With 20 years experience and an eye for aesthetically pleasing photos. David is an amazing photojournalistic photographer with 20 years of experience. With his daytime work as a Marketing guru, and passion for photography. We’re speaking with expert who knows what is what.
Take a listen to my chat with David William Reeve in this episode.
Some of this amazing work can be seen here on Medium: https://medium.com/vantage/photo-essay-the-closing-of-californias-most-violent-juvenile-prison-cc83cd9eaf42
And his photos showed up in National Geographic can be seen here:
He can found on LinkedIn and Facebook.
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Junaid Ahmed 0:00
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In the last episode, we had an excellent talk with Rob House of experts on stage. His mission is to create billions of healthy wealthy human doings by empowering people with the knowledge and tools to help lead them to living healthier, more prosperous lives now on today's episode we'll be talking to David William read he's a writer photographer from So Cal and he's been taking photos for over 20 years and I met David
A while back working with him at a very well known company back in the days and we we be basically become good friends and I've been in touch with him since then. I did not know that he was a photographer back when I was working with him or I would have gotten into it earlier but here is David David Welcome to the show. Hey Junaid Thanks for including me that in this. This podcast is yours. Absolutely. I'm so glad that you're able to make it. Yeah,
David Reeve 2:05
for sure. I think when we first met I was probably I was a photographer. I had been a photographer earlier. And then I think I stopped for a while. And then probably the time I knew you I was getting back into it. Which could I didn't why wasn't talking about it too much. Yeah, with the advent of digital photography, I think it kind of re popularized the medium. And a lot of people including me, were kind of reintroduced into it at that time.
Junaid Ahmed 2:32
Absolutely. That is so true. The and I've been following the technology. Like when I got into photography, I was mostly using point and shoot cameras. And
it was pretty interesting how easily like you can snap away photos because I remember having the film back in the days and having to use those throwaway cameras and you only have 36 shots,
David Reeve 3:01
right. Yeah, you know, I think we have to be cautious not to rely too much on the technology. If you can, if you can work with the most basic camera and apply your art and your point of view, then I think you're going to be talented no matter what level of camera technology you're using. And I think that goes without saying for a lot of thing. You know,
if you can, if you can shoot a basketball without wearing Michael Jordan, high tops, you know, you're going to shoot it even better with them. So absolutely. The equipment is always secondary. It's about having an approach and the point of view and learning your style and developing your craft technology always comes later. Yeah,
Junaid Ahmed 3:49
that is so true. Having the technique down having the ability to see your keywords, the light coming from, how should I compose and how should I set up the show is absolutely more important than the equipment itself. Like one of the things that we talked about with john was that, you know, it's not the camera, it's the photographer, it's the lighting, it's all of those things combined is what creates the look into the photo graph that you'll be creating. Yeah,
David Reeve 4:24
very true. There's a another good photographer turned me on to this idea. Someone had turned him on to the idea and so on, it got passed down. But this notion of creating a photograph before you even take your camera out of your bag
absolute, which I think is the
best piece of advice I've heard in 10 years or more. Yeah, in that it teaches you to use your eyes like a camera and not rely on the device to create your shot. If you can use your imagination. Yeah, your eyes and compose a situation or compose an environment where you can then later bring in a camera,
then I think you're doing it right. And that's, that's not for all types of photography. But for the type that I do it. Yeah, we have the camera should come in at the very end of the of the opportunity.
And it's something that I just I kind of share with people and love for your audience. If there's photographers listening, absolutely, though, you know, create your shot before you've taken your camera and your bag. Yeah,
is especially true with like portraits because people get nervous when you aim a camera at them. Yeah, and, you know, if you're doing a portrait or working with a group of people,
the camera is an obstacle that can get in the way.
Try talking to them, make them comfortable. Yeah, look at them, study them.
I did one portrait once I was taking a picture of some business leader. And I think I was a little bit nervous around them.
