Podcasts about pentax k

Welcome to episode 415 of The Outdoor Biz Podcast, brought to you this week by Toyota. From the RAV 4 to the mighty Tacoma, Toyota has a model built for everyone's Outdoor adventures. Today I'm talking with Photographer Matt Addington about his career and recent film A Bird Dog Named Kaiya. How the love for a bird dog inspired a young man to fully embrace bird hunting, an important part of his Laotian culture. Brought to you this week by Toyota Facebook​ ​Twitter​ ​Instagram​ Love the show? Subscribe, ​rate, review, and share!​ Sign up for my Newsletter ​HERE​ I'd love to hear your feedback about the show! You can contact me here: ​rick@theoutdoorbizpodcast.com Show Notes Show Notes First Overnight Adventure: Matt doesn't recall the exact first experience but he grew up in Northern Minnesota, where outdoor life was part of his lifestyle. He spent a lot of time in places like the Boundary Waters and Voyager's National Park. When Did You Pick Up a Camera? Matt was enamored with cameras from a young age. He remembers having a Kodak disc camera when it came out and taking numerous pictures, even as a child. However, his more serious introduction to photography started in seventh grade when their art teacher gave him a Pentax K 1000 and taught him darkroom techniques. Start in Video: Although Matt didn't start shooting video when he first picked up a camera, he began experimenting with tape-to-tape edits in junior high and early high school. He says he officially entered the digital video side of things in the late '90s due to seeing the potential in digital video and having support from leadership at the school where he taught. Inspiration to Go Pro: There wasn't a specific moment Matt decided to go professional. It was a gradual transition as he was already doing photography and videography as part of his teaching job. Over time, he started getting paid for projects outside of teaching, leading to a shift into the professional world. First Significant Photo or Video Shoot: While there might not be one defining shoot, Matt recalled a moment at the Shot Show where he unexpectedly saw one of his images displayed prominently for a major brand, marking a standout moment in realizing the impact of his work. First Outdoor Commercial Shoot: Some of his initial commercial shoots were with Carbon TV (formerly Carbon Media Group) and Federal Ammunition. These shoots involved hunting trips to places like Quebec and working with local companies from Minnesota, where Matt is based. Preference in Outdoor Activities: Matt is fond of paddling but also emphasizes the uniqueness and enjoyment in each activity he's been fortunate to experience, be it climbing peaks, guiding through mountains, or quietly sitting in tree stands. He highlighted the beauty of different experiences and how each holds its own significance. Favorite Place: Despite the numerous epic places visited globally, Matt finds a new appreciation for home when returning from these adventures. He says the joy of watching the sunset from his front porch with family, indicating a deep appreciation for the familiarity and beauty of home. Catalyst for the film "A Bird Dog Named Kaiya": The catalyst for the film was meeting Ken Yang, a young man who had transitioned from being a staunch anti-hunter to a prominent voice in the hunting and fishing space due to personal life events. How they met Ken Yang: They met at a Professional Outdoor Media Association conference in Nashville, where Ken Yang received a media scholarship. Development of the storyline: Initially, there was a concept of telling the story of a former anti-hunter turned hunter due to his unique ethnic background. However, the storyline evolved as they delved deeper into Ken's story, focusing more on the impact of a dog in changing his life and reconciling relationships. Capturing the content for the film: It took multiple hunts, approximately four days, to capture the content, ranging from golden fall days to extremely cold weather (10 below zero). Current projects: Matt is working on various projects, including a documentary about a unique turkey hunter, a personal piece highlighting the legacy of a deceased friend in the outdoor space, a documentary about a prestigious hockey school, and a project about dispelling myths of trophy hunting in Africa. Advice for aspiring photographers: Matt encourages new photographers to experiment with photography, use resources like YouTube for learning, and find inspiration from others' work that resonates with them. Daily routines: There's no fixed routine, but Matt enjoys walking, hiking, and spending time in nature. Coffee in the morning seems to be a consistent ritual. Favorite books: Books like the Mitch Rapp series by Vince Flynn, and Matt also finds inspiration in reading the Bible. Favorite outdoor gear under $100: Matt mentioned his Irish Setter boots (although they might be slightly above $100) and a pair of gloves by Striker that provide dexterity and warmth. Follow up with Matt Matt Addington Creative Instagram Facebook You Tube X (Twitter)

Very few episodes of the Camerosity Podcast are recorded without mentioning at least one Soviet camera, or something about the Soviet photo industry.  When deciding what we should discuss in future episodes, it was quite a surprise to the gang and I when we realized we had never devoted an entire episode to the subject, so for Episode 56, we put out the call for all our Soviet comrades, poured a large glass of водка, and loaded some film into our favorite Советские Фотоаппараты. Joining us on our tour of camera factories in Moscow, Kyiv, Leningrad, and Minsk are esteemed Soviet camera collector and blogger, Vladislav Kern and all around Soviet enthusiast Mark Beadle.  In addition to Vlad and Mark, regular callers Mark Faulkner, Ray Nason, and Ira Cohen came along for the ride as well. As we often do, Episode 56 starts off with some history and a quick summary of Soviet factories and how their photo industry differed from those in Germany, Japan, and elsewhere.  A whole lot of Soviet GAS was discussed including recommendations for first Soviet cameras for someone whose never shot one, Mike raves repeatedly about Soviet triplets, Paul shares with us his incredibly rare Soviet Leica Summicron lens, and Anthony gets into a discussion about the Soviet motion picture industry. In this episode we talk about Smenas, the half frame Chaika and Agat, the panoramic Horizont, medium format Iskra, the Leningrad and Droug rangefinders, Soviet fakes, swirly bokeh, and a whole host of other Soviet GAS. Later in the show we get into a round of Soviet Mythbusters in which Mike asks Vlad several commonly cited "facts" about Soviet cameras, and whether they are true.  Find out if orphaned children really built FED rangefinders, whether cameras with English logos are built with a higher quality, or whether or not you really need to wind your Soviet camera before changing shutter speeds. As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are new to shooting and are interested in having an episode dedicated to people new to the hobby, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, and right here on mikeeckman.com.  We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we are coming back to a favorite topic of the show, which is film stocks and film developing.  We will be welcoming back Robert Shanebrook from Eastman Kodak to talk about all the different types of film from history and past, and hopefully get some insight into what might come in the future.  These film emulsion episodes are always fascinating, so be sure to join us on Monday, October 16th for the recording of Episode 57! In This Episode Differences Between Soviet and Other Country's Camera Industries / Soviet Factories Camera Production Was a Cover for Military Manufacturing / Very Little Official Information About Camera Production Was Kept / Photography Was Encouraged to Aide in Soviet Propaganda What Soviet Camera Would a Photography Student Buy? / Smena 8 and 8M Home Developing and Recycling Everything / Camera Repair Manuals Were Common Pre-Soviet Cameras / Export Cameras Were Controlled by TOE aka the KGB Soviet Cameras were Distributed All Over the World as Kalimar, Global, and Many Others In the UK, Soviet Cameras Were Pretty Common and Seen as Good First Cameras A Zenit SLR Could Be Bought For Less Than a Third of a Nikon or Canon Soviet SLRs Came in M39, M42, Pentax K, Nikon F, and a Few Proprietary Mounts / KMZ Start Soviet Cameras Built for Export Were Generally of Higher Quality / Latin vs Cyrillic Lettering Ray's Distributor Used to Bring Him Kiev 60 and 88s for Ten Bucks Each After the Soviet Union Collapsed, the Arsenal Factory Attempted to Privatize and Compete on the World Market / Kiev USA Arax and Hartblei Also Refurbished Kiev Cameras Making them Better than New with Upgraded Features The Soviet Motion Picture Industry / Stalin Had to Approve Every Script That was Submitted for a Motion Picture French and Japanese Equipment Was Used to Make Movies The FED and Zorki Weren't the Only Soviet Leica Copies / VOOMP II Pioneer and Foto Apparat Geodeziya KMZ Started Producing Leica Copies After the War and For a Very Short Time, So Did Arsenal Did Orphaned Children Really Assemble FED Cameras? / American Children Worked in Coal Mines Are Other Eastern Bloc Cameras Made in Czechoslovakia and Hungary Part of Soviet Camera Collecting? / MOM Mometta III The Soviet Union Helped China Start their Camera Industry / Chinese Copies of Smenas and Zenits GOMZ Sport SLR / The Soviet Camera Industry Pioneered More Things Than They Often Get Credit For Arsenal Kiev Rangefinders Were Built Using Actual Zeiss Contax Parts and Machinery Paul Has Never Ever Shot a Soviet Camera / Mike Recommends the Smena 8 for Paul / Agat 18K Mike Thinks Soviet Cloth Shutters Hold Up Better than Other Cloth Curtains Soviet GAS / Lubitels / Kiev 17 and 19 / Kiev 10 and 15 / Kiev 30 Submini LOMO LC-A / Chaika and FED Micro Half Frame Cameras Panoramic Cameras / KMZ Horizont / KMZ FT-2 / Fedor Vasilievich Tokarev Soviet Mythbusters: Some Soviet Cameras Use Animal Fat Lubricant KMZ Cameras Built for Export are of Higher Quality Lenses with Serial Numbers Beginning with 00 Were Made for VIPs Whole Warehouses of New Soviet Lenses Are Still Being Discovered Don't Change Shutter Speeds Until After Cocking the Shutter / KMZ Narciss Soviet Fakes / Paul Has a Summicron 50mm f/3.5 Leica Lens / British Reid Soviet Fake KMZ Droug Has a Rangefinder Coupling Wheel Is it Difficult for Vlad to Get So Many Soviet Cameras Living in the United States TSVVS Prototypes / Mike Raves About Vlad's Collection and Rambles Off a Bunch of Soviet Cameras We Didn't Talk About Where Do You Get Soviet Cameras Repaired? Links If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Vlad Kern - http://ussrphoto.com/ and https://www.instagram.com/ussrphoto/ Mark Beadle - https://www.instagram.com/Mark_Beadle90/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

Dans la STORY présentée par le PENTAX K-3 III Monochrome : l'art de la prise de vue en noir et blanc, Benjamin nous fait découvrir la série d'autoportraits culte signée Samuel Fosso qui est pour la première fois exposée dans une galerie d'art avec les témoignages de l'auteur et de Christophe Person. Cette STORY est issue de l'épisode " S610 - Le N&B avec un appareil monochrome " diffusé le 1 juin 2023. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, Jean-Christophe Béchet et Cyril Thomas, Yazid Belmadi, David Barth, Fabrizio Dei Tos, Samuel Fosso, Christophe Person.

