Do-it-Yourself Photography, with Tim Engle

Automatic TRANSCRIPT

he pulls him is interviewing sitting down with my good friend mr tim ingle we're gonna be talking about three ways that you could improve your photography with d a y hey folks welcome back to another episode of this week in photo this is an interview with my friend mr kim ingle timmy now you're gonna talk d i y in how you can get amazing being commercial fashion photographer results just by making a trip to the home depot tim angle how's it going man what you doing over there frederick it's good to see you again my friend but i know the long time no see longtime no talk i know you talk about me but not with me well in a good way you know i'm always saying about timmy go all right all right yeah yeah yeah so cool man so you and i i've seen you at work i've seen you do you're thing in the studio and you know on location even an there's always a high degree of like a we call it the the macgyver photographer you make it work but you still get the mission accomplished with whatever by any means necessary right so how did how did get to that level like how did you get to the 'cause you're you're as the years go by you're becoming more and more of the photographer doesn't doesn't necessarily mean you probably would crush it with it but you don't necessarily need pro photo gear and all this other magic stuff in order to create stunning stunning images is that is sort of a mindset or is because you cheap to yeah i think yeah well all of it you know and it's an evolution so they just start with a you know i have four kids and they get shoes before i get a light yeah so my i think lighting style developed out of a necessity and not having a lot of funds to buy stuff i mean my very first i think kind of thing i used it was considered dui or yourself is at a i had a shop light in my daughter was probably like six or seven my oldest now in the garage putting a shot up and she's holding it and i plugged it in the light the cast on her was phenomenal and so that was my first thing like wait a minute this could be used as a light so this is just a home depot shop light it's you know a twelve dollar fixture with a three dollar bald 'em so i took those in a manner them at that time to adjust to polls but i used a clamps just hold him in place and i started doing some purchase within well wow it turned out to the light with amazement that stuff and then a vote to 'em flashlights with flashlights switched over the lapd and the old days we had the mag light and those were the kind of the the war rumbled had a funny pattern to and win the lapd's happened they put out this very nice color light that was very smooth and that was my next for him like hey this could be a philly so all these things just kind of like happened over time and then i realized when i had a chance to work with higher in lights that i wasn't necessarily getting what i wanted out of those expensive lights and i kind of reverted back to my shop lights my flashlights my mirrors those kind of things things it didn't cost me a ton of just over time it just kept rolling i love that i love and that's important right i mean it's you you could you could probably like seeing the beginning you could weaken work magic without expensive light but any in they're photons right and we we've done shows on this week in photo where we talk about that you know in in in when you get your thoughts on this the consensus about you know using a home depot or lowe's or whatever type gear you know shop lights that sort of thing found items 'em versus using purpose built photography lighting etc equipment seems in you correct me if i'm wrong early expert it seems to come down to a not quality of image quality of the gear and longevity of the year like a pro photo kit it i don't own one but they tell me they're very well main in gonna last you for years and years and years they have a very accurate color temperature repeatable results all that stuff the home depot or the d i y side of it how does that factor in are you seeing you know it doesn't matter because you're like okay if it breaks it was ten bucks and we'd go buy another well yeah i never matters it matters on the style or the scale of the shoot so so if i have a big commercial shoot it's gonna require the the super solid color temperature and that even has changed over the years because of digital in the days of film that color temperature played way more into it now with the digital weaken and adjust color temperature after the fact and i haven't had a problem with like matching that stuff in years i'll just shoot with my color shekar in the very beginning and even if he ends and just make sure that i'm where i wanna be a but for the bigger projects all the stuff that i need you know i have to if i had to shoot at a high rate with stroz where i'm beating where i'm overpowering the sun sure but rent the pro photos because that's what they could do i could shoot you know much faster and more efficiently that way so it's just a matter of what the job the credit for the right in iraq waiting for the right job yeah yeah so so am i hearing you correct in saying the color temperature in color accuracy to put a finer point on it isn't that critical because you're checking you're checking color with the color meter before you even go into the shoot so the like in be putting out it doesn't have to be consistent because you're gonna make it consistent is that is that what you're after what if i if i was going to do you know high end clothing company and i'd had her do stuff over a series of days i might be more into that consistent color temperature