Walking in the Shoes of Outdoor Photographer Curtis Jones

Immerse yourself in the world of renowned outdoor photographer, Curtis Jones. Join us as Curtis shares the highs and lows of his ongoing journey exploring the most isolated environments on the planet. Find out what motivates him and how his approach has changed over the years. He shares his passion not only to photograph these places but also to study the rich history, culture, flora, and fauna, so he can enthuse and educate those he guides.

In this episode, Curtis tells us about his initial experiences in expedition and adventure photography. From this more documentary approach, he has evolved into an artist, teacher and guide. Modern life with its electronic devices can make it hard to achieve a deep connection with nature and Curtis shares his own struggles with this as well as his hope that he can help others to connect with the locations he takes them to.

The podcast delves deep into the emotional elements of Curtis's work, giving listeners an insight into the sense of satisfaction derived from capturing ever-evolving scenes. The remote, sometimes harsh locations have a profound impact on Curtis as well as opening up opportunities for extraordinary images. Through Curtis you can experience the joys, the anxieties, and the liberating aspects of being an outdoor photographer. 

Joe & Curtis explore the difference it can make when photographers connect more with the location and why various "rules" and traditions of landscape photography can limit your art. They also discuss the different levels of enjoyment to be gained when sharing the locations that have refuelled them as introverts with groups of photographers and explorers. Whether you are an aspiring photographer or simply a nature enthusiast, this episode offers a very personal perspective on outdoor photography and the art of being 'in the moment'.

Images © Curtis Jones (used here with permission)

 

For more of his portfolio, please visit Curtis' website

Curtis on Instagram

 

This episode is sponsored by The Society of Photographers

Episode Transcript

(00:00):
Welcome to the Focused Professional Podcast, sponsored by the Society of Photographers.
I'm your host, Joe Lenton, and this is Episode 16.
Music.

(00:33):
Welcome to the Focused Professional Podcast. And today, we've got a guy who
falls over in streams, rivers and snow, gets soaked by rogue waves,
but somehow still manages to get great images.
Oh no, sorry, that wasn't the introduction I was supposed to go for.
This is somebody who's been on Team Canada for the World Photographic Cup and
been published in National Geographic publications and all sorts of other places

(00:55):
as well. This is Curtis Jones. Hi, Curtis.
Hello. I hope that was okay for an intro. We did say beforehand,
we weren't totally sure which way to go. So I thought I'd hedge my bets.
No, that was perfect. That was like a perfect summary of basically my whole
approach to photography.
So not really sure which way to go.

(01:16):
Excellent. I can certainly empathize with the rogue wave side of things.
You try and get that really nice spot and you've been watching the waves for a while.
You watch where the tide line is. You think, I'm pretty sure this is safe,
but no. Mother nature has other ideas.
Always, always. Yeah. If you're out there long enough, you're going to get wet.

(01:37):
That's just a given. It's like a law of nature. Yeah.
So most of your work is outdoors and quite a lot of it really on your website
looks to be from quite remote, cold extremes of the planet.
So you like getting away from people, I take it.
So, yeah, I feel like I've got a bit of a reputation as somebody who doesn't like people.

(01:59):
And that's not true. I do. I love people.
I love the people that I have in my life. And I love meeting new people.
I love going on adventures and traveling and meeting new people. That's great.
But I do really feel like I recharge and I energize and I relax more of who
I am, who I really am if I'm in more isolated, remote environments.

(02:23):
It's a funny it's funny because like.
I don't know. I was thinking about that concept of going to remote locations
where there aren't many people to get away from people, but if you flip it,
it's more about me going to get closer to myself,
I guess, to get back to me, which I have a hard time doing when I'm surrounded all the time.

(02:43):
Yeah, I can relate to that. I suppose as well, you grew up in Newfoundland,
And yeah, so I suppose that's quite sparsely populated in many, many ways as well.
So there's quite a lot of areas there where you can go for peace and quiet.
So it's probably something you grew up with and were used to.
Yeah, definitely. Grew up basically just raised sort of outside,

(03:07):
just myself, cousins and a few friends and stuff like that, and spent a lot
of time outdoors exploring in the woods through bogs and frozen lakes and ponds and things like that.
And you're right like newfoundland has
a couple densely populated areas but for the most part
is pretty open it was it's
quite surprising actually the first time i left the province and

(03:29):
lived somewhere else for a while how restrictive
everything else kind of felt even within canada which is a
massive country with a sparse population there are
like i don't know it was just quite different in newfoundland growing
up kind of being able to to put
a tent down almost anywhere and walk for five days in any direction as long

(03:50):
as it was away from the ocean or jason and not and not really other than maybe
a handful of small like coastal towns or something like that really run into
much other than nature so to go from that upbringing to,
you know fences and and allotted areas and i don't know like even even the.

(04:12):
Even, I guess, like what's considered to be a federal or provincial park, which is fantastic.
There's just, I feel like there just seems to be less of those obstacles in Newfoundland.
Yeah. So that must be quite strange when you have to go into the big cities
and so on for a few travels.
That must be rather a shock to the system.

(04:34):
Yeah. I mean, it's kind of like, for me, it's like going to the zoo a little
bit. Like I, I, I feel like it's, I go in, I have to like prepare myself and
see like, it's going to be good food.
There's going to be like reliable internet access. I can check in with family and friends.
I'm going to get a hot shower, hopefully, usually depending on the country.
And that's the mindset. And if I can do that for 48 hours and keep,

(04:57):
keep in that frame of just soaking it in, but I'm definitely,
when I do a lot of the international stuff, that's my least favorite.
Part is is the is the layovers and
the stopovers or the getting to the next part you know
logistically and going through the bigger cities while i
can appreciate what it is oh the culture and the
the the music and the art and the food and the people it's

(05:20):
not it definitely isn't like the biggest
draw for me yeah i can
relate to that with airports are not necessarily my favorite
environments really there was one time when we
had to spend six hours in the queue at an airport and wow yeah
that would test me that that
was that was tough that was tough i did did not enjoy

(05:43):
that at all so how much of your time do you spend on the
road traveling then it varies it's different
it's been i mean over the last 10
years or so it's definitely seen a
lot of like ups and downs some years it feels like
i've only been home for you know
what amounts to be maybe two months out of the year sporadically and

(06:04):
then there are other times where i'll i'll be
here in canada you know three three four
months at a time uh so on
average i think i'm probably traveling somewhere between six and eight months
a year and every year is a little bit different and it does depend on the the
kind of contracts that i get a lot of the work has historically for me it's been pretty,

