Podcast appearances and mentions of Christian Fletcher

Super cohosts Peter Eastway and Tony Hewitt answer Fox Lab Fine arts question, where do you see the future of landscape photography?Support the Show.

This week I'm speaking with West Australian landscape photographer Christian Fletcher.  From his gallery in Dunsborough, Christian has honed his craft, mastering light, composition, and color,  he became renowned for his evocative landscapes.  Beyond his gallery, Christian shares his expertise through workshops and tutorials worldwide. His diverse portfolio, ranging from landscapes to urban scenes, showcases his fearless creativity.  Recognized with numerous awards, Christian continues to push boundaries in photography.  We discuss Christian's remarkable career, defined by passion, innovation, and a profound love for the landscape and the art of photography. Christian shares his journey from using a simple Kodak camera to becoming a global figure in landscape photography, business lessons learned along the way, the transformative power of photography and the unwavering pursuit of creativity along with lots more. I hope you enjoy the show!   You can find Christian's work  here: Website: https://christianfletcher.com.au/ Instagram: https://www.instagram.com/christianfletcher_gallery Facebook: https://www.facebook.com/shopchristianfletcher/ Twitter/X: https://twitter.com/cfletcher617   Listen to this and other episodes wherever you find your podcasts or on https://grantswinbournephotography.com/lpw-podcast Or subscribe to my YouTube channel https://youtube.com/@grantswinbournephotography Theme music: Liturgy Of The Street by Shane Ivers - https://www.silvermansound.com #podcast #landscapephotography #PhotographyWorkshops #AustralianLandscape #CreativePhotography

GEORGE BYRNE joins us to talk about AI in art, we're also joined by a special guest, plus we have a big announcement for you.Something New Every WeekSomething New Every Week (or SNEW's for short) feature photography's best of the best....Listen on: Apple Podcasts SpotifySupport the show

He photographed Ken Blocks Pink Hoonigan Porsche the week before he passed away, product photography innovator Andrei Duman joins us for a chat from LA.Andreidumain.comSupport your Lightminded here!https://www.buzzsprout.com/327884/supportSomething New Every WeekSomething New Every Week (or SNEW's for short) feature photography's best of the best....Listen on: Apple Podcasts SpotifySupport the show

Today we were joined by a random guest, clue, he's a renowned Leica Ambassador.YOU CAN NOW SUPPORT YOUR LIGHTMINDED BY CLICKING HERE https://www.buzzsprout.com/327884/supportIf you subscribe, you'll have the chance of being called by us on the podcast to chat about your work and possibly offer *tips! *As long as your name isn't Sir Peter Eastway.lightminded.com.auSomething New Every WeekSomething New Every Week (or SNEW's for short) feature photography's best of the best....Listen on: Apple Podcasts SpotifySupport the show

In today's show David and Chas assess the unspeakable devastation on Maui, find the footage of Ethan Ewing's back-breaking wipe out at Teahupo'o, Conner Coffin reveal's ELO's role in his decision to retire, Christian Fletcher publicly flogs Shaun Tomson, and Rochelle Ballard plays supreme enforcer in an all-female cast 'Pros In The Wild'. Plus Barrel or Nah?! Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

AI? Will it destroy our craft? We reach out to a well known Victorian gallery owner and ask the question. SHOCKING.

Forgive us for the slackness, we have been flat out, but we're back! Enjoy

Tom Putt shares some of his secrets to running a great workshop.

Today we're joined by Simon Westlake Photography, great guy who honed his craft in the film days before bringing that in to now.simonwestlake.com.au

Off the back of Rosie Steggles IG being hacked, we talk about securing your Instagram account and also ask the question, are we at the point of diminishing returns for cameras?

On this episode of the World's Greatest Action Sports Podcast, Chris and Todd talk about snow season starting, Fleeting Time snowboarding movie, The Boardroom surfboard show, hanging with Herbie and Christian Fletcher, Leonardo Fioravanti and Macy Callaghan win in Portigal, new CT Qualifiers, Kai Lenny does the strapped double, Lowers Raid not well received, Through the Doggy Door doc premieres this month, SLS World Champs happened, Tony Hawk did a kickflip, all your questions answered and so much more!     Presented By:   Pedal Electric @pedal.electric Bachan's Japanese BBQ Sauce @trybachans Herschel Supply Co. @herschelsupply BN3TH @BN3THApparel NanocraftCBD @nanocraftCBD Bubs Naturals @bubsnaturals Hansen Surfboards @hansensurfboards Pannikin Coffee And Tea @pannikincoffeeandtea YewOnline.com @yewonline New Greens @newgreens @pureprescriptions Diecutstickers.com @diecutstickersdotcom

What can we say about Drew, that we haven't already said about legends like Christian Fletcher or Mike Frazier..... not much. In other words Drew is one RADICAL dude!!!Drew is a local Florida boy, growing up on the west coast of Florida where he gained his sea legs surfing the gulf. And grew skateboarding with Florida legends like Frazier & Jimmy The Greek. Hell, the man has even been known to slap some trucks on a surfboard and rip skateparks on it like it was standard popsicle shape, such as the New Smyrna Beach bowl and Kona Skatepark. We here at Pauly On The Pod hope everyone enjoys this episode as much as we did!

Is the rule of thirds actually necessary?

FOCUS STACKING! Why it should be a part of your workflow.

We discuss why PS is suboptimal in certain areas (it sucks), plus drones, plus phones, plus Fletch has a new super secret project which is actually that secret we don't even talk about it lol

Join us on an Esperance roadtrip, with Tony Hewitt and Sir Peter Eastway, plus a VERY NEAR MISS that could have been lethal.

We give you 5 tips for better drone shots, plus a new player on the drone market to topple DJI?

Our guest this week was born with Surfing in his DNA. His Family is one of the most Core SurfFamilies that have ever lived with decades of contributions that have had a profound impact on theSurfing World. Following the family Legacy, this skater, surfer, shaper, artist, with a"I don't give-a-shit attitude” is responsible for inspiring the world by changing the way surferapproaches the wave…..especially above the Lip. He paved the way for high-performance airsand maneuvers… with technical grabs, while boosting higher than anyone else. Regarded asone of the most influential, most recognizable, and Iconic figures in Surfing….. We welcome andare super pumped to have the one and only Christian Fletcher on the show."Live Fast, Die Last"“When you're cautious, you end up going over the falls in life ingeneral. Cautious means you hesitate. The way I look at it is, youcommit or you don't – and I commit.”Christian FletcherSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Renowned fashion photographer Stef King talks about how to get started in fashion, plus maybe a sneaky colab with Fletch might be on the cards....

Tony Hewitt drops by Lightminded Towers, we talk about the importance of light and how to prepare for a road trip, great chat!

Check out Roberts work here,https://www.robertsalisbury.photography/Instagramhttps://www.instagram.com/robertsalisburylandscapeart/?hl=en

5 tips to totally utilize your tripod with special guest, Sir Peter Eastway!

EXCITING ANNOUNCEMENT!

Tony Hewitt gives you an NFT to transform your creative slump.

The crew of the HMS Bounty were free from their hated captain, but what now? Their old lives were over. And the ferocious Polynesians weren't interested in sharing their islands with British sailors. As the crewmembers couple up with the few women aboard, resentment simmers when there aren't enough companions for everyone. All the while, Christian Fletcher walks a tightrope as the crew begins to sour to his leadership. Surely, somewhere in the boundless ocean there was a place for the mutineers to start afresh…The bloody end to the mutiny of HMS Bounty.(Part 2 of 2)Join The Anthology on Instagram for extra content related to this episode! Support the show on Patreon! See acast.com/privacy for privacy and opt-out information.

What software do the pros use?? Christian gives you his 5 top software must have recommendations for Landscape Photographers.

Nick Rains joins us and gives you ten top camping hacks for Landscape photographers in Australia.  Plus a cool way to get the worlds best camp sites CHEAP.1 Check out hipcamp.com2 Get to your campsite then explore!3 Make sure your gear is insured.4 Forget about comfort. Get a second battery set up if you can, don't buy a cheap a inverter, get a pure sinewave inverter.5 Acclimbatize your camera gear to the environment.6 Plan your trip out, think logistics, where to get fuel, water and make sure your batteries are charged. Don't forget your charger!7 Good stuff happens if you're there.... 'F8 and be there'.8 Take a first aid kit.9 Don't mess with Kangaroos.10 Drive carefully! There will be minimal help around

Sir Peter Eastway joins us at Lightminded towers for a chat!

10 of our tips to stay creative or to get out of a rut.1. Give yourself a time limit to complete a project.2. Get a good mentor. Not a ‘yes' mentor. 3. No star shots (Joking! - unless you really like them).4. Write a story about the photograph.5. Don't put too much stock in the industry, don't bend to all the norms. Make your own rules.6. Don't rest on your laurels, push push push!7. Try to avoid drinking your own bathwater too much.8. Try and show something that can't be seen.9. Don't be so hard on your stuff, you're most likely a lot better than you think you are, but read tip 7 :)10. Try and think about being creative.

One of the best photographers in the world (who happens to be colourblind) drops into Lightminded Towers for a beer....

Liz Barker drops into Lightminded!

And we're back! Joined by Sir Peter Eastway plus Carwyns time machine project.....

A quick best wishes message for the new year.

Merry Christmas! Thanks for listening in 21 and we're looking forward to an amazing 22!

durée : 00:04:11 - Chroniques littorales de José-Manuel Lamarque - par : Jose Manuel Lamarque - Qui sont devenus les descendants de Christian Fletcher et de ses hommes d'équipage révoltés contre le Capitaine William Bligh ?...

One of the MOST interesting interviews we've ever done! Anne Geddes drops in to Lightminded :)

Sir Peter Eastway drops by and answers your questions..... This is a cracker!

Christian fixes Carwyns MASSIVE mistake , plus a (CHEAP) hack that will almost guarantee you get lightning shots...

Today we learn about the Urban Banal genre in Canada and other stuff with Film guru and former 5D2 shooter, Chris Malloy. Best episode yet!

Christian and Carwyn catch up to talk about the AIPP being no more....

This week Fletch and Carwyn discuss what is cooler, film of digital. 

NEW SEGMENT: Artist in residence, and to kick it off this week we're joined by film shooter George Vavakis (proper photographer!) he talks about his exhibition Volta at 'There Is' in Perth and shooting on the streets.

Erin Babnik drops by and we talk about NFTs and why they may not be that great PLUS the Bears and Mountain Lions pretty much in her backyard, This is a cracker!

Tony Hewitt joins the boys on a road trip to Denmark (WA), we were very tired!

Is a ghillie suit too much for twitching? Georgine Steytler swings by and we ask!