out of let's say a pro photo 'em but again i'm also still doing the color checker and not necessarily color meter but of color color passport mhm in the beginning of the shot and he ended the shot and even sometimes in the middle if we change you know anything out i'll just recheck that stuff just so i have a color chart to reference but it colored shirt and a scene so there you go back and say this is like this is white in everything sort of locks and yeah yeah okay which is recommended i guess it's recommended for even if using pro photo or whatever light says yeah yeah to keep the especially if you're shooting for a commercial client where this red needs to be that particular read you know you wanna you want locked in as much as possible to and so tim speeding speaking of like shooting with clients how did that work we right because we all know is photographers and artists etc that it's the end result that matters in the when you're shooting in building a shot no and at the end of it you know unless there's another nerd photographers gonna look at it and say oh way that spec right highlight is done when the mirror and there's no one cares how the how the sausage is made up if you have a client onset with you right so if you have a client onset what do you do you feel comfortable still using like off the rack sort of you know macgyver type setups or would you go through the theater of having pro photo gear so they they could justify that big seven figure check their writing you years ago i might have been more concerned about the show of the shoot mhm the theater yeah the theater so i think over time 'em it's become less and less i mean they're hiring because of the images that i put out 'em end tethering i think helps because they're seeing images and putting out with that stuff is what they want so years ago when i didn't tell her i might have had a polaroid it was different but now having a come across the computer patter both clients they're happy with what i'm producing and that doesn't mean that i don't go strobes i mean it's still is absolutely about what i'm trying to say i mean i guess if a painter uses different paint brushes to portray trey on the campus what they want i think lights the same way we use different sources are different styles of light to portray what we want to the viewer yeah and so it's just more tools in the bag i mean you know and i've switched over to 'em for my strobes to the photo strobes subs and those have been dead on on color they're good on speed they're good on a power i mean i could beat the sun you know easily so just the right tool for the right job yeah no for sure silver people that are that are interested in sort of diving into this world of d i y and you know getting their feet wet and maybe saving a couple dollars a couple of thousand there give me some tips give us some tips on on where she they should get started you know unless i know the next question you'll be well what kind of photography were they doing let's assume in the do out there doing porcher or commercial type worker something i mean the first thing they do is go walk you're aisles of a costco mhm cosco's always got some crazy flashlight or ellie d that's on sale 'em let's start with that and then just take and i always tell people take one light if it's gonna be in l e d let's say it's a little lapd floodlight take one light and try it you know on the tri bounced off wall try behind him try it you know through a window and just try it in different ways and see what that light does i think people get into the kind of get himself into a corner where they'll get a bunch of lights and try and do things and they're like i don't know how to solve this shadow over here because i'm not sure what you're doing it well if you start with what light you could see what the shadows were doing you could see how it's playing and you can adjust and get the image that you want yeah i mean yeah then so then the next thing would be what about m v idea of stands and tripods and that sort of thing are you are you investing vesting money in that stuff or is that also why from your standpoint i used actually i v polls for the shop lights that i got from e d and they're kind of 'perfect i put in eyelid on the end of the shop light and they wheeler my studio and i could raise and lower i'm in for my portrait work i don't really need them to be mounted on she stands it works fine with the ivy polls and i just make sure the sandbagging when i'm in the right spot so they don't slip and i also put this is this there's a hard lesson i put bungee around the whole thing because i had a scenario where i didn't end the ball slipped out fell on the ground floor to it in the ground is never fun cleanup yeah yeah yeah he never well any kind of gear you never when gear and gravity in hard services not again you know especially if the clients were out i make sure everything's like tied off taped off bungee doff secure yeah all right last question on d i y stuff would out what about 'em reflectors 'cause i've i've seen you used mir giant mary small mirror is a foam board all kinds of stuff whether whether you're suggestions for folks so back to home depot home depot cells over in the insulation department apartment these massive sheets the one side is shiny and i cut those and i tapering off because if you cut immensely moping it's a mess psychotic my mom and i use those is my shiny bore xanax i really liked what they do on light they looked it's kind of like pitted silver and they're very that's a very good reflector or using the large seats in the studio and those are i think maybe you're in the range of