(06:31):
I wouldn't say random, but it's not like I can really.
Every year is the same or every month is the same.
And slowly over the last 10 years, I've started to be able to establish.
A bit of a better, I guess, roadmap to where I'll be at that time of year or
when I can expect to be in Newfoundland versus Alberta in Canada,

(06:51):
or am I going to be on the road? Am I going to be in Antarctica?
And so just trying to introduce a little bit more predictability,
I think, in the schedule because it is, it's something that I've noticed that over, over time.
I've, I've kind of got to a point with my career where I've always wanted to

(07:12):
be where I set out to be years ago.
Of course, like with everything, 10 years into something you're working towards
you as a person, you've changed, your goals have changed what you want,
you know, or what you value was probably slightly changed or moved, shifted.
So now it's, it's a little bit more like I still want to travel and I still want to be out there,
but I, I don't necessarily want to be gone for three four months at a time away

(07:37):
from friends and family and also i don't really enjoy doing the really short
stuff anymore like going halfway around the world for a 10-day trip kind of thing,
so it's like how do you how do you balance more consistent valuable time at
home where you can you can move forward with like life and friends and family and stuff at home,

(07:58):
but also figure out a way that if you're gonna travel across the world can you
be there for a a couple of months and make the most of it.
Yeah. I can imagine it can easily be quite sort of disruptive to that developing
a place where you want to put down roots.
And so do you feel a bit torn in that regard? There's part of you that wants
to be out and traveling and there's part of you that wants to put down roots

(08:20):
and call something home.
Definitely. And it never was that way. When I left Newfoundland in my twenties
and I moved to Northern Canada and it was kind of like
one of these things where I just wanted to travel and travel and travel and
see as much as the world as I could and have as many stories to,
you know, to bring back as I could.
And I definitely feel like now, 20 something years later, there's,

(08:46):
there's always sort of been that tug, but it's, it's, it's a lot heavier now.
I feel like it's a stronger pull.
The things that I've, I think the things that I've discovered spending that
time traveling and documenting things.
I want to sort of apply to where I'm from, where I was raised, like my roots, I guess.

(09:08):
And I've tried to do that, but like haphazardly and not too well,
while still maintaining a lot of like on the road lifestyle.
It's really difficult to tell.
It's difficult to tell somebody else's story. It's really hard to tell your
own story if you're not willing to like slow slow down and reconnect with your
past, I guess, and where you're from.

(09:29):
So a lot of, a lot of the things that I'd like to be doing in the next five
ish years, let's say five, 10 years that I hope to do are definitely more connected to home.
And in order to do that, I've found that for me anyways, I, I really do kind
of have to immerse myself in it.

(09:50):
So I've always said that about photography as well. Like if you're going to go.
If you have the ability to go back to the same place over and over and over
again, your photographs will change.
The stories that you tell are going to become deeper and richer.
And so I guess I'm just sort of coming around to the idea that I have to apply
the same concept if I want to tell stories from where I'm from.

(10:12):
So is that something that you have quite a strong identity as a storyteller
then? Is that what you feel about yourself and your work?
I don't know. No, like I've, I've sort of resisted that.
I'm coming around to it now. I think that that's more because I'm,
I'm more interested in doing that.
I've always preferred to hear other people's stories or to just show my photographs

(10:36):
and maybe talk about, you know, the images and things like that.
But in the last couple of years, I've definitely put more
time and effort into writing into storytelling i've done a
lot of i do a lot of guide work
that requires a certain element of
story as well whether you're talking about location

(10:57):
or history of a place i find that it's
a more enjoyable experience if i'm bringing somebody on a
photo tour and i can tell stories about the place while
we travel in between the photo sessions you know and and or find some way to
bridge two different cultures with story for the clients that i'm bringing and

(11:17):
the people that we meet it just makes the whole experience a better one for
everybody i feel like it it
stays with people more than just we went there we saw this we took the photo we're coming home.
And when i started realizing that i was seeing a
lot of my experience was changing when i invested time
into that trying to be a better storyteller

(11:38):
trying to like be a better guide i guess i
felt like i was getting more out of the photos that i was taking i felt like
the experience was better for clients and for the people that we met and so
yeah i guess a couple years ago i started to try to focus on that a bit more
i don't i would love i think there are two things that i absolutely,

(12:01):
feel like are i'm just envious of people that can do it one is to get up on
stage and just tell a story you know like those those storytelling yeah nights
or whatever i think that's an amazing skill it's it's super courageous that
and to be a stand-up comedian in my mind feels like the most,

(12:21):
the raw skill set that you can apply lie.
Practically burying yourself in front of an audience, isn't it really?
It's scary, I should imagine.
So for me, when I think of storyteller, I'm like, that's storytelling.
And I don't think that that's what I am, but I do definitely think that it's
not that I want to be that person on the stage, but that's kind of the direction

(12:44):
that I like trying to point myself towards and seeing if I can bring elements
of that into what I'm doing.
So how do you develop up your understanding? How do you research it?
Is it simply that you've been these places and you listen to locals or do you read a lot?
How do you inform yourself about these places that you're then going to be a tour guide for?

(13:05):
Yeah, I do read a ton. I try to stay as current as I can with a lot of...
So for example, for Antarctica, to go down there and be a guide,
you have to do a certain amount of study and coursework.
And there are certifications and qualifications and exams and things like that
about the flora, the fauna, the wildlife, the history, the arrangement of the

(13:31):
treaty that governs Antarctica.
So there's a lot of information that you're just ingesting anyways.
And so for me, I've always said that if I'm going to go through that process,
and I come from an academic background, I went to school and got a degree,
and I was working in a profession that has nothing to do with photography.
And for me, the one thing that I always kind of like, I have no regrets about

(13:53):
that, but I always sort of regret, I guess regret is the wrong word,
but it always sort of like was a punch in the stomach that I never regretted.
I feel like I never really leveraged the study into something else.
And with this, if I'm going to do the study, it's like, how can I take pieces

(14:13):
of that and make it interesting and tell stories or engage people that you meet
in an airport lineup about, okay, you're going to Antarctica as a photo guide.
And a lot of the times then it just comes very much about what kind of photos, can I see the photos?
What's your Instagram? Instagram how do you get that job that's
crazy like which is all those are all valid things but the conversation

(14:34):
for me is is way more interesting when we
just start talking about the place the history why
it's important that kind of stuff and so
I guess I get a better I get like a better sense of a of what I'm doing with
my life out of being able to research places Try to take that information and

(14:58):
give it back in a different package to people.
And I feel like the photographs and the video that I take in these places are,
that's kind of the delivery system in a lot of ways.
But it is for me, especially like as I get older and that I've had the opportunity
to be able to go back to these places over and over again.