You always feel like you're wasting their time. If you take too long to get your shot. You know, they become impatient, and they become nervous. And then it's just a bad scene for everyone. Oh, yeah, for sure. So I taken this person's photo, and I had done it in such a rushed quick fashion. I didn't even look at what I was taking a picture of. Yeah, and I was able to capture him. And then upon studying the photo, I realized that the color of his shirt was inside out. And it just looks sloppy, because I had not taken the time to actually study my subject to make sure you didn't have any food in his teeth. Or to make sure his hair was was combed, or in this case, to make sure that his color was properly folded. And, and under his sweater. Had I taken the time to study my subject and left my camera in the bag. Yeah, we would not have had this kind of feeling of being nervous and rushed and awkward. And it would have just been a casual conversation would have got things right. But anyway, that's where Photoshop comes in. So
this was gonna wonder, like, teach you to raise it. But yeah, just yeah. went in and took care of it in Photoshop. And smoother down a little bit, but it wasn't perfect. Yes. Not made that it has to be. Yeah, yeah, Photoshop and white room can come to the rescue when you're
Junaid Ahmed 7:39
when you're not. Yeah, that's so true. I mean, a lot of the times I'll bust out the camera and, like, here's my gear, you know, instead of focusing on what's happening, and, and that's what, that's what, photographers and that's what videographers do, or cinematographers and filmmakers, right, they'll go Scout, scout out a little location, like, okay, where's the sun setting from what our days or sun setting, you know, and figure out, Okay, this is my shirt, this is where my shots can be. And that's why the frame it with their hands instead of using any device. Now, the other thing what's happening with this technology getting better and better is that you can use your iPhone for framing these shots as well. Not taking them, but just to frame them. I mean for, especially for movies and filming filmmaking, but for even for photography,
and I've never done that before. But that's, that's a smart trick, because you can quickly snap it and then look at it in your leisure time. And then you you can see, okay, where's the shadow falling from and then you can set your camera properly and do it and I mean, I haven't tried it myself. But I was looking at one of the examples. The reason I brought this example up is because
David Soderbergh who's a very well known director, he shot an entire film on three iPhones, entire phone on three iPhones, of course, he, you know, all the footage was edited in a professional, you know, desktop environment. But the camera the main camera was an iPhone and the there are some interviews with the actors, and they were like, you know, we felt so much on, you know, he felt so much better or so less
intimidated by not having this huge camera gear in front of his face. And, you know, it's just like his friend recording a video and he's just acting it out.
David Reeve 9:42
I believe that actually, that's a that's a great trick. I think we've become more comfortable in front of iPhones. We all have one, we all take selfies, your word is used to being in the presence of an iPhone, and people don't tend to lock up and get nervous. Yeah,
there's another, you know, bad habits that people have when they when they are in front of a camera. And they tend to smile. Yes. And camera. And, you know, there have been billions and billions of photos taken from people smiling and looking at camera. Yeah. And, you know,
I always tell photographers, like, we don't want that we're done with it. Yeah, exactly. find better ways of of shooting. We don't need people smiling, looking at cameras.
So, you know, to your point, using an iPhone to kind of introduce that and to study and get your shot before bringing out the camera. Yeah, great idea. It just completely changes the mood when the camera comes out. It does. It does, like, Oh, I'm going to be on this camera. Oh, this is official. Right? It's crazy. It's Yeah, it's so you know, I think there's a perception that the equipment is expensive. We don't hurry up quickly, then we're wasting time. It's kind of the way movies were made. Yeah. where, you know, a movie would cost, you know, $10,000 per minute to produce or something like that wasting film if you weren't, you know, capturing every single moment. Yeah, and a lot of pressure under pressure to get your shot and then quickly move on to the next set. And maybe that perception comes from from Hollywood and filmmaking. It does, yeah,
Junaid Ahmed 11:26
perhaps, perhaps, I mean, but it's it's changing, slowly, slowly changing. And then I think Steven Soderbergh I even said that, you know, all my feature films, I'm not shooting, I'm not shooting other than an iPhone using an iPhone. And I was like, all right, man, that's pretty awesome.