Dans le GRAND DÉBAT, nous vous proposons une grande discussion avec le photographe Jean-Christophe Béchet autour de la photo N&B avec un appareil monochrome. Pour enrichir la discussion, nous avons également le plaisir d'écouter les témoignages de Cyril Thomas, le directeur général de Leica Camera France ; de Yazid Belmadi, de Ricoh Imaging Europe, de David Barth le fondateur de Pixii et de Fabrizio Dei Tos, chef produit DxO FilmPack. Cette émission est présentée par le PENTAX K-3 III Monochrome, le reflex conçu par Ricoh Imaging exclusivement dédié à la prise de vue en noir et blanc. Ce GRAND DÉBAT est issu de l'épisode " S610 - Le N&B avec un appareil monochrome " diffusé le 1 juin 2023. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, Jean-Christophe Béchet et Cyril Thomas, Yazid Belmadi, David Barth, Fabrizio Dei Tos, Samuel Fosso, Christophe Person.

In dieser Episode des fotocommunity-TechTalk mit dem Chefredakteur der ColorFoto Werner Lüttgens sprechen wir über die Labortests der neuen Schwarzweißkameras PENTAX K-3 Mark III Monochrom und die LEICA M11 MONOCHROM und kommen auch am Thema KI n der Fotografie nicht vorbei. Begleite uns gern durch die Sendung.

Dans l'épisode S610 du podcast Faut Pas Pousser les ISO, nous recevons le photographe Jean-Christophe Béchet avec qui nous parlons de la photo N&B avec un appareil monochrome. Pour enrichir la discussion, nous avons également le plaisir d'écouter les témoignages de Cyril Thomas, le directeur général de Leica Camera France ; de Yazid Belmadi, de Ricoh Imaging Europe, de David Barth le fondateur de Pixii et de Fabrizio Dei Tos, chef produit DxO FilmPack. Cette émission est présentée par le PENTAX K-3 III Monochrome, le reflex conçu par Ricoh Imaging exclusivement dédié à la prise de vue en noir et blanc. Dans le FLASH ACTU présenté par PHOX.FR, nous parlons du nouveau Leica Q3, du Canon EOS R100 et de l'édition 2023 du festival Visa pour l'image. Dans la STORY présentée par le PENTAX K-3 III Monochrome : l'art de la prise de vue en noir et blanc, Benjamin nous fait découvrir la série d'autoportraits culte signée Samuel Fosso qui est pour la première fois exposée dans une galerie d'art avec les témoignages de l'auteur et de Christophe Person. Découvrez également le DÉBRIEF, présenté par IPLN.FR : le spécialiste photo & vidéo et le QUIZ qui fait la part belle aux questions des auditeurs. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, Jean-Christophe Béchet et Cyril Thomas, Yazid Belmadi, David Barth, Fabrizio Dei Tos, Samuel Fosso, Christophe Person.

Gary has a congratulatory moment at the liquor store, Booray finds himself under surveillance. The fellas discuss the great golden oldies such as Smells like Teen Spirit, Harry Belafonte (RIP), Star Wars Mandalorian, teeter tottering vs the seesaw (please bring your thoughts to the lounge), and Gary's glasses. In Photography news, the Pentax K-3-iii, lonely Redditors duped into paying for nude AI-generated images, remembering Law & Order Photographer Jessica Burstein (RIP), a photographer was shot at while taking photos in Dallas, the Nocam app, Vin Diesel, and a Booray RANT on the controversial Dior Makeup ad accused of being racist. Check out Gary's YouTube channel HERE.Check out Booray's YouTube channel HERE.Join our Facebook Group, the Bombardiers Lounge

Dans le FLASH ACTU présenté par PHOX.FR, nous parlons du nouveau reflex Pentax K-3 III Monochrome, du Leica M11 Monochrom et des lauréats des SWPA 2023. Ce FLASH ACTU est issu de l'épisode " S606 - Au coin du feu avec Antoine de Maximy " diffusé le 20 avril 2023. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, Antoine de Maximy et Yves Darondeau, Patrick Denaud, Sébastien Van Malleghem, Raphaël Denis, Marion Robin, Denis Camelin, Stéphane Mazalaigue.

Dans l'épisode S606 du podcast Faut Pas Pousser les ISO, nous recevons Antoine de Maximy, le créateur de l'émission culte J'irai Dormir Chez Vous, pour une grande émission AU COIN DU FEU. Pour enrichir la discussion, nous avons également le plaisir d'écouter les témoignages de Yves Darondeau, producteur chez Bonne Pioche ; de Patrick Denaud, maire de l'Île d'Aix, ancien correspondant de guerre et ex-agent de la DGSE ; de Raphaël Denis de la société Horus ; de Marion Robin, directrice de production chez Bonne Pioche ; de Denis Camelin, monteur et de Stéphane Mazalaigue, monteur. Cette émission est présentée par MPB qui est tout simplement la plus grande plateforme en ligne au monde pour acheter, vendre et échanger du matériel photo et vidéo d'occasion. Dans le FLASH ACTU présenté par PHOX.FR, nous parlons du nouveau reflex Pentax K-3 III Monochrome, du Leica M11 Monochrom et des lauréats des SWPA 2023. Dans la STORY présentée par Photographes du Monde, l'agence spécialiste du voyage photo, Benjamin nous parle du festival photographique L'oeil urbain avec le témoignage du photographe Sébastien Van Malleghem. Découvrez également le RÉPONDEUR, présenté par IPLN.FR : le spécialiste photo & vidéo et le QUIZ qui fait la part belle aux questions des auditeurs. Aux micros de cette émission : Arthur Azoulay, Benjamin Favier, Antoine de Maximy et Yves Darondeau, Patrick Denaud, Sébastien Van Malleghem, Raphaël Denis, Marion Robin, Denis Camelin, Stéphane Mazalaigue.

This is The Digital Story Podcast #891, April 18, 2023. Today's theme is "Are You Nuts? (buying a monochrome only camera)." I'm Derrick Story. Opening Monologue I would imagine that most people's first reaction to the just-announced Pentax K-3 III Monochrome DSLR would be, "Who would buy that?" In fact, I may have uttered the same thing. But after a little research on the idea, I'm not so sure. Find out why, and lots more, on today's TDS Photography Podcast. I hope you enjoy the show.

Neale has a bad case of flight wind and Kev is saving £1 a week for the rest of his life so he can afford Leica's new Monochrom camera, whilst wishing and hoping that Fujifilm may at last release their own dedicated BW-only camera, especially now that even Pentax have launched theirs! One thing is for sure, both our boys are lamenting the closure of DPReview. Questions today on sharpening; to sharpen or not to sharpen, switching from a DLSR with an optical viewfinder to an electronic viewfinder in a Fujifilm mirrorless, building a new portfolio, working for free, removing pictures of those who have passed from online portfolios, shooting tethered with Fujifilm cameras, wonky frozen sub monitors and more. Our guest this week, visiting us for the first of two editions, is London-based street and travel photographer, Mr. Whisper. Pic Time: https://www.pic-time.com/  - use FUJICAST when creating an account for discount offers to apply The showpage: https://www.fujicast.co.uk/episodes/episode-244  Kevin Mullins: https://www.kevinmullinsphotography.co.uk  Neale James: https://www.nealejames.com  Loading Zone podcast productions: https://www.loadingzone.co.uk  Leica's new M11 camera: https://leica-camera.com/en-GB/discover-leica-m11-monochrom  An update to DPReview's closure news: https://www.dpreview.com/news/0507902613/dpreview-closure-an-update  The new Pentax K-3 Monochrome camera: https://news.ricoh-imaging.co.jp/rim_info2/2023/20230413_038349.html  Neale's 365 feature: https://www.nealejames.com/365-journal  Matt Stuart's website featuring the ‘famous leaf picture”: https://www.mattstuart.com/  Jason Evans' Daily Nice website: http://www.thedailynice.com/  Chris Orange's food portfolio: https://www.chrisorangephotography.com/My-work/Clients/Food-Industry/  Photoshop and Lightroom tethered plugin for Fujifilm: https://fujifilm-x.com/global/products/software/adobe-photoshop-lightroom-tether-plugin/  Em and Woz wedding photographers: https://emwoz.co/  Mr.Whisper's website: https://www.mrwhisperstudios.com/  Allister Freeman's website: https://www.allisterfreeman.co.uk/  Jeff Ascough's street work: https://jeffascough.com/ 

Steve Brazill brilliantly shares his opinions on black & white photography in the digital era, and joins further discussion about privacy / security, the NFT dead horse, AI for science and asinine refund requests. Thanks for listening! Story 1: Hands-On with the Leica M11 Monochrom: An Artist's Camera (via PetaPixel) Related: Ricoh announces Pentax K-3 Mark III Monochrome DSLR (via DPReview) Related: Color Filters for Black-and-White Photography: A Complete Guide (via PetaPixel) Story 2: Tesla Sued Over Report Employees Shared Private Car Camera Footage (via PetaPixel) Story 3: Canon Jumps Into NFTs, Building a Digital Art Market Called Cadabra (via PetaPixel) Story 4: Scientists Use AI to Enhance First-Ever Photo of Black Hole (via PetaPixel) Story 5: Divorced Woman Demands Refund from Wedding Photographer 4 Years Later (via PetaPixel) Picks of the Week: Don: ExpressVPN Steve: StellaPro Lights Connect with Our Hosts & Guests Don Komarechka: Website, Twitter, Facebook, Flickr, Instagram, Pinterest Steve Brazill: Podcast: Behind the Shot, Website, Twitter, Instagram, 500px, Facebook