(15:19):
And it's almost like, it's almost like a requirement for me now is that it has
to be about more than just taking nice photos.
So what, what else is there? Well, I should have a better understanding of this
place and, and what it means.
And if I have a better understanding for myself, can I help or can I pass that
information along to other people?
It's a little different, I guess, for places, places with people.

(15:44):
Then, then it is, yeah, still research and reading and things like that.
But a lot of that does come from just sitting around the table over coffee or
tea or a meal or a campfire or something like that and listening to people.
And so in that situation, I'm very much just like a willing participant,
just listening and asking questions and things like that.

(16:06):
It sounds like all of it is really coming from a place of passion for you that
you really do want to dig into it.
Sometimes you find photographers who learn
enough what they think to get by and that's
about it or you might get people who would go on one of those kind of trips
as a once-in-a-lifetime thing and think yeah it was great but boy was that challenging

(16:28):
you know for you it seems to be an ongoing passion that is deepening in different
ways as you as you're getting older can you put a finger on what kindled that passion.
Yeah, that's a really good question. I think it's got something to do with that
idea of going to places just that one time and saying, okay,

(16:50):
I did that and it was difficult.
What's the next thing? And I was doing a lot of that early in my career before
I was even doing this professionally.
And then as I started to do it professionally, it felt a little bit like taking
an accomplishment box checklist almost like when I first got into this,
I was very much in the world of expedition and adventure photography.

(17:12):
So it wasn't so much travel or photo guiding or education or anything like that.
It was 100% documenting or being part of these sort of more adventurous physical
expedition challenges in different parts of the world.
And the more sort of crazy and difficult and wild it looked on paper that's
what we were going to go for and that was the story we'd sell like afterwards

(17:34):
to magazines or we try to get sponsors on board and whatnot right like just
all that make a film put it in a film festival whatever,
but it it it was fun for a while but i i felt like my heart wasn't really truly in it because.
It really did feel to me and i don't not suggesting that
this is the way it is for anybody who's still doing this or does do

(17:56):
it or aspires to but for me i didn't connect
with anything past the whole like well what's next what or
or the the i accomplished
this and that's what i did for me like i didn't know if i could do it i tried
to do it i tested myself which i think is an incredibly valuable thing that
we all should be doing but i also wanted to see if there was like something

(18:18):
for me anyways i felt like i needed to
have a slight some sort of a deeper connection as to why I'm doing this.
That makes sense. I think these things evolve. We start doing something for
one reason, and then we learn about ourselves through it.
And sometimes something which kind of started off as almost like an addiction

(18:38):
to a buzz, you know, oh, I've done that, I've done that, I've done that.
You say, yeah, do I really want to push myself further and further,
or do I want to find another reason for doing this?
Do I want to connect with it in a different way? yeah yeah
definitely i think that's that's a lot of how it
started and then now it feels

(18:59):
very much just more like who i am i really
really love like the research part of things i love figuring out all this this
information and sharing it with people and and i and i also like bringing that
that research of that information to people in these countries or places that
I go and saying, like, I read this or I saw this,

(19:21):
like, is this crazy? Is how far off? You know what I mean?
Instead of it's a little bit like if you have the ability to go back to a place
more than once, more than twice or three times, and you start having friendships
and forming sort of relationships with people, there's that back and forth.
It's a conversation and it really does feel like a stronger connection to and

(19:44):
a better reason for me to keep going back and to keep.
Doing that work than the one-off sort of scenarios.
Yeah. So as your career has developed, you've been traveling a lot,
taking a lot of landscape, seascapes, nature, wildlife, quite a collection of different things.
Was that normally done off your own back with a view to then finding an audience to sell that to?

(20:08):
Or was it more commissioned upfront so you knew what brief you were trying to meet?
Because you get quite a lot of people when they when they
do photography like getting into sort of landscapes and so
on but then beyond sort of trying to sell their
mates a calendar for the new year or make some cards or
something they're not necessarily sure what on earth do
you do with this stuff you know so how did it work how did it work for you yeah

(20:33):
it's it was a carnival basically of everything like it i when i did start i
threw myself in the arena for like any kind of photography that would pay I
just wanted to, to grow as a photographer,
to, to build my skills and to find a way to make money doing it.
Like a lot of people, when you start now, when I was a hobbyist,

(20:55):
serious hobbyist, I was definitely more interested in, in landscapes and nature.
And so ideally in my mind, I was like, how do I make that pay?
And it wasn't incredibly easy for like a lot of the reasons that you just mentioned,
like outside of going to like weekend art fairs and selling your prints,

(21:17):
calendars, cards, stuff like that, which varying success.
I think that's a really difficult road. I think that some people can possibly pull it off,
but I don't think nowadays that it's possible to do easily, if at all,
without really investing in some sort of branding social media portion as well,

(21:40):
whether that's a YouTube channel that pushes you and your identity and the story
behind the photos and your journey to get those photos.
And that's why people care and want to buy something, a book,
a calendar, or you're just like literally showing up at every craft market every
weekend of the year and building a relationship with people every single,
you know, Saturday and Sunday who know and rely on you to be there.

(22:03):
But it, it, I think it is hard if somewhat impossible to build the full-time
career nowadays around just taking pictures of landscapes, putting them on a
website and expecting somehow for that.
To translate into sales they've almost become like
a i know it's sad to say this but it seems unfortunately
true is that that a lot of that work has almost become

(22:24):
like a commodity to a lot of people you can go into
like a big superstore or something and you can buy this stuff printed on a canvas
for next to nothing you know so as an independent artist then trying to sell
prints of your work it can be a real uphill struggle so i guess there's more
more money in the commercial social licensing, I would, I would presume.

(22:46):
Yeah. So that's why I, that's what I did. So I did, like I tried weddings and
I tried a lot of like corporate stuff and I did client work and editorial stuff.
I was living in Northern Canada.
So I, what I did have was the ability to be one of a few photographers around
so that when jobs did come up, there wasn't like a lot of competition.