David Reeve 11:47
Certainly reduces the, but
Junaid Ahmed 11:49
it does, it's totally produces the, but budget. And there was a master class by Annie Leibovitz and she teaches photography, and the one thing you mentioned about, you know,
understanding and look, taking a picture in your mind before getting the camera out. That's one of the things that she teaches as well and have yet to finish her class. Because it's very, it's very dense. I mean, there's a lot of information, and I need to be very focused, because there's a lot of
lot of mindset changing. And it's something that I mean, I'm, I'm used to listening to audio books and talking about similar things. But when you come down to photography, you know, there's a lot of big words or there's, there's a lot of ways that you can think about it, I guess. And since it's a very specific hobby
that I'm very passionate about. So yeah, I don't know what I was going, but yet, it's, it's, it's a really good class.
David Reeve 13:08
So what kind of, I've seen that class advertised? How would you use that kind of information to influence your photography?
What kind of things are you photographing these days? And what would you do with that information?
Junaid Ahmed 13:23
Well, um, anytime I'm photographing my kids, right,
and that's, that's most of the times that's what's happening. And I'm either photographing my kids, my, my
deliverable land, like when you're out and about taking group photos, and I know she has a very defined look to her stuff. I mean, it's all professional and assault, like she's taking photos of actors and, and scenes and whatnot. So, I don't know, maybe some kind of integration of, you know, how do I make it look look
intriguing that, you know, it tells a story rather than just a photo of, you know, my kids standing in there,
David Reeve 14:11
right. You know, one thing on that point, one thing I've been thinking about a lot the last couple of weeks, it is time we spend taking a photo. Yeah, and, you know,
there is a point and shoot approach that is kind of like a machine gun, you can just fire, you know, yeah, fire away and take tons of photos. And that certainly, is one approach.
And then there's another approach that I think Annie Leibovitz and and a lot of other portrait photographers, and people use, you know, you can put hours and hours if not weeks, into one photograph. Yeah, nice. One series of photographs of the same subject. Yeah,
and I think
maybe it's the iPhone mentality, or the point in the shoot mentality. But I think there's a perception among young photographers or new photographers that it's about volume over quality. And, and if you just keep shooting, you know, you're bound to get something I guess. And that's true and necessary in some in some worlds. Yeah, I think you're a war photographer, you're probably shooting Yeah, you could possibly get exactly. And it's very relevant there. But I think for for other situations where we have control over our environments, we're still shooting way to quickly again, we're not taking our time to architect The, the subject that we want to take a photo of. Yeah, I think the words would probably spend an entire day or more developing a single photograph. Yeah, whereas others would just come and, you know, pop, pop, pop, pop, pop. Yeah. And then five minutes later, they split. So certainly, I'm, I'm looking at how that affects my work, and wanting to slow down spend multiple hours or days on a single photo instead of
high volume. Yeah,
Junaid Ahmed 16:23
that's very, very great point. Because you'll notice, like, for example, um, I wanna, I don't want to give you an example. But
what I'm saying, what I'm saying is that what will happen is, you're you're going out and visiting, let's say, a park, and
you're up in the mountains. And you're, you're basically trying to capture every single photo that you think you know, because you're looking out with your eyes, and you're like, Oh, I want to capture captured that look in our captured the sunset or captured the clouds, and how the fog is creating the multiple layers. And all you can see, and the camera can't capture all of that, unless you're standing still. And you have your settings, right. But then when you what happens is you end up taking tons of photos, and then you sharing all of them. And so one of the things that you want to do is curate that library, right? When, when you create an album, you want to you want to spend enough time until looking each for each and every single photo and putting that in the album. So then you have you're telling the story of what's actually happening, rather than just sharing photos in bulk. And that's what what ends up happening. Sometimes you do a photo shoot, and you want to share every single photo that you've taken. Because
and and and i'm not a fan of. And that's one of the reasons why I still haven't printed a you know, my wedding wedding photo album
David Reeve 18:07
with no editing.