Ein neues [Jay-Z-Rap-Video](https://www.youtube.com/watch?v=y7r6PAkFRfU) sorgt für Furore. Nicht, weil es die Charts stürmt, sondern, weil es gar nicht Jay-Z ist, der da rapt. Es handelt sich um einen von einer künstlichen Intelligenz erzeugten Track. Wie viel KI wirklich darin steckt und wie das funktioniert, erklärt uns Kollege [David Lee](https://www.digitec.ch/de/author/david-lee-2311867).In den News reden wir über Gerüchte zu Sonys Cloud- und Mobile-Gaming-Ambitionen. Ausserdem erwarten uns drei neue «Star Wars»-Verfilmungen.Bereits zu sehen ist «Tetris» auf Apple TV Plus. Der Film erzählt die dramatische Geschichte, wie das populäre Klötzchen-Spiel den Weg aus der Sowjetunion auf den Game Boy gefunden hat. Wie viel am Film wahr ist, [wird hier erklärt](https://www.historyvshollywood.com/reelfaces/tetris-movie/).Der Gametipp diese Woche heisst «Wildfrost». Ein knuffiges Kartenspiel, das aber durchaus knackige Herausforderungen bietet.Themen(00:01:15) Wie musikalisch ist AI?(00:29:39) Sonys Cloud- und Mobile-Gaming-Push(00:36:57) Star Wars Celebration(00:44:40) 10-Jährige «Harry Potter»-Serie(00:50:37) Pentax K-3 Mark III Monochrom(00:56:48) «Tetris» – Filmtipp(01:09:39) «Wildfrost» – SpieltippHier geht es zur Übersicht mit allen Digitec-Podcast-Folgen.Mehr über die Redaktoren oder den digitec Podcast findest du auf der Website digitec.ch. Du kannst uns auch direkt folgen, indem du in einem Artikel von uns am Ende des Textes auf «Autor folgen» klickst.Philipp Rüegg auf digitec oder Twitter @laz0rbrainLuca Fontana auf digitec oder Twitter @LFonta88Samuel Buchmann auf digitec oder Twitter @SamuelBuchmannDomagoj Belancic auf digitec und Twitter @hype_domekMichelle Brändle auf digitec und Twitter @MichelleBrndle3Simon Balissat auf digitec oder Twitter @en_graveE-Mail podcast@digitec.chDiscord https://discord.gg/JDda5jHsmFYoutube https://www.youtube.com/user/digitecAGTwitch https://www.twitch.tv/digitec_playgroundMusik von Claudio Beck

I'm thrilled to catch up with Rob Holmes today. Rob is the founder of GLP Films, and their mission is to help brands reach sustainability goals, protect nature, communities, culture, and heritage through the lens of storytelling and content marketing. Facebook Twitter Instagram   The Outdoor Biz Podcast   Love the show? Subscribe, rate, review, and share!   Sign up for my Newsletter HERE.   I'd love to hear your feedback about the show! You can contact me here: email: rick@theoutdoorbizpodcast.com or leave me a message on Speakpipe!   Show Notes How Rob was introduced to the Outdoors My real connection with the outdoors started with my dad and going out on these crazy adventures with him and my two older brothers. The funny thing is my dad was a Southern boy. He's from Tennessee. He knew absolutely nothing about the outdoors. I mean, I, I don't know if he knew anything but someone helped him get the equipment and things that we needed, external backpacks and all that stuff from back then. Honestly, that really, if I had to celebrate my real connection to it. He had two weeks of vacation every year and those would be dedicated to taking his three crazy sons out. When he picked up his first camera I had a Pentax K 2000, so if that doesn't date me, I don't know what does. But my getting into photography, was really just my passion thing. It hit me really, I think in college, when, you're exposed to a lot of courses. I went to a small liberal arts college in upstate New York, Hobart College. And I majored in environmental studies, and wildlife management. So sort of this odd combination I had to petition the school cause they had nothing around wildlife. I took one photography class and you take that black-and-white photography class everybody takes to get your entry-level photo class. I got, I think a B, but I remember that I didn't like any of the history stuff. I just wanted to shoot the camera. That's all I wanted to do. The start of GLP Film I pretty much was doing freelance. I did some independent projects with organizations, some nonprofits out of Seattle, and one in particular called the Tibetan Nuns Project. It was a small NGO. They had a project on the Tibetan side of India. So I went there for three consecutive years just to shoot their calendar. They had an annual calendar, but that was one example of a project. But more importantly, I did a lot of solo work. When I was in Seattle, I went to grad school. At the University of Washington, I actually got into the business. So I got an MBA, which again, that was the last thing I thought I'd ever get, but I got an MBA and, after school, I started with a company, in the digital content space, in the outdoor industry. The inspiration for GLP Films I had these three different sorts of stools and the legs of the stool that I like to look at. One was this real passion for conservation. I had a real passion for the outdoors. I worked for the Appalachian Mountain Club for five years. Worked for nonprofits like The Nature Conservancy. So I had a real interest in and passion and conservation. That was one stool. I think the other was obviously media, I started in photography and got into video. I think on the video side, the turning point for me was Al Gore's Inconvenient Truth. Seeing that in 2006, I think it was the number-one at that time documentary film of all time. And if you can take a slideshow and make it the highest-grossing documentary film, there's something there. And, it really was just the power of video. And, it really was just the power of video. And I saw that and I used it to go to the Seattle International Film Festival every year. And I would go to all the documentary films on international. I would just go myself, sit in the back row, buy all these random tickets, looking for the most far-flung countries in the world. So I got really into documentaries. So that was the second leg. And then the third leg was business. That entrepreneurship bug hit me as a young kid. And I ended up getting a graduate degree. I studied in India and South Africa and Brazil while going to business school. And so for me I wanna combine these three components. Rob's advice for folks that want to get into photography or shoot films? I will say though, in hindsight, because I do know a lot of very successful photographers is . . . the classic . . . focus on what you do. Find your niche and become the absolute best in what you do. Just make sure that you love what you're doing. Because at the end you're gonna work more as an entrepreneur or small business. You're gonna have to be a go-getter. And, it's tough to have that energy if you don't like what you're doing. So just make sure that you focus on whatever your niche is and your specialty. And become the absolute best, just make sure you love it. And then I think the other point though, is network network network, really leverage your local regional, national, global audience because that really is going to be the key to how you get your content out there, your work out there, your expertise out there for others to pick you up. Trade Show Banner Sustainability or Bust Daily Routines My big thing is getting outdoors. So, I run and have Qualified for Boston twice. So I'm a big runner. I love to bike, I'm in Kennebunkport, Maine. So, I'm right along the coast, I feel very, very lucky where we are. And so I'm running, biking, walking, every day. Favorite Books I'm more on the newspaper side than the magazine side. I would say on the newspaper side New York times. I mean some of the best editorial content globally. Magazines- I've always been a fan of Outside. Expedition Books- Galen Rowell Favorite piece of outdoor gear MSR Whisper Light Sustainability Storytelling Competition GLP Films has just launched its " sustainability storytelling competition" It's a global competition open to all industries, not just tourism. It could be the food industry, could be diversity, conservation, wildlife, tourism, all different sectors. There are six different categories that people can submit under. It's open to organizations, small, large, nonprofit, and bigger organizations. You can submit as many times as you want. And the cool thing is . . . for the grand prize winner, GLP will come and film your story on location! Follow GLP Facebook Instagram Twitter Linkedin Vimeo YouTube

"I asked for a tape recorder when I was seven years old, and I got a camera instead. I'm like, this is a tape recorder...my grandmother gave it to me and said you can record with that too. At the time, my parents had gotten divorced, and my parents were from DC and then we moved to Cambridge. The camera was a way for me to stay connected. I take photographs, I only use the camera when I went to DC. I never took photographs in Cambridge. I take all of these photographs and for some reason, I get back and I process them. I would put them up on the wall and kind of paginate them and map out my summer or holiday or whatever it was. So I was like creating this stuff. I just kept on doing and as time went on, I started to take more photographs. It was just something that clicked with me and then I saw some stuff in the darkroom and I was, mind blown. Then by the time I was nine years old, I had a Pentax K 1000. I just understood, it was something about it. I just could see." said Séan Alonzo Harris.Séan currently lives in Maine but before venturing up north he attended the Art Institute of Boston, which now is the Lesley School of Art Design and he also had an incredible opportunity to intern with photographer John Hewitt."I ended up working with him and so my last semester in college... John was a little bit ruffled because I became part of his team. I went off, and I photo assist a lot. What I learned in grad school with photography, it all applied, and then put it into practice. So I did that for many years. I did that in New York City, to establish myself, and it took a really long time for me to establish myself, but I was always producing and creating work and, either personal projects, they call it commercial world, fine art that I've created over the years and got into a lot of shows. You know, grinding and just doing what I do waking up every morning, like, how can I attack this problem? You know, what's going on? Who can I get in front of? said Séan.To learn more about Séan Alonzo Harris and his journey behind the lens, listen to the episode or visit his website.

This week on the Camerosity Podcast, we have a quad-fecta of returning callers, Mario Piper, Mark Faulkner, Michael Gossett, and Michael Kaplan all joined Anthony, Theo, Paul, and I in a lively discussion that was dominated by everyone's favorite camera, brand Pentax!  Of course, I found a way to mention Miranda again, plus a dig on Petri SLRs, and Anthony previewed a future discussion of developing in Caffenol and Black and White Reversal! Next week, we are hoping to have a special guest who is a published author of multiple camera related books, so keep an eye out for the show announcement this upcoming Sunday, November 21st around Noon Central Time. This Week's Episode Michael Gossett Returns with his AGFA Speedex We Made Him Buy Michael Kaplan Loves the AGFA Ambi Silette and Zeiss-Ikon Contessa 35 Petri SLRs Never Work / Staring at Cameras Michael Kaplan's Ephemeral Machine Podcast Leica R Lenses / Paul Loves the Leica R4 Shutter Lag on the Minolta XD11 Minolta/Leica 16mm Fisheye Lens Yellow Takumars / Radioactive Lenses Can a Yellowed Lens Replace Needing a Dedicated Yellow Filter? 8 Element Takumars / Miranda Also Has an 8-Element 50/1.4 The Pentax Section The Pentax K1 is the Perfect DSLR for Adapting Pentax K-Mount Lenses Mark loves the Pentax Auto 110 Paul's Rare Meterless Pentax SL Mike Loves the Pentax SV and the Pentax K (not the K1000) The Ultimate Asahi Pentax Screw Mount Guide by Gerjan van Oosten Five Element Takumar 55mm f/2.2 and 58mm f/2.4 Lenses Pentax ME Super and ME F (not a Pentax, but the Canon T80 is Cool) The Pentax MX - Is It the Best K-Mount Pentax? Theo's Pick is the Pentax Spotmatic SP Everyone's Favorite Pentax Lenses Vivitar Lenses 35mm f/2, 70-210mm f/3.5 Zoom, 200mm Mike Loves the Nikkor 100-300 f/5.6 Zoom Sigma Z 28mm f/2.8 M42 Lens / Joseph Ehrenreich Red Line and Blue Line The Lester Dine Macro Lens / Yashica Dental-Eye Developing in Caffenol Buying Obscure Old Films From a Guy on Etsy Black and White Reversal Development / AGFA Scala Film Souping Show Notes If you would like to offer feedback or contact me with questions or ideas for future episodes, please contact me at mike@mikeeckman.com. The Official Camerosity Facebook Page - https://www.facebook.com/CamerosityPodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Radioactive Canomatic Lenses - https://www.youtube.com/watch?v=aPl0NUn_Dd0 The Asahi Pentax Ultimate Screw Mount Guide by Gerjan van Oosten - https://www.amazon.com/Ultimate-Asahi-Pentax-Screw-Mount/dp/907653702X Etsy Classic Film Shop - https://www.etsy.com/shop/ClassicFilmShop Theo Panagopoulos - https://www.photothinking.com/ Anthony Rue - https://www.instagram.com/kino_pravda/ Paul Rybolt - https://www.ebay.com/usr/paulkris

