d like to give a huge thank you to all
the listeners who have contributed to our team thus far. You can find all the links to our social media
pages and our Ko-Fi on our website. Gabb: And if you’re listening on iTunes please
consider leaving us a rating and a review if you enjoyed they show. Thanks for listening, this has been Gabb, Kat: Kat, Lae: Lae, Becs: and Becs. Bye!

Best Memory Card for Sony Cameras – Choosing the Best SD Card for Video on Sony Alpha Cameras

Best Memory Card for Sony Cameras – Choosing the Best SD Card for Video on Sony Alpha Cameras


So you just got a Sony camera, but don’t
know which memory card to get. Let’s talk about which one is the best for your camera. Hey everyone, Camber here back with you,
and today I want to tell you what is the best memory card for video for your Sony
camera. And if you’re new here, this channel is all about teaching you how to
use your camera to make good videos, so consider subscribing. So I made a video a
while back on what all the different numbers on SD cards mean and how to
choose the right one based on your camera’s max recording bitrate. However,
the most common question I still get asked on that video is, “Hey, I just got
this camera. What’s the best memory card for it?” So go ahead and let me know down
in the comments which Sony camera you’re using. So what I’m gonna do in this video
is group all the cameras by their max recording bitrate and show you what card
I suggest; as well as how much recording time that will give you when filming at
the highest bitrate. And if anything I say about the cards is confusing as far
as sizes or speed class ratings, just go check out the other video I made here
about what all the numbers on the memory cards mean so then you can understand
what we’re talking about here. I have links for all the cards below so you can
check that out once you figure out which card you need for your camera. And I’m
not sponsored by SanDisk. I just have always used their cards in
all my cameras without any issues so that’s what I’m suggesting below. I also
have timestamps below so you can find out at what time I talked about your
camera model and then skip ahead to see which card you’ll need for it. So
starting off with a group of cameras that has the highest recording bitrate
of 100 megabits per second, we have Sony’s a6100, a6400, a6500, a6600, the
a73, the a7s2, the a7r2/3/4. And finally the a9. So what
I suggest for all these cameras is a 128GB, U3 card. And this will allow you
to shoot at 4k for up to 2 hours and 50 minutes. And this is based off my own
personal minimum of two hours of shooting time so that when I’m at live
events I can leave my camera rolling and not have to worry about running out of
space. But if you think you need more space then you can always get
the 256 gigabyte card and that will double the time you can do; or if you
think you need less space, go with the 64GB, and that’ll be half the time.
And next up we have a group of older models that shoots at a maximum of 50
megabits per second. And these are the a5100, the a6000, the a72, and the a7s. And for these I suggest a 64GB card with a minimum speed rating of U1.
And this will give you the opportunity to shoot Full HD at that 50 megabits per
second for 2 hours and 50 minutes. So if you think you need more time, a 128GB
card will give you over 5 hours whereas a 32GB card will give you just
under an hour and a half. Finally the oldest model we’re going to cover here
is the original a7, which shoots at a maximum of 28 megabits per second. And
for this camera I suggest a 32GB card with a minimum speed rating of U1,
which will give you just over two and a half hours of shooting time at Full HD.
So those are the best SD cards that I suggest based on the max recording bit
rates of these various Sony cameras. And again I have links in the description so
you can check any of those out, click right over to what you need. If you do
have any more questions, leave them in the comments; I’ll clarify whatever I can.
If this video is helpful then go ahead and leave a like, subscribe if you haven’t,
and I’ll see you soon.

Opel Vivaro 1.6 CDTI L2H1 DC Sport – NAVIGATIE – CLIMATE – PARKEERHULP – CAMERA

Opel Vivaro 1.6 CDTI L2H1 DC Sport – NAVIGATIE – CLIMATE – PARKEERHULP – CAMERA


een praktische en goed onderhouden bedrijfsauto dat is deze opel uit het jaar 2008 in deze bestelwagen wordt aangedreven door een zuinige dieselmotor en een handgeschakelde versnellingsbak deze bestelwagen is daarbij voorzien van een schuifdeur rechts voor in deze bestelwagen vinden de chauffeur en de bijrijder een comfortabele zitruimte de veiligheid van deze auto wordt verhoogd door automatische dimlichten en mistlampen voor deze bestelwagen wordt aan u geleverd met bovag garantiecertificaat is deze bestelwagen geschikt voor uw bedrijf maak dan een afspraak voor een proefrit