(23:07):
So when I was in my early days, I was inexperienced.
I probably wasn't the best photographer that could be hired, but I was available.
And I said yes to everything, which goes a long way.
I think in the beginning of, of their career for sure is just being available
and being open to all these opportunities and doing your best and trying to
learn from it and do better the next time.
And so there was a lot of that. But then the other thing that I realized is

(23:30):
that I was a lot of the nature and landscape stuff was quite unique back then.
And it is still now, there are parts of the world where stock photography is still unique.
It's less and less and less and with AI and all that stuff, who knows.
But at that time, 10, 15 years ago, Arctic, remote, polar, northern stock photography wasn't a big thing.

(23:54):
So I was still able to sell and license my images of nature and landscapes and
wildlife to companies, governments, NGOs, things like that.
Through stock and get paid decently well to do it.
So I was very fortunate in the beginning, first couple years of my career,
to find those connections and build

(24:17):
those relationships for a very niche product, which was Arctic stock.
So you mentioned about government organizations and so on, is that partly because
of the developing interest in the environment?
So things like keeping an eye on the polarized caps and that,
was there more of an interest growing
in that so they wanted more images definitely so one of my long time.

(24:43):
Clients was like the the climate change division for the territorial government
and so every year i could usually expect to have some sort of conversation or
meeting about what they would need,
for the coming year as far as stock goes without
a guarantee they're going to buy it but at least i had some like i had a kind
of an idea and then i would go out and try to create

(25:05):
that stuff so that's a little bit like spec but also
a little bit i was going to shoot most of this stuff probably anyways
it was just being a little bit more mindful and intentional with
you know framing and and composition and for
with the the knowing that there's
this could work for a website banner or this is going to be the cover of like
an annual report leaving that negative space where it had to be and all that

(25:27):
kind of stuff sure but i wonder whether with that when you're doing something
like that you well i think i'm just imagining it from my perspective whether
i'd feel a little bit torn as like,
is this a documentary photo or
is this an artistic fine art sort of photo that's going to be processed?
You're in that situation. Do you shoot your documentary stuff and then spend

(25:47):
a bit of time on your fine art?
Or how did you split it in your mind at all like that when you were doing it?
Yeah, it's a good question.
I mean, I think at the beginning I didn't. I probably just took what I thought
I liked, what I wanted to take a photo of and how I wanted to take it.
And a lot of those, not a lot, but enough of those photos were interesting to.

(26:10):
Agencies and corporations that they ended up using them.
So I didn't really have to like make a choice. It was just like,
I took this photo, it's available. Here's what I got guys.
Do you want to use it? And then after doing that for a couple of years,
realizing that there was probably an easier sell or a market for a little bit

(26:32):
more tailored product for certain clients.
And that's probably where the division happened. Then it would be like,
I would be more intentional to shoot for what I thought they might use or need.
And then if I wanted to shoot for myself, knowing that, you know what,
this, nobody's ever going to use this.
This is just for me and like a photo or a print or a, for a book or something

(26:53):
that I want to make that nobody, maybe nobody will buy, nobody will care about.
I don't know, but it's, I'm still going to take the photo. Right.
And now though, like.
I feel like both those worlds have influenced each other quite a bit.
And so now when I go out and shoot, there are a lot of photos that I think like,
oh, this is a beautiful shot that I'd love to like print and put on a wall or something like that.

(27:16):
But also, I think it's like it could be useful as like as a commercial print as well.
So with your work that's been involved now for a long time with these kind of places,
with being out in nature, sometimes we can find it difficult these days to disconnect

(27:37):
from our electronic devices and just actually really still connect with nature directly.
Do you find that you can still do that?
Do you find you can put your camera to one side and enjoy and connect with nature?
Or is it just, well, it's work now? know yeah
that's good question i i feel like i never

(27:57):
thought about it at all for the longest time i was just anytime i stepped outside
and did anything i had a camera or two tripod filters lenses you're just going
to get groceries and you've got 35 pounds of equipment on your back and because
you're just like what if something what if what if yeah and i spent a lot of time I'm doing that.
And now I, thankfully, because it's way better for my mental health, am able to.

(28:23):
To leave all that stuff behind for weeks or even a month sometimes and just go out and
explore and and hike and camp and walk the trails and think but that that came
with a lot of effort like it is hard and even now it's still hard to do that
and then like you get the most beautiful light or like an incredible wildlife

(28:45):
encounter and you have nothing and you just have
to like sort of swallow that a little
bit and and just and and bring yourself to be
present and mindful but but i do
think that that is incredibly important for everybody but especially for wild
nature outdoor photographers we do tend to get very focused and singular on

(29:07):
just chasing the image or the experience or the image that we,
we put that, like that actual being present in the moment, mindfulness way at the bottom.
And I know that like most people who are outside doing photos,
like landscape and nature and stuff, the reason they're out to doing that is
because they would want to be, whether they had a camera or not.

(29:30):
And for me, it gets lost.
And I know with a lot of the students that we do like for workshops and clients,
that That for me is like a big sort of ulterior motive,
I guess, for running some of these workshops and tours is to see if I can just
like get people to reconnect with why they wanted to do this kind of stuff in the first place.

(29:50):
Of course, they want to get these amazing photos that part of the whole like
marketing is like me showing like, this is a great photo I took and I can bring
you to this place and you can maybe have that.
But, but really it's more about, this is an incredible experience.
And this is where like the storytelling part comes in again.
It's like, yeah, here's like the, my experience and the story of how I got this
photograph and what it was like for me.

(30:10):
And I'd love for you to have a similar or your own experience in this beautiful spot.
And maybe you'll get a photo as well. Like that's kind of more of the, the angle now.
Yeah. That makes sense. Yeah. Yeah. I've found times when you're outside and the light is just great.
You can end up running around like a headless chicken, just trying to get shots

(30:32):
in before the light goes instead of just standing there and enjoying it or sitting and enjoying it.
I suppose the, the closest I tended to get to it was long exposure stuff.
So stick the 10 stop on there. And actually I've got a few seconds to just stand and look then.
A hundred percent. I totally. And I, and I really got into that too.
Like the 10 stop long exposure stuff for a while, because it,

(30:53):
you were able to just sit and you had that time to take it in.
It's funny when I was living up North, I had a friend who was a painter and
there were times when we'd both go out and we'd be out on the beach or in the
mud, like in the flats as the tide went
out waiting for the sun come up and he would set up an easel and he
would be painting and I would have a tripod like

(31:13):
just next to him adjacent and I would be doing
long exposure stuff and sometimes
he would just be doing these really quick gesture sketches to get an impression
of the place and he would knock out like 15 sketches before
I had one photo and it felt like it was really interesting
to to see like usually
you'd think like what the artist is going to be taking his time and

(31:34):
he'll be at it for hours capturing a moment photographer's going
to take a shot move move on take a shot move on so it was fun to sort of like
play with that balance and see that like you could there was a way to slow down
you could implement like like you could speed up you could slow down i mean
it really is in our power and our control and i feel like as as photographers.