Is a New DSLR Totally Out of the Question? (Pentax K-3 III) - TDS Podcast This is The Digital Story Podcast #788, April 27, 2021. Today's theme is "Is a New DSLR Totally Out of the Question? (Pentax K-3 III)." I'm Derrick Story. Opening Monologue With all the mirrorless announcements from Sony, Canon, Nikon, and others, it seems as though the DSLR is going the way of the film camera. But there's one holdout against this trend, Pentax, and the just-announced Pentax K-3 Mark III has some truly interesting features, including outstanding high ISO performance. So, are the reports of DSLR death are greatly exaggerated? We'll explore this idea on today's TDS Photography Podcast. Digital Photography Podcast 788 Tune-In Via Your Favorite Podcast App! Apple Podcasts -- Spotify Podcasts -- Stitcher Podbean Podcasts -- Podbay FM -- Tune In Is a New DSLR Totally Out of the Question? (Pentax K-3 III) I must admit, I'm a bit fascinated by this camera. Let's start by taking a look at some of its highlight features. High ISO Performance - Specs say 100 to 1,600,000. More on this in a few minutes. 1.05x-Mag. Pentaprism Optical Viewfinder The pentaprism's design has also been updated to use high-refraction glass, optimized coatings, and a distortion-correcting element to reduce aberrations and promote high clarity and color fidelity. 25.7MP APS-C BSI CMOS Sensor - Sports a BSI design that promotes low noise, smooth tones, and accurate color rendering throughout the sensitivity range, from ISO 100-1600000, to suit working in a variety of lighting conditions. Up to 12 fps Continuous Shooting Real-Time Scene Analysis System - Using the high-density RGBIr sensor and the PRIME V image processor, the K-3 Mark III can use the Real-time Scene Analysis System to optimize exposure and AF accuracy by detecting subjects' faces and eyes with image recognition technology. This system relies on Deep Learning, an AI-based technology, for more accurate subject detection and scene judgement. 5-axis SR II Shake Reduction system provides 5.5 stop-effective image stabilization - Beyond controlling camera shake, the SR II mechanism also benefits stills applications by enabling a Pixel Shift Resolution feature and an AA Filter Simulator function. Pixel Shift Resolution shifts the sensor in small increments in sequential shots in order to capture full color information at each pixel site, then composites these sequential frames to produce a single image with richer detail and resolution. The AA Filter Simulator, on the other hand, utilizes microscopic vibrations during the capture process to help mitigate moir� in order to produce clean renderings of fabrics and other high-frequency materials. This system works in conjunction with the sensor that lacks an AA filter, so you have the choice between gaining the most resolution or reducing moir� under specific scenarios. SAFOX 13 Phase-Detection AF - Updated with more points and improved coverage, the SAFOX 13 autofocus sensor is a phase-detection focusing system that uses 101 individual points, including 25 cross-type sensors in the middle of the image frame. This array benefits focusing speed and accuracy in a variety of lighting conditions, down to -4 EV. Additionally, a new 307000-pixel RGBIr sensor and new tracking algorithm also promote more accurate tracking of subjects, even when moving at varying speeds or in irregular directions. So I was studying this article on Petapixel titled, A High ISO Shootout: Pentax K-3 III vs. Sony a7 III, and was amazed at the ISO performance of the Pentax. "Image quality is outstanding up to ISO 6400 and still looks clean at ISO 12800 in my opinion. Even ISO 25600 looks good enough to print up to A3 if like me you don't mind some grain. Heck, if all you need is a small postcard print and the noise is not a bother, you can go as high as ISO 204,800 in some cases and still get an acceptable image." "For this comparison, I decided to go with the highly regarded Sony a7 III. Please note that is nothing more than a look at how far APS-C technology has come in that it can compete with a larger sensor. This is not a brand comparison. Looking at ISO 100-1600, there is no visible difference between both cameras. "Even going up to ISO 6400 and ISO 12800, I can't see any advantage on either side. ISO 25600 is where I am really surprised. The APS-C PENTAX looks slightly cleaner to me than the full-frame camera. Looking at the maximum ISO of the Sony at 204800, they are both pretty much the same. Neither is usable for this shot, but one is not worse than the other though the PENTAX does better on the color." Interesting Notes I think for some folks, the feeling is that they will have outdated technology if they purchase a DSLR in 2021. But after reviewing the features in the Pentax K-3 Mark III , that doesn't seem to be the case. So then it really comes down to form factor, EVF, and what feels better in the hands. A compact DSLR isn't very much bigger than most full frame mirrorless cameras. You can use Live View on the 3.2" LCD for a preview of the image, and the optical viewfinder the rest of the time. I'm not saying that the K-3 Mark III is going to spark a DSLR comeback. But it's nice to see a competent camera for those who still enjoy a quality optical viewfinder and the feel of a DSLR. The New Donation Kit for Carefree Shipping of Found Film Cameras We have more time around the house than ever. And you finally dove into that bedroom closet that's been begging for some organization. If you found a film camera that you're no longer using, our new Donation Kit makes it easy to pack and ship. Just visit the Contact Form on

Dans le FLASH ACTU nous faisons un point commenté sur les dernières actualités avec le nouveau reflex Pentax K-3 Mark III, l'hybride Sigma fp L et le Prix L'Équipe Richard Martin.  Aux micros : Arthur Azoulay, Benjamin Favier, Quentin Caffier. Ce FLASH ACTU est présenté par " Phox.fr, le nouveau site des spécialistes de l'image " et issu de l'épisode S207 - « Masterclass : initiation au portrait en studio avec Quentin Caffier» du podcast Faut Pas Pousser les ISO diffusé le 1 avril 2021. 

This is The Digital Story Podcast #783, March 23, 2021. Today's theme is "Hands On Review of the Fujifilm X-E4 Mirrorless Camera" I'm Derrick Story. Opening Monologue The FUJIFILM X-E4 is a camera that I've fallen in and out of love a dozen times since I've had it. On one hand it's compact, handsome, and powerful. On the other it lacks image stabilization and the desired number of customizable buttons. So where do I land with the X-E4? I'll reveal my verdict and more on today's TDS Photography Podcast. I hope you enjoy the show. Digital Photography Podcast 783 Tune-In Via Your Favorite Podcast App! Apple Podcasts -- Spotify Podcasts -- Stitcher Podbean Podcasts -- Podbay FM -- Tune In Hands On Review of the Fujifilm X-E4 Mirrorless Camera When Fujifilm announced the X-E4, I thought for sure that I was going to buy it after my review period expired. It's so compact, its controls are familiar, and the image quality could for sure be counted on. Plus, I really like the 27mm f/2.8 lens that's bundled with it. But it isn't perfect. So before I get into my personal pros and cons, let's review its basic specs and features. Basic Specs and Features 26.1MP APS-C X-Trans BSI CMOS 4 Sensor (6240 x 4160) X-Processor 4 Image Processor DCI/UHD 4K at 30 fps, Full HD at 240 fps 2.36m-Dot 0.62x OLED EVF 3.0" 1.62m-Dot 180 Degree Tilting Touchscreen 425-Point Hybrid AF System ISO 160-12800, up to 30-fps Shooting Bluetooth and Wi-Fi Connectivity Film Simulation Modes XF 27mm f/2.8 R WR Lens Same battery as the X100V The Things that I Like Handsome, compact body Excellent resolution from the APS-C sensor Cool 27mm lens bundled, good sharpness and color Tilting LCD is very nice Lots of creative controls such as film simulations, manual focusing aids, vintage lens profile ability, and more On the fly geotagging works great with my iPhone Love having the same battery as my X100V Headphone adapter included in the box. USB-C port and charging is nice. Things I Don't Like as Much No in-body image stabilization, and OIS lenses hard to come by No grips on the camera, and grip accessories add to overall cost Jpegs feel over processed with mushy bokeh RAWs are noticeably darker than image on LCD and Jpegs Would much prefer an f/2.0 prime UHS-1 card slot seems like a miss Lack of programmable buttons is disappointing Why a weather-proofed lens on a non weather-proofed body? No battery charger in the box No built-in flash nor accessory flash included No M-C-S switch Play button moved to an awkward location I've really enjoyed shooting with the camera and the 27mm lens. And I've adapted my favorite compact Pentax HD optics as well, and the images look fantastic. I was hoping for an interchangeable lens version of the X100V. But the X-E4 falls short of those expectations. The X100V is weatherproof, has a faster lens, more physical controls, built-in flash, hybrid viewfinder, and more rugged build. The lack of IS in the X100V isn't as big an issue because it only has the 35mm equivalent lens. And I think that the Jpegs and RAWs look better from the X100V as well. So here's what I've decided to do. I have a review model of the Fujifilm X-S10 coming that includes 5-axis IS and a built-in flash, but for only $100 more. I'm going to test it against my X-E4 experience. But for now, I'm holding off on purchasing the X-E4. It's fun, but I think I need more for a $1,000. If you're interested in the camera, The FUJIFILM X-E4 with 27mm lens is available now for $1,049. How I Adapted My Pentax HD Lenses to a Fujifilm Camera Two of my prized compact primes include the Pentax HD Pentax DA 21mm f/3.2 AL Limited and the Pentax HD Pentax DA 70mm f/2.4 Limited. Both are magnificent, and each costs about $450. The trick was finding the right adapter. The Pentax lenses don't have an aperture ring, and their default state is stopped down. A standard Pentax-K adapter wouldn't work. I needed something specifically for DA lenses. Fortunately, I found the wonderful Gobe Lens Adapter that not only allows me to adapt the Pentax optics to the Fujifilm camera, but it provides aperture control as well. And it's a beauty, both in design and function. After testing the adapter, I broadened my lens kit to include the Pentax HD Pentax DA 40mm f/2.8 Limited as well. I have now quadrupled my optics kit for the X-E4 for only the price of the Gobe adapter ($26.50). And the resulting images are wonderful. 1.6 million ISO! Here's a guided tour of the upcoming Pentax K-3 Mark III You can read the entire article on Digital Camera World. UPDATE: Ricoh Imaging has given users a guided tour of the Pentax K-3 Mark III, its long-gestating APS-C flagship camera. Despite confirming in February that the body has been delayed, Ricoh is keeping the Pentax K-3 Mark III flame alive with this 20-minute deep dive into the new camera's capabilities - including its top sensitivity of 1.6 million ISO. Ricoh product planner Shigeru Wakashiro gives a top-to-bottom overview of the Mark III, taking in everything from the new image sensor to the improved optical viewfinder. If you ever wanted reassurance that the DSLR isn't dead despite the mirrorless revolution, Wakashiro might make a believer out of you. Check out the full video below - and don't forget to hit the subtitles / closed caption (unless you understand Japanese!). The New Donation Kit for Carefree Shipping of Found Film Cameras We have more time around the house than ever. And you finally dove into that bedroom closet that's been begging for some organization. If you found a film camera that you're no longer using, our new Donation Kit makes it easy to pack and ship. Just visit the Contact Form on