Influential Lost Surfboards shaper and San Clemente, CA local Matt Biolos shares stories from his long career working with some of the best surfers in history. He looks back at starting out working for Herbie Fletcher, the punk rock origins of Mayhem, keeping that outsider/anti-hero mentality, growing a full team of pros, evolving his business into the apparel space, and the eventual refocusing around shaping boards. He talks about his time working with everyone from Nathan and Christian Fletcher and to Andy Irons and Cory Lopez to Kolohe Andino and Carissa Moore. Matt also explores the microscopic details that go into shaping boards for surfers competing at the very height of the sport, touches on the 25th anniversary of his film “5'5” 19 x ¼,” describes the massive COVID surfing boom, and shares his thoughts on the Surf Ranch.  Artwork Photo by: Gabriel Nakamura Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey Wicked Hunters! I'm so excited to chat with Christian Fletcher, one of the best photographer from Perth, Western Australia. He had won multiple international awards and he has a beautiful gallery in the Southwest region of Australia.  In this podcast, Christian shared his journey to find the photography that he loves and the struggles that came with it.  You can learn more about him by connecting in https://www.instagram.com/christianfletcher_gallery/ https://www.facebook.com/shopchristianfletcher  https://christianfletcher.com.au/ Other ways to listen and subscribe to the podcast: Spotify - http://bit.ly/twhspotify  Apple Podcast - https://bit.ly/Theartofphotography  Google Podcast: https://bit.ly/TheArtOfPhotographyWithStanleyAr  Website: podcast.thewickedhunt.com   Tune In (Alexa) - https://bit.ly/TuneInTheArtOfPhotographyPodcastWithStanleyAr  For those of you who want to see more of The Wicked Hunt Photography: Instagram: https://www.instagram.com/thewickedhunt/    Facebook: https://www.facebook.com/thewickedhunt/ Masterclass: https://www.TheWickedHuntPhotography.com    Photo print: https://www.TheWickedHunt.com/  Don't forget to let us know your favourite part of the Podcast on the comment below and subscribe -------------------------- Transcription: Christian Fletcher  0:00   I had a really hard time getting out of that. And my wife pushed me to get away from that fear and to start just pushing myself to do that Stanley Aryanto - The Wicked Hunt  0:20   hey, we can do this. Welcome back to The Art of Photography podcast. So first of all, happy new year to all of you. And you know, off, we'll have someone very excited is in this episode, and he is definitely one of the most senior photographer from Perth, Western Australia. And he is you have one of the most beautiful gallery who have won multiple different awards. So not only he won, you know, he may he gets some recognition from his photography, but he also get a lot of recognition from his gallery, and I'd like you to welcome Christian Fletcher, Christina, how you doing? Christian Fletcher  0:56   Hey, good. How are you? Thanks for having me on. Stanley Aryanto - The Wicked Hunt  0:58   Oh, that's, yeah. So yeah, that title Christian Fletcher  1:02   of senior senior photographer. I have got a great handout. I'm actually getting a hiccup tomorrow, everybody. So sorry for it looking so bad. Just what it is, try to shape Stanley Aryanto - The Wicked Hunt  1:14   up a few years, once you cut up that hair. Yeah, that's Christian Fletcher  1:18   what I always say, I look younger when I've got this here. So and when I met my wife, I had hair that was down to here somewhere. And I had been dyed several times. So it was kind like a blondie orangey brown kind of colour was pretty awful, actually. And I looked a bit like a homeless person. So she, she sort of shake me up and every now and then I get back into this homelessness kind of look. Like it's alright. Stanley Aryanto - The Wicked Hunt  1:39   That's really funny. Because when, when I have like a full, like, longer here, and then like, you know, a more beer, like, I don't really grow that much beer. But when I have a little bit more people actually thought I'm like four years old, and then I shaved them off. And then like, are you 20 years old? Like crazy. Alright, well, look, thanks a lot for for jumping in into podcasts. And it's great to have somebody who's been in the game for so long. And you have quite an interesting story on how you get into photography yourself. So do you want to just share with the listeners and a little bit walkthrough of what it's like on your early days when you first got exposed to photography? Christian Fletcher  2:22   Yeah, I got my first camera 15 Everyone talks about, I think every photographer says, I got my first camera at 10 I got my first camera at 12 I got my I got mine at 15. And didn't make me want to pick up the camera and take photos. It was just what was the cost was 150 bucks, it was a really flex sl 35. And it I went through it with my brother, my dad. So we put in 50 bucks each. And I don't even know where I got $50 as a 15 year old boy, maybe dad paid for the lot and just said, Hey, look, here's 50 Give it back to me out of my anyway, this thing because out of the box. And it's I remember being at home, but no one ever doing anything with it. So for that, that first few years after that I hadn't really even touched that camera and didn't even think anything about taking photographs. And then when I was 18, I was working in the government doing a clerical job just back this back before Photoshop before digital before computers before the internet, so it's quite a long time ago. I'm a pretty old guy, hence the grey here. And I had a I was on a holiday. So I had four weeks off of work. And I was into surfing so I would surf a lot. But on the in the first week I had a surfing accident, cut my leg and I couldn't get back in the water because I got infected with this is just a hole in my leg that didn't heal properly. And so I was so bored. I was like I was shot out three more weeks left, I'm not going to do what I want to do with Surf and I thought I'll just get that camera again and see what that's all about. And so I picked up the camera, put in some just negative film that I don't have the most important shot because you could buy film really easily back in those essence, that's all there was, and started saying if you've got them developed and just kind of enjoyed that process. And I remember it was a point where my sister said, Oh, your photos look really good Christian. I don't know why but you know, you take nice photos. So that was kind of my first compliment that I ever gotten from my system that was back when I was 18 which is I can't remember at all it is now it's 30 something years ago, 35 Six years ago. Anyway. From there, I sort of gained a bit of an interest and I took the camera to work and I would become I became the unofficial photographer at work. So if there was a birthday party, they would get me to take photos of everybody and then a wedding my cousin got married so I remember taking my camera to the wedding and doing a couple shots here and and but that was the first time when I thought photography was kind of fun, but I never thought it was gonna be a career. I was just doing this horrible job in the government which I ended up hating the passion. And then eventually I quit that job. I just I just couldn't be there anymore. It was just mind numbing. One of my main duties was to file these forms in alphabetical order and when I started I had four piles that were just like massive piles of paper, everyone had gotten in a strict strict alphabetical order. It wasn't just the AC and the A. And the bees, there was a VC with it. Anyway, it was mind numbing. And I did that for three months, finding bits of paper. And at the end of it, I had three piles left standard for after three months, I only had three. So it'll just took me that long it was that and newborns would come in every day, and it was just horrible food, end up cleaning there. And then, just bumming around with a mate, we made a couple of snowboards, because we thought, oh, we'll just make some stuff because I was into sandboarding as well. So I bought some Epsom salt boards and sell those. And that didn't work that well, because we you know, I didn't have any skills my mate did most of the work. I was just kind of like, helping fund some of the materials. And but we made a couple sideboards that didn't float that well, they were a little bit heavy, and I don't think I think I might have sailed one month, but it was a bit of a dog. So that business was never gonna go anywhere. And, and then I started thinking about all well, and crafty sort of stuff. So I would go out in the bush and find old lumps of old tree roots and stuff. And I'd get out there with a file and some sandpaper and a drill. And I would try and make some shapes out of them, and then varnish them up and put little flowers in them and you know, blah, blah. And that wasn't going anywhere. That was I did one I think I gave it to mom, I think she liked it. But it was another dead end business. And then eventually I end up with a video live because governor at the time who are uncle was selling his video library. So my sister and I got into that was really cheap, little rundown thing. And then I ended up we ran that for about five years or so and was quite successful because we, we managed to get a good following with with clients because we, we knew the numbers and we gave them great service. And then eventually that that died out because the big video stores came in. And so I decided, Okay, well I'm going to I'm going to do something else. So at that time, my parents moved to Dunsborough. And I had been on a trip around Australia working on I was actually doing video at that stage, I had a video camera that is shooting film or cast film cassettes, whatever they are, whatever you call them now. And so I started that. And that was three months of just taking video. And I really enjoyed that process. And notice, I would look at my brother and his wife and I would just run ahead and film them walking path. And they were making these little scenes and I edit all this together. And it was pretty cool. I was quite enjoying that, that process. And then I decided that I was going to leave Perth and move down south and just crash with mum dad for a while. So that's when I thought maybe I'll pick up the camera again. And I'll start taking photos. So you know, it's a bit of a long process from from when I first got the camera to when I actually started to be serious about and I was 25 then at that stage when I picked up the camera again, and thought I got to make this into a career because I think it'd be fun a fun job and it'd be easy. I wouldn't have to answer to anyone I can do my own thing. And people might be pushing me around, which is what happened in the government all time. So I got the I got a little camera out and realised that that wasn't going to cut the mustard. So I thought oh, I'll invest all my money in a really good camera. So all the money I had at that stage was 1500 bucks. So I bought a Nikon 801 s that came with two lenses I think and and that that was my first camera. And within six months I realised that camera was not going to cut the mustard. It was just it was a consumer camera. It was well I think I called it a prosumer camera that was a little bit better than the average. And but then I thought no, I'm not getting the results. I have like my darkroom setup my death house and, and I will just do all the do my stuff there. And I just work in black and white pretty much exclusively at that stage. And then the whole aim was to take landscape photographs and sell them through a gallery and didn't think that I'd have my own gallery eventually. But anyway, I realised that that that Nigam was not going to cut it. So I bought a Bonica medium format film camera so blank sky and started using that. And that's when my work started to be elevated to a different level. And people were starting to take a bit more notice of what I was doing. So I wouldn't say it was good. It took me ages to work out anything I had no I mean, I'm an in green, completely green, bought the gear, and just worked it out myself tried to work it out. But even then I was, you know, you only learned so much with film because you shoot it, then you got to develop it and print it before you know what you've done wrong, pretty much. So that was a really long process. Hence, it took me another 10 years before I started to get anywhere near a reasonable level of quality, but that I was pretty, pretty uptight young guy had a lot of stress, pretty nervy sort of timescale of everything. And I was doing weddings and portraits and that was killing me from the inside. I was just sick every time we do a wedding, I would just be nauseas for the whole week beforehand. And the day before and then the morning of the wedding. I just just woke up with this dread in my heart and I knew that I couldn't continue on doing it. So eventually, I gave up photography for two days. And then I was inspired by a lady who had a small gallery in a small town called Esperance. South of south southeast of But where I was living, and and I thought, well, this lady can do or she's doing what I had intended to do when I first moved down south was to have to shoot NASDAQ photographs and sell them in the gallery. And this lady was doing this. So that's when I thought I've got to get back to, to landscapes. And then from there, it was a long process of doing market stalls, trying to get my photos out wherever I