(31:56):
Or just artists or creators or whatever humans like it makes sense for us to
to be in these spaces and just connect to them.
And I think that you will, yeah, you're going to miss some images.
Definitely. You're going to miss some moments. You're going to kick yourself for it.
But like, if you look at the long term curve of that, your work is going to

(32:20):
be stronger and stronger and stronger.
If you're connecting with the spaces and the places and the wildlife on a very
personal level as well, which we cannot do if we're just running around from
shot to shot to shot chasing light.
I think that if you invest sort of that, give yourself the space to settle and
have that intention and that mindset, your work later on will reflect it.

(32:45):
Yeah, I think understanding and connecting with the space is quite important.
Certainly when I've been for sort of sunrise or sunset, it was trying to get
a feel for all of that before the light came, which is difficult because you've
got to anticipate where the light's going to be.
But then i think what some of the most satisfying shots
that i took that were really really long ones

(33:06):
like five minute exposure or something when the
fading light is just going because i
couldn't do anything that you're taking a real gamble on it you're tying your
equipment up in this shot and thinking i hope it comes out as something but
then at the same time you know after the first few seconds you set it up you
think well i might as well just look now yeah Yeah.

(33:30):
Yeah. Like what does this actually look like? What does it feel like on my skin
as it gets brighter and it gets a little warmer, you know, five,
a lot can happen in five minutes over a sunrise, you know, or a pre-dawn it's,
it's funny. Cause I, and it took a while.
I went through a few years and I, I assume a lot of people did where you would
set up one of these longer exposures or any shot.
And if you did have that time, it's like now, if you're sitting down and you're

(33:53):
watching Netflix or something,
and I'm still somewhat antsy to reach for my phone or
a different screen it's like we're just so it's normal
to have ourselves engaged in three four activities at
the same time now all the time because we can it's it
feels quite unnatural to do the opposite
and just like sit there and and experience and

(34:13):
for me it it's still hard it takes
a lot because i realize it's necessary for work it's part of the job now to
not set up that five minute exposure and then instantly go to like my phone
and get like bts for reels or tick tock or whatever and create some sort of
content right it's like what more like and i get it i get why it's important to do that but also.

(34:37):
I struggle with it quite a bit because my preference is to just want to sit
there as well at that time.
Totally. Yeah. When you've got that kind of an opportunity and it's in a way
for me, it was one of the attractions because in Norfolk, we've got a lot of
coastline nearby and it varies quite a bit.
It's just being able to, there's the rhythmic pounding of the waves as being

(34:58):
able to sit there and enjoy that and the light just gradually changing.
It's a kind of a, it was kind of meditative for me. It was a nice way after
yanking myself out of bed at silly o'clock in the morning, which wasn't easy.
It's quite a peaceful thing to do.
And you feel good afterwards, you know, and often coming away with just a few

(35:20):
is better than running around trying to snap everything just in case you might be missing something.
Oh, yeah, I love that. That's I mean, that's a perfect way to summarize.
I feel the same way because I know that years ago, I would have come back and
had 100 photos from that morning and not know which one I really cared about

(35:41):
or why or what I was going to do with them.
And if you only go out and take three photographs, let's say they're all well
done and they're all nice.
But it's a lot easier to build and establish some sort of like connection to
that moment of that memory.
And then they've got that story coming you just told me this
like you know your experience of getting up at silly o'clock and

(36:01):
forcing yourself out there but finding that piece after the fact
like when i hear that like i want to
go see what you saw if you
just showed me a gallery with you know 20 photos on
instagram from that morning are all similar like look
or feel i'm i'm not really connecting to you i'm not connecting
to your work and maybe because like the

(36:22):
artists themselves didn't really connect to the work you know what i mean like we i'm not
i have no idea if that's true or not but i guess as
for me personally as i get older and
the more time i spend doing this kind of stuff that's the
that's the experience that i'm attracted
to is the one you just described so when i see other artists and photographers
create that way those are the photographers that i will gravitate towards yeah

(36:47):
i suppose sometimes you can sense it in the images and sometimes you almost
need that bit of backstory. So...
Then you potentially caught in that dilemma again of, do I need to shoot some
behind the scenes and make content for it? Or can I just write some copy afterwards?
This is the crux. And I mean, and also like this is it like this is where it

(37:11):
goes from art to a job, right?
Like that's the other thing. Like we're all even the people who love their work,
they found their passion in life.
It's work at certain points of the day or the week.
And yeah that's that's the other side of all this is like you know find that
balance and then and then realize you know you gotta you gotta do that other

(37:33):
stuff too from time to time.
So some of the places that you that you go to
are not exactly known for their what most people
might consider good weather but at the same time
i think that often it's the
challenging weather that can produce more interesting photos but
the same beyond that though is there a point at which weather
just becomes too bad you know in these in these

(37:56):
environments do you other days where you just say not going
out there or do you actually look for some slightly chaotic
weather to get a range of images yeah i
definitely lean towards the getting excited for
chaos when it comes to weather if if
i look outside and it's a there's like no wind there's a
blue sky a couple low low clouds and just

(38:19):
like beautiful light everything's green and lush i'm
likely to say you know what i'm not going out today i'm not interested and
if if i look outside and like somebody's
garbage trash can is like blowing down the street and there's like a kid like
running after a jacket and there's a cat in a tree screaming i'm gonna be like
oh yeah okay let's get our stuff ready and see what we can go find so i definitely

(38:42):
on the on that spectrum i'm gonna to gravitate definitely towards harsh weather, unforgiving weather.
I like trying to find moments in that bad weather, those.
I guess, those moments and those experiences that most people,
I like that most people are not out in it, and I like that...