Olympus SP-565 UZ Digital Camera

Olympus SP-565 UZ Digital Camera


Hey there. Greetings, digital photography enthusiasts. How are you? I’m Bauer and this is the Olympus SP-565 UZ, and I’ll tell you what the UZ stands for in just a second, because it’s pretty awesome. If you are, say, a parent that wants to take pictures of your kid at his mighty might football game. Or, maybe you go to a lot of sports games. You want to get those really awesome, close-up shots, but your point and shoot just doesn’t cut it, right? I mean, it’s got, what? Maybe a 5X, maybe an 8X? Maybe a 10X zoom? If you’ve got a point and shoot that you think has a really, really long zoom on it. You’re like, wow this thing has 10X, this thing is awesome. This camera from Olympus, the UZ, in the SP-565 UZ, stands for “Ultra Zoom”. And if you take a look at this. Look at this. This thing has a 20X optical zoom on board. So, you are going to be able to get extraordinary photographs even from high up in the stands. It’s gonna be like you’re on the field when you’re taking pictures with this thing. Alright, it’s… you know, maybe when your kid is playing soccer you’re gonna get on the field. Maybe scream at some referees. I don’t know. But now, you can just do it from the stands. You don’t have to get down there and get involved, because you’re gonna be able to get really, really close with this 20X optical zoom. It’s a 10 megapixel digital camera. It feels really good in your hands. I mean, it’s… Obviously if you’ve got a camera with a 20X zoom, you’re gonna wanna be able to make sure it’s stable in your hands. It does have image stabilization built into it. And it has really good image stabilization built into it. I mean, once you get out to 20X on a zoom, every little movement of the camera is amplified by quite a bit. So, you’re gonna want good image stabilization. You’re gonna want, you’re gonna want the camera to feel sturdy and steady in your hands, which this one does. It also has a 5X digital zoom, which will give you up to 100X zoom, if you combine it with the digital and the optical. It has a 2.5” LCD on the back here, which is a really, really nice LCD. And it’s not just an LCD, it has. But it also has an electronic view finder. You can see that thing lighting up in there. That’s the electronic view finder which will give you the exact same display and the exact same information that’s on this 2.5” LCD panel, but it’s gonna be in the view finder. So, if you’re in a really, really bright situation somewhere, and we all know we’ve been there with our digital cameras, where the sun is shining right down on the screen and you can barely make out what’s going on. If you’re in those situations, you just turn the screen off, turn on the electronic viewfinder, and you’re good to go. It’s also gonna help save you battery power. And, heck. Even if you’re just used to using the view finder when you’re using a camera, maybe it just feels natural to you. You have that option with the electronic view finder that’s built in to this camera. It does take xD cards. It is an Olympus digital camera. So, it does take xD cards, which are gonna go right in this panel over here, on the side. But the nice thing is, they do include an adaptor, right here. And this is going to allow you to use microSD cards in this camera as well. So, not your standard size SD, but you can use microSD cards, along with this adaptor that is included with the camera. It will also do 640 x 480 movie mode. And that’s gonna work along with the zoom. So, that’s really cool. So you can get really, really long distance movies with this camera. It’s extremely easy to operate. It does have a pop up flash. Which does engage the flash when you pop it up. On the top you’re going to find your wheel, that’s going to give you access to your automatic mode, your program mode, your aperture priority, your shutter priority, your completely manual mode, your scene selection, it’s all there, and it’s all very, very easy to use. And, this is one of the things I really like about Olympus cameras. If you are not much of a photographer, if you don’t fancy yourself a pro, you can go to this guide mode up here, and it’s actually going to guide you through what you want to do. So, let’s say you snap a picture and you’re like, God, this… It was far too dark. That picture is way too dark, and I don’t know what to do. I can’t fix it. You see here, and you go “Brighten Subject”, and it will walk you through making sure you can light up your scene better by increasing the exposure, and changing to the fill-in flash, it’s all there. Now, there’s also a number of different programs- scene modes built in. And what’s nice is it gives you an example photo of what it is that you are going to be shooting. So, it gives you a really good idea of which mode to use. And this Pre-capture Movie Mode is really great because when you’re in Pre-capture Movie Mode, it will always be filling a buffer with the movie file. So, once you hit record, it’s actually going to capture, you know, the 15, 20 seconds before you pushed that button. So, you never miss a moment, which is really, really nice. Now, you also have your fully manual modes. And your fully manual mode is going to allow you to set all of your settings manually, obviously, because it’s the manual mode. And you can very easily get to those settings through the menu system that is here on the camera. And as you can see, it’s very, very simple to set your white balance, and your ISO, and your resolution, and all of that through this very, very simple menu system that Olympus has built in to this camera. You also have your main menu here which is going to allow you to get to all of your basic set up options, and there are a lot of them. This is a great camera for the sort of more advanced point and shoot user. You do have a lot of manual options in this camera that’s going to… It’s definitely going to make you happy. I mean, you’re not going to have any problem with the… possibilities with this camera. As you can see, also on the display you do have a real time histogram on there for making sure all of your exposure is exactly where you want it to be. You can throw up guidelines on the screen as well, to make lining up all your shots as easy as possible. It does have a really, really nice macro shooting mode, as well. If you think shooting stuff really close up is a lot of fun, which of course, it is. It does have a really, really nice macro mode on this camera. But overall, it’s a joy to use. It’s really fun. It’s… And you’re gonna have a lot of fun with that 20X zoom and optical zoom that far surpasses just about any of the other point and shoot digital cameras out there. I mean, it’s just gonna allow you to take pictures that you really couldn’t have dreamed of before. Especially if you’re out there shooting pictures of sports, or any subjects that are far away. This is going to allow you to get right up on top of it, which is really, really cool. Now, here at the bottom of the camera, this is the… the hatch down here. Let me unlock that. What do you find on the inside there? Look at that. Double-A batteries, which are actually so much more handy than you might think. You know, it’s very easy to forget to recharge a ca0mera battery. With double-As, you can use rechargeables if you want to, or you can use alkalines, or you can use, you know, the other ones. Whatever they’re called. What do they have in them? Lithium. -Lithium. Something, I don’t know. But, you can use any of the batteries, any double A batteries with this. So, if you run out of batteries, you can literally just buy some new ones and pop ’em in there, which is a really, really handy feature. Also, on the side, I showed you the side where you put in your… your xD or SD cards. Now on this side, is where you’re going to find your power input. And it does come with a power adaptor. And you also have your USB port, right there, as well, for hooking up to your computer. It’s the Olympus SP-565 Ultra Zoom 10 megapixel digital camera. 20X optical zoom, 5X digital, up to 100X total, and an all around great digital camera. So, have a look at it, the Olympus SP-565 Ultra Zoom. To get some more information on the Olympus SP-565 Ultra Zoom point and shoot camera, go to any of the retailers you see listed here and type in: 083-1182 For ComputerTV, I’m Bauer. (C) 2008 SYX Services, Inc. All Rights Reserved
Channel: TigerDirectBlog