The Pentax K-70 represents a return to classic SLR design and feel. Released in the spring of 2016, it's one of Pentax's latest mid-range DSLRs. And it officially replaces the previously released K-50. https://photographypx.com/pentax-k-70-review/ Video https://youtu.be/hT-HPnFx7iU

Comment est-ce que les appareils photo numériques sont devenus de véritables caméras vidéo ? C'est la question à laquelle nous allons essayer de répondre avec nos invités Olivier Schmitt (photographe, réalisateur et youtubeur), Romain Sarret (vidéaste, ambassadeur Lumix et fondateur du blog Lumix GH/S) et Roch Lorente, le responsable des ventes chez Canon France. Parallèlement à ce grand débat nous ferons également un point commenté sur les dernières actualités avec le Flash Actu. Nous ferons un point sur l'arrivée prochaine du futur reflex Pentax K-3 Mark III et nous découvrirons la caméra de poche Pocket 2 de DJI. On parlera également de la technologie DeppPrime de DxO et du dernier appareil argentique Lomography. Enfin nous présenterons la dernière exposition “PasséPrésent” de Sarah Moon. Benjamin nous emmènera en Asie du Sud-Est pour rencontrer un peuple nomade au travers du dernier livre enrichi du photographe Pierre de Vallombreuse : c'est la Story de Benjamin.  Le Flash Actu est présenté par Phox, le réseau des spécialistes de l'image.

The Pentax K-70 represents a return to classic SLR design and feel. Released in the spring of 2016, it's one of Pentax's latest mid-range DSLRs. https://photographypx.com/pentax-k-70-review/

The Pentax K-70 represents a return to classic SLR design and feel. Released in the spring of 2016, it's one of Pentax's latest mid-range DSLRs. https://photographypx.com/pentax-k-70-review/