Junaid Ahmed 18:10
Well, I'm so annoyed because every time I look at this photos, and I'm like, Oh my god, these guys had no clue what they were doing. They're using Flash, you know, there's shadow, there's harsh shadows is like, like, half the photos are crooked. Like, you have to manually line them up. And I'm just not happy with it. You know what, that's that's what happened. When you learn so much about the process. You start looking at the sort of like, you know, it's just, it's just never going to happen. I even went through the photos think they took probably like 500 photos. I went through the photos. And I you know, took out 100 photos. So these ones you can print but we never got them printed. And you know, we've been married for like 12 years.
David Reeve 18:59
We're you're very critical. Yes. The photos. You're a tough editor. So yeah, I completely can relate to what you're saying. I think editing is one of the hardest parts of photography. Yeah,
narrowing down or curating photos for a book or a publication or a website of any kind is really, really tough. I think if you form a relationship with the photos, you know, memories and experiences of taking them. Yeah, you kind of you can defend every photo as having a place in this book or website. But then you you think of it from the point of view of of your audience. And, you know, you have to have a completely different approach. Yeah, you're right. Maybe doesn't want to see that many photos or Yeah, or your message will become more powerful by being, you know, through brevity. Yeah, so, yet, editing is incredibly hard, you know, the pacing the structure of photos, the it's I it shouldn't be that hard. I don't know why it is that hard. But there's something in our brain it is
Junaid Ahmed 20:14
and and even though we have tools available that speed up that process. Yeah, we're still you know, like to spend that extra time and sometimes you don't have the extra time and one of the reasons I like taking photos on my you know, iPhone or bringing photos that I've taken taken on the the SLR camera to the iPhone is because I can edit at my leisure. You know, I don't have to take time out and sit at a computer. Yeah, I could just edit and actually took up iPhone photography course on to Linda calm. And he was talking about app stalking and, you know, stalking folders on top of filters. Now there's apps that you can apply multiple filters and multiple effects to your photos. So
we've come a long way. Yeah,
David Reeve 21:05
I do feel that I think there's a point in which of photograph becomes a piece of graphic art and is no longer photograph. Yeah. Which is not a bad thing. But I think for photography, there has to be a degree of purity to it. Yeah, I'm not saying no Photoshop or no light room. Yeah, I think light room does digitally what people used to do in the darkroom. Yeah,
it's just as becomes easier. So I'm much more forgiving on light room.
There's, there's a point where we Dr. photos to such a degree that I I do believe personally that they cross over into no longer being a photograph. Yeah, they become graphic art, which is completely respected. Yeah. Not a that's not an insult, but they leave the world of photography and yeah, yeah,
and that's great.
Junaid Ahmed 22:05
Tell the truth and totally true. And that's why people you know, they're like, Okay, this is my look, right? And then they create their own looks. And, and I don't know, if I have a look yet I'm still finding that look and figuring it out. I mean, you know, you spent many, many years and decades on it. So you have that I and I, every time I look at your photos, they're they're just, you know, grabbed me and it tells a story immediately. So that's really awesome. Yeah,
David Reeve 22:36
I appreciate that I am so I'm sort of on the on the documentary side of photography for things I do take pictures of my kids and I do take pictures of trees and and the outdoors and and just about everything but yeah if I had a style it would probably even more documentary I shoot a lot of black and white mm hmm and kind of very Rob very raw looking
either extremely underexposed extremely overexposed in some cases. And that's kind of been I'll, if you are, if you're a fan of cinema, the 1970s and that kind of gritty Look, that's probably you know, where I would place a lot of my inspiration.
I love rock and roll photography from the 70s. Yeah, I love just gritty, gritty.
anyway, so your I want to come back to a point you made about telling your story. And yeah, when you had mentioned that, you know, you get 100 photos and
they kind of lose their meaning. Or, you know, I guess other people can look at them and interpret them. Yeah,
Junaid Ahmed 23:50
David Reeve 23:52
different ways than than what you intended. And through curation you try to use to try to sculpt that story and convey meaning to them.