Essential Movie Kit – Setting up the Nikon Z 6 / Z 7 with the Atomos Ninja V

Essential Movie Kit – Setting up the Nikon Z 6 / Z 7 with the Atomos Ninja V


the nikon z6 and z7 when paired with the Atomos ninja five are amazing tools for today’s progressive filmmakers in this video we’ll take you through how to set up the z6 with the ninja 5 for optimum results follow the same set up for the nikon z7 first a little more about the amazing nikon z6 as one of the most powerful mirrorless cameras on the market the z6 records 8-bit four to zero internally without an external recorder but with the addition of a ninja 5 you’ve got the capacity to capture 10 bit 4 to 2 over HDMI all in 4k DCI resolution up to 30 frames per second thanks to the added production firepower of ninja 5 you are able to take advantage of the quality and convenience of Apple ProRes and pro res raw which preserves the cameras ross and their data giving you the maximum creative flexibility during post-production ok now let’s get these devices talking to each other first connect a full-sized HDMI cable to the z6 and the ninja 5 now that both devices are connected let’s take a look at the end camera settings of the Nikon z6 turn on the nikon z6 rotate the command dial to manual mode switch capture mode from still to video to make sure you have a clean HDMI output head to menu navigate to custom setting menu select timers AE lock power off delay standby timer no limit navigate to setup menu scroll down to HDMI select output resolution set to 20 16 P select HDMI again select advanced set output range to full range set external recording control select on set output data depth to 10-bit a heads up with the new settings will pop up press ok in log setting to on time to set up resolution and frame rate press menu navigate to movie shooting menu select frame size / frame rate set to 3840 by 2160 p for the highest resolution and frame rate let’s set up the timecode feature for external recording select timecode [Music] set record timecode – on with HDMI output set count up method to record run set timecode origin to current time that’s the setup of your v6 complete now it’s time to set up the min to 5 press the power button tap to view UI test top left for input menu the set trigger to HDMI for camera control turn on blog HDR set camera to Nikon [Music] navigate to recording settings for best color information set codecs to ProRes HQ then press confirm tap on the timecode indicator set source to HDMI [Music] now that’s all set let’s close this menu tap on the audio meters toggle channels with selected audio inputs with those steps completed you are all set to shoot some amazing footage thanks to the z6 and ninja 5 now go get creative