could, it was pitch framing at the time as well. So I managed to con the guy I was framing with to give me space in his in his framing studio to to hang my pitches. And eventually I ended up hiring, releasing the whole front of the building from him. And he had his framings of effects that we shared this season that became our first gallery. And then it sort of kicked off from there. That's sort of abbreviated version of a 20 year period of my photography career. Stanley Aryanto - The Wicked Hunt  10:50   I'm Christian now your audio just dropped off there a little bit. Not sure if the microphone Yeah, the volume kind of just died down a little bit. Christian Fletcher  10:59   They're speaking close enough in my Stanley Aryanto - The Wicked Hunt  11:03   mind. No, it was okay. And then it just died also might be like disconnected or something. Christian Fletcher  11:08   Okay. They seem to be testing one, two, I guess you can't see any. That's just coming through. But microphone on mic. Stanley Aryanto - The Wicked Hunt  11:16   Not that's that's good. Christian Fletcher  11:18   That's good. Yeah. Yeah. Stanley Aryanto - The Wicked Hunt  11:19   So it must be. Yeah, cool. Well, that's, that's incredible. Yeah. I mean, I can I can't even imagine. So how do you actually progress and learn photography back then, you know, like, right now, it's really hard to think back of your struggle, because we got everything in our hand, we got Instagram, we got Facebook, we got YouTube, we got it's just so interconnected with with the internet, but you know, like you say, back then it was, especially when you do it all yourself all that trial and error really comes back through a lot of legs, you know, after you finish the role, you take a photo, and then you develop it. And so when do you actually learn, like, you know, the technique and, you know, composition and lights and so forth? Christian Fletcher  12:07   Yeah, I didn't, I didn't learn it. It was just, in fact, I learned nothing until I went digital. And because I had no control. I mean, I remember getting some commercial jobs. And I'd saw some of the top of commercial shooters in Perth, lighting these scenes and I'm going I don't even know how to use I've got lights, but I don't know how to use them. I had no idea of how to balance that out. You know, I was using a light metre lesson stuff. So it was all I didn't I didn't know anything. I think I had a book that Kodak released on photography. And that was one book I remember having. So I had to pretty much learn on the job. And that's why it took so long because I literally went from 25 to 35 not knowing anything. And then 35 I had been to America and I saw some of the some of the best photographers over there, how they were working, what they were doing, and then getting my act together going, Okay, well, I need to have control because I, I'm sending these images off these transparencies off to a lab and the or actually, I was shooting the film a lot of it because it was all leftover film from the wedding days. So I had no control of sending off to the lab expecting to get these great results back and I was going Why can't I get the colours that these guys getting? So then I got a I got into digital. So I basically, I wasn't in digital, I was scanning or scanning of digitally scanning my negative transparencies. So I'd had it I had it I bought a Fuji GX exhibiting panoramic camera that was a that was the first really expensive camera that I bought that was going to allow me to do landscapes that I thought I wanted to do it that that but that time so I built my sort of career on shooting panoramic landscapes, and digitising them. And once I get those files into Photoshop, it was just a matter of teaching myself Photoshop. And that was that was again trial and error. And just I had some books on on Photoshop and how to do it. So yeah, that's when I started to get the control that I needed. And that's and this was still before. I think it'll still be on the internet was around at that stage. But I don't know if YouTube was there. And there was definitely no YouTube videos, on tutorials on whatever. So I was still just trying doing anything myself. I was very insular. When I first brought in for most of my career I spent. I didn't know who was the top photographers were in the country, I wasn't part of the aipp. So I was pretty much just my own guy down in the country. Country hick taking photos and processing my way, the way I sort of thought was right. And it was until I actually joined the AIP that I started to realise what quality, what quality I needed to work towards. And that really helped helped me develop my skills. And then I met some friends that taught me some stuff and went to a couple seminars here and then I did a lot of it. I've been doing a lot of workshops, people I was getting asked to teach people, how I how I did what I did. And so I was very scared of public speaking I hated that the thought of being on the stage and just freezing and not just totally sucking at anything. So I am, I had a really hard time getting out of that. And my wife pushed me to get away from that fear and to start just pushing myself to do that. So I start off doing small workshops in my gallery. And it was actually pretty good because I could set a small amount of people, you know, like, I was doing maximum eight people. And so I thought, Okay, that's good. Then I had a workbook that they could follow along, and I was pretty much going off a formula. And within the first five minutes, I realised that I knew what I was talking about, because that's what I did. So it wasn't so hard. It was, I wasn't off on some topic that I had no idea about. Nobody was like, I know this. But the idea this is this, and whether it was right, it was people didn't mind because it was what I was doing. And they wanted to know what I was doing to get those photos looking like that, you know, that were coming to the gallery. And, and that was, and that was going back about 10 or 12 years ago. So that you know, my my first times doing that I would just get a bottle of wine and pretty much knock off half a bottle before I started so that I wasn't so nervous. And eventually I got to a point where I didn't need any alcohol to, to get on stage. And, and yeah, now now it's all fine. It's all good. But asked me to talk about something I know nothing about, then I'll freeze up. Yeah, that was hard learning. That meant that answer. But learning back then was impossible. And I think in some ways, it made me a better photographer, because I I had to really be sure. And when I was shooting film on my Fuji was $5 Every time I push the button, so I had to make sure that whatever I was pointing the camera at was a reasonable shot. Whereas digital now you just you just shoot away you get moderately interesting, I'll take a photo of that. And then you know, eventually it's just clogging up harddrive. Stanley Aryanto - The Wicked Hunt  16:46   Well, I think that's definitely the struggles with people who shoot digital camera or started with a digital camera and I'm one of them. You know, so? Yeah, you're exactly right. Like, we're, we're, we take it for granted, we don't think about what was you just gonna like, Oh, that's beautiful. And we don't even think about what is beautiful about it. What is you know, whether or not it's a lie, whether or not it's the shape, whether or not is the texture, we just point and shoot. And I guess that's why they call it point and shoot cameras, right? Because you just switched off you just go up beautiful. Snap. And and that's kind of why like, when I first started photography, my photo doesn't really turn out that great because exactly what I did just point and shoot, I didn't really put a lot of thoughts in there. So yeah, yeah, and look, I I'm like everyone else now today, though, Christian Fletcher  17:31   I still take way more shots than I should. I've gone a bit I think I've taught myself composition a lot better back in those days, I mean, I shooting black and white as well. So I wasn't worrying about colour at all, it's just worrying about tone and contrast and stuff like that. So it maybe it helped me become better at composition. And, you know, it just, I guess you do anything long enough, you kind of know what works and what doesn't work. And I still time and look, I get a ride all the time. I'm just like anyone else. But then you get these moments where you find just that perfect composition. And, and also, it's important to pre visualise when you're out there in the field going okay, well this the lights not perfect, but I know that that little headline is going to look beautiful. And if we put up new sky or if we darken this or light now to add a bit of colour, he'll enhance that area. So you know, I'm always thinking about capturing data as opposed to capturing a photo. So I mean, I still like to capture a photo obviously but an outdoor photos but you know, I might have some stuff some of these things for like I was out data Pesco beach town a little while back and, and I wanted a palm tree I hadn't I hadn't got a shot of a palm tree. So I found this one down there. So I photographed it and then I've used that in other photos so you know I'm not a purist by any any any stretch of imagination I'm I'm always putting in new skies, altering skies, I don't alter landscapes completely, like I don't change the form that's there in nature, but that look if disguise mean sky, something that's changeable. And, and I always say to people, if you're out shooting a commercial job for somebody, you better be good at putting in skies and enhancing images, because that's what they want to see. They want to see the perfect sky over the perfect, you know, building there if that's their beautiful building, yeah, they don't want something average, they want to see the best guy ever. And if you get paid to come out one day, and it's it's not doing what it's supposed to do, then you need to, you need to sort of, so that's that's the way I look at it. i When I'm out photographing, I, especially if I'm away on a trip, if I fly to Iceland, and it cost me X amount of dollars to get there and I want to make sure that I'll catch us guys, I'm not sure if I can catch the skies in Iceland, but I'll use them in other shots. I'll do that. So you know, do that all the time. Just to make things look a little bit more. Perfect. Yeah, Stanley Aryanto - The Wicked Hunt  19:52   that's that's a good point. Um, you know, with especially with commercial photography, it's really hard especially if you've got a really short window or um timeframe tissue. So, yeah, very interesting. Take on the shoot for data instead of a photo, that's definitely a different one. One thing that I want to ask you this. So when I started photography, the way I learned composition, I didn't know all these composition techniques. And the way I learned it was, I basically take 100 photos of a similar perspective, just slightly different, right? So one, download one out one closer one with this in it when that in it. And that's how I learned composition. But back on the film days, you don't really have that luxury to, like you say, you know, every snap is $5. And $5, back then, is a lot more valuable than it is now. So how do you actually learn composition all together? Christian Fletcher  20:48   It's very slowly, you learn it very slowly with film. I don't know I, I just got to a point where, and I liked the idea what you just said about taking the same, the same scene 100 times from different perspectives, changing your viewpoint and all that sort of stuff. But I never did that. And because I couldn't, but I think I've made enough mistakes along the way to go, okay, I can work that out. But now I can go out and I can see the balance, and I can see the composition. And it just feels right. And, you know, it's like when you I can like if you're looking at a mountain range, right? I always think about my histogram on my camera, and having that perfect histogram, you know, with that beautiful triangle shape. And you might have a couple of nice, and sometimes you look at the history and go, Wow, that's a beautiful composition. And then other times, you've got this horrible one, it's just like, it comes up and it goes straight across, and it goes down a little bit and then and then cuts off there. And it's like this horrible, ugly histogram that doesn't fill you with any joy. So I just when I'm out shooting, now I kind of feel that the composition is right. And I find that easy. And I work quite quick. And I've done a lot of shooting with mates like them Tony, who who's an amazing photographer. And he does beautiful work. But he goes on to say, How come you you're here? You're there, you're over there you'd like. So I'm either not getting it right. And I'm just moving on think I got it right, or I got it right. And I kind of move on to the next thing. So I think I do have a an ability to see composition, easily. And and I know I can just feel it's balanced or not then. So that that probably helps. I wouldn't say I get it right all the time. Yeah, I find it probably a bit easier than maybe some some people. Stanley Aryanto - The Wicked Hunt  22:28   Yeah, I think like some people might, like looking at composition might come natural to some people. And I guess you're kind of one of those more lucky one than the others. Christian Fletcher  22:40   So that's why I ended up in photography and why I've been successful, because, I mean, there's a lot of photographers in Australia, but not many of them have galleries or and I'm sure there's