Today I'm speaking with Photographer Jim Herrington. Jim's celebrity portraits include Willie Nelson, Morgan Freeman, Dolly Parton, and his images have appeared in magazines like Rolling Stone and Esquire. He has a fabulous portrait series of many of the climbing legends such as Ricardo Cassin, Royal Robbins, Fred Beckey, and many more in his acclaimed book The Climbers which was awarded the grand prize at the 2017 Banff Book Awards.   Facebook Twitter Instagram   The Outdoor Biz Podcast   Please give us a rating and review HERE   Show Notes Jim Herrington.com The Climbers Book When did you pick up your first camera? How old were you? Well, there was an old Argus, twin lens reflex that was rattling around and family. Probably a 1950s model with a leather case. I remember getting my hands on that, playing around some, but then, I got a Kodak Instamatic around 1972 or something when I was a nine. The first significant camera was a Pentax K 1000. And I got that when I was about 12 or 13. And actually that's kind of the way I measure it back to when things really started. I ended up photographing Benny Goodman on that camera. When I was a young teen and I always call that ground zero of where it all began. You're pretty much self-taught then I guess? Well, yeah, I mean, people say self-taught, but that just usually means they've gone and sought out really good teachers. I did go to school briefly. It wasn't for me, but I had intentionally picked out really exceptional mentors, people I wanted to learn from and, certainly tons of books and movies and going to museums and just really looking. So I guess in a way I taught myself, but you know, you're learning from somebody somehow. I guess you're more picking how you're taught if you do it that way. You're kind of looking at how they get that and how they do that and figuring it out on your own. What kind of things did you shoot as a kid, did you just shoot everything or did you have a specific photo or image in mind? You know, of course, I shot the dog and stuff like that. There were these old life magazines around the house and I think my father was kind of casually collecting from the thirties and forties. And you know, they had these big, full-bleed, black and white photographs. from World War two and Paris and Antarctica, Brigitte Bardot, and all these amazing things to look at. I can remember my earliest memories were laying on the floor in the living room, just going through those pages and being taken somewhere to these places. And it was a while before I thought, Oh, somebody is taking these photos. I was so young. I didn't even know someone took these photos. They were like pictures. I didn't know where pictures came from, but then it dawned on me that someone was taking them. And then, later on, I realized these people are getting paid to take these pictures and it just immediately became my obsession. This must be the best life possible, traveling around the world and encountering these people, places, and things, and sort of showing your little creative version of it. That's the way my mind could put it together. I mean, I didn't realize there were people like the great photographers Dorothy Lange and Walker Evans. But that's who a lot of those people were. So it was a good early place, just kind of the first place where I saw good, interesting photography. What were you shooting? I was trying to mimic that lifestyle probably. I felt like I did have kind of a serious approach to it, even if the results didn't show it. I was definitely influenced by that stuff. We also had an old 1950s encyclopedia Britannica in the house filled with stock photography to illustrate whatever entry was. But, you know, even that stuff had this kind of, Jobie craft to it. Even if it wasn't art there was a kind of beauty to some of these. I remember looking up the Sierra Nevada and just seeing some black and white photo of it with a red filter probably on it, so that you've got the dark sky and just this classic Sierra image and immediately thinking, well, this is where I have to go. Walker Evans would have turned into kind of an artistic style and statement, which wasn't that far from just a guy shooting stock photography in a way. So I kind of liked that approach early on. Just finding these things that had their kind of inherent, quiet, coolness. And a lot of those shots back then versus now seemed like they were more artistic and more crafted as opposed to looking through magazines these days. And granted there's a lot more magazines and a lot more images, but some of them just look like stock photography. These days it just looks like somebody who's out there firing off snapshots. Those shots, those shots back in those magazines were art almost as well. A lot of it was art. It was beautiful. Back then you had to know what you were doing. You, you had to learn how to operate a film camera. You had to usually know how to work in the dark rooms so that the learning curve was of a certain, you know, distance and math. You couldn't really just pick up a digital camera and futz around in Photoshop and end up with something. So there was a kind of base-level ability to those people. Looking at it now, anything shot on a big format camera, even if it wasn't so great holds a bit of weight, looks a bit serious. People now it's, just such a different playing field, there are so many photographs. We, as a culture, as a world, the humans we've seen so many photos were so burnt on everything, we've seen it all nonstop. And that was a certain naivete back then. People weren't burned out on photos. There was a lot of newness. It just wasn't that not everybody could do it. In the first 10 or even 20 years of my life, there were certain jobs that I got, simply because I owned a camera. I'm not joking, you know, “who do we know that owns a photographic camera?” Uh, well, this guy, Jim Harrington knows, in fact, he even knows how to operate it. It just was true. You know, I got a lot of jobs that way. I remember in the nineties, I would get weird jobs in North Dakota or somewhere. And it was just because we didn't have as many photographers. Now you could pick the tiniest village in North Dakota and there's probably 20 guys with a website or girls, you know, cause they're a photographer. Tell us about your first portrait shoot. Was that the family dog. Did you have the dog sit for a shoot? Was it a family member? First portrait shoot, where I thought I was actually doing something? Well, that shot I did of Benny Goodman, wasn't a portrait sitting. It was him live. And my dad turned me on to Benny Goodman when I was like, practically a seed, very young. I love that kind of music. And at one point Dad said, “Benny Goodman is coming to town. Do you want to go?” And I said, yes. I had that first FinTech and I shot a couple of frames, I was very scared, walked up to the stage in front of all these people. That felt like I was actually doing something, trying something, and actually got something out of it, but still portraits. I'm sure it was just one of my friends that I grabbed where I was trying something that was a little more considered that I'd seen and in some kind of art book or photography magazine and just attempting it. Was there a first paid portrait shoot that was kind of like, Ooh, this is important. I gotta make sure I do good. This is so sad that it's noteworthy and telling. But there, I don't guess this happens anymore, but in the old days when I was young if you were some sort of celebrity, maybe an actor or actress or musician, and maybe you had gone a bit beyond your prime. If there was, for instance, a new appliance store opening in some town, you would appear at the grand opening. And sure enough, this early friend that I'd made, an older guy and he'd lived in London, kind of exciting person. I met in Charlotte and he had been around the music scene of London. He was managing this tiny, mid-century kind of mall, like a prototype of a mall. And there was an appliance store in it. And Eileen Fulton, I don't know if anybody's going to recognize this name, but she was a big soap opera star in the fifties and sixties and seventies. But I think by like 1981, she was probably a bit washed up. Still glamorous, but you know, a little past the due date. And she came to be an appliance store celeb. So I got paid $40 to go photograph Eileen Fulton at the opening. Ah, humble beginnings What inspired your quest to photograph all the famous old climbers? Well, it still kind of goes back to the life magazine stuff. And later on, I don't know if you want to call it journalism documentary, it's a little of both. But you know, it slowly started growing out to these more cerebral types of documentary street people. Gary Winogrand, Friedlaender, even Diane Arbus, Robert Frank, Cartier Bresson, you know, I just started really getting into the whole world and the history of this stuff. And, being very influenced by these people I had a real hunger for the history of photography and the great people that had done it through the decades. And I did start shooting the music scene early on, kind of the punk rock, new wave, et cetera, scene of Charlotte and I kind of felt like I was documenting that. Then I moved out to Hollywood pretty early on and started seeking out the current scene. But I was definitely interested in finding some of these kinds of older obscure people, which I did throughout all my music photography. And in fact kind of really got into that. As years went on, really finding a lot of these kinds of roots in America, a blues country, Jazz, R & B, whatever. Especially if some of these people had kind of disappeared and that became a bit of my schtick for a long time and I built up a big archive of that. And with climbing, it was kind of the same thing. Cause I got into climbing, and everything kind of happened around the same time. The early mid-seventies when I started hearing about stuff and I'm into exactly what I was into as a kid. And climbing. I mean, especially, in America in the seventies, the California influence, you know, kind of driven by the Sierra, even the, you know, just the Chouinard catalogs, just that whole thing. It was like propaganda and, um, or even the, um, do you remember the, uh, save mono Lake poster? Yeah, I was going to say even that the Sunset magazines and AAA, all those things had photographs of Yosemite, Death Valley. All that stuff. There was such a strong California propaganda to me, as a guy that had his antennas up, certainly for the climbing. But yeah, Sunset magazine, the beauty of that stuff. And even like I said, that encyclopedia Britannica just seeing the Sierra Nevada. I mean, you know, just the trees, the way the whole place looked like a Japanese Zen Garden, it all made sense to me. And I particularly got super into the history of it and reading about it. And so, around the mid-nineties, I decided, well I knew that Glen Dawson and Jules Eichorn were still alive. And they were about the oldest people I could imagine, anyone else older would have died already. So I just thought, well, I'm going to go find these guys and photograph them and meet them and that's that, right? And so I did, I ended up, this is in the pretty early days of the internet. I don't even know, this was before Google. I don't know what I would have even searched on back then, but I actually somehow found Doug Robinson's phone number. I mean, this is like a primal search. I have no idea, but suddenly it came up on the screen, Doug Robinson, here's his phone number. I thought, really this easy huh? And I just immediately called him. I'm just going to completely, this is probably not the way you're supposed to use the internet, but I'm calling this guy. And so he picked up, we talked for like two hours and just kind of really hit it off. And I told him, I said, you know, I think I'm going to come out. So he thought that was very cool. And then somehow that turned into him and I climbing together and photographing him, Cause I love Doug's writing, I was deeply impressionable and fell under the gaze of Doug's. It was just part of the whole stew that I was digging, you know? And so I went out there and I got Glen Dawson down in Pasadena and then I drove up to Owens Valley and met Doug and we had this amazing two weeks together. We did a first ascent in the Palisades. We went all over the place, went to the needles, a really incredible trip all the way along. And then after that went up to the Bay area and shot Jules. And so, boom, I had these three guys and, it felt kinda cool and it's like maybe I should continue and get these Sierra Nevada guys. This will be a cool little project. So I did, whenever I got the money, you know, this was just a personal project and I was living in Nashville at the time. So I had to keep paying for plane tickets, just all that. That was always a thing. But I slowly got Royal Robbins and Chouinard and got more of these people. And so I thought, maybe there's a little Sierra Nevada series. Maybe it's, I don't know, Outside magazine did a spread, but then at some point, it just kinda grew. I got Bradford Washburn on the East coast, which suddenly it wasn't a Sierra project anymore. Okay. It's an American project, but then a couple of years, three years later or more, I ended up getting Ricardo Cassin and Italy and suddenly it was international and nobody gave a damn about this thing. Really. It was just, people thought I was crazy. It was climbers like some really smart, interesting climbers thought, well, why are you doing this? Like you're shooting like young, hot climbers. It's like, really don't fucking get this at all. I just, it's so obvious to me. I wouldn't want to be shooting young, hot climbers. Like these are legends man. And they're sitting around in their living room. Some of them just waiting for someone to come visit. It was like a dream job and nobody recognized it. That's awesome. It's amazing. You went all over the world doing it and for a personal project! That has gotta be some expense involved in that, but you got some great portraits. I love it. And I love some of the stories you were telling when you were here in Bishop about how you got some of those guys, I forget who it was, you were photographing at his kitchen table. And that story was just, that had to be a great experience. I mean, unbelievable. It was crazy. I started getting very bold in my penniless travels, putting myself way out there without a way home with my camera and my bindle. And it was, I mean, I've always traveled, you know, since I could, since I was young, but it was definitely an experiment of just how far out on the edge you can go with an idea and no money. How about the inspiration for each individual? Did you have a person that you just wanted to, get on the list or you wanted to meet him? Did you have a recipe or an idea of the shot before? You know, again, the early recipe was the Sierra Nevada. The fact that I got Bradford Washburn who was amazing and also his photography was amazing. I just thought, how can I turn that down? That kind of made me turn it into, okay, it's an American thing. I didn't really want to be this big about it, but it's getting big. It also, while it made it more difficult, it also made it easier without the restriction of just the Sierra Nevada. Now, if there's these other people that it's going to make it bigger and messier, suddenly I know I can get this guy and this guy. It's a mixture of guys that I knew and respected. I did have to start thinking about well, I don't want to get too many from one area. You know, this thing's becoming global, then I want to diffuse it out a bit. Sometimes it was all about the person. Sometimes it was wanting to represent an area or scene, obviously the Alps or the Calanques, you know, outside of Marseille. There became these sort of little mini reasons. Obviously I wanted to get some Sherpas, there were all these many reasons. Some people died that were really heartbreaking that I couldn't get, and got so close to that was a super big bummer, but I had to philosophize that and how to keep myself sane. And ultimately I had, and I liked the reasoning that I used, which is this book is a representation of an era. It was never intended to be a who's who complete encyclopedia. That would have been too big anyway. It would have been a really unwieldy book. It would have been just too much so, and that's true. And also it saved me from going insane for the people that I did miss. So I do feel confident that I represented the era very well, which is the 1920s to 1970s. I think if you'd had just tried to get everybody, then all of a sudden it becomes too much like an encyclopedia or library book or something, and it loses the emotion. I think that you've captured the emotion of the era as well as the stories. It's great. And the book is a good size. It's not too big. There are 60 climbers, 60 portraits. I think that's just about right. Any more than that and they sort of lose importance. It may make you skip a couple of pages and keep looking. What were the years photographing the musicians like that had to be pretty wild too, cause those were some wild years. Well, that was fun. I mean, I'm still doing it. I never really quit, but you know, it's a different playing field now. Well, certainly with COVID, but who knows what's going to happen. I'm a huge music fan and grew up loving, I was kind of a product, I guess, of the punk rock years. But I was a big, again, I love big band, Benny Goodman, the stuff my mom and dad turned me on to early rock and roll and jazz. So just everything good. I was into, good as subjective, and I just wanted to document it and I did kind of force that one along. It was great, you know, it was, it was fun to start getting published and getting my name on album covers and magazines and getting paid. But it really was, these were my people. I was an only child in a small town in North Carolina and I didn't feel like, it felt like I had to go out in the world to find this world that I related to. I felt like this was where I should be. And I just had to go find these people. These were friends I hadn't made yet is the way I felt about it. And it turned out to be true. And I think it's the same for those people too. Everybody wants to find their people. I got to be friends with a lot of them, many of them. I mean, And the same with climbing you know, Doug Robinson's one of my best friends. I mean, it's weird cause he was this legend in my eyes. I have to call him today, check up on his new hip. So yeah, I always just felt it was, you create the world you want to be in and that's the world I wanted to be in and it was comfortable and I understood it. And I felt, I kind of felt like I was doing a public service documenting these people. Like maybe you don't realize it now, but one day you'll look at these pictures after this was all gone. And it was pretty adventurous of you to go travel around the world. And even as a youngster doing this stuff, are there adventurers in your family or where did that adventure bug come from? Well, this is something I think about a lot. I had to learn how to do that. I mean you know, my dad turned me on to it. I remember I sorta had the blueprints in our humble little living room. We had a globe, you know, an old fashioned globe. We had an Atlas, we had these life magazines and we had an encyclopedia. And that was like the only four things I remember. It was some kind of visual stimulus, but it was everything. If something came on the news on TV, you know, dad would always show it. We'd look on the map. It's like, Holy shit, what's that? The middle East? What are those people, I want to go. So I had are very early on, but the thing is the Herrington's, um, where a burgeoning grocery empire in the tiny town of Salsbury, North Carolina, My dad's dad who kind of inherited the three very happening stores and a fish market, that my dad's dad's dad's dad had started. But then my grandfather, my dad's dad, he seemed to be some kind of traveling Playboy. As I heard it told he would only come home long enough to get my grandmother pregnant, then take off again. But we have a passport stamped with Tokyo during world war two. And I can't figure out why in the hell . . . we also have papers that he was on the Graf Zeppelin from Rio to Europe. And they used to say, well, you know with the grocery store you would have to travel. You would have to go to Cuba to buy bananas and coffee. And I believed that for a few years. But then I got just slightly older and it's like, no he's not! I mean, at best he would go to Miami, but there are distribution points. He's not going to Cuba to pick out bananas. Cuba to talk to Castro, maybe. So, I don't know. But, um, I guess it's a Herrington thing. My dad was a traveler. There's definitely some restless stuff in the DNA. What about favorite people, who was the most fun to photograph? Oh, there's a bunch, there's so many, you know, Dolly Parton, I always mention her because I think everybody kind of loves Dolly Parton. You know she plays the dumb blonde act. I think most people, you know, that it's actually an act. She's not really acting. She's just kind of effortlessly amazing. I mean, she's truly got an aura around her of super cool, super funny, razor, sharp, smart business. She writes all her songs. She's just like a fully formed, complete human being. I really loved her. Keith Richards, he's a good guy. There's a lot of them. Morgan Freeman was great. Was anybody specifically challenging in a unique way? Couldn't get them to engage? Yeah. I don't like to give them much press, but I've definitely had some dark moments with some people that are definitely good bar stories. I'll tell ya. We'll save that for when you come to Bishop, we'll have a beer somewhere. I sort of, I talk about Warren Harding in my slideshow. That's a long soliloquy, he was . . . we'll call that challenging. Our friendship was over the phone strictly, and things fell apart before we actually met. But, but it did make up a good long story for the slide show, which is kind of dark and funny. I was talking to Greg Thomsen as I was preparing for this interview. And he was saying, he thinks of you as the Anthony Bordain of photography and climbing history, but way more alive. What do you say to that? Well, I'm a fan of Bordain. I will accept the compliment and I met Bordain actually. I was doing a job shooting, Kris Kristofferson, and basically just around him for the day in New York City. And he had to go to the David Letterman show for a couple of hours to do a little thing. So we went to the Letterman show together and, you know, you just hang around backstage for a couple of hours before you do your bits. So I was there, Joan Baez was in a room. It's very low key and quiet back there. Steve Martin stopped by for a bit, but basically it was just kind of boring. And then I passed this one dressing room on the far end and poked my head in and I was like, wonder who's in there. And it was Bordain. Just sitting by himself, watching TV up on the wall, near the ceiling. He kind of looked over and nodded. So I went in and we ended up talking for an hour, he was that guy. I like him, very sad to hear him gone. Have you photographed the Thomsen brothers yet? You know, I should do the kind of a formal thing with them because, they're the other guys that I had heard about early on out of California, these guys doing stuff. And in fact, on a photoshoot, I ended up becoming the defacto model for some Wilderness Experience stuff that was shot. I actually got a free Wilderness Experience pack in the early eighties. But yeah, I knew of those guys and, you know, they did such great work. It's been cool to get to be friends with them. And Greg has done some wonderful things for me, for the book, like really super great stuff. So I'm in debt. I'm glad I've gotten to be really friendly with them over the last couple of years. Hi boys. Do you have any suggestions or advice for someone wanting to get into photography these days? Well, that's a tough one because I guess I would need to know what their reasons were. Why would you want to do this? It's so challenging, it always was. I mean it always was a hard thing to get into and no doubt, but God, there's just oceans of photographers. Now everybody has a nice DSLR and the learning curve, the progress is so fast because they can get good results and Photoshop. So that just makes the playing field thick. But also it's, the magazines haven't raised their rates in a long time. It's really, you know, digital has hurt everything from the record industry to publishing. So those people, a lot of them are just disappearing or they don't have the budgets they used to have. So it's a, just a battlefield everywhere, but it's also invented a lot of new opportunities, which I'm still sorting out myself. Like what, what are they. I guess my thing, and it's only my opinion, but I would definitely go kind of crazy deep into the history of photography. I do meet a lot of kids, young people who asked me this and I discover that they're not really learning about any of the past great people. I guess that's fine. Is that fuddy-duddy? I don't know when I was a kid I was obsessed with the history of it and these great people, and I think you can learn so much. I just think it's important to know the arc of it all. Then that will inform your craft and style so much. And I think just having a point of view is also the hard thing. When I see younger people there, sometimes they're kind of lucking by luck, falling into some good stuff, but, just developing a style and a point of view that is kind of replicable, or not copying, but have a unique way, develop yourself as an artist and have a reason for doing things this way. And don't be haphazard, really be serious about it Everything takes a certain amount of pain, you know? I sound like an old Catholic nun or something, but, like practicing guitar, practicing piano, or just being a painter, if you really want to rise above, there's going to be late nights, you're going to avoid your friends. There's going to be a certain amount of pain and hard work to kind of rise above. And I don't think that ever goes away. In any craft, sport, art, all of it. If it's too easy, you're not doing something right. Do you photograph every day? Oh, no, absolutely not. I'm thinking about it every day. I mean, even if it's in my mind, I'm working on it. Why am I doing it? What does it mean? What is the new stuff I have? My archives are so huge. It was really depressing the other day, I was looking for something and it just dawned on me. If I don't take another photo, the rest of my life starting now I have enough to keep me busy. That just put me in a funk for the rest of the day. Because if I choose to not do that, Oh, screw that I'm going to keep producing new work. Well, that means I'll never get to the old stuff. Or if I choose to just not do new stuff and only focus on the old stuff, then it's just that, I'm just catching up. Either outcome is kind of like, wow. Yeah, don't stay on that too long, go out and go and create. You've got to create, I find the creativity part of it is a huge part of it. I agree. But you know the whole thing that I do is kind of like this. I mean, the climber book was in a way going through the archives. Cause I did a lot of the photography, it was going back and putting this stuff together. Which I sort of feel like is a part of my archives is well I gotta get it while the getting's hot. You know, I take the pictures. I experience these stories, put these things together, but I can't do anything with them right now. So I'll keep accumulating. And then the other half of the equation is putting it together later. Does the inspiration for the project though sometimes comes later, I guess. And then once you're in the project, like the book, once you've got that started and you realize you want to get some other climbers, but sometimes you've got all this archive of work and the project doesn't come to you until you take this one photo and then realize, Oh, wait a minute, I've got all this, that, and the other, this could be a good book or presentation or whatever it might be does that happen? It's weird. I'm now officially an author. Who's done a book. But before that happened, which was only in 2017, I never had a book and to me, books were the, be all end all, I just really fetishize books, especially art photography, well-designed beautiful books. And I considered them better than a museum show. Like a really good book, is it? But you know, I was probably intimidated and knew that I wanted to do one, but could I do one, would it be good? And finally, I was able to do one, which I'm really happy about, and it was so much work. Does the project derive itself from the archive or an image? I guess it's kind of both. As the climbers, when it was the Sierra, I thought, well, maybe it's just a cool little magazine spread I can sell to somebody that's interested, look at the old Sierra climbers. I guess the way I go through life is just thinking this stuff's important. It's worth getting, I don't know what I'm going to do with it. But as I worked on the climbers, it was becoming apparent, okay, this could definitely be a book if I were only so lucky to get a publisher and money and blah, blah, blah. And now it's unbelievable that it came together. But it kind of morphs in importance and outcome as time goes on, it's kind of like a lava lamp in my brain of possibilities. You know, doing the stuff and then what the outcomes could be and how possible that is. Cause, if you're a, I don't like calling myself an artist, but I guess, people in this kind of world, you need some word for it, a person that does stuff like this, you're always doubting and wondering, and until you've actually done it, it takes a lot of shapes in your head of what it could be. Speaking of books, do you have any favorite books or books you give as gifts? Favorite books? I love Nightmare Alley by William Lindsey Gresham. I'm always terrible when people ask these questions, cause my mind goes blank. I love the writing of SJ Perelman. He was a neurotic Jew that really influenced Woody Allen. Actually I think Woody Allen's neurotic Jewish stick came very much from S J Perelman who was older and before him. He wrote for the New Yorker and things like that. But just these short, very funny, I think, stories that had an incredible vocabulary and he didn't become as big as Robert Benchley and some of those humorous of the same era. I actually thought he was better. Actually think I learned a lot from Perelman. I somehow found him when I was in high school. Jim Thompson, the pulped novel writer, Daniel, Farson Never a Normal Man, his tales of the postwar London art scene. Then there's a book that I recommend if I ever have a photography course with students, I think my textbook might be Photography Until Now by John Sarcowski, who was the great curator of photography at the museum of modern art. Do you have a favorite piece of outdoor gear you always take with you under a hundred dollars? Gadgets? Well, I go through periods of a favorite knife and especially since I've been finding these knives that I get in Spain, for some reason I keep coming back from Spain, Northern Spain, from the Pyrenees over to Bilbao. I just come back with knives. I'm not even one of those knife guys. They land in my possession somehow. I can be such a weirdo romantic. And I think of like some kind of old pictures, I saw people in the mountains high in the Swiss Alps, breaking for cheese and salami in the sunshine. And I think of the knife itself, as it cuts through it, just kind of a beautiful, simple knife, cutting out little chunks to put on a piece of Cracker or bread. So think of having a nice knife in the top of my pack. So when it's lunch break, slicing through a hard cheese cause there's nothing as good as that.   If people want to follow up, how can they reach out to you? I'll link to your website, Jim herrington.com. Is that the best place?   That's H-E-R-R, not the other spelling. Jim Herrington.com. And then Instagram is the same at Jim Herrington. Perfect. We'll put, we'll put links to those in the show notes.  Please rate and review us  HERE  Thank you!  