DOES THIS MAKE ME AN ARTIST? – My First “Real” Painting

DOES THIS MAKE ME AN ARTIST? – My First “Real” Painting


Today I’m finally going to become a real artist. That’s right. I’m going to be doing- Doing a painting on canvas. I’m excited. And scared. But as excited as I am to get started I need to do a little bit of research, and I’m going to be doing that with the sponsor of this video, you guessed it, Skillshare. At least with Skillshare I can make some well-informed garbage and mistakes. Isn’t that right Sock Kasey? Alright Sock Kasey, tell me what makes Skillshare the best online learning community with over 25,000 classes in art, design,
(The Sock is being talked over.) Illustration, painting, food, you name it?
(The Sock is still being talked over.) Is it true that you have unlimited access to any of the classes with their Premium Membership?
[The Sock] Yeah! I also heard that the first 500 subscribers who click a link in the description get a free two month trial. Wow It is seriously convenient having all the information I needed to start my acrylic painting on canvas in one little package thanks to Malcolm Dewey. He talked about materials composition color and yet I still managed to create garbage. Trying a new medium is so much easier with Skillshare because I know what the heck I’m doing. I mean, I still have to practice but at least I’m informed. So let’s get to painti- Oh, Sock Kasey… You’re still here? [The Sock: Very funny.] So before I got painting I needed to sketch some ideas because before you start painting you need to know what you’re painting first. So going into this. I knew I wanted to do something with maybe a little bit of a background. I really wanted to create an environment. just something with a mood and nature, and something mysterious because that’s what I really like about paintings. I like if you go in a somewhat realistic way and then you just add an element of mystery or an element of… mystical, magical- Oh, fantasy, I think fantasy is the word I’m looking for. So just something everyday normal nature with just a little bit of something that just makes you look at it and go “Hey, what’s the what’s the story here?” Because as you guys know with my art, I’m always looking to add a story or just an element of Storytelling or- I just- I just want something there that makes you think, you know, “What’s going on?” Not just you know some trees and grass and think “Hey, look there’s there’s planet earth being… nature and stuff.” So I started off with a variety of ideas and honestly what I ended up settling with was the most easiest or I guess the simple idea because this is my first acrylic on canvas painting and honestly, I don’t know what I’m doing. I’m really new to the medium. I’m not a professional by any means I am definitely a newbie. And although I do want to end up painting all of these ideas eventually, I just thought it would be the easiest to go with the easiest one because like I said I don’t know what I’m doing and if I push myself to do too complicated of a piece right off the bat, I think it would scare me away from the medium and so I sketched all of these ideas. Again all kind of, you know, revolving around nature and just having a few elements of mystery, like a creature or someone going on an adventure And yeah, I really want to end up painting a lot of these later. I’ll probably do all of these off-camera at some point because when I did get down to painting the one that I did choose there was just a lot of pressure to, I don’t know be on camera and it was scary. So I had all of my ideas all nature-based. They all were kind of on a simple side. But again you know ,as I said five thousand times in the past minute, I didn’t want to push myself too hard with a new medium because I didn’t know what I was doing. But I was excited. So I narrowed them down to the easiest to more complicated or questionable and I chose which sketch I was going to go with. Once I chose which piece I wanted to go with I decided to add a few additional details or try to narrow it down with what I wanted to do because I wasn’t really a hundred percent on board with, this like, wormy creature going up this tree. So I thought maybe just creating a more detailed yet also civil creature on the tree would be ideal, maybe like a dragon, and then later I thought well “Maybe if someone was climbing up the tree and there was a dragon like peeking down onto the tree that would be really interesting and then we could see like a dragon in the background.” And then I also did a little bit of color mock-up and then I was ready to jump in. So when I started I thought I would pencil in what I was going to do and as I was penciling in the one thing, which was the tree, I realized “Oh right. Acrylic is super opaque. It’s not transparent and once I paint over this sketch I’m not going to see anything.” And when you paint you want to start off with the background and work forward because you are painting things on top so you’re layering things, and if you start with things near the front of the image, you’re going to have to work around What is on top. So… I did start off sketching. Thankfully, I just did the trunk of the tree and I realized “This is… pointless.” So I started off by sketching this gradient of a sky and later on you will notice that the color of this gradient background changes because I completely do the gradient background and then I painted a tree that I absolutely hated. So going into this acrylic painting, there was a few things that I really wanted to embrace about this being a different medium than what I’m used to. So like watercolor. With watercolor I am able to do line art which- I mean you can do line art with acrylic, but I really wanted to embrace the strokes of the painting and just seeing the texture and maybe being a little abstract. So when I started off with the tree, it just wasn’t turning out how I liked and I hated it so I completely repainted over the tree with another gradient and… basically started over. Which kind of sucked but honestly I did like the more dull sky colors, and I did want a more rough and brushstrokey gradient.