some more that could, you know, especially in my case, it's been because it's been a long process. And it's been a process that I've had to help with. I've had staff and partners that have enabled all these things to happen. You know, I've done I've done well, but you know, it's, you think there would be more people doing it, but it just isn't. So aberdovey always a lot of photo galleries of your way kind of Stanley Aryanto - The Wicked Hunt  23:14   this, there are a few but you know, like nowadays, I think with the way the online world works, it's kind of easier, you got less costs, you know, you just put it out there. And I think it's a lot less risk, right. And I mean, I saw your I saw your bio, and you were inspired to kind of build a gallery, you saw somebody have a gallery and you thought to yourself, you want to build a gallery. So there might have been reason why you get to where you are right now where most people kind of, especially nowadays, in the modern era, don't really think much of a gallery, more of Instagram followings. But that's their dream is to get 30,000 100,000 followers on Instagram. Yeah, Christian Fletcher  23:57   that's so true. And, and this is probably a reflection on my age. I mean, I've had had my own galleries for 20 years, so 20 years ago, the only way you're gonna sell prints, if you had them in a gallery, though, there was no social media to help you sell them so and it just carried on. But I think one thing about a gallery that just gives you that little bit of credibility, and then also because, you know, we get followed by other people on Instagram that are other photographers that are and not all, but not all, but there's definitely a lot of that so, and a lot of other photographers aren't going to buy your work, they're going to look at what you do and try and emulate it or, and make their own which is perfectly fine. It's great. So a gallery out. And we've done studies on people and how they found out about our gallery and most of them are just walking by and see it see at the front and go let's go in and have a look. And that's where we get our sales from. So even after all these years, we still make more sales out of our gallery than we do online. But then yeah, like you said, you got that massive debt as well. Not a debt but that every week you're gonna sit sell certain amount of pitches to keep the doors open, pay the rent, pay the wages, pay attacks, all that sort of stuff. So. And then when we had when COVID hit us, we closed the gallery for five weeks. And our staff went on to Job keeper, which was fantastic. Because we didn't have to worry about wages we didn't have, we only had some renters our overhead. And electricity had been deferred all those costs. So we were just back to internet sales, and we'll and we got some good sales over that period of time. And I said to my wife, is it far out? Do we really want to reopen the gallery because this, if we can just live like this, we can just, we don't have to do much, we can just bring the printers home, get the oldest make prints, put them in tubes and stuff. And it'd be fantastic. But it's still nice to have your own space. Because people they see see more, you're more visual, basically. Yeah. And being in Dunsborough, in the small little holiday town, we get a lot of people that come in, and we get repeat customers. And it used to be exposed to a different different group of people. And it's kind of nice, because you, you you get immediate feedback from, from real people, not just like on Instagram saying I love to shop man, you know, it's cool that yeah, and they hand over cash. That's, that's always nice, too. Stanley Aryanto - The Wicked Hunt  26:14   Yeah, I think I mean, like, I have a dream that one day, I will have my own gallery. No more not for the sales part of it, but more of just being able to bring my work and present it in a way that I'm happy about, you know, being able to see that big print of yours and hanging on the wall is a different feeling. I'm sure you can relate to that. And that's, that's the main reason why I want to Gallery. But I want to I want to know, and get a little bit of insights or so you did a few different things from commercial portrait and wedding and kind of ended up with travel and landscape photography. How do you get there kind of what is the process of why you decided that it is your it is what you want to do for, you know, for your main part of your photography career. Christian Fletcher  27:09   It was because I mean, I started out wanting to do that. Because like I said, Back Back in those days, I was very insular, I was quite, you know, I wasn't into being in the limelight. And public speaking, I didn't like being around people so much. Not that I'm not a people person, because I enjoyed it. But I thought the far as work goes, I needed to be controlling my destiny, and I need to do something that I enjoy. And landscapes always seemed like the option for me, that was the most good, the best match for my personality. So I didn't commit I got sucked in. I started out doing landscaping, I got stuck into the commercial work and the portraits and weddings by people, friends, people in town. And I knew, I mean, I had when I put my very first pictures up in an a restaurant, my brother had a restaurant in town where I worked as a dish big washing dishes. I put pictures in there, the first day I sold one. And that was an amazing feeling to have a landscape photograph. They're all black and whites and to sell. So one on the first night was was brilliant. So that again, got me thinking, Yes, this is the path for me. But the reality was that it took another three months before I sold the next one. So I wasn't gonna make any money out of photography. And so I had to wash dishes, pitcher, pitcher, framing, and all that. And then from having the work hanging in the restaurant, I would get business people coming and saying, Can you do this photo for me? Can you do this though? So I started doing commercial work that way. Then I had a friend who I met down south and he said, Can you do my wedding photos. And that was when I started doing weddings and other work out. At least I'm making money from photography, you know, but I had no idea what I was doing. I was shooting these things and these for these people. And I'm heading over the work and I'm not happy with it myself. Because I'm never happy with my work. I know. It has to be pretty special for me to really like it. And if I do like it, I like it for a month, two months, three months, six months, and then I hate it or not. I mean, I've got images I don't hate but there are images that I've just never want to see again. And they just frustrate the hell out of me when they sell on the gallery. Why are you buying that? Horrible? Buy this one? No, no, I like this one. Yeah, but look at that. Look, there's noise and there's some weirdness going on. It's over. There's a small file shot on the canon that he d 60. And IT systems horrible. Anyway, he gets on like a photographer. Yeah, so we are very harsh and very critical. There were. So I didn't that's how I got stuck in the commercial. But then after doing it for so long. It really started to I was getting really nervous and I was starting to feel like I needed to escape from it. I didn't I stopped enjoying it was like when I was back in the government and people were telling me what they wanted me to photograph and I didn't like that. I had no idea what I was doing. I was doing commercial work and they were wanting specific things not going. I didn't even know how to do that. And I was just fudging it. And I remember I had to photograph a fairly important lady a very well known lady I'm in Australia, and I took a few shots and I can't do this anymore. I am too worried about being found out as a fraud. So I need to just get back to doing my landscapes. And that's when I quit for a while and then rediscovered landscape photography. Stanley Aryanto - The Wicked Hunt  30:15   That's fantastic. Yeah, like, I don't have to look back since I think many, many of us really, especially when you kind of just started really got sucked in into the, you know, because the portrait and the commercial all the one that a lot easier to make money, it's in necessity. So cool. That's a it's a really good to hear that story from your side of things. And you know, to kind of see that you do have that struggle as well. So what do you find? How does the photography become a part of your happy lifestyle, then? You know, especially now, you still do a lot of photography? Does it still, you know, after all this year, does it still bring satisfaction and happiness? Christian Fletcher  30:55   Yeah, I, it's the only passion I've ever had, I've never sort of got sick off. Because I've done a lot of things and have a lot of a lot of fun things. And, but photography has always been dealing with will be and like, if someone said, Hey, Fletch, you know, here's an opportunity to go on a trip across the, you know, to some shitty town 300,000 kilometres away. And we'll end and we'll take a canvas and see what we can get, I'll be in there because I love I love it so much that I just love making images. I love finding it. Because for me, it's like, gold prospecting. You know, when you get it, you get your metal detector, and you go out. I mean, who doesn't want to go dig up a nugget, a golden nugget and, and how exciting is just to be wandering in the bush and all sudden, you see something that's, that's incredible. And, and you get that get that golden moment where you take that photo, and I never get sick of that feeling. It's, you know, whether you liken it to an Easter egg hunt, or opening your presents at Christmas time. If Adobe is like that, for me, every every time and, and I get excited, you know, like, it's, I remember when I used to surf, if I was a good good days in the surf, you know, you pull up to the beach, and you see the ways understand you're starting to get in a heart starts to pound and you're going, you're getting ready and you're getting so many that you want to get out but you're nervous, but you want to do it and then you're worried you're going to miss it. And I'm in photography is I've had so many stressful moments where you're racing in your car to get down to the spot, you know, the sun sets gonna be amazing. We just got to get to that, you know, you're just gonna do another kilometre, and you gotta get out, you got to get the tripod legs out, and you got to race down the beach, and you've got to get to that that spot and shoot it before that sunset disappears. And I love that. Stressful that and that's what keeps me going. Stanley Aryanto - The Wicked Hunt  32:40   I mean, yeah, like hearing your your stories, it sounded like you are passionate about photography in it, because you do you did try a lot of things before you get there. But once you kind of find photography, just stick with it as a ghost to show how much you you're passionate about it. So yeah, Christian Fletcher  32:55   fantastic. But any day of the week, if I if I could, if I didn't have a business that was a little bit heavy on labour, I would be I'd be out there shooting more and I do need to push myself more to get out. But you know, I've got a family and kids in high school got a business. That's that's almost it was a seven day a week business. So there's always something to do. I got a big yard for the gardening to do just doesn't seem to be enough hours in the day to do anything. But if I could, I'm the happiest when I'm on my own with my camera somewhere in the bush taking photos. That's that's, and it doesn't have to be spectacular. The less spectacular for me the better. Because there's less pressure on you. If you're in the Canadian Rockies, I think you said five out. I mean, you have so much pressure because your landscapes are awesome. If you go out and get photos that suck, then you're in big trouble. Whereas for me, we're in Australia, one of the flattest countries on earth and it's one of the oldest countries and there ain't much out here there's always there's a lot of great stuff that is so spread apart, that we don't have massive mountains with snow capped peaks and glaciers and beautiful blue lakes and all that sort of stuff we we have the Outback, which is had its own sort of nice things about it, which sounded like that we got 15 minutes of good light in the morning and 15 minutes at the end of the day. And the rest of the day. If you're up north it's baking hot. You know you'll die out if you break down it's remote. So yeah, that's there's less pressure it's more pressure on surviving this on getting good photos. It's so much easier. Stanley Aryanto - The Wicked Hunt  34:34   It's interesting that you mentioned that because it is so true that you know when you're out here it seems like you're trying to please everyone else then to please us sometimes and it's like it becomes an uphill battle. Again, you know, because of the social media and you know, say Oh, this guy is making this like the shot is like it's in perfect condition. And sometimes I get like really pushed to go to this location at that certain time. And when I first got here, that's what I did like literally just chasing every single condition. Um, you know, now kind of, because I've already have that I tried to force myself to sit back a little bit and just find one that actually, I really liked. Yeah, really, really interesting that you mentioned that, because that is very true. Over here, a lot of a lot of British gender. Yeah. So you're very passionate about the environment as