fifteen eighteen bucks a sheet 'em i'm not gonna stress where they get destroyed or hurt or beat up or stepped on on and then ikea is another great source vermeer's i picked up multiple years firm ikea i have one that actually garage sale sixteen dollars that rotates 'em and i used that back back in and i've been in scenarios where i'll put a fusion panel up showing the mirror through that and that's the light source on the person you have to be super careful with mirrors that whoever you're using understands what you're doing with and they're not looking straight into it i don't have an interest in you know causey retinal damage all years yeah you only do that you know and yeah wow very cool man see i love that i love it if if you're in the sacramento area then you can get an invite tried to sit in on one in tim shoots it's very very educational we're interview i always feel bad because people come expecting this grand set up in this designing i'm doing such simple stuff but it's just yeah but the work the work speaks for itself though thanks all right so let's let's switch gears just a wrap this up 'em i know you recently were down in a were over in palm springs for the pony outings photo festival right now did how did that go so that was my first so backing up i have spent the last fourteen years as they tracked coaching football coach which means my days are done by three o'clock a lot of times and so and i've done well and i've gotten the work that i like out of sacramento and and i you know managed to raise a family doing it so basically about a week ago as for the most part my last track meet i most likely ever 'em my son is graduated from school and move on so my coaching days they're kind of over which is great i'm happy for that it's you know also sad to see it go but what that meant was that i want it to put my work out and get i guess a major stick to see how it stacked up against stuff around the country country yeah i've never put my portfolio out for the most part other than locally so the chance to go to the palm springs photo festival and do reviews we as a people from wired magazine from entertainment weekly a vanity fair and people who are absolutely have phenomenal lies 'em was a chance i really wanna take it'll tell you you know in multiple ways it was one of the best movies i could have done right now really i opening did you did you leave with with their ego pumped up or or crushed and i was i i want it to go into it with either i mean i would love to have somebody tell me apart and say do this as long as i could get a direction and it was obviously constructive i mean you know but i was amazed at how positive everybody was with the stuff i've been producing a flat out said that it was already on a scale er a level that they felt was you know big time i could do that man negative well but it's like it's always you know people around here always say oh you have nice images well that's fine thank you appreciate it but it's like i wanna see you know when the the the movers and shakers in the world of photography give you validation that means a lot yeah and even the process of selecting imprinting my portfolio that was very beneficial you know i've never you know most of my stuff i'd say ninety five percent of my stuff go straight to digital dealer or magazine mhm so for me to go back and select and look at a body of work you know you're trying to basically get it down to let's just say maximum of twenty four images that represents you and it's like that's hard yeah i mean i started with five hundred images i got down to a hundred and eighty i got down to forty and then i sit that forty out to various people they get their opinion who i trusted got it down to my twenty four and then printing knows and looking at m critiquing yourself knowing that you know high level eyeballs are gonna be on stuff you look at you're stuffed differently a man there's things that i thought to myself i like and don't like about my own work and so it was very therapeutic from that standpoint so it was a it was absolutely a week wellspent down there is really cool was real close you do you do you think you'll be going back as it's gonna be a regular occurrence resuming i think so and i think you should go teach i would love to go there a you know in fact i was there a couple of several years ago jeff doing this who's thee the organizer of the conference in the creator of the conference invited me over and i'll give you a little story about that we the the life changing nature of the palm springs photo festival 'em i went there and one of the people sitting in the audience was some people from brooks institute in we start a dialogue after that in you know ultimately became chairman of the board firmly there you go and it never would have happened had it not been virginia students in the palm springs photo festival so i think i think we need to get a a group of people and will go next year absolutely yeah yeah i mean it's right there is like what what's the flight forty five and i drove so so here's what i did is i actually rented in air being being mid week that was amazing visually julie and i set up a shoe on my own just if this house so i had a makeup artist and the model like brought in and i just took advantage any other really cool thing about them festival all these gear manufacturers from sony the cannon fuji will let you take and try gear over let's say a day or two day period and so i was able to take a food you g f x which i've been looking at and shoot with it 'em for basically a day and a half and that was i could go into that but that was pretty cool i mean i know who you are