One way, you know, people do it is through
through visual storytelling, or through writing or writing poetry that goes with their photos, or Yeah,
Junaid Ahmed 24:15
adding the quotes on top,
David Reeve 24:17
adding quotes on top. I mean, a lot of people can, you know, if you don't provide them with a narrative
or a piece of written journalism to go with it, people can come to their own conclusions about what a photo
is or means. And quickly when you said that it kind of triggered a memory. But
just a quick quickly share a story with your audience. I saw a
I saw an amazing photograph on the cover of the LA Times many years ago. And I decided to send the photographer an email. Hmm. And
it was the photo was taken during a war.
This is a war in Afghanistan. Yeah. And a few hours later, I received a response to my email because completely unaware that the photographer was still in Afghanistan. Oh, my God, and was still in the midst of war. And he was a Getty Images photographer out of Chicago. Yeah. And he had a satellite uplink that was attached to his laptop computer. Yeah. And he was sitting in a tent, you know, with other soldiers at night, and he was uploading his photographs to Getty Images, where they would be distributed to the press include the LA Times cover photo that I had seen, and the photo was amazing. It looked like an oil painting. He was he was following
two medics that were jumping out of a helicopter and rushing into a battlefield. Yes, you someone that had been shot, and there was smoke and dust everywhere from the helicopter. And this photographer was blindly following these two two medics pictures, completely unaware of his own surroundings, because he was looking through the camera at the time. And
over a series of a week or two, we exchanged a lot of emails, yeah. And he said that he had often taken photos for Getty. And there was one in particular and people have accused him of trying to
change the perceptions of war. Interesting through our Griffey, Dave accused him of his photos being being
faked or with people that are actually acting or
performing for his camera in a certain way. But they're not eligible for photos. And it makes them It drives them crazy because he's actually an embedded or photo journalists
Junaid Ahmed 27:14
out there doing this. Yeah.
David Reeve 27:16
And people will look at his photos and they'll say, well, that's fake you stage that you had you had the soldier carry the other soldier. And you know you. And of course, this is what happens when you don't provide a narrative with your, your artwork
that other people can interpret it. And they bring their own biases and their own feelings into that. And they may or may not completely alter them the narrative of what was actually going on, and it can be really disruptive if that happens. So I just want to share that story. But that's, you know, a great reason for everyone to provide a narrative with their photos. Write a story, do some journalism. Yeah, yeah.
Junaid Ahmed 28:06
No, that's that's absolutely true. That is absolutely true. And the right way to go about it. I was reading actually
the Winter Olympics
couple years ago, and there was an article and there was there talking about how there were getting photos of, you know, the activities happening there immediately in ready to be, you know, published online or on a newspaper. And they're talking about tech that they're using, and the guys who were shooting out there, they're like, yep, we're hanging out here with three cameras or four cameras at some point. And they've got each cameras got a dedicated lens, 100 millimeter hundred 3535 and the 24 I guess I can't remember. But they have those cameras connected to a local network which is connected to gigabit and sending those photos back to an editor sitting at the newsroom. And so they can, they can immediately get those photos, run it through their process, edit them and get them out to be published.
David Reeve 29:23
I was like, Wow,
Junaid Ahmed 29:24
that is amazing. Because they're there they're matching that they're going over three four different technological advancements and and going through multiple people just so they can get the best images you know, possible. Yeah, yeah,
David Reeve 29:40
that's a you know, Wi Fi is a beautiful thing right
column I yeah,
this photographer in Afghanistan was
I think he actually plugged the satellite dish a small portable satellite dish into probably like a USB output or so thing on his computer. Yeah, because Wi Fi wasn't available there but yeah, it's it's amazing the speed in which we can do it yeah, the Sony cameras one of the Sony cameras I'm working with now will actually a low quality small JPG to your phone every time you take a picture
Junaid Ahmed 30:21
Yeah. Which is amazing. It is amazing. Um, so when I first got my camera I didn't I just had the, you know, playing on SD card and then I discovered ifI I'm like, What is this ifI business sci fi is a SD card with Wi Fi built in to the SD card. Oh, wow. So it drives you know, it the power drives from the battery, of course, and you can connect to this Wi Fi network through your smartphone. And it will, you know, transfer over a JPEG image to your phone. As soon as you take a photo of like, you know, and this is before we had Wi Fi available in the camera. So now, I mean, now all the cameras have Wi Fi built in. So
it's it's changed. Yeah,
David Reeve 31:10
back in the Vietnam War era, I mean, it could take days before a photo was published in a local newspaper and distributor.