well. And, you know, I, myself, when I started travelling, before I even got into photography, I have a lot of ignorance with with the environment, and what's happening around the environment. And travel really opened up my eyes, and I get to see a lot of things that I would normally things like, you know, I was just, you know, wandering chameleons, like, it's not going to make a difference. But when you actually go out there and go to those places and actually see, you know, with your own eyes, it really changes your perspective. So, sure, I know you're really passionate about it. So I'd like you, I'd like to hear some of your stories about, you know, either project or some environment sort of issue that, that you see through your travel and photography, and what do you think we can do about it? Christian Fletcher  36:13   Well, yeah, big issue, big, big question. I really struggle with being an environmentalist and travelling a lot for photography. And, you know, up until in the last 10 years, I've travelled all over the world, you know, long haul flights all over the place. I mean, I always offset my flights. Usually with Qantas, I'm always offsetting those emissions pay a little bit extra than what happens to that money, does anything amazing. So there is that there is that side of it. And when the biggest issue that I found, in my travels was when we went to Antarctica, and we had I was invited as an instructor on a trip. And we I was to drift I was hooked on to back to back. Anyway, we get down to Punta Arenas in Chile. And what's happened is that we get a plane from there down to King George Island. So instead of having to go across the Drake Passage, in a boat, you just fly across it. So you have the same amount of time down on the peninsula, but you're not flooding around in the ocean, getting seasick. So it's quite a good option, you know, that unfortunately, on this particular week that we were there, the conditions were quite warm in Antarctica, and the island was formed, a covered in fog. And that went for a whole week, so that everybody that was on the first trip in Antarctica, didn't get to go. So we were all in Puntarenas, waiting by the hour or waiting for the conditions to change. And so we could fly in. And we had two aborted attempts to get into Antarctica where we got packed the way down and the plane just turned around, and then ended back in Puntarenas. And then the second trip, luckily, the fog cleared, and we were able to get in and, and we we landed because there's it's not a it's an uncontrolled to airspace as there's no tower and all that you basically got people on the ground saying, I don't know, man, I can't even see five in front of me so. So yeah, so that was when I really, really hit home that we've got a problem. And, and how that affected so many people. And I'm sure that happens quite regularly. Now, as we know, Antarctica is having record temperatures, and there's record Ice, ice loss. And another time where I thought, you know, where the pollution was a problem was when I was in Cambodia. And I'd never seen the Natta plastic rubbish that I'd ever seen. And, and basically, the conditions that people were living in and, you know, it was quite confronting, you know, thinking, wow, we've gone this far that we, we, you know, we've just, we can't get rid of our wastes, you know, and we're lucky here in Australia, we're, we're privileged, we've got, you know, we've got a functioning government that's, that works well, we pay our taxes, and we haven't got to 30 There's so many countries that don't have that. And it's not anyone's fault. Well, it probably is the government's fault that, you know, you know, there's a lot of issues that people, you know, they can't change things for the fact that it's so easy to sit back as a privileged Westerner, to and point fingers, hey, you need to be, you know, turning your lights off at night and then spending, you know, putting the rubbish in the bin and, and, you know, all this other stuff that we're the ones that are creating the bulk of the problems by consuming what we consume. And, and I'm not saying I'm perfect, and we do what we can, but it's such a big topic thing, I think, definitely getting off off coal and gas in Australia was were the one of the worst culprits because we have a lot of it. And it just frustrates the hell out of me because the way I look at it, that they seem to want to protect the coal industry so much, I'm probably gonna get a lot of trouble here. But anyway, I think there's something like 20,000 coal jobs in Australia that might go with it. coal industry was just phased out. But then I sat down I thought about the photography industry, not about, yeah, remember the old days when there was film, you would go take your films down to the mini lab. And every town would have a mini lab where there would be somebody with a processing machine, you get you put your films in, you get your photos back, you know, four by sixes or whatever. And you don't see them anymore. They're just gone. You know, they don't exist anymore. And they would have been one in every town, all across the world, you would think, right? And now that just don't exist anywhere. But no one ever complained about the poor old photography workers that end up without a job. So this is, this kind of annoys me, is this, this kind of this the power of the minerals Council, the lobbies, the lobby groups and all that. They just say, Oh, no, no, no, no, you can't do that. We got to keep digging the coal out of the ground, and blah, blah, blah. Because we got to keep that the jobs and the jobs. Well, how about the jobs in the renewable industries? You know, that's, that's why aren't we making hydrogen and I think that's actually happening. Now, I think Australia is getting a bit more involved in some of the big miners are starting to do that. And it's going to take those sort of people, big industries, the big corporations to go, Hey, we got to change the way we do things. So that's more the issue, as opposed to there's more people that love it, yeah, we can always inspire other people to do things like consume less, on what needs to be consuming less. And, you know, one thing I really see is having young kids teenagers, they're so much more aware. And then than we ever were, and my son, for example is, is he doesn't want anything he doesn't want to consume, you know, he's he, he doesn't see the benefit doesn't see the need, he understands what's going on in the world. And, yeah, and, and there's a lot of kids that are now so much more aware of everything from, you know, racism, sexism, you know, that politically aware, they understand corruption, and, you know, and I'm hoping that they're going to be the ones that make the changes, you know, when they turn 18, and can vote, and I think you can see it happening. We've had a bad run of leaders around the world. Now for a while, or the nutjobs had been out submitting their, their hold on power, but they're in the minority now. So we just gotta get out, get all the rational thinking people together and make some changes that make the world a better place for everybody in it. Stanley Aryanto - The Wicked Hunt  42:16   That's, that's fantastic. I think grant, I totally agree with you, you know, it's not about changing it overnight. And I think it's impossible. It's, it's about finding what sustainable, right? Because there's always that balance between, yes, we can do this, but then what's going to happen with everything. So it's about having that awareness that maybe if you just reduce once a day, it will actually make a lot of impact. So yeah, that's, that's, that's amazing. Um, especially, this is what I find as well. Coming back to your story in Antarctica is that what I find when I'm here in Canada, I see global warming a lot more. One of the glacier that is here, receding at 50 metres per year, at least 50 metres per year, which is, like when you think about it's crazy, because it's, it's massive, like, you go there, it's like, five storeys high, you're looking off, and it's like, what this thing melting, like, disappearing at 50 metres per year, that's just insane, you know? Yeah, it's a really, really happy when I see someone else, you know, spread this, this message, I suppose. It's, it's, it's not gonna be, it's not always gonna be we're not always going to be able to change everyone. But that's, that's where it started, right? Christian Fletcher  43:25   Well, and I think it's really hard to change people's minds if they if they're not ready to change. And, you know, I've given up ranting and raving on Facebook and stuff on Instagram and on Facebook anymore. Because you don't win any fans, you just alienate people, you just make you push them even further away. Because no one no one wants to be told what to do, and how they should be living their life, they need to want to do it themselves. And then they need to make the changes themselves. And I mean, and inspiring people to do this more effective than calling them out for and we're all hypocrites, we all we all do ship things, I mean, the best thing we can do is go jump off the planet somewhere and let it do its thing, you know, but when it's not gonna happen, we're all here. We just need to be smarter. Stanley Aryanto - The Wicked Hunt  44:10   Yeah, that'll happen. That's very true. Like, and I think one of the reason why I encourage people to travel more is that they will get to experience it for themselves, because a lot of times, you know, they see the media and they think the media is lying, and just finding that headlines like, yeah, they might be finding that headline, but there's also a little bit of truth in it. And, you know, being able to see for yourself like I myself only changed my mindset when I when I see for myself, so it's definitely a difficult one for sure. Well, thanks a lot for being here. Christine. And one last thing, one last question that I always ask my, you know, anyone that comes into this podcast, what is the one message or one advice that you can give photographers, whether or not they're, they're new or they have been in it for a while. Christian Fletcher  45:02   Yeah, it could be anything. So what is the one message that you would deliver to never be happy with what you've done this week, because it's always gonna you get, you can always get better, you can always strive for more, you can do things that have more meaning. And I do that all the time, I think if you, as a photographer, think that you're at the pinnacle of the game, and you're the best you're ever going to be, then you're probably not going to be that good. You need to keep moving forward, and experimenting and trying new stuff. And, and that's the hardest thing to do. Because, and I'll stay with myself, you know, it's so easy for me to get up in the morning and go out, find a pretty landscape, take a photo, edit it, print it, put it in the gallery, and someone guys lovely, it's beautiful. But that's not gonna last forever, and it doesn't feed your soul. So you need to just continue to push yourself, don't be happy with what you've done. Always know that you can do better, because you can. Stanley Aryanto - The Wicked Hunt  45:58   Perfect. Well, thanks a lot. And that's, that's perfect to close our podcasts. Now, for those of you for the listener who want to find more about you and your work, especially your gallery. Where can they find you? Yet? Well, Christian Fletcher  46:12   you go online, probably the best way it's Christian fletcher.com.au. And it shouldn't be too hard to find. And yeah, that's where I do most of my stuff through the gallery. I will I'm not doing any much training anymore. I do have a training website where I teach. I've got video tutorials on my Photoshop techniques. And that's Christian Fletcher. training.com. Perfect to that you subscribe to that. And that, you know, like you said, everything's on YouTube. But the difference with my stuff is that if you like my work, what I teach is basically what has become my style. So the techniques that I do, you may be able to find those from other places. But if you like what I do, then that is it's valuable in that respect, but not much different than what you find anywhere else. And on YouTube. There's probably guys doing way better than me. But my tutorials are a bit more quick. And to the point. Less rambling. Stanley Aryanto - The Wicked Hunt  47:08   Yeah, well, I think at the end of the day, it's it's about what, what resonates with people, right? So check out Christian's work. And if you do like his work, you know, see even check out the training and see if you could learn from what you have to teach you because he's been on the game forever. And he's definitely from for for a city that is so isolated. Unknown Speaker  47:33   Definitely have been to everywhere. Stanley Aryanto - The Wicked Hunt  47:36   So that's fantastic. All right. Well, thank you very much for being here. Thank you very much for sparing some of your time. I know you're busy back home. But yeah, well, we'll come this to an end. We can hunters, thank you very much for tuning in. And hopefully that is you find that inspiring as well as helpful in your photography journey. And if you're, if you liked this and if you're interested to hear more, don't forget to hit the subscribe button just down here and leave a comment or a like, you know, feel free to stay in touch with me and Christian. Well, thank you very much Christina for being here and absolutely love this episode and it was such a pleasure to talk to you. Christian Fletcher  48:13   Likewise, man, thank you  