you are you now no longer a nikon guy or i'm a nikon guy right now they're row right now there's a crack in the armor oh and you know when i if i look at the idea of new gear it has to be a quantum leap in what i'm doing just spend money just because it's a cool piece of tech it has to do something greater than i already have yeah and that definitely gets into that you know that medium format sensor and the total and i'm getting out of it i mean the files are pretty stunning 'em definitely approach is kind of like a quantum jump in what i'm producing oh really so superior what do you what do you shooting now is you're daily driver so my dad well nikon d for has been my camera i had forever and it's you know what i've already had a refurbished once a because i wore out the shutter and then also i have and i'm sigma glass and i'm shooting the eight ten a bunch of the time at my ten i actually had sent that infer work and it was really strange i was not happy with images of ten senate enfor refurbishing it came back and i don't know what magic they did but i'm kind of amazed by the files and getting out of it right now really you have you have you been some sort of you know seduced by the nikon mirror list the series at all and i come airlifted interesting i m all the things i'm reading about the z six seemed to be what i mean there's where where would fall i don't need a massive you know i got big mega pixels right now at eight ten yeah that's a that's a good segway because you're you're gonna be speaking at troy miller's of sixty four will detroit miller aunt or the sixty four in the conference that were putting together this week in photo 'em in for miller you know he's having an illicit affair with his these series mike right right so you could technically they cheating on his wife with cameras so so you'll you'll have a chance to play with those cameras when you're down there you a are you gonna bugging deceive you can't grab one more day over sure i may i might happen by that who knows will see oh that's right yeah why not i mean what do we at a few months so lock and change between and then or i could have a food eugene effects in my hand i dunno oh this'll be interesting so you're gonna have sixty four what do you what do you gonna be teaching down there because you are instructors so i wanna get into i'm and i call it smoke and mirrors but i think sometimes you could create images how illusion of this big production for not a lot of money and not a lot of a production mhm 'em so i'm gonna start there i wanna get into some 'em working with models and posing a and then combining the two elements together so that is the one thing i took away even last week is it's important for people to not only get some education and some discussion but the shooting push the button i think just standing around and talk about one thing so i'm really looking forward to having people push the button talking about why we push the button how we push it what were looking for what we got out of it but we liked about what we got what we did like a really heavy participation from the attendees in in what i wanna do limit limit can't wait i'll be there bills heckling you from the back of the crowd so just you know you'll be shooting right i will i will i can't wait a year and the year and excellent teacher so yeah that should be good to go man any any parting shots you wanna leave for folks about d i y or anything coming up you want people know about i think you know my parting shots were always get out and push the button 'cause nothing happens if you don't push the button that's right that's right yeah it's like yeah it and doing it prom i don't know if you were like me but i'll just shy kid prom if you don't ask a girl the dance it's never gonna happen so you get all even rank it's like i feel like the one thing came home as you could be the greatest photographer in the world but if nobody knows you exist you suck he's right yeah treat the tree falls in the forest and does it make a sound or you know or does it make a sound if no one sees it yeah right yeah arguably doesn't fall silent 'cause there's nothing to rattled eardrums cool man all right well thank you for coming on man it's always it's always a pleasure we gotta get together up in sacramento and heavy a have a lunch at some point really oh and then june ninth is he a pressing castle photo there again oh yeah tell us about that real quick suppressing castle one considered one of the most haunted locations in california have not the country and i we put put together three times a year photo day where people could bring in props and models in in a extra put a tripod down 'cause if you go there on your own and do a tour you can't stop and shoot so if you've not seen the location look up pressing castle a look at these images and it's a i bring models out to be photographed i have a i'm setting up a set of vintage a wardrobe for the models to kind of go with the theme and so it's definitely for i think we've got forty bucks for you know a few hours a shooting is pretty worth it all right well semi those dates over i'll put those in the blog posts so weaken week and promote that yeah it's pretty creepy up there it's a you've been there yeah yeah i mean you yeah with you it's it's very easy yeah it's a it's a crazy creepy place in you if you're freedom ghosts you'll be surrounded by a bunch of people so you know unless you go there like a grudge that that you know leaves with you you should be okay all right well go tim ingle what's you're your own people wanna go check out our website so word

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