(🎶Dance Kasey, Dance.🎶) So I did get that result by doing it over, but my god, the gradient sky took the absolute longest. So I was kind of bummed about we’re having to redo that but I guess it was for the best. So painting the gradient sky took the absolute longest time because, you guys, I don’t know what the heck I’m doing. But honestly I was really happy with the result of this really simple sky gradient. So I was ready to move on to the tree and I mounted my iPhone on top of the easel. So this is what you were looking at This is just a really silly view because honestly you guys I don’t know how to record a canvas painting. So if there is any particular view that you found the most useful or the most interesting or just the best view, let me know the time stamp because I was really experimenting with all sorts of views.
The views on this video just keep changing because I just had no idea how to film or the best view or what to do. I think my main focus was not recording from the right side because I was scared that my right arm was going to cover up what I was doing. I’m just so used to doing very small 8 by 10 Illustrations with watercolor and my arm covers up like half of an 8 by 10 illustration, but then later on in this video I do record from the right side, and because I’m working on a 24 by 36, my arm barely covers up anything because this is a huge canvas. So lesson learned. So yeah. Let me know if there is any particular view. Give me the time stamp and I will try to keep that in mind for future paintings, because I’m definitely going to be doing more paintings. Recording aside, I had an absolute blast painting this. There were a lot of struggles. I learned a lot but overall, I had a lot of fun with this. And for my first painting I’m not super mad about it, but also it looks like something you would find in a high school painting art room. Personally, obviously because this is my first painting on a canvas, I never took any traditional painting classes in high school or even in college. So this is actually my first experience painting something so big and especially painting anything acrylics. My first experience with acrylics was painting over thrift art in a video a few weeks ago. So that’s my first and only experience and then I decided to just jump into this 24 by 36 painting situation and I tried to keep it a little abstract. I know it kind of looks like I tried to shoot for realism, but realism was just not my goal. I wanted to see if my sort of cartoony and simple style translated into acrylic painting and I think the combination of wanting to play around with texture of the paint and brush and also gradienting that I don’t normally do made it look like that I was trying to go for a realism style, which is not what I was going for. So it makes it look like really bad realism, when in reality I was still trying to go for that simple illustration style that I do with watercolor but also trying to embrace texture. So things got a little weird looking which is why I restarted the painting because it just looked like a really bad attempt at realism which isn’t what I was going for. So I restarted and followed the sketch as closely as I could but also trying to embrace that texture and things were looking good. However, with all of that said, I think in the future with this really heavy bodied acrylic I do want to work more abstract. So I think when I was trying to embrace my illustrative style with acrylic painting, especially this like heavy bodied acrylic painting, It just wasn’t working out. It was really hard to get fine strokes, even though I added a thinning agent to it. It was still just really thick and gloopy and hard to do what I wanted and I think in the end, I just need to embrace this really thick bbstract chunky painting that you get with acrylic. And that’s exactly what I want to do in the future I want to do a few portraits maybe with my OC’s or maybe me my husband and my cats, but I want to work with shapes. I want to use the pallet knives more to just apply chunks of color and shade and just really embrace this whole painting thing. I really want to work more loosely, which is very unusual for me because with my watercolor illustrations I’m very controlling and I like things to be clean and I use a lot of line art to contain shapes, but I really just like want to let loose and embrace this whole painting thing. So hopefully between now and my next painting I am going to do a little bit more experimenting and just try to get as loose as possible and embrace this whole painting thing. Though I will say one detail I absolutely loved about this particular painting is with the black dragon figure. I went through the body and did different strokes to represent scale textures. So you can’t really see it through these faraway shots, but close-up I try to show it. I use the strokes of the painting and the texture of the paint to create scales. Which is something you can’t do with watercolors. So I really enjoyed that and it’s something that I want to play around with in the future and overall I just wanted to play around with vague shapes and strokes and not make a super clean Illustration like I would with my watercolor. In the end I do think that the tree itself was too thin and fine and with this sketch It was a lot thicker and took up more room of the canvas, so there is a lot more blank space in this canvas. And just overall. I think there’s a lot that I needs to work on. So there’s just, like I said, a lot of blank space. That’s very boring. If there’s one thing I could add to this painting it would definitely be a mountain in the background but because I already painted on the tree it would be such a pain to paint the mountain in the background. So I don’t know, lesson learned, I guess? In this sketch it was definitely zoomed in a lot more, so that’s definitely something that I need to work on. I think I was just really nervous and I made a lot of mistakes. So hopefully in the future I can overcome that fear. But overall I think for my first acrylic painting it wasn’t horrible, but it wasn’t great either. And yeah, I hope you guys enjoyed this. Let me know on camera locations because I just don’t know what the heck- I don’t know how to do it. It’s- This is a new thing both with painting and recording. But yeah, overall, I feel okay about this. [Music] And there you go.
There is my very first acrylic painting. I don’t think it was so bad… I mean, thanks to skill sharing things were probably easier. Make sure you click the link in the description if you want to get your free trial and I will see you guys in the- And what? What? This lil- This little guy? You want- You want this little guy? I mean if you really want one I’m giving one away for free. Click a link in the description, and I will see you guys in the next video. Bye. [Music]