Hey Wicked Hunters, Welcome to another episode of The ART of Photography Podcast with Stanley Ar. Today I want to introduce Johannes Reinhart who's a master in performance photography but also in finding unique perspectives in common places. He shared how to approach photography with an open mind to be able to capture one that is unique to you. For those of you who want to learn more about Johannes: www.johannes.com.au Instagram: https://www.instagram.com/johannesreinhart/ If you want to watch the video podcast, head to https://youtu.be/g4ttCEb7GLc  Other ways to listen and subscribe to the podcast: Spotify - http://bit.ly/twhspotify  Apple Podcast - https://bit.ly/Theartofphotography  Google Podcast: https://bit.ly/TheArtOfPhotographyWithStanleyAr  Website: podcast.thewickedhunt.com   Tune In (Alexa) - https://bit.ly/TuneInTheArtOfPhotographyPodcastWithStanleyAr  For those of you who want to see more of The Wicked Hunt Photography: Instagram: https://www.instagram.com/thewickedhunt/    Facebook: https://www.facebook.com/thewickedhunt/ Masterclass: https://www.TheWickedHuntPhotography.com    Photo print: https://www.TheWickedHunt.com/  Don't forget to let us know your favourite part of the Podcast on the comment below and subscribe ----------------------- Johannes Reinhart  0:00   It's really like keeping an open mind. Like, look around and keep an open mind and don't get stuck on. I want to take this particular photo Stanley Aryanto - The Wicked Hunt  0:18   here, we can do this Welcome back to The Art of Photography podcast where we share our passion as a photographer, and we share how photography has brought hope, purpose and even happiness to our life. So today we have someone very special from Perth. I met him back during one of the project is called the 730 project. We were we were doing that as fundraising. And he is definitely one of the top Perth event photographer and one of the most creative photographer out there. He definitely find beautiful things in the order in ordinary things. So I'm very excited to welcome Johan is, are you doing your hunters? Johannes Reinhart  1:09   Yeah, good. Thank you. Thanks for having me. Stanley Aryanto - The Wicked Hunt  1:12   Yeah, no, great. How's things back in Perth? Johannes Reinhart  1:15   Pretty good. We don't have much COVID restrictions or life goes mostly normal. Stanley Aryanto - The Wicked Hunt  1:21   And it's crazy. It's just amazing. Yeah, yeah, it's crazy. I mean, like, it's crazy how people can you know, all the everything's open to venues and stuff. Like there's practically banging? Well, I guess that's the one advantage of being the most isolated city in the world. A Johannes Reinhart  1:37   definitely. Yeah. Stanley Aryanto - The Wicked Hunt  1:40   All right. So like, thanks a lot for coming in. And yeah, we met on, you know, that is 730 project there. And I think that was the first time I met you, which was a little bit embarrassing, because you're very young. It looks like everyone knows you. And you got definitely one of the top photographers begging for them, especially to learn from. Give us a little bit just introduction about yourself, you know, where are you? Where are you coming from in what type of photography you do and how you kind of get there. Johannes Reinhart  2:15   Because I come from Germany, and it's where the accent is, I moved to Australia, I think I was 25. And I live here for 20 years already. And I started photography, probably around 25 years ago, like proper way, I bought my first SLR camera and then really gotten into it. And in the last summit in 2003, I started going out professionally as well maybe like, after 789 years, being really keen photographer. So I shot a wedding at you know, we went to a wedding and took some pictures. And that turned out better than the ones from the wedding photographer. And the same thing happened again that year for another wedding. And then I thought I'm becoming a wedding photographer. So I started Yes, I started off as a wedding photographer, you know, just like, Okay, I'm a wedding photographer now. And that's why they're and you know, and then learning and then all learning and then digital came around. And then everything had to be learned kind of new, you know, computers and colour management, all that. And then and then after a couple of years, I didn't really pick up my camera anymore. Because I was associated picking the camera up with Burke and and then through some coincidence, and there was this photographer, like PIP photographers and Kurth group on Flickr. And then people being like going out and meeting each other. And I always did photography in isolation, really. And so Oh, there's other people like me, isn't that amazing? And then I went out and to the mates and we shared the photos after on online I mean, it's all normal now but back then, it was like to start off the internet, so to speak. And then I've really reignited my passion for photography. And I also realised what I've lost with you know, not picking up the camera for myself anymore for my own book. Just for playing around and then yeah, and then I never stopped, you know, taking pictures for myself and my personal work is really important to me, like I mean I'm really busy doing professional work which I kind of shoot everything nowadays, but I concentrated events and especially performance and a bit of commercial and bit of everything and teaching obviously. So it's it's a nice variety nowadays, that I can Stanley Aryanto - The Wicked Hunt  4:37   set that up. So would you say that performance and art photography is your main passion? Is that why you kind of you know, sway into that categories or Johannes Reinhart  4:51   nothing? Well yes and no performance for that used to be a passionate because it was so you know a such a different world. Hold on I Love You know, having access and the camera is a bit like a passport as the saying goes. So you Yeah, I I, I had total passion for performance photography and now I'm doing it for maybe over 10 years and then so it's not in I really love it. But it's it's kinda it's not this strange, exotic real animals, everything kind of becomes quite normal, which is really interesting, isn't it? And it's definitely a passion but at the moment I'm, I'm, I'm more kind of interested in my personal work I'm more interested in like, which sometimes performance matches like themes like light and shadow and alienation and life and death and loneliness and and subcultures, which, which performance, obviously, part of. Stanley Aryanto - The Wicked Hunt  5:51   Yeah, that's, that's really cool. I think definitely one of the photo that really catch caught my eyes on that project was that, just that the way you play with the shadow, you know, playing that contrast, it was it was, I never actually do that, in previous to that it was, it was mostly about, you know, trying to get the even lighting, make sure that all the subject is lined up. And it was, it was definitely a big mind shift, when, when I first saw that I was like, wow, like, you know, like, you don't have to see the dark, like, you don't have to see what's under the shadow, it actually could create something, like, quite unique about it. So that was really cool to see. What, what inspires you to, you know, do to do that kind of photography in the first place? Is it just as a, like, accident that you kind of come across it? Or was there an inspiration somewhere along the line Johannes Reinhart  6:49   that already leads back to my childhood? Because I, I've been really drawn to, you know, days to be black and white photographs and magazines and papers. I don't know where I've seen them. But I've been really drawn to Yeah, with the stark contrast the images, which, which those sometimes used to do and then when I had a camera, I kind of tried to do that. And obviously it doesn't quite work like that. And then you come to Australia and the sun is so much harsher than in Europe, as you know. Yeah, it's crazy. Like in Germany, if I should, in the middle of the diet, it's like a kind of overcast ish, almost overcast dish down here, the lights really soft in comparison. And in Perth, we have this extraordinary hard light. So you can create you know, if you expose for the highlights and your shadows become really deep and dark and, and I really love that kind of effect. And I'm, I'm naturally drawn towards it that just sort of an extension of myself really? Stanley Aryanto - The Wicked Hunt  7:47   Well that's, that's really interesting, you know, like, because, you know, most photographers look for that soft light, right? Where we're taught, like, hey, you know, go in the morning, or go in the afternoon where the light is soft. But here you are, like just taking advantage of something totally different. Something that's just so harsh, and people would probably stay at home, I probably would be stay at home by that time. But you take that into advantage. That's really cool. Johannes Reinhart  8:14   So can I just say something for that? Yeah, for sure. So it also came through necessity because I'm a stay at home dad, and I look after my kids and when they were little. So now they're teenagers, but whenever little is like during the day was the only time I could go out and have my own life. So, so I was like, I felt like I'm the lunchtime photographer, you know, the middle of the day here, I'm out and then I just kind of had to do with what I got. And then that's another layer that kind of added on to that. Yeah, that's I think Stanley Aryanto - The Wicked Hunt  8:45   that's that's also an important factor. You know, a lot of a lot of photographers out there, especially the one that can just start it, see those explosive sunset or sunrise, you know, for landscape or, you know, a special lighting and we are so fixated with those lighting, that, you know, if we go to the location, and then we didn't get that light, we would just pack our gear and go home which, you know, you said it perfectly sometimes you just have to take advantage of were what was the condition that you have? So that's that's really amazing. Yeah, so what what was your what's your biggest inspiration if there is any, you know, what, what, how does this creativity mind works? Like, you know, what sparked this create DVD? I suppose. Johannes Reinhart  9:35   That's a really hard question for me. It's like, I just thought back and mind I mean, the Magnum photographers used to inspire me. And now because I do photography for a long time and like 20 years intensively really, or obsessively could say, so now at the moment my inspirations really kind of trying to go deeper in my own personal work and vision and whatever that means, I don't even know what that means but but that's the kind of place I want to go to. So I kind of work on projects, I just finished a book from a Japan holiday that I might free books out of it, one family, one, street photography, and one that's about to do with, you know, the temporary nests of everything in our whole life. And, and, and, and that's just me, you know, being in middle age and trying to get my head around, but I'm going to die 40 years, maybe sooner. And just kind of being more aware of my time is limited here. And, and it just comes out in the work I should naturally and then it's like sequencing and putting it together and finding the theme. And just how I photograph, usually it's very much based on serendipity, I kind of go through everything a little bit. I something pops up, and then I go Oh, that's interesting. And I take note and and then over time I work out what are the important themes in my work, or what are themes in my work that just naturally come up and trying to kind of dig in on that and move forward. And so it's all like it, it's, it's a little bit like just finding myself and photography helps me to kind of put a light to what's in my subconscious then I can learn our game that's going on, because the subconscious was like maybe a year ahead or half a year ahead of what you actually know what's going on. And, and then just trying to combine it with my photography and learn about myself and my feelings. And, and, and also have fun and just like we beat New Zealand in January, which was very, very good timing and very lucky. And I was so excited about you know, discovering all I mean, we go for those beautiful nature walks and seeing those amazing things and, and I'm there with my camera as I can capture it and I'm so excited. And I think photography with photography, the the whole worlds like a treasure box, really. And it's just like, going out and discovering what's around the corner here and what's there and, and that brings a lot of joy into for me and capturing that it's a lot more fun for me than just seeing it. So because then I guess I can go hey, look at this. Look, look what I've seen, you know, and I mean, when I go with my family, I go oh, look at this and amazing, they're lucky or whatever. And once I take a picture, sometimes they go oh, that's actually not bad. Yeah, that's, Stanley Aryanto - The Wicked Hunt  12:43   that's a it's really funny, isn't it? Like, and it's really cool as well, like, how so basically, you're saying, you know, use photography as a way to express yourself and, you know, express your kind of inner thought and where you can going or what's in your head? In terms of photograph? Yeah, so like that, I find that it's really definitely one of the reasons that a lot, a lot of us do photography as a creative outlet. So how does that you know, how do you look beyond the ordinary? You know, because I see a lot of your photos, you, you, you focus on things that people wouldn't focus on just the quirky things, the little small details. And that was the one thing that I really noticed, you know, when I was there next, you cannot watch your work. It was just like, wow, and it was just like, how did he think of this just like blow you out of your mind, because it's not something that people would normally think about. Johannes Reinhart  13:47   When it comes to I think there's two different layers of it. One is I'm not interested in just another pretty picture. So I'm, I you know, that's how you start off or that's how I started off, you know, trying to emulate the photographer scene and emulate, you know, the great photos or, you know, Christian Fletcher took this photo of something and you know, and Duncan and you have that in mind when you go to Ayers Rock and you're trying to take kinda that similar photo and then you're very proud when just looks kind of similar. And then and then the next step was like, more finding my own voice and because I mean me lighting is just a great thing to learn photography, but then it's really like it might have been when I went to photo for you, which might have been 2003 or four. There was photo for you and then I went there and I say in photography that kind of found confronting is like, what this is, like supposed to be good photography, you know, because it wasn't just pretty pictures and then and that kind of really opened up my my world and seeing this was photography and that is photography and then going okay, what is it that I do? And I guess then I took a little bit of is a free pass to explore, go a little more me personal. And for a number of years, I was really struggling with that, you know, like this is popular and you feel like you're supposed to do what's popular, right. But then it's also but I prefer those pictures, you know. And then eventually, I ended up winning prices winning documentary photographer of the year, at the IPP with my own picture with that, yeah, put my own pictures in, I actually won. And I was like, amazing. And then that really manifested in my, okay, I, I basically, I won those prices, because I did what I did my own thing anyway. And then it's after that, it became really easy to just follow my own thing. And nowadays, I just do my photography, the why, in my personal work, do my photography that the way I want to do it. And then and it's very easy just to and then the other part of that is I go out and I try, I basically go out with an open mind and just look around and see what I find. And just trust in my gut instinct and trust in serendipity and, and often start with light in our NSA some interesting light somewhere, and then I look closer, and then I find something and then if I react to it, and then I start to take pictures of it. And then I mean, obviously if I react to it, and there's there's something that interests me, and I just kind of follow that. So yeah, like a treasure hunt, like, like in New Zealand. Yeah, that's, that's come out the way I like it in a way, which does not there many pretty pictures. But I don't know, oh, they're a little more more clutter, they're not as clean, I think I could shoot a lot more cleaner. If I and I do that more in my commercial work, where things are more orderly and clean. And in my personal work, it's sometimes maybe a little messy, but there's still some structure to it. And I guess my brain is a bit messy. So it just comes out like that. Stanley Aryanto - The Wicked Hunt  17:03   So that's, that's really cool to hear. And, you know, it's, I think a lot, a lot of people out there might have that thinking of, or pressure I should say, or pressure of reproducing something that you know, is beautiful as what the status quo accepted. So that's great to hear that you say that because, you know, it was a testament to itself that you you were able to win an awards just by being original. So you know, what sort of advice would you say to people who kind of just started and struggled to find their voice or, you know, try to find to be where you are right now. And they are still in the emulation sort of period. Yeah, Johannes Reinhart  17:51   I mean, just be yourself. Really, it's, it's sounds simple. And it