What is a probe lens? A skinny long lens that has fisheye characteristic while being an incredible macro focusVenus Optics Laowa 24mm f/14 Probe LensCanon EF, Nikon F, Pentax K, and even PL$1,499 USDLPTG $113 or $123 for PLWaterproof front end1.3' in lengthBuilt-in LED on the barrelPractical useFood/drink workProduct shots (details)

Episode 328 of the PetaPixel Photography Podcast. Download MP3 -  Subscribe via iTunes, Google Play, email or RSS! Featured: Editorial, fashion, lifestyle and glamour photographer, Nino Batista In This Episode If you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us. Show Opener:Editorial, fashion, lifestyle and glamour photographer, Nino Batista. Thanks Nino! Sponsors: - Build Your Legacy with Fujifilm - Get 20% off at BenroUSA.com with offer code PetaPixel20- Get 10% off at XRitePhoto.com with offer code PetaPixel10 - More at LensShark.com/deals. Stories: Fujifilm previews its upcoming X-Pro3 rangefinder. (#) 5DayDeal's Complete Photography Bundle 2019. (#) Monogram's Creative Console is unveiled. (#) Fujifilm nixes the 33 for an ultrafast 50. (#) Lacie gets rugged...and rugged-ish. (#) Nikon's Nikkor Z 24mm f/1.8 S. (#) Sigma cuts loose Pentax K-mount. (#) Connect With Us Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community. We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome! You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

A Canada invasion! Mike is joined by Bill Smith (IG wbsmith200, www.funwithcameras.blogspot.com) filling in as co-co-captain and John Meadows (IG johngmeadows, MPP johnmeadows.podbean.com, www.johnmeadowsphotography.com) as our guest, both from the Classic Camera Revival Podcast (www.classiccamerarevival.com)! We talk about John's other podcast "MPP", TLR's, Leica R8, Voigtlander Bessa R2M, Eastman Double X with a red filter, CAT Labs film, the Pentax K-70 DSLR for Mike's wife, DSLR film scanning, and Ektachrome E100. Next, we discuss questions from the Negative Positives Facebook Group to John. Topics include classic cameras, Pentax Spotmatics, Contax Contaflex, Fuji GW690, Kodak Medalist, favorite lenses, pinhole cameras, unheralded cameras, stories behind cameras, hockey talk, toy cameras and point and shoots, rolling 120 film to 620 spools, guilty pleasures, black and white vs. color, and most underrated films. Finally, we finish with a discussion about talking more about the art and creative expression in photography vs. gear talk.