Meet The Drag Artist Running For NYC Council | NBC News Now

Meet The Drag Artist Running For NYC Council | NBC News Now


MARTY CUMMINGS IS RUNNING FOR CITY COUNCIL IN 2021. CITY COUNCIL IN 2021. WE SAT DOWN TO TALK TO HIM ABOUT WE SAT DOWN TO TALK TO HIM ABOUT THE RACE. THE RACE.>>TODAY YOU HAVE YOUR BLAZER>>TODAY YOU HAVE YOUR BLAZER ON, I LOVE IT. ON, I LOVE IT.>>OKAY, I AM A CASCADE QUEEN I>>OKAY, I AM A CASCADE QUEEN I AM GOING BACK AND FORTH. AM GOING BACK AND FORTH.>>EVERYBODY SHOULD BE AFFORDED>>EVERYBODY SHOULD BE AFFORDED AN OPPORTUNITY TO RUN FOR AN OPPORTUNITY TO RUN FOR OFFICE. OFFICE. THAT’S WHY I’M EXCITED AND PROUD THAT’S WHY I’M EXCITED AND PROUD TO ANNOUNCE MY CANDIDACY FOR NEW TO ANNOUNCE MY CANDIDACY FOR NEW YORK CITY COUNCIL IN THE 2021 YORK CITY COUNCIL IN THE 2021 ELECTION. ELECTION.>>TELL ME ABOUT YOUR DRAG>>TELL ME ABOUT YOUR DRAG PERSONA. PERSONA.>>PEOPLE MAY THINK ARE YOU A>>PEOPLE MAY THINK ARE YOU A DRAG QUEEN, YOU MAKE A LIVING — DRAG QUEEN, YOU MAKE A LIVING — IT’S LIKE QUEENS ARE INHER IT’S LIKE QUEENS ARE INHER RENTSLY ACTS OF POLITICAL RENTSLY ACTS OF POLITICAL RESISTANCE AGAINST THE RESISTANCE AGAINST THE ESTABLISHMENT, PATERY ALLERGIC P ESTABLISHMENT, PATERY ALLERGIC P KI. KI.>>WHAT WAS IT LIKE WHEN YOU>>WHAT WAS IT LIKE WHEN YOU FIRST SAW THE NEW YORK DRAG FIRST SAW THE NEW YORK DRAG QUEEN AND DECIDED TO BE A PART QUEEN AND DECIDED TO BE A PART OF IT? OF IT?>>THE NEW YORK DRAG QUEEN,>>THE NEW YORK DRAG QUEEN, THERE IS NO SCENE, I LOVE ALL THERE IS NO SCENE, I LOVE ALL KIND OF DRAG SCENES, NEW YORK’S KIND OF DRAG SCENES, NEW YORK’S SUCH A COMMUNITY. SUCH A COMMUNITY. AS A PERSON, I AM A DRAG I WAS AS A PERSON, I AM A DRAG I WAS COMPLETELY MESMERIZED AND BLOWN COMPLETELY MESMERIZED AND BLOWN AWAY, WHEN I MYSELF STARTED AWAY, WHEN I MYSELF STARTED EXPERIMENTING EVEN WITH A EXPERIMENTING EVEN WITH A SUPPORTIVE NETWORK AT HOME, WHEN SUPPORTIVE NETWORK AT HOME, WHEN YOU ARE IN LIKE AN ENVIRONMENT YOU ARE IN LIKE AN ENVIRONMENT THAT MAY NOT BE SET UP FOR A THAT MAY NOT BE SET UP FOR A YOUNG QUEER PERSON. YOUNG QUEER PERSON. I STRUGGLED WITH DEPRESSION, I STRUGGLED WITH DEPRESSION, ANXIETY AND CONTEMPLATED ANXIETY AND CONTEMPLATED SUICIDE. SUICIDE. I REMEMBER GOING TO A DRAG SHOW I REMEMBER GOING TO A DRAG SHOW AND BEING COMPLETELY IN AWE OF AND BEING COMPLETELY IN AWE OF IT AND THE MINUTE THAT I WAS ON IT AND THE MINUTE THAT I WAS ON STAGE. STAGE.