(39:06):
It's it's it's a visual that most people don't see
like it's going to be a location if it's a like a well-known lighthouse
landmark beautiful sunrise location and i go out there when like the blizzard
of the year is basically about to set upon us and there's a squall coming in
off the north atlantic i want to get that photograph because i don't think people

(39:27):
are have ever seen this you know what i mean or very few including myself and
that's why i'm chasing it is because Cause like,
here's something I've never seen before in a location that I've seen a thousand times.
So I'm looking for those unique moments and awfully often the harsh weather is when you get it.
But also there's a part of my personality that really like going back to those
early days of the expedition stuff and the adventure stuff that I do,

(39:51):
I do get like that adrenaline rush of being out in a little bit more chaos and
crazy stuff where it pushes me physically as well as creatively.
And, and you're fighting wind and you're, you're trying to like figure out like
how to make, how to make this work and how to keep your gear clean and dry.
And I like that challenge. I like that experience.
And I also find it very humbling. Like it, I often fail in those conditions

(40:14):
and that's important for me is to,
to realize that I'm putting myself in, in spaces and at moments outdoors where
I can't always win or I'm not always going to be set up for success.
And then when I do pull it off, it means that much more to myself or I'm more surprised, I guess.

(40:35):
So how do you then deal with that when you've got up early, you've gone out
for a long drive or something, you've put yourself somewhere and you come back
with nothing saleable, nothing much that you can use.
How do you tend to react to that?
Fairies i mean yeah i get i get i can get a little dark and negative sometimes

(40:57):
if it happens quite frequently you know it's been a while since i've gotten
some banger shots in the can.
But I think, I think for me, it's a little like going back to that,
like being in the moment and disconnecting a little bit.
I try to take those experiences for what, what they are, which is usually that

(41:17):
there's an opportunity there to have just experienced the weather,
the location to have seen it.
The simple fact that you got up and you went out and there was nobody else out
there and you saw something and you, maybe you didn't capture it.
Maybe you couldn't clearly translate that into a photograph or an image that
was sellable or would resonate with an audience, but you did have the experience

(41:40):
and it proves that those moments are out there.
Right. So for me, once I get over the, like, Oh, I failed, I don't have a thing
to show anybody that was a waste of time, which happens to us all usually then
what I focus on is, but there was a, that was cool.
There was that moment of cool light. I just wasn't able to get at it.

(42:01):
So I'm going to go out again and know that maybe there's another chance for
something cool and just be better prepared, you know, learn from your mistakes.
But that's not to say that I don't get, I do, I definitely get down and upset
with myself and the whole system when it happens too frequently.
It can be very frustrating. There are some areas that just seem to have their own micro climate.

(42:22):
So you look at the sky, you look at the forecast and think, Like, looks great.
There's enough cloud for it to be interesting, some good light.
You drive all the way there and there's a thick bank of cloud that's just appeared
from nowhere, right across the horizon. And you think, oh, great. Okay.
Yeah. There are some locations on the Avalon, on the East Coast of Newfoundland.

(42:44):
You'll check all the apps, all the weather and be like, this is going to be the perfect sunrise.
It's exactly what I want. You get out there and you realize it's the only peninsula
that's literally sitting in a fog and there's nothing.
But then after that happens like three times in a row at sunrise,
you're like, oh, you know what? This is the fog location.

(43:05):
So if I want to get an image that's going to be desolate and minimalist and
what can I do with that fog?
How can I turn that now into something interesting? Because I can depend on
that condition to be there.
That's exactly when you go out and there's no fog, but nine times out of 10, the fog will be there.

(43:26):
When you can start predicting that, that's the benefit of visiting locations
more than twice, three times, four or five times.
I always say to people, if you look at my portfolio, a lot of it expands the
world and very remote locations that are hard to access. Yes, I.
That in and of itself sometimes brings a certain mystique to the images and,

(43:48):
and kind of like elevates them, whether I'm a good photographer or not,
just being in those locations sometimes and showing people things that they
haven't seen does a lot of the heavy lifting.
But as far as becoming a stronger, better photographer with images that resonate
and hold like weight for people, I think that like your local areas,

(44:11):
things that you can access regularly not even
just daily but like you know monthly or whatever those are
the places where you're probably going to create your strongest work overall because
you can go back over and over and understand the places and get you know light
from every angle at different times of the day at every kind of weather or season
throughout the year building this body of work and really understanding how

(44:35):
all of that works together to create like that magical space right Right. Yeah, definitely.
And we were talking earlier about how these kind of places, especially when
you go on your own, you can it can be good for your mental health.
It can help you sort of begin to cultivate that mindfulness if you can manage
to keep away from your phone and so on.

(44:56):
But then when you do workshops, you're bringing people into that space.
How does that feel then is it is is it not a bit strange that in a way you're
inviting people into your sort of safe space or your quiet place yeah i think
i think i was lucky to have learned,

(45:17):
from a couple friends that were doing it a few years before i started doing
it and their their approach was very much to be just a complete open book and
be 110 available for the students and for the clients that are there.
And so when I started doing this, I really leaned into that.
And I really, going back to earlier saying, like being a good guide,

(45:40):
having a better understanding of the places that I bring people.
I really kind of relied on that mentality.
I worked as a just a regular guide for a while before I did photography.
And I used a lot of those skills when I started
doing the photo tours and the workshops workshops to just be yeah
to be present with them and to guide them through the experience and

(46:04):
so then what i find is that it takes the
the emphasis off of me completely there's no pressure for me to create images
in those moments when i'm out there like i unless i'm doing a demonstration
i probably don't have my camera out i don't set up a tripod or anything like
that I'm 100% like just with the people and,

(46:27):
And what I get, I think what I get out of those moments, bringing people to
those places and, and is that those, that's my opportunity.
So as much as an introvert and a person that tries to get away from people,
as I am, that's my opportunity to like reconnect to humanity, right.
To people again, but in a space that means something to me and I hope means

(46:49):
something to them. and we kind of, we find our way together through that.
And they find their own experience, their own story or adventure out of that.
I really, really love it when people come on these workshops and I love to see
them like create work that they're proud of.
I love to see their journey. If it's like a 10 day or a longer two weeks or
something like that to see where they start and see where they get,

(47:09):
if they have like a certain creative goals in mind.
But what I like more than all of that is just seeing them become more and more
comfortable outside in nature, pushing their comfort zone.
Someone who was like, I can't walk up that stream.
It's too slippery. Those rocks, I'm not sure. I just, you know,
whatever my knees aren't as good as they used to be kind of thing.
And then two days later, they're skipping, like they're hopping across that

(47:32):
river to get to a waterfall shot.
That's better than staying closer to the side of the road kind of thing.
Cause they're, they're more confident. They just haven't been outside.
They haven't played outdoors in a while.
And so when I, when I do these tours and I'm less focused on my own work or
my own creative experience out there and more just working as a guide and sort
of like someone who's there to support their experience,

(47:55):
it makes that place in some ways even like more significant for me to be able
to bring people there and show them that and help them experience it.
There are still places very much though where it's not that I wouldn't bring
people there, but they're less accessible.
So there's definitely still places where there's only a handful of people that

(48:17):
I probably ever brought there to take photos or to do whatever. And then.
I think as well, I've become better or I try to anyways, become better at finding
that sort of solitude in everyday moments.
I can be surrounded a little bit now by tourists and things like that and still

(48:40):
carve out my own little spot next to the ocean and invest my mind in that one
rolling wave and watch it break and see how the light dances off of it.
And still there'll be like families picnicking around me and having their own
thing which is like for me that's incredibly hard to do so i'm i try i'm trying
to be better at that so that i i guess i'm not as.