is it is hard, because I mean, the old trying to fit in, like all of us, and I mean, the older you grow, maybe then you have a bit more luck with that, I just do my own thing, I think he probably really helps. It also really helps that I I had recognition with doing what I do. And then you know, it took like 10 years to get there. And I was sometimes really torn and not knowing what I'm supposed to do and, and but I learned by winning awards, I learned that you know, it doesn't really matter, like it's you just do your own thing and and if you get recognition, that's great. And if you don't get recognition at least you do work that's meaningful to you. And and that's I think that's a bigger price than winning awards. By ending up having photos they mean something to you and I got a couple of projects that that you know, they go a lot deeper and they're a lot more they're kind of important that in my life the kind of key the mark sort of key points and that came out in photography and I have a lot of pretty pictures that are really nice that you could hang up the wall but I don't really I don't have no deeper connection to them so they they're just kind of nice in our and maybe they get likes on Facebook or Instagram but they don't they don't do anything other than just being pretty to me and and I guess for your listeners if you if you just go out and you do you do what you connect with and you do things uy uy just means you like it like this and you're like high contrast or low contrast and it's just do that and and don't worry about you know the likes and what how it resonates with other people initially because if you just posted it just post you what you will really like to do over a period of time you will attract the people who connect to that kind of thing. And then you know in the long run you're gonna get your your recognition run by people liking what you do. And don't worry so much about the gatekeepers. You know, like we all we get recognition from our friends or friends, God is amazing. This is awesome, you know, but we want it from some strange, unknown people like an industry or somewhere that that we don't even know. But we want the recognition from them. And, and I mean, what does what's more important your friends are some random stranger really. So put emphasis on that to just play like, you know, move, move the blocks around a bit and give yourself the freedom to just go and explore. Stanley Aryanto - The Wicked Hunt  20:36   Yeah, that's that's a really good advice. I think that's, it's really powerful to say that, you know, do what, express yourself and do what do what's right for you and let those people that resonate with you follow you and not worry about those people who doesn't follow you, or doesn't resonate with you. So I think that's a really good advice. So, you know, you were sharing earlier about meeting up with this group of photographers and they were going out together and that kind of sparks back your your photography after kind of a wall, how important it is to have a community and you know, being able to be part of community in terms of progressing your photography, I guess not only just progressing your photography, but also enjoying photography. Johannes Reinhart  21:31   Yeah, I think it's like, for me, it's more enjoying photography and also enjoying connecting to people and, and sometimes I guess we feel, you know, like, I had this from a lot of photographers or artists, they feel a little isolated. I feel like I'm a bit weird. And then you go to a photographer's me, then you go, or I'm not the only weird one. There's, there's lots of us. That's, that's a really nice thing too. You know, I mean, I have friends of our family friends, we have friends who get my photography, and we have friends who just don't get you know that they like to pretty pictures and they go, Oh, that's great. But if I show them like my RT book, then I go it's all a bit strange and random. You know, not not everybody's gonna get it. And, and yeah, photography mates. It's nice to meet those people. And you can, I mean, human connection is like, many when you look at life, I think that's, that's the biggest thing, like your family and friends comes, I think when you all that comes before everything else it will crystallise for I think for most people. And photography is like a way to make friends and to meet people and be don't feel so lonely and isolated, I guess. Stanley Aryanto - The Wicked Hunt  22:46   Yeah, it's, it's actually really interesting that you say that, because sometimes photography, for me is a good thing. It's a thing to run away and actually be alone and isolated. And I think it's one of the reasons why I like to do Astro photography, because, you know, he was so serene, like, you know, being out there at night. And yet you you don't feel alone, because you know, you get to enjoy all the stars. And it just give me a perception that there's somebody out there. So yeah, it's really, it's really interesting to see that different perspective. And you know, how everyone have that different perspective. So what, sir, yeah, Johannes Reinhart  23:25   good. Yeah, but um, I totally get what you do. And I do that too. And, and I'm an introvert and I need time on on my own, but then it's, it's also really nice to be kind of connected to photographic community. Like, for me, it's a real benefit. To be, you know, to have that community. Yeah. And then, also going out alone. I mean, my best pictures I usually take when I'm on my own, because that's where you can really focus and connect with what you're photographing. Stanley Aryanto - The Wicked Hunt  23:57   Yeah, it's, yeah, it's, it's very interesting. I mean, like, one of the things that I like about hanging out with like, other photographers is just the inspiration and different perspective that I get learn from them. And, you know, like, for example, when I was meeting you or like, for example, now I'm part of the collective exhibitions, shorts, photo exhibition, and that was that there was a big sort of mind shift in my photography, because I saw some photography that I've never seen before. And I was like, wow, like, you know, possibilities, just analysts. So so that's really cool that you know, you kind of have that realisation and you know, follow that your own path. So how how do you translate a lot of this in terms of to your do your professional work you know, because then you how do you how do people can see is like, Okay, I'll hire Your Highness because he's really good. When a lot of your photo are more like, you know, really artsy and Really, I should say that a lot of people, like you say, hard to resonate with. Johannes Reinhart  25:06   I mean, the ones I've posted are mostly mostly like what I consider the cool photos. And then so that's in other performance ones, a lot of them apply to most of them. And some event photos sometimes I post but mostly it's like work I finished the job and I kind of move on to the next one. So it kind of works because I have enough people who know me and know my work and I've worked for them previously or that you hear recommendations are made my business kind of doesn't run online, it is just like word of mouth and, and I don't actually post that much. I started posting a little bit more with COVID since I lost all my work and then I thought oh, maybe I should post a bit of this what I can do kind of thing for you. Yeah, the business is it's a little bit different as an I photograph to you know, you need a product or you need a promo shot or you need a photo for specific purpose and trying to deliver on that purpose and provide value to you. And I've been very lucky because I shot weddings for almost 15 years. And then I realised I don't have the passion for it anymore. And I thought it's time to move on. And I was really worried that you know, I don't get enough business after because that's my bread and butter. And then I just realised very quickly that I said no to a lot of jobs when you know when when people ring as I can you do this next week, and often they go can you do this next week, and I always had to say no, because I've been booked out with weddings, and I didn't really realise that so so much. So that really helped and I started teaching and then over the over the years I've build up performance photography, especially at fringe and a little bit during the year to that kind of Yeah, just just just by doing it passion first for passion for a while and then you know works kind of crystallised out of that and then more work crystallised out of that. And nowadays, I don't shoot many shows for free anymore, so to speak, you know, the most of them are paid. And when I shoot free, I'm shooting very different. I'm picturing fairy, like I'm trying to get artistic photos, which are sometimes better, or I find them better, but they're really hard to photograph and you missed a lot of good shots, if you follow down at artistic rabbit hole, because then I go blurry, and I go, you know, all sorts of stuff. Because I'm really, in my personal work, I'm experimenting, like a lot, and I just, I just play around in a way. And through the applying, I'm learning and become a better photographer, which then feeds into my professional work that, you know, I have all those tricks up my sleeve that I could, you know, this scenario could do this, and that's an I could do that. And I you know, break it up here a little bit and they and and also realised over the years people book me for my artistry, not just for commercially pretty, like, you know, nice, nice images, they also want a little bit on maybe extra feeling or something. Stanley Aryanto - The Wicked Hunt  28:18   Yeah, that's, that's really cool. Because, you know, at the end of the day, it's it's come back to what you say about being yourself and then just let those people who can resonate, you know, come to you and not worry about those. So that that really, really good to see how that translate just not only in the personal side, but also to professional so so I want to talk more about your event photography side of things, you know, you take the amazing event photos, performances and stuff like that. Whereas a lot of this angle came from you know, like the the creativity and you know, playing around with the lights and so forth, the poses and so forth. Johannes Reinhart  29:02   Well, depending on where it is, it always often always starts with light, I look for good light. And as an event photographer, especially if performance photographer, you you are a little bit at the mercy of the lighting guy or the lighting, shot out show connections last week that had amazing lighting and now in it, it makes my job to create powerful images like much easier even though I was like a crazy man. But, but you know, like if they liked it well and they have to smoke for extra effect and all that that really adds or like in French, you know, the Spiegeltent shows so much better than some of the other venues where you just have one spotlight, and that's about it and then you a lot more limited in what you can do as a photographer. So light comes first and then the performance because I mostly should live performance. It's And it's really, by, by doing a lot of my doing a lot of photography does this kind of sixth sense to know when to press the button and things line up to you kind of now, I mean, you, you keep a light, you know, is obviously something I pay a lot of attention towards, and then the performance to and and, you know, you soom in and you zoom out and just trying to anticipate what's going to happen next, which then experience experience really helps, you know, like, you've seen a lot of shows and do certain things do you think art is probably going to something, something big is gonna happen? Maybe soon, that I better be ready to capture that, you know, over fire, you know, when I go fire, you know, and you have to then underexposed before it starts. So you're ready, and then and you hope you do, right. And because there's only one goes on often. And then you know, zoom out a bit, because often that that fire goes up. So it's just the experience and trial and error and, and everything I do you I kind of put in a memory bank, and I was like anything you've ser that works, I put in a memory bank. And I just kind of keep building on that. Yeah, that's cool. Stanley Aryanto - The Wicked Hunt  31:11   I do that as well, in terms of the memory bank, I think like, you know, you find a little quirky technique that comes up really nice, or that you really like you just like, oh, yeah, that's, that's a good technique, if it and then, you know, eventually, you have so many libraries you could play around with. But, um, and then, sorry, yeah, Johannes Reinhart  31:30   can I just add on to this. The other thing, the obvious thing that I haven't mentioned is, there's also the performance, I mean, they they bring their own artistry and creativity to this day, and their talent to the stage, and that, it kind of makes my job easy in a way, you know, because I don't have to make it all update, they create this world that I then really just kind of capture sometimes. And sometimes I'll fill in my own. Also with the Stanley Aryanto - The Wicked Hunt  31:58   with the live performances, you know, I see a lot of your work with the performance photography, it's, it's, it's usually on a dark condition, right, it's really dark, and then you got maybe a spotlight and hence what you say about how light is important. The ticker is true in terms of how do you go about and thinking about you know, because the most important things is in photography is light timing and placement, right, those three really dries the type of photo that you get. So how do you go about this thing? And how do you you know, how do you know when it's how do you decide I suppose not to know because you know, knowing can be from experience, but how do you decide when you want to go to this angle that angle or overexposed underexposed, and so forth. Johannes Reinhart  32:54   A lot of it is it's, it's a bit like being a documentary photographer, or wedding photographer, where you just you kind of photograph and you anticipate what's going to happen next and you think, is just going to be better from this side or that side. Or, or sometimes I like to move around. So it's not all just the same angles, there's not just you know, same angles as a TV camera will be which often is the best angle like the front and centre, you know, but you know, if you run around and you should from the sign up closer and shoot up and you just get more variety for for the client. And then you Yeah, it's really like trusting my gut instinct a lot. Or I'm going oh my god, this is gonna happen I'd better shoot off to the middle again, because then just needs to be photographed in the middle. So it's, it's I think previous visualisation plays a big role in that that you experience the performance especially where you can anticipate you kind of know a few things by seeing a lot of shows that this might go this way or that might go that way. And and then yeah, and then just paying attention to light and your camera settings and under exposes like I'm mostly exposed more to the right so I don't really try and blow on highlights but then sometimes I just go darker and then it's just I say something and I I react to it and I go I got to photograph it this way or that way and everything happens so fast that you really just kind of I don't know like it's like it's being driven Stanley Aryanto - The Wicked Hunt  34:30   cool. Yeah. Yeah. Cuz you go to this to this performance is the first time isn't it? It's not like you go there once and then you can watch Johannes Reinhart  34:40   a lot of Yeah, on most shows I should one time sometimes i I'm lucky. I should, you know, like, design people who put shows on and then some parts of that is similar as seen a couple of performers that I rephotographed and then sometimes so you design your shows or whatever, start off this I'm going to change it later slide. It gives me more sense of what might happen. But yeah, a lot of them is just reacting to because every time they put on a different show, it's usually it is a different show. And then you just kind of, but that also keeps it really fresh. I mean, if I photographed a snapshot twice, I could, I could improve some photos of that. Definitely. But then by photographing a show once it keeps it fresh, and it's better for the budget of the company twice. Stanley Aryanto - The Wicked Hunt  35:37   Yeah, like, that's, that's really cool advice. And it's, yeah, I find it great. I mean, I've never really done it myself. But just in my head thinking about, man, how do you know when you know things going to happen? And you know, when kind of placing yourself and especially when you saw it for the first time is, it's almost like you always have to be ready or something like that. A? Yeah. Johannes Reinhart  35:59   I take a lot of photos. Usually. It's not like film. Stanley Aryanto - The Wicked Hunt  36:06   It's that's the good thing about the digital camera. Right? Yeah. Cool. So now that's awesome. I love how how you share your perspective, or you hear that, you know, go with your gut. I think you said that a lot in this conversation, conversation is that go with your gut, and trust yourself and express yourself. I think those are the few things that are really important. So if you were to go back, let's say, you know, let's say you wake up tomorrow, and you lost all your skills, and you have to start all over again. How would you do? Like, you know, for those of you for those of the listeners who kind of just get started and want to get to it, you know, how would you do it? What are the steps that you would take? Johannes Reinhart  36:55   So what I, what I really, if I lose everything, I