And now we have almost almost real time I mean minutes or hours separating
ourselves from the actual event.
Junaid Ahmed 31:33
But let's let's even crazy now is that now you can broadcast live in 4k, right? And that 4k image is sharp enough for you to grab a frame and he does my photo you can apply edits to it, and you know, you're good to go.
Because a lot of people are sorry,
David Reeve 31:59
I do wonder a video I was going to replace photography one day, and then we're just going to grab brains a video, I don't know, you know,
Junaid Ahmed 32:06
because the thing with photography is that you can have the
the bokeh effect in photography and video you can also but but the dynamic range is this is the one thing that videos almost there. I mean, you you need some really high end equipment to get the diamond dynamic range in a video that you can already do in photo, you know, in low cost SLR cameras, even even smartphones. In fact, when we were when we were up in the mountains
last week, I was taking photos with my the SLR and then I would take photo with my iPhone and the photo from the iPhone because it's defaulting HDR
looks so much, much better. Why am I Why am I even carrying crown is yes. Yeah,
David Reeve 33:07
very true at times. I mean, the iPhone is the world's most popular camera right now. Right. It is. Absolutely.
Junaid Ahmed 33:14
David Reeve 33:16
The battery lasts forever. Hmm. last longer and a camera. Yeah, you know,
I still don't think we have good quality zoom. And, you know,
the functionality get obviously on a DSL. Ours Oh, yeah.
Much, much higher quality greater.
But, you know, look, it's, it's improving with every generation of phone and it is. Yeah, I know,
Canon and Sony and Nikon and all these are probably losing a lot of sleep hoping that they don't lose touch with younger photographers. Yeah, grow up with a Samsung iPhone. Exactly. being the only camera that they ever need. So yeah, you know, I hope that's not the way it is. But well,
Junaid Ahmed 34:09
what what happened? Well, what ends up happening, what ends up happening is that we become more specialized as photographers using high end equipment. So we can demand a higher price for our work. Because short, anybody can take a photo, anybody could shoot a video with their smartphone. But if you want quality, if you want the experience behind creating that imagery, you're gonna every single time you're going to hire a professional photographer. So going forward, that's that's going to be the same situation.
David Reeve 34:51
I think there are. So I put
I put I put photographers in kind of two categories. There's two types of first, yeah, probably the, the casual iPhone user is falls into one of the categories but I think there's there's good photographers who take photos of amazing things. Yeah,
and I think there's amazing photographers that take pictures of ordinary things and make them look amazing. And I think, you know,
to give you an example,
I think I'm an ordinary photographer, or a good photographer who takes pictures of amazing things. So yeah, I'll spend time
you with my subject I'll,
I'll spend months, months and months preparing for an opportunity to shoot a photo or a series
I'll try to get access to places
like the prison piece that I sent you
doing photography inside a prison is not an easy thing to do. So your typical, you know, person with an iPhone in your pocket is not going to have an opportunity, they're not going to find that opportunity to not create that opportunity. Through months of our work.
I think an iPhone is going to be more of a reactionary device, it is all out of their pocket when to take a picture. And it's great,
but I think photographers
are always going to have an upper hand not only with the quality equipment, but they're going to have enough work in in the work that they're willing to put in to get a great photo or series of photos. And an iPhone person is not going to do a gallery show an iPhone person is not going to, you know, create probably a series of of works of art. It's a reactionary device that takes awesome photos and videos. Yeah, I don't know that aside from you know, a couple of examples. You've given a filmmakers? I don't know that people are putting a lot of time
know, research work labor
travel into creating iPhone pictures there, but not many. Yeah,
Junaid Ahmed 37:16
that is very true. That is absolutely true. There was actually a story about a photographer who
was hanging around Emily as for three days, or maybe even longer just to capture a photo of a snow leopard. He's just hanging out in the camp and it's snowing and he's up there. It might have been more than three days might have been three weeks. No, I don't remember the exact story. But he was there for a while before he was able to capture that one photo. And that's that's the that's a photographer. Yeah. Yeah.