>>THE EARLY DAYS.>>THE EARLY DAYS.>>IT WAS LIVE.>>IT WAS LIVE. P I STILL, EVEN LOOKING AT A HOT P I STILL, EVEN LOOKING AT A HOT MESS IN A DRESS, IT GAVE ME MESS IN A DRESS, IT GAVE ME CONFIDENCE. CONFIDENCE. DRAG IS NOW IT’S A COMPLETE DRAG IS NOW IT’S A COMPLETE EXTENSION OF WHO I AM AS A HUMAN EXTENSION OF WHO I AM AS A HUMAN BEING AND THROUGH MY DRAG, I BEING AND THROUGH MY DRAG, I DISCOVERED IT AND IT MADE ME DISCOVERED IT AND IT MADE ME FEEL, OH, I HAVE FOUND, I HAVE FEEL, OH, I HAVE FOUND, I HAVE FOUND MY VOICE AND I’M ABLE TO FOUND MY VOICE AND I’M ABLE TO USE IT. USE IT.>>HAVE YOU SEEN THE EXPLOSION>>HAVE YOU SEEN THE EXPLOSION OF DRAG ON THE MAIN STREAM IN OF DRAG ON THE MAIN STREAM IN RECENT YEARS IN I SOON THINK RECENT YEARS IN I SOON THINK THAT FOR A LOT OF PEOPLE DRAG THAT FOR A LOT OF PEOPLE DRAG QUEENS AND POLITICS AREN’T QUEENS AND POLITICS AREN’T NECESSARILY ALIGNED. NECESSARILY ALIGNED. WHY IS IT IMPORTANT TO BRING WHY IS IT IMPORTANT TO BRING DRAG ONTO IT, NOT JUST THE MAIN DRAG ONTO IT, NOT JUST THE MAIN STREAM POP CULTURE THEME, BUT STREAM POP CULTURE THEME, BUT INTO MAIN STREAM POLITICS? INTO MAIN STREAM POLITICS?>>I THINK IT’S IMPORTANT FOR>>I THINK IT’S IMPORTANT FOR PEOPLE TO KNOW THAT WHAT YOU ARE PEOPLE TO KNOW THAT WHAT YOU ARE SEEING IN THE MAIN STREAM OF SEEING IN THE MAIN STREAM OF DRAG IS ENTERTAINING AND FUN AND DRAG IS ENTERTAINING AND FUN AND BEAUTIFUL. BEAUTIFUL. IT’S INTIEDING TO SEE COMEDY IT’S INTIEDING TO SEE COMEDY QUEENS, ALTERNATIVE QUEENS. QUEENS, ALTERNATIVE QUEENS. THE ROOT OF EVERY DRAG CARIBBEAN THE ROOT OF EVERY DRAG CARIBBEAN IS SOMEBODY FIGHTING FOR A IS SOMEBODY FIGHTING FOR A CAUSE. CAUSE. YOU KNOW, DRAG QUEENS HAVE YOU KNOW, DRAG QUEENS HAVE ALWAYS BEEN ON THE FRONT LINES ALWAYS BEEN ON THE FRONT LINES OF SILVER EVENTS ACROSS THE OF SILVER EVENTS ACROSS THE COUNTRY. COUNTRY. IT DOESN’T MAKE THE HISTORY IT DOESN’T MAKE THE HISTORY BOOKS SO MUCH AS DRAG QUEENS BOOKS SO MUCH AS DRAG QUEENS WERE PROTESTING AND FIGHTING WERE PROTESTING AND FIGHTING BACK. BACK. OF COURSE, DRAG QUEENS ARE THE OF COURSE, DRAG QUEENS ARE THE ONES SAYING, LET’S GET MARRIED, ONES SAYING, LET’S GET MARRIED, NOW THE DRAG QUEENS ARE SAYING NOW THE DRAG QUEENS ARE SAYING OUR TRNZ SISTERS ARE BEING OUR TRNZ SISTERS ARE BEING KILLED, LET’S DO SOMETHING. KILLED, LET’S DO SOMETHING. A LOT OF FOLKS SAY I’M A QUEER A LOT OF FOLKS SAY I’M A