kind of want to lose it in a way that I also don't remember that I had the skill before. So I can just be fresh. And the beauty is like, the beauty is, when you don't do photography for very long, that you have this kind of inner sense, and everything is new and exciting and fresh. And I don't have that anymore, because I've been doing it so long. And yes, I can get probably a really good quality consistently. But the images that excite me, for me, it's much harder to get those images, because you just don't find them very often. And when you when you're just starting out, you know, like an image that maybe five years from that time you took it you think, Oh, this is amazing. And three years ago, oh, actually, it wasn't. But at the time was amazing, and a lot more things are amazing. And that, that that is really so beautiful. And I think it needs to be enjoyed. And rather than trying to be somewhere at the top, whatever the top might be, because, um, you know, that all those things are kind of, I feel like they're a little bit concepts, you know, I mean, I don't see myself at the top, I just do my photography. And, and it's, it's really great that I'm very lucky that I have a lot of people connect to my work. I made people who told me that they really love my photography, and I really valued it and, and appreciate it. At the same time, I just kind of do it for myself, it's kind of a little bit selfish, you know, exploring my little rabbit hole of photography, so to speak. And, and, yeah, and, and each stage you are on, like whether you're just starting out, or whether you're doing this for 10 or 20 years, it's, it's, there's a benefit to it, and you but you can't have everything and so just enjoy the state you in and not worry so much about, I guess external validation, that's, I think, a really big tip and just kind of do your own thing and, and ply and feel free and try not to force things too much. You know, I see a lot of people that kind of create it to the block, you know, because they kind of want to do something, but then in any event, I do that myself and you know, like a year and a half ago, I was like I wanted to do some great project, you know, I'm thinking about the outcome. Instead of thinking about the actual project and doing the project kind of freely, you know, I'm thinking about the outcome and because I want the outcome to be great. I put pressure on myself to even you know, even get started and can be blocked to even start which is kind of really the opposite of when you start out and pick up a camera and everything is just kind of playful and nice. And so I guess we all try to keep more of that so and I would really enjoy like you know, just starting out and and not knowing what I was good at and just you know, kind of just playing around. Stanley Aryanto - The Wicked Hunt  39:59   That's that's cool. I think that's really cool. You know, the fact that you see just focused on on having fun and enjoying it, that's, that's really amazing. We just have that conversation right there. You say something about, you know, just just gonna go your own way, enjoy it have that first perspective and have enjoy that first back first perspective. And as you kind of get get along, the more you do it that that excitement can go away. So, for yourself, um, you know, how do you keep the excitement going like do not burn now in photography, and to keep enjoying photography. Johannes Reinhart  40:41   I mean, I burn out once or twice a year, usually, usually when I work too much, and it's kind of I've gotten, I'll just say, I'm alright with that. I know, I need to back off, like, I just can't work all the time. But then, and then there's also lose my mojo at least once a year, if not three times a year, when I lose my mojo that I don't want to, I don't feel like picking up the camera. And I usually force myself to pick up the camera and just go, you know, I feel like, everything's a bit jaded and bit boring or whatever. And, and I'm not really in the mood to force myself to go out and take pictures, you know. And by going out, I find, you know, once I find something that I just really cool, then that gives me the first spark and then that leads to Oh, that's really cool, too. And then, you know, I got three of really cool things. And then then I'm back in, you know, enjoying photography and, and doing it. So for me, it really works to push myself and force myself not to not to force myself to pick up the camera and, and that will I learn from that, that, hey, I really love this. Because by doing it, I realised how much I actually love just capturing moments and, and looking at things. Because it's also reminds me of when I've been out on a photo walk, you know, and I'm thinking, you know, like, oh, isn't that nice? Here? Yes, I don't have to perfect clouds for this perfect landscape shot that you probably hoping for, you know, but I still find things here and there. And isn't it just nice just to be out in that beautiful environment and soak up the atmosphere even though it's not perfect for photography. And then I thought, you know, that was poor landscape photographer who make a living, they go out and I think ash clouds are wrong. And it's, it's, it's the same sunset at the beach. But it's two different approaches, right? One is like, I'm so happy I can be here and enjoy it. And the others, like our shirt is not working. Because I want perfection. And Perfection doesn't happen every day. And I'm trying to be more than that, that first one, we're just trying to enjoy my environment. Even if I don't get the perfect pictures, and I'm quite famous. So Stanley Aryanto - The Wicked Hunt  43:02   it's interesting that you say like, because I think I'm not well, maybe I'll just speaking for myself, but I feel like a lot of photographers out there are really perfectionist about their art, like, you know, they, they really want to make sure that everything's right that you know that the noise is really low. Well, most of the most of the time, like the viewer actually just enjoy it the way it is. So what have you, you know, what advice or what have you got to say to the listeners out there who really basically stopped progressing further or stopped taking more photo because they're looking for that perfect one photo. Johannes Reinhart  43:42   Yes. Like, open your eyes. And, and I guess, you know, you go down to the beach, just use the beach as an example you go down and, and you want to take this amazing picture of like a shovel of rock, you know, like, iconic web location. And then the clouds is you know, there, you take a really great photo there when the clouds landscape is as always to do the clouds have to be in the right spot. So it frames it just the right way, right. And you want to match them with sunset time. If those two things don't match up, you know, you can go there like 200 times a year and maybe five or six times a year you get something that's close to perfect. And maybe once a year or once every two years from that spot that you think is the best spot to photograph you might only get that once and then but the thing is like when the clouds are a little off you can move left or right to Frank a subject you know so you don't get it from the perfect spot but just by moving around a lot. You can you know work compositionally and then when you open your eyes you can find a lot of other things you know there's this decide Robin Sugarloaf that looks a little bit like a hawk, you know that. You can just take a photo of that and last time I was there after sunset, I was like seagulls landing on and Flying offence I took kind of, you know, sumed in the big lens and, and took photos of that in blurry birds and, and it's really like keeping an open mind, you know, like, look around and keep an open mind and don't get stuck on, I want to take this particular photo and but it's more like reacting to what's around you and making making the most of it working with what you got in and then looking around you know and keep keep looking to see what you find. Stanley Aryanto - The Wicked Hunt  45:28   Yeah, that's, that's awesome that is really awesome. Like to get those kinds of photos I would imagine because, you know, those, those story that you just told me there, I was just thinking that requires a lot of observation and actually, you know, looking into the different thing and looking actually quite deep into the scene, right? How how long you usually spend in a spot do until you can, you know, come up or notice those quirky things that most people don't notice it. Johannes Reinhart  46:01   Yeah, no, I totally, I don't have much patience. I really thought about taking up painting and it's like, when I see them, I spent like three hours on a painting and it's on quarter finished or something it's like bigger than not for me. Stanley Aryanto - The Wicked Hunt  46:22   Yeah, I as Johannes Reinhart  46:23   long as if I don't find anything interesting, then I just usually keep walking, you know, walking around, and then and if I find something interesting, then I stay and linger on and then it depends on because, you know, often the lights good when Mendes happens and then so either now I got a couple hours I go out, you know, I'll go photographing for an hour or two. And then then I need to go home. Because it's like, it's time. So I just want the round. Really just, you know, I go to an area where I think there could be something. And then sometimes the light works, and sometimes the light doesn't work. So it's really like sometimes you got you got it, there's nothing here, you know, and then you just keep walking and, you know, it's always good to be out. That's what I tell myself anyway. And but you have to be out there because it's like hunting and then sometimes in Alabama think oh, there's nothing here then I see this tree and I'm really drawn towards this tree, you know, like, because the branches kind of reach up. And obviously, that's something I really connect with reaching up to the sky at the moment sort of thing and, and then you know, and then I photograph final group composition for that branch. And that, you know, that I find so so amazing at that time. And then the next thing is a bird lands on it. And then I you know, there's just a little extra something and then wait for the bird to be in the right spot. And then And that's like me like spending eight minutes just photographing just this tray with a bird and then I think is time to move on. You know, like the bird hasn't been that the perfect spot, but it's good enough. And I'm kind of I don't feel like engaged anymore. So I move on. I guess that's when I moved home and I don't feel engaged. Wow, Stanley Aryanto - The Wicked Hunt  48:04   that's really interesting to hear that you are now patient guy because, you know, I saw a lot of that formula requires a lot of patience and you know, observation and actually watching you know, for a while until you kind of see those things. Johannes Reinhart  48:19   Yeah, usually, yeah, like, contract to cut every so I don't, I don't usually wait more than five minutes when I see like an error. I think I'd be a really cool picture and waiting for someone to come through it. And yeah, five minutes is I find it very hard to stand on a street corner without feeling like I'm going to be being up to something better so but by moving around, I mean that's that's a downside to that because I sometimes don't have this, you know, the perfect composition for people just walking through but then I'm not interesting, just pictures of people walking, for example. So when I walk straight and I might see a character that I'm gonna think oh, you know, that looked really interesting and I now over there does this doorway and so I kind of shoot off and trying to get him at that that doorway or, or just kind of react to the scene much more and I think the good side of that is that the photos are kind of more fresh than not as stage so to speak. And and by I think that really worked in the long run for me because sometimes you're lucky and you see something that's, that's out of the ordinary and obviously and then trying to capture it and and also try to capture it well and not just you know, just pointing the camera I'm thinking about okay, where are they going? What see I love it. What can I work with here? You know, sci fi at the beach, and that's this rainbow you know, and obviously none of the normal thing is to photograph the rainbow but then the next step is to step back and go. What else is around kits that can sell something I can use with the rainbow you know, some static element or is there Hey, that's a couple Hey, Guys, do you mind if I take a picture of you in rainbow? And it just kind of work with what you got? Or there's a dog and you chase the dog in front of that in the rainbow maybe or something? I don't know, especially when he left legs up. That'd be a picture anyway. Sorry. Yes, I react to and, and trying to make things work for what I got a lot. Stanley Aryanto - The Wicked Hunt  50:23   Awesome. So it's more like so literally where you say that you just basically capture a moment when it's there like you don't wait for it to happen. You don't stage us. You say it happens, then you capture it free? Yeah. Wow. That's amazing. Well, thanks a lot, Johan, is, you know, it's been a interesting conversation there. And there's a lot of things to do learn from that just both be so philosophically as well as technically in photography. So that's great. Like, thanks a lot for sharing that. So share with us what what kind of because you say you're like working in project, you have a project that you're working on at the moment? Johannes Reinhart  51:08   Yeah, I have one project I worked on for a week last year. It's called What's it called silently falling apart, and then I'm totally blocked to kind of restart it again. So that's going to be an exhibition in the long run, maybe, maybe in 22. Maybe even later, because it's it's a project that I'm trying to go deeper with this one, and I'm trying to really kind of shoot it till I feel like I got nothing left to give in this project not not to finish prematurely. Yeah, so that might be a while. And I guess the resistance is big for this project. So I'm kind of have to work with my own fears of overcoming and try not to put pressure on myself. And I, you know, there's a couple of blocks I've shifted in my head. So I give myself an opening to tell myself just be playful, just just basically see what happens, you know, don't don't make this bigger thing where you don't want to go into just kind of be playful and see what happens. That's, that's where I'm going. But lately, I've been really busy with work again, and then. And then it keeps going to school holidays and an astringent. And this after finishing this kind of an exhibition. And in digital next year, we plan for the book project and, and things just keep moving. Yeah. Awesome. I'll get there. Stanley Aryanto - The Wicked Hunt  52:33   I'm glad to hear I'm looking forward to that. But for the listener who's wanting to hear more about you and wanting to learn more about you where what is the best place for them to find you. Johannes Reinhart  52:46   So the best place is my website that's at www.yohannes.com.au. So Johan is J out h a double n Es. And there's a signup form to my newsletter, I started a newsletter a couple of months ago, that's kind of inspirational newsletter that I show a bit of what I do and then and it's really meant to kind of be more inspirational and not like, you know, like, yeah, it's got my voice a little bit and I think it's, it's quite nice. And then there's photo Mate, I'm going to do a bimonthly photo mate if you're from Perth. So that's where you're going to find out about that. And the productivity tips like yeah, better, like five different little things. And, and that keeps me on my toes and on top of everything else. And then Facebook and Instagram Yanis. Reinhard, yeah, Stanley Aryanto - The Wicked Hunt  53:40   awesome. Awesome. Yeah, no, no worries, I will make sure that I have all that in in the description. So if you didn't get that, don't worry, it's all gonna be in description. But look, thanks a lot. You're honest, for being with us. And yeah, that was a great conversation there. And we can do so thank you very much for tuning in. And like I say, if you want to learn more about your harness, you can look it up in the description below. You can check out some of his art photos as well as his performance photo. I just love his performance photo. It's it's so it's so unique as well, this is just out there. And don't forget to subscribe below and follow. Let me know in the comment below. What do you think of this conversation? Let me know if you try some of them. You know, Hannah's tips there about coming up with something really different and something that really interesting that helps you to express yourself instead of just you know, taking photo that is the most popular one out there. But thanks a lot for tuning in. We get hunters and I will see you again next week. Until next time, Johannes Reinhart  54:58   thanks so much for having me. Awesome thank you bye  

Herbie Fletcher has had a profound impact on the landscape of surf culture. In addition to pioneering the surfboard traction pad, his family has been at the forefront of tow-in surfing, aerial maneuvers, and big wave riding. You might have seen him on the North Shore hanging out with a man in purple pajamas - that's his close friend and collaborator Julian Schnabel. From the imposing white walls of Chelsea art galleries, to the Pipe House on the North Shore, Herbie Fletcher has left his mark. This week, Herbie drops in to discuss how somebody so influential in the sport of surfing has also been able to have a successful career in the exclusive world of fine art.