(49:02):
Protective over those places and these experience of being my spot or my my
sanctuary or whatever and the other thing is like sorry go ahead i was i i don't
know about you but i find that it's it's It's two different types of enjoyment
that you can get the creative enjoyment of doing your own images there.
But then when you're teaching people, when you see their passion,

(49:25):
when you see them falling in love with the location,
when you see the images they're creating, when they try a technique they've
never done before, when they stick an ND filter on for the first time and go,
oh, you know, it's a different kind of satisfaction.
So you're enjoying the place in a different way.
Yeah, 100%. Yeah. And, and that's great. Cause then the place becomes more like,

(49:47):
it's a richer experience and it has more significance for me because it's,
it's not just one dimensional anymore, like just a place of solitude or for my own work.
So I, yeah, I really do get a lot out of that.
Yeah, I can relate quite a bit to that side of it because I've always enjoyed

(50:08):
sort of teaching, but at the same time, it's nice having that sort of time by
yourself and going in different times like that.
You enjoy the place in different ways.
You think you're sharing something with someone and they see that and think,
oh, yes, that is interesting.
Interesting that is a special feature of this of this environment here
and seeing it in different light every time you go i think

(50:31):
the more i've done photography the more i've realized that every
time you go somewhere it's different you know
it's it it can it can be cloudy but there's a different type of cloudy there's
all sorts it's infinite so every time you go you can still get something out
of the experience and it's something it's just about that mindset really yeah
having Having the right mindset when you go somewhere.

(50:54):
Not necessarily thinking, oh, it's got to be a stunning sunset thing with some
oranges and shades of magenta coming out of bits and pieces in the background
over there and so on and so forth.
And then going home in the huff because you didn't get it is having a mindset
almost as open to see what you're going to be given.
You know it 100 i i agree with

(51:16):
you so it's funny you're saying that and i was thinking like it's so crazy
that for me i feel so much
pressure if i go out on my own at sunrise and i do get a good sunrise i get
like hectic i get anxious because you only have a certain amount of time and
unless you know exactly the composition and you've got it already kind of framed
up you are sort of scattered and you're wondering what's this better is that

(51:38):
better oh like dealing with the equipment and whatever.
And then the moments may be lost and you might get it. You might not,
but I do feel a lot of pressure in those moments.
And so for me, when I go out and it's not a perfect sunrise,
I almost feel like, Oh, it's more like play.
It's more like the pressure's off. I might create something amazing that I never
thought of before, because I can't just rely on that crutch of it being the

(51:59):
perfect sunrise and knowing I got to get that, that one, I can nail that perfect moment.
It's like, well, I wasn't given the best moment. So the pressure's off to just
see. And maybe I'll surprise myself. The bar is a little lower and I'm probably going to get above it.
But it's the exact opposite. When I bring people out on workshops,
I'm just like stressed out.
If we don't get really good light, I'm like, oh, we can't have three days in

(52:19):
a row of no sunrise. Like it has, we have to get a sunrise.
Yeah. I think I've found,
very much to be true when you're on your own with those experiences and you
know you can get something out of less than ideal conditions.
And in fact, the number of times when people have said, oh, the day looks lovely
today, you're going out photographing. I think, no, no, it's totally the wrong weather for me.

(52:42):
Blue skies, I don't want that. I've actually found myself going to the coast
when I know it's going to be thick fog because there's one town where there's
this old sort of Victorian pier.
And when you've got the fog going around it and you've got some images
of that you don't know what century you're
in almost when you see those images it it seems more

(53:04):
timeless yeah and you know people who are coming on a workshop are not always
ready for that they yeah they sometimes need a little bit of leading by the
hand to say don't worry it's okay we're not going to get a dramatic sunset or
whatever but you know there are still things we can do here.
Yeah. I agree with that. That's, I feel the same way.

(53:26):
It's I, I, when I first started doing it, I was very much like,
I'm going to teach you like this more mindful approach, this artistic,
like inside your intentions and the purpose behind creating work that has resonance and is timeless.
And, and I realized it's really hard for.
Especially for people who are just starting out it's it's really

(53:47):
hard to get them to like buy into that
and get them on board because there's a lot i'm saying that
makes no sense having not they haven't taken
like the thousands of images that get them
to that point to be able to see the opportunity exactly so
i had to i learned really fast when i started you know teaching
that i gotta dial it back and meet everybody at their

(54:08):
space in their level and some
people are ready for it some people aren't and yeah there's
a certain amount of it with some people that they want to get the iconic
shot that they've seen perhaps that you've used
to advertise the workshop or yeah whatever whatever it might
be the sort of picture postcard kind of thing and they come
with that sort of in their minds that's their

(54:30):
goal for the evening that's what they want to do and as
soon as anything looks to be slightly out then they get uncomfortable and
don't know what they're doing with it but as you say to try and sort
of say take them to the point where you are you think well you
forget there's years of experience in between and it
isn't an easy kind of a jump to make and when we
started out it's often i'm going to go to the

(54:51):
best place in the best conditions i've researched what the weather's
going to be like and i want to get the best image and you know
what is best anyway you know yeah yeah
definitely what is best it's there's a
lot of managing expectations like it's a lot of
definitely a lot of that for myself.
And for the clients yeah you look.

(55:14):
At some you can see some incredible fog images.
You can see incredible snow images you can see
some reasonable ones on a sunny day i suppose sometimes.
Yeah where do you get sudden downpours of rain and you get the contrast between
the really dark clouds and the and the sort of brighter patches where the sun
is coming through There's so many different things that can happen in an environment.

(55:37):
And the whole thing changes with that.
And I think there's a sense in which landscape photography seems to idealize
the sunrise and the sunset, the golden hour.
And you can almost feel counterintuitive to go at a different time or not to go for that purpose.