QUEER CANDIDATE. CANDIDATE. IN LBGTQ I PROPOSE TO GET INTO IN LBGTQ I PROPOSE TO GET INTO ISSUES OF OTHER ISSUES, POLICE ISSUES OF OTHER ISSUES, POLICE BRUTALITY, HELD HEALTHCARE, BRUTALITY, HELD HEALTHCARE, AFFORDABLE HOUSING THE ABILITY AFFORDABLE HOUSING THE ABILITY TO START A SMALL BUSINESS. TO START A SMALL BUSINESS. THAT’S WHY IT MATTERS TO ME. THAT’S WHY IT MATTERS TO ME. THAT’S WHY MY DRAG MATTERS AND THAT’S WHY MY DRAG MATTERS AND WHY ME AS A CANDIDATE MATTERS. WHY ME AS A CANDIDATE MATTERS.>>THE COST OF YOUR CAMPAIGN>>THE COST OF YOUR CAMPAIGN VIDEO ABOUT EVERY DAY PEOPLE VIDEO ABOUT EVERY DAY PEOPLE RUNNING FOR OFFICE. YOU DON’T HAVE TO BE A CLEAR — YOU DON’T HAVE TO BE A CLEAR –>>ACTIVISM AND POLITICS STARTS>>ACTIVISM AND POLITICS STARTS WITH YOU, THE PEOPLE ON THE WITH YOU, THE PEOPLE ON THE LOCAL LEVEL. LOCAL LEVEL.>>WHY DID YOU DECIDE TO THROW>>WHY DID YOU DECIDE TO THROW YOUR HAT INTO THE POLITICAL YOUR HAT INTO THE POLITICAL RING? RING?>>THE REAL THING FOR ME IS THAT>>THE REAL THING FOR ME IS THAT THERE IS GOING TO BE SOME YOUNG THERE IS GOING TO BE SOME YOUNG KID OUT THERE WHO SEES ME IN KID OUT THERE WHO SEES ME IN DRAG OR WHO IDENTIFIES, YOU DRAG OR WHO IDENTIFIES, YOU KNOW, I FEEL LIKE I FALL ALL KNOW, I FEEL LIKE I FALL ALL OVER THE GENDER SPECTRUM WHICH OVER THE GENDER SPECTRUM WHICH IS WHY, LIKE, MY PRONOUNS HAVE, IS WHY, LIKE, MY PRONOUNS HAVE, LIKE, CHANGED TO USING THINGS LIKE, CHANGED TO USING THINGS THAT MORE — IF YOU’RE A PERSON THAT MORE — IF YOU’RE A PERSON WHO FEELS UNDERREPRESENTED OR WHO FEELS UNDERREPRESENTED OR FEELS LIKE YOU CAN BE OF SERVICE FEELS LIKE YOU CAN BE OF SERVICE TO OTHERS, JOIN YOUR COMMUNITY TO OTHERS, JOIN YOUR COMMUNITY BOARD OR FILE TO RUN FOR OFFICE, BOARD OR FILE TO RUN FOR OFFICE, YOURSELF, BECAUSE IT IS SO YOURSELF, BECAUSE IT IS SO IMPORTANT ESPECIALLY NOW FOR US IMPORTANT ESPECIALLY NOW FOR US TO BE INVOLVED IN OUR TO BE INVOLVED IN OUR GOVERNMENT. GOVERNMENT. YOU SEE WHAT’S HAPPENING ACROSS YOU SEE WHAT’S HAPPENING ACROSS THE COUNTRY AND OUR GOVERNMENT. THE COUNTRY AND OUR GOVERNMENT. IT’S TIME FOR ALL OF US TO STAND IT’S TIME FOR ALL OF US TO STAND UP AND BE AN ACTIVE PARTICIPANT UP AND BE AN ACTIVE PARTICIPANT IN IT, GET OUT TO REGISTER TO IN IT, GET OUT TO REGISTER TO VOTE, GET FIVE FRIENDS TO VOTE, GET FIVE FRIENDS TO REGISTER, TO VOTE, YOURSELF, IS REGISTER, TO VOTE, YOURSELF, IS SO VITAL TO OUR COUNTRY.