David Reeve 37:56
That's, that's amazing. And if that type of planning and preparation Mm hmm. That I think separates professional photographers from you know, your your hobbyist or you're not hobbyist
this Yeah. What else? Someone that's just taking pictures at a birthday party with their iPhone
Junaid Ahmed 38:20
David Reeve 38:21
to be able to sit in the cold
like this. This example you're giving and these these you know, bad conditions Yeah, cold hungry and to be able to sit there knowing that he or she you know, may or may not encounter a snow leopard yeah and if he or she does encounter a snow leopard it will probably catch them by surprise probably half a matter of seconds to react
Junaid Ahmed 38:55
David Reeve 38:57
to get you know what's going to end up being great photo you know, meeting the snow leopards going to have to have great posture and a great look and and be you know, sleek and intimidating and all these things that we want
you to know lepers to be, yeah, that exact moment is you know, it's like winning the lottery. In some ways it is you don't have a control you just kind of hope it happens and and when it does happen. You hope that you've got your camera focused on it. And you can take a pic Yeah, not controlling your environment. Yeah,
Junaid Ahmed 39:33
no, absolutely. And then and that's the other thing that we have an advantage advantage on. With diesel ours. They have amazing selection of lenses, like those long focal length, 600 millimeters, 800 millimeters. Those bring that that you know, nature photography, a whole new level, like macro lenses are super amazing.
And for the longest This time, I was like, I want to get a macro lens. I can take photos on my honey bees. And when I finally did, I was like, Whoa, this is too real. Yeah,
David Reeve 40:09
that's amazing. I see these guys in Africa, taking pictures of a rhinoceros a quarter mile away. Yeah, because it's such a dangerous situation. You don't you're not going to approach a rhino or an elephant or some or a you know a tiger. Yeah, I'm not in that environment. Anyway, but you're using a zoom lens and your your hundreds of yards away. Yeah. Yeah.
Like it's awesome. Takes the danger out of it. Nobody gets hurt. Yeah,
Junaid Ahmed 40:45
nobody gets hurt. Well, do you want to add something else? Where can people reach you still wanted to
David Reeve 40:54
um, if you want to go to David reeve.net there's some pictures there
a vi d r ev e.net
there's some of my projects there and if you want to read my latest piece on the juvenile prison system it's posted on medium
medium or Google and search for closing California's most violent juvenile prison
we'll add it to your show notes online
Junaid Ahmed 41:30
yeah link a link it to the show notes so so we have access to those links cool yeah fantastic Well David this was a pleasure speaking with you learning about photography and what it all takes to get there
it's an amazing story
David Reeve 41:49
Junaid Ahmed 41:50
Thank you so much. We'll talk again if you want. And we can talk a little bit little bit about marketing, because
that's a that's another subject for another day, mainly, because
earlier today, I was I was watching this video by Seth Godin. And he's talking about how advertising is not marketing. Not anymore. Anyways, initially, it was the same thing but now it's changed and apparently has a new book coming out. This is marketing thing on next week, which I already pre ordered. So
check that one out. But yeah,
there's a great talking with you. And, you know, we'll pick some more of your brain and, you know, talk about some other topics.
David Reeve 42:41
All right, we'll get into marketing next time.
Junaid Ahmed 42:43
Alright, sweet. Thank you so much. Thank you.
In the next episode, we get to speak with a high energy keynote speaker, a trainer, a spokesperson best selling author and inventor Christina Dave, she launched PR for anyone to help small business owners, entrepreneurs and authors to learn how to easily and effectively generate their own publicity. So tune in next week for our next episode as we talk with Christina day.
Transcribed by https://otter.ai