(55:58):
It's like everyone assumes, well, that's what you do.
You're a landscape photographer. You go for the sunrise or the sunset,
the golden hour, because that is the right, in inverted commas,
time to photograph a landscape.
Yeah, definitely. Definitely. And in breaking that, that thought pattern and
in moving away from, you know, your,
your ultra wide lenses, moving away from everything having to be on a tripod,

(56:22):
like there's so many fundamentals to landscape photography that are correct
and I think are necessary to understand and to learn.
And then knowing when to use them and when to break away from
that is like obviously another big step forward
but it it does feel like there's like this part of the experience in your learning

(56:42):
journey where you're sort of locked into the those fundamentals or i was anyways
for a while so we do i you know you always get a handful of people that come
on the workshops that are,
they're there it's always fun to see if you can
like peel them away from that a little bit uh
with challenges and things like that you know yeah i can

(57:04):
end up freaking people out just by i don't call it the rule of thirds i call
it the tool of thirds because it's like otherwise it is the number of times
when you do like a seascape workshop or something and it's always going to be
oh no no i've always got to have my c on the third and you think i like that tool of thirds,
yeah so who made that a rule when did that become a rule for goodness sake.

(57:30):
So many different ways of presenting something and it's like you go through
this process as a photographer learning kind of structures and things that you
that initially can be helpful but then they start to hold you back yeah like
you photograph landscapes in a golden hour and
you stick the C on the, on the third and you have two thirds sky and so on. And that's how you do it.

(57:55):
But if you keep doing that, you're not going to look any different to anybody else.
Yeah. And, and, or your work just by itself, like all your work will look,
it's not even like creating harmony.
It's, it's just that you're just doing the same photo over and over and over at a certain point.
But, you know, I think the more, the more you can, And it's easier now with

(58:19):
digital, for sure, to just get that point across to people that like, just try it. Who cares?
Especially after those golden light moments are done and you're dealing with
the next hour of the morning or whatever, where you're going.
And it's like, here's the time to put on...
And or shoot at like 85 and and try going handheld or whatever or and and just play and,

(58:48):
it's always surprising to me like how many people when
i introduce little challenges like that in the workshops at the end or halfway
through and we're kind of going over people's work and going through some editing
demos and things like that talking about the photographs they've taken And how
many people choose those shots from those little weird challenges as their favorite

(59:09):
shot or one of their favorite shots of the workshop?
It's sometimes almost giving themselves permission to do something different,
isn't it? Yeah. Yeah. A hundred percent. Yeah.
So going back to regular places is obviously very helpful when you're a guide
because you immerse yourself in it. You understand it more and more.
Do you ever get a hunger for going somewhere new?

(59:32):
Do you yearn for a new river to fall in or something
like that definitely still very much
yeah i when we do some
of like when we do these workshops there's always usually even if
we're going back to say greenland and it's my fifth time going or sixth
time going where usually the the
leaders the guides will try

(59:53):
at the beginning or end to build in like an experience or a trip for us and
it's normally something we haven't tried or done before a different location
a different adventure that kind of thing so it's useful because it like especially
toward the end after a workshop or a couple back-to-back workshops it gives
you sort of that like downtime,
to just soak the place in on your own terms and shoot some of your own stuff and also just to to,

(01:00:20):
to find something new.
Like you just said, I think that it's more difficult. It's funny.
Because the more you do this sort of stuff for work and for money,
the more you build up a portfolio of work and experience and expertise in different areas,
and the more you can sell that, and the more people come to rely on you as somewhat

(01:00:43):
of a knowledgeable person in those areas. So you keep going back to those areas, which is fantastic.
And it's reliable and dependable. But it doesn't allow a lot of free time to just say, you know what?
I'm going to go to these three places this year.
No idea what i'm getting into it's very much
like a it's i think it's hard

(01:01:05):
to carve out that time for yourself the more
it becomes a career but it's very important to still try to do it yeah and people
do like to sort of pigeonhole you they by sort of saying oh you know you're
the guy that does the the sort of polar expedition type things or you're the
guy that does this or you know you're

(01:01:25):
the windmills and tulips guy or whatever it might be.
And so for yourself, do you have any kind of like a bucket list of places you'd
like to go to photograph for yourself at some point?
Yeah. I mean, like, so there's definitely places in even just Newfoundland that
I've only ever like heard stories of or seen a handful of like old archival

(01:01:49):
images and things of there are locations that I don't think a lot of people
have been to that I'd love to go see and document or experience.
There's definitely a lot of, there's still a fair amount.
I've barely scratched the surface of South America. I've not done a lot of Asia.
I'd love, love, love to get and to be able to do Eastern Russia.

(01:02:15):
There's parts of, I've never been to Alaska.
I mean, I've done a ton of the arctic i've never seen that
so yeah there's definitely a lot
of spots still there's even like the more i look into
like even just the uk and the islands north there's there just looks like some
incredible spaces to just get dumped for a week with a tent and just like explore

(01:02:40):
a lot of those islands oh scotland and the the highlands and then further up
to the yeah the islands out there. Yeah.
Just very, very remote communities, small communities and some stunning landscapes.
Yeah. Really lovely. Yeah. Yeah.
So where can people go to see more of your work, partly your portfolio,

(01:03:03):
but also if they want to keep up with what's going on and are considering going
on a trip somewhere and want to research what you offer, where would you send them to?
Uh, so curtisjonesphoto.com pretty much is probably the best place to, to go and look.
So everything should be there.
The, the workshop information galleries of my work, different things like that,

(01:03:27):
a, a budding blog, uh, for anyone interested in, in some writing that I'm putting in there.
And then there's, I, I'm not, I'm actually terrible at social media that I,
I do try to like keep up Instagram to some extent.
So C Jones photo on Instagram is, is another spot where you can see a little

(01:03:50):
bit more like what I'm up to more day to day or week to week, I guess.
But apart from those two, I have a very struggling YouTube channel,
which I plan to invest a little more time in, uh, over the summer,
uh, hopefully get more video content out.
And, and so there's, there are some videos that are now, but I'm,

(01:04:11):
I'm hoping to like, yeah, fill that up a little bit, but website curtisjonesphoto.com
will give you access to all that.
Thank you very much for taking the time to be on the podcast today, Curtis.
It's been fun talking to you and getting to know a little bit about your story.
Really appreciated having you on. Thank you.
Thank you so much. I really appreciate you having me on and I really enjoyed this conversation.

(01:04:33):
That's great. Thank you. And thank you all for listening to the Focused Professional PodcastGet connected,
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