Épisode #132 - Instagram Anonymes, appareil photo Zeiss et entrevue avec Sylvain Grand'Maison au sujet de son expo photo! --- Photo récente (Christian est allé au Spécial d'Halloween des Mystérieux Étonnants et aux Lanternes chinoises / Stéphane a fait la même chose, mais dans l'ordre inverse / Maxime manque un peu de motivation et se contente de "scroller" sur Instagram) // Couvercle d'objectif universel // Un appareil photo Zeiss... avec Lightroom CC intégré! // Faites une mise à niveau de votre Pentax K-1 vers le Mark II pour 500 Euros! // Topo: Les filigranes. On en met ou pas? // Nvidia a enseigné à une intelligence artificielle comment effacer les filigranes // Suggestions de la semaine (Maxime: Lorsque le ballet et l'origami fusionne sous l'oeil d'une montréalaise / Christian: D'excellentes photos d'astrophographie)

My interview with Melissa Voth McHugh from Voth Photography. A quick and concise conversation about how to excel in customer service and the photography business.You can listen to Episode 25 (and see the Show Notes) of the I Love Kelowna Podcast right here:Apple PodcastIf You Don’t Have Apple PodcastIf you enjoyed this episode, an iTunes review would be SO appreciated!SHOW NOTESMelissa is one of our rare guests who was born and raised in Kelowna.Received a Fine Arts degree then moved to UBCO then moved to Vancouver to pursue a career in photography. Lived there for ten years.Met her husband and business partner Sean McHugh in the Lower Mainland and they decided to move (back) to Kelowna in 2009.Melissa loved photography ever since she was a little girl. Her parents encouraged her to experiment with cameras from a young age. It was a family that loved to document everything.Her dad bought her a classic Pentax K-1000 with an entire set of lenses when she was still very young, and she cherished it and used it all the time.Persuading her grade-school art teacher to teach photography to the class.Even though photography was a part of her life from a very young age, it was near the end of her fine arts degree at UBCO that she decided to pursue it as a career.The enlightening and very important exercise of creating a business plan and having that scrutinized.Solving the biggest challenge of any new startup: Finding lots of clients!A life-changing breakup helped Melissa to take life and her career much more seriously and purposefully.The wonderful world of photography: documenting special moments in time.Understanding who your ideal client is and being open to opportunities.Great advice for young people wanting to get into the business.Learn more about Melissa and Voth Photography.Voth Photography Facebook PageMelissa nominates Christina Ferreira of Impact Events and Ron & Colleen McMillan of McMillan Farms to come on the I Love Kelowna Podcast. Thank you so much to Kara Rogers for nominating Melissa.Follow me on Social Media:I Love Kelowna Podcast on FacebookLuke Menkes RE/MAX KelownaMy Personal Facebook PageLinkedinInstagram #exploreKelowna #KelownaViews #Kelowna #Okanagan #podcast #RealEstate #photography #creativity #entrepreneur #businessplanSupport the show (https://paypal.me/lukemenkes)

A Pentax heavy episode! Mike answers emails from Jr Wyatt about shooting the Pentax 67 and Aaron Alfano about Pentax K mount K series vs M series lenses. Also an update on home APS film developing!

On this week’s episode of the B&H Photography Podcast, we’re talking gear—specifically, the latest gear announced at the two most recent trade shows, the Consumer Electronics Show (CES), and Wedding and Portrait Photographers International (WPPI). In addition to a summary of some of the items announced at CES, like the Panasonic Lumix GH5S, we speak with B&H writers Shawn Steiner and Liz Groeschen, who are currently in attendance at WPPI.  Steiner gives us the lowdown on some of the big-ticket items and mentions many of the new lenses announced at this important conference, and Groeschen offers her opinion on the latest cameras, discusses items of specific interest to wedding photographers, and gives us a sense of the activity around the B&H booths. Some of the cameras we discuss are the new Sony a7 III Mirrorless Digital Camera, the Fujifilm X-H1, the Panasonic Lumix DC-GX9, the Canon EOS M50 Mirrorless Camera, the Pentax K-1 Mark II DSLR and the Polaroid Originals OneStep2 Instant Film Camera. In terms of lenses, we mention the new set of Sigma Art lenses for Sony E mount cameras, the Tokina FiRIN 20mm f/2 FE AF lens, the Rokinon SP 50mm f/1.2 lens for Canon EF, the Zeiss Loxia 25mm f/2.4,and others.  Two new flashes made our critic’s picks: the new Canon Speedlite 470EX-AI with auto intelligent bounce head, and the Sony HVL-F60RM Wireless Radio Flash, as did a handful of paper and presentation material. Join us for this informative episode. Guests: Shawn Steiner and Liz Groeschen

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Watch this podcast on YouTube: http://sdp.io/2018prediction My camera predictions for 2018: Canon 5DS-R Mk II, Canon 7D Mk III, Canon 90D, Canon M3, Nikon D650, Nikon D850A, Nikon M700, Sony a5200, Sony a7 III, Sony a7S III, Fujifilm X-H1, Pentax K-1 II, Panasonic GH5-S, Olympus E-M5 Mk III.  

半年？ぶりの収録しています〜　入りの口上も忘れてしまったスノーです^^;では早速〜 なんと昨年の課題？ですが、「春休みまでの宿題」、中の人編、遅ればせながら発表させてもらいます。 フォトスクランブルブログはこちらです〜　http://p-scramble.jp/sps2/blog お騒がせしましたm(__)m　ZOOMS JAPAN 2016　結果はこちらに〜　http://bit.ly/1Z3xGcJ　（フォトスクランブルブログ） ご支援いただいた皆様ありがとうございました。 最近の新製品について〜　 出た！A2サイズ　CANON　PRO-1000　出た！フルサイズ　PENTAX K-1　などです〜 スノーの個展　2017年　1/6〜22　神保町画廊　決定しました、よろしくお願いしますm(__)m

‘Épisode #85 - Photo récente (Photos d'anniversaire et spectacle de Muse, Pêche sur glace et snowboard sur le Lac Champlain, CES et Vieux Vegas) // Les appareils photo utilisés par les gagnants du World Press Photo 2016 // Canon G7x Mark II et Série DL de Nikon annoncés // Canon 80D et Pentax K-1 annoncés // Pourquoi les objectifs pro de Canon et autres sont blancs? // Une caméra GoPro filme sur un tour de poterie // Simulateur de profondeur de champ et de bokeh // Suggestions de la semaine  (Les 25 plus belles photos de 2015 selon Flickr, Une seule image pour expliquer l'ouverture, la vitesse et l'ISO, Sculptures de photos en 3D, L'application Camera FV-5 pour Android, La vie quotidienne de Darth Vader)’ 

‘Objectif Numérique - Épisode #52 - ExifViewer + ExifExt (de Laurent Braun) // Nikon promet le remplacement de tout D600 défectueux // Nikon annonce un super telephoto 70-300 pour la Série 1 // Trucs photo par un tireur d’élite // Critique du Pentax K-3 (par Pascal Dupré) // Lumu (de Caroline Cloutier) // Flixel pour Mac anime vos photos // TryFlag.com : impression gratuite de vos photos // Olympus TG-3’

www.adorama.com.Join Daniel Norton on a walk through of the Pentax K-S1. Take your imaging to the next level with the standard-class model, which incorporates new elements that optimize digital innovations, including modern design and an inventive interface system.Related Products at Adorama:Pentax K-S1http://www.adorama.com/searchsite/default.aspx?searchinfo=IPXKS1*Like, share, and comment on the video below...let's get the conversation started!Share your questions with us: adotv@adorama.com

http://www.adorama.comAdoramaTV presents the Pentax OFC-1 16GB FluCard for Pentax K-3. In this first look, Diane gives us an overview of this multifaceted memory card designed for use with the Pentax K-3 digital SLR camera, Pentax's most advanced DSLR to date.AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Tamara Lackey, Diane Wallace, Bryan Peterson and Rich Harrington.Pentax OFC-1 16GB FluCard for Pentax K3 DSLR Camera, WiFi SD Cardhttp://www.adorama.com/IPXOFC1.htmlPentax K-3 Digital SLR Camera Body 24 MP, Bundle - with Pentax SMCP-DA 50mm f/1.8 Standard Lens , 52mm Multi Coated UV Filter, Pentax DSLR Slingbag 2 Black , and Pentax 2 Year Extended Warranty (Total Warranty: 3 Years)http://www.adorama.com/IPXK3G.htmlPentax K-3 Digital SLR Camera with DA 18-135 WR Lenshttp://www.adorama.com/IPXK3K.htmlPentax K-3 Digital SLR Camera Body, 24 MP, Selectable Anti Aliasing Filter, SAFOX 11 Autofocus, Professional H.264 video, Weather Sealedhttp://www.adorama.com/IPXK3.htmlPentax SMCP-DA 15mm F/4 ED AL HD Lens for DSLR Camerashttp://www.adorama.com/PX154AFDHB.html&refby=videoPentax SMCP-DA 40mm f/2.8 ED HD Limited Edition Pancake Lens for DSLR Camerashttp://www.adorama.com/PX4028AFDHB.html&refby=videoPentax SMCP-DA 35mm f/2.8 HD Macro Limited Lenshttp://www.adorama.com/PX3528DAMHB.html&refby=videoPentax SMCP-DA 21mm f/3.2 AL HD Limited Edition Lens http://www.adorama.com/PX2132AFAHB.html&refby=videoPentax SMCP-DA 70mm f/2.4 ED Limited Edition Lens for DSLR Camerashttp://www.adorama.com/PX7024AFDHB.html&refby=videoCheck out Adorama's latest contest here for great prizes!:http://www.adorama.com/ALC/Category.aspx?alias=AdoramaTV-contestsIf you have questions, share them with us at: adotv@adorama.com

http://www.adorama.comAdoramaTV presents the Pentax K-3. In this first look, Diane gives us an overview of a pre-production model Pentax K-3 digital SLR camera, Pentax's most advanced DSLR to date.AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Tamara Lackey, Diane Wallace, Bryan Peterson and Rich Harrington.Related Products: Pentax K-3 Pre-Ordershttp://www.adorama.com/searchsite/default.aspx?searchinfo=ipxk3*&refby=videoPentax SMCP-DA 15mm F/4 ED AL HD Lens for DSLR Camerashttp://www.adorama.com/PX154AFDHB.html&refby=videoPentax SMCP-DA 40mm f/2.8 ED HD Limited Edition Pancake Lens for DSLR Camerashttp://www.adorama.com/PX4028AFDHB.html&refby=videoPentax SMCP-DA 35mm f/2.8 HD Macro Limited Lenshttp://www.adorama.com/PX3528DAMHB.html&refby=videoPentax SMCP-DA 21mm f/3.2 AL HD Limited Edition Lens http://www.adorama.com/PX2132AFAHB.html&refby=videoPentax SMCP-DA 70mm f/2.4 ED Limited Edition Lens for DSLR Camerashttp://www.adorama.com/PX7024AFDHB.html&refby=videoIf you have questions, share them with us at: adotv@adorama.com

We've been nothing if not comprehensive in our coverage of this new Pentax shooter, and early reviews are showing why. Photography Blog praised the K-7 for its weatherproofing and for having "one of the best LCD screens" they've ever seen on a DSLR, while ePHOTOzine were impressed by the image quality and Wired found the package of features and specs exceedingly robust given the $1,300 asking price. Some shortcomings were found, such as the slightly unintuitive interface and noise levels at higher ISO settings, but impressions were overwhelmingly positive. If you've been looking for a solid alternative to Canon's 50D or Nikon's D300 , check out all the thoroughly detailed analysis in the read links below. Read - Photography Blog. Read - Wired. Read - ePHOTOzine. Filed under: Digital Cameras . Pentax K-7 review roundup originally appeared on Engadget on Wed, 01 Jul 2009 00:27:00 EST. Please see our terms for use of feeds . Permalink | Email this | Comments .